...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



Drugi album wetetranów brutalnego death metalu z Colorado istniejących od 1995 roku!



..::TRACK-LIST::..

1. Incestual Oddities 4:09
2. Despise 5:08
3. Spooning The Colon Sludge 2:53
4. Blood Stains 3:51
5. Slave To The Grave 4:29
6. Global Punishment 2:51
7. Lot Lizard 2:29
8. Bleed Black 4:44
9. Army Of The Dead 2:51
10. Sever All Ties 3:40
11. Wasted Life 3:45



https://www.youtube.com/watch?v=pLr8wzG0lvw



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



Drugi album wetetranów brutalnego death metalu z Colorado istniejących od 1995 roku!



..::TRACK-LIST::..

1. Incestual Oddities 4:09
2. Despise 5:08
3. Spooning The Colon Sludge 2:53
4. Blood Stains 3:51
5. Slave To The Grave 4:29
6. Global Punishment 2:51
7. Lot Lizard 2:29
8. Bleed Black 4:44
9. Army Of The Dead 2:51
10. Sever All Ties 3:40
11. Wasted Life 3:45



https://www.youtube.com/watch?v=pLr8wzG0lvw



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Jedyny materiał obiecującego szwedzkiego zespołu grającego techniczny i brutalny death metal!



..::TRACK-LIST::..

1. Apocalyptic Esotericism 2:44
2. In Corrosive Shapes 1:56
3. Famished Tellus 3:30
4. Dilapidated Species 3:23



..::OBSADA::..

Guitar - Kristoffer Bruhn
Vocals - Ulf Nylin
Bass - Andreas Larsen
Drums - Richard Schill




https://www.youtube.com/watch?v=On4_YjbCrjs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Jedyny materiał obiecującego szwedzkiego zespołu grającego techniczny i brutalny death metal!



..::TRACK-LIST::..

1. Apocalyptic Esotericism 2:44
2. In Corrosive Shapes 1:56
3. Famished Tellus 3:30
4. Dilapidated Species 3:23



..::OBSADA::..

Guitar - Kristoffer Bruhn
Vocals - Ulf Nylin
Bass - Andreas Larsen
Drums - Richard Schill




https://www.youtube.com/watch?v=On4_YjbCrjs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Reedycja debiutanckiej płyty z 1999 roku w wykonaniu ukraińskiego zespołu grającego techniczny death metal w klimacie PESTILENCE, CYNIC, VIOLENT DIRGE, OBSCURA...



Phantasmagory put the Ukraine on the map with this one, along with Castrum, Nokturnal Mortem, and Inward Path. And holy shit, this blows away most other prog-death metal bands, even Opeth.

There are the influences from Pestilence's Spheres on here, most notably in the choppy guitar riffs and the jazzy sounding parts. A few parts make me think of Nocturnus' Thresholds, especially in the long structures and semi-techncial riffs.

"Labyrinth of Thinking" is a great way to start. You immediately have the Pestilence riffing with keys and some crazy drumming, which is then followed by a slight build-up in the music. "Echoes of Depression Whirlwind" has a virtual whirlwind of drumming and maddening riffs. It's an instrumental and manages to lead up well to the next song, "Allegory." "Allegory" is a great song that starts out with a melodic jazzy intro then goes into more Nocturnus stuff, especially the killer chorus. The best song on here is "Everlasting Change," which is really damn long (I've only got the tape here so I can't check how long it is), and is supposed to represent the change of the seasons. There's a cool, slow Maiden riff somewhere in the middle that really grabs my attention, but for all purposes, the whole song is excellent. Finally, we have the song "Weird Sounds," which has a sort of doomy riff in the beginning, and more Nocturnus styled riffs for the prechorus. Very good. The outro sucks, though. It's just some stupid keyboard thing that sounds very annoying, hence living up to the name of "Disharmagory."

The guitars are handled by one man, Eduard Miroshnichenko. This guy plays all sorts of different riffs effortlessly, never fucking up once.

They had a great drummer on here, and despite the pretty weak production, you can still actually hear quite a good deal of his little fills and hi-hat sizzles. Bass is good too, rather jazzy and strange in parts, but very well played. I'm kind of mixed about the keyboards, because in a few parts he uses some strange effect that sounds like a xylophone and the bells on Santa's reindeer. Otherwise, they really bring out the feelings in the guitar melodies.

The singer has to be the weak link. His vocals are really low in the mix, and when he isn't screaming in the typical black metal way, he's speaking with a heavy Ukrainian accent (or is it Russian? They are in the eastern part of their country so they might speak Russian...ah, fuck it) that sounds pretty lame. It's a real shame too, because the lyrics are very interesting to read. Mostly about strange feelings and other introspective nightmares, done up in a rather poetic fashion.

If you like Death, Nocturnus, Cynic, Atheist, Pestilence, and any other "prog-death" group, you'll love this album. There is not one mistake to be found on this album, which is really saying something about the muscians on here (except for probably the vocalist). It does suffer from weaker production, but it leaves a hell of an impression if you're into this type of thing.

Natrix



..::TRACK-LIST::..

1. The Labirinth of Thinking 04:25
2. Echos of Depression Whirlwind 03:50
3. Allegory 06:14
4. Hero 07:10
5. Everlasting Change 16:00
6. Weird Sounds 07:35
7. Disharmagory 01:32



..::OBSADA::..

Bass - Boris Baklitsky
Drums - Valeriy Vorobyov
Guitar - Edward Miroshnichenko
Keyboards - Valeriy Klimets
Vocals - Sergey Pogrebnoy




https://www.youtube.com/watch?v=eAb1KQfQ3f0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Reedycja debiutanckiej płyty z 1999 roku w wykonaniu ukraińskiego zespołu grającego techniczny death metal w klimacie PESTILENCE, CYNIC, VIOLENT DIRGE, OBSCURA...



Phantasmagory put the Ukraine on the map with this one, along with Castrum, Nokturnal Mortem, and Inward Path. And holy shit, this blows away most other prog-death metal bands, even Opeth.

There are the influences from Pestilence's Spheres on here, most notably in the choppy guitar riffs and the jazzy sounding parts. A few parts make me think of Nocturnus' Thresholds, especially in the long structures and semi-techncial riffs.

"Labyrinth of Thinking" is a great way to start. You immediately have the Pestilence riffing with keys and some crazy drumming, which is then followed by a slight build-up in the music. "Echoes of Depression Whirlwind" has a virtual whirlwind of drumming and maddening riffs. It's an instrumental and manages to lead up well to the next song, "Allegory." "Allegory" is a great song that starts out with a melodic jazzy intro then goes into more Nocturnus stuff, especially the killer chorus. The best song on here is "Everlasting Change," which is really damn long (I've only got the tape here so I can't check how long it is), and is supposed to represent the change of the seasons. There's a cool, slow Maiden riff somewhere in the middle that really grabs my attention, but for all purposes, the whole song is excellent. Finally, we have the song "Weird Sounds," which has a sort of doomy riff in the beginning, and more Nocturnus styled riffs for the prechorus. Very good. The outro sucks, though. It's just some stupid keyboard thing that sounds very annoying, hence living up to the name of "Disharmagory."

The guitars are handled by one man, Eduard Miroshnichenko. This guy plays all sorts of different riffs effortlessly, never fucking up once.

They had a great drummer on here, and despite the pretty weak production, you can still actually hear quite a good deal of his little fills and hi-hat sizzles. Bass is good too, rather jazzy and strange in parts, but very well played. I'm kind of mixed about the keyboards, because in a few parts he uses some strange effect that sounds like a xylophone and the bells on Santa's reindeer. Otherwise, they really bring out the feelings in the guitar melodies.

The singer has to be the weak link. His vocals are really low in the mix, and when he isn't screaming in the typical black metal way, he's speaking with a heavy Ukrainian accent (or is it Russian? They are in the eastern part of their country so they might speak Russian...ah, fuck it) that sounds pretty lame. It's a real shame too, because the lyrics are very interesting to read. Mostly about strange feelings and other introspective nightmares, done up in a rather poetic fashion.

If you like Death, Nocturnus, Cynic, Atheist, Pestilence, and any other "prog-death" group, you'll love this album. There is not one mistake to be found on this album, which is really saying something about the muscians on here (except for probably the vocalist). It does suffer from weaker production, but it leaves a hell of an impression if you're into this type of thing.

Natrix



..::TRACK-LIST::..

1. The Labirinth of Thinking 04:25
2. Echos of Depression Whirlwind 03:50
3. Allegory 06:14
4. Hero 07:10
5. Everlasting Change 16:00
6. Weird Sounds 07:35
7. Disharmagory 01:32



..::OBSADA::..

Bass - Boris Baklitsky
Drums - Valeriy Vorobyov
Guitar - Edward Miroshnichenko
Keyboards - Valeriy Klimets
Vocals - Sergey Pogrebnoy




https://www.youtube.com/watch?v=eAb1KQfQ3f0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Ta krótka (niecałe pół godziny) płytka zawiera to, co zespół — jeszcze jako Amon — nagrał w latach 1987–1989. Początek — pewnie dla uniknięcia szoku — to „Sacrifical” z 1989 roku, na który składa się sześć kawałków bardzo dobrze znanych z późniejszego debiutu. To one pozwoliły Amonowi podpisać kontrakt z Roadrunner Records i stały się początkiem wielkiej kariery. Numery niezbyt odbiegają poziomem wykonania od tych z debiutu, chociaż momentami są nawet brutalniejsze i cięższe, a brzmieniowo – bardziej surowe. No i Glen wydziera się niesamowicie. Ponadto są tu moje ulubione hiciory czyli „Sacrifical Suiside” i „Dead By Dawn”. Druga część składanki to „Feasting The Beast", w skład którego wchodzi: numer tytułowy jako intro i trzy numery w baaardzo pierwotnych wersjach. Wszystko zostało nagrane w… garażu (niestety nie wiem u kogo) na ośmiośladzie. Efekt morduje!!! Trudno tu mówić o umiejętnościach technicznych, młodzieńcy po prostu totalnie hałasują. Wokal początkowo ogromnie rozwesela, gitarki bzyczą w tle, gary to zestaw puszek po konserwach i piwie, a basu w ogóle nie słychać. Niemniej to kawał (niecałe 10 minut) potwornego wyziewu z najgłębszych otchłani garażu. Na uwagę zasługuje fakt, iż demo jest materiałem nagranym w zaledwie kilka tygodni po sformowaniu się grupy! Za to należą się duże brawa. Ocena jest przeze mnie „lekko” zawyżona. Zwykły fan może sobie tę pozycję darować — chociaż posłuchać dla zorientowania się w rozwoju Deicide można — ale dla prawdziwego fanatyka to absolutny obowiązek!

demo


Similar to how Earache had scooped up Morbid Angel's earlier, unreleased demos through the Abominations of Desolation collection, so too would Roadrunner give their Floridian monstrosity Deicide such a treatment. Formerly known as Amon, Benton and the boys were asked to change their name due to its proximity to a King Diamond song title. This is a miserable excuse, really, even if the two shared labels. A fucking song title? Really? Nevertheless, they ended up benefiting from this alteration, because Deicide is indisputably a more provocative, controversial moniker and probably a factor in their considerable success. Amon: Feasting the Beast merely assembles the two demos the band recorded and released under their previous namesake, and offers them to the broader audience who likely never got to hear them unless they were involved in tape trading.

Well, I must say, both Feasting the Beast (1987) and Sacrificial (1989) were incontrovertibly brutal for the period in which they were released, rivaling their Florida peers like Death and Obituary with considerable ease. Most of the material here was re-recorded and released as the band's 1990 debut Deicide, with the one exception of the intro "Feasting the Beast", which is nothing more than some horrific ambient sampling. Feasting the Beast is naturally the more crude of the two old demos as Amon, and the reworked versions are unanimously superior, but I have to confess that Sacrificial sounds amazing. In fact, I like the versions here on this demo more than those put out the following year. The vocals have less rasping, and a more distinctly ominous feel, and the riffing sounds incredible through old standbys "Lunatic of God's Creation", "Sacrificial Suicide", "Carnage in the Temple of the Damned", "and "Blaspherereion".

Truly, it's no wonder that the band were quickly snatched up based on such a recording, and their place in history assured, their dynamic bludgeoning to scare the panties off numerous school teachers, clergymen and groupies alike in the ensuing years. So for that reason alone, and the chance to hear Deicide in their morning star glories, the fan might do well to at least check this out. That said, the earlier demo is not entirely appealing, and its flaws serve to counteract the strengths of Sacrificial. The pair might have been better suited as a bonus disc on the initial release of their sophomore Legion, rather than an independent product like this, but then that would have netted less profit for the label, so it makes sense in this format. At least it serves as a complete precursor to the Deicide name change, even if the only real value here is in exposure to some cleaner historical alternatives to the Deicide (1990) debut that everyone had no doubt already purchased. I bought it because at the time I had no clue what it was, but that was my own fault as I plunked paper route and dish washing profits down on anything I could find in the genre those days. For a fan package, this is not so offensive.

autothrall



..::TRACK-LIST::..

1. Lunatic Of God’s Creation
2. Sacrificial Suicide
3. Crucifixation
4. Carnage In the Temple of the Damned
5. Dead By Dawn
6. Blaspherereion
7. Feasting The Beast (intro)
8. Sacrificial Suicide
9. Day Of Darkness
10. Oblivious to Nothing

Tracks 1-6 taken from Amon's 'Sacrificial' Demo.
Tracks 7-10 taken from Amon's 'Feasting The Beast' Demo.



..::OBSADA::..

Vocals, Bass - Glen Benton
Drums - Steve Asheim
Guitar - Brian Hoffman, Eric Hoffman



https://www.youtube.com/watch?v=jDE6s0wnfdU


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Ta krótka (niecałe pół godziny) płytka zawiera to, co zespół — jeszcze jako Amon — nagrał w latach 1987–1989. Początek — pewnie dla uniknięcia szoku — to „Sacrifical” z 1989 roku, na który składa się sześć kawałków bardzo dobrze znanych z późniejszego debiutu. To one pozwoliły Amonowi podpisać kontrakt z Roadrunner Records i stały się początkiem wielkiej kariery. Numery niezbyt odbiegają poziomem wykonania od tych z debiutu, chociaż momentami są nawet brutalniejsze i cięższe, a brzmieniowo – bardziej surowe. No i Glen wydziera się niesamowicie. Ponadto są tu moje ulubione hiciory czyli „Sacrifical Suiside” i „Dead By Dawn”. Druga część składanki to „Feasting The Beast", w skład którego wchodzi: numer tytułowy jako intro i trzy numery w baaardzo pierwotnych wersjach. Wszystko zostało nagrane w… garażu (niestety nie wiem u kogo) na ośmiośladzie. Efekt morduje!!! Trudno tu mówić o umiejętnościach technicznych, młodzieńcy po prostu totalnie hałasują. Wokal początkowo ogromnie rozwesela, gitarki bzyczą w tle, gary to zestaw puszek po konserwach i piwie, a basu w ogóle nie słychać. Niemniej to kawał (niecałe 10 minut) potwornego wyziewu z najgłębszych otchłani garażu. Na uwagę zasługuje fakt, iż demo jest materiałem nagranym w zaledwie kilka tygodni po sformowaniu się grupy! Za to należą się duże brawa. Ocena jest przeze mnie „lekko” zawyżona. Zwykły fan może sobie tę pozycję darować — chociaż posłuchać dla zorientowania się w rozwoju Deicide można — ale dla prawdziwego fanatyka to absolutny obowiązek!

demo


Similar to how Earache had scooped up Morbid Angel's earlier, unreleased demos through the Abominations of Desolation collection, so too would Roadrunner give their Floridian monstrosity Deicide such a treatment. Formerly known as Amon, Benton and the boys were asked to change their name due to its proximity to a King Diamond song title. This is a miserable excuse, really, even if the two shared labels. A fucking song title? Really? Nevertheless, they ended up benefiting from this alteration, because Deicide is indisputably a more provocative, controversial moniker and probably a factor in their considerable success. Amon: Feasting the Beast merely assembles the two demos the band recorded and released under their previous namesake, and offers them to the broader audience who likely never got to hear them unless they were involved in tape trading.

Well, I must say, both Feasting the Beast (1987) and Sacrificial (1989) were incontrovertibly brutal for the period in which they were released, rivaling their Florida peers like Death and Obituary with considerable ease. Most of the material here was re-recorded and released as the band's 1990 debut Deicide, with the one exception of the intro "Feasting the Beast", which is nothing more than some horrific ambient sampling. Feasting the Beast is naturally the more crude of the two old demos as Amon, and the reworked versions are unanimously superior, but I have to confess that Sacrificial sounds amazing. In fact, I like the versions here on this demo more than those put out the following year. The vocals have less rasping, and a more distinctly ominous feel, and the riffing sounds incredible through old standbys "Lunatic of God's Creation", "Sacrificial Suicide", "Carnage in the Temple of the Damned", "and "Blaspherereion".

Truly, it's no wonder that the band were quickly snatched up based on such a recording, and their place in history assured, their dynamic bludgeoning to scare the panties off numerous school teachers, clergymen and groupies alike in the ensuing years. So for that reason alone, and the chance to hear Deicide in their morning star glories, the fan might do well to at least check this out. That said, the earlier demo is not entirely appealing, and its flaws serve to counteract the strengths of Sacrificial. The pair might have been better suited as a bonus disc on the initial release of their sophomore Legion, rather than an independent product like this, but then that would have netted less profit for the label, so it makes sense in this format. At least it serves as a complete precursor to the Deicide name change, even if the only real value here is in exposure to some cleaner historical alternatives to the Deicide (1990) debut that everyone had no doubt already purchased. I bought it because at the time I had no clue what it was, but that was my own fault as I plunked paper route and dish washing profits down on anything I could find in the genre those days. For a fan package, this is not so offensive.

autothrall



..::TRACK-LIST::..

1. Lunatic Of God’s Creation
2. Sacrificial Suicide
3. Crucifixation
4. Carnage In the Temple of the Damned
5. Dead By Dawn
6. Blaspherereion
7. Feasting The Beast (intro)
8. Sacrificial Suicide
9. Day Of Darkness
10. Oblivious to Nothing

Tracks 1-6 taken from Amon's 'Sacrificial' Demo.
Tracks 7-10 taken from Amon's 'Feasting The Beast' Demo.



..::OBSADA::..

Vocals, Bass - Glen Benton
Drums - Steve Asheim
Guitar - Brian Hoffman, Eric Hoffman



https://www.youtube.com/watch?v=jDE6s0wnfdU


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Co typy mają logo to niech mnie chuj strzeli, na torturach bym go nie odczytał. A w połączeniu z okładką już możecie się spodziewać, że nie będzie letko.

A jeśli się nie domyślacie, to dorzucę jeszcze dwa fakty: Primitive Warfare gra war metal, a wydaje ich obecnie Godz ov War Productions. Wszystko więc kręci się wokół wojny, a na wojnie są ofiary. Padło tym razem na słuchaczy – „Extinction Protocol” to jebana półgodzinna jatka, która pozostawia za sobą jedynie truchła. Debiut Amerykanów to doprawdy mocna rzecz, utrzymana w klasycznych war metalowych klimatach zbliżonych do Conqueror, Blasphemy i tym podobnych kultów. Muzyka jest szybka i agresywna, ze znikomą ilością zwolnień, nawet trudno jest uświadczyć jakieś marszowe tempa, które przecież zdarzają się u kapel z tego sortu. Jednakże, jeśli Primitive Warfare jednak zwolni, no to czujecie i tak, że zaraz pierdolnie jeszcze mocniej. W kilka miejsc wklejono również sample dodatkowo nakręcające poczucie wszechogarniającego pola bitewnego.

Lubię granie tego typu, jak to mówią na mieście, przeznaczone głównie dla schabów z Byczyny. No trudno, co zrobić. Po prostu gdy z głośników leci taki soniczny napierdol jak „Extinction Protocol” czuję jak skacze mi adrenalina i wzrasta poziom zdrowego wkurwienia. Dodatkowym plusem jest zaś fakt, że ten bestialski materiał został wyselekcjonowany przez Grega, który ma kurewskie dobry gust, jeśli chodzi o tego typu wyziewy. Nie dziwcie się więc, że zachwycam się tym materiałem, który w zasadzie jakoś strasznie nie różni się od innych tego typu war metalowych wyziewów.

Bardzo udany to debiut. Tak jak wspomniałem, maniacy war metalowych klimatów powinni być usatysfakcjonowani tym, co usłyszą na „Extinction Protocol”. Sugeruję więc wpisać najnowszą propozycję Primitive Warfare na najbliższą listę zakupów.

Oracle


Płyty pokroju “Extinction Protocol” są w zasadzie banalne do rozgryzienia. Tutaj w zasadzie od pierwszej chwili wszystko jest oczywiste. Logo, którego odczytanie to zajęcie dla kryptografa, okładka, która wymownie sugeruje, iż dzieje się tu wojna, pseudonimy artystyczne muzyków, że o tytule wydawnictwa i nazwie zespołu nie wspomnę. Aż chce się zaśpiewać klasyka „I żywy stąd nie wyjdzie nikt…”. I słusznie, bowiem sztukę zabijania panowie z Primitive Warfare opanowali do, nomen omen, perfekcji. Jest to muzyka bez większej filozofii, no chyba że za takową uznamy totalne zniszczenie. Przez circa pół godziny taranowani jesteśmy kanonadą blastów, których tempo niezbyt często spada, by zrobić miejsce war metalowym akordom czy ślizgom po gryfie. Linie gitarowe to nieustanny szturm, bezustanny atak wściekłych akordów, na zmianę prących maksymalnie naprzód i wchodzących w wolniejsze, rytmiczne riffowanie. O dziwo jest w tych chaosie sporo melodii, a nie wyłącznie jednolitej ściany dźwięku, i pod tym względem Primitive Warfare wychylają nieco głowę ponad standardową przyzwoitość. Niektóre fragmenty swoją skocznością i punkowym zabarwieniem przypominać mogą nawet Haemorrhage z najlepszych lat. Z drugiej strony, wspomniane już bezlitosne blastowanie to nierzadko wychodzenie poza ogólny kanon death / black metalu i wkraczanie na tereny grindowe. Tym bardziej jest to słyszalne, kiedy głęboki growl przełamywany jest wrzaskiem w nieco wyższej tonacji. Powrót do wojennego klimatu zapewniają jednak przewijające się na płycie sample o oczywistej tematyce. Nie znajdziecie tu technicznych popisów czy silenia się na oryginalność. Bo nawet jeśli się ona chwilami zarysowuje, to w sposób całkowicie naturalny i niewymuszony. Jakkolwiek by „Extinction Protocol” jednak nie słuchać i jak rozkładać na czynniki pierwsze, to i tak w ostateczności wyjdzie nam w równaniu totalny rozpierdol. Widać Godz ov War w tym roku na razie cisną po bandzie i dorzucają do pieca lokomotywy tyle węgla, ile się tylko w nim zmieści. Na pewno debiut Primitive Warfare to jedna z najbrutalniejszych pozycji w ich katalogu. Potężny cios, milordzie, potężny.

jesusatan


PRIMITIVE WARFARE’s 'Extinction Protocol' is a fine example of pure cutting edge sonic mutilation, raw and powerful! It reminds me of the early days of South American black metal with a touch of modern sonic craft. Don’t tell me I didn’t warn you! - Igor Cavalera



War metal has always been closely related to grindcore in regard to the primitive, chaotic nature of drumming, riffing and vocals alike. Blasphemy was basically just what would happen if you played Sarcófago at Napalm Death/Repulsion tempos, and that's what made them so remarkable in their paroxysmal extremism. However, not all of Blasphemy's followers share the same enthusiasm towards grindcore, just indirectly inheriting the genre's tropes through mere Blasphemy emulation and limiting themselves to pay lip service to the black metal side of their influences (such as Sarcófago, Holocausto and early Sodom). I remember, in this regard, reading an old Sacramentary Abolishment interview where Vermin (a future Revenge member, of all bands) declared he never really listened to grindcore aside from Carcass. As I already said in my review for Complot!'s debut album, you don't really need to be an avid grindcore listener at this point in time in order to play war metal, since the road has already been paved for you by the genre's founders. However, it's always fascinating when you run into a war metal band who does clearly listen to grindcore and is blatantly influenced by it firsthand. And as war metal becomes more and more codified and accepted into the metal scene at large after decades of underground obscurity, you're also bound to run into some bands who seem to be inspired by the modern grindcore scene - not the original, ultra-primitive scene from the early days. Enter Primitive Warfare, who released their debut album "Extinction Protocol" this year on Godz ov War Productions (already known for releasing quite a few bangers throughout the last years - most notably, Trenchant's debut "Commandoccult").

The formula Primitive Warfare employs on "Extinction Protocol" could be summed up as "Revenge meets Insect Warfare" without the risk of sounding overly reductionistic; this is especially true in regards to the drumming, which by the way seems to be the most driving element of these songs even from a strictly structural standpoint. This is indeed more of a drum-driven album than a riff-driven one, though still far from reducing guitars to meaningless background rumbling: songs are mostly led by overwhelming maelstroms of hyper-fast blast-beats which are only a tad slower and sloppier than the ones you could find on "World Extermination" (but still pretty fucking intense and precise for war metal standards), alternated with typically grindlike stop-'n'-go breaks ("Spears of Emission") and chaotic Revenge-style fills ("Iron Sight Omnipotence") dictating the flow of simple, minimalistic, yet highly malevolent and effective riffs that never fail to imbue the listener with a suffocating sense of threatening, warlike chaos (at times going down the route of slightly more articulate tremolo runs, such as on "Heretic Crusade" and "Iron Sight Omnipotence", enhancing the feeling of chaotic insanity). These blasting sections are contrasted with a few savage, sloppy skank/d-beat up-tempos (at times with a definite punk undertone, see "Witness!" or the title-track) that don't sound too far removed from the Insect Warfare/Internal Rot formula - if reinterpreted by a war metal drummer of the James Read variety. And, as it is to be expected from most war metal albums in the Revenge/Conqueror vein, you also have a few slow breaks placed between the verses, gathering tension before returning to merciless carnage; well, in Primitive Warfare's case, these slow sections sound unbelievably evil - not quite to the level of Imperium from Ohio (a band that singlehandedly managed to perfect the art of the "war metal break"), but still impressively malevolent and evocative: the slow riff from "Nuclear Regression" brings to mind the first Antaeus record and sends chills down your spine in how diabolical and deranged it sounds, almost as if the band is reveling with spontaneous, naive, childlike joy in the genocidal scenarios they're portraying. It does not get much more evil and unsettling than that, really.

This is not a complex record by any means, and repeated listens might bring its formulaic nature (which becomes apparent especially around the final two tracks) to the forefront; however, for the most part, the sheer destructive energy the album radiates from start to finish is able to make up for its slight repetitiveness - which is to be expected anyway from a war metal album, especially a modern one (now that unfortunately the genre's rules have been fully codified and standardized due to mainstream recognition), and at least the riffing remains far more entrancing and genuinely aggressive compared to most other recent releases in the genre, in spite of the band's barbaric, borderline caveman-ish minimalism which might have easily turned into trite rehashing. An impressive accomplishment for sure, one for which I can safely recommend "Extinction Protocol" to anyone enamored with the more savage side of extreme metal - whether it's black, death or grindcore, it doesn't matter really.

Noise Maniakk



..::TRACK-LIST::..

1. Pulpit of the Conqueror (Mutually Assured Desecration) 04:07
2. Nuclear Regression 04:03
3. Engulfed by Satanic Might 03:25
4. Spears of Emission 03:34
5. Witness! 03:24
6. Extinction Protocol 03:25
7. Iron Sight Omnipotence 04:45
8. Heretic Crusade 04:38



..::OBSADA::..

Pu239 - Atomic Matter Battery and Operatic Moral Torment
U235 - Desecrator of Fate’s Strings and Sonant Nuclear Discharge



https://www.youtube.com/watch?v=_rZ-PjMSMyM


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Co typy mają logo to niech mnie chuj strzeli, na torturach bym go nie odczytał. A w połączeniu z okładką już możecie się spodziewać, że nie będzie letko.

A jeśli się nie domyślacie, to dorzucę jeszcze dwa fakty: Primitive Warfare gra war metal, a wydaje ich obecnie Godz ov War Productions. Wszystko więc kręci się wokół wojny, a na wojnie są ofiary. Padło tym razem na słuchaczy – „Extinction Protocol” to jebana półgodzinna jatka, która pozostawia za sobą jedynie truchła. Debiut Amerykanów to doprawdy mocna rzecz, utrzymana w klasycznych war metalowych klimatach zbliżonych do Conqueror, Blasphemy i tym podobnych kultów. Muzyka jest szybka i agresywna, ze znikomą ilością zwolnień, nawet trudno jest uświadczyć jakieś marszowe tempa, które przecież zdarzają się u kapel z tego sortu. Jednakże, jeśli Primitive Warfare jednak zwolni, no to czujecie i tak, że zaraz pierdolnie jeszcze mocniej. W kilka miejsc wklejono również sample dodatkowo nakręcające poczucie wszechogarniającego pola bitewnego.

Lubię granie tego typu, jak to mówią na mieście, przeznaczone głównie dla schabów z Byczyny. No trudno, co zrobić. Po prostu gdy z głośników leci taki soniczny napierdol jak „Extinction Protocol” czuję jak skacze mi adrenalina i wzrasta poziom zdrowego wkurwienia. Dodatkowym plusem jest zaś fakt, że ten bestialski materiał został wyselekcjonowany przez Grega, który ma kurewskie dobry gust, jeśli chodzi o tego typu wyziewy. Nie dziwcie się więc, że zachwycam się tym materiałem, który w zasadzie jakoś strasznie nie różni się od innych tego typu war metalowych wyziewów.

Bardzo udany to debiut. Tak jak wspomniałem, maniacy war metalowych klimatów powinni być usatysfakcjonowani tym, co usłyszą na „Extinction Protocol”. Sugeruję więc wpisać najnowszą propozycję Primitive Warfare na najbliższą listę zakupów.

Oracle


Płyty pokroju “Extinction Protocol” są w zasadzie banalne do rozgryzienia. Tutaj w zasadzie od pierwszej chwili wszystko jest oczywiste. Logo, którego odczytanie to zajęcie dla kryptografa, okładka, która wymownie sugeruje, iż dzieje się tu wojna, pseudonimy artystyczne muzyków, że o tytule wydawnictwa i nazwie zespołu nie wspomnę. Aż chce się zaśpiewać klasyka „I żywy stąd nie wyjdzie nikt…”. I słusznie, bowiem sztukę zabijania panowie z Primitive Warfare opanowali do, nomen omen, perfekcji. Jest to muzyka bez większej filozofii, no chyba że za takową uznamy totalne zniszczenie. Przez circa pół godziny taranowani jesteśmy kanonadą blastów, których tempo niezbyt często spada, by zrobić miejsce war metalowym akordom czy ślizgom po gryfie. Linie gitarowe to nieustanny szturm, bezustanny atak wściekłych akordów, na zmianę prących maksymalnie naprzód i wchodzących w wolniejsze, rytmiczne riffowanie. O dziwo jest w tych chaosie sporo melodii, a nie wyłącznie jednolitej ściany dźwięku, i pod tym względem Primitive Warfare wychylają nieco głowę ponad standardową przyzwoitość. Niektóre fragmenty swoją skocznością i punkowym zabarwieniem przypominać mogą nawet Haemorrhage z najlepszych lat. Z drugiej strony, wspomniane już bezlitosne blastowanie to nierzadko wychodzenie poza ogólny kanon death / black metalu i wkraczanie na tereny grindowe. Tym bardziej jest to słyszalne, kiedy głęboki growl przełamywany jest wrzaskiem w nieco wyższej tonacji. Powrót do wojennego klimatu zapewniają jednak przewijające się na płycie sample o oczywistej tematyce. Nie znajdziecie tu technicznych popisów czy silenia się na oryginalność. Bo nawet jeśli się ona chwilami zarysowuje, to w sposób całkowicie naturalny i niewymuszony. Jakkolwiek by „Extinction Protocol” jednak nie słuchać i jak rozkładać na czynniki pierwsze, to i tak w ostateczności wyjdzie nam w równaniu totalny rozpierdol. Widać Godz ov War w tym roku na razie cisną po bandzie i dorzucają do pieca lokomotywy tyle węgla, ile się tylko w nim zmieści. Na pewno debiut Primitive Warfare to jedna z najbrutalniejszych pozycji w ich katalogu. Potężny cios, milordzie, potężny.

jesusatan


PRIMITIVE WARFARE’s 'Extinction Protocol' is a fine example of pure cutting edge sonic mutilation, raw and powerful! It reminds me of the early days of South American black metal with a touch of modern sonic craft. Don’t tell me I didn’t warn you! - Igor Cavalera



War metal has always been closely related to grindcore in regard to the primitive, chaotic nature of drumming, riffing and vocals alike. Blasphemy was basically just what would happen if you played Sarcófago at Napalm Death/Repulsion tempos, and that's what made them so remarkable in their paroxysmal extremism. However, not all of Blasphemy's followers share the same enthusiasm towards grindcore, just indirectly inheriting the genre's tropes through mere Blasphemy emulation and limiting themselves to pay lip service to the black metal side of their influences (such as Sarcófago, Holocausto and early Sodom). I remember, in this regard, reading an old Sacramentary Abolishment interview where Vermin (a future Revenge member, of all bands) declared he never really listened to grindcore aside from Carcass. As I already said in my review for Complot!'s debut album, you don't really need to be an avid grindcore listener at this point in time in order to play war metal, since the road has already been paved for you by the genre's founders. However, it's always fascinating when you run into a war metal band who does clearly listen to grindcore and is blatantly influenced by it firsthand. And as war metal becomes more and more codified and accepted into the metal scene at large after decades of underground obscurity, you're also bound to run into some bands who seem to be inspired by the modern grindcore scene - not the original, ultra-primitive scene from the early days. Enter Primitive Warfare, who released their debut album "Extinction Protocol" this year on Godz ov War Productions (already known for releasing quite a few bangers throughout the last years - most notably, Trenchant's debut "Commandoccult").

The formula Primitive Warfare employs on "Extinction Protocol" could be summed up as "Revenge meets Insect Warfare" without the risk of sounding overly reductionistic; this is especially true in regards to the drumming, which by the way seems to be the most driving element of these songs even from a strictly structural standpoint. This is indeed more of a drum-driven album than a riff-driven one, though still far from reducing guitars to meaningless background rumbling: songs are mostly led by overwhelming maelstroms of hyper-fast blast-beats which are only a tad slower and sloppier than the ones you could find on "World Extermination" (but still pretty fucking intense and precise for war metal standards), alternated with typically grindlike stop-'n'-go breaks ("Spears of Emission") and chaotic Revenge-style fills ("Iron Sight Omnipotence") dictating the flow of simple, minimalistic, yet highly malevolent and effective riffs that never fail to imbue the listener with a suffocating sense of threatening, warlike chaos (at times going down the route of slightly more articulate tremolo runs, such as on "Heretic Crusade" and "Iron Sight Omnipotence", enhancing the feeling of chaotic insanity). These blasting sections are contrasted with a few savage, sloppy skank/d-beat up-tempos (at times with a definite punk undertone, see "Witness!" or the title-track) that don't sound too far removed from the Insect Warfare/Internal Rot formula - if reinterpreted by a war metal drummer of the James Read variety. And, as it is to be expected from most war metal albums in the Revenge/Conqueror vein, you also have a few slow breaks placed between the verses, gathering tension before returning to merciless carnage; well, in Primitive Warfare's case, these slow sections sound unbelievably evil - not quite to the level of Imperium from Ohio (a band that singlehandedly managed to perfect the art of the "war metal break"), but still impressively malevolent and evocative: the slow riff from "Nuclear Regression" brings to mind the first Antaeus record and sends chills down your spine in how diabolical and deranged it sounds, almost as if the band is reveling with spontaneous, naive, childlike joy in the genocidal scenarios they're portraying. It does not get much more evil and unsettling than that, really.

This is not a complex record by any means, and repeated listens might bring its formulaic nature (which becomes apparent especially around the final two tracks) to the forefront; however, for the most part, the sheer destructive energy the album radiates from start to finish is able to make up for its slight repetitiveness - which is to be expected anyway from a war metal album, especially a modern one (now that unfortunately the genre's rules have been fully codified and standardized due to mainstream recognition), and at least the riffing remains far more entrancing and genuinely aggressive compared to most other recent releases in the genre, in spite of the band's barbaric, borderline caveman-ish minimalism which might have easily turned into trite rehashing. An impressive accomplishment for sure, one for which I can safely recommend "Extinction Protocol" to anyone enamored with the more savage side of extreme metal - whether it's black, death or grindcore, it doesn't matter really.

Noise Maniakk



..::TRACK-LIST::..

1. Pulpit of the Conqueror (Mutually Assured Desecration) 04:07
2. Nuclear Regression 04:03
3. Engulfed by Satanic Might 03:25
4. Spears of Emission 03:34
5. Witness! 03:24
6. Extinction Protocol 03:25
7. Iron Sight Omnipotence 04:45
8. Heretic Crusade 04:38



..::OBSADA::..

Pu239 - Atomic Matter Battery and Operatic Moral Torment
U235 - Desecrator of Fate’s Strings and Sonant Nuclear Discharge



https://www.youtube.com/watch?v=_rZ-PjMSMyM


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po dziewięciu latach wydawniczej posuchy z niebytu powrócił poważany niemiecki old school deathmetalowy kwartet ANASARCA prezentując najnowszy, długo wyczekiwany album "Achlys".

"Achlys" to najbardziej brutalne, intensywne i emocjonalne wydawnictwo zespołu w całej jego historii. Muzycznie album pozostaje osadzony w technicznym, melodyjnym i brutalnym death metalu, z charakterystycznym dla ANASARCA riffingiem, a jednocześnie jest kolejnym albumem koncepcyjnym — tym razem poświęconym żałobie. Teksty powstały na podstawie relacji osób, które straciły bliskich, odzwierciedlając zarówno osobiste doświadczenia członków zespołu, jak i straty w szeroko pojętej społeczności metalowej.

ANASARCA została założona w 1995 roku przez perkusistę Heinera oraz gitarzystę i wokalistę Mike’a (ex-Vomiting Corpses). Krótko po powstaniu zespół nagrał demo Condemned Truth, a następnie Godmachine (1996), co zaowocowało kontraktem z Repulse Records. Debiutancki album Godmachine ukazał się w 1998 roku i do dziś przez wielu fanów uznawany jest za klasykę niemieckiego death metalu.

Po kolejnych zmianach składu zespół wydał w 2001 roku drugi album Moribund nakładem Mighty Music. Wydawnictwo wyróżniało się unikalną koncepcją liryczną — wszystkie teksty pochodziły od osób oczekujących na wykonanie kary śmierci, co przyniosło zespołowi duże uznanie i zainteresowanie na scenie. W 2004 roku ukazał się kolejny, również koncepcyjny album Dying, ponownie wydany przez Mighty Music, którego teksty oparto na relacjach osób śmiertelnie chorych.

Po długim okresie ciszy i dalszych roszadach personalnych zespół powrócił z nową energią. Album Survival Mode, wydany w 2017 roku przez Sevared Records, zawierał gościnny udział Kam Lee (Massacre). Pod względem lirycznym płyta koncentrowała się na ludzkich zachowaniach w sytuacjach granicznych i walce o przetrwanie.

Piąty pełnowymiarowy album ANASARCA, ACHLYS, został nagrany między lutym a lipcem 2025 roku w Wretched Noise Studio w Oldenburgu (Niemcy). Materiał zmiksował Daniel Meinzer, a masteringiem zajął się Dennis Israel (Scour, Amon Amarth, Primordial, Asphyx, Legion Of The Damned). Autorem wszystkich grafik zamieszczonych na albumie oraz okładki jest nadworny grafik zespołu, Robert Sindermann (Havoc, Avulsed, Manticora, Beyond Twilight).

Dla fanów EDGE OF SANITY, SUFFOCATION, GOREFEST, OBITUARY, GRAVE



Renowed German death metal force ANASARCA are back with 5th full length album "ACHLYS".


ANASARCA was founded in 1995 by drummer Heiner and guitarist/vocalist Mike (ex-Vomiting Corpses). Shortly after forming, the band recorded the demo Condemned Truth, followed by Godmachine (1996), which led to a deal with Repulse Records. Their debut album Godmachine was released in 1998 and is still regarded by many fans as a classic of German death metal.

After several lineup changes, ANASARCA released their second album Moribund in 2001 via Mighty Music. The album stood out for its unique lyrical concept, featuring texts written by death-row inmates, earning strong recognition within the scene. The band continued with the concept-driven album Dying in 2004, again released by Mighty Music, with lyrics based on testimonies of terminally ill people.

Following a long period of inactivity and further lineup changes, ANASARCA returned with renewed energy. The album Survival Mode was released in 2017 via Sevared Records, featuring guest vocals by Kam Lee (Massacre). Lyrically, it explored human behavior in extreme survival situations.

Between February and July 2025, ANASARCA recorded their fifth full-length album ACHLYS at Wretched Noise Studio in Oldenburg, Germany. Mixed by Daniel Meinzer and mastered by Dennis Israel (Scour, Amon Amarth, Primordial, Asphyx, Legion Of The Damned). The album’s visual identity, including all graphics and artwork was created by Robert Sindermann, who has previously collaborated with bands such as Havoc, Avulsed, Manticora, and Beyond Twilight.

ACHLYS is the band’s most brutal, intense, and emotionally charged release to date. Musically rooted in melodic-brutal death metal, the album once again follows a concept — this time centered on grief, with lyrics written by people who have lost loved ones, reflecting both personal losses within the band and the wider metal community.

For fans of Suffocation, Gorefest, Obituary, Grave, Edge Of Sanity.




German Anasarca being active since 1995 are back with their fifth full-length album “Achlys” out via the very good Polish underground label Selfmadegod Records.

Three of the new songs, namely “Achlys”, “He Is Dead” and “In Memoriam” were already to find on the 2024 promo “Goddess Of The Somber Shape”, the rest was previously unreleased. So anybody who heard the promo or knows the previous albums knows what is to come for the next 40 minutes.

Kicking off with a short intro from “Funeral March” with some ghastly spoken words, the first songs breaks in like a sudden nuclear strike. If you aren´t prepared for this inferno, you might get a shock when you listen too relaxed to the song. The song, like the rest on the album, is full of blast beat attacks and super fast brutal death metal. Not the shitty brutal death metal bands with colored Bermuda shorts and pink sunglasses perform while the fans are going nuts in the fucking circle pit, no this is real old-school death metal as it was popular in the early 90s when Suffocation and co still were kicking ass and were some sort of new shit in town.

Apart from all the brutality you also can find some catchier parts in the songs that almost groove and what is also clearly to state is the technical quality of the songs. The instruments are performed very well and just take as a good example “Basket Of Burdens”. This all comes together here and delivers really high quality death metal. Another really good and catchy ones are “Pain Remains” and “Wish You Were Here”. Kicking off with a fast drum pattern “Pain Remains” stays more or less melodic and reminds (at least me) of newer Cannibal Corpse albums with all the arrangements, the tempo and also the vocals. “Wish You Were Here” (no, it´s not a Rednex cover song!) tends into the same direction but has some more breaks and twists in the middle of it.

This might be the biggest point of criticism on the album. The songs are often into the same direction and some surprising moments such as the one at the beginning of the album or in the mentioned tracks are missing here and there. To be fair, also the big role models aren´t too surprising on most of the albums and I can actually live with that kind of music pretty well, so let this just be a small footnote here.

What has also become quite well is the powerful production. Especially in that genre sometimes the drums sound too tinny or muffled but on “Achlys” they sound really good. Also the rest of the instruments and the vocals are executed very good so that the sound gives no reason to mourn in any way.

And also the lyrcis, that might be important for one or the other listener, are quite profound. They deal a lot with death and grief, a lot of the lyrics are based on traditional or modern poems (for example is "How Can They" based on "The Dying Child" by John Clare, written in the 18th century)

So if you are into some serious brutal death metal stuff you should check the Germans for sure, this is probably no disappointment or waste of time! There is only one thing to hope – that the next song isn´t called “Cotton Eye Joe”!

spookymicha666



..::TRACK-LIST::..

1. Beyond the Passing (Intro) 00:56
2. My Reality 04:23
3. Achlys 03:56
4. Basket of Burdens 03:08
5. In Memoriam 04:30
6. Pain Remains 04:02
7. Broken 03:21
8. He Is Dead 03:37
9. Wish You Were Here 04:23
10. How Can They 03:03
11. I Feel 04:40




https://www.youtube.com/watch?v=aU84R0xkubk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po dziewięciu latach wydawniczej posuchy z niebytu powrócił poważany niemiecki old school deathmetalowy kwartet ANASARCA prezentując najnowszy, długo wyczekiwany album "Achlys".

"Achlys" to najbardziej brutalne, intensywne i emocjonalne wydawnictwo zespołu w całej jego historii. Muzycznie album pozostaje osadzony w technicznym, melodyjnym i brutalnym death metalu, z charakterystycznym dla ANASARCA riffingiem, a jednocześnie jest kolejnym albumem koncepcyjnym — tym razem poświęconym żałobie. Teksty powstały na podstawie relacji osób, które straciły bliskich, odzwierciedlając zarówno osobiste doświadczenia członków zespołu, jak i straty w szeroko pojętej społeczności metalowej.

ANASARCA została założona w 1995 roku przez perkusistę Heinera oraz gitarzystę i wokalistę Mike’a (ex-Vomiting Corpses). Krótko po powstaniu zespół nagrał demo Condemned Truth, a następnie Godmachine (1996), co zaowocowało kontraktem z Repulse Records. Debiutancki album Godmachine ukazał się w 1998 roku i do dziś przez wielu fanów uznawany jest za klasykę niemieckiego death metalu.

Po kolejnych zmianach składu zespół wydał w 2001 roku drugi album Moribund nakładem Mighty Music. Wydawnictwo wyróżniało się unikalną koncepcją liryczną — wszystkie teksty pochodziły od osób oczekujących na wykonanie kary śmierci, co przyniosło zespołowi duże uznanie i zainteresowanie na scenie. W 2004 roku ukazał się kolejny, również koncepcyjny album Dying, ponownie wydany przez Mighty Music, którego teksty oparto na relacjach osób śmiertelnie chorych.

Po długim okresie ciszy i dalszych roszadach personalnych zespół powrócił z nową energią. Album Survival Mode, wydany w 2017 roku przez Sevared Records, zawierał gościnny udział Kam Lee (Massacre). Pod względem lirycznym płyta koncentrowała się na ludzkich zachowaniach w sytuacjach granicznych i walce o przetrwanie.

Piąty pełnowymiarowy album ANASARCA, ACHLYS, został nagrany między lutym a lipcem 2025 roku w Wretched Noise Studio w Oldenburgu (Niemcy). Materiał zmiksował Daniel Meinzer, a masteringiem zajął się Dennis Israel (Scour, Amon Amarth, Primordial, Asphyx, Legion Of The Damned). Autorem wszystkich grafik zamieszczonych na albumie oraz okładki jest nadworny grafik zespołu, Robert Sindermann (Havoc, Avulsed, Manticora, Beyond Twilight).

Dla fanów EDGE OF SANITY, SUFFOCATION, GOREFEST, OBITUARY, GRAVE



Renowed German death metal force ANASARCA are back with 5th full length album "ACHLYS".


ANASARCA was founded in 1995 by drummer Heiner and guitarist/vocalist Mike (ex-Vomiting Corpses). Shortly after forming, the band recorded the demo Condemned Truth, followed by Godmachine (1996), which led to a deal with Repulse Records. Their debut album Godmachine was released in 1998 and is still regarded by many fans as a classic of German death metal.

After several lineup changes, ANASARCA released their second album Moribund in 2001 via Mighty Music. The album stood out for its unique lyrical concept, featuring texts written by death-row inmates, earning strong recognition within the scene. The band continued with the concept-driven album Dying in 2004, again released by Mighty Music, with lyrics based on testimonies of terminally ill people.

Following a long period of inactivity and further lineup changes, ANASARCA returned with renewed energy. The album Survival Mode was released in 2017 via Sevared Records, featuring guest vocals by Kam Lee (Massacre). Lyrically, it explored human behavior in extreme survival situations.

Between February and July 2025, ANASARCA recorded their fifth full-length album ACHLYS at Wretched Noise Studio in Oldenburg, Germany. Mixed by Daniel Meinzer and mastered by Dennis Israel (Scour, Amon Amarth, Primordial, Asphyx, Legion Of The Damned). The album’s visual identity, including all graphics and artwork was created by Robert Sindermann, who has previously collaborated with bands such as Havoc, Avulsed, Manticora, and Beyond Twilight.

ACHLYS is the band’s most brutal, intense, and emotionally charged release to date. Musically rooted in melodic-brutal death metal, the album once again follows a concept — this time centered on grief, with lyrics written by people who have lost loved ones, reflecting both personal losses within the band and the wider metal community.

For fans of Suffocation, Gorefest, Obituary, Grave, Edge Of Sanity.




German Anasarca being active since 1995 are back with their fifth full-length album “Achlys” out via the very good Polish underground label Selfmadegod Records.

Three of the new songs, namely “Achlys”, “He Is Dead” and “In Memoriam” were already to find on the 2024 promo “Goddess Of The Somber Shape”, the rest was previously unreleased. So anybody who heard the promo or knows the previous albums knows what is to come for the next 40 minutes.

Kicking off with a short intro from “Funeral March” with some ghastly spoken words, the first songs breaks in like a sudden nuclear strike. If you aren´t prepared for this inferno, you might get a shock when you listen too relaxed to the song. The song, like the rest on the album, is full of blast beat attacks and super fast brutal death metal. Not the shitty brutal death metal bands with colored Bermuda shorts and pink sunglasses perform while the fans are going nuts in the fucking circle pit, no this is real old-school death metal as it was popular in the early 90s when Suffocation and co still were kicking ass and were some sort of new shit in town.

Apart from all the brutality you also can find some catchier parts in the songs that almost groove and what is also clearly to state is the technical quality of the songs. The instruments are performed very well and just take as a good example “Basket Of Burdens”. This all comes together here and delivers really high quality death metal. Another really good and catchy ones are “Pain Remains” and “Wish You Were Here”. Kicking off with a fast drum pattern “Pain Remains” stays more or less melodic and reminds (at least me) of newer Cannibal Corpse albums with all the arrangements, the tempo and also the vocals. “Wish You Were Here” (no, it´s not a Rednex cover song!) tends into the same direction but has some more breaks and twists in the middle of it.

This might be the biggest point of criticism on the album. The songs are often into the same direction and some surprising moments such as the one at the beginning of the album or in the mentioned tracks are missing here and there. To be fair, also the big role models aren´t too surprising on most of the albums and I can actually live with that kind of music pretty well, so let this just be a small footnote here.

What has also become quite well is the powerful production. Especially in that genre sometimes the drums sound too tinny or muffled but on “Achlys” they sound really good. Also the rest of the instruments and the vocals are executed very good so that the sound gives no reason to mourn in any way.

And also the lyrcis, that might be important for one or the other listener, are quite profound. They deal a lot with death and grief, a lot of the lyrics are based on traditional or modern poems (for example is "How Can They" based on "The Dying Child" by John Clare, written in the 18th century)

So if you are into some serious brutal death metal stuff you should check the Germans for sure, this is probably no disappointment or waste of time! There is only one thing to hope – that the next song isn´t called “Cotton Eye Joe”!

spookymicha666



..::TRACK-LIST::..

1. Beyond the Passing (Intro) 00:56
2. My Reality 04:23
3. Achlys 03:56
4. Basket of Burdens 03:08
5. In Memoriam 04:30
6. Pain Remains 04:02
7. Broken 03:21
8. He Is Dead 03:37
9. Wish You Were Here 04:23
10. How Can They 03:03
11. I Feel 04:40




https://www.youtube.com/watch?v=aU84R0xkubk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Reedycja drugiej dużej płyty z 2010 roku w wykonaniu kultowej black/deathmetalowej załogi z Rio De Janeiro!

Myślę, że Grave Desecrator sprawia, że dziedzictwo Sarcófago nie zostanie zapomniane. Oba zespoły tworzą historię brazylijskiej sceny,to wspaniałe,że zespołowi udało się przenieść do swojej muzyki tę iskrę rozpaloną niegdyś przez załogę Wagnera, wynosząc to przy tym na jeszcze wyższy poziom ekstremy, dodając przy tym szczyptę Diabła, który idealnie współgra z ich muzyką.



Shaking up the increasingly complacent bestial metal scene in 2008 with their "Sign of Doom" debut, Brazilian beasts GRAVE DESECRATOR return to bury the still-standing with their second and latest album, "Insult." Foregoing fifth-generation clones of newer hordes, GRAVE DESECRATOR drive deep into the roots of South American darkness with nuclear-powered blackgrind rife with psychotic solos and eldritch dread, all whilst never losing sight of "song" over "chaos." Full-moon rituals and alcoholic rites - GRAVE DESECRATOR spit the gravest "Insult"!



..::TRACK-LIST::..

1. Black Vengeance 04:51
2. Stared To Hell 02:44
3. Hellhound Breed 01:28
4. Insult 03:53
5. Stained By Blood 03:19
6. Dangerous Cult 04:21
7. Serpent Seedline 03:40
8. Decline Of Faith 05:16
9. Jesus Joint 01:08
10. Poisoned Purity 04:20
11. The Satanic Coven 02:49
12. Baphomet 06:47



..::OBSADA::..

Angeldust - Drums
Élson 'El' Necrogoat - Bass
Black Sin and Damnation - Guitars
Butcherazor - Guitars, Vocals




https://www.youtube.com/watch?v=OfCsUs-u0O8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Reedycja drugiej dużej płyty z 2010 roku w wykonaniu kultowej black/deathmetalowej załogi z Rio De Janeiro!

Myślę, że Grave Desecrator sprawia, że dziedzictwo Sarcófago nie zostanie zapomniane. Oba zespoły tworzą historię brazylijskiej sceny,to wspaniałe,że zespołowi udało się przenieść do swojej muzyki tę iskrę rozpaloną niegdyś przez załogę Wagnera, wynosząc to przy tym na jeszcze wyższy poziom ekstremy, dodając przy tym szczyptę Diabła, który idealnie współgra z ich muzyką.



Shaking up the increasingly complacent bestial metal scene in 2008 with their "Sign of Doom" debut, Brazilian beasts GRAVE DESECRATOR return to bury the still-standing with their second and latest album, "Insult." Foregoing fifth-generation clones of newer hordes, GRAVE DESECRATOR drive deep into the roots of South American darkness with nuclear-powered blackgrind rife with psychotic solos and eldritch dread, all whilst never losing sight of "song" over "chaos." Full-moon rituals and alcoholic rites - GRAVE DESECRATOR spit the gravest "Insult"!



..::TRACK-LIST::..

1. Black Vengeance 04:51
2. Stared To Hell 02:44
3. Hellhound Breed 01:28
4. Insult 03:53
5. Stained By Blood 03:19
6. Dangerous Cult 04:21
7. Serpent Seedline 03:40
8. Decline Of Faith 05:16
9. Jesus Joint 01:08
10. Poisoned Purity 04:20
11. The Satanic Coven 02:49
12. Baphomet 06:47



..::OBSADA::..

Angeldust - Drums
Élson 'El' Necrogoat - Bass
Black Sin and Damnation - Guitars
Butcherazor - Guitars, Vocals




https://www.youtube.com/watch?v=OfCsUs-u0O8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Piekielne psy z Birmingham w Alabamie powróciły!!!



From the abyssal and blistering depths of Alabama and featuring members from Seraphic Entombment and Father Befouled, ECTOVOID return with their new album "In Unreality’s Coffin"! An exhumation of death metal’s spectral essence and a relentless pulse of putrefaction, summoning shadows into eternal decay and entombing listeners in cavernous pummeling riffs!

Formed in 2010 as a trio in the obscure southern US, Ectovoid embarked on a morbid quest to unite bizarre black/death metal songwriting with raw aggression and unsettling lyrical musings into a dismal musical exploration into the bleakest corners of the mind and soul. Driven by unusual and unsettling riffs, textured and intense drumming, and darkly memorable vocals and hooks, Ectovoid’s music pays homage to the respected bands of yore while forging ahead with an innovative sound and identity independent of the various trends flowing in and out of the larger scene. Across two full-length albums and various other releases, the band has fiercely honed their craft, carving out a distinct identity in the broader death metal landscape while continuing to pursue higher plateaus of dark death metal artistry.

For fans of Autopsy, Necrot, Incantation, Acephalix.



..::TRACK-LIST::..

1. Dissonance Corporeum 04:23
2. Collapsing Spiritual Nebula 05:41
3. Intrusive Illusions (Echoes From A Distant Plane) 03:55
4. Formless Seeking Form 6:02
5. Irradiated Self 03:55
6. In Unreality's Coffin 04:06
7. Erroneous Birth 05:42
8. It Is Without Shape... 03:22
9. In Anguished Levitation 07:25



..::OBSADA::..

C.B. - Rhythm Guitar/Lead Vocals
R.S. - Bass
C.M. - Drums
C.S. - Rhythm Guitar/Backing Vocals




https://www.youtube.com/watch?v=NXAvt5xKRTM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Piekielne psy z Birmingham w Alabamie powróciły!!!



From the abyssal and blistering depths of Alabama and featuring members from Seraphic Entombment and Father Befouled, ECTOVOID return with their new album "In Unreality’s Coffin"! An exhumation of death metal’s spectral essence and a relentless pulse of putrefaction, summoning shadows into eternal decay and entombing listeners in cavernous pummeling riffs!

Formed in 2010 as a trio in the obscure southern US, Ectovoid embarked on a morbid quest to unite bizarre black/death metal songwriting with raw aggression and unsettling lyrical musings into a dismal musical exploration into the bleakest corners of the mind and soul. Driven by unusual and unsettling riffs, textured and intense drumming, and darkly memorable vocals and hooks, Ectovoid’s music pays homage to the respected bands of yore while forging ahead with an innovative sound and identity independent of the various trends flowing in and out of the larger scene. Across two full-length albums and various other releases, the band has fiercely honed their craft, carving out a distinct identity in the broader death metal landscape while continuing to pursue higher plateaus of dark death metal artistry.

For fans of Autopsy, Necrot, Incantation, Acephalix.



..::TRACK-LIST::..

1. Dissonance Corporeum 04:23
2. Collapsing Spiritual Nebula 05:41
3. Intrusive Illusions (Echoes From A Distant Plane) 03:55
4. Formless Seeking Form 6:02
5. Irradiated Self 03:55
6. In Unreality's Coffin 04:06
7. Erroneous Birth 05:42
8. It Is Without Shape... 03:22
9. In Anguished Levitation 07:25



..::OBSADA::..

C.B. - Rhythm Guitar/Lead Vocals
R.S. - Bass
C.M. - Drums
C.S. - Rhythm Guitar/Backing Vocals




https://www.youtube.com/watch?v=NXAvt5xKRTM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Oj jak mocno i długo czekałem na nowy album Portal, to nawet nie zliczę. W zasadzie tylko 5 lat minęło od świetnego “Vexovoid” a mnie się zdawało, że to cała wieczność. Dlatego tym bardziej ciekaw byłem, czy uda się Australijczykom utrzymać poziom ostatniego albumu.

Nie oszukujmy się, okładka Zbigniewa Bielaka w swej pozornej prostocie to czysty majstersztyk, który jasno i konkretnie odzwierciedla zawartość “Ion”. Potężne generatory mocy wytwarzające niewyobrażalnie gigantyczną energię przynoszą na myśl samego Nikola Teslę. Geniusza i wizjonera, którego wynalazki zrewolucjonizowały i pchnęły rozwój ludzkości. Jednak Tesla to nie tylko prąd zmienny, ale także ciemna strona nauki ocierającej się o równoległe wymiary i eksplorację ludzkiego umysłu oraz badanie jego najciemniejszych i najbardziej mrocznych zakamarków. Tak właśnie “Ion” oddziaływuje na człowieka. Eksploruje jego umysł, wynajduje wszystko to, co złe i wypluwa na zewnątrz nadając temu przerażającą formę i kształt, tworząc przy tym psychiczny koszmar z którego nie można się wybudzić (“Crone”). Wszystko to zostało zapakowane w kakofoniczną ścianę dzwięku, która skrzętnie budowana jest przez Australijczyków na całym albumie. Paradoksalnie – w tym całym chaosie gdzie zderzające się neutrony riffów i blastów w jakiś sobie tylko znany sposób scalają się i budują harmoniczne drgania – dźwięki płynące z głośników wpadają do głowy słuchacza z niezwykłą lekkością (“ESP ION AGE”). Nie znaczy to jednak, że jest łatwo i przyjemnie (genialny “Spores”) . Nadal jest to muzyczny eksperyment sięgający daleko poza wyobrażenia słuchacza co do kształtu muzyki i sposobu jej grania (“Revault of Volts”). Miejscami Portal jest wręcz asłuchalny, ale nie tak jak chociażby na “Seepia” czy “Outre”, które to były połamane niemal jak Kubica po wypadku. Można by więc odczytać to jako ładunek ujemny na tej płycie, ale każdy kto miał styczność z Portal wie, że w tej muzyce nie wszystko jest tak oczywiste, jakby się zdawało (wieńczący album “Olde Guarde”) co można zaliczyć na plus.

“Ion” pozostaje nadal gdzieś w innym wymiarze muzycznego spektrum, nieosiągalnego dla pozostałych zespołów. Sieje kakofoniczny terror, budując przy tym aurę strachu i sennego koszmaru. Bezapelacyjnie, jeden z kandydatów do materiału roku.

Łysy


https://www.youtube.com/watch?v=tRBfzFO-aT0


Portal’s fifth full-length is an achievement in the realm of extreme metal guitar playing that pushes the limits of avant-garde expressionist tremolo-picked heavy music. ‘Ion’ is abrasive, dense and high-level technical wizardry that initially takes a concerted effort to follow. The intense speed and flurry of guitars are razor sharp black metal in style but backed by vocals seemingly whispered in a wind tunnel. Their tone is piercingly electric as it comes in waves of terror-inducing mid-range noise that inevitably shape themselves into remarkably structured and atmospheric death metal songs.

The riffs are on par with what avant-technical extreme metal bands like Thantifaxath and Pyrrhon explored more recently, though ‘Ion’ is more focused and in turn memorable than either record. If Gorguts‘ ‘Obscura’ was played at double speed it might have resembled this sort of well-shaped discordant stream-of-consciousness metal record. What I think Portal lacks in melody and memorability they make up for with compelling atmosphere and sheer skill. Much of that atmosphere comes from icily gasped wind-tunnel vocals that resemble the whispers of Satan himself in your ears. It is a challenging listen but it’s initially directionless composition lends itself incredibly to repeated listening.

The tautness of Portal’s song-writing seems impossible to top in terms of sheer complexity, speed and dynamic tension. If the band were to accelerate any further in speed or compositional diversity ‘Ion’ would resemble the sound of a giant cheese-grater rubbing hundreds of guitar strings at 200bpm. The avant-technical horror-occult death/black experience of ‘Ion’ transcends technical death metal song structure to the limit of over-complicated nightmare death metal music. My favorite track here “Phantom” manages to create a psychedelic electrical storm of guitar riffs and set it over war metal blasting and brilliant percussion in the middle of the track; followed by the nearly 10 minute roller coaster of “Olde Guarde” that fades out into chaos and rumbling atmospherics. For my taste this is a guaranteed top release for 2018.

GrizzlyButts


Portal is an experimental death metal band that places more emphasis on being experimental than on being death metal... and that works out flawlessly on ION. The album is primarily composed of traditional death metal instrumentation (drums, bass, and guitar) and what I would describe as a more breathy variant of a traditional death growl. The quick and winding compositions are supported perfectly by harsh and lively production that's just harsh enough to impart a serious sense of overwhelming chaos, but not so much so that things become unintelligible. The guitars feel appropriately sharp, and the drums appropriately thunderous in contrast. The Curator (as they call their vocalist) conveys a sense of dread that feels less energetic than other death metal vocalists out there, which actually compliments the excessive energy of the guitars and drums very well. These elements come together to create a haunting atmosphere that can only be described as perfection.

I first listened to ION upon its initial release and can't claim to have been in love with it, fascinated and intrigued, but not in love. It felt like it was so inaccessible that I couldn't even tell you what I did or didn't like about it... yet as the weeks went on I found myself giving it repeat listens almost impulsively. It felt more rewarding that I had to uncover it's many intricacies rather than the answers just being handed to me. With each consecutive listen I found myself slowly making sense (well, some sense at least) of the chaos and becoming quite familiar and comfortable with things that at first glance seemed impenetrable.

Many components of this album are quite catchy once you get to know them; the main grooves of "Husk" and "Olde Guarde" are extremely satisfying, and the eerie vocal refrain at the end of "Crone" gets lodged in my head for days at a time. Portal is very calculative with it's pacing in this regard, however, and no part is ever catchy for very long before you're dunked back into the swirling cacophony. This makes every moment feel significant and allows the album a great sense of dynamics without ever undergoing any major stylistic changes. I appreciate a band using techniques like this as as opposed to simply switching between clean and heavy parts to create motion. The latter is fine sometimes, but I feel that a lot of bands today use clean/ heavy juxtaposition as a crutch and don't explore other methods of creating dramatic transition as much as they could. Let me be clear, this album is heavy all the time (minus the ambient intro, outro, and occasional interlude) and is better for it.

The album's run-time of only 37 minutes is also a huge contributor to it's overall perfection. The short length means there's no messing around and every idea is used to it's full potential without being overused. Additionally, a work with this degree of abrasiveness could run the risk of growing tiresome if it overstayed it's welcome. But this also doesn't mean the album is lacking in ideas because of it's size, this is a dense 37 minutes we're talking about here, and the amount of variety contained within that time is astounding. From the dizzying lead lines toward the beginning of "Phathom" to the anthemic pounding of "Phreqs," there's a lot of diversity on display that one might not initially recognize. This is also helped by moments of intermission like the ambient outro of "Phreqs," and the gorgeous soundscapes that close out the album.

I can only make one small criticism of ION; even though I like vocal delivery and style, I feel that they could have benefited from having the same amount of variety as the instrumentation. That being said, I get the feeling the relative mundanity of the vocals was intentional, therefore I can't criticize them too heavily for this. All in all ION is a masterpiece, and any experimental or extreme metal fan owes it a listen. If you haven't totally clicked with it after a single time through (which you probably wont, I sure didn't) give it a second and a third listen... you'll come around. It's more rewarding for it's relative inaccessibility.

Old Man



..::TRACK-LIST::..

1. Nth 02:10
2. ESP ION AGE 03:26
3. Husk 03:43
4. Phreqs 04:54
5. Crone 03:28
6. Revault Of Volts 03:53
7. Spores 02:26
8. Phathom 03:12
9. Olde Guarde 09:44



..::OBSADA::..

Horror Illogium - Guitars (lead)
The Curator - Vocals
Aphotic Mote - Guitars (rhythm)
Ignis Fatuus - Drums




https://www.youtube.com/watch?v=R9GdlXnXkIA


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Oj jak mocno i długo czekałem na nowy album Portal, to nawet nie zliczę. W zasadzie tylko 5 lat minęło od świetnego “Vexovoid” a mnie się zdawało, że to cała wieczność. Dlatego tym bardziej ciekaw byłem, czy uda się Australijczykom utrzymać poziom ostatniego albumu.

Nie oszukujmy się, okładka Zbigniewa Bielaka w swej pozornej prostocie to czysty majstersztyk, który jasno i konkretnie odzwierciedla zawartość “Ion”. Potężne generatory mocy wytwarzające niewyobrażalnie gigantyczną energię przynoszą na myśl samego Nikola Teslę. Geniusza i wizjonera, którego wynalazki zrewolucjonizowały i pchnęły rozwój ludzkości. Jednak Tesla to nie tylko prąd zmienny, ale także ciemna strona nauki ocierającej się o równoległe wymiary i eksplorację ludzkiego umysłu oraz badanie jego najciemniejszych i najbardziej mrocznych zakamarków. Tak właśnie “Ion” oddziaływuje na człowieka. Eksploruje jego umysł, wynajduje wszystko to, co złe i wypluwa na zewnątrz nadając temu przerażającą formę i kształt, tworząc przy tym psychiczny koszmar z którego nie można się wybudzić (“Crone”). Wszystko to zostało zapakowane w kakofoniczną ścianę dzwięku, która skrzętnie budowana jest przez Australijczyków na całym albumie. Paradoksalnie – w tym całym chaosie gdzie zderzające się neutrony riffów i blastów w jakiś sobie tylko znany sposób scalają się i budują harmoniczne drgania – dźwięki płynące z głośników wpadają do głowy słuchacza z niezwykłą lekkością (“ESP ION AGE”). Nie znaczy to jednak, że jest łatwo i przyjemnie (genialny “Spores”) . Nadal jest to muzyczny eksperyment sięgający daleko poza wyobrażenia słuchacza co do kształtu muzyki i sposobu jej grania (“Revault of Volts”). Miejscami Portal jest wręcz asłuchalny, ale nie tak jak chociażby na “Seepia” czy “Outre”, które to były połamane niemal jak Kubica po wypadku. Można by więc odczytać to jako ładunek ujemny na tej płycie, ale każdy kto miał styczność z Portal wie, że w tej muzyce nie wszystko jest tak oczywiste, jakby się zdawało (wieńczący album “Olde Guarde”) co można zaliczyć na plus.

“Ion” pozostaje nadal gdzieś w innym wymiarze muzycznego spektrum, nieosiągalnego dla pozostałych zespołów. Sieje kakofoniczny terror, budując przy tym aurę strachu i sennego koszmaru. Bezapelacyjnie, jeden z kandydatów do materiału roku.

Łysy


https://www.youtube.com/watch?v=tRBfzFO-aT0


Portal’s fifth full-length is an achievement in the realm of extreme metal guitar playing that pushes the limits of avant-garde expressionist tremolo-picked heavy music. ‘Ion’ is abrasive, dense and high-level technical wizardry that initially takes a concerted effort to follow. The intense speed and flurry of guitars are razor sharp black metal in style but backed by vocals seemingly whispered in a wind tunnel. Their tone is piercingly electric as it comes in waves of terror-inducing mid-range noise that inevitably shape themselves into remarkably structured and atmospheric death metal songs.

The riffs are on par with what avant-technical extreme metal bands like Thantifaxath and Pyrrhon explored more recently, though ‘Ion’ is more focused and in turn memorable than either record. If Gorguts‘ ‘Obscura’ was played at double speed it might have resembled this sort of well-shaped discordant stream-of-consciousness metal record. What I think Portal lacks in melody and memorability they make up for with compelling atmosphere and sheer skill. Much of that atmosphere comes from icily gasped wind-tunnel vocals that resemble the whispers of Satan himself in your ears. It is a challenging listen but it’s initially directionless composition lends itself incredibly to repeated listening.

The tautness of Portal’s song-writing seems impossible to top in terms of sheer complexity, speed and dynamic tension. If the band were to accelerate any further in speed or compositional diversity ‘Ion’ would resemble the sound of a giant cheese-grater rubbing hundreds of guitar strings at 200bpm. The avant-technical horror-occult death/black experience of ‘Ion’ transcends technical death metal song structure to the limit of over-complicated nightmare death metal music. My favorite track here “Phantom” manages to create a psychedelic electrical storm of guitar riffs and set it over war metal blasting and brilliant percussion in the middle of the track; followed by the nearly 10 minute roller coaster of “Olde Guarde” that fades out into chaos and rumbling atmospherics. For my taste this is a guaranteed top release for 2018.

GrizzlyButts


Portal is an experimental death metal band that places more emphasis on being experimental than on being death metal... and that works out flawlessly on ION. The album is primarily composed of traditional death metal instrumentation (drums, bass, and guitar) and what I would describe as a more breathy variant of a traditional death growl. The quick and winding compositions are supported perfectly by harsh and lively production that's just harsh enough to impart a serious sense of overwhelming chaos, but not so much so that things become unintelligible. The guitars feel appropriately sharp, and the drums appropriately thunderous in contrast. The Curator (as they call their vocalist) conveys a sense of dread that feels less energetic than other death metal vocalists out there, which actually compliments the excessive energy of the guitars and drums very well. These elements come together to create a haunting atmosphere that can only be described as perfection.

I first listened to ION upon its initial release and can't claim to have been in love with it, fascinated and intrigued, but not in love. It felt like it was so inaccessible that I couldn't even tell you what I did or didn't like about it... yet as the weeks went on I found myself giving it repeat listens almost impulsively. It felt more rewarding that I had to uncover it's many intricacies rather than the answers just being handed to me. With each consecutive listen I found myself slowly making sense (well, some sense at least) of the chaos and becoming quite familiar and comfortable with things that at first glance seemed impenetrable.

Many components of this album are quite catchy once you get to know them; the main grooves of "Husk" and "Olde Guarde" are extremely satisfying, and the eerie vocal refrain at the end of "Crone" gets lodged in my head for days at a time. Portal is very calculative with it's pacing in this regard, however, and no part is ever catchy for very long before you're dunked back into the swirling cacophony. This makes every moment feel significant and allows the album a great sense of dynamics without ever undergoing any major stylistic changes. I appreciate a band using techniques like this as as opposed to simply switching between clean and heavy parts to create motion. The latter is fine sometimes, but I feel that a lot of bands today use clean/ heavy juxtaposition as a crutch and don't explore other methods of creating dramatic transition as much as they could. Let me be clear, this album is heavy all the time (minus the ambient intro, outro, and occasional interlude) and is better for it.

The album's run-time of only 37 minutes is also a huge contributor to it's overall perfection. The short length means there's no messing around and every idea is used to it's full potential without being overused. Additionally, a work with this degree of abrasiveness could run the risk of growing tiresome if it overstayed it's welcome. But this also doesn't mean the album is lacking in ideas because of it's size, this is a dense 37 minutes we're talking about here, and the amount of variety contained within that time is astounding. From the dizzying lead lines toward the beginning of "Phathom" to the anthemic pounding of "Phreqs," there's a lot of diversity on display that one might not initially recognize. This is also helped by moments of intermission like the ambient outro of "Phreqs," and the gorgeous soundscapes that close out the album.

I can only make one small criticism of ION; even though I like vocal delivery and style, I feel that they could have benefited from having the same amount of variety as the instrumentation. That being said, I get the feeling the relative mundanity of the vocals was intentional, therefore I can't criticize them too heavily for this. All in all ION is a masterpiece, and any experimental or extreme metal fan owes it a listen. If you haven't totally clicked with it after a single time through (which you probably wont, I sure didn't) give it a second and a third listen... you'll come around. It's more rewarding for it's relative inaccessibility.

Old Man



..::TRACK-LIST::..

1. Nth 02:10
2. ESP ION AGE 03:26
3. Husk 03:43
4. Phreqs 04:54
5. Crone 03:28
6. Revault Of Volts 03:53
7. Spores 02:26
8. Phathom 03:12
9. Olde Guarde 09:44



..::OBSADA::..

Horror Illogium - Guitars (lead)
The Curator - Vocals
Aphotic Mote - Guitars (rhythm)
Ignis Fatuus - Drums




https://www.youtube.com/watch?v=R9GdlXnXkIA


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwszy krążek hiszpańskiego zespołu grającego brutalną odmianę death metalu w najczystszej postaci!

Doskonałe dla fanów GORGASM, DEEDS OF FLESH, DISGORGE (USA).



..::TRACK-LIST::..

1. The Subliminal Way of Flesh 02:54
2. Waiting for Your Suffering 03:25
3. When Death Calls 03:31
4. Parasitaemia Prolifica 03:25
5. Redefine the Depravation 03:46
6. Feeling of Decay 03:15
7. Repugnant Ecstasy 04:00
8. ...and the Redemption 02:39



..::OBSADA::..

Víctor - Bass, Vocals (backing)
Iván - Drums
Camilo - Guitars
Diego - Guitars
Chebe - Vocals



https://www.youtube.com/watch?v=E3NyibVK0lI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwszy krążek hiszpańskiego zespołu grającego brutalną odmianę death metalu w najczystszej postaci!

Doskonałe dla fanów GORGASM, DEEDS OF FLESH, DISGORGE (USA).



..::TRACK-LIST::..

1. The Subliminal Way of Flesh 02:54
2. Waiting for Your Suffering 03:25
3. When Death Calls 03:31
4. Parasitaemia Prolifica 03:25
5. Redefine the Depravation 03:46
6. Feeling of Decay 03:15
7. Repugnant Ecstasy 04:00
8. ...and the Redemption 02:39



..::OBSADA::..

Víctor - Bass, Vocals (backing)
Iván - Drums
Camilo - Guitars
Diego - Guitars
Chebe - Vocals



https://www.youtube.com/watch?v=E3NyibVK0lI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Lata 90. były bogate w kapitalne dźwięki na polskiej scenie metalowej . W 1996 roku Trauma wydała debiut, który często określa się mianem kroku milowego polskiego death metalu, w tym samym roku działalność rozpoczął Decapitated, a rok wcześniej Vader wydał kvltowy krążek De Profundis.

Po reedycji demówki Invisible Reality polskiej death metalowej formacji Trauma przyszedł czas na odświeżenie kolejnego materiału. Tym razem dostajemy debiutancki krążek grupy z Elbląga, czyli Comedy is Over (pierwotnie wydany w 1996r. na kasecie oraz w 2000r. na CD). Wydawnictwo otrzymało całkowicie nową, i co należy wspomnieć, przede wszystkim piękną oprawę graficzną, za którą odpowiada Piotr Szafraniec. W booklecie znajdziemy przejrzyste teksty utworów oraz kilka zespołowych fotografii, a cały jewelcase oprawiony jest dodatkowym slipcase’m. Również warstwa muzyczna zyskała „ducha”, bowiem jeden z najlepszych producentów w Polsce – Haldor Grunberg (Satanic Audio) zajął się ponownym masteringiem.

Na płycie nie brakuje wpadających w ucho melodii, jak i ekwilibrystycznych solówek. Relief rozpoczyna niemal balladowa gitara w wersji „clean”, w której w dalszych momentach mamy do czynienia z death/doomowymi zagrywkami oraz progresywnym zawodzeniem gitar. Brutalny wydźwięk podkreśla świetnie słyszalna gitara basowa. Kompozycyjnie tytułowy utwór Comedy Is Over to coś niesamowitego. W tym utworze się tyle dzieje, początek niczym Candlemass, który potem przeradza się w prawdziwy śmierć metal (głównie w średnich tempach) z heavy metalowymi solówkami (ta w 6-tej minucie to istna miazga) oraz chrypliwym wokalem. Czuć, że chłopaki mieli głowę pełną pomysłów.
Muzyka zawarta na tej płycie to nie taki znowu czysty death metal, a progressive death metal (z elementami technicznego) ze względu na złożoną strukturę utworów, ciekawostką są również lekkie klawiszowe wstawki. W niejednym miejscu na płycie, a przede wszystkim w utworze Naked Truth czuć inspiracje zespołem Death. Jak Intro było ciekawym zabiegiem i nie rzadkim motywem w tamtych latach, tak Outro jest totalnie zbyteczne, tym bardziej że po nim następuje bonusowy kawałek Perfection w nowej odsłonie.

Niejedna osoba ucieszy się faktem możliwości posiadania tego albumu, choć na pewno nie zabraknie hordy głosów i pytań retorycznych „kiedy nowy materiał?”. Ale czemu nie umilić sobie tego czekania, słuchając reedycji starego materiału? Ja teraz czekam na Suffocated in Slumber.

Piotr

TRAUMA’s debut “Comedy Is Over” re-relased by Deformeathing Production. The original tapes, recorded at S.L. Studio, were remastered by Piotr Gruenpeter from Satanic Audio, brand new layout was created by Archart Studio. A bonus track is added to the release.

The „Comedy Is Over” is undoubtedly a milestone for Polish Death Metal scene. Released in 1996, it was way ahead of its time by its musical visionary, compositional bravery and, despite a debut, maturity in arrangements as well as uncommon lyrics.

The album received plenty of good words, being reviewed by the biggest magazines worldwide. But the issue was that it couldn’t be bought anywhere for more than 15 years… until now.



..::TRACK-LIST::..

1. Intro 01:40
2. Incertitude 04:03
3. Relief 07:31
4. This Can't Be True 06:48
5. Perfection 06:10
6. Comedy Is Over 07:34
7. Naked Truth 06:20
8. Outro 00:27
9. Perfection (Bonus Track) 06:20



..::OBSADA::..

Piotr Zienkiewicz - vocals, bass
Jarosław 'Mister' Misterkiewicz - guitars
Arkadiusz Furdal - guitars
Arkadiusz 'Mały' Sinica - drums



https://www.youtube.com/watch?v=YECZ28hBTrU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Lata 90. były bogate w kapitalne dźwięki na polskiej scenie metalowej . W 1996 roku Trauma wydała debiut, który często określa się mianem kroku milowego polskiego death metalu, w tym samym roku działalność rozpoczął Decapitated, a rok wcześniej Vader wydał kvltowy krążek De Profundis.

Po reedycji demówki Invisible Reality polskiej death metalowej formacji Trauma przyszedł czas na odświeżenie kolejnego materiału. Tym razem dostajemy debiutancki krążek grupy z Elbląga, czyli Comedy is Over (pierwotnie wydany w 1996r. na kasecie oraz w 2000r. na CD). Wydawnictwo otrzymało całkowicie nową, i co należy wspomnieć, przede wszystkim piękną oprawę graficzną, za którą odpowiada Piotr Szafraniec. W booklecie znajdziemy przejrzyste teksty utworów oraz kilka zespołowych fotografii, a cały jewelcase oprawiony jest dodatkowym slipcase’m. Również warstwa muzyczna zyskała „ducha”, bowiem jeden z najlepszych producentów w Polsce – Haldor Grunberg (Satanic Audio) zajął się ponownym masteringiem.

Na płycie nie brakuje wpadających w ucho melodii, jak i ekwilibrystycznych solówek. Relief rozpoczyna niemal balladowa gitara w wersji „clean”, w której w dalszych momentach mamy do czynienia z death/doomowymi zagrywkami oraz progresywnym zawodzeniem gitar. Brutalny wydźwięk podkreśla świetnie słyszalna gitara basowa. Kompozycyjnie tytułowy utwór Comedy Is Over to coś niesamowitego. W tym utworze się tyle dzieje, początek niczym Candlemass, który potem przeradza się w prawdziwy śmierć metal (głównie w średnich tempach) z heavy metalowymi solówkami (ta w 6-tej minucie to istna miazga) oraz chrypliwym wokalem. Czuć, że chłopaki mieli głowę pełną pomysłów.
Muzyka zawarta na tej płycie to nie taki znowu czysty death metal, a progressive death metal (z elementami technicznego) ze względu na złożoną strukturę utworów, ciekawostką są również lekkie klawiszowe wstawki. W niejednym miejscu na płycie, a przede wszystkim w utworze Naked Truth czuć inspiracje zespołem Death. Jak Intro było ciekawym zabiegiem i nie rzadkim motywem w tamtych latach, tak Outro jest totalnie zbyteczne, tym bardziej że po nim następuje bonusowy kawałek Perfection w nowej odsłonie.

Niejedna osoba ucieszy się faktem możliwości posiadania tego albumu, choć na pewno nie zabraknie hordy głosów i pytań retorycznych „kiedy nowy materiał?”. Ale czemu nie umilić sobie tego czekania, słuchając reedycji starego materiału? Ja teraz czekam na Suffocated in Slumber.

Piotr

TRAUMA’s debut “Comedy Is Over” re-relased by Deformeathing Production. The original tapes, recorded at S.L. Studio, were remastered by Piotr Gruenpeter from Satanic Audio, brand new layout was created by Archart Studio. A bonus track is added to the release.

The „Comedy Is Over” is undoubtedly a milestone for Polish Death Metal scene. Released in 1996, it was way ahead of its time by its musical visionary, compositional bravery and, despite a debut, maturity in arrangements as well as uncommon lyrics.

The album received plenty of good words, being reviewed by the biggest magazines worldwide. But the issue was that it couldn’t be bought anywhere for more than 15 years… until now.



..::TRACK-LIST::..

1. Intro 01:40
2. Incertitude 04:03
3. Relief 07:31
4. This Can't Be True 06:48
5. Perfection 06:10
6. Comedy Is Over 07:34
7. Naked Truth 06:20
8. Outro 00:27
9. Perfection (Bonus Track) 06:20



..::OBSADA::..

Piotr Zienkiewicz - vocals, bass
Jarosław 'Mister' Misterkiewicz - guitars
Arkadiusz Furdal - guitars
Arkadiusz 'Mały' Sinica - drums



https://www.youtube.com/watch?v=YECZ28hBTrU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



Established in 1995, the Teutonic death metal veterans ANASARCA released their debut full-length album, Godmachine, in 1998. This album delivers a brutal, melodic, and distinctive death metal experience!



..::TRACK-LIST::..

1. The Way Into The Light (Intro)
2. Godmachine
3. The Beast (Perverse Penetration)
4. The Weird Ways
5. Drowned And Rotten
6. Like Thorns In My Head
7. Loss Of Time
8. Scorn
9. Corrosive Eclipse
10. Condemned Truth
11. Whispers And Cries

Bonus Tracks:
12. Condmned Truth (Promo 1995)
13. Drowned And Rotten (Promo 1995)
14. Dies Irae/Day Of Wrath (Promo 1995)
15. Sick (Promo 1995)
16. Provocation, Hate, Fear (Promo 1995)
17. The Weird Ways (Promo 1996)
18. Corrosive Eclipse (Promo 1996)
19. Like Thorns In My Head (Promo 1996)



..::OBSADA::..

Tracks 1 to 11:
Michael 'Mike' Dormann - Vocals, Guitars
Frank Tholen - Guitars
Christian 'Chris' Janssen - Bass
Herbert 'Herb' Grimm – Drums

Tracks 12 to 19:
Michael 'Mike' Dormann - Vocals, Guitars
Frank Tholen - Guitars
Christian 'Chris' Janssen - Bass
Heiner Saliger – Drums




https://www.youtube.com/watch?v=p25DBA7wkdg



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...



Established in 1995, the Teutonic death metal veterans ANASARCA released their debut full-length album, Godmachine, in 1998. This album delivers a brutal, melodic, and distinctive death metal experience!



..::TRACK-LIST::..

1. The Way Into The Light (Intro)
2. Godmachine
3. The Beast (Perverse Penetration)
4. The Weird Ways
5. Drowned And Rotten
6. Like Thorns In My Head
7. Loss Of Time
8. Scorn
9. Corrosive Eclipse
10. Condemned Truth
11. Whispers And Cries

Bonus Tracks:
12. Condmned Truth (Promo 1995)
13. Drowned And Rotten (Promo 1995)
14. Dies Irae/Day Of Wrath (Promo 1995)
15. Sick (Promo 1995)
16. Provocation, Hate, Fear (Promo 1995)
17. The Weird Ways (Promo 1996)
18. Corrosive Eclipse (Promo 1996)
19. Like Thorns In My Head (Promo 1996)



..::OBSADA::..

Tracks 1 to 11:
Michael 'Mike' Dormann - Vocals, Guitars
Frank Tholen - Guitars
Christian 'Chris' Janssen - Bass
Herbert 'Herb' Grimm – Drums

Tracks 12 to 19:
Michael 'Mike' Dormann - Vocals, Guitars
Frank Tholen - Guitars
Christian 'Chris' Janssen - Bass
Heiner Saliger – Drums




https://www.youtube.com/watch?v=p25DBA7wkdg



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

We are excited to announce that Awakening Records will reissue APEP's acclaimed debut full-length album, "The Invocation of the Deathless One," on CD on October 31, 2025!

Named after a giant, serpent-like demon that embodies the ancient Egyptian mythos of chaos and darkness, German death metal band APEP draws its Egyptology-laden musical cues from well-respected bands such as NILE, NEPHREN-KA, RUDRA, MELECHESH, and BEHEMOTH.

Formed in 2016 out of the ashes of CARNAGE, the trio of drummer Merlin Friedrich, guitarist Oliver Pikowski, and vocalist Christopher Fleckeisen set out to create a more technical brand of death metal, combining it with an ancient aesthetic. Philip Kühn was added in 2017 as the second guitarist, while Henrik Osterloh took over his duties last year.

"The Invocation of the Deathless One" was initially independently released on January 31, 2020, and was well received by critics and fans alike, while also helping the band to establish a strong standing in their local metal scene.

There's a noticeable mystical presence throughout the eight tracks on "The Invocation of the Deathless One." APEP seamlessly integrates elements of traditional old-school death metal with a modern and technical approach, emphasizing melody, groove, and savage aggression. The band's anticipated build-up elements, melodic interludes, and Egyptian-laden lyrics add a majestic dynamic to the album's overall mystical musical journey. The reissue also includes a bonus track, an instrumental version of "Anubis' Denial," and retains the stunning original cover art by Italian artist Paolo Girardi.

Paying homage to Egyptian mythology on tracks such as "Banishing of Chaos," "Anubis' Denial," "Passing Through the Gate of Set-Hra," "The Black Pyramid of Nagash," and "Spell for Passing the Sandbank of Apophis" proves that APEP is authentically rooted in Egypt's ancient history.

Oliver Pikowski on the origins of APEP: "The basic idea of APEP was to have a more technical approach to old school death metal. Christopher and I have always had a huge interest in old Egyptian mythology, 'Lovecraftian' sagas, and archaic rites, and we want to include this in our music. We spent the next few years writing more songs until we finally finished the studio recordings for our first album in 2019. The recordings were made primarily at home (guitar and bass) and at a very good friend's studio. Thanks to the excellent work of (recording engineer) Patrick Engel, we were able to achieve the brutal, old-school sound we were looking for."

On the reissue from Awakening Records: "Li (Meng, owner of Awakening Records) approached us directly with the request to reissue "The Invocation of the Deathless One" on CD. He found the album so compelling upon listening that he wanted to make it available to a wider audience, including in China. Since the original edition was a self-release with a limited number of copies, we were naturally immediately enthusiastic about the idea. We are very happy that Li and Awakening Records have given us the opportunity to have our debut album professionally released on CD again."

APEP's "The Invocation of the Deathless One" is a hidden gem in the underground death metal scene. With this reissue from Awakening Records, the band will certainly gain more prominence.

Kelley Simms



..::TRACK-LIST::..

1. Whisperers in Darkness 05:04
2. Banishing of Chaos 04:56
3. Anubis' Denial 05:06
4. Passing Through the Gate of Set-Hra 00:44
5. The Black Pyramid of Nagash 07:12
6. Spell for Passing the Sandbank of Apophis 03:38
7. Parchment of Execution 04:28
8. The Invocation of the Deathless One 05:16
9. Anubis' Denial [Instrumental Version] 05:09



..::OBSADA::..

Vocals - C. Fleckeisen
Guitars - O. Pikowski, P. Kühn
Drums - M. Friedrich

Guest appearance:
Studio bass - Exx Tom
Female vocals - Jacqueline Treydel



https://www.youtube.com/watch?v=xrWqayP74y0


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

We are excited to announce that Awakening Records will reissue APEP's acclaimed debut full-length album, "The Invocation of the Deathless One," on CD on October 31, 2025!

Named after a giant, serpent-like demon that embodies the ancient Egyptian mythos of chaos and darkness, German death metal band APEP draws its Egyptology-laden musical cues from well-respected bands such as NILE, NEPHREN-KA, RUDRA, MELECHESH, and BEHEMOTH.

Formed in 2016 out of the ashes of CARNAGE, the trio of drummer Merlin Friedrich, guitarist Oliver Pikowski, and vocalist Christopher Fleckeisen set out to create a more technical brand of death metal, combining it with an ancient aesthetic. Philip Kühn was added in 2017 as the second guitarist, while Henrik Osterloh took over his duties last year.

"The Invocation of the Deathless One" was initially independently released on January 31, 2020, and was well received by critics and fans alike, while also helping the band to establish a strong standing in their local metal scene.

There's a noticeable mystical presence throughout the eight tracks on "The Invocation of the Deathless One." APEP seamlessly integrates elements of traditional old-school death metal with a modern and technical approach, emphasizing melody, groove, and savage aggression. The band's anticipated build-up elements, melodic interludes, and Egyptian-laden lyrics add a majestic dynamic to the album's overall mystical musical journey. The reissue also includes a bonus track, an instrumental version of "Anubis' Denial," and retains the stunning original cover art by Italian artist Paolo Girardi.

Paying homage to Egyptian mythology on tracks such as "Banishing of Chaos," "Anubis' Denial," "Passing Through the Gate of Set-Hra," "The Black Pyramid of Nagash," and "Spell for Passing the Sandbank of Apophis" proves that APEP is authentically rooted in Egypt's ancient history.

Oliver Pikowski on the origins of APEP: "The basic idea of APEP was to have a more technical approach to old school death metal. Christopher and I have always had a huge interest in old Egyptian mythology, 'Lovecraftian' sagas, and archaic rites, and we want to include this in our music. We spent the next few years writing more songs until we finally finished the studio recordings for our first album in 2019. The recordings were made primarily at home (guitar and bass) and at a very good friend's studio. Thanks to the excellent work of (recording engineer) Patrick Engel, we were able to achieve the brutal, old-school sound we were looking for."

On the reissue from Awakening Records: "Li (Meng, owner of Awakening Records) approached us directly with the request to reissue "The Invocation of the Deathless One" on CD. He found the album so compelling upon listening that he wanted to make it available to a wider audience, including in China. Since the original edition was a self-release with a limited number of copies, we were naturally immediately enthusiastic about the idea. We are very happy that Li and Awakening Records have given us the opportunity to have our debut album professionally released on CD again."

APEP's "The Invocation of the Deathless One" is a hidden gem in the underground death metal scene. With this reissue from Awakening Records, the band will certainly gain more prominence.

Kelley Simms



..::TRACK-LIST::..

1. Whisperers in Darkness 05:04
2. Banishing of Chaos 04:56
3. Anubis' Denial 05:06
4. Passing Through the Gate of Set-Hra 00:44
5. The Black Pyramid of Nagash 07:12
6. Spell for Passing the Sandbank of Apophis 03:38
7. Parchment of Execution 04:28
8. The Invocation of the Deathless One 05:16
9. Anubis' Denial [Instrumental Version] 05:09



..::OBSADA::..

Vocals - C. Fleckeisen
Guitars - O. Pikowski, P. Kühn
Drums - M. Friedrich

Guest appearance:
Studio bass - Exx Tom
Female vocals - Jacqueline Treydel



https://www.youtube.com/watch?v=xrWqayP74y0


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

The third album by studio death metal project from Minsk! The band continuous the development of its intellectual yet brutal style! The combination of technical Death Metal riffs and psycho-nervous atmosphere of avant-garde and fusion.



..::TRACK-LIST::..

1. My Pain (Intro) 03:22
2. Selling Hope 03:52
3. Legal Violence 04:00
4. Weakness Makes One Cruel 04:39
5. Thoughts Kill 03:49
6. Fear 04:37
7. Beauty Is Implement Of Murder 05:24
8. He Proclamated Himself God 04:37
9. Incurable Disease 04:35



..::OBSADA::..

ALEX - bass, drums
ARTYOM - guitars
VADIM - vocals

Guest musicians:
Vladimir Bodunov - viola
Demian - keyboards



https://www.youtube.com/watch?v=nLO0V21ur28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

The third album by studio death metal project from Minsk! The band continuous the development of its intellectual yet brutal style! The combination of technical Death Metal riffs and psycho-nervous atmosphere of avant-garde and fusion.



..::TRACK-LIST::..

1. My Pain (Intro) 03:22
2. Selling Hope 03:52
3. Legal Violence 04:00
4. Weakness Makes One Cruel 04:39
5. Thoughts Kill 03:49
6. Fear 04:37
7. Beauty Is Implement Of Murder 05:24
8. He Proclamated Himself God 04:37
9. Incurable Disease 04:35



..::OBSADA::..

ALEX - bass, drums
ARTYOM - guitars
VADIM - vocals

Guest musicians:
Vladimir Bodunov - viola
Demian - keyboards



https://www.youtube.com/watch?v=nLO0V21ur28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

'Presence of the Pest, Live at Dynamo' to kultowy materiał koncertowy nagrany podczas słynnego Dynamo Open Air w 1992 roku. Jako bonus dodano 7 utworów nagranych podczas trasy z MONSTROSITY i TORTURE w Rotterdamie w tym samym roku. Wkładka zawiera liner notes napisany przez holenderskiego dziennikarza Roberta Haagsmę (AARDSCHOK). Okładkę wykonał Arco Wolf (ETERNAL SOLSTICE, PHLEBOTOMIZED, IDES). Całość zmasterowana przez Tom'a Palms'a (PHLEBOTOMIZED).
Klasyka holenderskiego death metalu w nagraniach live!!!



As the 'second winds' of classic 80s and 90s era death metal bands begin to blow out, or even if they don't, or they transform into 'third winds', I think it's only inevitable that we're going to see a lot more posthumous, throwback live LPs, demo or rehearsal collections that sell largely upon the nostalgia of their long time fans, or the historical cravings of newer listeners with a lot of disposable income or hard drive space. Presence of the Pest is one such example, releasing nearly a quarter century after the height of the band's powers, recorded in their home territory at the Dynamo Open Air, after what many would regard as their best or at least most popular album, Testimony of the Ancients.

Now, I do not count myself among that crowd, since their first two albums are a one-two punch combo that has not been surpassed for me over decades of death metal, but it stands to reason that this is the material most of their fan base most strongly identify with and thus it's a solid choice if you wanna reap a little scratch. The set here is, thankfully, second and third records pretty evenly, packed with gems, many of which are among my favorites, and sound quite energized back in this time when the band had some obvious enthusiasm. Granted, a live album from the years Martin van Drunen was fronting the band would have been the ideal for me to drain the wallet, but the infamous Patrick Mameli's vocals here are brute and ugly as on the recordings, and he doesn't really take a torch to the older cuts. Having seen them live Stateside on the tour for Testimony, I can recall that this was about the level at which they were performing, only here you get a lot more material since they weren't opening up for a larger act in a compact set, but given some actual time.

As for the live mix, it sounds pretty good in the mid-range, and conveys a lot of the grisliness of the songwriting, especially the Consuming Impulse material; but the riffing can occasionally come across as confusing when compared to the original studio versions. Guitars carve out the foremost point of production, while the bass is audible enough to make out through them, the vocals ride just outside and to the top at critical moments, and the drums also pop through. Leads sound just as spurious and infected as you'd want, and they play across all the albums with consistency. This is ESPECIALLY great to hear on "Chemo Therapy" which sticks out as a sore thumb as the sole representative of Mallevs Maleficarvm. And that's a bit of a downer, but it makes some sense that they mostly included Testimony of the Ancients due to its freshness, and Mameli's comfort growling and performing it. I might not hold that album in such high esteem as its predecessors, but I do enjoy it quite a lot and can't scoff at hearing "Presence of the Dead", "Twisted Truth" and so forth.

Admittedly, I'm not the hugest proponent for live albums. There are several in my collection that I have found timeless and alluring to keep around, but I'm always more apt to listen to the material in its studio context, and Presence of the Pest is no exception. It's a solid offering that wont' let you down if you pine for the Dutchmen at the pinnacle of their penetration into the 90s death metal market, before stuttering with the experimental (if still cool) Spheres. But as much as I love the band's early full-lengths, an admiration I will take to my own grave, I feel that I could very much live without this. And so I will.

autothrall



..::TRACK-LIST::..

Dynamo Open Air 1992 - Eindhoven, The Netherlands 6-7-1992
1. Dehydrated 2:58
2. Chemo Therapy 4:26
3. Presence Of The Dead 5:38
4. The Process Of Suffocation 2:56
5. Lost Souls 4:10
6. Twisted Truth 4:24
7. Testimony 4:07
8. Chronic Infection 4:03
9. Stigmatized 5:25
10. Out Of The Body 4:32

Nighttown - Rotterdam, The Netherlands 2-27-1992
11. Darkening 4:11
12. Presence Of The Dead 5:51
13. Prophetic Revelations 6:04
14. Suspended Animation 4:16
15. The Secrecies Of Horror 4:56
16. The Trauma 3:52
17. Land Of Tears 5:00



..::OBSADA::..

Vocals, Guitar - Patrick Mameli
Drums - Marco Foddis
Guitar - Patrick Uterwijk
Bass - Tony Choy (tracks: 11 to 17)
Bass [Session Player] - Jack Dodd (tracks: 1 to 10)




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

'Presence of the Pest, Live at Dynamo' to kultowy materiał koncertowy nagrany podczas słynnego Dynamo Open Air w 1992 roku. Jako bonus dodano 7 utworów nagranych podczas trasy z MONSTROSITY i TORTURE w Rotterdamie w tym samym roku. Wkładka zawiera liner notes napisany przez holenderskiego dziennikarza Roberta Haagsmę (AARDSCHOK). Okładkę wykonał Arco Wolf (ETERNAL SOLSTICE, PHLEBOTOMIZED, IDES). Całość zmasterowana przez Tom'a Palms'a (PHLEBOTOMIZED).
Klasyka holenderskiego death metalu w nagraniach live!!!



As the 'second winds' of classic 80s and 90s era death metal bands begin to blow out, or even if they don't, or they transform into 'third winds', I think it's only inevitable that we're going to see a lot more posthumous, throwback live LPs, demo or rehearsal collections that sell largely upon the nostalgia of their long time fans, or the historical cravings of newer listeners with a lot of disposable income or hard drive space. Presence of the Pest is one such example, releasing nearly a quarter century after the height of the band's powers, recorded in their home territory at the Dynamo Open Air, after what many would regard as their best or at least most popular album, Testimony of the Ancients.

Now, I do not count myself among that crowd, since their first two albums are a one-two punch combo that has not been surpassed for me over decades of death metal, but it stands to reason that this is the material most of their fan base most strongly identify with and thus it's a solid choice if you wanna reap a little scratch. The set here is, thankfully, second and third records pretty evenly, packed with gems, many of which are among my favorites, and sound quite energized back in this time when the band had some obvious enthusiasm. Granted, a live album from the years Martin van Drunen was fronting the band would have been the ideal for me to drain the wallet, but the infamous Patrick Mameli's vocals here are brute and ugly as on the recordings, and he doesn't really take a torch to the older cuts. Having seen them live Stateside on the tour for Testimony, I can recall that this was about the level at which they were performing, only here you get a lot more material since they weren't opening up for a larger act in a compact set, but given some actual time.

As for the live mix, it sounds pretty good in the mid-range, and conveys a lot of the grisliness of the songwriting, especially the Consuming Impulse material; but the riffing can occasionally come across as confusing when compared to the original studio versions. Guitars carve out the foremost point of production, while the bass is audible enough to make out through them, the vocals ride just outside and to the top at critical moments, and the drums also pop through. Leads sound just as spurious and infected as you'd want, and they play across all the albums with consistency. This is ESPECIALLY great to hear on "Chemo Therapy" which sticks out as a sore thumb as the sole representative of Mallevs Maleficarvm. And that's a bit of a downer, but it makes some sense that they mostly included Testimony of the Ancients due to its freshness, and Mameli's comfort growling and performing it. I might not hold that album in such high esteem as its predecessors, but I do enjoy it quite a lot and can't scoff at hearing "Presence of the Dead", "Twisted Truth" and so forth.

Admittedly, I'm not the hugest proponent for live albums. There are several in my collection that I have found timeless and alluring to keep around, but I'm always more apt to listen to the material in its studio context, and Presence of the Pest is no exception. It's a solid offering that wont' let you down if you pine for the Dutchmen at the pinnacle of their penetration into the 90s death metal market, before stuttering with the experimental (if still cool) Spheres. But as much as I love the band's early full-lengths, an admiration I will take to my own grave, I feel that I could very much live without this. And so I will.

autothrall



..::TRACK-LIST::..

Dynamo Open Air 1992 - Eindhoven, The Netherlands 6-7-1992
1. Dehydrated 2:58
2. Chemo Therapy 4:26
3. Presence Of The Dead 5:38
4. The Process Of Suffocation 2:56
5. Lost Souls 4:10
6. Twisted Truth 4:24
7. Testimony 4:07
8. Chronic Infection 4:03
9. Stigmatized 5:25
10. Out Of The Body 4:32

Nighttown - Rotterdam, The Netherlands 2-27-1992
11. Darkening 4:11
12. Presence Of The Dead 5:51
13. Prophetic Revelations 6:04
14. Suspended Animation 4:16
15. The Secrecies Of Horror 4:56
16. The Trauma 3:52
17. Land Of Tears 5:00



..::OBSADA::..

Vocals, Guitar - Patrick Mameli
Drums - Marco Foddis
Guitar - Patrick Uterwijk
Bass - Tony Choy (tracks: 11 to 17)
Bass [Session Player] - Jack Dodd (tracks: 1 to 10)




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



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