...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

From sleeve notes:
"The filming for 'Joy' began with a live show at Manchester Poly in October 1988, and I suspect was originally destined to end there. However, Karen Bentham created an art promo out of the title track and the rest, as they say, is history.

Next came the filming of a promo for 'RU Xperienced' - shot in Derek Jarman's beautiful garden in Dungerness. Karen's film making style was very much suited to the various outputs of the band and P-Orridge family and this became the beginning of a collaboration that was set to last for the next few years.

Described by some as a video masterpiece, 'Joy' ended up as a very colourful and artistic mix capturing Psychic TV in a number of guises. The promo clip for 'IC Water', included here as an extra, was filmed in our hometown of Lytham St. Annes during 1990.

'Black' was filmed live at the Subterrania Club, London, in March 1991, capturing the band at the height of their acid-phase. Again Karen's visual attack turned the film into something completely different being described as "transforming the normal sterility and division of the artist/audience dynamic into a truly awesome vision of collaborative participation". Anyway it looked pretty good. I would have to say that the contents of this DVD represent some of the best work Karen and I came up with, over 15 years of making music video. Enjoy! "



..::TRACK-LIST::..

Joy
1. Your Body
2. We Kiss
3. She Was Surprised
4. RU Xperienced (Caresse & Sickmob)
5. Candy Says
6. Wicked
7. Just Like Arcadia
8. Joy
9. IC Water (Promo)

Black
10. Intoxication
11. Surrender
12. Horror House
13. Jigsaw
14. Money For E
15. Black

Two old VHS videos 'Joy' and 'Black' combined on one DVD.




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana, rozszerzona o dwa nagrania z epoki, reedycja amerykańskiego soft-psychodelicznego klasyka wartego na oryginalnym winylu ponad 700 dolarów! Och, jak ja uwielbiam tę płytę!
Pierwsza dziesiątka amerykańskiego psych-rocka!

Każdy utwór jest wspaniały, choć to tylko melodyjne, niemal popowe piosenki podane w sennym, psychodelicznym sosie. Ale efekt jest oszałamiający! Trudno się dziwić, że album ma status kultowy i ma bardzo szerokie grono zaprzysięgłych fanów.

Album został nagrany w 1968, ale firma Capitol wydała go dopiero na początku 1969 roku - gdy zespół już nie istniał! Płyta brzmi wspaniale - dynamicznie i bez żadnych szumów - bije na głowę poprzednie reedycje, w tym amerykański Sundazed! Płyta dostępna również na winylu (bez bonusów).



Reissue of spellbinding, atmospheric songs which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin' Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando's originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez. Includes two bonus tracks.



..::TRACK-LIST::..

1. Golden Earrings 2:45
2. Hang On To A Dream 4:12
3. Never Too Far 1:50
4. Scarlet Ribbons 3:02
5. You Upset The Grace Of Living 2:38
6. Can You Travel In The Dark Alone 3:07
7. Nature Boy 3:06
8. Tiffany Rings 1:48
9. Me About You 4:53
10. I Watch The Moon 3:50

Bonus Tracks:
11. Tears Of Ages (Live 1968) 2:56
12. Golden Earrings (1968 Demo) 6:08



..::OBSADA::..

Bass, Vocals - Bob Muller
Drums - Davy Bauer
Guitar, Vocals - Peter Sando
Piano, Electric Piano, Harpsichord, Organ - Frank Hubach




https://www.youtube.com/watch?v=XDcNPL57Yok



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zremasterowana, rozszerzona o dwa nagrania z epoki, reedycja amerykańskiego soft-psychodelicznego klasyka wartego na oryginalnym winylu ponad 700 dolarów! Och, jak ja uwielbiam tę płytę!
Pierwsza dziesiątka amerykańskiego psych-rocka!

Każdy utwór jest wspaniały, choć to tylko melodyjne, niemal popowe piosenki podane w sennym, psychodelicznym sosie. Ale efekt jest oszałamiający! Trudno się dziwić, że album ma status kultowy i ma bardzo szerokie grono zaprzysięgłych fanów.

Album został nagrany w 1968, ale firma Capitol wydała go dopiero na początku 1969 roku - gdy zespół już nie istniał! Płyta brzmi wspaniale - dynamicznie i bez żadnych szumów - bije na głowę poprzednie reedycje, w tym amerykański Sundazed! Płyta dostępna również na winylu (bez bonusów).



Reissue of spellbinding, atmospheric songs which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin' Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando's originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez. Includes two bonus tracks.



..::TRACK-LIST::..

1. Golden Earrings 2:45
2. Hang On To A Dream 4:12
3. Never Too Far 1:50
4. Scarlet Ribbons 3:02
5. You Upset The Grace Of Living 2:38
6. Can You Travel In The Dark Alone 3:07
7. Nature Boy 3:06
8. Tiffany Rings 1:48
9. Me About You 4:53
10. I Watch The Moon 3:50

Bonus Tracks:
11. Tears Of Ages (Live 1968) 2:56
12. Golden Earrings (1968 Demo) 6:08



..::OBSADA::..

Bass, Vocals - Bob Muller
Drums - Davy Bauer
Guitar, Vocals - Peter Sando
Piano, Electric Piano, Harpsichord, Organ - Frank Hubach




https://www.youtube.com/watch?v=XDcNPL57Yok



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Klasyka niemieckiego Thrash/Death metalu.
'Misanthropy' to EP, która ukazała się w 1987 roku. Tutaj wznowienie z 2 dodatkowymi utworami z demo 1986.
Mastering: Patrick W. Engel (Temple Of Disharmony).



If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector lived through several line-up changes and phases of more or less activity, until they finally called it a day in 2003. That could have been the end of it, but if you scroll down a bit in the list of High Roller releases, you find Protector’s “Reanimated Homunculus” from 2013 – it was this album that marked the return of a band which today still is widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. In 2011, Protector's old and new vocalist Martin Missy decided to reanimate Protector with the help of his all-Swedish crew, who had won their spurs playing in “Martin Missy and the Protectors” since 2006. The original plan had been to stay a cover band and not to use the name Protector anymore – but constant dripping wears away the stone, so Missy eventually gave in to the fans’ craving to see the real Protector playing live again. Now as Protector are back on the scene for good, it only makes sense to re-issue their back catalgoue, starting with this little thorny gem:
In 1987, Protector released their debut EP “Misanthropy”, after having scored a deal with the then still quite young label Atom H. Martin Missy remembers that this was a bit of luck for the young band: “It was our first release on vinyl, and we released it about one year after the band had been formed. We were really lucky to find a record company that quickly. Today, this is usually not that easy for an unknown band.”
Before “Misanthropy”, Protector had brought out their demo which already showed a lot of what this band was up to: uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. “Misanthropy” as the band's first official release laid the base for their reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? A thrash metal band from Wolfsburg, some far out place in Lower Saxony? What about the German Big Four of Thrash? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, Protector made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a fierce, violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding.

“Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig, where the band had already recorded their two-track demo the year before. It was during this time that Protector established their first more or less stable line up. Martin remembers how he first got into the band: “In the summer of 1987, the band consisted of Michael Hasse (drums), Hansi Müller (guitar), Ede Belichmeier (bass) and myself on vocals. Michael and Hansi had formed the band in 1986 together with Michael Schnabel (bass). The biggest change was on the vocal position. Michael had recorded the vocals on the demo, but in the beginning of 1987, the band started to look for a guy who would focus on the vocals only. I don't know exactly why they decided to do so, but my guess is that Michael wanted to concentrate on the drums.”

The songwriting process for all releases with Martin Missy on vocals usually worked more or less after the same pattern: “Hansi, Michael and Ede put together the songs, and I wrote the lyrics afterwards. We wrote the six songs for the EP in the first months of 1987.” These six songs were the first steps in the realm of professional recording, and they were conceived in a very special way. Missy explains how this worked, and goes a bit into detail on how the sound of “Misanthropy” was created: “We only had recorded one demo before the EP. The style and the sound of the demo were extreme black/thrash metal. On “Misanthropy”, the sound and the songs were also raw, but they leant more towards thrash than black metal. My lyrics also weren't as satanic as they had been on the demo. Regarding the sound: I remember that we took some albums into the studio, so that the guys from White Line, who hadn't recorded any metal before Protector, could get an idea of what we wanted it to sound like. I'm not sure, but I think those records were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”. In the end, our EP sounded like none of these albums, but on the other hand it got a quite unique sound.” It definitely has, and isn’t it better to sound unique than to simply copy another band’s sound?

The reactions to “Misanthropy” were mixed: “We got a lot of positive resonance from the fans (by letters back then!) and the underground magazines. The bigger magazines were a little more sceptical about our brutal and aggressive style and sound.” Anyway: “Misanthropy” made people aware of this four-piece who lived close to the then still intact German Wall, far away from the Ruhr-Area, the famous heart of Teutonic thrash, so Protector made their first real footprint in the world of Metal: “We got ourselves a little bit known in the underground-scene. And it opened some doors for us so we could book concerts with Tankard and Messiah, among others.”

As Martin Missy is famous for his extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s unique evilness, it is all the more interesting to hear Missy’s special memories about the vocal recordings for “Misanthropy”: “I remember standing in the recording booth and talking to my band mates and the engineer between two takes. All of a sudden I saw through the window how everybody started to laugh in the mixing room. So I asked them what was so funny, which only made them laugh harder. After a while I realized that the engineer had manipulated my voice to make it sound like Mickey Mouse when it came through the speakers in the mixing room.

I also remember another incident, which was not as funny. When I started to record the vocals I suddenly realized that my voice didn't sound as brutal and dark as it had done on the rehearsal room-recordings we had recorded on cassette. Those recordings were done on a little cassette player, all the other instruments were superloud and I was singing over a box for a bass, so it was natural that the voice sounded totally evil on those old cassettes. Now in the studio, it was a completely different thing. Here everybody could hear my “real voice”, and it sounded fragile and weak. I remember the horror in our drummer's eyes as I started to sing, or better “squeak” in the recording-booth. Fortunately my voice changed after I had screamed for about half an hour. And the result (including some effects) was quite evil.”

For the High Roller re-release, nothing will be changed about the sound, which makes total sense given that “Misanthropy” is so very great just as it is: “The recording has been taken from a mint condition “Misanthropy”-EP. We had to do that because the original recording tapes don't exist anymore. I don't think that Patrick W. Engel from Temple of Disharmony, who does the mastering, has changed anything on the sound.”
That is right, the sound stays untouched, but the High Roller version of “Misanthropy” comes with a very special feature. Martin tells us what that will be: “To make the whole release as complete as possible, High Roller will also include the demo from 1986, which I think is a great thing to do. That way the fans can hear what Protector sounded like before the EP was recorded.”

Protector never got any more aggressive, sharp and shattering than on „Misanthropy”. Their following releases were no less evil, but more influenced by early death metal and with a gradually more doomy touch. Up to this day, “Misanthropy” still is Martin's favourite of all Protector releases: “Yes, it is still my favourite Protector recording. Partly because it was my first time in the studio, and partly because I really like the songs and the sound of the EP. We still play all of them live at our gigs with Protector today. And the layout for the front cover was drawn by me. I had hoped that the artist who painted our cover would make it look cooler and more powerful, but in the end it turned out almost exactly as my sketch, only in colour.”

Ulrike Schmitz


Hailing from Germany, Protector entered a bit late in the German thrash metal scene. Contrary to their country mates of Sodom, Destruction and Kreator, Protector started off only by 1986 and these other bands already had some albums and material out. However, despite being late, Protector had so much potential and they showed it with this EP. After releasing a two tracks demo in 1986, called "Protector of Death", drummer Michael Hasse decided to quit doing vocals and the band then decided to get a new "proper" singer. Martin Missy rejoined the band and became to be the last member of Protector of that era today. He brought a less evil, but more aggressive voice and tone to the band, and many different vocal styles that we can see in the first few Protector records. Their first official effort as a 4 man piece was the Misanthropy EP and was released in 1987, at a time that most German bands began to experiment other things then evil and maleficent thrash. The mini-album still succeeded in gaining attention because of its difference of what was going on at this time.

Despite many people thinking that the cover is cheap, Protector has never been a band with great album covers at all. At first, I wasn't that motivated to give the band a listen. Mainly because they felt so apart from the 80s German thrash scene. But I was terribly wrong in every way, Protector followed the roots of early Kreator, Sodom and especially on this record. Though, the band has developed their own style through the years after, evolving into a more death metal approach. Misanthropy is their more "thrashy" record and the best one if you ask me, this album is a pure German thrash attack, and among the most brutal releases from a thrash band of that time. The album features 6 tracks and have a running time of nearly 23 minutes, most songs also have an average length time of 3-4 minutes, a typical basic thrash record you might say ... But it is really not, the songwriting on this album is pretty damn cool and original, even at this point in 1987.

The most interesting thing on the album are the weird guitar riffs that we can notice on tracks such as "Agoraphobia", "The Mercenary" or "Holocaust". The song structures are not just some ordinary thrash that we see by hundreds, it's really unique and I personally never heard anything like this before Protector, which is a really cool thing to discover. Even at their debut release, the band managed to impress with its great musicianship, they brought a more technical aspect than Kreator and Sodom on their debut. But for an album of 80s extreme metal, Protector opted for a more cleaner and polished sound for that release. I can also tell that the production quality is top-notch for this kind of record, all the instruments are perfectly mixed and heard easily. The drums are absolutely insane, Michael Hasse was probably one of the greatest drummers of the German scene, his performance on the album and even the other Protector material is outstanding. There's a lot of variations on this EP though, each songs have a different unique structure and kind of riffs, making the listener a better motivation to give the album a full listen, rather than hearing one song and getting tired of it already, one thing for sure is this EP can give a plenty amount of headbanging moments.

Speaking of originality, Protector wasn't just special musically, but the lyrics content of Misanthropy is also different from what other bands of Germany were doing at their beginnings. While most bands were more focused into the occult and satanic concept, Protector was less oriented to those themes. The song "Kain and Abel" has the most interesting lyrics, especially because of its story-line base. Dealing mainly with subjects of death and destruction, mental issues and hatred against humans are also a part of the topics with the self-titled song "Misanthropy" and "Agoraphobia". The catchiness of all these songs is really impressive, it only took me a few listen to fully appreciate the whole EP.

I must say that since the time I got into Protector, I consider this mini-album as an essential piece of German thrash. There's absolutely no weak song either, they all have moments that a headbanger need to satisfy his lust of violence and brutality. Useless to tell how much I recommend such a good album to everyone who digs 80s violent thrash.

DesecratorJ



..::TRACK-LIST::..

1. Misanthropy 04:00
2. Holy Inquisition 03:23
3. Agoraphobia 04:14
4. The Mercenary 03:41
5. Kain And Abel 04:12
6. Holocaust 03:46

Bonus Tracks:
7. Protector Of Death (Original Demo 1986) 04:07
8. Apocalyptic Revolution (Original Demo 1986) 03:17



..::OBSADA::..

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



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Klasyka niemieckiego Thrash/Death metalu.
'Misanthropy' to EP, która ukazała się w 1987 roku. Tutaj wznowienie z 2 dodatkowymi utworami z demo 1986.
Mastering: Patrick W. Engel (Temple Of Disharmony).



If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector lived through several line-up changes and phases of more or less activity, until they finally called it a day in 2003. That could have been the end of it, but if you scroll down a bit in the list of High Roller releases, you find Protector’s “Reanimated Homunculus” from 2013 – it was this album that marked the return of a band which today still is widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. In 2011, Protector's old and new vocalist Martin Missy decided to reanimate Protector with the help of his all-Swedish crew, who had won their spurs playing in “Martin Missy and the Protectors” since 2006. The original plan had been to stay a cover band and not to use the name Protector anymore – but constant dripping wears away the stone, so Missy eventually gave in to the fans’ craving to see the real Protector playing live again. Now as Protector are back on the scene for good, it only makes sense to re-issue their back catalgoue, starting with this little thorny gem:
In 1987, Protector released their debut EP “Misanthropy”, after having scored a deal with the then still quite young label Atom H. Martin Missy remembers that this was a bit of luck for the young band: “It was our first release on vinyl, and we released it about one year after the band had been formed. We were really lucky to find a record company that quickly. Today, this is usually not that easy for an unknown band.”
Before “Misanthropy”, Protector had brought out their demo which already showed a lot of what this band was up to: uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. “Misanthropy” as the band's first official release laid the base for their reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? A thrash metal band from Wolfsburg, some far out place in Lower Saxony? What about the German Big Four of Thrash? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, Protector made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a fierce, violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding.

“Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig, where the band had already recorded their two-track demo the year before. It was during this time that Protector established their first more or less stable line up. Martin remembers how he first got into the band: “In the summer of 1987, the band consisted of Michael Hasse (drums), Hansi Müller (guitar), Ede Belichmeier (bass) and myself on vocals. Michael and Hansi had formed the band in 1986 together with Michael Schnabel (bass). The biggest change was on the vocal position. Michael had recorded the vocals on the demo, but in the beginning of 1987, the band started to look for a guy who would focus on the vocals only. I don't know exactly why they decided to do so, but my guess is that Michael wanted to concentrate on the drums.”

The songwriting process for all releases with Martin Missy on vocals usually worked more or less after the same pattern: “Hansi, Michael and Ede put together the songs, and I wrote the lyrics afterwards. We wrote the six songs for the EP in the first months of 1987.” These six songs were the first steps in the realm of professional recording, and they were conceived in a very special way. Missy explains how this worked, and goes a bit into detail on how the sound of “Misanthropy” was created: “We only had recorded one demo before the EP. The style and the sound of the demo were extreme black/thrash metal. On “Misanthropy”, the sound and the songs were also raw, but they leant more towards thrash than black metal. My lyrics also weren't as satanic as they had been on the demo. Regarding the sound: I remember that we took some albums into the studio, so that the guys from White Line, who hadn't recorded any metal before Protector, could get an idea of what we wanted it to sound like. I'm not sure, but I think those records were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”. In the end, our EP sounded like none of these albums, but on the other hand it got a quite unique sound.” It definitely has, and isn’t it better to sound unique than to simply copy another band’s sound?

The reactions to “Misanthropy” were mixed: “We got a lot of positive resonance from the fans (by letters back then!) and the underground magazines. The bigger magazines were a little more sceptical about our brutal and aggressive style and sound.” Anyway: “Misanthropy” made people aware of this four-piece who lived close to the then still intact German Wall, far away from the Ruhr-Area, the famous heart of Teutonic thrash, so Protector made their first real footprint in the world of Metal: “We got ourselves a little bit known in the underground-scene. And it opened some doors for us so we could book concerts with Tankard and Messiah, among others.”

As Martin Missy is famous for his extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s unique evilness, it is all the more interesting to hear Missy’s special memories about the vocal recordings for “Misanthropy”: “I remember standing in the recording booth and talking to my band mates and the engineer between two takes. All of a sudden I saw through the window how everybody started to laugh in the mixing room. So I asked them what was so funny, which only made them laugh harder. After a while I realized that the engineer had manipulated my voice to make it sound like Mickey Mouse when it came through the speakers in the mixing room.

I also remember another incident, which was not as funny. When I started to record the vocals I suddenly realized that my voice didn't sound as brutal and dark as it had done on the rehearsal room-recordings we had recorded on cassette. Those recordings were done on a little cassette player, all the other instruments were superloud and I was singing over a box for a bass, so it was natural that the voice sounded totally evil on those old cassettes. Now in the studio, it was a completely different thing. Here everybody could hear my “real voice”, and it sounded fragile and weak. I remember the horror in our drummer's eyes as I started to sing, or better “squeak” in the recording-booth. Fortunately my voice changed after I had screamed for about half an hour. And the result (including some effects) was quite evil.”

For the High Roller re-release, nothing will be changed about the sound, which makes total sense given that “Misanthropy” is so very great just as it is: “The recording has been taken from a mint condition “Misanthropy”-EP. We had to do that because the original recording tapes don't exist anymore. I don't think that Patrick W. Engel from Temple of Disharmony, who does the mastering, has changed anything on the sound.”
That is right, the sound stays untouched, but the High Roller version of “Misanthropy” comes with a very special feature. Martin tells us what that will be: “To make the whole release as complete as possible, High Roller will also include the demo from 1986, which I think is a great thing to do. That way the fans can hear what Protector sounded like before the EP was recorded.”

Protector never got any more aggressive, sharp and shattering than on „Misanthropy”. Their following releases were no less evil, but more influenced by early death metal and with a gradually more doomy touch. Up to this day, “Misanthropy” still is Martin's favourite of all Protector releases: “Yes, it is still my favourite Protector recording. Partly because it was my first time in the studio, and partly because I really like the songs and the sound of the EP. We still play all of them live at our gigs with Protector today. And the layout for the front cover was drawn by me. I had hoped that the artist who painted our cover would make it look cooler and more powerful, but in the end it turned out almost exactly as my sketch, only in colour.”

Ulrike Schmitz


Hailing from Germany, Protector entered a bit late in the German thrash metal scene. Contrary to their country mates of Sodom, Destruction and Kreator, Protector started off only by 1986 and these other bands already had some albums and material out. However, despite being late, Protector had so much potential and they showed it with this EP. After releasing a two tracks demo in 1986, called "Protector of Death", drummer Michael Hasse decided to quit doing vocals and the band then decided to get a new "proper" singer. Martin Missy rejoined the band and became to be the last member of Protector of that era today. He brought a less evil, but more aggressive voice and tone to the band, and many different vocal styles that we can see in the first few Protector records. Their first official effort as a 4 man piece was the Misanthropy EP and was released in 1987, at a time that most German bands began to experiment other things then evil and maleficent thrash. The mini-album still succeeded in gaining attention because of its difference of what was going on at this time.

Despite many people thinking that the cover is cheap, Protector has never been a band with great album covers at all. At first, I wasn't that motivated to give the band a listen. Mainly because they felt so apart from the 80s German thrash scene. But I was terribly wrong in every way, Protector followed the roots of early Kreator, Sodom and especially on this record. Though, the band has developed their own style through the years after, evolving into a more death metal approach. Misanthropy is their more "thrashy" record and the best one if you ask me, this album is a pure German thrash attack, and among the most brutal releases from a thrash band of that time. The album features 6 tracks and have a running time of nearly 23 minutes, most songs also have an average length time of 3-4 minutes, a typical basic thrash record you might say ... But it is really not, the songwriting on this album is pretty damn cool and original, even at this point in 1987.

The most interesting thing on the album are the weird guitar riffs that we can notice on tracks such as "Agoraphobia", "The Mercenary" or "Holocaust". The song structures are not just some ordinary thrash that we see by hundreds, it's really unique and I personally never heard anything like this before Protector, which is a really cool thing to discover. Even at their debut release, the band managed to impress with its great musicianship, they brought a more technical aspect than Kreator and Sodom on their debut. But for an album of 80s extreme metal, Protector opted for a more cleaner and polished sound for that release. I can also tell that the production quality is top-notch for this kind of record, all the instruments are perfectly mixed and heard easily. The drums are absolutely insane, Michael Hasse was probably one of the greatest drummers of the German scene, his performance on the album and even the other Protector material is outstanding. There's a lot of variations on this EP though, each songs have a different unique structure and kind of riffs, making the listener a better motivation to give the album a full listen, rather than hearing one song and getting tired of it already, one thing for sure is this EP can give a plenty amount of headbanging moments.

Speaking of originality, Protector wasn't just special musically, but the lyrics content of Misanthropy is also different from what other bands of Germany were doing at their beginnings. While most bands were more focused into the occult and satanic concept, Protector was less oriented to those themes. The song "Kain and Abel" has the most interesting lyrics, especially because of its story-line base. Dealing mainly with subjects of death and destruction, mental issues and hatred against humans are also a part of the topics with the self-titled song "Misanthropy" and "Agoraphobia". The catchiness of all these songs is really impressive, it only took me a few listen to fully appreciate the whole EP.

I must say that since the time I got into Protector, I consider this mini-album as an essential piece of German thrash. There's absolutely no weak song either, they all have moments that a headbanger need to satisfy his lust of violence and brutality. Useless to tell how much I recommend such a good album to everyone who digs 80s violent thrash.

DesecratorJ



..::TRACK-LIST::..

1. Misanthropy 04:00
2. Holy Inquisition 03:23
3. Agoraphobia 04:14
4. The Mercenary 03:41
5. Kain And Abel 04:12
6. Holocaust 03:46

Bonus Tracks:
7. Protector Of Death (Original Demo 1986) 04:07
8. Apocalyptic Revolution (Original Demo 1986) 03:17



..::OBSADA::..

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



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



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

...( Info )...

Artist: Peter Green's Fleetwood Mac
Album: Live At The BBC
Year: (1995)
Genre: Rock
Format: [FLAC]

...( TrackList )...

CD 1

01. Rattlesnake Shake
02. Sandy Mary
03. Believe My Time Ain't Long
04. Although The Sun Is Shining
05. Only You
06. You Never Know What You're Missing
07. Oh Well
08. Can't Believe You Wanna Leave
09. Jenny Lee
10. Heavenly
11. When Will I Be Loved
12. When I See My Baby
13. Buddy's Song
14. Honey Hush
15. Preachin'
16. Jumping At Shadows
17. Preachin' Blues
18. Need Your Love So Bad

CD 2

01. Long Grey Mare
02. Sweet Home Chicago
03. Baby Please Set A Date
04. Blues With A Feeling
05. Stop Messing Around
06. Tallahassee Lassie
07. Hang On To A Dream
08. Linda
09. Mean Mistreatin' Mama
10. World Keep Turning
11. I Can't Hold Out
12. Early Morning Come
13. Albatross
14. Looking For Somebody
15. A Fool No More
16. Got To Move
17. Like Crying Like Dying
18. Man Of The World

...( Info )...


Artist...............: Tift Merritt
Album................: Bramble Rose
Genre................: Country folk, Americana, Alternative country
Year.................: 2002
Codec................: reference libFLAC 1.4.3

...( TrackList )...

001. Tift Merritt - Trouble Over Me (Album Version)
002. Tift Merritt - Virginia, No One Can Warn You (Album Ver.)
003. Tift Merritt - Neighborhood (Album Version)
004. Tift Merritt - Bird Of Freedom (Album Version)
005. Tift Merritt - Bramble Rose (Album Version)
006. Tift Merritt - I Know Him Too (Album Version)
007. Tift Merritt - Sunday (Album Version)
008. Tift Merritt - Supposed To Make You Happy (Album Version)
009. Tift Merritt - Diamond Shoes (Album Version)
010. Tift Merritt - Are You Still In Love With Me (Album Ver.)
011. Tift Merritt - When I Cross Over (Album Version)

...( Info )...

Artist...............: Alanis Morissette
Album................: Supposed Former Infatuation Junkie (Thank U Edition)
Genre................: Pop
Year.................: 2024
Codec................: reference libFLAC 1.4.3

...( TrackList )...

001. Alanis Morissette - Front Row
002. Alanis Morissette - Baba
003. Alanis Morissette - Thank U
004. Alanis Morissette - Are You Still Mad
005. Alanis Morissette - Sympathetic Character
006. Alanis Morissette - That I Would Be Good
007. Alanis Morissette - The Couch
008. Alanis Morissette - Can't Not
009. Alanis Morissette - UR
010. Alanis Morissette - I Was Hoping
011. Alanis Morissette - One
012. Alanis Morissette - Would Not Come
013. Alanis Morissette - Unsent
014. Alanis Morissette - So Pure
015. Alanis Morissette - Joining You
016. Alanis Morissette - Heart of the House
017. Alanis Morissette - Your Congratulations
018. Alanis Morissette - Pollyanna Flower
019. Alanis Morissette - These Are the Thoughts
020. Alanis Morissette - Death of Cinderella
021. Alanis Morissette - Uninvited (Demo)
022. Alanis Morissette - Uninvited (Freemasons Remix)

...( Info )...

Artist: Various Artists
Album: 90s Hits Best 90s Music
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Madonna - Vogue
02. Roxette - Joyride
03. Pet Shop Boys - Go West (2003 Remaster)
04. Third Eye Blind - Semi-charmed Life (2006 Remaster)
05. THE GOO GOO DOLLS - Iris
06. The Corrs - Runaway
07. Red Hot Chili Peppers - Under the Bridge
08. Nick Kamen - I Promised Myself
09. Tina Turner - Goldeneye
10. Rod Stewart - Rhythm of My Heart
11. Scarlet - Independent Love Song (Italian Mix)
12. Mark Morrison - Return of the Mack (C & J Street Mix)
13. Deftones - Please Please Please Let Me Get What I Want (2005 Remaster)
14. Silk - Freak Me
15. Duran Duran - Ordinary World
16. Cher - Strong Enough
17. Brandy - The Boy Is Mine (Radio Edit)
18. Karyn White - Romantic
19. Simply Red - Stars
20. Green Day - Basket Case
21. Spacehog - In the Meantime
22. Stone Temple Pilots - Interstate Love Song
23. Seal - Crazy
24. Babylon Zoo - Spaceman
25. All Saints - Lady Marmalade
26. Shampoo - Trouble
27. Tasmin Archer - Sleeping Satellite
28. A-Ha - Crying in the Rain
29. All-4-One - I Swear
30. ICE T - New Jack Hustler (Nino’s Theme) [2014 Remaster]
31. 98º - Only Wanna Be with You
32. Big Mountain - Baby, I Love Your Way
33. Marc Cohn - Walking in Memphis
34. The Notorious B.I.G. - Hypnotize
35. Faith No More - Easy
36. Jane’s Addiction - Been Caught Stealing
37. Del Tha Funky Homosapien - Mistadobalina
38. Jimmy Nail - Ain’t No Doubt
39. Adina Howard - Freak Like Me (Radio Edit)
40. Faith Hill - This Kiss
41. Robin S - Show Me Love
42. Alanis Morissette - Ironic
43. Eternal - I Wanna Be the Only One (feat. BeBe Winans)
44. Barenaked Ladies - One Week
45. Peter Andre - Mysterious Girl (Radio Edit)
46. PORNO FOR PYROS - Pets
47. Edwin McCain - I’ll Be
48. Lene Marlin - Sitting Down Here
49. Jamie Walters - Hold On
50. Missy Elliott - The Rain (Supa Dupa Fly)
51. Chris Rea - Auberge
52. Damn Yankees - High Enough
53. Busta Rhymes - Woo Hah!! Got You All in Check
54. New Order - Regret
55. Alphaville - The Impossible Dream
56. Donna Lewis - I Love You Always Forever
57. Blur - Girls and Boys
58. Ol Dirty Bastard - Shimmy Shimmy Ya
59. En Vogue - Don’t Let Go (Love)
60. Eric Benét - Georgy Porgy (feat. Faith Evans)
61. Deee-Lite - Groove Is in the Heart
62. The Rembrandts - Just the Way It Is, Baby
63. The Pretenders - I’ll Stand by You
64. Color Me Badd - I Wanna Sex You Up
65. Human League - Tell Me When
66. Carlene Carter - Every Little Thing
67. Matchbox Twenty - 3am
68. (Snow) - Informer
69. Shola Ama - You Might Need Somebody
70. Duncan Sheik - Barely Breathing

Artist: Various Artists
Album: The Classic 80's
Year: 2025
Format: mp3 320 kbps



01. Madonna - Holiday
02. Duran Duran - Notorious
03. Tina Turner - What’s Love Got to Do with It
04. Roxette - The Look
05. Pet Shop Boys - Always on My Mind
06. Foreigner - I Want to Know What Love Is (1999 Remaster)
07. Alphaville - Forever Young
08. A-Ha - Take On Me
09. Chicago - You’re the Inspiration
10. Rod Stewart - Young Turks
11. Fleetwood Mac - Everywhere (2018 Remaster)
12. Yes - Owner of a Lonely Heart
13. Whitesnake - Here I Go Again 87 (2018 Remaster)
14. Duran Duran - Hungry like the Wolf (2009 Remaster)
15. Madonna - Causing a Commotion (From Who's That Girl)
16. Twisted Sister - I Wanna Rock
17. Alannah Myles - Black Velvet
18. Starship - We Built This City
19. Roxette - It Must Have Been Love (Christmas for the Broken-Hearted)
20. Stevie Nicks - Edge of Seventeen (2016 Remaster)
21. Alphaville - Big in Japan
22. Laura Branigan - Self Control
23. Tanita Tikaram - Twist in My Sobriety
24. Climie Fisher - Love Changes (Everything)
25. New Order - Blue Monday '88 (2015 Remaster)
26. Chicago - Look Away
27. Limahl - Never Ending Story
28. Narada Michael Walden - Gimme Gimme Gimme (feat. Patti Austin)
29. Simply Red - Holding Back the Years
30. The Cars - Drive
31. London Boys - London Nights
32. John Parr - St. Elmo's Fire (Man in Motion)
33. Chaka Khan - I Feel for You
34. The Pretenders - Don't Get Me Wrong
35. The Beach Boys - Kokomo
36. Spandau Ballet - True
37. Chris Rea - Josephine
38. Peter Cetera - Glory of Love
39. Faith No More - Epic (Radio Edit)
40. Starpoint - Object of My Desire
41. Talk Talk - It's My Life
42. The Proclaimers - I'm Gonna Be (500 Miles)
43. Robert Palmer - Simply Irresistible
44. Pet Shop Boys - What Have I Done to Deserve This (feat. Dusty Springfield)
45. Sister Sledge - Frankie
46. George Benson - Give Me the Night
47. Michael McDonald - I Keep Forgettin (Every Time You're Near)
48. Whitesnake - Is This Love
49. Talking Heads - This Must Be the Place (Naive Melody) [2005 Remaster]
50. Rod Stewart - Baby Jane

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja drugiej płyty z 1997 roku w wykonaniu amerykańskiego GUTTED. Jako bonus CD zawiera również dwie demówki: 'Disease' 1993 i 'Into the Gates of Insanity' 1992.
Intensywny, ciężki i miażdżący death metal!


GUTTED, the American Death Metal band, has reissued their 1997 material. The album is characterized by its heavy and intense sound typical of US death metal. Furthermore, the CD features both demos: 'Disease' from 1993 and 'Into the Gates of Insanity' from 1992.



..::TRACK-LIST::..

Gutted:
1. Suffer In Exile 04:32
2. In Sickness And In Hell 06:24
3. Silenced 04:33
4. Manitou (Venom cover) 03:04
5. Mask Of Sanity 05:02

Disease Demo 1993:
6. Nailed To The Cross 03:53
7. Bleed 05:32
8. Chopped Up At The Altar 03:46
9. Death Before Dismember 05:59

Into The Gates Of Insanity Demo 1992:
10. Communion 06:32
11. Inner Sanctum 06:24
12. Into The Gates Of Insanity 08:14
13. Comatosed 06:55
14. Death Belch In Bm 00:13


Tracks 1-3 Recorded at RT Audio Garden City MI, January 1995
Tracks 4-5 Recorded at The Noise Chamber, Rockford IL, July 1995
Tracks 6-9 Recorded at RT Audio, January 1993
Tracks 10-14 taken from 1991 demo



..::OBSADA::..

Lead guitar on Tracks 1-3 by Billy Mills
Lead guitar on Track 5 by Tony Moreno
Lead guitar on Disease demo by Michael Ditch

Bass, Vocals, Keyboards - Mark Ditch
Drums - Scott Ditch



https://www.youtube.com/watch?v=Pcc9dX1R8OM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja drugiej płyty z 1997 roku w wykonaniu amerykańskiego GUTTED. Jako bonus CD zawiera również dwie demówki: 'Disease' 1993 i 'Into the Gates of Insanity' 1992.
Intensywny, ciężki i miażdżący death metal!


GUTTED, the American Death Metal band, has reissued their 1997 material. The album is characterized by its heavy and intense sound typical of US death metal. Furthermore, the CD features both demos: 'Disease' from 1993 and 'Into the Gates of Insanity' from 1992.



..::TRACK-LIST::..

Gutted:
1. Suffer In Exile 04:32
2. In Sickness And In Hell 06:24
3. Silenced 04:33
4. Manitou (Venom cover) 03:04
5. Mask Of Sanity 05:02

Disease Demo 1993:
6. Nailed To The Cross 03:53
7. Bleed 05:32
8. Chopped Up At The Altar 03:46
9. Death Before Dismember 05:59

Into The Gates Of Insanity Demo 1992:
10. Communion 06:32
11. Inner Sanctum 06:24
12. Into The Gates Of Insanity 08:14
13. Comatosed 06:55
14. Death Belch In Bm 00:13


Tracks 1-3 Recorded at RT Audio Garden City MI, January 1995
Tracks 4-5 Recorded at The Noise Chamber, Rockford IL, July 1995
Tracks 6-9 Recorded at RT Audio, January 1993
Tracks 10-14 taken from 1991 demo



..::OBSADA::..

Lead guitar on Tracks 1-3 by Billy Mills
Lead guitar on Track 5 by Tony Moreno
Lead guitar on Disease demo by Michael Ditch

Bass, Vocals, Keyboards - Mark Ditch
Drums - Scott Ditch



https://www.youtube.com/watch?v=Pcc9dX1R8OM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Długo oczekiwana czwarta duża płyta długodystansowców z Kanady!
41 zabójczy grindcore'owych numerów przesiąkniętych obsesją na punkcie seryjnych morderców!
To jest ostra 'napierdalanka', nie spodziewajcie się cudów...



..::TRACK-LIST::..

1. Obsessive Compulsive 2:05
2. Underground Terror 1:06
3. Adam J. Morris 0:49
4. Charles Sobhraj 0:15
5. Abdel Nasser Ibrahim Mahmoud 0:29
6. By My Hands 1:19
7. Leonard Lake 0:21
8. Bilos 1:13
9. The Perfect Prey 0:56
10. Dirty Christ 0:51
11. Gilles Pimpare 1:24
12. Jacques Duchesne 1:10
13. Camille Noel 0:40
14. Richard Christian Hansen 1:19
15. Zero Tolerance 0:50
16. George Vera 1:14
17. Guy Georges 0:51
18. Richard Barnabe 0:50
19. Moose II 0:12
20. Jaws 1:17
21. Someone Else Living Your Life 0:42
22. Turn Away And Face The End 1:00
23. Can't Repair 1:07
24. Shortest Life 1:19
25. Bai Baoshan 0:36
26. Obscene Sounds 0:26
27. Parasiting Mental Infection 0:50
28. Tim Kretschmer 0:44
29. Guilty Of Being There 1:33
30. Slowly... Sharply... 0:51
31. Somewhere, Anywhere 1:34
32. Something's Wrong 0:54
33. Sipho Mandla Agmatir Thwala 0:05
34. Wrong Headed 0:29
35. Empty World 0:26
36. ...To The Death 1:10
37. Collective Paranoia 0:44
38. Charles Chi-tat Ng 1:12
39. Clifford Orgy II 0:27
40. Ahmad Suradji 2:18
41. Demers 0:23



..::OBSADA::..

Vocals [Vocal], Layout - Steve
Drums - Dan
Guitar - Fred
Bass, Recorded By [All Done By] - Jack

Backing Vocals [Back Vocals By] - The Moose Mafia
Backing Vocals, Guest [Special Appearance By] - Simon Frost




https://www.youtube.com/watch?v=bm4Hj7hnJhE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Długo oczekiwana czwarta duża płyta długodystansowców z Kanady!
41 zabójczy grindcore'owych numerów przesiąkniętych obsesją na punkcie seryjnych morderców!
To jest ostra 'napierdalanka', nie spodziewajcie się cudów...



..::TRACK-LIST::..

1. Obsessive Compulsive 2:05
2. Underground Terror 1:06
3. Adam J. Morris 0:49
4. Charles Sobhraj 0:15
5. Abdel Nasser Ibrahim Mahmoud 0:29
6. By My Hands 1:19
7. Leonard Lake 0:21
8. Bilos 1:13
9. The Perfect Prey 0:56
10. Dirty Christ 0:51
11. Gilles Pimpare 1:24
12. Jacques Duchesne 1:10
13. Camille Noel 0:40
14. Richard Christian Hansen 1:19
15. Zero Tolerance 0:50
16. George Vera 1:14
17. Guy Georges 0:51
18. Richard Barnabe 0:50
19. Moose II 0:12
20. Jaws 1:17
21. Someone Else Living Your Life 0:42
22. Turn Away And Face The End 1:00
23. Can't Repair 1:07
24. Shortest Life 1:19
25. Bai Baoshan 0:36
26. Obscene Sounds 0:26
27. Parasiting Mental Infection 0:50
28. Tim Kretschmer 0:44
29. Guilty Of Being There 1:33
30. Slowly... Sharply... 0:51
31. Somewhere, Anywhere 1:34
32. Something's Wrong 0:54
33. Sipho Mandla Agmatir Thwala 0:05
34. Wrong Headed 0:29
35. Empty World 0:26
36. ...To The Death 1:10
37. Collective Paranoia 0:44
38. Charles Chi-tat Ng 1:12
39. Clifford Orgy II 0:27
40. Ahmad Suradji 2:18
41. Demers 0:23



..::OBSADA::..

Vocals [Vocal], Layout - Steve
Drums - Dan
Guitar - Fred
Bass, Recorded By [All Done By] - Jack

Backing Vocals [Back Vocals By] - The Moose Mafia
Backing Vocals, Guest [Special Appearance By] - Simon Frost




https://www.youtube.com/watch?v=bm4Hj7hnJhE



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

...( Info )...

Artists: Epic Score
Title: Epic Hybrid Action - No Turning Back Now
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2024
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 214 MB
Tracks total: 12
Duration total: [00:35:40]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 22.0 MiB
Duration            : 3 min 37 s
Overall bit rate mode     : Variable
Overall bit rate        : 851 kb/s
Album             : Epic Hybrid Action: No Turning Back Now
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Relentless Waves of Attack
Track name/Position      : 1
Track name/Total        : 24
Performer           : Epic Score
Recorded date         : 2024
Copyright           : 2024 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 37 s
Bit rate mode         : Variable
Bit rate            : 840 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 21.7 MiB (99%)

...( TrackList )...

1-12

Epic Score - Relentless Waves of Attack
Epic Score - No Turning Back Now
Epic Score - Grand Odyssey
Epic Score - Boldest Plan
Epic Score - Forsaken Legacy
Epic Score - Fateful Decision
Epic Score - Fallen Gods
Epic Score - Long Shadow of the Empire
Epic Score - Journey to the Core
Epic Score - Never Forget the Ones We Lost
Epic Score - Can’t Escape the Darkness
Epic Score - The Last Stand

...( Info )...

Artists: Epic Score
Title: Epic Action - Forging New Heroes
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2021
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 264 MB
Tracks total: 12
Duration total: [00:46:27]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 20.6 MiB
Duration            : 3 min 41 s
Overall bit rate mode     : Variable
Overall bit rate        : 781 kb/s
Album             : Epic Action: Forging New Heroes
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Monoliths of Another Age
Track name/Position      : 1
Track name/Total        : 23
Performer           : Epic Score
Recorded date         : 2024
Copyright           : 2024 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 41 s
Bit rate mode         : Variable
Bit rate            : 765 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 20.2 MiB (98%)

...( TrackList )...

1-12

Epic Score - Monoliths of Another Age
Epic Score - Forging New Heroes
Epic Score - Not Coming Back from This One
Epic Score - Hostile Lunar Takeover
Epic Score - It's All Riding on This
Epic Score - Fight to Save This World
Epic Score - Our Honor Is at Stake
Epic Score - Infinite Power
Epic Score - Falling City
Epic Score - Broken Mission
Epic Score - A Man Is Down
Epic Score - Antimatter Breach

...( Info )...

Artists: Epic Score
Title: Maximum Impact
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2025
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 272 MB
Tracks total: 12
Duration total: [00:41:02]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 28.1 MiB
Duration            : 4 min 17 s
Overall bit rate mode     : Variable
Overall bit rate        : 915 kb/s
Album             : Maximum Impact
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Maximum Impact
Track name/Position      : 1
Track name/Total        : 24
Performer           : Epic Score
Recorded date         : 2025
Copyright           : 2025 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 17 s
Bit rate mode         : Variable
Bit rate            : 911 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 28.0 MiB (100%)

...( TrackList )...

1-12

Epic Score - Maximum Impact
Epic Score - Alien Attack Siren
Epic Score - Oceans of Power
Epic Score - The Rush of Battle
Epic Score - Most Glorious Quest
Epic Score - Hit Back With Everything
Epic Score - Zero Hour Squad
Epic Score - Endless Adventure
Epic Score - You Must Learn to Fly
Epic Score - Rise to Meet the Chaos
Epic Score - We Shall Proudly Go
Epic Score - Hunting the Darkness

...( Info )...

Artists: Epic Score
Title: Doomsday Weapon
Type/Genre: Epic, Orchestral, Cinematic, Film, Score, Instrumental, Soundtrack
Release date: 2024
Source: TIDAL
Bit-depth / Sampling rate: 16-bit/44.1kHz
Channels: 2.0 - Stereo
Format: FLAC
Size total: 244 MB
Tracks total: 12
Duration total: [00:40:05]

...( Dane Techniczne )...

Format             : FLAC
Format/Info          : Free Lossless Audio Codec
File size           : 18.3 MiB
Duration            : 2 min 55 s
Overall bit rate mode     : Variable
Overall bit rate        : 873 kb/s
Album             : Doomsday Weapon
Album/Performer        : Epic Score
Part              : 1
Part/Total           : 1
Track name           : Vortex Is Opening
Track name/Position      : 1
Track name/Total        : 24
Performer           : Epic Score
Recorded date         : 2024
Copyright           : 2024 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 55 s
Bit rate mode         : Variable
Bit rate            : 851 kb/s
Channel(s)           : 2 channels
Channel layout         : L R
Sampling rate         : 44.1 kHz
Bit depth           : 16 bits
Compression mode        : Lossless
Stream size          : 17.8 MiB (97%)

...( TrackList )...

1-12

Epic Score - Vortex Is Opening
Epic Score - Doomsday Weapon
Epic Score - She Can Save Us
Epic Score - Carry Yourself With Honor
Epic Score - Incredible Fighting Force
Epic Score - We Are the Enemy Now
Epic Score - Singularity
Epic Score - Down the Rabbit Hole
Epic Score - Banished
Epic Score - Enter the Colesium
Epic Score - Never Back Down
Epic Score - For Everyone Back Home

..::INFO::..

Bread to amerykańska grupa muzyczna grająca folk rock. Została założona w Los Angeles w 1969 roku, W 1970 roku ich utwór "Make It With You" stał się nr 1 na liście Billboard, zaś w 1971 "If" stało się hitem ogólnoświatowym. Grupa została rozwiązana w 1978 roku. Lider zespołu, David Gates jest kompozytorem wszystkich utworów. Wstawka zawiera piąty album studyjny zespołu.

Title: Guitar Man

Artist: Bread

Country: USA

Year: 1972

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Welcome To The Music
2.The Guitar Man
3.Make It By Yourself
4.Aubrey
5.Fancy Dancer
6.Sweet Surrender
7.Tecolote
8.Let Me Go
9.Yours For Life
10.Picture In Your Mind
11.Don't Tell Me No
12.Didn't Even Know Her Name

..::INFO::..

Debiutancki album studyjny (wcześniej wydali jedynie demówkę) hiszpańskiego zespołu streetpunkowego z Orihueala.

Title: Ideas Claras

Artist: Impetum

Country: Hiszpania

Year: 2017

Genre: Street Punk, Oi

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Dinero por Sangre
2.Ideas Claras
3.Al Infierno
4.Donde Estan
5.Hasta Nunca Orgullo Blanco
6.Impetum
7.Levante en Bruto
8.En Pie
9.Grandes Hazanas
10.En su Lugar
11.Holligans

https://www.youtube.com/watch?v=wKBchlV48dY

Artist...............: Eurythmics
Album................: Live 1983-1989 (Live)
Genre................: Pop
Year.................: 1993



001. Eurythmics - Never Gonna Cry Again (Live)
002. Eurythmics - Love Is A Stranger (Live)
003. Eurythmics - Sweet Dreams (Are Made Of This) (Live)
004. Eurythmics - This City Never Sleeps (Live)
005. Eurythmics - Somebody Told Me (Live)
006. Eurythmics - Who's That Girl (Live)
007. Eurythmics - Right By Your Side (Live)
008. Eurythmics - Here Comes the Rain Again (Live)
009. Eurythmics - Sex Crime (1984) (Live)
010. Eurythmics - I Love You Like A Ball And Chain (Live)
011. Annie Lennox - Would I Lie to You (Live)
012. Eurythmics - There Must Be An Angel (Playing With My Heart) (Live)
013. Eurythmics - Thorn In My Side (Live)
014. Eurythmics - Let's Go (Live)
015. Eurythmics - Missionary Man (Live)
016. Eurythmics - The Last Time (Live)
017. Eurythmics - Miracle Of Love (Live)
018. Eurythmics - I Need A Man (Live)
019. Eurythmics - We Two Are One (Live)
020. Eurythmics - (My My) Baby's Gonna Cry (Live)
021. Eurythmics - Don't Ask Me Why (Live)
022. Eurythmics - Angel (Live)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będący multimetalowym maniakiem Blakkheim nie poprzestał na pojedynczej black metalowej płycie i już po roku wydał następcę genialnego „Ravendusk In My Heart” pod szyldem Diabolical Masquerade. Na „The Phantom Lodge” znów jest groźnie, znów obrazowo, znów coś tam dośpiewał Dan Swanö, choć tym razem gości jest więcej, między innymi na fletach. Najważniejsze jednak, że znowu udało się sklecić przejmujące i pochłaniające dzieło.

Muzykę Diabolical Masquerade cechuje niebywała plastyczność. Gitary wraz z klawiszami układają się w całe, pędzące po nocy, obrazy. „In dreams and visions I saw the beast rise again.” Tymi słowami zaczyna się ta płyta i ja właśnie przez cały już czas czuję się jak bym był w jakimś fascynującym śnie, gdzie w środku nocy i ciemnego lasu, pod gołym niebem, dzieją się rzeczy mroczne i niebywałe. Blakkheim dba o wartkość akcji, zmienność temp i burzliwość fabuły. Szybkie i ostre blackowe riffy mieszają się z przestrzennymi klawiszowo i akustycznie uspokojeniami, a krzykliwy wokal oddaje pola sporadycznym czystym śpiewom i wielu mówionym kwestiom, które nadają opowieści epickiego i nastrojowego charakteru. Takie „Ravenclaw” czy „The Blazing Demondome Of Murmurs And Secrecy” to są kompozycyjne majstersztyki. W utrzymaniu odpowiedniej atmosfery pomaga też akustyczny numer instrumentalny „Cross The Open Vault And Away…”

Mimo całego zauroczenia czarem tej płyty, muszę przyznać, że pod względem przebojowości nie dorównuje ona jednak poprzedniczce. Na „Ravendusk In My Heart” co i rusz natykaliśmy się na jakieś smaczki w postaci chwytliwych zagrywek i wokali, a tu pod tym względem jest bardziej skromnie. Na pewno przemawia ostrość i kreatywność gitar oraz wokali w „The Puzzling Constellation Of A Deathrune”, na pewno uderza szybkość fragmentów "The Walk Of The Hunchbacked", na pewno ujmuje melodyjność „Cloaked By The Moonshine Mist”, na pewno zwraca uwagę hiciarski „Hater”, gdzie właśnie swoje kwestie wyciąga „Dan Swanö” i wreszcie na pewno porywa „Upon The Salty Wall Of The Broody Gargoyle", który tutaj wręcz bryluje swoim refrenem, ale właśnie takich wybijających się momentów jest mniej i stąd minus przy końcowej ocenie.

Nic jednak nie zmieni faktu, że „The Phantom Lodge” to płyta natchniona, wciągająca i absorbująca swoim magicznym światem. Słuchanie takiej muzyki to czysta przyjemność, wręcz jak uczestniczenie w jakimś przedstawieniu. Zamykając oczy można znaleźć się daleko od rzeczywistości, wśród koszmarnych postaci: „Far away from the light, creatures of the night, ghouls from the gravesite, corpse of the deathrite.”

Wujas


Second album of haunting, atmospheric black metal from Katatonia’s Anders Nystrom.

“…it’s obvious that we have another Diabolical masterpiece here” – The Metal Observer

Diabolical Masquerade was the solo-project launched by Katatonia mastermind Anders Blackheim Nyström.

The Phantom Lodge was the second of four albums from this symphonic Extreme Metal solo-project, and was originally released in 1997.

Diabolical Masquerade was based primarily around symphonic/melodic black metal. Strong atmospheres were created through layered guitar and keyboards (and notably, flute, on this album), and Blackheim’s compositions contained more up tempo and extreme elements than those of Katatonia.



I am honoured to add my review of this album, since I came to a point where I finally felt like I understood it.

My opinion on Blackheims second release may be different from others, but I know most of you will agree with what I am to say.
Ravendusk in my Heart was an album that I didn’t pay much attention to (as much as the rest of his releases in other words). It wasn’t really the album I liked most, and I must say that Blackheims style and skill has evolved. In The Phantom Lodge, the tunes hypnotized me at once. I felt more vicious beauty in the music, the tunes where cleaner and it wasn’t as “chaotic” as the previous release. I would call it more of a melodic sound with more power-metal influences.

The guitar riffs neither sound better nor worse, but the music itself has more effects and keyboards involved, which gives the feeling of a wider environment as you listen to it. The environment that is built inside you can sometimes make you feel calm and comfortable, but when you think of it, every single piece of what is drilled into your ears and soul is madness.
The drums are quite simple, but it doesn’t bother me at all as long as it fits. Dan Swanö is impressive as usual, and the balance between guitars and drums is very neutral.
Black metal “singing” is always a hard to figure out whether it’s good or bad. But I think Diabolical Masquerade is of my favourites when it comes to that. I think of all the trouble I’ve had when I listened to Burzum for a bad example. DM’s lyrics are very mysterious and spiritual and it fits perfectly into the music. Some may say that listening to Diabolical Masquerade is a good thing because the true feeling is brought to you by the music, and the lyrics are just an effect of darkness and evil. I can agree with that to a certain point, but the lyrics are sometimes very important. I like the lyrics especially in Cloaked By The Moonshine Mist, which is also a very impressive mixture of beautiful and evil tunes.

I will end this review by saying that The Phantom Lodge isn’t much of a beginner’s choice when it comes to Diabolical Masquerade, but it's still a masterpiece that you can't miss.

Foolish Mortal



..::TRACK-LIST::..

1. Astray Within The Coffinwood Mill 04:09
2. The Puzzling Constellation Of A Deathrune 06:10
3. Ravenclaw 08:17
4. The Walk Of The Hunchbacked 04:32
5. Cloaked By The Moonshine Mist 05:14
6. Across The Open Vault And Away... 01:52
7. Hater 02:39
8. The Blazing Demondome Of Murmurs And Secrecy 05:01
9. Upon The Salty Wall Of The Broody Gargoyle 04:54



..::OBSADA::..

Blakkheim - guitars, bass guitar, programming, keyboard, vocals, producer, artwork, art director

Additional personnel:
Sean C. Bates - drums, percussion
Dan Swanö - vocals on 'Hater', producer, engineering, mixing
Roger Öberg - vocals on 'Astray Within the Coffinwood Mill'
Igmar Dohn - bass on 'Cloaked by the Moonshine Mist'
Marie Gaard Engberg - flute on tracks 5 and 6
Tina Sahlstedt - flute on tracks 5 and 6




https://www.youtube.com/watch?v=QRD-xUXrFls



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będący multimetalowym maniakiem Blakkheim nie poprzestał na pojedynczej black metalowej płycie i już po roku wydał następcę genialnego „Ravendusk In My Heart” pod szyldem Diabolical Masquerade. Na „The Phantom Lodge” znów jest groźnie, znów obrazowo, znów coś tam dośpiewał Dan Swanö, choć tym razem gości jest więcej, między innymi na fletach. Najważniejsze jednak, że znowu udało się sklecić przejmujące i pochłaniające dzieło.

Muzykę Diabolical Masquerade cechuje niebywała plastyczność. Gitary wraz z klawiszami układają się w całe, pędzące po nocy, obrazy. „In dreams and visions I saw the beast rise again.” Tymi słowami zaczyna się ta płyta i ja właśnie przez cały już czas czuję się jak bym był w jakimś fascynującym śnie, gdzie w środku nocy i ciemnego lasu, pod gołym niebem, dzieją się rzeczy mroczne i niebywałe. Blakkheim dba o wartkość akcji, zmienność temp i burzliwość fabuły. Szybkie i ostre blackowe riffy mieszają się z przestrzennymi klawiszowo i akustycznie uspokojeniami, a krzykliwy wokal oddaje pola sporadycznym czystym śpiewom i wielu mówionym kwestiom, które nadają opowieści epickiego i nastrojowego charakteru. Takie „Ravenclaw” czy „The Blazing Demondome Of Murmurs And Secrecy” to są kompozycyjne majstersztyki. W utrzymaniu odpowiedniej atmosfery pomaga też akustyczny numer instrumentalny „Cross The Open Vault And Away…”

Mimo całego zauroczenia czarem tej płyty, muszę przyznać, że pod względem przebojowości nie dorównuje ona jednak poprzedniczce. Na „Ravendusk In My Heart” co i rusz natykaliśmy się na jakieś smaczki w postaci chwytliwych zagrywek i wokali, a tu pod tym względem jest bardziej skromnie. Na pewno przemawia ostrość i kreatywność gitar oraz wokali w „The Puzzling Constellation Of A Deathrune”, na pewno uderza szybkość fragmentów "The Walk Of The Hunchbacked", na pewno ujmuje melodyjność „Cloaked By The Moonshine Mist”, na pewno zwraca uwagę hiciarski „Hater”, gdzie właśnie swoje kwestie wyciąga „Dan Swanö” i wreszcie na pewno porywa „Upon The Salty Wall Of The Broody Gargoyle", który tutaj wręcz bryluje swoim refrenem, ale właśnie takich wybijających się momentów jest mniej i stąd minus przy końcowej ocenie.

Nic jednak nie zmieni faktu, że „The Phantom Lodge” to płyta natchniona, wciągająca i absorbująca swoim magicznym światem. Słuchanie takiej muzyki to czysta przyjemność, wręcz jak uczestniczenie w jakimś przedstawieniu. Zamykając oczy można znaleźć się daleko od rzeczywistości, wśród koszmarnych postaci: „Far away from the light, creatures of the night, ghouls from the gravesite, corpse of the deathrite.”

Wujas


Second album of haunting, atmospheric black metal from Katatonia’s Anders Nystrom.

“…it’s obvious that we have another Diabolical masterpiece here” – The Metal Observer

Diabolical Masquerade was the solo-project launched by Katatonia mastermind Anders Blackheim Nyström.

The Phantom Lodge was the second of four albums from this symphonic Extreme Metal solo-project, and was originally released in 1997.

Diabolical Masquerade was based primarily around symphonic/melodic black metal. Strong atmospheres were created through layered guitar and keyboards (and notably, flute, on this album), and Blackheim’s compositions contained more up tempo and extreme elements than those of Katatonia.



I am honoured to add my review of this album, since I came to a point where I finally felt like I understood it.

My opinion on Blackheims second release may be different from others, but I know most of you will agree with what I am to say.
Ravendusk in my Heart was an album that I didn’t pay much attention to (as much as the rest of his releases in other words). It wasn’t really the album I liked most, and I must say that Blackheims style and skill has evolved. In The Phantom Lodge, the tunes hypnotized me at once. I felt more vicious beauty in the music, the tunes where cleaner and it wasn’t as “chaotic” as the previous release. I would call it more of a melodic sound with more power-metal influences.

The guitar riffs neither sound better nor worse, but the music itself has more effects and keyboards involved, which gives the feeling of a wider environment as you listen to it. The environment that is built inside you can sometimes make you feel calm and comfortable, but when you think of it, every single piece of what is drilled into your ears and soul is madness.
The drums are quite simple, but it doesn’t bother me at all as long as it fits. Dan Swanö is impressive as usual, and the balance between guitars and drums is very neutral.
Black metal “singing” is always a hard to figure out whether it’s good or bad. But I think Diabolical Masquerade is of my favourites when it comes to that. I think of all the trouble I’ve had when I listened to Burzum for a bad example. DM’s lyrics are very mysterious and spiritual and it fits perfectly into the music. Some may say that listening to Diabolical Masquerade is a good thing because the true feeling is brought to you by the music, and the lyrics are just an effect of darkness and evil. I can agree with that to a certain point, but the lyrics are sometimes very important. I like the lyrics especially in Cloaked By The Moonshine Mist, which is also a very impressive mixture of beautiful and evil tunes.

I will end this review by saying that The Phantom Lodge isn’t much of a beginner’s choice when it comes to Diabolical Masquerade, but it's still a masterpiece that you can't miss.

Foolish Mortal



..::TRACK-LIST::..

1. Astray Within The Coffinwood Mill 04:09
2. The Puzzling Constellation Of A Deathrune 06:10
3. Ravenclaw 08:17
4. The Walk Of The Hunchbacked 04:32
5. Cloaked By The Moonshine Mist 05:14
6. Across The Open Vault And Away... 01:52
7. Hater 02:39
8. The Blazing Demondome Of Murmurs And Secrecy 05:01
9. Upon The Salty Wall Of The Broody Gargoyle 04:54



..::OBSADA::..

Blakkheim - guitars, bass guitar, programming, keyboard, vocals, producer, artwork, art director

Additional personnel:
Sean C. Bates - drums, percussion
Dan Swanö - vocals on 'Hater', producer, engineering, mixing
Roger Öberg - vocals on 'Astray Within the Coffinwood Mill'
Igmar Dohn - bass on 'Cloaked by the Moonshine Mist'
Marie Gaard Engberg - flute on tracks 5 and 6
Tina Sahlstedt - flute on tracks 5 and 6




https://www.youtube.com/watch?v=QRD-xUXrFls



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

...( Info )...

Artist: Various Artists
Album: The Classic 60's
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Sonny & Cher - I Got You Babe
02. Percy Sledge - When a Man Loves a Woman
03. Little Eva - The Locomotion
04. The Monkees - I’m a Believer
05. Otis Redding - (Sittin’ On) The Dock of the Bay
06. Gerry & The Pacemakers - You'll Never Walk Alone
07. Ben E. King - Stand by Me
08. Aretha Franklin - Respect
09. The Drifters - Under the Boardwalk
10. Tommy James & The Shondells - I Think We’re Alone Now
11. Ike & Tina Turner - I'm Thru with Love
12. Eddie Floyd - Knock on Wood
13. Dionne Warwick - Walk On By
14. Shirley Bassey - Goldfinger
15. Dr. John - Mama Roux
16. Noel Harrison - Windmills of Your Mind
17. Harpers Bizarre - 59th Street Bridge Song (Feelin' Groovy)
18. The Lively Ones - Miserlou
19. Lou Christie - A Teenager in Love
20. The Rascals - Groovin’
21. Judy Collins - Both Sides Now
22. The Paul Butterfield Blues Band - Born in Chicago
23. Sarah Vaughan - In a Sentimental Mood
24. The Electric Prunes - I Had Too Much to Dream (Last Night)
25. Adam Faith - Diamond Ring
26. Peter And Gordon - I Go to Pieces
27. The Four Seasons - Silence Is Golden
28. The Meters - Cissy Strut
29. Love - Alone Again Or
30. Grateful Dead - China Cat Sunflower
31. The Honeycombs - Have I the Right
32. Peter Sarstedt - Where Do You Go To (My Lovely)
33. Cher - Lay, Baby, Lay
34. The Capitols - Cool Jerk
35. The Association - Never My Love
36. Carla Thomas - B-A-B-Y
37. Cliff Richard - The Day I Met Marie
38. Connie Stevens - Mr. Songwriter
39. Rufus Thomas - Walking the Dog
40. Frankie Valli & The Four Seasons - Sherry
41. Booker T. & The M.G.'s - Green Onions
42. The Impressions - This Is My Country
43. Crosby, Stills & Nash - Suite Judy Blue Eyes
44. The Shadows - Apache
45. The Doors - Light My Fire (Radio Edit)
46. Wilson Pickett - Mustang Sally
47. Buffalo Springfield - For What It’s Worth
48. Sam & Dave - Soul Man
49. Lou Johnson - Rock Me Baby
50. Mel Tormé - Comin' Home Baby
51. Cilla Black - Alfie
52. The Bar-Kays - Soul Finger
53. The Yardbirds - Glimpses
54. Solomon Burke - Cry to Me
55. The Mar-Keys - Sack O' Woe

...( Info )...

Artist: Various Artists
Album: 90's Shortlist Best Hits Big Bangers
Year: 2025
Format: mp3 320 kbps

...( TrackList )...

01. Roxette - Joyride
02. Madonna - Vogue
03. Rod Stewart - Rhythm of My Heart
04. Pet Shop Boys - Go West (2003 Remaster)
05. Nada Surf - Popular
06. THE GOO GOO DOLLS - Iris
07. Spacehog - In the Meantime
08. Cher - Believe
09. Duran Duran - Ordinary World
10. Babylon Zoo - Spaceman
11. Tina Turner - Goldeneye
12. Mark Morrison - Return of the Mack
13. The Pretenders - I’ll Stand by You
14. Red Hot Chili Peppers - Breaking the Girl
15. Damn Yankees - High Enough
16. Deee-Lite - Groove Is in the Heart
17. Gina G - Ooh Aah...Just a Little Bit (Motiv8 Radio Edit)
18. En Vogue - Don't Let Go (Love)
19. Brandy - The Boy Is Mine (Radio Edit)
20. All-4-One - I Swear
21. The Corrs - What Can I Do (Tin Tin Out Remix)
22. All Saints - Never Ever
23. Green Day - Basket Case
24. Missy Elliott - The Rain (Supa Dupa Fly)
25. Mase - Feel So Good

Artist: Def Leppard
Album: Adrenalize
Year: 2009
Genre: Hard Rock
Format: Flac



Adrenalize Remastered:
1-01 Def Leppard– Let's Get Rocked 4:56
1-02 Def Leppard– Heaven Is 3:37
1-03 Def Leppard– Make Love Like A Man 4:13
1-04 Def Leppard– Tonight 4:03
1-05 Def Leppard– White Lightning 7:03
1-06 Def Leppard– Stand Up (Kick Love Into Motion)
Keyboards – Phil "Crash" Nicholas*
4:31
1-07 Def Leppard– Personal Property 4:20
1-08 Def Leppard– Have You Ever Needed Someone So Bad 5:25
1-09 Def Leppard– I Wanna Touch U 3:38
1-10 Def Leppard– Tear It Down 3:38
In The Club In Your Face - Bonn 29/05/92:
2-01 Def Leppard– Hysteria 7:18
2-02 Def Leppard– Photograph 4:44
2-03 Def Leppard– Pour Some Sugar On Me 5:09
2-04 Def Leppard– Let's Get Rocked 5:46
Adrenalize B-Sides:
2-05 Def Leppard With Hothouse Flowers– You Can't Always Get What You Want 7:43
2-06 Def Leppard With Hothouse Flowers– Little Wing 3:40
2-07 Def Leppard– Tonight (Demo Version 2) 4:24
2-08 Def Leppard Featuring Brian May– Now I'm Here (Live) 6:03
2-09 Def Leppard– Two Steps Behind (Acoustic) 4:11
2-10 Def Leppard– Tonight (Acoustic - Sun Studios Version) 4:16
2-11 Def Leppard– Too Late For Love (Live) 6:04
2-12 Def Leppard– Women (Live) 6:34

Artist: Van Halen
Album: 1984
Year: 1984
Genre: Hard Rock
Format: Flac



01. Van Halen - 1984 [00:01:07]
02. Van Halen - Jump [00:04:01]
03. Van Halen - Panama [00:03:30]
04. Van Halen - Top Jimmy [00:03:00]
05. Van Halen - Drop Dead Legs [00:04:14]
06. Van Halen - Hot For Teacher [00:04:43]
07. Van Halen - Ill Wait [00:04:40]
08. Van Halen - Girl Gone Bad [00:04:34]
09. Van Halen - House Of Pain [00:03:18]

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Militia was insanity locked away in a cage. They were pretty hard to classify, it was just over the top crazy fast metal. With Assalant here we have a more structured 'cleaner' band that's probably safe to call straight up power/thrash, though they're certainly not fancy and don't really have an 'epic' influence here or anything (Deadly Blessing as an example). Well if you want you could probably ditch the power tag and say they're just really melodic. Mike Soliz on vocals whom kicked ass on Militia (though I wonder how his lungs didn't explode from the nonstop shrieking), gives off an incredible and more varied performance here, quite possibly his finest. Certainly better than his clean melodic approach with the next obscure band he'd join, Oblivion Knight. Here he's pretty aggressive with some well timed screams and shrieks, at times he sounds comparable to James Rivera (though both sound different with the shrieks). That's an excellent comparison to bring up because I believe this material here reminds me quite a bit of Helstar's thrashier effort, Nosferatu. The rhythms and guitar work here are definitely not quite as "odd" as Helstar's always been known for, but there's definitely a ton of variety here, multiple solo's on each track, music seems to keep progressing and is for the most part rather unpredictable.

All in all this is truly another lost gem. If you somehow know about Militia and enjoyed their stuff, definitely check this demo out if possible. Obviously the production here is very limited being a demo and all, but the mix is really good, you just gotta blast that volume. If you enjoy stuff like Helstar's Nosferatu, Liege Lord's Master Control, Attacker's The Second Coming, Deadly Blessing's Ascend from the Cauldron, Tyrant Reign's EP, and so forth - you're really going to enjoy this.

Xeogred



Sensationeller Texas Thrash!

In den letzten Jahren erscheinen wöchentlich Demos aus den 80ern, die angeblich damals Kult waren. Während man als Freund dieser Klänge oft froh ist, endlich eine klangtechnisch vernünftige Version der längst ausgenudelten Magnetbänder in Händen halten zu dürfen, muss man doch gerade in letzter Zeit immer wieder schmunzeln, was denn angeblich alles Kult gewesen sein soll. Völlig außer Zweifel steht dieses Attribut bei der hier vorliegenden Veröffentlichung aus dem Hause FHM Records, die uns erst kürzlich mit feinem Stoff aus dem Hause SIREN erfreuen konnten. Die Rede ist von einem der "wichtigsten" Demos aus dem Segment "Texas Thrash". Eingeweihte schnalzen hier bereits mit der Zunge, denn in diesem Staat wurde damals der heißeste Scheiß gebrutzelt, wenn es um technisch anspruchsvollen Thrash ging. Ich sage nur WATCH TOWER. Aber diese Band ist ja nur die Spitze dieses Eisberges, denn mit S.A. SLAYER, HELSTAR, PREMONITION, ACRIDITY, OBLVION KNIGHT, ELDRITCH RITE, JUGGERNAUT oder SYRUS kamen und kommen noch etliche Bands aus dieser Region, die fantastisches Material veröffentlichen konnten. Ein ganz heißes Eisen hörte damals auf den Namen ASSALANT und hat tatsächlich nur ein 3-Song-Demo veröffentlicht. Dieses allerdings in zwei verschiedenen Versionen.

Wieso denn das? Nun, die ganz einfach Antwort lautet: Man hatte lange Zeit keinen festen Sänger. So bot sich Hans-Master-In-Allen-Gassen Jason von WATCHTOWER an, für sie die drei Songs ihres Demos einzusingen. Allerdings stand von Beginn an fest, dass er kein festes Mitglied der Band werden würde. Glücklicherweise schleppte er zu den Aufnahmen seinen Kumpel Mike Soliz mit, der kurz zuvor seinen Sängerposten bei MILITIA hingeschmissen hatte. Er wollte eventuell ein paar backing vocals beisteuern. Das Ergebnis dieser Kollaboration war, dass Mike die Songs so gut gefielen, dass er danach bei ASSALANT einstieg und man einfach die Songs mit seinem Gesang noch einmal neu aufnahm.

Da das Tape mit Jasons' Gesang nur sehr spärlich in Umlauf geriet, ist es eine doppelte Freude auf diesem Silberling beide Versionen genießen zu dürfen. Vor allem, weil sich die Songs durch die sehr unterschiedlichen Klangfarben der beiden Sänger deutlich voneinander unterscheiden.

Sicher, ungeübte Ohren hören hier zwei Vokalakrobaten, die in relativ hohen Höhen herumschrillen, aber der erprobte Schrillings-Liebhaber erkennt die Unterschiede. Das Organ von Jason ist insgesamt deutlich kratziger, während Mike insgesamt schriller klingt. Als alter WATCHTOWER-Fanatic stehe ich minimal mehr auf das etwas chaotischer klingende Tape mit Jason, aber auch die Version mit Mister Soliz ist absolute Spitzenklasse.

Musikalisch bietet man natürlich genau den Stoff, den man hier erwarten darf. Abgehackte, verschachtelte Rhythmen, prominente Bass-Attacken und Gitarren-Kapriolen. Um mal eine bekanntere Band als Parallele zu nennen: Frühe HELSTAR zu "Remnants Of War"-Zeiten bieten eine etwas zugänglichere Variante dieser Spielart. Das ist natürlich kein Material, zu welchem man sofort Zugang findet, aber wenn man auf solche Musik steht und auf einen harschen, leicht höhenlastigen Klang steht, ist man hier an der richtigen Adresse. Hat man das Material erst einmal in einer anständigen Dosierung inhaliert, wird man irgendwann völlig begeistert sein. Das ist Stoff mit Langzeitwirkung!

Pflicht!



..::TRACK-LIST::..

Included two demos (same songs but two different singer).

1. Dragon Of Peace
2. The Damage Is Done
3. Insane Illusion

4. Dragon Of Peace
5. The Damage Is Done
6. Insane Illusion



..::OBSADA::..

Lead Vocals - Michael Soliz (tracks: 1 to 3), Jason McMaster (tracks: 4 to 6)
Guitar - J. B. Slimp, Louie Beltran
Bass - Darren Keeling
Drums - Mike Botello




https://www.youtube.com/watch?v=Y9xpxq8gdQ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Militia was insanity locked away in a cage. They were pretty hard to classify, it was just over the top crazy fast metal. With Assalant here we have a more structured 'cleaner' band that's probably safe to call straight up power/thrash, though they're certainly not fancy and don't really have an 'epic' influence here or anything (Deadly Blessing as an example). Well if you want you could probably ditch the power tag and say they're just really melodic. Mike Soliz on vocals whom kicked ass on Militia (though I wonder how his lungs didn't explode from the nonstop shrieking), gives off an incredible and more varied performance here, quite possibly his finest. Certainly better than his clean melodic approach with the next obscure band he'd join, Oblivion Knight. Here he's pretty aggressive with some well timed screams and shrieks, at times he sounds comparable to James Rivera (though both sound different with the shrieks). That's an excellent comparison to bring up because I believe this material here reminds me quite a bit of Helstar's thrashier effort, Nosferatu. The rhythms and guitar work here are definitely not quite as "odd" as Helstar's always been known for, but there's definitely a ton of variety here, multiple solo's on each track, music seems to keep progressing and is for the most part rather unpredictable.

All in all this is truly another lost gem. If you somehow know about Militia and enjoyed their stuff, definitely check this demo out if possible. Obviously the production here is very limited being a demo and all, but the mix is really good, you just gotta blast that volume. If you enjoy stuff like Helstar's Nosferatu, Liege Lord's Master Control, Attacker's The Second Coming, Deadly Blessing's Ascend from the Cauldron, Tyrant Reign's EP, and so forth - you're really going to enjoy this.

Xeogred



Sensationeller Texas Thrash!

In den letzten Jahren erscheinen wöchentlich Demos aus den 80ern, die angeblich damals Kult waren. Während man als Freund dieser Klänge oft froh ist, endlich eine klangtechnisch vernünftige Version der längst ausgenudelten Magnetbänder in Händen halten zu dürfen, muss man doch gerade in letzter Zeit immer wieder schmunzeln, was denn angeblich alles Kult gewesen sein soll. Völlig außer Zweifel steht dieses Attribut bei der hier vorliegenden Veröffentlichung aus dem Hause FHM Records, die uns erst kürzlich mit feinem Stoff aus dem Hause SIREN erfreuen konnten. Die Rede ist von einem der "wichtigsten" Demos aus dem Segment "Texas Thrash". Eingeweihte schnalzen hier bereits mit der Zunge, denn in diesem Staat wurde damals der heißeste Scheiß gebrutzelt, wenn es um technisch anspruchsvollen Thrash ging. Ich sage nur WATCH TOWER. Aber diese Band ist ja nur die Spitze dieses Eisberges, denn mit S.A. SLAYER, HELSTAR, PREMONITION, ACRIDITY, OBLVION KNIGHT, ELDRITCH RITE, JUGGERNAUT oder SYRUS kamen und kommen noch etliche Bands aus dieser Region, die fantastisches Material veröffentlichen konnten. Ein ganz heißes Eisen hörte damals auf den Namen ASSALANT und hat tatsächlich nur ein 3-Song-Demo veröffentlicht. Dieses allerdings in zwei verschiedenen Versionen.

Wieso denn das? Nun, die ganz einfach Antwort lautet: Man hatte lange Zeit keinen festen Sänger. So bot sich Hans-Master-In-Allen-Gassen Jason von WATCHTOWER an, für sie die drei Songs ihres Demos einzusingen. Allerdings stand von Beginn an fest, dass er kein festes Mitglied der Band werden würde. Glücklicherweise schleppte er zu den Aufnahmen seinen Kumpel Mike Soliz mit, der kurz zuvor seinen Sängerposten bei MILITIA hingeschmissen hatte. Er wollte eventuell ein paar backing vocals beisteuern. Das Ergebnis dieser Kollaboration war, dass Mike die Songs so gut gefielen, dass er danach bei ASSALANT einstieg und man einfach die Songs mit seinem Gesang noch einmal neu aufnahm.

Da das Tape mit Jasons' Gesang nur sehr spärlich in Umlauf geriet, ist es eine doppelte Freude auf diesem Silberling beide Versionen genießen zu dürfen. Vor allem, weil sich die Songs durch die sehr unterschiedlichen Klangfarben der beiden Sänger deutlich voneinander unterscheiden.

Sicher, ungeübte Ohren hören hier zwei Vokalakrobaten, die in relativ hohen Höhen herumschrillen, aber der erprobte Schrillings-Liebhaber erkennt die Unterschiede. Das Organ von Jason ist insgesamt deutlich kratziger, während Mike insgesamt schriller klingt. Als alter WATCHTOWER-Fanatic stehe ich minimal mehr auf das etwas chaotischer klingende Tape mit Jason, aber auch die Version mit Mister Soliz ist absolute Spitzenklasse.

Musikalisch bietet man natürlich genau den Stoff, den man hier erwarten darf. Abgehackte, verschachtelte Rhythmen, prominente Bass-Attacken und Gitarren-Kapriolen. Um mal eine bekanntere Band als Parallele zu nennen: Frühe HELSTAR zu "Remnants Of War"-Zeiten bieten eine etwas zugänglichere Variante dieser Spielart. Das ist natürlich kein Material, zu welchem man sofort Zugang findet, aber wenn man auf solche Musik steht und auf einen harschen, leicht höhenlastigen Klang steht, ist man hier an der richtigen Adresse. Hat man das Material erst einmal in einer anständigen Dosierung inhaliert, wird man irgendwann völlig begeistert sein. Das ist Stoff mit Langzeitwirkung!

Pflicht!



..::TRACK-LIST::..

Included two demos (same songs but two different singer).

1. Dragon Of Peace
2. The Damage Is Done
3. Insane Illusion

4. Dragon Of Peace
5. The Damage Is Done
6. Insane Illusion



..::OBSADA::..

Lead Vocals - Michael Soliz (tracks: 1 to 3), Jason McMaster (tracks: 4 to 6)
Guitar - J. B. Slimp, Louie Beltran
Bass - Darren Keeling
Drums - Mike Botello




https://www.youtube.com/watch?v=Y9xpxq8gdQ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

The Blue Light Pilot to kolejny album w dorobku fenomenalnej grupy Laboratorium - legendy polskiego jazz-rocka. Muzyka tej formacji to wieczny eksperyment, ciągłe poszukiwanie nowych środków wyrazu. Krążek ‘The Blue Light Pilot’ to zapis występu w krakowskim Teatrze STU, gdzie Marek Stryszowski oczarowuje nas doskonałą grą na saksofonie, a Janusz Grzywacz eksperymentuje z syntezatorami i po raz pierwszy wykorzystuje 16 krokowy sekwencer, który dodaje do brzmienia zespołu nowoczesne smaczki. Kolejnym atutem tego wydawnictwa jest genialne wykonanie "Straight No Chaser” Theloniousa Monka, jedynego coveru jaki kiedykolwiek muzycy Laboratorium wzięli na warsztat.




Laborki nigdy dosyć! Tym razem rzućmy okiem (i uchem) na to, co działo się z zespołem w latach 80., po, bynajmniej nie drobnych, przetasowaniach personalnych...

Pierwsza ważna zmiana w zespole zaszła w 1980 roku, kiedy to na albumie Nogero światu przedstawiony został nowy perkusista Laboratorium - Andrzej Mrowiec. Dużo jednak większe zmiany nastąpiły chwilę potem. Oto bowiem z grupą pożegnali się bracia Ścierańscy - Krzysztof (bas) i Paweł (gitary). Ich miejsca zajęli Krzysztof Olesiński oraz Ryszard Styła. Odnowione Laboratorium zarejestrowało płytę w 1982 roku. Album Blue Light Pilot, bo o nim mowa, był zapisem koncertu, jaki grupa dała 1 marca wspomnianego roku w Teatrze STU w Krakowie.

Koncert to o tyle osobliwy, że odświeżona Laborka zaprezentowała nam tu (wykroiła z zapisu całego koncertu?) w 100% nowy materiał - trzy autorskie kompozycje i jeden, stanowiący ewenement w repertuarze grupy, cover (Straight No Chaser Theloniousa Monka). Płyta jest wyraźnie dwudzielna: otwierana jest i zamykana przez dwa dynamiczne utwory, pomiędzy nimi zaś znajdują się dwie nastrojowe ballady. Można wchodzić w szczegóły i napisać, że Dziewica z Nowej Huty to zwiewna kompozycja, której z początku przewodzi gitara R. Styły, albo, że tytułowy kawałek to szalenie skoczne, wręcz dyskotekowe monstrum naszpikowane muzycznymi grepsami. Relacjonować jednak kto i kiedy wchodzi na solówkę? Jak reaguje na poszczególne zagrywki publika? Sprawdźcie to sami. Nowa sekcja rytmiczna zespołu spisuje się wyśmienicie, a gitarowy styl Styły, idealnie wpisuje się w nowe oblicze Laborki. Na Blue Light Pilot znajdziemy w dużej mierze to, do czego zespół zdążył nas przez lata przyzwyczaić: to stare dobre Laboratorium debiutujące w nowej dekadzie. Właśnie...

Jedyny problem z tą płytą polega na tym, że ci, którzy polubili klasyki Laborki z lat 70. i zapragnęli kontynuować swoją przygodę z zespołem mogą w pierwszej chwili poczuć się lekko zawiedzeni. Odmienione Laboratorium, to także odmieniony repertuar grupy. Na Blue Light Pilot swoje piętno odcisnęły muzyczne tendencje lat 80. i to w dwójnasób. Po pierwsze, pewne zmiany zaszły w brzmieniu grupy, w którym wyczuwalny stał się tak charakterystyczny dla całej dekady plastikowy kiczyk. Nie jest on na szczęście nachalny. Można powiedzieć, że to dopiero początek pewnej drogi, której kres wyznaczy płyta Anatomy Lesson (póki co wciąż jesteśmy jednak stosunkowo blisko Quasimodo). Można w tym kontekście mówić też o ciągłych eksperymentach oraz o nieustannym poszukiwaniu nowego brzmienia przez - nomen omen - Laboratorium. Druga zmiana? Krakowski zespół zdecydował się na zarejestrowanie materiału składającego się z przystępniejszych, dla przeciętnego słuchacza, kompozycji. Laboratorium już nieraz puszczało oko do fanów zainteresowanych prostszym, by nie rzec bardziej komercyjnym graniem. Do nich adresowana była na przykład strona B winylu zawierającego Pięciobój nowoczesny. W miarę zwięzłe i 'taneczne' kompozycje to zatem żadne novum w repertuarze grupy. I choć natkniemy się tu na dwa utwory trwające ponad 10 minut, nie będą to jednak wypełnione eksperymentami, wielowątkowe suity, ale pełne porywających improwizacji kawałki, prezentujące żywioł zespołu szalejącego na scenie.

Duch zespołu okazał się silniejszy i mimo pewnych zmian, wymuszonych przez 'ducha czasu', niniejszej płyty, po 30 latach od jej nagrania, słucha się po prostu wybornie. Co więcej, spokojnie mogą po nią sięgnąć nie tylko sympatycy gatunku, ale wszyscy fani muzyki barwnej i nastrojowej, poszukiwacze pięknych melodii, a także miłośnicy niezwykłych dźwiękowych pejzaży. Niech to będzie zachęta. Nie ma potrzeby obawiać się Blue Light Pilota. Nie jest to żaden 'mus', ale zdecydowanie warto go posłuchać. Rozrywka na tym poziomie warta jest każdych pieniędzy. A obecność na takim koncercie - jest po prostu bezcenna.

Ps. Wersja zremasterowana wzbogacona jest o skromny (według określenia Janusza Grzywacza) bonus.

Jacek Chudzik



..::TRACK-LIST::..

1. Straight No Chaser 12:44
2. A Virgin From Nowa Huta 7:17
3. What's Up In The Forrest 8:50
4. Blue Light Pilot 11:11

Bonus Track:
5. Punk's Not Dead Sapierow Niet 3:42


Tracks 1 to 4 Recorded live In Theatre STU, Cracow, February 28 - 1 March 1982
Track 5 Recorded live in Warsaw, Congress Hall at Jazz Jamboree '85 Festival, 25 October 1985



..::OBSADA::..

Vocals, Alto Saxophone, Soprano Saxophone - Marek Stryszowski
Drums - Andrzej Mrowiec
Electric Piano [Fender Rhodes], Synthesizer [Roland Jupiter 4, Micro Moog], Liner Notes - Janusz Grzywacz
Guitar - Ryszard Styła
Bass Guitar - Krzysztof Olesiński




https://www.youtube.com/watch?v=CNM8f7qPGzU



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