...( Info )...

Artist: Various Artists
Album: Women Country
Year: 2024
Genre: Country
Format: mp3 320 kbps

...( TrackList )...

01. Gabby Barrett - Glory Days
02. Dasha - What Happens Now
03. Miranda Lambert - Ain’t in Kansas Anymore (From Twisters The Album)
04. Ashley McBryde - Bonfire at Tina's
05. The Castellows - Sober Sundays
06. Avery Anna - Make It Look Easy
07. The Highwomen - Highwomen
08. Willow Avalon - Homewrecker
09. Robyn Ottolini - Busy
10. Jana Kramer - I Got the Boy
11. RaeLynn - Lonely Call
12. Jessie James Decker - Should Have Known Better
13. The Wreckers - Leave the Pieces
14. Brandy Clark - Love Can Go to Hell
15. Jordyn Shellhart - Praise You
16. Meghan Patrick - The Bad Guy
17. Sheryl Crow - Easy
18. Walker County - Bits & Pieces
19. Ingrid Andress - Treated Me Good
20. Lanie Gardner - Chasing the Wind (From Twisters The Album)
21. Dolly Parton - Those Memories of You
22. Holly Williams - Settle Down (Southern Family Remix)
23. MADELINE EDWARDS - Mama, Dolly, Jesus
24. Faith Hill - It Matters to Me (2007 Remaster)
25. Tegan Marie - I Know How to Make a Boy Cry
26. Ilse DeLange - All the Answers
27. Aubrie Sellers - Light of Day
28. Brittney Spencer - Reaching Out
29. Joanna Cotten - High Maintenance
30. Lauren Lucas - The Carolina Kind

...( Info )...

Artist: Various Artists
Album: 80s Memories
Year: 2024
Format: mp3 320 kbps

...( TrackList )...

01. Madonna - Into the Groove
02. Michael McDonald - I Keep Forgettin (Every Time You're Near)
03. A-Ha - Take On Me
04. Tina Turner - The Best
05. Duran Duran - Girls on Film (2010 Remaster)
06. Roxette - The Look
07. Starship - Nothing's Gonna Stop Us Now
08. Alphaville - Forever Young
09. Fleetwood Mac - Everywhere (2018 Remaster)
10. Spandau Ballet - True
11. Alannah Myles - Black Velvet
12. Foreigner - I Want to Know What Love Is (1999 Remaster)
13. Pet Shop Boys - Always on My Mind
14. Chicago - You're the Inspiration
15. John Parr - St. Elmo's Fire (Man in Motion)
16. The Beach Boys - Kokomo
17. Whitesnake - Here I Go Again 87 (2018 Remaster)
18. Simply Red - If You Don't Know Me by Now
19. Chaka Khan - I Feel for You
20. The Cars - Drive
21. The Proclaimers - I'm Gonna Be (500 Miles)
22. Peter Cetera - Glory of Love
23. Yes - Owner of a Lonely Heart
24. George Benson - Give Me the Night
25. Rod Stewart - Baby Jane
26. Talk Talk - It's My Life
27. The Pretenders - Don't Get Me Wrong
28. Limahl - Never Ending Story (Giorgio 7 Mix)
29. Laura Branigan - Self Control
30. Robert Palmer - Simply Irresistible
31. Nu Shooz - I Can’t Wait
32. Stevie Nicks - Edge of Seventeen (2016 Remaster)
33. Climie Fisher - Love Changes (Everything)
34. Randy Crawford - You Might Need Somebody
35. New Order - Blue Monday '88 (2015 Remaster)
36. Sheila E. - The Glamorous Life, Pt. 1
37. Cliff Richard - Ocean Deep (2002 Remaster)
38. AL B. SURE! - Nite and Day
39. Karyn White - Superwoman
40. Jane’s Addiction - Jane Says
41. Roger - I Want to Be Your Man
42. The B-52's - Love Shack
43. Starpoint - Object of My Desire
44. Nick Kamen - Each Time You Break My Heart
45. James Ingram - There’s No Easy Way
46. Kajagoogoo - Too Shy (2004 Remaster)
47. The Blues Brothers - Everybody Needs Somebody to Love
48. Jane Child - Don’t Wanna Fall in Love
49. Bette Midler - Wind Beneath My Wings
50. Chris Rea - Josephine
51. Joey Scarbury - Believe It or Not (From Greatest American Hero)
52. Ramones - Baby, I Love You
53. Al Jarreau - Mornin' (2012 Japan Remaster)
54. The Time - Jungle Love
55. Faith No More - Epic (Radio Edit)
56. Narada Michael Walden - Gimme Gimme Gimme (feat. Patti Austin)
57. Stacey Q - Two of Hearts
58. Adrian Gurvitz - Classic (Radio Edit)
59. Art Of Noise - Kiss (feat. Tom Jones)
60. Dusty Springfield - In Private
61. Talking Heads - This Must Be the Place (Naive Melody) [2005 Remaster]
62. Peabo Bryson - If Ever You're in My Arms Again
63. Los Lobos - La Bamba
64. Debbie Gibson - Lost in Your Eyes
65. Joy Division - Love Will Tear Us Apart
66. Levert - Casanova
67. Marillion - Kayleigh (2017 Remaster)
68. Sister Sledge - Frankie
69. The Dream Academy - Life in a Northern Town
70. Peter Schilling - Major Tom
71. The Smiths - There Is a Light That Never Goes Out
72. Hot Chocolate - It Started with a Kiss
73. Twisted Sister - We’re Not Gonna Take It
74. Larry Graham - One in a Million You
75. Elaine Paige - Memory
76. Stacy Lattisaw - Jump to the Beat
77. Zapp - More Bounce to the Ounce
78. Echo And The Bunnymen - The Killing Moon
79. Tanita Tikaram - Twist in My Sobriety
80. Slave - Watching You

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Today, Blue Öyster Cult is celebrating the release of "50th Anniversary Live – Third Night" the final installment of the live album celebrating the band's 50th Anniversary.

In September of 2022, Blue Öyster Cult enthralled fans with a unique trilogy of sold-out shows, each dedicated to one of their first three albums. Founding member Albert Bouchard made a special appearance on all three nights, adding a nostalgic touch to the historic milestone.

For nearly three hours each night, the band delivered a spellbinding set, weaving through the entirety of their now-classic initial trilogy of albums and treating fans to a mix of favorites, deep cuts, and classic hits. The atmosphere was electric, and Frontiers Music captured the magic, releasing each night as a special individual package.

This electrifying performance, which includes the band’s third album "Secret Treaties" performed back-to-back, hits shelves TODAY and promises to be a spectacular follow-up to the band's historic three-night stint at Sony Hall in NYC.



..::TRACK-LIST::..

1. Career Of Evil
2. Subhuman
3. Dominance And Submission
4. M E 262
5. Cagey Cretins
6. Harvester Of Eyes
7. Flaming Telepaths
8. Astronomy
9. Stairway To The Stars
10. Golden Age Of Leather
11. Tainted Blood
12. Burnin' For You
13. Shooting Shark
14. Black Blade
15. Train True (Lenny's Song)
16. Buck's Boogie
17. Godzilla
18. Tenderloin
19. Sinful Love
20. (Don't Fear) The Reaper
21. The Alchemist
22. I Love The Night
23. Joan Crawford
24. Cities On Flame With Rock And Roll




https://www.youtube.com/watch?v=pUOF_Vo7wdU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Polscy eksperymentalni black metalowcy THAW powracają ze swoim piątem albumem. Na "Fading Backwards" fani zespołu musieli poczekać siedem lat. Album zawiera sześć utworów, stanowiących kwintesencję muzycznej tożsamości THAW, ukazując jego wyjątkowe brzmienie w nowym świetle.

Warstwa muzyczna nowego albumu THAW naprawdę oddaje istotę tej oryginalnej formacji, łącząc żywe brzmienie z ciężkimi, nisko nastrojonymi gitarami. Te potężne dźwięki są dodatkowo wzbogacone hałaśliwą elektroniką, która dodaje głębi i charakteru każdemu z nowych utworów.

Większość materiału na nowy album nagrano na żywo, co nadało utworom surowości i autentyczności. Resztę starannie dograno w celu uzyskania optymalnego brzmienia. Jednak nie tylko instrumenty definiują ten album; odznacza się on się zupełnie nowym podejściem do partii wokalnych.

Album nagrano w renomowanym Monochrom Studio (Behemoth, Entropia), w którym THAW mógł w pełni wykorzystać swój potencjał artystyczny, tworząc brzmienia mocne i pełne subtelnych niuansów.

THAW to zespół znany z pogoni za nowymi formami ekspresji. Za sprawą "Fading Backwards" udowadnia, że ich muzyczna podróż jeszcze się nie skończyła. Nowa płyta to nie tylko powrót do korzeni, ale także krok do przodu i świadectwo, że zespół ma jeszcze wiele do zaoferowania.

"Jesteśmy podekscytowani, że nowy album THAW w końcu ujrzy światło dzienne" - komentuje zespół. "Wiemy, że proces pisania i nagrywania albumu zajął sporo czasu. Jesteśmy usatysfakcjonowani efektem końcowym i nie możemy się doczekać Waszej reakcji na na nowe utwory”.

"Fading Backwards" zmiksował i zamsterował Haldor Grunberg i Krzysztof Kurek w Satanic Audio (Pestilence, Azarath, Behemoth). Okładkę zaprojektował Artur Masternak.

Wydawca



Ja mam z zespołem Thaw dość dziwną relację. Z jednej strony znam ich muzykę, lubię i szanuję, z drugiej jednak strony, zawsze z płyt była ona dla mnie nieco mniej ciekawa niż na żywo. To dopiero wykonanie „live” poszczególnych utworów potrafiło mnie dosłownie wbić w ziemię. Gdy zamknę oczy i przypomnę sobie jak zabrzmieli na koncercie przed Triptykon parę ładnych lat temu w Krakowie, to dosłownie lodowaty chłód mi przechodzi przez plecy, a włos się jeży na klacie. Takie to miało pierdolnięcie.

Dlatego w cholerę żałuję, że nie wybrałem się na jeden z koncertów promujących „Fading Backwards”, bo skoro sam materiał mną tak poniewiera w domowym zaciszu, to co by się musiało dziać przy prezentowaniu tej muzyki na żywo… ? Dla mnie to jest pierwszy album, który z czystym sumieniem uwielbiam od początku do końca. Moim zdaniem czegoś tak miażdżącego nie nagrali do tej pory nigdy… Płyta ma tak niesamowity ciężar emocjonalny, że potrafi człowieka wymiąć, zgnieść, rozszarpać, a następnie złożyć w całość, dać kopa w dupę i powiedzieć „spierdalaj”. Dla mnie jest to muzyka tak przepełniona emocjami niepokoju, rozterki, dramatu, że komukolwiek z problemami emocjonalnymi tego typu nie polecam jej zdecydowanie. Można też próbować się z „Fading Backwards” zmierzyć starając się jednocześnie przepracować kumulujące się w człowieku negatywne emocje, ale z jakim skutkiem? Nie wiem. Mnie ta płyta potrafi przygnieść do ziemi, i nie puścić od pierwszej do ostatniej sekundy. Nie wiem czy to natężenie dźwięków, czy ich gęstość, a może totalnie odhumanizowane wokale.

Jest w tej płycie jakieś pierwotne zło. Tego się nie da do końca opisać. To trzeba posłuchać w ciemnym pokoju i zmierzyć się samemu z muzyką tworzoną przez Thaw. Dla mnie totalny kosmos, w który odpłynęli jest najlepszą muzyką, jaką udało im się stworzyć od początku istnienia. Najlepszy Thaw i poważny kandydat do topki tego roku.

Pathologist


https://www.dwutygodnik.com/artykul/11524-wiecej-chaosu-wiecej-abnegacji.html


Poland's experimental black metal five-piece THAW is thrilled to announce the release of its fifth album, marking its long-awaited return after years of hiatus. The album, featuring six tracks, is the quintessence of the band's musical identity, showcasing its unique sound in a new light.

The musical layer on THAW's new album truly captures the essence of the band, combining vibrant sounds with heavy, low-tuned guitars. These powerful sounds are further enriched with noisy electronics, adding depth and character to each track.

Most of the music were recorded live, giving the tracks a rawness and authenticity, and then carefully overdubbed to achieve the optimal sound. However, it is not just the instruments that define this album. The approach to the vocal parts is completely new.

The entire album was recorded at the renowned Monochrom Studio (Behemoth, Entropia), where THAW could fully exploit its artistic potential, creating sounds that are both powerful and full of subtle nuances.

THAW, known for its relentless pursuit of new forms of expression, proves with this album that its musical journey is far from over. The new record is not only a return to the band's roots but also a step forward, showing that the group still has a lot to offer.

"We are happy and excited that the new THAW album will finally see the light of day," comments THAW. "We know that the process of writing and recording this latest album took a significant amount of time. However, we are satisfied with the final result and are eager to see the world's reaction to what will soon be presented to all of you."

"Fading Backwards" was mixed and mastered by Haldor Grunberg and Krzysztof Kurek at Satanic Audio (Pestilence, Azarath, Behemoth). The cover artwork was designed by Artur Masternak.



https://distortedsoundmag.com/album-review-fading-backwards-thaw/



..::TRACK-LIST::..

1. The Great Devourer 05:17
2. A Place Where Repetition Dwells 05:28
3. Wartenberg Wheel 05:32
4. In the Laughter and the Stride 04:45
5. Dissociate Me/Spreader Bar 05:42
6. Moral Justification of Selfishness 07:43



https://www.youtube.com/watch?v=EA7UT-V-tps



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Polscy eksperymentalni black metalowcy THAW powracają ze swoim piątem albumem. Na "Fading Backwards" fani zespołu musieli poczekać siedem lat. Album zawiera sześć utworów, stanowiących kwintesencję muzycznej tożsamości THAW, ukazując jego wyjątkowe brzmienie w nowym świetle.

Warstwa muzyczna nowego albumu THAW naprawdę oddaje istotę tej oryginalnej formacji, łącząc żywe brzmienie z ciężkimi, nisko nastrojonymi gitarami. Te potężne dźwięki są dodatkowo wzbogacone hałaśliwą elektroniką, która dodaje głębi i charakteru każdemu z nowych utworów.

Większość materiału na nowy album nagrano na żywo, co nadało utworom surowości i autentyczności. Resztę starannie dograno w celu uzyskania optymalnego brzmienia. Jednak nie tylko instrumenty definiują ten album; odznacza się on się zupełnie nowym podejściem do partii wokalnych.

Album nagrano w renomowanym Monochrom Studio (Behemoth, Entropia), w którym THAW mógł w pełni wykorzystać swój potencjał artystyczny, tworząc brzmienia mocne i pełne subtelnych niuansów.

THAW to zespół znany z pogoni za nowymi formami ekspresji. Za sprawą "Fading Backwards" udowadnia, że ich muzyczna podróż jeszcze się nie skończyła. Nowa płyta to nie tylko powrót do korzeni, ale także krok do przodu i świadectwo, że zespół ma jeszcze wiele do zaoferowania.

"Jesteśmy podekscytowani, że nowy album THAW w końcu ujrzy światło dzienne" - komentuje zespół. "Wiemy, że proces pisania i nagrywania albumu zajął sporo czasu. Jesteśmy usatysfakcjonowani efektem końcowym i nie możemy się doczekać Waszej reakcji na na nowe utwory”.

"Fading Backwards" zmiksował i zamsterował Haldor Grunberg i Krzysztof Kurek w Satanic Audio (Pestilence, Azarath, Behemoth). Okładkę zaprojektował Artur Masternak.

Wydawca



Ja mam z zespołem Thaw dość dziwną relację. Z jednej strony znam ich muzykę, lubię i szanuję, z drugiej jednak strony, zawsze z płyt była ona dla mnie nieco mniej ciekawa niż na żywo. To dopiero wykonanie „live” poszczególnych utworów potrafiło mnie dosłownie wbić w ziemię. Gdy zamknę oczy i przypomnę sobie jak zabrzmieli na koncercie przed Triptykon parę ładnych lat temu w Krakowie, to dosłownie lodowaty chłód mi przechodzi przez plecy, a włos się jeży na klacie. Takie to miało pierdolnięcie.

Dlatego w cholerę żałuję, że nie wybrałem się na jeden z koncertów promujących „Fading Backwards”, bo skoro sam materiał mną tak poniewiera w domowym zaciszu, to co by się musiało dziać przy prezentowaniu tej muzyki na żywo… ? Dla mnie to jest pierwszy album, który z czystym sumieniem uwielbiam od początku do końca. Moim zdaniem czegoś tak miażdżącego nie nagrali do tej pory nigdy… Płyta ma tak niesamowity ciężar emocjonalny, że potrafi człowieka wymiąć, zgnieść, rozszarpać, a następnie złożyć w całość, dać kopa w dupę i powiedzieć „spierdalaj”. Dla mnie jest to muzyka tak przepełniona emocjami niepokoju, rozterki, dramatu, że komukolwiek z problemami emocjonalnymi tego typu nie polecam jej zdecydowanie. Można też próbować się z „Fading Backwards” zmierzyć starając się jednocześnie przepracować kumulujące się w człowieku negatywne emocje, ale z jakim skutkiem? Nie wiem. Mnie ta płyta potrafi przygnieść do ziemi, i nie puścić od pierwszej do ostatniej sekundy. Nie wiem czy to natężenie dźwięków, czy ich gęstość, a może totalnie odhumanizowane wokale.

Jest w tej płycie jakieś pierwotne zło. Tego się nie da do końca opisać. To trzeba posłuchać w ciemnym pokoju i zmierzyć się samemu z muzyką tworzoną przez Thaw. Dla mnie totalny kosmos, w który odpłynęli jest najlepszą muzyką, jaką udało im się stworzyć od początku istnienia. Najlepszy Thaw i poważny kandydat do topki tego roku.

Pathologist


https://www.dwutygodnik.com/artykul/11524-wiecej-chaosu-wiecej-abnegacji.html


Poland's experimental black metal five-piece THAW is thrilled to announce the release of its fifth album, marking its long-awaited return after years of hiatus. The album, featuring six tracks, is the quintessence of the band's musical identity, showcasing its unique sound in a new light.

The musical layer on THAW's new album truly captures the essence of the band, combining vibrant sounds with heavy, low-tuned guitars. These powerful sounds are further enriched with noisy electronics, adding depth and character to each track.

Most of the music were recorded live, giving the tracks a rawness and authenticity, and then carefully overdubbed to achieve the optimal sound. However, it is not just the instruments that define this album. The approach to the vocal parts is completely new.

The entire album was recorded at the renowned Monochrom Studio (Behemoth, Entropia), where THAW could fully exploit its artistic potential, creating sounds that are both powerful and full of subtle nuances.

THAW, known for its relentless pursuit of new forms of expression, proves with this album that its musical journey is far from over. The new record is not only a return to the band's roots but also a step forward, showing that the group still has a lot to offer.

"We are happy and excited that the new THAW album will finally see the light of day," comments THAW. "We know that the process of writing and recording this latest album took a significant amount of time. However, we are satisfied with the final result and are eager to see the world's reaction to what will soon be presented to all of you."

"Fading Backwards" was mixed and mastered by Haldor Grunberg and Krzysztof Kurek at Satanic Audio (Pestilence, Azarath, Behemoth). The cover artwork was designed by Artur Masternak.



https://distortedsoundmag.com/album-review-fading-backwards-thaw/



..::TRACK-LIST::..

1. The Great Devourer 05:17
2. A Place Where Repetition Dwells 05:28
3. Wartenberg Wheel 05:32
4. In the Laughter and the Stride 04:45
5. Dissociate Me/Spreader Bar 05:42
6. Moral Justification of Selfishness 07:43



https://www.youtube.com/watch?v=EA7UT-V-tps



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Bardzo rzadki album, niemal zapomnianego wielkiego eksperymentatora Davida Torna.
David Torn, poszukując własnego brzmienia w dziedzinie eksperymentalnej muzyki gitarowej, testował wiele urządzeń elektronicznych i technik. Czy to przypadek, gdy głębokie eksperymentowanie dało doskonały wynik muzyczny!!!
Wyobraźcie sobie sekcję rytmiczną King Crimson (Tony Levin + Bill Bruford), Davida Torna na gitarze (ma własne brzmienie, ale najbliższym przykładem jest Robert Fripp) i doskonałego trębacza jazzowego Marka Ishama jako jeden zespół...
To jest to, ten album!!!



'Everything is in a state of transition,' David Torn explained. 'Mercury is an element that captures the essence of change.' The changing soundscape of improvisation in the mid-1980s informs the textures and colours of Cloud About Mercury, whose sonorities are closely related to progressive rock (the rhythm section is half of one incarnation of King Crimson) and to the experimental end of ambient music.

Drummer Bill Bruford’s affection for this album is undying: 'To this day, Torn’s guitar on ‘Three Minutes of Pure Entertainment’ from Cloud About Mercury makes the hairs stand up on the back of my neck.'



..::TRACK-LIST::..

1. Suyafhu Skin... Snapping the Hollow Reed 8:21
2. The Mercury Grid 6:33
3. Minutes of Pure Entertainment 7:10
4. Previous Man 7:55
5. Networks of Sparks: The Delicate Code 4:52
6. Networks of Sparks: Egg Learns to Walk... Suyafhu Seal 10:25



..::OBSADA::..

David Torn - electric guitar, acoustic guitar
Mark Isham - trumpet, piccolo trumpet, flugelhorn, synthesizer
Tony Levin - Chapman stick, synthesizer bass
Bill Bruford - Simmons drums, synthesizer-drums, percussion




https://www.youtube.com/watch?v=MkbmTWJlx-c



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Bardzo rzadki album, niemal zapomnianego wielkiego eksperymentatora Davida Torna.
David Torn, poszukując własnego brzmienia w dziedzinie eksperymentalnej muzyki gitarowej, testował wiele urządzeń elektronicznych i technik. Czy to przypadek, gdy głębokie eksperymentowanie dało doskonały wynik muzyczny!!!
Wyobraźcie sobie sekcję rytmiczną King Crimson (Tony Levin + Bill Bruford), Davida Torna na gitarze (ma własne brzmienie, ale najbliższym przykładem jest Robert Fripp) i doskonałego trębacza jazzowego Marka Ishama jako jeden zespół...
To jest to, ten album!!!



'Everything is in a state of transition,' David Torn explained. 'Mercury is an element that captures the essence of change.' The changing soundscape of improvisation in the mid-1980s informs the textures and colours of Cloud About Mercury, whose sonorities are closely related to progressive rock (the rhythm section is half of one incarnation of King Crimson) and to the experimental end of ambient music.

Drummer Bill Bruford’s affection for this album is undying: 'To this day, Torn’s guitar on ‘Three Minutes of Pure Entertainment’ from Cloud About Mercury makes the hairs stand up on the back of my neck.'



..::TRACK-LIST::..

1. Suyafhu Skin... Snapping the Hollow Reed 8:21
2. The Mercury Grid 6:33
3. Minutes of Pure Entertainment 7:10
4. Previous Man 7:55
5. Networks of Sparks: The Delicate Code 4:52
6. Networks of Sparks: Egg Learns to Walk... Suyafhu Seal 10:25



..::OBSADA::..

David Torn - electric guitar, acoustic guitar
Mark Isham - trumpet, piccolo trumpet, flugelhorn, synthesizer
Tony Levin - Chapman stick, synthesizer bass
Bill Bruford - Simmons drums, synthesizer-drums, percussion




https://www.youtube.com/watch?v=MkbmTWJlx-c



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sacrilege to absolutnie kluczowy element w historii brytyjskiego crusta jak i metalu!

To wydawnictwo zawiera wszystkie cztery dema zespołu nagrane pomiędzy 1984 a 1986 rokiem. Wczesne dema nawiązują znacznie bardziej do ówczesnych brytyjskich brzmień hardcore punk (Discharge, Icons of Filth, Antisect i oczywiście Varukers i Warwound, z którymi mieli wspólnych członków). Późniejsze dema pokazują, że wpływ metalu staje się coraz silniejszy.


Sacrilege are an utterly essential act in UK metal history guiding the listener from the crusty realms to the mountains of doom!

This release features all four of the band’s demos recorded between 1984 and 1986. The early demos lean much more towards the UK hardcore punk sounds of the day (Discharge, Icons of Filth, Antisect and of course Varukers and Warwound with whom they shared members). The later demos show the metal influence coming in stronger. Essential listening for crust punks everywhere!



..::TRACK-LIST::..

Demo 1 (November 1984)
1. Apartheid
2. Bloodlust
3. Dig Your Own Grave
4. Blind Acceptance

Demo 2 (February 1985)
5. Stark Reality
6. Out Of Sight, Out Of Mind
7. A Violation Of Something Sacred
8. Bloodrun

Demo 3 (January 1986)
9. Flight Of The Nazgul
10. Sight Of The Wise
11. The Captive

Demo 4 (August 1986)
12. Search Eternal
13. The Fear Within
14. Winds Of Vengeance
15. Spirit Cry
16. Insurrection
17. Battlefield



..::OBSADA::..

Bass - Tony May
Drums - Andy Baker (tracks: 9 to 16), Liam Pickering (tracks: 1 to 8)
Guitar - Damien Thompson
Vocals - Lynda Simpson




https://www.youtube.com/watch?v=9VLmqwSW6kA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sacrilege to absolutnie kluczowy element w historii brytyjskiego crusta jak i metalu!

To wydawnictwo zawiera wszystkie cztery dema zespołu nagrane pomiędzy 1984 a 1986 rokiem. Wczesne dema nawiązują znacznie bardziej do ówczesnych brytyjskich brzmień hardcore punk (Discharge, Icons of Filth, Antisect i oczywiście Varukers i Warwound, z którymi mieli wspólnych członków). Późniejsze dema pokazują, że wpływ metalu staje się coraz silniejszy.


Sacrilege are an utterly essential act in UK metal history guiding the listener from the crusty realms to the mountains of doom!

This release features all four of the band’s demos recorded between 1984 and 1986. The early demos lean much more towards the UK hardcore punk sounds of the day (Discharge, Icons of Filth, Antisect and of course Varukers and Warwound with whom they shared members). The later demos show the metal influence coming in stronger. Essential listening for crust punks everywhere!



..::TRACK-LIST::..

Demo 1 (November 1984)
1. Apartheid
2. Bloodlust
3. Dig Your Own Grave
4. Blind Acceptance

Demo 2 (February 1985)
5. Stark Reality
6. Out Of Sight, Out Of Mind
7. A Violation Of Something Sacred
8. Bloodrun

Demo 3 (January 1986)
9. Flight Of The Nazgul
10. Sight Of The Wise
11. The Captive

Demo 4 (August 1986)
12. Search Eternal
13. The Fear Within
14. Winds Of Vengeance
15. Spirit Cry
16. Insurrection
17. Battlefield



..::OBSADA::..

Bass - Tony May
Drums - Andy Baker (tracks: 9 to 16), Liam Pickering (tracks: 1 to 8)
Guitar - Damien Thompson
Vocals - Lynda Simpson




https://www.youtube.com/watch?v=9VLmqwSW6kA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Znacznie polepszona w stosunku do starej, potrzaskującej i szumiącej wersji wytwórni Spalax (zgranej z przeciętnej jakości winylu) i w sumie rozszerzona o pięć nagrań (w tym świetny singiel z 1969) szwedzka edycja rewelacyjnego albumu francuskiej, psych-progresywnej formacji, której muzycy współpracowali nieco wcześniej z Daevidem Allenem (zanim ten założył Gong).
Stylistykę LP "Ame Son" można przyrówać do wczesnych nagrań Gong, a także wczesnych Pink Floyd, Group 1850 i Soft Machine - ze szczyptą Jethro Tull. Ten zaśpiewany i po francusku i po angielsku album jest po prostu kapitalny, aczkolwiek wymaga kilku uważnych przesłuchań.

Dźwiękowo ta edycja bije stary CD na głowę!



Ame Son's only album is one of the earliest "prog" French record (Sept 69) but really it is still very much a psychedelic thing, but undeniably progressive. This groups had roots in the mid-60's under the name of Les Primitiv's and were playing all over France and had been exposed to early Soft Machine on these last's frequent tours of France, especially on the Riviera. As one of their members got drafted in the army, the group went in lethargy and some members started playing with Daevid Allen's Bananamoon in 68 and 69. Upon the return of the drafted, the group reformed and changed their name to Ame Son with flutist Garrel. Signed to Byg Records, Ame Son's album was recorded in two days in London (French vocals later added in a Paris studio) and has Allen and early Soft Machine written all over it, without appearing like a derivate product either. It was generally well received by the press and the public, and they participated in most major festivals in France and Belgium.
To describe their music to progheads is not that easy, because their particular type of psych rock is often truly improvisational, but if dissonant, it did not go in the free-jazz and is much wiser/pleasant than Crimson's Moonchild (note: they don't sound like them at all). Basically a guitar trio with a signing flutist (but not our Tull Mad Flauter, more like Bloomdido Bad De Grass Malherbe), their sound approaches a Floyd-ish (circa Saucerful or live Ummagumma), a calmer Guru Guru (UFO and Hinten) and early Gong (Continental Circus OST), even if vocally they might have been stronger (but as I warned above, recording vocals in a different studio than the music, probably caused difficulties). But Ame Son managed to remain accessible by never over-stretching their talents or their improvisations. In many ways, Catalyse reminds me of Dashiell Hedayatt's jaw-dropping Obsolete (which is also Gong-related) with their raw hippy dreamy rock. Most of their tracks (none shorter than six minutes) are subdivided into sections of which Coeur Fou and Reborn This Morning are the highlights, but there are some real flaws: Coup De H/Sable Mouvants is not only slightly weaker, but definitely not well recorded. Two bonus tracks from a single are added on the Spalax Cd reissue, and they are fairly well in the spirit of the album (even if shorter), but a good remastering job is more than needed for that single and the full album.

After touring extensively France for two years, the group split up in mid-71, after some recording sessions to reform in 73 with a different line-up and made recordings, which also did not materialize, in a second album. AS's only album is one of those French pearl that qualifies as psych proto-prog and is very much recommended to anyone into Gong, Daevid or early Softs and untamed Floyd. For my part, I find this album stunning and in my French top 20 - Zeuhl notwithstanding.

Sean Trane



..::TRACK-LIST::..

1. Hein, Quant A Toi (6:38)
- Hein, Quant A Toi
- Comme Est Morte L'Evocation
- Hommage

2. Seventh Time Key (6:11)
- Seventh Time Key
- I Just Want To Say

3. Coeur Fou (8:11)
- Coeur Fou
- La Globule
- Le Mal Sonne

4. Eclosion (5:30)
- Eclosion
- Marie Aux Quatre Vents

5. Reborn This Morning On The Way Of ... (6:17)
- Reborn This Morning On The Way Of ...
- Unity

6. A Coup De Hache (6:52)
- A Coup De Hache
- Les Sables Mouvants

Bonus Tracks:
7. Je Veux Juste Dire (A-side, 1969) 2:53
8. Unity (B-side, 1969) 3:57
9. Le Grand Cirque De La Lune (1969) 6:29
10. Je Veux Juste Dire (Demo, 1971) 25:48
11. Hein! Quant A Toi (1971) 0:36


'Catalyse' was recorded in Paris and London in September / October 1969.
Originally released in 1970.
5 bonus tracks recorded between 1969 and 1971.



..::OBSADA::..

Bernard Lavialle - guitar
Patrick Fontaine - bass guitar
Marc Blanc - voice, drums
Francois Garrel - voice, flute




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Znacznie polepszona w stosunku do starej, potrzaskującej i szumiącej wersji wytwórni Spalax (zgranej z przeciętnej jakości winylu) i w sumie rozszerzona o pięć nagrań (w tym świetny singiel z 1969) szwedzka edycja rewelacyjnego albumu francuskiej, psych-progresywnej formacji, której muzycy współpracowali nieco wcześniej z Daevidem Allenem (zanim ten założył Gong).
Stylistykę LP "Ame Son" można przyrówać do wczesnych nagrań Gong, a także wczesnych Pink Floyd, Group 1850 i Soft Machine - ze szczyptą Jethro Tull. Ten zaśpiewany i po francusku i po angielsku album jest po prostu kapitalny, aczkolwiek wymaga kilku uważnych przesłuchań.

Dźwiękowo ta edycja bije stary CD na głowę!



Ame Son's only album is one of the earliest "prog" French record (Sept 69) but really it is still very much a psychedelic thing, but undeniably progressive. This groups had roots in the mid-60's under the name of Les Primitiv's and were playing all over France and had been exposed to early Soft Machine on these last's frequent tours of France, especially on the Riviera. As one of their members got drafted in the army, the group went in lethargy and some members started playing with Daevid Allen's Bananamoon in 68 and 69. Upon the return of the drafted, the group reformed and changed their name to Ame Son with flutist Garrel. Signed to Byg Records, Ame Son's album was recorded in two days in London (French vocals later added in a Paris studio) and has Allen and early Soft Machine written all over it, without appearing like a derivate product either. It was generally well received by the press and the public, and they participated in most major festivals in France and Belgium.
To describe their music to progheads is not that easy, because their particular type of psych rock is often truly improvisational, but if dissonant, it did not go in the free-jazz and is much wiser/pleasant than Crimson's Moonchild (note: they don't sound like them at all). Basically a guitar trio with a signing flutist (but not our Tull Mad Flauter, more like Bloomdido Bad De Grass Malherbe), their sound approaches a Floyd-ish (circa Saucerful or live Ummagumma), a calmer Guru Guru (UFO and Hinten) and early Gong (Continental Circus OST), even if vocally they might have been stronger (but as I warned above, recording vocals in a different studio than the music, probably caused difficulties). But Ame Son managed to remain accessible by never over-stretching their talents or their improvisations. In many ways, Catalyse reminds me of Dashiell Hedayatt's jaw-dropping Obsolete (which is also Gong-related) with their raw hippy dreamy rock. Most of their tracks (none shorter than six minutes) are subdivided into sections of which Coeur Fou and Reborn This Morning are the highlights, but there are some real flaws: Coup De H/Sable Mouvants is not only slightly weaker, but definitely not well recorded. Two bonus tracks from a single are added on the Spalax Cd reissue, and they are fairly well in the spirit of the album (even if shorter), but a good remastering job is more than needed for that single and the full album.

After touring extensively France for two years, the group split up in mid-71, after some recording sessions to reform in 73 with a different line-up and made recordings, which also did not materialize, in a second album. AS's only album is one of those French pearl that qualifies as psych proto-prog and is very much recommended to anyone into Gong, Daevid or early Softs and untamed Floyd. For my part, I find this album stunning and in my French top 20 - Zeuhl notwithstanding.

Sean Trane



..::TRACK-LIST::..

1. Hein, Quant A Toi (6:38)
- Hein, Quant A Toi
- Comme Est Morte L'Evocation
- Hommage

2. Seventh Time Key (6:11)
- Seventh Time Key
- I Just Want To Say

3. Coeur Fou (8:11)
- Coeur Fou
- La Globule
- Le Mal Sonne

4. Eclosion (5:30)
- Eclosion
- Marie Aux Quatre Vents

5. Reborn This Morning On The Way Of ... (6:17)
- Reborn This Morning On The Way Of ...
- Unity

6. A Coup De Hache (6:52)
- A Coup De Hache
- Les Sables Mouvants

Bonus Tracks:
7. Je Veux Juste Dire (A-side, 1969) 2:53
8. Unity (B-side, 1969) 3:57
9. Le Grand Cirque De La Lune (1969) 6:29
10. Je Veux Juste Dire (Demo, 1971) 25:48
11. Hein! Quant A Toi (1971) 0:36


'Catalyse' was recorded in Paris and London in September / October 1969.
Originally released in 1970.
5 bonus tracks recorded between 1969 and 1971.



..::OBSADA::..

Bernard Lavialle - guitar
Patrick Fontaine - bass guitar
Marc Blanc - voice, drums
Francois Garrel - voice, flute




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brudny i obskurny death metal w klimacie FUNEBRARUM, DISMA, DEMILICH, DEMIGOD. W składzie byli i obecni muzycy RAVAGER, IMPIETY, DISGORGE, HACAVITZ, PROFANATOR, DEMONIZED...



..::TRACK-LIST::..

1. Awaken 01:16
2. Naamtaar Kingu 06:15
3. The Flesh Beyond The Umbra 04:00
4. Cthulu Wgah Nagl Fntagn 02:08
5. Realm of Utumno 05:57



..::OBSADA::..

Alejandro Franco - Drums
Antimo Buonanno - Guitars, Bass, Vocals, Lyrics




https://www.youtube.com/watch?v=5cUKkgUwpbI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brudny i obskurny death metal w klimacie FUNEBRARUM, DISMA, DEMILICH, DEMIGOD. W składzie byli i obecni muzycy RAVAGER, IMPIETY, DISGORGE, HACAVITZ, PROFANATOR, DEMONIZED...



..::TRACK-LIST::..

1. Awaken 01:16
2. Naamtaar Kingu 06:15
3. The Flesh Beyond The Umbra 04:00
4. Cthulu Wgah Nagl Fntagn 02:08
5. Realm of Utumno 05:57



..::OBSADA::..

Alejandro Franco - Drums
Antimo Buonanno - Guitars, Bass, Vocals, Lyrics




https://www.youtube.com/watch?v=5cUKkgUwpbI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Laboratorium to jedna z najważniejszych formacji w dziejach polskiego jazzrocka. Grupa powstała w 1970 roku w Krakowie. Od początku działalności Laboratorium było niezwykle ciepło przyjmowane przez słuchaczy, szybko zdobywało popularność i nagrody na ważniejszych festiwalach w Polsce. Cenione zarówno przez fanów rocka, jak i jazzu proponowali niezwykłą, niepowtarzalną brzmieniowo, progresywną muzykę. Mając ugruntowaną pozycję kraju, zaczęli zdobywać popularność w zachodniej Europie, występując na wielu festiwalach u boku największych jazzowych sław. "No. 8” swoją premierę miał w 1984 roku i przyniósł kolejną porcję niebanalnych pomysłów. Wśród nich wymienić należy zastosowanie vocodera, wzbogacenie warstwy rytmicznej o przeróżne instrumenty perkusyjne Jana Pilcha oraz gościnny udział skrzypka Jana Błędowskiego.

Reedycja wzbogacona została o 3 kompozycje bonusowe, wersje koncertowe utworów grupy. Album "No. 8” okazał się dużym sukcesem, płyta ta - obok "Modern Pentathlon” - jest do dziś najpopularniejszym albumem zespołu.



..::TRACK-LIST::..

Nagrania zrealizowano w studio ZPR Teatru Stu - Kraków w lutym 1984 r.

1. Florek I Faunek 8:42
2. Karolinka 6:40
3. Lato '80 4:41
4. Szczęka W Szklance Czyli Jaja Po Wiedeńsku (Violin Jan Błędowski)
8:32
5. No 8 1:14
6. Na Kolana Pastuszkowie 9:57

Bonus:
7. Na Kolana Pastuszkowie 11:09
8. Lato 1980 12:23
9. Karolinka (Violin Jan Błędowski) 9:04



..::OBSADA::..

Piano, Electric Piano, Synthesizer [Polysix, Micro Moog, Vocoder] - Janusz Grzywacz
Alto Saxophone, Soprano Saxophone, Vocals - Marek Stryszowski
Bass - Krzysztof Olesiński
Drums - Andrzej Mrowiec
Guitar - Ryszard Styła
Percussion, Marimba - Jan Pilch
Voice [Baby Voice], Guest - Melka



https://www.youtube.com/watch?v=xIckxzqGQ9Q



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Laboratorium to jedna z najważniejszych formacji w dziejach polskiego jazzrocka. Grupa powstała w 1970 roku w Krakowie. Od początku działalności Laboratorium było niezwykle ciepło przyjmowane przez słuchaczy, szybko zdobywało popularność i nagrody na ważniejszych festiwalach w Polsce. Cenione zarówno przez fanów rocka, jak i jazzu proponowali niezwykłą, niepowtarzalną brzmieniowo, progresywną muzykę. Mając ugruntowaną pozycję kraju, zaczęli zdobywać popularność w zachodniej Europie, występując na wielu festiwalach u boku największych jazzowych sław. "No. 8” swoją premierę miał w 1984 roku i przyniósł kolejną porcję niebanalnych pomysłów. Wśród nich wymienić należy zastosowanie vocodera, wzbogacenie warstwy rytmicznej o przeróżne instrumenty perkusyjne Jana Pilcha oraz gościnny udział skrzypka Jana Błędowskiego.

Reedycja wzbogacona została o 3 kompozycje bonusowe, wersje koncertowe utworów grupy. Album "No. 8” okazał się dużym sukcesem, płyta ta - obok "Modern Pentathlon” - jest do dziś najpopularniejszym albumem zespołu.



..::TRACK-LIST::..

Nagrania zrealizowano w studio ZPR Teatru Stu - Kraków w lutym 1984 r.

1. Florek I Faunek 8:42
2. Karolinka 6:40
3. Lato '80 4:41
4. Szczęka W Szklance Czyli Jaja Po Wiedeńsku (Violin Jan Błędowski)
8:32
5. No 8 1:14
6. Na Kolana Pastuszkowie 9:57

Bonus:
7. Na Kolana Pastuszkowie 11:09
8. Lato 1980 12:23
9. Karolinka (Violin Jan Błędowski) 9:04



..::OBSADA::..

Piano, Electric Piano, Synthesizer [Polysix, Micro Moog, Vocoder] - Janusz Grzywacz
Alto Saxophone, Soprano Saxophone, Vocals - Marek Stryszowski
Bass - Krzysztof Olesiński
Drums - Andrzej Mrowiec
Guitar - Ryszard Styła
Percussion, Marimba - Jan Pilch
Voice [Baby Voice], Guest - Melka



https://www.youtube.com/watch?v=xIckxzqGQ9Q



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Żywioł, wściekłość i nieokiełznana agresja!


“Urm the Mad” was Protector’s sophomore album, recorded in the summer of 1989, again at the Phönix Studio in Bochum, where the four-piece from Wolfsburg had already recorded their killer full-length debut “Golem”. Still keeping the Golem-line up complete (though with some difficulties), Protector at that time consisted of Michael Hasse on drums, Hansi Müller on guitar, Ede Belichmeier on bass and Martin Missy on vocals, who had been in and out of the band and thus came a bit under stress once back in the game: “I had been out between march and early summer, so I wrote the lyrics to all the songs in a very short period of time.” That should not be the only change concerning the vocal position: “Urm the Mad” was to become the last album before the split in 2003 that features Martin Missy; he should be replaced by Olly Wiebel in December 1989. With this personal change still lying ahead of the band, the completion of “Urm the Mad” was decently celebrated: “I remember that a couple of friends from Wolfsburg came down to the studio in Bochum, and we had a big party after the recordings were all done.”

Protector did not change too much about their style – genre-defining early thrash/death – but one of the most notable things about “Urm the Mad” was the sound, as Martin remembers: “The album has a very special sound. It's hard for me to describe it, though, because I don’t know that much about the technical side of recording.” So what is it about the sound then? “Urm the Mad” is famous for its heavy, noisy, dirty sound, for its raw production that makes the music all the more evil and menacing, with guitars in the front and Martin’s unmistakeable vocals lying on the riffs like poisonous mould. “Urm the Mad” is thrash metal walking the sinister path of death – or, into death metal. Some say that this album is closer to Celtic Frost’s “To Mega Therion” than to standard 80’s thrash metal. Protector’s special blend of thrash and death metal has always set them apart from their compatriots and even inspired German metal tabloid Rock Hard to declare Protector to be “Germany’s hardest band” – and this in 1989, the year both Kreator’s “Extreme Aggression” and Sodom’s “Agent Orange” were released! To a big part this was due to the decision against playing even faster and even more technical than on the previous outputs “Misanthropy” and “Golem” – on “Urm the Mad” Protector still play mainly fast and energetic thrash, but the overall feel of the album is that of creeping, lurking evil – crawling along on frequently slowed down, heavy riffs and Martin Missy’s sick death-like growls which seem to come straight from the charnel house. “Urm the Mad” does not sport that “positive” aggression usually found in 80’s thrash; on the contrary, the album is grim, dark and desperate, but nonetheless brutal and extreme. Again, Protector’s contribution to the then-proliferating Teutonic thrash was mainly recognized within the underground scene, and the band’s expectations for “Urm the Mad” were not really met, as Martin recalls: “Protector had earlier that year mounted their first proper tour (with Wehrmacht) and played in front of thousands of enthusiastic fans in Katowice / Poland. The hopes where quite high that this record could be our big breakthrough; unfortunately it wasn't, but I think it definitely further established our name in the underground scene.” The “official” metal press played its own part in keeping Protector a bit below the radar: “We got pretty much the same response as we got for ‘Golem’: Good, positive feedback from our fans and ‘ok’-reviews from the bigger metal magazines.”

In the end, Martin Missy reveals the story behind the eponymous entity “Urm the Mad”: “I got the idea for the song ‘Urm the Mad’ while we were recording ‘Golem’ one year earlier. We were living in an apartment above the studio, and someone had stored a lot of magazines there. Among them I found a batch of Heavy Metal comics, some of them including a comic about Urm (“Urm le fou”, by Philippe Druillet). I liked the story so much that I decided to write some lyrics about it.”

Ulrike Schmitz



For whatever reason I don't tend to hear the name "Protector" mentioned all that often when people discuss early extreme metal (no, there's not a "proto-extreme" in this case; you're either in or you're out). However, I do think they are notably extreme enough to make the cut along with, say, other German luminaries such as Kreator, Destruction and Sodom (yes, those three once again). Perhaps it's worth noting that while those limelight-hogging trio largely gave up the extremity to their sound after their early records (with Sodom being the possible exception with their brief flirtation with death thrash on the Tapping the Vein album), Protector got a considerably harder-edge over time. Or, at least from what I've heard, they got heavier between their full-length debut, Golem, and this the ripping Urn the Mad.

What is present on this record is notably less typically thrashy than what came before; a frequent use of slower tempos, even murkier production and truly sick vocals from Martin Missy (who, despite having a name that makes him sound like a bit-part character in a sub-par King Diamond album, is a fucking excellent vocalist). So, I guess what I find interesting about Protector, then, is that instead of following a thrashier path on this record they lumbered towards some odd primordial death-like sound. It's still a thrash record, sure, but it feels notably darker, grimmer and generally lacks that "push people around in the mosh pit" vibe that is associated with late-80s thrash. If pressed, I'd certainly say that this is closer to Celtic Frost's To Mega Therion than whatever your own personal standard of "typical late-80s" thrash metal might be. So, that basically leaves us with a thrash record that will appeal to people who don't necessarily like Exodus or Metallica.

Missy's sepulchural vocals are perhaps the most deathy aspect to this record. I can't honestly say that I've heard a thrash vocalist sound so convincingly extreme as he does here. Just listen to the title-track - he's positively menancing! Urn... THE MAD! See, this is thrash metal for fans of Slowly We Rot. Okay, so maybe you're not impressed by convincing death/thrash in 1989? Considering that this was a year after Malleus Maleficarum and a handful of other death metal full-lengths (although, notably ones that are still very much thrash-flecked in tone), perhaps this is not such an impressive feat. Hell, I should probably note that the band aren't afraid to use blast-beats with the closer being a fifty-second grind-influenced piece. Nonetheless, Urn the Mad has a ripping vitality to it and certainly stands to be more than a mere historical footnote; it's very memorable but I wouldn't necessarily call it an obviously catchy record. The riffs themselves aren't particularly "hooky" and it doesn't have any catchy tracks like 'Space Cake' or 'Golem', and yet the combination of Missy's schizophrenic vocals - which do literally "leap out" at the listener at times - and Hansi Müller's rather austere riffing make for something that strangely atmospheric, if you can ever use such an adjective when describing thrash.

Basically, this is thrash metal that functions so well very as death metal that you'd be forgiven for mistaking it for its younger, even uglier brother. It has all the grey-skyed oppressive heaviness you could ask for and with Martin Missy's absolutely vile vocals it's an even more (un)attractive package. You can pick this up through the compilation Ominous Message of Brutality (a more fitting title you possibly couldn't find) and I strongly recommend doing so.

Acrobat



..::TRACK-LIST::..

1. Capitascism 5:42
2. Sliced, Hacked And Grinded 3:43
3. Nothing Has Changed 4:25
4. The Most Repugnant Antagonist Of Life 3:40
5. Quasimodo 3:44
6. Urm The Mad 3:41
7. Decadence 3:52
8. Atrocities 4:11
9. Molotow Cocktail 0:46

Bonus Tracks:
10. Kain And Abel (live) 4:07
11. Omnipresent Aggression (live) 3:45
12. The Mercenary (live) 3:18
13. Apocalyptic revelations (live) 3:26


Recorded August 1989 at Phoenix Studios, Bochum.

Tracks 10-13 are not credited on the back cover but only on compact disc.
Live bonus tracks recorded in Braunschweig, Germany on May 1st 1989.
Vocals on live tracks by Oliver Wiebel



..::OBSADA::..

Ede Belichmeier - Bass
Hansi Müller - Guitars
Michael Hasse (R.I.P. 1994) - Drums
Martin Missy - Vocals, Lyrics




https://www.youtube.com/watch?v=0xSIGvLlBf0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Żywioł, wściekłość i nieokiełznana agresja!


“Urm the Mad” was Protector’s sophomore album, recorded in the summer of 1989, again at the Phönix Studio in Bochum, where the four-piece from Wolfsburg had already recorded their killer full-length debut “Golem”. Still keeping the Golem-line up complete (though with some difficulties), Protector at that time consisted of Michael Hasse on drums, Hansi Müller on guitar, Ede Belichmeier on bass and Martin Missy on vocals, who had been in and out of the band and thus came a bit under stress once back in the game: “I had been out between march and early summer, so I wrote the lyrics to all the songs in a very short period of time.” That should not be the only change concerning the vocal position: “Urm the Mad” was to become the last album before the split in 2003 that features Martin Missy; he should be replaced by Olly Wiebel in December 1989. With this personal change still lying ahead of the band, the completion of “Urm the Mad” was decently celebrated: “I remember that a couple of friends from Wolfsburg came down to the studio in Bochum, and we had a big party after the recordings were all done.”

Protector did not change too much about their style – genre-defining early thrash/death – but one of the most notable things about “Urm the Mad” was the sound, as Martin remembers: “The album has a very special sound. It's hard for me to describe it, though, because I don’t know that much about the technical side of recording.” So what is it about the sound then? “Urm the Mad” is famous for its heavy, noisy, dirty sound, for its raw production that makes the music all the more evil and menacing, with guitars in the front and Martin’s unmistakeable vocals lying on the riffs like poisonous mould. “Urm the Mad” is thrash metal walking the sinister path of death – or, into death metal. Some say that this album is closer to Celtic Frost’s “To Mega Therion” than to standard 80’s thrash metal. Protector’s special blend of thrash and death metal has always set them apart from their compatriots and even inspired German metal tabloid Rock Hard to declare Protector to be “Germany’s hardest band” – and this in 1989, the year both Kreator’s “Extreme Aggression” and Sodom’s “Agent Orange” were released! To a big part this was due to the decision against playing even faster and even more technical than on the previous outputs “Misanthropy” and “Golem” – on “Urm the Mad” Protector still play mainly fast and energetic thrash, but the overall feel of the album is that of creeping, lurking evil – crawling along on frequently slowed down, heavy riffs and Martin Missy’s sick death-like growls which seem to come straight from the charnel house. “Urm the Mad” does not sport that “positive” aggression usually found in 80’s thrash; on the contrary, the album is grim, dark and desperate, but nonetheless brutal and extreme. Again, Protector’s contribution to the then-proliferating Teutonic thrash was mainly recognized within the underground scene, and the band’s expectations for “Urm the Mad” were not really met, as Martin recalls: “Protector had earlier that year mounted their first proper tour (with Wehrmacht) and played in front of thousands of enthusiastic fans in Katowice / Poland. The hopes where quite high that this record could be our big breakthrough; unfortunately it wasn't, but I think it definitely further established our name in the underground scene.” The “official” metal press played its own part in keeping Protector a bit below the radar: “We got pretty much the same response as we got for ‘Golem’: Good, positive feedback from our fans and ‘ok’-reviews from the bigger metal magazines.”

In the end, Martin Missy reveals the story behind the eponymous entity “Urm the Mad”: “I got the idea for the song ‘Urm the Mad’ while we were recording ‘Golem’ one year earlier. We were living in an apartment above the studio, and someone had stored a lot of magazines there. Among them I found a batch of Heavy Metal comics, some of them including a comic about Urm (“Urm le fou”, by Philippe Druillet). I liked the story so much that I decided to write some lyrics about it.”

Ulrike Schmitz



For whatever reason I don't tend to hear the name "Protector" mentioned all that often when people discuss early extreme metal (no, there's not a "proto-extreme" in this case; you're either in or you're out). However, I do think they are notably extreme enough to make the cut along with, say, other German luminaries such as Kreator, Destruction and Sodom (yes, those three once again). Perhaps it's worth noting that while those limelight-hogging trio largely gave up the extremity to their sound after their early records (with Sodom being the possible exception with their brief flirtation with death thrash on the Tapping the Vein album), Protector got a considerably harder-edge over time. Or, at least from what I've heard, they got heavier between their full-length debut, Golem, and this the ripping Urn the Mad.

What is present on this record is notably less typically thrashy than what came before; a frequent use of slower tempos, even murkier production and truly sick vocals from Martin Missy (who, despite having a name that makes him sound like a bit-part character in a sub-par King Diamond album, is a fucking excellent vocalist). So, I guess what I find interesting about Protector, then, is that instead of following a thrashier path on this record they lumbered towards some odd primordial death-like sound. It's still a thrash record, sure, but it feels notably darker, grimmer and generally lacks that "push people around in the mosh pit" vibe that is associated with late-80s thrash. If pressed, I'd certainly say that this is closer to Celtic Frost's To Mega Therion than whatever your own personal standard of "typical late-80s" thrash metal might be. So, that basically leaves us with a thrash record that will appeal to people who don't necessarily like Exodus or Metallica.

Missy's sepulchural vocals are perhaps the most deathy aspect to this record. I can't honestly say that I've heard a thrash vocalist sound so convincingly extreme as he does here. Just listen to the title-track - he's positively menancing! Urn... THE MAD! See, this is thrash metal for fans of Slowly We Rot. Okay, so maybe you're not impressed by convincing death/thrash in 1989? Considering that this was a year after Malleus Maleficarum and a handful of other death metal full-lengths (although, notably ones that are still very much thrash-flecked in tone), perhaps this is not such an impressive feat. Hell, I should probably note that the band aren't afraid to use blast-beats with the closer being a fifty-second grind-influenced piece. Nonetheless, Urn the Mad has a ripping vitality to it and certainly stands to be more than a mere historical footnote; it's very memorable but I wouldn't necessarily call it an obviously catchy record. The riffs themselves aren't particularly "hooky" and it doesn't have any catchy tracks like 'Space Cake' or 'Golem', and yet the combination of Missy's schizophrenic vocals - which do literally "leap out" at the listener at times - and Hansi Müller's rather austere riffing make for something that strangely atmospheric, if you can ever use such an adjective when describing thrash.

Basically, this is thrash metal that functions so well very as death metal that you'd be forgiven for mistaking it for its younger, even uglier brother. It has all the grey-skyed oppressive heaviness you could ask for and with Martin Missy's absolutely vile vocals it's an even more (un)attractive package. You can pick this up through the compilation Ominous Message of Brutality (a more fitting title you possibly couldn't find) and I strongly recommend doing so.

Acrobat



..::TRACK-LIST::..

1. Capitascism 5:42
2. Sliced, Hacked And Grinded 3:43
3. Nothing Has Changed 4:25
4. The Most Repugnant Antagonist Of Life 3:40
5. Quasimodo 3:44
6. Urm The Mad 3:41
7. Decadence 3:52
8. Atrocities 4:11
9. Molotow Cocktail 0:46

Bonus Tracks:
10. Kain And Abel (live) 4:07
11. Omnipresent Aggression (live) 3:45
12. The Mercenary (live) 3:18
13. Apocalyptic revelations (live) 3:26


Recorded August 1989 at Phoenix Studios, Bochum.

Tracks 10-13 are not credited on the back cover but only on compact disc.
Live bonus tracks recorded in Braunschweig, Germany on May 1st 1989.
Vocals on live tracks by Oliver Wiebel



..::OBSADA::..

Ede Belichmeier - Bass
Hansi Müller - Guitars
Michael Hasse (R.I.P. 1994) - Drums
Martin Missy - Vocals, Lyrics




https://www.youtube.com/watch?v=0xSIGvLlBf0



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

..::INFO::..

Trivium to amerykański zespół założony w 1999 roku w Orlando na Florydzie. Wykonywana przez zespół muzyka określana jest jako thrash metal, heavy metal, melodic death metal, groove metal, metalcore oraz metal progresywny. Liderem formacji oraz autorem wszystkich tekstów jest Matthew Kiichi Heafy - Amerykanin pochodzenia japońskiego. Nazwa grupy wywodzi się z języka łacińskiego. Trivium w okresie późnej starożytności oraz średniowiecza było, obok quadrivium, podgrupą siedmiu sztuk wyzwolonych. Obejmowało trzy nauki: gramatykę, retorykę oraz logikę. Członkowie zespołu uznają, że obrazuje to ich zainteresowanie różnymi gatunkami muzycznymi. Trivium nagrało dziesięć albumów studyjnych. Zespół słynie z dużej liczby występów. 12 czerwca 2006 roku brytyjski magazyn „Metal Hammer” na gali Golden God Awards uznał grupę za najlepiej koncertujący zespół w bieżącym roku. Tego samego dnia Matt Heafy otrzymał tytuł „Golden God”, a Travis Smith wygrał w kategorii „najlepszy perkusista”. Wstawka zawiera ósmy album zespołu.

Title: The Sin And The Sentence

Artist: Trivium

Country: USA

Year: 2017

Genre: Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( TrackList ) ...

1.The Sin and the Sentence
2.Beyond Oblivion
3.Other Worlds
4.The Heart from Your Hate
5.Betrayer
6.The Wretchedness Inside
7.Endless Night
8.Sever the Hand
9.Beauty in the Sorrow
10.The Revanchist
11.Thrown Into the Fire

...( Info )...

Artists: Epic Score
Title: Epic Hybrid Action - Boldly into the Unknown
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2019
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 222 MB
Tracks total: 12
Duration total: [00:37:45]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 26.3 MiB
Duration            : 4 min 19 s
Overall bit rate mode     : Variable
Overall bit rate        : 850 kb/s
Album             : Epic Hybrid Action: Boldly into the Unknown
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Boldly into the Unknown
Track name/Position      : 1
Track name/Total        : 15
Performer           : Epic Score
Recorded date         : 2019
Copyright           : 2019 Brace Yourself
Cover             : Yes
Cover description       : cover.jpg
Cover type           : Cover (front)
Cover MIME           : image/jpeg

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 4 min 19 s
Bit rate mode         : Variable
Bit rate            : 838 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 26.0 MiB (99%)

...( TrackList )...

1-12

Epic Score - Boldly into the Unknown
Epic Score - My World Was Free
Epic Score - Ripples in Time
Epic Score - Bringer of Darkness
Epic Score - Fearless Fighters
Epic Score - Dream of a New World
Epic Score - Brace Yourself
Epic Score - Oppression
Epic Score - Wonders of a New Age
Epic Score - Lightspeed Rescue
Epic Score - Courageous Journey
Epic Score - Broken Machines

...( Info )...

Artists: Epic Score
Title: Epic Emotion - Triumph of Spirit
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2018
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 181 MB
Tracks total: 12
Duration total: [00:37:40]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 17.3 MiB
Duration            : 3 min 9 s
Overall bit rate mode     : Variable
Overall bit rate        : 765 kb/s
Album             : Epic Emotion: Triumph of Spirit
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Triumph of Spirit
Track name/Position      : 1
Track name/Total        : 24
Performer           : Epic Score
Recorded date         : 2018
Copyright           : 2018 Brace Yourself
Cover             : Yes
Cover description       : cover.jpg
Cover type           : Cover (front)
Cover MIME           : image/jpeg

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 3 min 9 s
Bit rate mode         : Variable
Bit rate            : 754 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 17.0 MiB (99%)

...( TrackList )...

1-12

Epic Score - Triumph of Spirit
Epic Score - Eternal Memories
Epic Score - Hymn of the Ancients
Epic Score - We Dream of Our Freedom
Epic Score - Time Waits for No One
Epic Score - It's Too Late for Me
Epic Score - Dawn of a New Era
Epic Score - The Legends Are True
Epic Score - The Victory of Love
Epic Score - Pillars of Liberty
Epic Score - Leaves in the Wind
Epic Score - Cold Night Sky

...( Info )...

Artists: Epic Score
Title: Epic Sci-Fi - Fate of the Earth
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2017
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 212 MB
Tracks total: 12
Duration total: [00:34:35]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 15.3 MiB
Duration            : 2 min 36 s
Overall bit rate mode     : Variable
Overall bit rate        : 819 kb/s
Album             : Epic Sci Fi: Fate of the Earth
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Dragons at the Gate
Track name/Position      : 1
Track name/Total        : 24
Performer           : Epic Score
Recorded date         : 2017
Copyright           : 2017 Brace Yourself
Cover             : Yes
Cover description       : cover.jpg
Cover type           : Cover (front)
Cover MIME           : image/jpeg

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 2 min 36 s
Bit rate mode         : Variable
Bit rate            : 803 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 15.0 MiB (98%)

...( TrackList )...

1-12

Epic Score - Dragons at the Gate
Epic Score - We Will Not Go Quietly
Epic Score - The Fight for Freedom
Epic Score - Strength and Resolve
Epic Score - Fate of the Earth
Epic Score - Indestructible Will
Epic Score - Dark World Rising
Epic Score - It All Ends Here
Epic Score - Armor of Steel
Epic Score - Forever Legends
Epic Score - Liturgy of Darkness
Epic Score - Moving Mountains

...( Info )...

Artists: Epic Score
Title: Strength To Believe - ES029
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2014
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 237 MB
Tracks total: 15
Duration total: [00:35:52]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 14.7 MiB
Duration            : 2 min 8 s
Overall bit rate mode     : Variable
Overall bit rate        : 958 kb/s
Album             : Strength To Believe - ES029
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Tower Fall
Track name/Position      : 1
Track name/Total        : 27
Performer           : Epic Score
Recorded date         : 2014
Copyright           : 2014 Brace Yourself
Cover             : Yes
Cover description       : cover.jpg
Cover type           : Cover (front)
Cover MIME           : image/jpeg

Audio
Format             : FLAC
Format/Info          : Free Lossless Audio Codec
Duration            : 2 min 8 s
Bit rate mode         : Variable
Bit rate            : 946 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 14.5 MiB (99%)

...( TrackList )...

1-15

Epic Score - Tower Fall
Epic Score - The Protectors
Epic Score - Malukah
Epic Score - Hostile Action
Epic Score - Building Smasher
Epic Score - Unbreakable Will
Epic Score - Strength to Believe
Epic Score - We Cannot Be Broken
Epic Score - Phantom Pain
Epic Score - Fall of Mother Base
Epic Score - Out for Blood
Epic Score - Enemy in Our Sights
Epic Score - Taken by Force
Epic Score - Crash Lander
Epic Score - Gloria Sonus

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Uwielbiam ten album! Wydany 'dopiero' w 1979 roku, ale brzmiący na dużo wcześniejszy (1973-74), drugi album Hiszpanów zawierał bardzo imponującą i uduchowioną porcję progresywnego rocka opartego na mocnym wokalu, łkających albo też mocno riffujących partiach gitar i oczywiście baterii klawiszy - niemal identycznego w formie, jak propozycje niektórych, włoskich formacji, jak Biglietto per l'Inferno, P.F.M. czy Museo Rosenbach - z domieszką stylistyki Pink Floyd i wczesnych Camel.

Podkreślam, że hiszpańskie, progresywne zespoły były mocno 'opóźnione' (m.in. Lisker, Nu, Leno) i datę 1979 śmiało można potraktować jako umowną. Piszę to, gdyż wówczas w progresywnym świecie powstawały rzeczy raczej straszne, jednak w kraju generała Franco czas płynął inaczej, wolniej. Jak to bywa w przypadku wszystkich płyt tej wytwórni - doskonała jakość dźwięku, masterowana z oryginalnego winylu!



..::TRACK-LIST::..

1. Humanidad Indefensa 6:03
2. Ya No Hay Nada En La Calle 3:32
3. El Llanto Del Poeta 3:11
4. En Infierno Esta Aquí? 1:39
5. Una Posibilidad 1:17
6. En Infierno Esta Aquí? 2:21
7. Meditacion (Parte I) 1:22
8. Descubrir El Sentido Terrible De La Vida 4:03
9. Meditacion (Parte II) 1:33
10. El Verdadero Silencio (Parte I) 2:46
11. La Muerte Renacida 1:43
12. El Verdadero Silencio (Parte II) 2:32
13. Por Fin He Vuelto A Ti 4:33

Recorded in Kirios Studios, Madrid in January 1979



..::OBSADA::..

Acoustic Guitar, Electric Guitar, Bass - Sixto F. Ruiz
Acoustic Guitar, Electric Guitar, Vocals - Juanjo Respuela
Bass - Javier G. Tazon
Drums, Percussion, Vocals - C. Terán
Engineer, Vocals - Luis M. Pastor
Keyboards, Vocals - Juan Carlos Guitiérrez
Engineer [Lighting Technician], Effects - Tivo M. Salmón




https://www.youtube.com/watch?v=HE930M_BRbM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Uwielbiam ten album! Wydany 'dopiero' w 1979 roku, ale brzmiący na dużo wcześniejszy (1973-74), drugi album Hiszpanów zawierał bardzo imponującą i uduchowioną porcję progresywnego rocka opartego na mocnym wokalu, łkających albo też mocno riffujących partiach gitar i oczywiście baterii klawiszy - niemal identycznego w formie, jak propozycje niektórych, włoskich formacji, jak Biglietto per l'Inferno, P.F.M. czy Museo Rosenbach - z domieszką stylistyki Pink Floyd i wczesnych Camel.

Podkreślam, że hiszpańskie, progresywne zespoły były mocno 'opóźnione' (m.in. Lisker, Nu, Leno) i datę 1979 śmiało można potraktować jako umowną. Piszę to, gdyż wówczas w progresywnym świecie powstawały rzeczy raczej straszne, jednak w kraju generała Franco czas płynął inaczej, wolniej. Jak to bywa w przypadku wszystkich płyt tej wytwórni - doskonała jakość dźwięku, masterowana z oryginalnego winylu!



..::TRACK-LIST::..

1. Humanidad Indefensa 6:03
2. Ya No Hay Nada En La Calle 3:32
3. El Llanto Del Poeta 3:11
4. En Infierno Esta Aquí? 1:39
5. Una Posibilidad 1:17
6. En Infierno Esta Aquí? 2:21
7. Meditacion (Parte I) 1:22
8. Descubrir El Sentido Terrible De La Vida 4:03
9. Meditacion (Parte II) 1:33
10. El Verdadero Silencio (Parte I) 2:46
11. La Muerte Renacida 1:43
12. El Verdadero Silencio (Parte II) 2:32
13. Por Fin He Vuelto A Ti 4:33

Recorded in Kirios Studios, Madrid in January 1979



..::OBSADA::..

Acoustic Guitar, Electric Guitar, Bass - Sixto F. Ruiz
Acoustic Guitar, Electric Guitar, Vocals - Juanjo Respuela
Bass - Javier G. Tazon
Drums, Percussion, Vocals - C. Terán
Engineer, Vocals - Luis M. Pastor
Keyboards, Vocals - Juan Carlos Guitiérrez
Engineer [Lighting Technician], Effects - Tivo M. Salmón




https://www.youtube.com/watch?v=HE930M_BRbM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

W marcu 1970 roku ukazał się singiel zespołu King Crimson zawierający żartobliwy utwór „Cat Food” oraz na stronie B instrumentalny „Groon”. Singiel ten poprzedzał wydanie drugiego albumu zespołu.

Pół wieku po wydaniu tegoż singla ukazuje się jego wznowienie w formie czteroutworowej EP-ki. Rozpoczyna ją singlowa wersja tytułowego utworu, która nagle urywa się w pozycji 2:45 (na płycie utwór ciągnie się dalej). Można to potraktować jako swoisty żart muzyczny. Charakterystycznym elementem tego utworu są szybkie partie fortepianowe grane przez jazzowego pianistę Keitha Tippeta, który gościnnie udzielał się na płytach „In The Wake of Poseidon”, „Lizard” oraz „Islands”.

Prócz oryginalnej singlowej wersji na EP-ce znalazły się jeszcze dwie wersje tytułowego numeru: koncertowa z ubiegłego roku (zarejestrowana w Toronto 14 września 2019 roku) oraz alternatywny miks zmontowany w ubiegłym roku przez Davida Singletona na podstawie ścieżek z oryginalnego nagrania z 1970 roku. Wersja koncertowa brzmi nieco dziwnie. Choć Jakko Jakszyk próbuje wokalnie naśladować Grega Lake’a z raczej przeciętnym skutkiem, to całości dopełniają ciekawe partie saksofonowe Mela Collinsa (których w oryginale nie było). Całość uzupełnia instrumentalny „Groon” – utwór, na który zabrakło już miejsca na „Poseidonie”, lecz znalazł się on w koncertowym repertuarze zespołu z okresu 1971/72.

Zachowana została oryginalna okładka singla, a EP-kę wydano w dwóch formatach: jako krążek CD (tradycyjny rozmiar 5 cali) oraz jako winyl w nieco nietypowym formacie 10 cali i obrotach 33 i 1/3. Ten zabieg jest trochę marnotrawstwem miejsca (16 minut muzyki przy takiej prędkości obrotowej przed laty spokojnie mieściło się na krążkach 7-calowych). Plusem tego nietypowego formatu jest jednak to, że takie wydawnictwo lepiej prezentuje się na półce.

Na odwrocie okładki winyla, a w środku ecopacka CD wydrukowany został tekst tytułowego utworu. Zachowano też po części numer katalogowy oryginalnego wydawnictwa (singiel z 1970 roku wydanie Islands: WIP 6080, EP-ka CD: KCCD 6080, EP-ka 10”: KCEP 6080).

Podsumowując, jest to prawdziwa gratka dla kolekcjonerów i fanów grupy King Crimson. Gdyby nie pandemia koronawirusa, to mogłaby się ona ukazać na Record Store Day (który pierwotnie był planowany na 18 kwietnia, zaś potem przesunięty na 20 czerwca i rozbity na kilka osobnych wydarzeń). A tak to mamy regularne, choć dość nietypowe, wydawnictwo - takowymi od co najmniej dwóch dekad King Crimson zasypuje nas od czasu do czasu.

Paweł Świrek



..::TRACK-LIST::..

1. Cat Food 2:47
2. Cat Food (Live, Toronto 2019) 4:40
3. Cat Food (2019 Alternate Mix) 5:03
4. Groon 3:34



..::OBSADA::..

Robert Fripp - guitar, mellotron, devices
Greg Lake - vocals
Michael Giles - drums
Peter Giles - bass
Keith Tippett - piano
Mel Collins - saxes, flute
Peter Sinfield - words




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

W marcu 1970 roku ukazał się singiel zespołu King Crimson zawierający żartobliwy utwór „Cat Food” oraz na stronie B instrumentalny „Groon”. Singiel ten poprzedzał wydanie drugiego albumu zespołu.

Pół wieku po wydaniu tegoż singla ukazuje się jego wznowienie w formie czteroutworowej EP-ki. Rozpoczyna ją singlowa wersja tytułowego utworu, która nagle urywa się w pozycji 2:45 (na płycie utwór ciągnie się dalej). Można to potraktować jako swoisty żart muzyczny. Charakterystycznym elementem tego utworu są szybkie partie fortepianowe grane przez jazzowego pianistę Keitha Tippeta, który gościnnie udzielał się na płytach „In The Wake of Poseidon”, „Lizard” oraz „Islands”.

Prócz oryginalnej singlowej wersji na EP-ce znalazły się jeszcze dwie wersje tytułowego numeru: koncertowa z ubiegłego roku (zarejestrowana w Toronto 14 września 2019 roku) oraz alternatywny miks zmontowany w ubiegłym roku przez Davida Singletona na podstawie ścieżek z oryginalnego nagrania z 1970 roku. Wersja koncertowa brzmi nieco dziwnie. Choć Jakko Jakszyk próbuje wokalnie naśladować Grega Lake’a z raczej przeciętnym skutkiem, to całości dopełniają ciekawe partie saksofonowe Mela Collinsa (których w oryginale nie było). Całość uzupełnia instrumentalny „Groon” – utwór, na który zabrakło już miejsca na „Poseidonie”, lecz znalazł się on w koncertowym repertuarze zespołu z okresu 1971/72.

Zachowana została oryginalna okładka singla, a EP-kę wydano w dwóch formatach: jako krążek CD (tradycyjny rozmiar 5 cali) oraz jako winyl w nieco nietypowym formacie 10 cali i obrotach 33 i 1/3. Ten zabieg jest trochę marnotrawstwem miejsca (16 minut muzyki przy takiej prędkości obrotowej przed laty spokojnie mieściło się na krążkach 7-calowych). Plusem tego nietypowego formatu jest jednak to, że takie wydawnictwo lepiej prezentuje się na półce.

Na odwrocie okładki winyla, a w środku ecopacka CD wydrukowany został tekst tytułowego utworu. Zachowano też po części numer katalogowy oryginalnego wydawnictwa (singiel z 1970 roku wydanie Islands: WIP 6080, EP-ka CD: KCCD 6080, EP-ka 10”: KCEP 6080).

Podsumowując, jest to prawdziwa gratka dla kolekcjonerów i fanów grupy King Crimson. Gdyby nie pandemia koronawirusa, to mogłaby się ona ukazać na Record Store Day (który pierwotnie był planowany na 18 kwietnia, zaś potem przesunięty na 20 czerwca i rozbity na kilka osobnych wydarzeń). A tak to mamy regularne, choć dość nietypowe, wydawnictwo - takowymi od co najmniej dwóch dekad King Crimson zasypuje nas od czasu do czasu.

Paweł Świrek



..::TRACK-LIST::..

1. Cat Food 2:47
2. Cat Food (Live, Toronto 2019) 4:40
3. Cat Food (2019 Alternate Mix) 5:03
4. Groon 3:34



..::OBSADA::..

Robert Fripp - guitar, mellotron, devices
Greg Lake - vocals
Michael Giles - drums
Peter Giles - bass
Keith Tippett - piano
Mel Collins - saxes, flute
Peter Sinfield - words




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Klasyczny album drugiej fali brytyjskiego punka.
Debiut zespołu z Leeds z 1982 roku.
Punk skoczny i zadziorny!



..::TRACK-LIST::..

1. Vicious Circle 2:35
2. 1982 1:55
3. Danger, Danger 2:36
4. BBC 2:08
5. Mayday 1:57
6. Voice Of Youth 2:33
7. Just Another Punk Band 2:40
8. Gotta Run 1:57
9. Burn 'Em Down 2:39
10. Shout It Out 2:00
11. Slaughterhouse 2:13
12. First Rule (No Rule) 3:38
13. Attack 2:18
14. When The Punks Go Marching In 3:42

Bonus Tracks:
15. The Army Song 1:54
16. Juvenile 2:06
17. So Slow 1:35
18. Vicious Circle (Single Version) 2:40
19. Attack (Single Version) 2:24
20. Voice Of Youth (Single Version) 2:55
21. Urban Rebel 2:47
22. Criminal Youth 2:08



https://www.youtube.com/watch?v=gzdzfxJ7BCY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Klasyczny album drugiej fali brytyjskiego punka.
Debiut zespołu z Leeds z 1982 roku.
Punk skoczny i zadziorny!



..::TRACK-LIST::..

1. Vicious Circle 2:35
2. 1982 1:55
3. Danger, Danger 2:36
4. BBC 2:08
5. Mayday 1:57
6. Voice Of Youth 2:33
7. Just Another Punk Band 2:40
8. Gotta Run 1:57
9. Burn 'Em Down 2:39
10. Shout It Out 2:00
11. Slaughterhouse 2:13
12. First Rule (No Rule) 3:38
13. Attack 2:18
14. When The Punks Go Marching In 3:42

Bonus Tracks:
15. The Army Song 1:54
16. Juvenile 2:06
17. So Slow 1:35
18. Vicious Circle (Single Version) 2:40
19. Attack (Single Version) 2:24
20. Voice Of Youth (Single Version) 2:55
21. Urban Rebel 2:47
22. Criminal Youth 2:08



https://www.youtube.com/watch?v=gzdzfxJ7BCY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Kolaboracja Bardoseneticcube & Shinkiro.
Bardzo mocny album!



This is already the second collaboration album of Bardoseneticcube from Russia and Shinkiro from Japan, this time under their own names. The first disc "Four Noble Truths" was released under the combined title of Bashin on the French label Athanor in 2011 and was dedicated to the basic principles of Buddhist teachings. The meditative and contemplative subject continues here as well, now being focused on the aspects of inner and outer space.

We submerge in the dark thick matter of sound, fluid, transparent and stratiform. Woven from abstract electronics, omnifarious samples and transformed voices, textures are smoothly interchanging, always showing new visions in the black mirror of our viewport. Makes you wonder - does the perceivable exist separately from the percipient? In any case this is dark, nocturnal, cosmic music, not devoid of epicism and dramatism. Worth having in your playlist for the next space travel!




Very beautifully this year begins, with regard to ambient and dark ambient music. And in some cases very surprisingly. I remember that “Four Noble Truths” was a decent album, I gave it a very positive review a couple of years ago, but today I’d be lying claiming that I listen to it very often. The first composition made me think that this time it will be a similar situation, that it will be well produced music that I’ll enjoy during a couple of listens, but after a while I’ll put it back on the shelf and move forward to other musical creations. Ok, I can’t say right now, I’ll need much more time to see if “Inner And Outer Space” will stand the test of time, but right now after several listens I must say that it made quite an impression on me. It’s much more sophisticated than their first work.

The tracks differ from one another. The pieces on “Four Noble Truths” were more or less similar in terms of construction, which is good for building up a monumental feeling, but after a while I realized that I had a problem focusing on the music within the space of the whole album. Maybe I’m getting old, I don’t know. Yet I’ve given about a twenty listens to “Inner And Outer Space” up to this day and so far I didn’t have such an impression after all. The whole consuming space is as overwhelming as absorbing of the listener’s attention with its diversity.

“Fluctuations” though isn’t so enthralling, it’s a cosmic dark ambient which sounds like it’s made by the book, without any creative madness. Not the best opening in the ambient world and if I weren’t be so patient I could have taken a break after the first listening and left further contact with the album for the indefinite “tomorrow”. Yet things started getting better and better later. “Evolution” sucked me in an infinite vortex with swirling cosmic winds, distant bells and low-tuned rumblings, later counterpointed by atmospheric, quasi-choir-like drones. Not very original, but somehow tantalizing with a deep cosmic secret.

With “Inflaction” you cross the last point in timespace known to man. You can’t say what’s behind it, but at the same time can’t wait for the secret to reveal itself. You need to check it for yourself. This track is less intense. Once again a wind-like background and stellar calls makes me feel like I’m surrounded by a flickering darkness with no limits.

If had to choose one track from the album that you all should listen to, it would be “Afterglow”, with a constantly growing tension, weird sounds swirling and whirling, accompanied by this ever absorbing drone and reverbed synth micromelodies. Once again, it’s a huge and powerful piece of music, but this time also sparkling with some vague sadness. A longing for home. Luckily “Dark Ages” has nothing to do with dull medieval dark wave – I feel ashamed that I even thought about that. Not at all, this one is like watching the nebulas’ beauty through a telescope. There’s something like a grotesque alien transmission once or twice during these eleven minutes, but it doesn’t disturb the somehow soothing feeling of the track.

Yes, I think I can say it. This album is far better than “Four Noble Truths”. It’s like the extension of those ideas, taking them to a slightly different direction. Sure, it’s nothing new within the genre, there’s a lot of sounds and passages that I feel are familiar from other albums. Even this “Dark Ages” in some moments reminds me of “Passing Inner Shields” by you-know-who. So it’s not visionary (then again, what is in dark ambient these days), the mystery lies not in the sound itself, but in your imagination being stimulated by the music, the music which is a perfect craftmanship of two musicians who know exactly what they want to achieve.~(santa sangre magazine)


~Bardoseneticcube is a dark ambient/industrial project from St. Petersburg. Now with Bardoseneticcube, you never really know what you’re going to get, so let’s see how these two artists work together. “Fluctuations” opens with the kind of spacey dark ambient that I have come to expect from Zhelezobeton. “Evolution” keeps this feel going with the moving of tectonic plates and warbling synth. Reminds me of older Lustmord and Rapoon. “Inflation” is where we begin to see the synthesis of these acts. Like the previous tracks, it begins peacefully, with slowly shifting synth notes that hold for several measures at a time. But this is all an illusion, as it becomes progressively harsher as the track evolves. This is what you hear right before you cross the event horizon. After another interlude of spacey ambient in “Afterglow,” we move to the conclusion in “Dark Ages.” Heavily processed, sped up robot voices, a woman holding out one note, and bits of timpani all help to bring the spacy drone down to earth. This is the chaotic element of Bardoseneticcube that I enjoy. Overall, this is quite enjoyable and makes me interested to hear more from Shinkiro. This album weighs in at around 52 minutes and is limited to 333 copies. ~ (CHAIN D.L.K.)



..::TRACK-LIST::..

1. Fluctuations 12:33
2. Evolution 09:46
3. Inflation 10:17
4. Afterglow 09:04
5. Dark Ages 11:04



..::OBSADA::..

Artwork - Vitaly Stromchinsky
Composed By - Igor Potsukaylo
Composed By, Mastered By - Manabu Hiramoto




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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Kolaboracja Bardoseneticcube & Shinkiro.
Bardzo mocny album!



This is already the second collaboration album of Bardoseneticcube from Russia and Shinkiro from Japan, this time under their own names. The first disc "Four Noble Truths" was released under the combined title of Bashin on the French label Athanor in 2011 and was dedicated to the basic principles of Buddhist teachings. The meditative and contemplative subject continues here as well, now being focused on the aspects of inner and outer space.

We submerge in the dark thick matter of sound, fluid, transparent and stratiform. Woven from abstract electronics, omnifarious samples and transformed voices, textures are smoothly interchanging, always showing new visions in the black mirror of our viewport. Makes you wonder - does the perceivable exist separately from the percipient? In any case this is dark, nocturnal, cosmic music, not devoid of epicism and dramatism. Worth having in your playlist for the next space travel!




Very beautifully this year begins, with regard to ambient and dark ambient music. And in some cases very surprisingly. I remember that “Four Noble Truths” was a decent album, I gave it a very positive review a couple of years ago, but today I’d be lying claiming that I listen to it very often. The first composition made me think that this time it will be a similar situation, that it will be well produced music that I’ll enjoy during a couple of listens, but after a while I’ll put it back on the shelf and move forward to other musical creations. Ok, I can’t say right now, I’ll need much more time to see if “Inner And Outer Space” will stand the test of time, but right now after several listens I must say that it made quite an impression on me. It’s much more sophisticated than their first work.

The tracks differ from one another. The pieces on “Four Noble Truths” were more or less similar in terms of construction, which is good for building up a monumental feeling, but after a while I realized that I had a problem focusing on the music within the space of the whole album. Maybe I’m getting old, I don’t know. Yet I’ve given about a twenty listens to “Inner And Outer Space” up to this day and so far I didn’t have such an impression after all. The whole consuming space is as overwhelming as absorbing of the listener’s attention with its diversity.

“Fluctuations” though isn’t so enthralling, it’s a cosmic dark ambient which sounds like it’s made by the book, without any creative madness. Not the best opening in the ambient world and if I weren’t be so patient I could have taken a break after the first listening and left further contact with the album for the indefinite “tomorrow”. Yet things started getting better and better later. “Evolution” sucked me in an infinite vortex with swirling cosmic winds, distant bells and low-tuned rumblings, later counterpointed by atmospheric, quasi-choir-like drones. Not very original, but somehow tantalizing with a deep cosmic secret.

With “Inflaction” you cross the last point in timespace known to man. You can’t say what’s behind it, but at the same time can’t wait for the secret to reveal itself. You need to check it for yourself. This track is less intense. Once again a wind-like background and stellar calls makes me feel like I’m surrounded by a flickering darkness with no limits.

If had to choose one track from the album that you all should listen to, it would be “Afterglow”, with a constantly growing tension, weird sounds swirling and whirling, accompanied by this ever absorbing drone and reverbed synth micromelodies. Once again, it’s a huge and powerful piece of music, but this time also sparkling with some vague sadness. A longing for home. Luckily “Dark Ages” has nothing to do with dull medieval dark wave – I feel ashamed that I even thought about that. Not at all, this one is like watching the nebulas’ beauty through a telescope. There’s something like a grotesque alien transmission once or twice during these eleven minutes, but it doesn’t disturb the somehow soothing feeling of the track.

Yes, I think I can say it. This album is far better than “Four Noble Truths”. It’s like the extension of those ideas, taking them to a slightly different direction. Sure, it’s nothing new within the genre, there’s a lot of sounds and passages that I feel are familiar from other albums. Even this “Dark Ages” in some moments reminds me of “Passing Inner Shields” by you-know-who. So it’s not visionary (then again, what is in dark ambient these days), the mystery lies not in the sound itself, but in your imagination being stimulated by the music, the music which is a perfect craftmanship of two musicians who know exactly what they want to achieve.~(santa sangre magazine)


~Bardoseneticcube is a dark ambient/industrial project from St. Petersburg. Now with Bardoseneticcube, you never really know what you’re going to get, so let’s see how these two artists work together. “Fluctuations” opens with the kind of spacey dark ambient that I have come to expect from Zhelezobeton. “Evolution” keeps this feel going with the moving of tectonic plates and warbling synth. Reminds me of older Lustmord and Rapoon. “Inflation” is where we begin to see the synthesis of these acts. Like the previous tracks, it begins peacefully, with slowly shifting synth notes that hold for several measures at a time. But this is all an illusion, as it becomes progressively harsher as the track evolves. This is what you hear right before you cross the event horizon. After another interlude of spacey ambient in “Afterglow,” we move to the conclusion in “Dark Ages.” Heavily processed, sped up robot voices, a woman holding out one note, and bits of timpani all help to bring the spacy drone down to earth. This is the chaotic element of Bardoseneticcube that I enjoy. Overall, this is quite enjoyable and makes me interested to hear more from Shinkiro. This album weighs in at around 52 minutes and is limited to 333 copies. ~ (CHAIN D.L.K.)



..::TRACK-LIST::..

1. Fluctuations 12:33
2. Evolution 09:46
3. Inflation 10:17
4. Afterglow 09:04
5. Dark Ages 11:04



..::OBSADA::..

Artwork - Vitaly Stromchinsky
Composed By - Igor Potsukaylo
Composed By, Mastered By - Manabu Hiramoto




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