...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jest coś irytującego w płytach-składankach wydawanych dla upamiętnienia okrągłej rocznicy istnienia danego zespołu. Trochę jak laurka podarowana samemu sobie, a trochę jak brak pomysłu na nowy album – ot, i pojawia się Płyta Coś-z-Niczego. Dlatego też z dużą dozą nieufności podeszłam do albumu Mikromusic z Górnej Półki, bo o ile zespół uważam za jeden z lepszych i bardziej oryginalnych na polskiej scenie muzycznej, o tyle nie przekonuje mnie zamysł nagrania płyty live z oklepanymi, znanymi na pamięć utworami.

W 2019 roku było Mikromusic z Dolnej Półki, czyli czwarty (!!!) album koncertowy w dorobku zespołu. W 2022 roku powstało zaś Mikromusic z Górnej Półki, czyli ponadgodzinny zapis koncertu we wrocławskim Narodowym Forum Muzyki, podczas którego (oprócz Mikromusic i zaproszonych muzycznych gości) wystąpiła 47-osobowa orkiestra NFM Filharmonii Wrocławskiej. Dwanaście utworów umieszczonych na płycie to przekrój przez (prawie) wszystkie lata działalności zespołu – mamy tu i Burzową z drugiej płyty w dyskografii, czyli Sennika; mamy Jesień z SOVY czy niezmiennych ulubieńców wśród słuchaczy – Tak Mi Się Nie Chce oraz Takiego Chłopaka. Zabrakło za to utworów z debiutanckiego albumu, a szkoda!

Największą wartością i najsmaczniejszym kąskiem z Górnej Półki są zaskakujące aranżacje (niemal barokowy wstęp do Takiego chłopaka!) i goście – Mela Koteluk tamże, Dorota Miśkiewicz w Burzowej i Kuba Badach w Tak Mi Się Nie Chce. Głos Natalii Grosiak brzmi (jak zawsze) dziewczęco, subtelnie i nieprawdopodobnie czysto; każde drgnienie to wyraz emocji, nie tylko tych muzycznych, i dowód na nader osobiste, intymne podejście do wykonywanych utworów. Najbardziej urzekła mnie chyba Operacja Na Otwartym Sercu, ale do tej piosenki zawsze miałam słabość. Zabrzmiała bardziej drapieżnie, rockowo, choć zabrakło głosu Piotra Roguckiego. Pięknie brzmi Bezwładnie, w wersji nieco retro, dobrze i nader wzruszająco wypada Pod Włos. Górna Półka trzyma poziom, miejscami zaskakuje, choć przede wszystkim podczas jej słuchania dominuje uczucie spokoju i komfortu, jak podczas spotkania ze starym przyjacielem, i to właśnie ono będzie powodem, dla którego słuchacze sięgną po tę płytę.

Nie jestem pewna, czy Mikromusic z Górnej Półki przysporzy zespołowi nowych fanów, ale na pewno zachwyci tych wiernych. Mimo mojej początkowej niechęci przyznaję, że płyta została nagrana z potrzeby serca, miłości do sztuki i słuchaczy. Miło wspominać dojrzewanie zespołu, przejść ścieżką dwudziestoletniej muzycznej eksploracji i pozostaje życzyć Mikromusic co najmniej kolejnych dwudziestu lat tak owocnej artystycznej pracy.

Natalia Glinka



..::TRACK-LIST::..

1. Tak Tęsknię
2. Jesień
3. Burzowa (feat. Dorota Miśkiewicz)
4. Pod Włos
5. Świat Oddala Się Ode Mnie
6. Takiego Chłopaka (feat. Mela Koteluk)
7. Sopot
8. Operacja Na Otwartym Sercu
9. Bezwładnie
10. Na Krzywy Ryj
11. Tak Mi Się Nie Chce (feat. Kuba Badach)
12. Niemiłość (feat. Dorota Miśkiewicz, Kuba Badach, Mela Koteluk)

The recordings were made on May 6, 2022 at the National Forum of Music, Wrocław, Poland. The concert celebrated the 20th anniversary of the Mikromusic.



..::OBSADA::..

Vocals, Ukulele, Acoustic Guitar - Natalia Grosiak
Guitar, Producer - Dawid Korbaczyński
Keyboards, Backing Vocals - Robert Jarmużek
Percussion - Łukasz Sobolak
Bass Guitar, Mixed By, Mastered By - Robert Szydło

Conductor, Arranged By, Mixed By [Orchestra Mix] - Adam Lepka




https://www.youtube.com/watch?v=3M8nDWx2GxI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jest coś irytującego w płytach-składankach wydawanych dla upamiętnienia okrągłej rocznicy istnienia danego zespołu. Trochę jak laurka podarowana samemu sobie, a trochę jak brak pomysłu na nowy album – ot, i pojawia się Płyta Coś-z-Niczego. Dlatego też z dużą dozą nieufności podeszłam do albumu Mikromusic z Górnej Półki, bo o ile zespół uważam za jeden z lepszych i bardziej oryginalnych na polskiej scenie muzycznej, o tyle nie przekonuje mnie zamysł nagrania płyty live z oklepanymi, znanymi na pamięć utworami.

W 2019 roku było Mikromusic z Dolnej Półki, czyli czwarty (!!!) album koncertowy w dorobku zespołu. W 2022 roku powstało zaś Mikromusic z Górnej Półki, czyli ponadgodzinny zapis koncertu we wrocławskim Narodowym Forum Muzyki, podczas którego (oprócz Mikromusic i zaproszonych muzycznych gości) wystąpiła 47-osobowa orkiestra NFM Filharmonii Wrocławskiej. Dwanaście utworów umieszczonych na płycie to przekrój przez (prawie) wszystkie lata działalności zespołu – mamy tu i Burzową z drugiej płyty w dyskografii, czyli Sennika; mamy Jesień z SOVY czy niezmiennych ulubieńców wśród słuchaczy – Tak Mi Się Nie Chce oraz Takiego Chłopaka. Zabrakło za to utworów z debiutanckiego albumu, a szkoda!

Największą wartością i najsmaczniejszym kąskiem z Górnej Półki są zaskakujące aranżacje (niemal barokowy wstęp do Takiego chłopaka!) i goście – Mela Koteluk tamże, Dorota Miśkiewicz w Burzowej i Kuba Badach w Tak Mi Się Nie Chce. Głos Natalii Grosiak brzmi (jak zawsze) dziewczęco, subtelnie i nieprawdopodobnie czysto; każde drgnienie to wyraz emocji, nie tylko tych muzycznych, i dowód na nader osobiste, intymne podejście do wykonywanych utworów. Najbardziej urzekła mnie chyba Operacja Na Otwartym Sercu, ale do tej piosenki zawsze miałam słabość. Zabrzmiała bardziej drapieżnie, rockowo, choć zabrakło głosu Piotra Roguckiego. Pięknie brzmi Bezwładnie, w wersji nieco retro, dobrze i nader wzruszająco wypada Pod Włos. Górna Półka trzyma poziom, miejscami zaskakuje, choć przede wszystkim podczas jej słuchania dominuje uczucie spokoju i komfortu, jak podczas spotkania ze starym przyjacielem, i to właśnie ono będzie powodem, dla którego słuchacze sięgną po tę płytę.

Nie jestem pewna, czy Mikromusic z Górnej Półki przysporzy zespołowi nowych fanów, ale na pewno zachwyci tych wiernych. Mimo mojej początkowej niechęci przyznaję, że płyta została nagrana z potrzeby serca, miłości do sztuki i słuchaczy. Miło wspominać dojrzewanie zespołu, przejść ścieżką dwudziestoletniej muzycznej eksploracji i pozostaje życzyć Mikromusic co najmniej kolejnych dwudziestu lat tak owocnej artystycznej pracy.

Natalia Glinka



..::TRACK-LIST::..

1. Tak Tęsknię
2. Jesień
3. Burzowa (feat. Dorota Miśkiewicz)
4. Pod Włos
5. Świat Oddala Się Ode Mnie
6. Takiego Chłopaka (feat. Mela Koteluk)
7. Sopot
8. Operacja Na Otwartym Sercu
9. Bezwładnie
10. Na Krzywy Ryj
11. Tak Mi Się Nie Chce (feat. Kuba Badach)
12. Niemiłość (feat. Dorota Miśkiewicz, Kuba Badach, Mela Koteluk)

The recordings were made on May 6, 2022 at the National Forum of Music, Wrocław, Poland. The concert celebrated the 20th anniversary of the Mikromusic.



..::OBSADA::..

Vocals, Ukulele, Acoustic Guitar - Natalia Grosiak
Guitar, Producer - Dawid Korbaczyński
Keyboards, Backing Vocals - Robert Jarmużek
Percussion - Łukasz Sobolak
Bass Guitar, Mixed By, Mastered By - Robert Szydło

Conductor, Arranged By, Mixed By [Orchestra Mix] - Adam Lepka




https://www.youtube.com/watch?v=3M8nDWx2GxI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koszmary jeszcze nigdy nie brzmiały tak pięknie. Szwedzcy arcymistrzowie melancholijnego ciężaru z Katatonii powracają w nowym składzie z albumem Nightmares as Extensions of the Waking State, który ukaże się 6 czerwca 2025 roku za pośrednictwem Napalm Records. Po raz kolejny ta pochodząca ze Sztokholmu formacja po mistrzowsku porusza się między mrokiem a skandynawską rozpaczą, wplatając jednocześnie w serce słuchacza poczucie nadziei.

Nightmares as Extensions of the Waking State wyznacza kolejny krok w ewolucji Katatonii, bazując jednak na fundamentach ich poprzedniego albumu, Sky Void of Stars (2023). Krystalicznie czysta produkcja podkreśla wzajemne oddziaływanie ciszy i intensywności. Jednocześnie kontrast ciężkich riffów, delikatnych gitarowych harmonii, eterycznych syntezatorów i atmosferycznych niuansów tworzy urzekające napięcie. Utwory takie jakb Thrice i Warden pulsują dynamiczną energią, natomiast Lilac to niepowtarzalny wokal Jonasa Renkse przeplatający się z hipnotycznymi rytmami i progresywnymi elementami. Niemal ceremonialny Wind of No Change łączy subtelne, elektroniczne tekstury z enigmatycznymi pejzażami dźwiękowymi, zaś Temporal równoważy kruchość i siłę - jego intensywne wersy kończą się emocjonalnie naładowanym refrenem. Zapierający dech w piersiach Efter Solen (ang. After the Sun), ze szwedzkim tekstem, przywołuje echa zbioru opowiadań Jonasa Eiki z 2018 roku, z minimalistyczną ale uderzającą instrumentacją. Z dźwiękowymi krajobrazami, które przywołują dystopię, wewnętrzne demony, czystość i piękno, Nightmares as Extensions of the Waking State jest świadectwem ich trwałego rozwoju. Album został wyprodukowany przez Jonasa Renkse, nagrany przez Lawrence'a Mackrory'ego w NBS Audio i The City of Glass, zmiksowany przez Adama Noble'a i zmasterowany przez Robina Schmidta w 24-96 Mastering.

Przypomnijmy, że na albumie tym nie zagrał współzałożyciel i gitarzysta formacji, Anders Nyström, który opuścił grupę w minionym miesiącu (grupa poinformowała o tym 18 marca). Na gitarze nie zagra także znany z poprzednich płyt Roger Öjersson. Muzyków zastąpią Nico Elgstrand i Sebastian Svalland.

Art Rock


Całkiem niedawno recenzowałem płytę The Man-Eating Tree Night Verses i wmawiałem Wam, że temu zespołowi blisko jest do tego, co tworzy Katatonia. Tymczasem dzisiejszej Katatonii wcale nie tak blisko jest do samej Katatonii, a dokładniej do jej muzyki, jaką pokochaliśmy jakiś czas temu. W swojej historii zespół miał różne okresy twórczości: od black/doom metalu, poprzez udany epizod death/doom w postaci Brave Murder Day. Później depresyjny gothic, aż do dziś, kiedy mamy coś, co śmiałbym nazwać samobójczo-rockowo-gotycką alternatywą. Były płyty marne, lepsze, dobre i te znakomite, które po dziś dzień powodują ciarki na karku i szybszy oddech. I to wszystko tak naprawdę teraz nie jest już istotne, bo Katatonia wkroczyła w nowy etap swojego rozwoju artystycznego. Skład zespołu został przewrócony na lewą stronę i jedynym oryginalnym artystą jest Jonas Renske. Ten nieśmiały, nieco zakompleksiony wokalista, bez którego istnienie tego zespołu byłoby niemożliwe, ale też bezcelowe. Bo tak naprawdę jego głos stanowi o charakterystycznym, niepowtarzalnym uroku zespołu.

Nowi muzycy, stare waśnie, skrywane ambicje i świeży album. Nightmare as Extensions of the Waking State. Czego się spodziewać po nowej muzyce Katatonii? Ja spodziewałem się kontynuacji Sky Void of Stars i tak właśnie jest. Kocham ten zespół bezwarunkową miłością już wiele lat, niemalże od początku istnienia, ale niestety zjadanie własnego ogona nieco zaczyna mnie już męczyć. Jest tu, a jakże, kolosalna dawka uczucia, które wyzwala we mnie różne emocje, od wzruszenia, łez tęsknoty, radości, po wzburzenie i czasem nawet gniew. Niewiele zespołów tak na mnie działa, ale Katatonia zawsze miała taki dar.

Nowa płyta to niewątpliwie nowy etap dla samego zespołu, ale także nowy etap dla nas, fanów twórczości Szwedów. I to słychać. Płyta to kawał dobrej muzyki, niestety lata wzlotów Katatonia ma już niestety dawno za sobą i teraz, piszę to z przykrością, to tylko faza upadku, powolnego, ale jednak upadku. Na Nightmare as Extensions of the Waking State po raz kolejny brakuje finezji i momentu zaskoczenia, które jako kompozytor gwarantował Anders Nyström, główny motor, pomysłodawca i animator sztuki pod nazwą Katatonia. Takie utwory jak Warden czy The Light Which I Bleed świetnie się słucha i znakomicie wkomponowują się one w kanon Katatonii Jonasa Renske, ale to już było na City Burials i Sky Void of Stars. To cały czas Katatonia przepełniona smutkiem, nostalgią i toną emocji, to Katatonia pełna bólu, rozpaczy, tęsknoty i odrzucenia.

Nightmare as Extensions of the Waking State to podróż pełna mroku i nadziei. I rzeczywiście, koszmary nigdy nie brzmiały tak pięknie. Katatonia cały czas mistrzowsko balansuje na granicy mroku i skandynawskiej rozpaczy, jednocześnie subtelnie wplatając w serce słuchacza poczucie nadziei. Oferuje ukojenie tym z nas, którzy chcą zatracić się w immersyjnych pejzażach dźwiękowych. Błyszcząca niczym lustro produkcja tylko podkreśla współgranie ciszy i intensywności, podczas gdy kontrast ciężkich, niemal miażdżących riffów, delikatnych harmonii gitarowych, eterycznych smaczków klawiszowych i atmosferycznych detali tworzy urzekające napięcie. Otwierający album Thrice pulsuje dynamiczną jak krew energią, podczas gdy singlowy Lilac pokazuje unikatowy, pełen pasji wokal Jonasa przeplatający się z hipnotycznymi elementami. Prawie ceremonialny, momentami pompatyczny Winds of No Change łączy subtelne tekstury z enigmatycznymi pejzażami dźwiękowymi Katatonii, a Temporal równoważy kruchość i siłę przekazu. Zapierający dech w piersiach Efter Solen z tekstami po szwedzku hipnotyzuje minimalistyczną, ale uderzającą instrumentacją.

I wszystko ładnie, pięknie, ale to nadal tylko solowy projekt Jonasa Renske. Tyle tylko, że już oficjalnie pod nazwą Katatonia.

Adam Pilachowski


Maybe it is totally unrelated or perhaps it isn’t but now as KATATONIA has parted ways with one of their founding members, Anders Nyström, the new studio album, “Nightmares as Extensions of the Waking State,” released on June 6th, 2025, via Napalm Records, turns out one of the darkest chapters in the band’s musical saga. That is by no means a small feat, considering the band has never been a stranger to crafting heart-wrenching, melancholic narratives. Whether by leaving the profound sense of Gothic gloom hanging in the air like a frozen halo or by projecting our darkest desires against the backdrop of slow-crushing, melancholy prog, KATATONIA albums have had a habit of growing on me slowly over time. Apart perhaps from “The Great Cold Distance” (2006) and “Dead End Kings” (2012), their albums usually haven’t blown my mind immediately. However, after some time, I always find myself listening to the albums on repeat for days on end. The two singles released ahead of the new album – “Lilac” and “Temporal” – seem to follow this tradition down to a tee; at first, the songs did not impress me that much, but only after a few weeks, I cannot seem to get enough of them now. So, I guess this is a good omen for the album. I’m not sure how the band actually does it. Maybe through some dark magic? It is almost as if the songs become fixed in the mind on some subliminal level, even if you do not seem to be affected by the music; the songs lurk somewhere in the subconscious, ready to jump out at you the first chance they get, like a suppressed memory. It’s something nigh impossible to articulate but easy to appreciate – and the band has done it again.

The opener, “Thrice,” kicks off rather riff-heavy. Then again, it makes sense as the band features two new guitarists now – Nico Elgstrand of ENTOMBED fame and Sebastian Svalland, formerly hooked up with PAIN. The song sets the tone for the whole album, almost as though the band’s primus motor, Jonas Renkse, had intended to break in the new axe-slingers with extra emphasis on the guitar riffs this time. The familiar, atmospheric melancholy that has become the band’s trademark in the past 10 years is still prominently present, but it isn’t perhaps as front and center as on the last couple of albums. On occasion, “Thrice” and the follow-up track, “Liqud Eye,” almost harken back to the band’s 2009 album “Night Is the New Day,” albeit the latter does gear up on the atmospherics, especially in the verses, almost bordering on going full-on ambient.

Up to this point, the album has not really surprised the band’s old-time fans, but the single, “Wind of No Change,” probably will. I mean, the song comes off almost like an evil version of GHOST on sedatives, what with the choir in the background and lyrics flirting with Satan. You sure as hell have not heard anything like this on a KATATONIA album before. The verses unfold like any other atmospheric song from this bunch. For some reason, I got rather strong “Dead End Kings” vibes – but then the chorus makes a twisted U-turn with the choral part coming off almost like a tribute to THERION. First, I wasn’t sure what to make of the song. Is it some inside joke to hail Satan all of a sudden? The more I listen to the song, the more it starts to stick in my head, though. It’s that familiar KATATONIA effect in action, I reckon. The Old Nick has the best of tunes.

By now, the first single “Lilac” has become one of favorites by the band, pulling off a rather brilliant balancing act between atmospheric melancholy, banging riffs, and heart-wrenching melodies. While the song is not exactly a catchy beast, like that instant heart-churner “Lethean” on “Dead End Kings,” it resonates with the air of that 2012 album rather nicely. The same holds for the second single, “Temporal,” pretty much. When it came out a while ago, my first thoughts were something like “Meh,” but now I just frigging adore it for the very same reasons.

The latter half of the album kicks off on a tad more atmospheric footing. “Departure Trails” traverses the slow-burning, melancholy waters of “The Fall of Hearts” (2016). The song isn’t as memorable as the gems on that album, but I guess, over time, it might yet reveal the dark magic woven into its core. Positioned in the middle of the album, it serves as a breather of sorts, albeit I’m not sure that it is exactly called for – none of the songs are uptempo punch-ups that would necessitate such a thing. Depending on the day, I either like the song quite a lot or not at all. Anyhow, it makes the album flow seamlessly forward, so there’s that.

Next, “Warden” and “The Light Which I Bleed” pick up the pace, rolling out nice riffs with more punch. The main riff in the latter, especially in the song’s coda, where it is doubled with some (synth) strings, subtly recalls the symphonic sound of THERION, once again. That’s not something I get to say about KATATONIA very often. This would have worked as the album’s closer much better than “In the Event of,” which lacks the appropriate epic feel. The last two tracks are probably to blame for why so many have written the album off as a rather bland effort altogether. “Efter Solen” is an atmospheric ballad sung in Swedish, and the closer is a nice, atmospheric riffer that gets maybe a little too atmospheric at times, at least for a closer. Neither of the songs is necessarily lame, but I think they are sorely misplaced in the selection.

Considering the band’s recent lineup changes, “Nightmares as Extensions of the Waking State” sounds unexpectedly unsurprising. I mean, if this album is to mark some kind of a new start for the band, it sounds rather samey. Then again, Jonas Renkse has been the band’s most prominent songwriter for some time already. So, the album keeps on pushing ever deeper into the atmospheric realm, but fortunately, with some newfound faith in the power of the almighty guitar riff. It has peaks and valleys, of course, but like so many KATATONIA albums of late, it bears all the hallmarks of a slow grower. The first two singles have already won me over in just a couple of months. Putting an album that is so remarkably comprised of “autumn music,” the release date on the brink of summer was a rather counter-intuitive choice, but I reckon, when the autumn eventually falls upon us, this album will show its true colors.

Jani L.



..::TRACK-LIST::..

1. Thrice 04:39
2. The Liquid Eye 03:44
3. Wind of no Change 04:52
4. Lilac 04:51
5. Temporal 04:10
6. Departure Trails 05:01
7. Warden 04:18
8. The Light Which I Bleed 03:56
9. Efter Solen 05:51
10. In the Event of 04:53



..::OBSADA::..

Vocals - Jonas Renkse
Bass - Niklas Sandin
Drums - Daniel Moilanen
Guitar - Nico Elgstrand
Guitar - Sebastian Svalland




https://www.youtube.com/watch?v=VhMdOKDTC6s



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koszmary jeszcze nigdy nie brzmiały tak pięknie. Szwedzcy arcymistrzowie melancholijnego ciężaru z Katatonii powracają w nowym składzie z albumem Nightmares as Extensions of the Waking State, który ukaże się 6 czerwca 2025 roku za pośrednictwem Napalm Records. Po raz kolejny ta pochodząca ze Sztokholmu formacja po mistrzowsku porusza się między mrokiem a skandynawską rozpaczą, wplatając jednocześnie w serce słuchacza poczucie nadziei.

Nightmares as Extensions of the Waking State wyznacza kolejny krok w ewolucji Katatonii, bazując jednak na fundamentach ich poprzedniego albumu, Sky Void of Stars (2023). Krystalicznie czysta produkcja podkreśla wzajemne oddziaływanie ciszy i intensywności. Jednocześnie kontrast ciężkich riffów, delikatnych gitarowych harmonii, eterycznych syntezatorów i atmosferycznych niuansów tworzy urzekające napięcie. Utwory takie jakb Thrice i Warden pulsują dynamiczną energią, natomiast Lilac to niepowtarzalny wokal Jonasa Renkse przeplatający się z hipnotycznymi rytmami i progresywnymi elementami. Niemal ceremonialny Wind of No Change łączy subtelne, elektroniczne tekstury z enigmatycznymi pejzażami dźwiękowymi, zaś Temporal równoważy kruchość i siłę - jego intensywne wersy kończą się emocjonalnie naładowanym refrenem. Zapierający dech w piersiach Efter Solen (ang. After the Sun), ze szwedzkim tekstem, przywołuje echa zbioru opowiadań Jonasa Eiki z 2018 roku, z minimalistyczną ale uderzającą instrumentacją. Z dźwiękowymi krajobrazami, które przywołują dystopię, wewnętrzne demony, czystość i piękno, Nightmares as Extensions of the Waking State jest świadectwem ich trwałego rozwoju. Album został wyprodukowany przez Jonasa Renkse, nagrany przez Lawrence'a Mackrory'ego w NBS Audio i The City of Glass, zmiksowany przez Adama Noble'a i zmasterowany przez Robina Schmidta w 24-96 Mastering.

Przypomnijmy, że na albumie tym nie zagrał współzałożyciel i gitarzysta formacji, Anders Nyström, który opuścił grupę w minionym miesiącu (grupa poinformowała o tym 18 marca). Na gitarze nie zagra także znany z poprzednich płyt Roger Öjersson. Muzyków zastąpią Nico Elgstrand i Sebastian Svalland.

Art Rock


Całkiem niedawno recenzowałem płytę The Man-Eating Tree Night Verses i wmawiałem Wam, że temu zespołowi blisko jest do tego, co tworzy Katatonia. Tymczasem dzisiejszej Katatonii wcale nie tak blisko jest do samej Katatonii, a dokładniej do jej muzyki, jaką pokochaliśmy jakiś czas temu. W swojej historii zespół miał różne okresy twórczości: od black/doom metalu, poprzez udany epizod death/doom w postaci Brave Murder Day. Później depresyjny gothic, aż do dziś, kiedy mamy coś, co śmiałbym nazwać samobójczo-rockowo-gotycką alternatywą. Były płyty marne, lepsze, dobre i te znakomite, które po dziś dzień powodują ciarki na karku i szybszy oddech. I to wszystko tak naprawdę teraz nie jest już istotne, bo Katatonia wkroczyła w nowy etap swojego rozwoju artystycznego. Skład zespołu został przewrócony na lewą stronę i jedynym oryginalnym artystą jest Jonas Renske. Ten nieśmiały, nieco zakompleksiony wokalista, bez którego istnienie tego zespołu byłoby niemożliwe, ale też bezcelowe. Bo tak naprawdę jego głos stanowi o charakterystycznym, niepowtarzalnym uroku zespołu.

Nowi muzycy, stare waśnie, skrywane ambicje i świeży album. Nightmare as Extensions of the Waking State. Czego się spodziewać po nowej muzyce Katatonii? Ja spodziewałem się kontynuacji Sky Void of Stars i tak właśnie jest. Kocham ten zespół bezwarunkową miłością już wiele lat, niemalże od początku istnienia, ale niestety zjadanie własnego ogona nieco zaczyna mnie już męczyć. Jest tu, a jakże, kolosalna dawka uczucia, które wyzwala we mnie różne emocje, od wzruszenia, łez tęsknoty, radości, po wzburzenie i czasem nawet gniew. Niewiele zespołów tak na mnie działa, ale Katatonia zawsze miała taki dar.

Nowa płyta to niewątpliwie nowy etap dla samego zespołu, ale także nowy etap dla nas, fanów twórczości Szwedów. I to słychać. Płyta to kawał dobrej muzyki, niestety lata wzlotów Katatonia ma już niestety dawno za sobą i teraz, piszę to z przykrością, to tylko faza upadku, powolnego, ale jednak upadku. Na Nightmare as Extensions of the Waking State po raz kolejny brakuje finezji i momentu zaskoczenia, które jako kompozytor gwarantował Anders Nyström, główny motor, pomysłodawca i animator sztuki pod nazwą Katatonia. Takie utwory jak Warden czy The Light Which I Bleed świetnie się słucha i znakomicie wkomponowują się one w kanon Katatonii Jonasa Renske, ale to już było na City Burials i Sky Void of Stars. To cały czas Katatonia przepełniona smutkiem, nostalgią i toną emocji, to Katatonia pełna bólu, rozpaczy, tęsknoty i odrzucenia.

Nightmare as Extensions of the Waking State to podróż pełna mroku i nadziei. I rzeczywiście, koszmary nigdy nie brzmiały tak pięknie. Katatonia cały czas mistrzowsko balansuje na granicy mroku i skandynawskiej rozpaczy, jednocześnie subtelnie wplatając w serce słuchacza poczucie nadziei. Oferuje ukojenie tym z nas, którzy chcą zatracić się w immersyjnych pejzażach dźwiękowych. Błyszcząca niczym lustro produkcja tylko podkreśla współgranie ciszy i intensywności, podczas gdy kontrast ciężkich, niemal miażdżących riffów, delikatnych harmonii gitarowych, eterycznych smaczków klawiszowych i atmosferycznych detali tworzy urzekające napięcie. Otwierający album Thrice pulsuje dynamiczną jak krew energią, podczas gdy singlowy Lilac pokazuje unikatowy, pełen pasji wokal Jonasa przeplatający się z hipnotycznymi elementami. Prawie ceremonialny, momentami pompatyczny Winds of No Change łączy subtelne tekstury z enigmatycznymi pejzażami dźwiękowymi Katatonii, a Temporal równoważy kruchość i siłę przekazu. Zapierający dech w piersiach Efter Solen z tekstami po szwedzku hipnotyzuje minimalistyczną, ale uderzającą instrumentacją.

I wszystko ładnie, pięknie, ale to nadal tylko solowy projekt Jonasa Renske. Tyle tylko, że już oficjalnie pod nazwą Katatonia.

Adam Pilachowski


Maybe it is totally unrelated or perhaps it isn’t but now as KATATONIA has parted ways with one of their founding members, Anders Nyström, the new studio album, “Nightmares as Extensions of the Waking State,” released on June 6th, 2025, via Napalm Records, turns out one of the darkest chapters in the band’s musical saga. That is by no means a small feat, considering the band has never been a stranger to crafting heart-wrenching, melancholic narratives. Whether by leaving the profound sense of Gothic gloom hanging in the air like a frozen halo or by projecting our darkest desires against the backdrop of slow-crushing, melancholy prog, KATATONIA albums have had a habit of growing on me slowly over time. Apart perhaps from “The Great Cold Distance” (2006) and “Dead End Kings” (2012), their albums usually haven’t blown my mind immediately. However, after some time, I always find myself listening to the albums on repeat for days on end. The two singles released ahead of the new album – “Lilac” and “Temporal” – seem to follow this tradition down to a tee; at first, the songs did not impress me that much, but only after a few weeks, I cannot seem to get enough of them now. So, I guess this is a good omen for the album. I’m not sure how the band actually does it. Maybe through some dark magic? It is almost as if the songs become fixed in the mind on some subliminal level, even if you do not seem to be affected by the music; the songs lurk somewhere in the subconscious, ready to jump out at you the first chance they get, like a suppressed memory. It’s something nigh impossible to articulate but easy to appreciate – and the band has done it again.

The opener, “Thrice,” kicks off rather riff-heavy. Then again, it makes sense as the band features two new guitarists now – Nico Elgstrand of ENTOMBED fame and Sebastian Svalland, formerly hooked up with PAIN. The song sets the tone for the whole album, almost as though the band’s primus motor, Jonas Renkse, had intended to break in the new axe-slingers with extra emphasis on the guitar riffs this time. The familiar, atmospheric melancholy that has become the band’s trademark in the past 10 years is still prominently present, but it isn’t perhaps as front and center as on the last couple of albums. On occasion, “Thrice” and the follow-up track, “Liqud Eye,” almost harken back to the band’s 2009 album “Night Is the New Day,” albeit the latter does gear up on the atmospherics, especially in the verses, almost bordering on going full-on ambient.

Up to this point, the album has not really surprised the band’s old-time fans, but the single, “Wind of No Change,” probably will. I mean, the song comes off almost like an evil version of GHOST on sedatives, what with the choir in the background and lyrics flirting with Satan. You sure as hell have not heard anything like this on a KATATONIA album before. The verses unfold like any other atmospheric song from this bunch. For some reason, I got rather strong “Dead End Kings” vibes – but then the chorus makes a twisted U-turn with the choral part coming off almost like a tribute to THERION. First, I wasn’t sure what to make of the song. Is it some inside joke to hail Satan all of a sudden? The more I listen to the song, the more it starts to stick in my head, though. It’s that familiar KATATONIA effect in action, I reckon. The Old Nick has the best of tunes.

By now, the first single “Lilac” has become one of favorites by the band, pulling off a rather brilliant balancing act between atmospheric melancholy, banging riffs, and heart-wrenching melodies. While the song is not exactly a catchy beast, like that instant heart-churner “Lethean” on “Dead End Kings,” it resonates with the air of that 2012 album rather nicely. The same holds for the second single, “Temporal,” pretty much. When it came out a while ago, my first thoughts were something like “Meh,” but now I just frigging adore it for the very same reasons.

The latter half of the album kicks off on a tad more atmospheric footing. “Departure Trails” traverses the slow-burning, melancholy waters of “The Fall of Hearts” (2016). The song isn’t as memorable as the gems on that album, but I guess, over time, it might yet reveal the dark magic woven into its core. Positioned in the middle of the album, it serves as a breather of sorts, albeit I’m not sure that it is exactly called for – none of the songs are uptempo punch-ups that would necessitate such a thing. Depending on the day, I either like the song quite a lot or not at all. Anyhow, it makes the album flow seamlessly forward, so there’s that.

Next, “Warden” and “The Light Which I Bleed” pick up the pace, rolling out nice riffs with more punch. The main riff in the latter, especially in the song’s coda, where it is doubled with some (synth) strings, subtly recalls the symphonic sound of THERION, once again. That’s not something I get to say about KATATONIA very often. This would have worked as the album’s closer much better than “In the Event of,” which lacks the appropriate epic feel. The last two tracks are probably to blame for why so many have written the album off as a rather bland effort altogether. “Efter Solen” is an atmospheric ballad sung in Swedish, and the closer is a nice, atmospheric riffer that gets maybe a little too atmospheric at times, at least for a closer. Neither of the songs is necessarily lame, but I think they are sorely misplaced in the selection.

Considering the band’s recent lineup changes, “Nightmares as Extensions of the Waking State” sounds unexpectedly unsurprising. I mean, if this album is to mark some kind of a new start for the band, it sounds rather samey. Then again, Jonas Renkse has been the band’s most prominent songwriter for some time already. So, the album keeps on pushing ever deeper into the atmospheric realm, but fortunately, with some newfound faith in the power of the almighty guitar riff. It has peaks and valleys, of course, but like so many KATATONIA albums of late, it bears all the hallmarks of a slow grower. The first two singles have already won me over in just a couple of months. Putting an album that is so remarkably comprised of “autumn music,” the release date on the brink of summer was a rather counter-intuitive choice, but I reckon, when the autumn eventually falls upon us, this album will show its true colors.

Jani L.



..::TRACK-LIST::..

1. Thrice 04:39
2. The Liquid Eye 03:44
3. Wind of no Change 04:52
4. Lilac 04:51
5. Temporal 04:10
6. Departure Trails 05:01
7. Warden 04:18
8. The Light Which I Bleed 03:56
9. Efter Solen 05:51
10. In the Event of 04:53



..::OBSADA::..

Vocals - Jonas Renkse
Bass - Niklas Sandin
Drums - Daniel Moilanen
Guitar - Nico Elgstrand
Guitar - Sebastian Svalland




https://www.youtube.com/watch?v=VhMdOKDTC6s



SEED 15:00-22:00.
POLECAM!!!

..::INFO::..

---------------------------------------------------------------------
Stevie Wonder - The Definitive Collection (2 CD)
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Artist...............: Stevie Wonder
Album................: The Definitive Collection
Genre................: R&B
Source...............: CD
Year.................: 2002
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 67-69 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Universal Music TV

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 1
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1. Stevie Wonder - Superstition [04:26]
2. Stevie Wonder - Sir Duke [03:52]
3. Stevie Wonder - I Wish [04:12]
4. Stevie Wonder - Master Blaster (Jammin') [05:07]
5. Stevie Wonder - Isn't She Lovely [03:19]
6. Stevie Wonder - I Just Called To Say I Love You [04:21]
7. Stevie Wonder - Ebony And Ivory [03:40]
8. Stevie Wonder - As [03:27]
9. Stevie Wonder - Never Had A Dream Come True [03:11]
10. Stevie Wonder - I Was Made To Love Her [02:35]
11. Stevie Wonder - Heaven Help Us All [03:11]
12. Stevie Wonder - Overjoyed [03:59]
13. Stevie Wonder - Lately [04:05]
14. Stevie Wonder - For Your Love [05:00]
15. Stevie Wonder - If You Really Love Me [02:58]
16. Stevie Wonder - Higher Ground [03:42]
17. Stevie Wonder - Do I Do [05:03]
18. Stevie Wonder - Living For The City [03:39]
19. Stevie Wonder - Part-Time Lover [04:12]

Playing Time.........: 01:14:06
Total Size...........: 499,46 MB

---------------------------------------------------------------------
Tracklisting CD 2
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1. Stevie Wonder - For Once In My Life [02:47]
2. Stevie Wonder - Uptight (Everything's Alright) [02:52]
3. Stevie Wonder - We Can Work It Out [03:14]
4. Stevie Wonder - Signed, Sealed, Delivered I'm Yours [02:38]
5. Stevie Wonder - Yester-Me Yester-You Yesterday [03:02]
6. Stevie Wonder - I'm Wondering [02:53]
7. Stevie Wonder - My Cherie Amour [02:51]
8. Stevie Wonder - You Are The Sunshine Of My Life [02:57]
9. Stevie Wonder - I Don't Know Why (I Love You) [02:46]
10. Stevie Wonder - A Place In The Sun [02:49]
11. Stevie Wonder - Blowin' In The Wind [03:03]
12. Stevie Wonder - Send One Your Love [04:01]
13. Stevie Wonder - Pastime Paradise [03:27]
14. Stevie Wonder - I Ain't Gonna Stand For It [04:38]
15. Stevie Wonder - Fingertips (Parts 1 & 2) [06:53]
16. Stevie Wonder - Boogie On Reggae Woman [05:13]
17. Stevie Wonder - You Haven't Done Nothin' [03:22]
18. Stevie Wonder - He's Misstra Know It All [05:33]
19. Stevie Wonder - Happy Birthday [05:54]

Playing Time.........: 01:11:03
Total Size...........: 487,43 MB

...( Info )...
Title: Cold Awakening
Artist: AsaCordis
Year: 2025
Genre: Heavy-Metal
Country: Austria

Duration: 00:51:35
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Sea of Time (04:13)
02. Savage Mountain (05:24)
03. Fearless (04:26)
04. Cold Awakening (06:49)
05. The End of October (05:25)
06. Chosen Sacrifice (05:01)
07. Eye to Eye (04:38)
08. Fable (06:00)
09. Haunted Wasteland (05:04)
10. Guided (04:28)

...( Info )...
Title: Addicted to Power
Artist: Nefarious
Year: 2025
Genre: Thrash, Heavy-Metal
Country: USA

Duration: 00:43:09
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Mirror Death (06:18)
02. Addicted to Power (05:44)
03. Master Plan (04:22)
04. Together We Rise (04:38)
05. Day After (05:31)
06. Snarler (04:57)
07. Avatar of Chaos (05:05)
08. One Nation Enslaved (06:30)

...( Info )...
Title: I Beat Loneliness
Artist: Bush
Year: 2025
Genre: Alternative-Rock, Grunge
Country: UK

Duration: 00:46:37
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
1. Scars (03:29)
2. I Beat Loneliness (04:23)
3. The Land of Milk and Honey (03:14)
4. We're All the Same on the Inside (03:21)
5. I Am Here to Save Your Life (04:08)
6. 60 Ways to Forget People (02:47)
7. Love Me Till the Pain Fades (04:12)
8. We Are of This Earth (04:23)
9. Everyone Is Broken (04:00)
10. Don't Be Afraid (05:15)
11. Footsteps in the Sand (04:01)
12. Rebel with a Cause (03:18)

...( Info )...

Witam.Wszystkim dziękuję za dobre jak i za te złe komentarze.
Tą wstaweczką żegnam się z Wami
Pozdrawiam

...( Info )...

składanka mireczka-a takie tam vol.60+ mały bonusik
Gatunek: Dance,Disco,Vixa/Pompa,Trance
Rok:2025
mp3@320kbps
CZAS:01:44:36
Bonusik:02:14:14

...( TrackList )...

1.Mr Zoob - Mój jest ten kawałek podłogi (Remix)
2.Guenta K - Das Boot (DJ Gollum Remix Edit)
3.Captain Hollywood Project - Impossible (StarkManly Style Modern Retro EuroDance Mix) 2025
4.Armin van Buuren & Indira Paganotto - Dragon (Original Mix)
5.Piękni i Młodzi Dawid Narożny & Rizi Papi - Mini (Remix)
6.Ricchi e Poveri - Sarà perché ti amo (Remix)
7.Michael Sembello - Maniac (PAPAY Remix)
8.Klaas - Das Boot (Extended Mix)
9.Morandi - Save me (RaveSpirit Bootleg) 2025
10.Captain Hollywood Project - More & More (Bootleg)
11.Matt Guy - I'm Alive (Extended Mix)
12.PH Electro vs P1NX x MATSON - San Francisco (MICHU BTG)
13.Twin - Tell Me Why (XANO REMIX 2025)
14.Bedoes & Lanek - Jesteś ładniejsza niż na zdjęciach (Remix) 2025
15.Danny Fervent - Innocent (Allan Berndtz Remix)
16.Barthezz - On The Move (CatchSky Bootleg)
17.DJ Combo - One Way Ticket (Extended Mix) 2025
18.Valac - Too Good
19.Madcon ft. Ray Dalton - Don't Worry (DJ ANDREW x SINDRIX BOOTLEG)
20.No Chasa, OnlyWithYou - Thing Called Love (Original Mix)
21.TOMMY CASH - Espresso Macchiato (Remix) 2025
22.Betahouse Mafia - Valiant Victory
23.Sensonic - By Your Side (Extended Edit)
24.Cher - Believe (Remix)
25.W&W - Tung Tung Tung Sahur (Italian Brainrot) (Extended Mix)
26.Euphoria in Motion - ext v1 (MASTERED)
27.Gunter & The Sunshine Girls feat. Ćwiaraaa vs. PABLO & Dj Przemooo - Ding dong song baby
28.Dj ENDRIU & Kordo vs Eminem - Without Me MOTHERFUCKER
29.Toto Cutugno - L'Italiano (KLUBOVA Extended Remix)
30.Vini Vici, Avalon, Tristan - Music Is The Answer

+

mały bonusik:

1.Krzysztof Krawczyk - Ostatni raz zatańczysz ze mną (Bootleg)
2.Captain Hollywood Project - Only With You (remix)
3.E-ROTIC & MOLOW & DES3ETT - Maxxx (DYMEJSZYN & NYGA Bootleg)
4.Mo-Do - Eins Zwei Polizei (DJ TemperaTura remix)
5.Pan Savyan - W Kolorku Amaretto( DoubleBlast 4Fun Bootleg)
6.Sabrina - Boys (Cover EDM Version) 2025
7.Dr.Alban - One Love (Mr.Stephen remix) 2025
8.Ejaje - Tak kocha się tylko w filmach (Remix)
9.Maxx - Get A Way (Red Line Reboot)
10.Sandra - Little Girl (remix)
11.Trans-X – Into the Light (Remix)
12.Happysad - Mów mi dobrze ( DEWSKI REMIX )
13.Oil - Oh Eh Eh
14.Royksopp - Here She Comes Again (RMX)
15.Bob Sinclar - Rock the Boat feat. Pitbull, Dragonfly and Fatman Scoop (REMIx )
16.TNT Records - Fall For It
17.GrooveBusterz Vs. V1r00z - Talk To Me (M4CSON REFRESH)
18.Sash! - Adelante (ALPHA Remix)
19.Dj Ramezz & EuroDacer Feat Nadi - Impossible
20.Michael Calfan - Prelude (ZETWUDEZET Bootleg)
21.Lanberry - Co ja robię tu (Remix)
22.SJ - Stay (Jamie Hughes Remix)
23.David Tango - Dont Need You Love (Bootleg)
24.DJ Dean - It's a Dream (Ole Van Dansk & Jan Visage Remix)
25.Żabson - P0K0RA (VAYTO Remix)
26.Heater & Crunch & Margad - I Was Made For Lovin' You by FashionMusic
27.Marc Korn & TomMic & Semitoo - I Kissed a Girl
28.OKI-JEREMY - SOCHAN (Remix)
29.Akcent - Kylie (HUBERTOZ REMIX) 2025
30.Dzixon Dziku DzX - Rapowana poezja
31.Mike Candys - Si Te Vas (Remix)
32.2 UNLIMITED - No Limit (ENOMIA Remix)
33.DJ Killer & David Tango - Anything (Radius Sunny Bootleg)
34.Alex Christensen & Zombic - United (Extended Mix)
35.Majki & Matlane - Kocie Oczy (Remix)
36.OMER DEEP - Hera (Original Mix)
37.Frontliner - Curiosity (Extended Mix)
38.DAVID TANGO & BAGROL - MY LOVE (FILIP PHILIPS REFRESH) 2025
39.Dj Killer & David Tango - Anything
40.Chada & RX ft. Mafatih, AK-47 - Proceder

...( Info )...

Artist: Tami Neilson
Album: Neon Cowgirl
Year: 2025
Genre: Country, Americana, Cuntry rock
Quality: FLAC 24Bit-44.1kHz

...( TrackList )...

01. Foolish Heart
02. Salvation Mountain
03. Neon Cowgirl
04. Borrow My Boots
05. Love Someone
06. Keep On
07. You're Gonna Fall
08. Heartbreak City, USA
09. Loneliness of Love
10. U-Haul Blues
11. One Less Heart

...( Info )...


Artist: Giovanni Ceccarelli
Album: Le grand Michel [A Journey With Michel Legrand]
Year: 2025
Genre: Jazz
Quality: FLAC 24Bit-48kHz

...( TrackList )...

01. The Summer Knows (Theme from "Summer of '42")
02. Le Cinéma
03. I Will Wait for You
04. La valse des lilas (Once Upon a Summertime)
05. You Must Believe in Spring (Chanson de Maxence)
06. Chanson des jumelles
07. Love Makes the Changes
08. Les délinquants
09. The Windmills of Your Mind (Les moulins de mon cœur)
10. Le rouge et le noir
11. What Are You Doing the Rest of Your Life?
12. I Will Say Goodbye

..::INFO::..

Zespół 1984 powstał Rzeszowie w "orwelowskim" 1984 roku z inicjatywy Piotra "Mizernego" Liszcza i Krzysztofa "Bufeta" Bary, którzy tworzyli wcześniej z Pancernym grupę Modeln. Nazwa zespołu była zaczerpnięta z tytułu płyty Van Halen 1984. Dziennikarze jednak przekonani byli, że ma związek z książką Orwella '1984'. Zespół po zapoznaniu się z tą pozycją szybko podpisał się pod nią czego rezultatem był utwór Ferma hodowlana. 1984 zadebiutował na lokalnym przeglądzie "Rock Plus" w Rzeszowie. Już ten pierwszy występ spowodował spore zainteresowanie zespołem, a gościnny udział drugiego wokalisty /Roman "Smutny" Rzucidło - Restrykcja, a później Noah-Noah i Aurora/ miał zaowocować późniejszą jego współpracą jako głównego wokalisty. Pierwszy skład zespołu to: Piotr "Mizerny" Liszcz - gitara , Krzysztof "Bufet" Bara - vocal, Wojciech "Pancerny" Trześniowski - bass, Leszek Cielak - drums. W tym składzie odbyła się pierwsza sesja nagraniowa dla Radia Rzeszów (02.05.1985), w trakcie której zostały zarejestrowane: "Rapsodia", "Teologie", "Dwie chwile", "Sny 84" i "Zielony świat". Wtedy też współpracę z zespołem rozpoczął Maciek Ćwiek - gitara akustyczna. Pod koniec kwietnia następuje pierwsza zmiana personalna: za perkusją "Złotego" zastępuje Janusz "Borys" Gajewski. Następnie na początku maja do zespołu dołącza drugi wokalista - Roman "Smutny" Rzucidło. W tym składzie 1984 występuje na wspomnieniowym koncercie pt. "Breakout wraca do domu" (25.05.1985). W lipcu, na skutek nieporozumień, od zespołu odchodzą: "Bufet" i "Smutny". Nowym wokalistą zostaje Paweł "Tschester" Tauter (ex-Blind Eyes).

Title: Live Jarocin 1984 1985

Artist: 1984

Country: Polska

Year: 1984-1985

Genre: Punk

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

01 – Martwy Czas
02 – Będziemy Trwać
03 – Niech Płoną Sny
04 - Judasze
05 – Nie Mow Nic
06 – Idziemy Równo
07 – Komisariat

01 – Niech Płoną Sny
02 – Będziemy Trwać
03 – Idziemy Równo
04 – Tu Nie Będzie Rewolucji
05 – A Ty Śpij
06 – Biała Chorągiewka
07 – Niech Płoną Sny

..::INFO::..

Trzeci, najnowszy album studyjny amerykańskiej wokalistki folk-rockowej z Kentucky.

Title: Planting By The Signs

Artist: S.G. Goodman

Country: USA

Year: 2025

Genre: Folk Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Satellite
2.Fire Sign
3.I Can See The Devil
4.Snapping Turtle
5.Michael Told Me
6.Solitaire
7.I'm In Love
8.Nature’s Child (Feat. Bonnie "Prince" Billy)
9.Heat Lightning
10.Planting By The Signs (Feat. Matthew Rowan)
11.Heaven Song

..::INFO::..

---------------------------------------------------------------------
Van Halen – The Broadcast Collection 1976-1992 (5 CD)
---------------------------------------------------------------------

Artist...............: Van Halen
Album................: The Broadcast Collection 1976-1992
Genre................: Hard Rock
Source...............: CD
Year.................: 2022
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 59-70 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Cult Legends

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 1 - The Starwood 1976
---------------------------------------------------------------------

1. Van Halen - On Fire [03:35]
2. Van Halen - I'm The One [05:11]
3. Van Halen - D.O.A. [04:45]
4. Van Halen - Running With The Devil [04:10]
5. Van Halen - Ice Cream Man [05:43]
6. Van Halen - In A Simple Rhyme [06:34]

Playing Time.........: 30:02
Total Size...........: 192,64 MB

---------------------------------------------------------------------
Tracklisting CD 2 - The Forum 1982 (Part 1)
---------------------------------------------------------------------

1. Van Halen - Romeo Delight [04:12]
2. Van Halen - Unchained [04:02]
3. Van Halen - Drum Solo [02:42]
4. Van Halen - The Full Bug [03:32]
5. Van Halen - Runnin' With The Devil [03:05]
6. Van Halen - Jamie's Cryin' [03:26]
7. Van Halen - Little Guitars [04:15]
8. Van Halen - Where Have All The Good Times Gone [03:10]
9. Van Halen - Bass Solo [04:15]
10. Van Halen - Hang 'Em High [03:11]
11. Van Halen - Cathedral [01:42]
12. Van Halen - Secrets [03:17]
13. Van Halen - Everybody Wants Some [13:20]

Playing Time.........: 54:14
Total Size...........: 368,03 MB

---------------------------------------------------------------------
Tracklisting CD 3 - The Forum 1982 (Part 2)
---------------------------------------------------------------------

1. Van Halen - Dance The Night Away [03:07]
2. Van Halen - Somebody Get Me A Doctor / I'm So Glad [06:09]
3. Van Halen - Ice Cream Man [07:49]
4. Van Halen - Intruder [01:55]
5. Van Halen - Pretty Woman [03:23]
6. Van Halen - Guitar Solo [11:16]
7. Van Halen - D.O.A. [03:37]
8. Van Halen - Ain't Talkin' 'Bout Love [05:57]
9. Van Halen - Bottoms Up! [04:02]
10. Van Halen - You Really Got Me / Happy Trails [06:21]

Playing Time.........: 53:42
Total Size...........: 376,94 MB

---------------------------------------------------------------------
Tracklisting CD 4 - The Super Dome Tokyo '89
---------------------------------------------------------------------

1. Van Halen - One Way To Rock [04:55]
2. Van Halen - Summer Nights [05:41]
3. Van Halen - Panama [04:25]
4. Van Halen - A.F.U. (Naturally Wired) [04:19]
5. Van Halen - Why Can't This Be Love [03:48]
6. Van Halen - Mine All Mine [04:49]
7. Van Halen - '5150' [06:27]
8. Van Halen - When It's Love [05:42]
9. Van Halen - Eagles Fly [04:20]
10. Van Halen - I Can't Drive 55 [04:32]
11. Van Halen - Best Of Both Worlds [04:37]
12. Van Halen - Cathedral (Guitar solo) [03:09]
13. Van Halen - Black And Blue [04:32]
14. Van Halen - You Really Got Me [03:15]

Playing Time.........: 01:04:38
Total Size...........: 475,16 MB

---------------------------------------------------------------------
Tracklisting CD 5 - Jump Live
---------------------------------------------------------------------

1. Van Halen - Poundcake [05:39]
2. Van Halen - Love Walks In [05:01]
3. Van Halen - Man On A Mission [04:43]
4. Van Halen - Best Of Both Worlds [10:43]
5. Van Halen - In 'n' Out [05:01]
6. Van Halen - I Can't Drive 55 / I Ain't Talkin' 'Bout Love[07:47]
7. Van Halen - Spanked [04:35]
8. Van Halen - One Way To Rock [04:20]
9. Van Halen - Finish What Ya Started [05:46]
10. Van Halen - Why Can't This Be Love [04:01]
11. Van Halen - 316 (Guitar solo) [04:48]
12. Van Halen - Cathedral / Eruption (Guitar solo) [08:40]
13. Van Halen - Panama [04:12]
14. Van Halen - Jump [04:07]

Playing Time.........: 01:19:26
Total Size...........: 469,75 MB

..::INFO::..

---------------------------------------------------------------------
Van Halen - The Very Best Of Van Halen - Vol.1, Vol.2
---------------------------------------------------------------------

Artist...............: Van Halen
Album................: The Very Best Of Van Halen
Genre................: Rock
Source...............: WEB
Year.................: 2015
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 73-74 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Digital Media

Included.............: NFO, M3U, CUE
Covers...............: Front

---------------------------------------------------------------------
Tracklisting Vol.1
---------------------------------------------------------------------

1. Van Halen - Eruption (2015 Remastered) [01:42]
2. Van Halen - It's About Time [04:15]
3. Van Halen - Up For Breakfast [04:57]
4. Van Halen - Learning To See [05:15]
5. Van Halen - Ain't Talkin' 'Bout Love (2015 Remastered) [03:47]
6. Van Halen - Finish What Ya Started (Remastered Album Version)[04:23]
7. Van Halen - You Really Got Me (2015 Remastered) [02:36]
8. Van Halen - Dreams (Remastered Version) [04:52]
9. Van Halen - Hot For Teacher (2015 Remastered) [04:42]
10. Van Halen - Poundcake (Remastered Album Version) [05:20]
11. Van Halen - And The Cradle Will Rock...(2015 Remastered)[03:33]
12. Van Halen - Black And Blue (Remastered Album Version) [05:27]
13. Van Halen - Jump (2015 Remastered) [04:01]
14. Van Halen - Top Of The World (Remastered Album Version) [03:54]
15. Van Halen - (Oh) Pretty Woman (2015 Remastered) [02:52]
16. Van Halen - Love Walks In (Remastered Album Version) [05:11]
17. Van Halen - Beautiful Girls (2015 Remastered) [03:56]
18. Van Halen - Can't Stop Lovin' You (Remastered Album Version)[04:08]
19. Van Halen - Unchained (2015 Remastered) [03:29]

Playing Time.........: 01:18:28
Total Size...........: 587,04 MB

---------------------------------------------------------------------
Tracklisting Vol.2
---------------------------------------------------------------------

1. Van Halen - Panama (2015 Remastered) [03:30]
2. Van Halen - Best Of Both Worlds (Remastered Album Version)[04:49]
3. Van Halen - Jamie's Cryin' (2015 Remastered) [03:29]
4. Van Halen - Runaround (Remastered Album Version) [04:20]
5. Van Halen - I'll Wait (2015 Remastered) [04:40]
6. Van Halen - Why Can't This Be Love (Remastered Version) [03:48]
7. Van Halen - Runnin' With The Devil (2015 Remastered) [03:34]
8. Van Halen - When It's Love (Remastered Album Version) [05:38]
9. Van Halen - Dancing In The Street (2015 Remastered) [03:45]
10. Van Halen - Not Enough (Remastered Album Version) [06:48]
11. Van Halen - Feels So Good (Remastered Single Version) [04:32]
12. Van Halen - Right Now (Remastered Album Version) [05:22]
13. Van Halen - Everybody Wants Some!! (2015 Remastered) [05:06]
14. Van Halen - Dance The Night Away (2015 Remastered) [03:08]
15. Van Halen - Ain't Talkin' 'Bout Love (Remastered Live Version)[04:43]
16. Van Halen - Panama (Remastered Live Version) [06:39]
17. Van Halen - Jump (Remastered Live Version) [04:20]

Playing Time.........: 01:18:18
Total Size...........: 575,49 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Nowa, zremasterowana edycja nagranego w słynnych studiach EMI przy Abbey Road i wydanego w 1971 roku jedynego, ale za to autentycznie świetnego albumu brytyjskiego tria.
Wydany oryginalnie nakładem wytwórni B&C LP, zawierał ambitnie zaaranżowaną, pełną oddechu, hard-progresywną muzykę, przypominającą trochę połączenie T2, Master's Apprentices i debiutu Hard Meat.
Ten wciąż niedoceniony album urzeka przestrzennym brzmieniem i ciepłym, choć zdecydowanie rockowym klimatem.

JL


..::TRACK-LIST::..

1. Tyne God 5:27
2. I Cannot Understand 4:16
3. The Journey 5:55
4. Portrait Picture 5:42
5. Fair Stood The Wind 2:48
6. And I Love Her (The Beatles cover) 3:09
7. Life 4:27
8. The Morning After 5:11
9. The House 3:30
10. Sun In The Bottle 5:03



..::OPIS::..

Bass Guitar, Vocals - Stewart Burlison
Drums - Dave Whitaker
Lead Guitar, Vocals - Geoff Sharkey



https://www.youtube.com/watch?v=JGFaJL0hBPM


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Nowa, zremasterowana edycja nagranego w słynnych studiach EMI przy Abbey Road i wydanego w 1971 roku jedynego, ale za to autentycznie świetnego albumu brytyjskiego tria.
Wydany oryginalnie nakładem wytwórni B&C LP, zawierał ambitnie zaaranżowaną, pełną oddechu, hard-progresywną muzykę, przypominającą trochę połączenie T2, Master's Apprentices i debiutu Hard Meat.
Ten wciąż niedoceniony album urzeka przestrzennym brzmieniem i ciepłym, choć zdecydowanie rockowym klimatem.

JL



..::TRACK-LIST::..

1. Tyne God 5:27
2. I Cannot Understand 4:16
3. The Journey 5:55
4. Portrait Picture 5:42
5. Fair Stood The Wind 2:48
6. And I Love Her (The Beatles cover) 3:09
7. Life 4:27
8. The Morning After 5:11
9. The House 3:30
10. Sun In The Bottle 5:03



..::OBSADA::..

Bass Guitar, Vocals - Stewart Burlison
Drums - Dave Whitaker
Lead Guitar, Vocals - Geoff Sharkey



https://www.youtube.com/watch?v=JGFaJL0hBPM


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja jedynej dużej płyty kultowego zespołu z Rosji grającego techniczny death metal!



Back in the early-90’s, unlike nowadays when every fifth worthy death metal outfit hails from Russia, the Russian metal scene didn’t seem very welcoming to the up-and-coming death metal fraternity. Korrozia Metalla and D.I.V. had their ventures into the more brutal, proto-deathy side of the genre at some stage, but it wasn’t until Graveside’s monumental “Sinful Accession” (1993) that Russia recognized the power of death. Death Vomit were next with their twisted, but utterly compelling, self-titled opus, closely followed by Necrocannibal with the excellent cavernous saga “Somnambulifornic Possession” (1994), before a trio of highly accomplished technical death metal outfits graced the field a year later, and completed the cycle: Hieronymus Bosch, Sieged Mind, and Succubus. Of those three it was only the latter who remained a one-album-wonder leaving the work reviewed here a milestone in the development of the genre on Russian ground.

Succubus can rightfully be considered one of the first death metal formations in Russia their first demo “Eternal Mutation” dating back from 1991. However, their beginnings were pretty humble containing some really sloppy, unrehearsed, noisy stuff high on brutality and very low on musicianship. However, the band acquired two prominent representatives of the metal arena later: the guitar player Vladimir Blesnov from the thrashers Zhelezny Potok, and above all the drummer Vasiliy Kazurov, a recognized authority on the Russian metal horizon with participations in a fair number of big Russian metal bands like the previously mentioned D.I.V. and Korrozia Metalla, but also Manic Depression, Empire Rising, etc.

With a line-up like this there was no delaying the release of their only full-length which hit the stores at roughly the same time as the debuts of the other two auteurs. The guys show a penchant for infectious, memorable melodies from the very beginning with the opening “Dark Ages” which is a dark atmospheric creeper with intricate arrangements and great melodic leads. The darkness becomes even deeper on “Shadows of the Past” which shreds with an inordinate amount of technicality before more dramatic accumulations settle in the middle bringing memories of Nocturnus’ glorious debut “The Key”; more stupendous technical passages follow suit in the second half as well as the obligatory lead sections. Time for meditation with the quiet ambient instrumental “Epitaph” before the title-track enters with another vortex of superb technical riffage and dark foreboding dramatism recalling the future exploits of acts like Theory in Practice and Misanthrope; watch out for the gorgeous lead-driven melodies later and more spiral-like intricacy as a finishing touch. A short, piano-driven instrumental (“Ambez Castle”) closes the first chapter from this addictive, dark gothic fairy tale.

More tales coming with “Tales”, a schizoid, super-technical deathster which unleashes the superb leads earlier this time with more prominent participation of the bass and really scary vocal performance, the regular deathy shouter now turning to some hellish black-ish screeches pitching it a bit higher. Expect quite a few stars to fall down on “Stars are Falling Down”, another nice orchestral instrumental; but things get back on track on “Liar” which unleashes the next in line pleiad of psychotic rifforamas keeping the proceedings within the stomping mid-tempo. “Secret Face... sorry, Name” speeds up admirably recalling mid-period Death with virtuoso leads floating around amidst jarring rhythmic patterns and soaring melodic tunes; a more than worthy epitaph to this exquisite saga which is actually wrapped on by the quiet atmospheric instrumentalism “Winter Saga”, the guys obviously enamored with these mellow interludes which are actually fairly effective in establishing the requisite cold dark atmosphere.

An overall marvellous recording we have here, putting all that’s outstanding technical death metal on the table. Even after all these years, with Russia supplying some of the finest death metal in the new millennium, it’s hard to name a better entry into the death metal catalogue. One may argue that Hieronymus Bosch’s labyrinthine, more elaborate excursions deserve bigger attention as well as the ones composed by more serious, progressive-inclined, outfits like Grace Disgraced, Funeral Speech, and Beheaded Zombie, to give a few notable examples; but having in mind a concise, digested outburst of genius contained within slightly above half an hour, summing up all that immaculately executed technical death metal stands for, this effort simply has no rivals, and not only in Russia. Some may complain about the frequent quiet breaks inserted at will, but it would be hard to imagine them isolated from the interconnected tapestry that this album represents, and in the long run they do create a peaceful symbiosis with the metallic parts, even enhancing their impact, if you like, by providing the desirable calm before the storm: how can you feel the storm’s real rage if there’s no calm before it.

Like the father of death metal Mr. Chuck Schuldiner (R.I.P.) said so well “Destiny is what we all seek”… Well, we have found it here, and the whole genre’s destiny has been quite bright with this album as a guiding light all these years. And, as a finale, here is a secret revealed, at least to those who haven’t already done their own research into the band’s history: the frontman turns to be a frontwoman, operating under the alias Succubus (of course!), the real name Svetlana Karlikova-Shigal. The succubus within her has been lying dormant for quite some time… rest assured that another rise of the demon is inevitable (according to various myths and legends, it can’t be put to sleep for good), and another chapter of Russian folklore is about to be assembled sooner or later, traditionally wrapped in a lustrous cover of technical death metal wizardry.

Bayern



..::TRACK-LIST::..

1. Only Emptiness... / Dark Ages 4:50
2. Shadows Of Past 4:10
3. Epitaph 2:42
4. Destiny 5:49
5. Amber Castle 1:45
6. Tales (Black Chroniecles) 3:31
7. The Stars Are Falling Down (A Vision From The Cristal Void) 2:34
8. Liar 3:20
9. Secret Name / Winter Saga 7:55

Bonus Tracks:
10. Epitaph 2:43
11. Winter Saga 2:35



..::OBSADA::..

Vasily Kazurov - drums
Svetlana Karlikova - guitars, songwriting
Boris Tsarev - bass
Volodia Blesnov - guitars
Eddi Erikson - vocals, lyrics




https://www.youtube.com/watch?v=rccDrncosuQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Reedycja jedynej dużej płyty kultowego zespołu z Rosji grającego techniczny death metal!



Back in the early-90’s, unlike nowadays when every fifth worthy death metal outfit hails from Russia, the Russian metal scene didn’t seem very welcoming to the up-and-coming death metal fraternity. Korrozia Metalla and D.I.V. had their ventures into the more brutal, proto-deathy side of the genre at some stage, but it wasn’t until Graveside’s monumental “Sinful Accession” (1993) that Russia recognized the power of death. Death Vomit were next with their twisted, but utterly compelling, self-titled opus, closely followed by Necrocannibal with the excellent cavernous saga “Somnambulifornic Possession” (1994), before a trio of highly accomplished technical death metal outfits graced the field a year later, and completed the cycle: Hieronymus Bosch, Sieged Mind, and Succubus. Of those three it was only the latter who remained a one-album-wonder leaving the work reviewed here a milestone in the development of the genre on Russian ground.

Succubus can rightfully be considered one of the first death metal formations in Russia their first demo “Eternal Mutation” dating back from 1991. However, their beginnings were pretty humble containing some really sloppy, unrehearsed, noisy stuff high on brutality and very low on musicianship. However, the band acquired two prominent representatives of the metal arena later: the guitar player Vladimir Blesnov from the thrashers Zhelezny Potok, and above all the drummer Vasiliy Kazurov, a recognized authority on the Russian metal horizon with participations in a fair number of big Russian metal bands like the previously mentioned D.I.V. and Korrozia Metalla, but also Manic Depression, Empire Rising, etc.

With a line-up like this there was no delaying the release of their only full-length which hit the stores at roughly the same time as the debuts of the other two auteurs. The guys show a penchant for infectious, memorable melodies from the very beginning with the opening “Dark Ages” which is a dark atmospheric creeper with intricate arrangements and great melodic leads. The darkness becomes even deeper on “Shadows of the Past” which shreds with an inordinate amount of technicality before more dramatic accumulations settle in the middle bringing memories of Nocturnus’ glorious debut “The Key”; more stupendous technical passages follow suit in the second half as well as the obligatory lead sections. Time for meditation with the quiet ambient instrumental “Epitaph” before the title-track enters with another vortex of superb technical riffage and dark foreboding dramatism recalling the future exploits of acts like Theory in Practice and Misanthrope; watch out for the gorgeous lead-driven melodies later and more spiral-like intricacy as a finishing touch. A short, piano-driven instrumental (“Ambez Castle”) closes the first chapter from this addictive, dark gothic fairy tale.

More tales coming with “Tales”, a schizoid, super-technical deathster which unleashes the superb leads earlier this time with more prominent participation of the bass and really scary vocal performance, the regular deathy shouter now turning to some hellish black-ish screeches pitching it a bit higher. Expect quite a few stars to fall down on “Stars are Falling Down”, another nice orchestral instrumental; but things get back on track on “Liar” which unleashes the next in line pleiad of psychotic rifforamas keeping the proceedings within the stomping mid-tempo. “Secret Face... sorry, Name” speeds up admirably recalling mid-period Death with virtuoso leads floating around amidst jarring rhythmic patterns and soaring melodic tunes; a more than worthy epitaph to this exquisite saga which is actually wrapped on by the quiet atmospheric instrumentalism “Winter Saga”, the guys obviously enamored with these mellow interludes which are actually fairly effective in establishing the requisite cold dark atmosphere.

An overall marvellous recording we have here, putting all that’s outstanding technical death metal on the table. Even after all these years, with Russia supplying some of the finest death metal in the new millennium, it’s hard to name a better entry into the death metal catalogue. One may argue that Hieronymus Bosch’s labyrinthine, more elaborate excursions deserve bigger attention as well as the ones composed by more serious, progressive-inclined, outfits like Grace Disgraced, Funeral Speech, and Beheaded Zombie, to give a few notable examples; but having in mind a concise, digested outburst of genius contained within slightly above half an hour, summing up all that immaculately executed technical death metal stands for, this effort simply has no rivals, and not only in Russia. Some may complain about the frequent quiet breaks inserted at will, but it would be hard to imagine them isolated from the interconnected tapestry that this album represents, and in the long run they do create a peaceful symbiosis with the metallic parts, even enhancing their impact, if you like, by providing the desirable calm before the storm: how can you feel the storm’s real rage if there’s no calm before it.

Like the father of death metal Mr. Chuck Schuldiner (R.I.P.) said so well “Destiny is what we all seek”… Well, we have found it here, and the whole genre’s destiny has been quite bright with this album as a guiding light all these years. And, as a finale, here is a secret revealed, at least to those who haven’t already done their own research into the band’s history: the frontman turns to be a frontwoman, operating under the alias Succubus (of course!), the real name Svetlana Karlikova-Shigal. The succubus within her has been lying dormant for quite some time… rest assured that another rise of the demon is inevitable (according to various myths and legends, it can’t be put to sleep for good), and another chapter of Russian folklore is about to be assembled sooner or later, traditionally wrapped in a lustrous cover of technical death metal wizardry.

Bayern



..::TRACK-LIST::..

1. Only Emptiness... / Dark Ages 4:50
2. Shadows Of Past 4:10
3. Epitaph 2:42
4. Destiny 5:49
5. Amber Castle 1:45
6. Tales (Black Chroniecles) 3:31
7. The Stars Are Falling Down (A Vision From The Cristal Void) 2:34
8. Liar 3:20
9. Secret Name / Winter Saga 7:55

Bonus Tracks:
10. Epitaph 2:43
11. Winter Saga 2:35



..::OBSADA::..

Vasily Kazurov - drums
Svetlana Karlikova - guitars, songwriting
Boris Tsarev - bass
Volodia Blesnov - guitars
Eddi Erikson - vocals, lyrics




https://www.youtube.com/watch?v=rccDrncosuQ



SEED 15:00-22:00.
POLECAM!!!

...( Info )...


Artist: Helen Shapiro
Album: You Mean Ev'rything to Me (Remastered)
Year: 2025
Quality: FLAC 24Bit-44.1kHz

...( TrackList )...

01. Don't Treat Me Like a Child (Remastered)
02. When I'm with You (Remastered)
03. You Don't Know (Remastered)
04. Marvellous Lie (Remastered)
05. Walkin' Back to Happiness (Remastered)
06. Kiss 'n' Run (Remastered)
07. Tell Me What He Said (Remastered)
08. I Apologise (Remastered)
09. Let's Talk About Love (Remastered)
10. Sometime Yesterday (Remastered)
11. Little Miss Lonely (Remastered)
12. I Don't Care (Remastered)
13. Keep Away from Other Girls (Remastered)
14. Cry My Heart Out (Remastered)
15. Goody Goody (Remastered)
16. Birth of the Blues (Remastered)
17. Tiptoe Through the Tulips (Remastered)
18. After You've Gone (Remastered)
19. Little Devil (Remastered)
20. Will You Love Me Tomorrow (Remastered)
21. Because They're Young (Remastered)
22. The Day the Rains Came (Remastered)
23. Are You Lonesome Tonight (Remastered)
24. Teenager in Love (Remastered)
25. Lipstick on Your Collar (Remastered)
26. Beyond the Sea (Remastered)
27. Sweet Nothin's (Remastered)
28. You Mean Everything to Me (Remastered)
29. I Love You (Remastered)
30. You Got What It Takes (Remastered)

...( Info )...


Artist: Dean Martin
Album: Mambo Italiano 1956-1960 (Remastered)
Year: 2025
Quality: FLAC 24Bit-44.1kHz

...( TrackList )...

01. Mambo Italiano (Remastered)
02. Rio Bravo (Remastered)
03. Buona Sera (Remastered)
04. That's Amore (Remastered)
05. Volare (Remastered)
06. Memories Are Made of This (Remastered)
07. Return to Me (Remastered)
08. Write to Me from Naples (Remastered)
09. Bambino (Remastered)
10. Innamorata (Remastered)
11. Just in Time (Remastered)
12. Standing in the Corner (Remastered)
13. Under the Bridges of Paris (Remastered)
14. Melodie D'amour (Remastered)
15. Love Me, Love Me, My Love (Remastered)
16. Arrivederci Roma (Remastered)
17. June in January (Remastered)
18. Relax-Ay-Voo (Remastered)

...( Info )...

Artist: Phil Collins
Album: Hello I Must Be Going! (Remastered Hi-Res Version) (2016 Remaster)
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. I Don't Care Anymore (2016 Remaster)
02. I Cannot Believe It's True (2016 Remaster)
03. Like China (2016 Remaster)
04. Do You Know, Do You Care? (2016 Remaster)
05. You Can't Hurry Love (2016 Remaster)
06. It Don't Matter to Me (2016 Remaster)
07. Thru These Walls (2016 Remaster)
08. Don't Let Him Steal Your Heart Away (2016 Remaster)
09. The West Side (2016 Remaster)
10. Why Can't It Wait 'Til Morning (2016 Remaster)

...( Info )...


Artist: Peter Gabriel
Album: In The Big Room (Live)
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Burn You Up, Burn You Down (Live)
02. More Than This (Live)
03. Games Without Frontiers (Live)
04. Downside Up (Live)
05. Mercy Street (Live)
06. Darkness (Live)
07. Digging in the Dirt (Live)
08. The Tower that Ate People (Live)
09. San Jacinto (Live)
10. Shock the Monkey (Live)
11. Signal to Noise (Live)
12. Secret World (Live)
13. Father, Son (Live)
14. In Your Eyes (Live)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::TRACK-LIST::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::OBSADA::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ta muzyka jest ścieżką dźwiękową do eposu, którego Lovecraft nigdy nie napisał...


Mitochondrion's 2006 demo available on vinyl for the first time ever and re-issued on CD!


Mitochondrion is another Canadian group who could not possibly be from any other country. The style of technical death metal they play is completely Vinlandic in nature; there's no way at all to mistake it for anywhere else. The influences here are completely clear: Kataklysm, Martyr, Gorguts, and other legendary Canadian death metal bands. And best of all, this is really good, and even, though I hate to use the word, quite unique.

This is a band entirely based around atmosphere via performance. Mitochondrion appears to be going for the sort of feel that bands like Internal Suffering and Origin strive for: a sort of abstract, pummeling chaos. The cover art is a fantastic depiction of what's going on in this EP: ordinary humans gazing into the gaping maw of some Lovecraftian abyss, completely beyond the comprehension of mere mortals. The music embodies a spirit of true, inexorable entropy that you would hear in a band like Internal Suffering. Riffing is primarily chainsaw tremolo, playing surreal, atonal melodies in long, black metal derived streams of notes. The riffs seem almost to be composed like 'From Wisdom To Hate'-era Gorguts, with a combination of normal songwriting and a sort of experimental, abstract edge. Drumming is death metal based, but has, like many Canadian artists, a militaristic edge, along with some strange cymbal play reminding one of Cryptopsy. Vocals are actually the closest to Sylvain Houde that I've heard outside of early Kataklysm: the same seemingly multitracked roars and screams are used to great effect.

The title track expresses the band's aim perfectly. Packed with epic, swirling tremolo riffing and thundering drum performance under guttural vocals, it's positively vicious. I like the production a lot: the vocals have a good deal of reverb-induced acoustic space, heightening the otherworldliness of the music here. Really, just listen to the riffs: they sound like they were teleported from the Xen world of computer game 'Half-Life'. It combines the crooked, sinister construction of early Morbid Angel with the spaciness and atonality of Martyr to create a set of unbelievably dark and inherently demented riffs. This music is the soundtrack to the epic that Lovecraft never wrote, only replacing the slow buildup and elaborate descriptions with pure, unbridled chaos. And yet the music itself is not very chaotic, at least not in the Internal Suffering way: despite how strange and deformed it all is, it's unfailingly coherent and surprisingly easy to grasp on the first listen. It's not catchy: far from it. But it does make sense and stay memorable due to all the twists and turns in each song.

I consider this to be Wormed covering Kataklysm, minus some of the more ridiculous elements of brutality. This exchanges quantum physics for a sort of time-traveling shamanism. It's mystical music: not in the black metal way of nature and dark forces, but in the very entropy and unbelievably chaotic yet real nature of the universe itself. If music is measured by how well it transports you to another world, this would certainly be nearing the level of finest death metal release ever made. With other considerations taken into account, it's merely very, very good.

Noktorn



..::TRACK-LIST::..

1. Ever Scornful Acquiescence 02:54
2. Through Cosmic Gaze 07:56
3. Pestilent Rebirth 05:23
4. Venomous Foresight 03:46
5. Eternal Contempt of Man 06:14
6. In the Reign of Tusk 05:50



..::OBSADA::..

Shawn Haché - Vocals
Nick Yanchuk - Vocals, Guitars
Nick Gibas - Bass
Karl Godard - Drums



https://www.youtube.com/watch?v=L5VkOrFzEVk


SEED 15:00-22:00.
POLECAM!!!