...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!!!

Artist..........................: Chris
Album.........................: My Name Is Chris
Genre.........................: Eurobeat, Italo-Disco
Year............................: 1990
Publisher.....................: ARD CD 02 Asia Records Italy
Total Time...................: 34:19
Codec.........................: Flac Highest Stereo Quality 44100Hz
Surce..........................: Web



01. Two By Two 3:59
02. My My My 3:31
03. First Time 3:20
04. Growin' Up 2:59
05. Take Me To The Top 3:14
06. Two By Two (rock edit) 4:28
07. Crazy Cat 3:15
08. Lucky Boy 3:03
09. Sandy E L'Amor 3:18
10. Party Time 3:12


...( Dodatkowo )...

Chris - Two By Two (maxi single '88)-(flac)

A1. Two By Two (long version) 6:02
B1. Two By Two (dub version) 4:27
B2. Growin' Up (easy version) 2:59

...( Info )...
Genre: British Psychedelia, Prog-Rock, Proto-Punk
Country of disc production: Japan
Year of disc release: 1999
Publisher (label): Captain Trip Records CTCD-175
Country: UK
Audio codec: Mp3 @320 kbps
Duration: 00:41:54

...( TrackList )...
1. "Mona (A Fragment)" (Ellas McDaniel) – 3:15
2. "Carnivorous Circus, Part 1" (Farren) – 15:19
I."The Whole Thing Starts"
II."But Charlie, It's Still Moving"
III."Observe The Ravens"
IV."Society of the Horsemen"
3. "Summertime Blues" (Eddie Cochran) – 2:41
4. "Carnivorous Circus, Part 2" (Farren) – 13:01
V."Don't Talk to Me Mary"
VI."You Can't Move Me"
VII."In My Window Box"
VIII."An Epitaph Can Point the Way"
5. "Mona (The Whole Trip)" (McDaniel) – 7:25

Tracklist:
1. Need Your Lovin (feat. Elianne)
2. Can't Stop
3. Go Back In Time
4. When You Hold Me (feat. Elianne)
5. In My Dreams (feat. Ethan)
6. No More (feat. Donna Lugassy)
7. Criminal
8. Into The Grey
9. Not The Same
10. Can You Feel It (feat Jean Roch)

Bonus Track

11. Skytech & Dannic - Hurt Me Now (Retro C!ty Remix)
12. Jauz - Higher For Your Love (Retro C!ty Remix)

Release Name: Rero C!ty - Undiscovered (2024)
Genre: Eletro - House
Type: WAV

..::INFO::..

Debiutancki album amerykańskiego zespołu street punkowego z Austin w Texasie.

Title: This We'll Defend

Artist: Hooligan Justice

Country: USA

Year: 2017

Genre: Street Punk

Format / Codec: MP3

Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Intro
2.This We'll Defend
3.Fuck With One
4.Forever Crucified
5.R.O.E.
6.Lionheart
7.Texas
8.Sweet Revenge
9.Watch Your Mouth
10.Last Of A Dying Breed
11.No Better Friend
12.H.O.O.L.I.G.A.N.

..::INFO::..

Traffic to brytyjska grupa rockowa założona w kwietniu 1967 roku, utożsamiana z ruchem hippisowskim. W pierwotnym składzie występowali Steve Winwood, Jim Capaldi, Chris Wood i Dave Mason. Po dwóch latach i wydaniu trzech płyt - Mr. Fantasy, Traffic i Last Exit - nastąpiło pierwsze zawieszenie działalności grupy. Steve Winwood i Ric Grech, były basista zespołu Family, uformowali efemeryczną supergrupę Blind Faith, czasami nazywaną SuperCream, gdyż pozostałymi jej członkami byli Eric Clapton i Ginger Baker. W 1970 roku Blind Faith rozpadł się, a Steve Winwood i Ric Grech zasilili kolejną supergrupę - Ginger Baker’s Air Force - jednakże po kilku wspólnych koncertach Steve Winwood i Ric Grech postanowili reaktywować Traffic. Wstawka zawiera debiutancki album zespołu.

Title: Mr. Fantasy

Artist: Traffic

Country: Wielka Brytania

Year: 1967

Genre: Rock

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1. Heaven Is In Your Mind
2. Berkshire Poppies
3. House for Everyone
4. No Face, No Name, No Number
5. Dear Mr. Fantasy
6. Dealer
7. Utterly Simple
8. Coloured Rain
9. Hope I Never Find Me There
10. Giving To You

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Obcowanie z tym debiutem jest jak strzał prosto w ryja zakończony deptaniem jaj po upadku na podłogę!!!



'Summoned to Rise features some of the fastest, catchiest, darkest, meanest, smartest, most intricate thrash fucking metal to come down the pike in years. No letup. No duds. Just a fiery, eponymous opening volley. (...)' - Decibel Magazine

'Insane old school riffs for all your moshing needs, Jeff Hanneman style squealing solos (which made the hair on my arm stand up at points), brutal vocal deliveries that at times walk the line of really solid Death Metal vocals, and a ton of intense outstanding drumming throughout. Everything works on this album, from lyrical content, to the tone of the music, and of course that break neck pace the vast majority of the record offers.' - Hellbound.ca

'‘Summoned to Rise’ is a an all out assault that takes no prisoners! Fast songs, brutal thrash and death metal riffage and blast beats…..What more could you ask for?' - Metal Nexus



When is it appropriate to employ the term ‘supergroup’? Could it be in the instance of new Floridian act Create A Kill? Featuring members of Malevolent Creation, Gruesome and Solstice – this unstoppable supergroup was always gonna make an impact based on the line-up alone. However, little were our ears prepared for the onslaught that was to come on debut album Summoned To Rise. Not just in terms of pure fury, but also the sheer quality. The overall sound of Create A Kill is a perfect mesh of the previously-mentioned three bands, but with an unhealthy dose of Demolition Hammer injected into the death/thrash assault. This is raw, blistering, violent, nasty shit. And boy, do I love it!

Not only do these Floridians exhume pure malice, they do it in a way that’s weirdly accessible and…dare I say it…catchy! Hell, if the chorus to “Premeditated” hasn’t got you hooked after one playthrough, there’s something wrong with your brain. These memorable hooks provide moments of clarity amid the sheer maelstrom of this album. Riffs cut like razors, solos insanely channel their inner Kerry King, blast-beats pound at your brain – and the whole affair is wrapped in a chaotic vibe that just about keeps in control. The way everything sounds like it’s teetering on the edge of composure is exciting and irresistible. The varied vocal attack contributes to this massively. Although I’m unsure exactly which vocal style is performed by who, the combination of vile high shrieks, powerful low growls and Schuldiner-esque mids creates a real death/thrash party atmosphere.

The production quality is absolutely spot on, bringing back that raw, authentic early ’90s spirit. The cut-throat guitar tone is both grisly and fun, but the snappy bass/snare mix is utterly gorgeous. This is what Demolition Hammer’s Tortured Existence should have sounded like! Summoned To Rise is the definition of ‘all killer, no filler’. Every single cut delivers the madness at a blistering pace with not a second wasted. Even the mid-tempo segments are loaded with impact, such as the opening riffs to “Cold Blooded” and “Reap The Whirlwind”, or the verses in “Gauntlet Of Pain”. In fact, my favourite moments are the slower ilk which hit you like a fucking steamroller (see “Decimated” – what a sledgehammer of a track!). Structurally, this album flows beautifully – mixing the faster and slower sections, though never losing a single ounce of barbarism.

As previously stated, there are memorable hooks and standout moments abound on this album. These guys have a penchant for writing catchy death/thrash metal that doesn’t compromise the style or cheapen the brand. “Crave The Blade”, “Premeditated” and the hammering “Show Of Force” are all great examples of how this sub-genre can be accessible for newcomers whilst pleasing the elitists. However, the jewel in this record’s crown is the bonus track – dedicated to late Malevolent Creation frontman Bret Hoffman – “Flesh, Blood & Stone”. When Matt Harvey bellows out ‘FLESH AND GOLD AND BLOOD AND STEEL AND FUCKING STONE!!’, you know Bret himself would have been majorly proud of this LP. Create A Kill should be proud of this effort. Really proud. I cannot pinpoint any specific aspect that weakens it. Summoned To Rise is simply an incredible slice of no-holds-barred death/thrash metal that will have any fan of the genre headbanging like it’s 1989.

Larry6990



..::TRACK-LIST::..

1. Create A Kill 02:58
2. Cold Blooded 03:14
3. Crave the Blade 03:39
4. Decimate 04:57
5. Premeditated 03:18
6. Gauntlet of Pain 03:42
7. Praise the Beast 03:12
8. Reap the Whirlwind 04:27
9. The Sow is Mine 04:13
10. Show of Force 03:29



..::OBSADA::..

Gus Rios (Gruesome/Malevolent Creation) - Guitars/Bass/Drums
Alex Marquez (Solstice/Resurrection) - Vocals/Drums
Dirk Verbueren (Megadeth/Soilwork) - Drums
Tobias Gustafsson (Cut Up/Vomitory) - Drums
Matt Harvey (Exhumed) - Vocals
Daniel Gonzalez (Possessed) - Guitars




https://www.youtube.com/watch?v=7J6HXUtz_XA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Obcowanie z tym debiutem jest jak strzał prosto w ryja zakończony deptaniem jaj po upadku na podłogę!!!



'Summoned to Rise features some of the fastest, catchiest, darkest, meanest, smartest, most intricate thrash fucking metal to come down the pike in years. No letup. No duds. Just a fiery, eponymous opening volley. (...)' - Decibel Magazine

'Insane old school riffs for all your moshing needs, Jeff Hanneman style squealing solos (which made the hair on my arm stand up at points), brutal vocal deliveries that at times walk the line of really solid Death Metal vocals, and a ton of intense outstanding drumming throughout. Everything works on this album, from lyrical content, to the tone of the music, and of course that break neck pace the vast majority of the record offers.' - Hellbound.ca

'‘Summoned to Rise’ is a an all out assault that takes no prisoners! Fast songs, brutal thrash and death metal riffage and blast beats…..What more could you ask for?' - Metal Nexus



When is it appropriate to employ the term ‘supergroup’? Could it be in the instance of new Floridian act Create A Kill? Featuring members of Malevolent Creation, Gruesome and Solstice – this unstoppable supergroup was always gonna make an impact based on the line-up alone. However, little were our ears prepared for the onslaught that was to come on debut album Summoned To Rise. Not just in terms of pure fury, but also the sheer quality. The overall sound of Create A Kill is a perfect mesh of the previously-mentioned three bands, but with an unhealthy dose of Demolition Hammer injected into the death/thrash assault. This is raw, blistering, violent, nasty shit. And boy, do I love it!

Not only do these Floridians exhume pure malice, they do it in a way that’s weirdly accessible and…dare I say it…catchy! Hell, if the chorus to “Premeditated” hasn’t got you hooked after one playthrough, there’s something wrong with your brain. These memorable hooks provide moments of clarity amid the sheer maelstrom of this album. Riffs cut like razors, solos insanely channel their inner Kerry King, blast-beats pound at your brain – and the whole affair is wrapped in a chaotic vibe that just about keeps in control. The way everything sounds like it’s teetering on the edge of composure is exciting and irresistible. The varied vocal attack contributes to this massively. Although I’m unsure exactly which vocal style is performed by who, the combination of vile high shrieks, powerful low growls and Schuldiner-esque mids creates a real death/thrash party atmosphere.

The production quality is absolutely spot on, bringing back that raw, authentic early ’90s spirit. The cut-throat guitar tone is both grisly and fun, but the snappy bass/snare mix is utterly gorgeous. This is what Demolition Hammer’s Tortured Existence should have sounded like! Summoned To Rise is the definition of ‘all killer, no filler’. Every single cut delivers the madness at a blistering pace with not a second wasted. Even the mid-tempo segments are loaded with impact, such as the opening riffs to “Cold Blooded” and “Reap The Whirlwind”, or the verses in “Gauntlet Of Pain”. In fact, my favourite moments are the slower ilk which hit you like a fucking steamroller (see “Decimated” – what a sledgehammer of a track!). Structurally, this album flows beautifully – mixing the faster and slower sections, though never losing a single ounce of barbarism.

As previously stated, there are memorable hooks and standout moments abound on this album. These guys have a penchant for writing catchy death/thrash metal that doesn’t compromise the style or cheapen the brand. “Crave The Blade”, “Premeditated” and the hammering “Show Of Force” are all great examples of how this sub-genre can be accessible for newcomers whilst pleasing the elitists. However, the jewel in this record’s crown is the bonus track – dedicated to late Malevolent Creation frontman Bret Hoffman – “Flesh, Blood & Stone”. When Matt Harvey bellows out ‘FLESH AND GOLD AND BLOOD AND STEEL AND FUCKING STONE!!’, you know Bret himself would have been majorly proud of this LP. Create A Kill should be proud of this effort. Really proud. I cannot pinpoint any specific aspect that weakens it. Summoned To Rise is simply an incredible slice of no-holds-barred death/thrash metal that will have any fan of the genre headbanging like it’s 1989.

Larry6990



..::TRACK-LIST::..

1. Create A Kill 02:58
2. Cold Blooded 03:14
3. Crave the Blade 03:39
4. Decimate 04:57
5. Premeditated 03:18
6. Gauntlet of Pain 03:42
7. Praise the Beast 03:12
8. Reap the Whirlwind 04:27
9. The Sow is Mine 04:13
10. Show of Force 03:29



..::OBSADA::..

Gus Rios (Gruesome/Malevolent Creation) - Guitars/Bass/Drums
Alex Marquez (Solstice/Resurrection) - Vocals/Drums
Dirk Verbueren (Megadeth/Soilwork) - Drums
Tobias Gustafsson (Cut Up/Vomitory) - Drums
Matt Harvey (Exhumed) - Vocals
Daniel Gonzalez (Possessed) - Guitars




https://www.youtube.com/watch?v=7J6HXUtz_XA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

29 listopada 2024 roku na rynku zadebiutował album Eric Clapton’s Crossroads Guitar Festival 2023, który uchwycił atmosferę siódmej edycji festiwalu Crossroads Guitar Festival.
Po czteroletniej przerwie wydarzenie miało miejsce 23 i 24 września 2023 roku w wypełnionej po brzegi Crypto.com Arena w Los Angeles.
Wśród zaproszonych gwiazd znaleźli się m.in. Joe Bonamassa, Gary Clark Jr., Sheryl Crow oraz Eric Gales, a całość poprowadził Bill Murray. Festiwal zaintrygował widzów mieszanką bluesowych klasyków, utworów z amerykańskiego kanonu oraz rockowych hitów, ożywionych przez wybitnych gitarzystów.



..::TRACK-LIST::..

BD 1 Live at Crypto.com Arena, Los Angeles, CA, 9/23/2023:
1. Intro - By Bill Murray
2. Groovy Goddess - By Sonny Landreth
3. 1952 Vincent Black Lightning - By The Del McCoury Band, Sierra Hull, Jerry Douglas & Bradley Walker
4. Walk On Boy - By Sierra Hull
5. Today I Started Loving You Again - By Bradley Walker
6. Always On My Mind - By Bradley Walker & Eric Clapton
7. Fall Like Rain (with Eric Clapton) - By The Del McCoury Band
8. Every Night is Saturday Night - By James Bullard
9. Give Your Love to Someone Else (with Eric Gales) - By Judith Hill
10. Redemption Day - By Sheryl Crow
11. Smokestack Lightning - By Eric Gales, Samantha Fish & Christone Kingfish Ingram
12. Layla - By Eric Gales, Samantha Fish & Christone Kingfish Ingram
13. Put That Back - By Eric Gales, Samantha Fish & Christone Kingfish Ingram
14. Going Down - By Eric Gales, Samantha Fish & Christone Kingfish Ingram
15. Habits - By Gary Clark Jr.
16. Breaking Up Somebody’s Home - By Joe Bonamassa
17. Early in the Morning - By Taj Mahal
18. Texas Flood (with Gary Clark Jr.) - By Jimmie Vaughan
19. Sweet Home Chicago - By Jimmie Vaughan
20. The Waiting - By The Wallflowers
21. Turn! Turn! Turn! (with The Wallflowers) - By Roger McGuinn
22. Eight Miles High (with Eric Clapton & The Wallflowers) - By Roger McGuinn
23. Bluebird (with Eric Clapton & The Wallflowers) - By Stephen Stills
24. Gimme All Your Lovin’ - By ZZ Top


BD 2 Live at Crypto.com Arena, Los Angeles, CA, 9/24/2023:
1. Intro - By Bill Murray
2. I’m So Glad (with Eric Clapton) - By Bill Murray
3. Medley: Für Elise / Foxy Lady (with Eric Gales & Joe Bonamassa) - By Robert Randolph
4. Kokopelli - By Kurt Rosenwinkel
5. Intro - By Marcus King
6. If the River Was Whiskey (Divin’ Duck Blues) [with Taj Mahal] - By Keb’ Mo’
7. It’s Too Late - By Marcus King
8. Rice Pudding - By Marcus King
9. How Could We Know (with Judith Hill) - By Daniel Santiago & Pedro Martins
10. My Favorite Mistake (with John Mayer) - By Sheryl Crow
11. Son’s Gonna Rise (with Robert Randolph) - By Citizen Cope
12. Hold On - By H.E.R.
13. Are You Gonna Go My Way - By H.E.R.
14. Salt Creek - By Molly Tuttle & Sierra Hull
15. Don’t Worry Baby - By Los Lobos
16. The Healing - By Gary Clark Jr.
17. Our Love - By Gary Clark Jr.
18. The Last of Us - By Gustavo Santaolalla
19. Jingo - By Santana
20. A Love Supreme (with John McLaughlin) - By Santana
21. It Makes No Difference
22. I Shot the Sheriff
23. Crossroads (with Stevie Wonder)




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



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

...( Info )...

Artist: Various Artists
Album: Country Right Now
Year: 2024
Format: mp3 320 kbps

...( TrackList )...

01. Zach Bryan - High Road
02. Dasha - Austin
03. Warren Zeiders - Relapse
04. Cody Johnson - I'm Gonna Love You
05. Miranda Lambert - Ain’t in Kansas Anymore (From Twisters The Album)
06. Redferrin - Just like Johnny
07. Cameron Whitcomb - Medusa
08. Chase Matthew - Darlin'
09. Conner Smith - Steal My Thunder (feat. Tucker Wetmore) [From Twisters The Album]
10. Shania Twain - Boots Don't (From Twisters The Album)
11. Cole Swindell - Forever to Me
12. Tyler Braden - Devil You Know
13. Bailey Zimmerman - Holy Smokes
14. Gavin Adcock - Run Your Mouth
15. Austin Snell - Wildfire
16. Gabby Barrett - Growin’ Up Raising You
17. Orville Peck - Midnight Ride
18. Thomas Rhett - Feelin' Country (From Twisters The Album)
19. Luke Combs - Ain't No Love in Oklahoma (From Twisters The Album)
20. Sam Barber - Restless Mind (feat. Avery Anna)
21. Willow Avalon - Homewrecker
22. Megan Moroney - Never Left Me (From Twisters The Album)
23. Adrien Nunez - LOW ROAD (feat. Avery Anna)
24. Noah Rinker - Save My Soul
25. Zach Bryan - This World's a Giant
26. Ian Munsick - Fixin' Me
27. The Castellows - Sober Sundays
28. Cody Johnson - How Do You Sleep at Night
29. Jenna Raine - Roses (feat. Avery Anna)
30. Bailey Zimmerman - New to Country
31. Tucker Wetmore - Already Had It (From Twisters The Album)
32. Dasha - Bye Bye Bye
33. Jelly Roll - Dead End Road (From Twisters The Album)
34. Maddox Batson - X's
35. Kane Brown - Country Classic (From Twisters The Album)
36. Warren Zeiders - You for a Reason
37. Austin Snell - I've Been Drinking (feat. Hannah McFarland)
38. Wyatt Flores - Before I Do (From Twisters The Album)
39. Chase Matthew - Always Be Mine
40. Orville Peck - How Far Will We Take It
41. Sam Barber - Thought of You
42. Tyler Braden - More than a Prayer
43. Mason Ramsey - I’ll See You in My Dreams
44. Tyler Childers - Song While You're Away (From Twisters The Album)
45. Gavin Adcock - Almost Gone
46. Matt Schuster - Bail Money
47. Redferrin - Ruin My Night
48. Nolan Taylor - Driving You Home (From Twisters The Album)
49. Pecos & the Rooftops - Sweet Tumbleweed
50. Amble - Lonely Island