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


..::OPIS::..

Szkoda, że ​​to nasionko nigdy nie wykiełkowało...
Doskonały, 'kosmiczny' death metal z ciężkimi klawiszami w stylu Nocturnus.



Reissue of obscure Death Metal from 1997, old school technical Death like Nocturnus / Pestilence / Gorguts etc. First time with a larger pressing on real CD.



..::TRACK-LIST::..

1. Crusade to Terra 02:51
2. Conquest and Enslavement 03:28
3. Survival of Zeta Reticuli 03:06
4. Grapes of Wrath 02:41
5. Exodus Journey 03:39
6. The Forlorn 03:14



..::OBSADA::..

Michael F. - Bass
Henning Lanczek - Drums
Olaf Walinger - Guitars
Andreas G. - Guitars
Jan E. - Vocals



https://www.youtube.com/watch?v=KA_OmXEJ3sw


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

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


..::OPIS::..

Szkoda, że ​​to nasionko nigdy nie wykiełkowało...
Doskonały, 'kosmiczny' death metal z ciężkimi klawiszami w stylu Nocturnus.



Reissue of obscure Death Metal from 1997, old school technical Death like Nocturnus / Pestilence / Gorguts etc. First time with a larger pressing on real CD.



..::TRACK-LIST::..

1. Crusade to Terra 02:51
2. Conquest and Enslavement 03:28
3. Survival of Zeta Reticuli 03:06
4. Grapes of Wrath 02:41
5. Exodus Journey 03:39
6. The Forlorn 03:14



..::OBSADA::..

Michael F. - Bass
Henning Lanczek - Drums
Olaf Walinger - Guitars
Andreas G. - Guitars
Jan E. - Vocals



https://www.youtube.com/watch?v=KA_OmXEJ3sw


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

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


..::OPIS::..

The Hybrid Suns is the career-defining fifth record from the Bordeaux-based group, a concept album studying the voyage between life and death, and showcases a jaw-dropping level of musicianship. Continuing to push the boundaries of extremity and precision playing, Exocrine are the bridge between the ferocity of Archspire and Cryptopsy, and the potent progressive leanings of Obscura and GOROD
Comments the band on the new single: "'The Hybrid Suns' is the first titular offering, introducing a new concept with a complex narrative frame to set the tone for the forthcoming album. As usual we have paid particular attention on the technical aspects and the speed, however this time we've pushed harder on the epic side of things to create a more grandiose sound!"



..::TRACK-LIST::..

1. The Hybrid Suns 03:44
2. Dying Light 04:44
3. Horns 03:26
4. Watchtower 03:35
5. Vortex of Shadow 03:33
6. End of Time 03:30
7. Burning Sand 04:47
8. Blast 03:58
9. The Shrine 03:33



..::OBSADA::..

Jordy Besse - Bass, Vocals
Nicolas La Rosa - Guitars
Sylvain Octor-Perez - Guitars (lead)
Théo Gendron - Drums



https://www.youtube.com/watch?v=wmbdVb9AFEQ


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

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


..::OPIS::..

The Hybrid Suns is the career-defining fifth record from the Bordeaux-based group, a concept album studying the voyage between life and death, and showcases a jaw-dropping level of musicianship. Continuing to push the boundaries of extremity and precision playing, Exocrine are the bridge between the ferocity of Archspire and Cryptopsy, and the potent progressive leanings of Obscura and GOROD
Comments the band on the new single: "'The Hybrid Suns' is the first titular offering, introducing a new concept with a complex narrative frame to set the tone for the forthcoming album. As usual we have paid particular attention on the technical aspects and the speed, however this time we've pushed harder on the epic side of things to create a more grandiose sound!"



..::TRACK-LIST::..

1. The Hybrid Suns 03:44
2. Dying Light 04:44
3. Horns 03:26
4. Watchtower 03:35
5. Vortex of Shadow 03:33
6. End of Time 03:30
7. Burning Sand 04:47
8. Blast 03:58
9. The Shrine 03:33



..::OBSADA::..

Jordy Besse - Bass, Vocals
Nicolas La Rosa - Guitars
Sylvain Octor-Perez - Guitars (lead)
Théo Gendron - Drums



https://www.youtube.com/watch?v=wmbdVb9AFEQ


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

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


..::OPIS::..

An onslaught of death metal with each band attacking the listener from all sides as each member is given opportunity to shine from the ferocious drumming to the underlying guitar wizardry and especially the dungeonous vocals from Will Smith. This group hails from New York and this is their sophomore release. The speed and relentless nature makes it easy to miss the shrewd construction of each song and the influences of other death metal sub-genres they integrate. Fantastic.




REEKING AURA, a 5 piece death metal group made of seasoned veterans from the NY/NJ underground scene, returns in 2026 with their second album On the Promise of the Moon to be released on April 17th via Profound Lore Records. Tracked at OK Studios in Kinderhook, NY then mixed and mastered by the legendary Dan Swano, On the Promise of the Moon builds on the "Fires in Deep Frost" EP released in 2025 with a dark, melodic atmosphere that does not compromise their brutal, guttural NY roots.

Returning from the first album are guitarists Terrell Grannum (Thaetas), and Rick Habeeb (Grey Skies Fallen) as well as vocalist William Smith (Afterbirth). Drummer Hudson Barth and bassist TJ Coon (both also in Trog) round out the lineup and bring fresh blood to the band, with all members having contributed to the writing process.

The album also features contributions from guest vocalists Eston Browne (Vulnificus) and Jon Berg (The Path) as well as string arrangements by Ben Karas (Slaughtersun).



..::TRACK-LIST::..

1. Concrete Basin Bath 03:16
2. A Forlorn and Frozen Vapor 03:48
3. Gorged Beyond Grudges 04:27
4. Manure Like Magma 04:21
5. Lunar Rumination 02:50
6. What Only Worms Witness 04:37
7. The Cathedral's Calculation 03:46
8. Sifting for Fungal Inheritance (A Mildewey, Acrid Mulch) 02:20
9. On the Promise of the Moon 02:42



..::OBSADA::..

Terrell Grannum - Guitars
Rick Habeeb - Guitars
Will Smith - Vocals
Hudson Barth - Drums
TJ Coon - Bass



https://www.youtube.com/watch?v=XINToqY4HdE


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

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


..::OPIS::..

An onslaught of death metal with each band attacking the listener from all sides as each member is given opportunity to shine from the ferocious drumming to the underlying guitar wizardry and especially the dungeonous vocals from Will Smith. This group hails from New York and this is their sophomore release. The speed and relentless nature makes it easy to miss the shrewd construction of each song and the influences of other death metal sub-genres they integrate. Fantastic.




REEKING AURA, a 5 piece death metal group made of seasoned veterans from the NY/NJ underground scene, returns in 2026 with their second album On the Promise of the Moon to be released on April 17th via Profound Lore Records. Tracked at OK Studios in Kinderhook, NY then mixed and mastered by the legendary Dan Swano, On the Promise of the Moon builds on the "Fires in Deep Frost" EP released in 2025 with a dark, melodic atmosphere that does not compromise their brutal, guttural NY roots.

Returning from the first album are guitarists Terrell Grannum (Thaetas), and Rick Habeeb (Grey Skies Fallen) as well as vocalist William Smith (Afterbirth). Drummer Hudson Barth and bassist TJ Coon (both also in Trog) round out the lineup and bring fresh blood to the band, with all members having contributed to the writing process.

The album also features contributions from guest vocalists Eston Browne (Vulnificus) and Jon Berg (The Path) as well as string arrangements by Ben Karas (Slaughtersun).



..::TRACK-LIST::..

1. Concrete Basin Bath 03:16
2. A Forlorn and Frozen Vapor 03:48
3. Gorged Beyond Grudges 04:27
4. Manure Like Magma 04:21
5. Lunar Rumination 02:50
6. What Only Worms Witness 04:37
7. The Cathedral's Calculation 03:46
8. Sifting for Fungal Inheritance (A Mildewey, Acrid Mulch) 02:20
9. On the Promise of the Moon 02:42



..::OBSADA::..

Terrell Grannum - Guitars
Rick Habeeb - Guitars
Will Smith - Vocals
Hudson Barth - Drums
TJ Coon - Bass



https://www.youtube.com/watch?v=XINToqY4HdE


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

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


..::OPIS::..

Chłopaki biorą najlepsze i najmocniejsze elementy death metalu i doprawiają je grindowym pyłem. Muzycznie to więcej death metalu niż grindu, riffów, struktur i atmosfery, ale to nie znaczy, że to kolejny słaby i nudny zespół metalowy.
O nie!
Udało się tutaj stworzyć bardzo solidny i ciężki materiał z nutą grindu. Są mocne, blastujące partie, są też dość wolne i mroczne frgmenty, chłopaki nawet wykorzystują melodie...
Wszystko razem brzmi niesamowicie.

Chłopcy i dziewczęta... to prawdziwa nieznana perełka, haha!
Ten materiał jest zajebisty!



..::TRACK-LIST::..

1. Revealing The Outcome 01:35
2. Dominate 00:45
3. Solace 00:58
4. Beyond The Buried Eyes 02:39
5. A Path Followed 05:49
6. Crossed The Line 02:12
7. Extending Our Lives 01:09
8. Parting 01:06
9. Looking Towards Eternal Devastation 00:32
10. Sedentary 03:21
11. As They Spilled Their Blood 01:57
12. Wrapped In Decay 03:56
13. Mentally Devoured 02:12
14. Humanity Into Poverty 04:36



..::OBSADA::..

Philippus Yntema - Guitars, Bass
Jakub P. - Drums
Anonymous - Vocals



https://www.youtube.com/watch?v=PuqPP1bKzvg


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

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


..::OPIS::..

Chłopaki biorą najlepsze i najmocniejsze elementy death metalu i doprawiają je grindowym pyłem. Muzycznie to więcej death metalu niż grindu, riffów, struktur i atmosfery, ale to nie znaczy, że to kolejny słaby i nudny zespół metalowy.
O nie!
Udało się tutaj stworzyć bardzo solidny i ciężki materiał z nutą grindu. Są mocne, blastujące partie, są też dość wolne i mroczne frgmenty, chłopaki nawet wykorzystują melodie...
Wszystko razem brzmi niesamowicie.

Chłopcy i dziewczęta... to prawdziwa nieznana perełka, haha!
Ten materiał jest zajebisty!



..::TRACK-LIST::..

1. Revealing The Outcome 01:35
2. Dominate 00:45
3. Solace 00:58
4. Beyond The Buried Eyes 02:39
5. A Path Followed 05:49
6. Crossed The Line 02:12
7. Extending Our Lives 01:09
8. Parting 01:06
9. Looking Towards Eternal Devastation 00:32
10. Sedentary 03:21
11. As They Spilled Their Blood 01:57
12. Wrapped In Decay 03:56
13. Mentally Devoured 02:12
14. Humanity Into Poverty 04:36



..::OBSADA::..

Philippus Yntema - Guitars, Bass
Jakub P. - Drums
Anonymous - Vocals



https://www.youtube.com/watch?v=PuqPP1bKzvg


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

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


..::OPIS::..

Dla wszelkich maniax Internal Bleeding, Pyrexia, Cannibal Corspe czy Suffocation pozycja obowiązkowa do sprawdzenia bo ci panowie jeńców nie brali...



Originally released in 1998 through Repulse Records, Destined to Fail stands as the lone full-length statement from Massachusetts death metal cult Scattered Remnants -- a savage and uncompromising document of underground brutality that has only grown in stature over time.

Emerging from the same fertile American death metal underground that produced pioneers of brutal and groove-driven extremity, Scattered Remnants forged a sound rooted in primitive heaviness, suffocating atmosphere, and relentlessly punishing songwriting. While many late-90s death metal bands pursued increasingly technical approaches, Destined to Fail embraced raw aggression and crushing groove, delivering a barbaric style of brutal death metal that felt both filthy and devastatingly effective.

Built upon the foundation laid by the now legendary Inherent Perversion EP, the album pushed the band's sound even further into oppressive territory. Massive riffs, cavernous vocals, and unhinged rhythmic violence collide throughout the record, creating a listening experience that remains intensely heavy decades after its original release.

Over the years, Destined to Fail has developed a devoted cult following among underground death metal fans and collectors, with listeners often citing the album as an overlooked cornerstone of early brutal death metal. Its influence can still be heard in modern death metal and hardcore-adjacent bands that continue to draw inspiration from its primitive, groove-heavy attack and uncompromising underground spirit. Now restored as part of a complete archival campaign celebrating the recorded works of Scattered Remnants, and for the first time ever on vinyl, Destined to Fail finally receives renewed attention as one of underground American death metal's most punishing and under-appreciated releases -- a raw and bludgeoning artifact from a time when extremity was driven by instinct, violence, and absolute devotion to the underground.



..::TRACK-LIST::..

1. Destined to Fail 01:50
2. Lamentation of Tortured Souls 04:20
3. Draped in Sorrow 04:11
4. At the Right Hand of Nothingness 04:01
5. As Whores 02:55
6. Angelic Redemption 05:05
7. Virtuous Abandonment 05:22
8. Vaginal Vomit 03:45



..::OBSADA::..

Vocals - Jason Hendershaw
Guitars - Rob Settergren
Bass - Dan Egan
Session Drums - Derek Kerswill
Keyboards and Sampling - Matthew Davis (R.I.P. 2011)
Female Vocals - Bonnie Dion



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


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

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


..::OPIS::..

Dla wszelkich maniax Internal Bleeding, Pyrexia, Cannibal Corspe czy Suffocation pozycja obowiązkowa do sprawdzenia bo ci panowie jeńców nie brali...



Originally released in 1998 through Repulse Records, Destined to Fail stands as the lone full-length statement from Massachusetts death metal cult Scattered Remnants -- a savage and uncompromising document of underground brutality that has only grown in stature over time.

Emerging from the same fertile American death metal underground that produced pioneers of brutal and groove-driven extremity, Scattered Remnants forged a sound rooted in primitive heaviness, suffocating atmosphere, and relentlessly punishing songwriting. While many late-90s death metal bands pursued increasingly technical approaches, Destined to Fail embraced raw aggression and crushing groove, delivering a barbaric style of brutal death metal that felt both filthy and devastatingly effective.

Built upon the foundation laid by the now legendary Inherent Perversion EP, the album pushed the band's sound even further into oppressive territory. Massive riffs, cavernous vocals, and unhinged rhythmic violence collide throughout the record, creating a listening experience that remains intensely heavy decades after its original release.

Over the years, Destined to Fail has developed a devoted cult following among underground death metal fans and collectors, with listeners often citing the album as an overlooked cornerstone of early brutal death metal. Its influence can still be heard in modern death metal and hardcore-adjacent bands that continue to draw inspiration from its primitive, groove-heavy attack and uncompromising underground spirit. Now restored as part of a complete archival campaign celebrating the recorded works of Scattered Remnants, and for the first time ever on vinyl, Destined to Fail finally receives renewed attention as one of underground American death metal's most punishing and under-appreciated releases -- a raw and bludgeoning artifact from a time when extremity was driven by instinct, violence, and absolute devotion to the underground.



..::TRACK-LIST::..

1. Destined to Fail 01:50
2. Lamentation of Tortured Souls 04:20
3. Draped in Sorrow 04:11
4. At the Right Hand of Nothingness 04:01
5. As Whores 02:55
6. Angelic Redemption 05:05
7. Virtuous Abandonment 05:22
8. Vaginal Vomit 03:45



..::OBSADA::..

Vocals - Jason Hendershaw
Guitars - Rob Settergren
Bass - Dan Egan
Session Drums - Derek Kerswill
Keyboards and Sampling - Matthew Davis (R.I.P. 2011)
Female Vocals - Bonnie Dion



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


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

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


..::OPIS::..

To triumfalnie oldschoolowy album!!!
'Evil Reaping Death' to płyta, która brzmi jak odkryta perełka lat 90., a nie zupełnie nowe wydawnictwo. Gdyby tylko cały oldschoolowy death metal potrafił oddać to uczucie tak dobrze, jak Hexorcist...

FA


Floridian death-thrashing horde Hexorcist will deliver their debut album on July 26th 2021 via Memento Mori Records, Unholy Prophecies and Godz Ov War Productions.

Ominous samples of a church bell begin our descent into chaos before the even more grisly theme of “The Shining” adds horror to the mix, this is certainly a foreboding entrance from Hexorcist. Blistering riffs fire in without warning alongside a maniacal slice of shredding and blastbeats, giving the onslaught an instantly ferocious energy of pure old school carnage, more akin to South American bands such as Sarcofago, Necrovore and the like than fellow Floridians. The dismally grim vocals perfectly suit the cutting music with bestial snarls that have a guttural edge which molds to the thick bass tone as the razor-sharp guitars cut the mix triumphantly. The sheer speed of the drums is fantastic and skilful with hammering fills to really hit the riff-fest home. There are some tight dynamics as slower sections give a sepulchral odour to the violence before crawling back from the abyss to unleash total annihilation to obliterating effect. Hexorcist is a new name to me, but their entrance is certainly memorable with a vitriolic beginning to the record, an energy that one can hope is consistent throughout.

Forging forward, the convulsing bass adds a gorgeously warped nuance below the bellowing guitars and drums, giving this a rather unique and less straightforward touch which still fits in with the total devastation of proto-death chaos. The merciless delivery is not only fearsome but also has plenty of groove that makes the purposeful ferocity easy to bang your head to while the corpse-rotting mayhem does not falter. With the instruments landing like sonic artillery and the vocals equally remorseless, the formidable attack is a pure and unfathomably intense execution of death metal in its most primal form. Naturally with this style of macabre music, the evil energies and spectral vibrations run rampant throughout the running time with a genuine flame of total Armageddon that cannot be escaped. There is no bells and whistles here, just an endless stream of ripping riffs, domineering drums, face-melting solos and beastly vocals with a decimating performance and production that lands the blasphemous blows with no respite.

A punishing, devastating and utterly maniacal piece of pure old school death metal that harkens back to the genres inception while not ripping off any particular band or trying to hard to create nostalgia, delivering a precise and monstrously morbid record with inarguable excellence.

Nattskog7



..::TRACK-LIST::..

Evil Reaping Death
1. Exulting The Adversary
2. Sentry At The Seven Gates
3. Unblessing The Reverent
4. Proverbs Of Pestilence
5. Denouncing The Immaculate
6. Evil Reaping Death
7. Unrighteous Ceremony
8. Accursed Affirmations
9. Praising The Most Foul
10. Crucifixion (Devastator Cover)

Bonus Tracks:
Bestiarum Vocabulum Demo EP
11. Resurection Of Iniquity
12. Behold! The Great Black Prophet
13. Ritual Hex

This album is dedicated to the memory of Doug Humlack.



..::OBSADA::..

Hexorcist I - Evoking Malicious Incantations
Hexorcist II - Excavator Of The Depths
Hexorcist III - Chainsaws
Hexorcist IV - Deathammers Of Luciferian Mastery



https://www.youtube.com/watch?v=lb5Y1P0mfhc


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

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


..::OPIS::..

To triumfalnie oldschoolowy album!!!
'Evil Reaping Death' to płyta, która brzmi jak odkryta perełka lat 90., a nie zupełnie nowe wydawnictwo. Gdyby tylko cały oldschoolowy death metal potrafił oddać to uczucie tak dobrze, jak Hexorcist...

FA


Floridian death-thrashing horde Hexorcist will deliver their debut album on July 26th 2021 via Memento Mori Records, Unholy Prophecies and Godz Ov War Productions.

Ominous samples of a church bell begin our descent into chaos before the even more grisly theme of “The Shining” adds horror to the mix, this is certainly a foreboding entrance from Hexorcist. Blistering riffs fire in without warning alongside a maniacal slice of shredding and blastbeats, giving the onslaught an instantly ferocious energy of pure old school carnage, more akin to South American bands such as Sarcofago, Necrovore and the like than fellow Floridians. The dismally grim vocals perfectly suit the cutting music with bestial snarls that have a guttural edge which molds to the thick bass tone as the razor-sharp guitars cut the mix triumphantly. The sheer speed of the drums is fantastic and skilful with hammering fills to really hit the riff-fest home. There are some tight dynamics as slower sections give a sepulchral odour to the violence before crawling back from the abyss to unleash total annihilation to obliterating effect. Hexorcist is a new name to me, but their entrance is certainly memorable with a vitriolic beginning to the record, an energy that one can hope is consistent throughout.

Forging forward, the convulsing bass adds a gorgeously warped nuance below the bellowing guitars and drums, giving this a rather unique and less straightforward touch which still fits in with the total devastation of proto-death chaos. The merciless delivery is not only fearsome but also has plenty of groove that makes the purposeful ferocity easy to bang your head to while the corpse-rotting mayhem does not falter. With the instruments landing like sonic artillery and the vocals equally remorseless, the formidable attack is a pure and unfathomably intense execution of death metal in its most primal form. Naturally with this style of macabre music, the evil energies and spectral vibrations run rampant throughout the running time with a genuine flame of total Armageddon that cannot be escaped. There is no bells and whistles here, just an endless stream of ripping riffs, domineering drums, face-melting solos and beastly vocals with a decimating performance and production that lands the blasphemous blows with no respite.

A punishing, devastating and utterly maniacal piece of pure old school death metal that harkens back to the genres inception while not ripping off any particular band or trying to hard to create nostalgia, delivering a precise and monstrously morbid record with inarguable excellence.

Nattskog7



..::TRACK-LIST::..

Evil Reaping Death
1. Exulting The Adversary
2. Sentry At The Seven Gates
3. Unblessing The Reverent
4. Proverbs Of Pestilence
5. Denouncing The Immaculate
6. Evil Reaping Death
7. Unrighteous Ceremony
8. Accursed Affirmations
9. Praising The Most Foul
10. Crucifixion (Devastator Cover)

Bonus Tracks:
Bestiarum Vocabulum Demo EP
11. Resurection Of Iniquity
12. Behold! The Great Black Prophet
13. Ritual Hex

This album is dedicated to the memory of Doug Humlack.



..::OBSADA::..

Hexorcist I - Evoking Malicious Incantations
Hexorcist II - Excavator Of The Depths
Hexorcist III - Chainsaws
Hexorcist IV - Deathammers Of Luciferian Mastery



https://www.youtube.com/watch?v=lb5Y1P0mfhc


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

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


..::OPIS::..

Ten oldschoolowy urok połączony z hiperkinetyczną intensywnością współczesnego death metalu...

FA

Mają tempo, skurwisyny. Pamiętam, że nie tak dawno temu recenzowałem już jeden materiał tej kapeli, a tu już dostałem ponownie solidną lekcję szwedzkiego. Death metalu oczywiście.

Malfeitor bowiem pochodzi ze Szwecji i brzmi po szwedzku. Dla jednych to niby nic, ale dla mnie oznacza to ni mniej ni więcej, że oto i przede mną kilkadziesiąt mile spędzonych minut. „Dum Morior Orior” śmierdzi starym metalem, zaczerpniętym z wczesnych krążków Grave, Dismember czy Entombed. Ale to chyba oczywiste, że nagle nikt tu nie każe odkrywać Ameryki. Z drugiej strony, nie mamy tu do czynienia z młodziakami, którzy są rówieśnikami „…And Here I Die… Satisfied”, gdyż Malfeitor został założony w 1990 roku. Wówczas jeszcze na mapie istniał Związek Radziecki! Zostawmy jednak geopolitykę na boku, bo „Dum Morior Orior” dobija się, chcąc, by ktoś ich zauważył – ależ słyszymy, słyszymy te gardłowe growle i krzyki, słyszymy piłujące gitary i dudniący bas – właśnie leci „And The Sky Turned The Rage” i dosłownie czuję gniew, o którym śpiewa Malfeitor. Może i znajdą się na tym łez padole zespoły, które w równie nieoryginalny sposób łupią death metal, a przy tym podobają mi się bardziej, jednak mimo tego nie mam Malfeitor nic do zarzucenia. Taki już jestem, że death metal w old skulowym wydaniu podoba mi się i już.

Jak na debiut wydany po dwudziestu dwóch latach od powstania zespołu, Malfeitor brzmi z młodzieńczą werwą i wściekłością. Wers „I will make You fuckin’ bleed” z ostatniego numeru brzmi w zderzeniu z tą muzyką dość prawdopodobnie.

Oracle

The Malfeitor entity came into existence (supposedly) already back in 1990, but I guess this time until 1995, when the first incarnation of the band has split up, have never fruited in demo recordings, so it doesn’t really matter. When Benny Moberg started Blood Mortized in 2007 he also decided soon later to reform Malfeitor, for whatever reasons. I do must admit that the debut demo, “To Hell, Farewell”, from 2011 – which later was released on CD as a split with Birch Mountain – hasn’t impressed me that much and it was rather mediocre quality Swedish sounding death metal. Therefore I didn’t really feel like “Dum Morior Orior” would be an album that I’ll get interested in. Well, Hellthrasher Productions helped with it, by making sure that I review it, so here I am, sitting in front of the laptop and listening to those Swedish zombies at 1:15 am.

I must admit that my first impression on “Dum Morior Orior” was very mixed. At the beginning I was quite sceptic about the band and also on the first listen I really thought that this is yet another old styled Swedish death metal album, but one of very mediocre quality and basically one, which do not bring anything exciting to already very exciting scene, so I was more eager to skip it than really bother to listen to it more. But I did against that and kept on listening to “Dum Morior Orior” and I think I should be glad about that as I started to like Malfeitor more with every new listening. It’s almost weird that something like this happened, because “Dum Morior Orior” is not a demanding album and with such LPs you usually get into them immediately or not at all and then just leave them behind. Maybe it had something to do with the equipment on which I listened to Malfeitor, as at first I listened to it on quite old and shitty headphones, but later I putted the album on my big stereo system and finally Malfeitor’s music got some aggression and brutal energy which I felt was lacking at first. This is when I really discovered the potential and awesomeness of this band.

When “Conversation in Minor” kicked off with first riffs, it was like a bomb, which exploded right in your face. And next tracks, like the impressively catchy, but fast as hell “Beyond the Horrorizon” and brilliant groovy horror anthem called “To Hell, Farewell” just carried on doing the slaughter, which I welcomed with opened arms and all my knives and axes sharp and ready to massacre. Malfeitor plays some really killer and devastating tracks here and so “Dum Morior Orior” is truly a blast. Of course there may be discussions whether it’s any point to listen to yet another band like Malfeitor… because I’m not gonna lie to you. Malfeitor is not original at all and their music pretty much repeats what dozens of other bands have done earlier. There are also few new bands from the new wave of old school death metal, which I think are better than Malfeitor – I can think of Interment, Tormented, Intestinal, Entrails, Graveyard, Torture Division just to name few really. But who cares, if “Dum Morior Orior” is still so cool and skin bashing? Malfeitor has really solid songwriting, good performance, the productions is OK here also, so I can’t see any reasons why “Dum Morior Orior” should not be in the collections of all die hard death metal maniacs out there! Trust me; these are some really killer 40 minutes, which will be a real feast for enthusiasts of the Swedish style and the likes of Entombed, Grave, Torture Division, General Surgery, Facebreaker. What I like about “Dum Morior Orior” especially is that how often it is fast, how uncompromising and aggressive (sometimes even grinding) this album is, but still with many memorable and catchy parts, and that in all that blasting ferocity Malfeitor did not forget about some melodies or even doomy parts. In the end I think that “Dum Morior Orior” has everything what such musical genre as old school Swedish death metal should have. Really cool, yeah! I like it!

dismember marcin



..::TRACK-LIST::..

1. Conversation In Minor 04:35
2. Beyond The Horrorizon 03:27
3. When Last Breath Fades 03:03
4. Exile From Sanity 03:54
5. To Hell, Farrewell 03:18
6. Death, The Dead And Me 03:55
7. Rolling With Corpses 03:03
8. And The Sky Turned To Rage 03:47
9. Psychosis 03:15
10. Scenes From A Slaughterhouse 03:43
11. Sojourn Hell 05:07

Recorded at Sufficiently Studios, Stockholm and at 61 Streamway Croft of Suffering Studios, Vasteras.
Mixed and mastered at Sufficiently Studios, Stockholm.



..::OBSADA::..

Vocals - Mattias Parkkila
Drums - Janne Björkenfjäll
Guitar, Bass - Benny Moberg

Vocals [Guest] - Raquel Centeno (tracks: 9), Ronnie Ripper (tracks: 7)



https://www.youtube.com/watch?v=en8xfC5KYkI


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

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


..::OPIS::..

Ten oldschoolowy urok połączony z hiperkinetyczną intensywnością współczesnego death metalu...

FA

Mają tempo, skurwisyny. Pamiętam, że nie tak dawno temu recenzowałem już jeden materiał tej kapeli, a tu już dostałem ponownie solidną lekcję szwedzkiego. Death metalu oczywiście.

Malfeitor bowiem pochodzi ze Szwecji i brzmi po szwedzku. Dla jednych to niby nic, ale dla mnie oznacza to ni mniej ni więcej, że oto i przede mną kilkadziesiąt mile spędzonych minut. „Dum Morior Orior” śmierdzi starym metalem, zaczerpniętym z wczesnych krążków Grave, Dismember czy Entombed. Ale to chyba oczywiste, że nagle nikt tu nie każe odkrywać Ameryki. Z drugiej strony, nie mamy tu do czynienia z młodziakami, którzy są rówieśnikami „…And Here I Die… Satisfied”, gdyż Malfeitor został założony w 1990 roku. Wówczas jeszcze na mapie istniał Związek Radziecki! Zostawmy jednak geopolitykę na boku, bo „Dum Morior Orior” dobija się, chcąc, by ktoś ich zauważył – ależ słyszymy, słyszymy te gardłowe growle i krzyki, słyszymy piłujące gitary i dudniący bas – właśnie leci „And The Sky Turned The Rage” i dosłownie czuję gniew, o którym śpiewa Malfeitor. Może i znajdą się na tym łez padole zespoły, które w równie nieoryginalny sposób łupią death metal, a przy tym podobają mi się bardziej, jednak mimo tego nie mam Malfeitor nic do zarzucenia. Taki już jestem, że death metal w old skulowym wydaniu podoba mi się i już.

Jak na debiut wydany po dwudziestu dwóch latach od powstania zespołu, Malfeitor brzmi z młodzieńczą werwą i wściekłością. Wers „I will make You fuckin’ bleed” z ostatniego numeru brzmi w zderzeniu z tą muzyką dość prawdopodobnie.

Oracle

The Malfeitor entity came into existence (supposedly) already back in 1990, but I guess this time until 1995, when the first incarnation of the band has split up, have never fruited in demo recordings, so it doesn’t really matter. When Benny Moberg started Blood Mortized in 2007 he also decided soon later to reform Malfeitor, for whatever reasons. I do must admit that the debut demo, “To Hell, Farewell”, from 2011 – which later was released on CD as a split with Birch Mountain – hasn’t impressed me that much and it was rather mediocre quality Swedish sounding death metal. Therefore I didn’t really feel like “Dum Morior Orior” would be an album that I’ll get interested in. Well, Hellthrasher Productions helped with it, by making sure that I review it, so here I am, sitting in front of the laptop and listening to those Swedish zombies at 1:15 am.

I must admit that my first impression on “Dum Morior Orior” was very mixed. At the beginning I was quite sceptic about the band and also on the first listen I really thought that this is yet another old styled Swedish death metal album, but one of very mediocre quality and basically one, which do not bring anything exciting to already very exciting scene, so I was more eager to skip it than really bother to listen to it more. But I did against that and kept on listening to “Dum Morior Orior” and I think I should be glad about that as I started to like Malfeitor more with every new listening. It’s almost weird that something like this happened, because “Dum Morior Orior” is not a demanding album and with such LPs you usually get into them immediately or not at all and then just leave them behind. Maybe it had something to do with the equipment on which I listened to Malfeitor, as at first I listened to it on quite old and shitty headphones, but later I putted the album on my big stereo system and finally Malfeitor’s music got some aggression and brutal energy which I felt was lacking at first. This is when I really discovered the potential and awesomeness of this band.

When “Conversation in Minor” kicked off with first riffs, it was like a bomb, which exploded right in your face. And next tracks, like the impressively catchy, but fast as hell “Beyond the Horrorizon” and brilliant groovy horror anthem called “To Hell, Farewell” just carried on doing the slaughter, which I welcomed with opened arms and all my knives and axes sharp and ready to massacre. Malfeitor plays some really killer and devastating tracks here and so “Dum Morior Orior” is truly a blast. Of course there may be discussions whether it’s any point to listen to yet another band like Malfeitor… because I’m not gonna lie to you. Malfeitor is not original at all and their music pretty much repeats what dozens of other bands have done earlier. There are also few new bands from the new wave of old school death metal, which I think are better than Malfeitor – I can think of Interment, Tormented, Intestinal, Entrails, Graveyard, Torture Division just to name few really. But who cares, if “Dum Morior Orior” is still so cool and skin bashing? Malfeitor has really solid songwriting, good performance, the productions is OK here also, so I can’t see any reasons why “Dum Morior Orior” should not be in the collections of all die hard death metal maniacs out there! Trust me; these are some really killer 40 minutes, which will be a real feast for enthusiasts of the Swedish style and the likes of Entombed, Grave, Torture Division, General Surgery, Facebreaker. What I like about “Dum Morior Orior” especially is that how often it is fast, how uncompromising and aggressive (sometimes even grinding) this album is, but still with many memorable and catchy parts, and that in all that blasting ferocity Malfeitor did not forget about some melodies or even doomy parts. In the end I think that “Dum Morior Orior” has everything what such musical genre as old school Swedish death metal should have. Really cool, yeah! I like it!

dismember marcin



..::TRACK-LIST::..

1. Conversation In Minor 04:35
2. Beyond The Horrorizon 03:27
3. When Last Breath Fades 03:03
4. Exile From Sanity 03:54
5. To Hell, Farrewell 03:18
6. Death, The Dead And Me 03:55
7. Rolling With Corpses 03:03
8. And The Sky Turned To Rage 03:47
9. Psychosis 03:15
10. Scenes From A Slaughterhouse 03:43
11. Sojourn Hell 05:07

Recorded at Sufficiently Studios, Stockholm and at 61 Streamway Croft of Suffering Studios, Vasteras.
Mixed and mastered at Sufficiently Studios, Stockholm.



..::OBSADA::..

Vocals - Mattias Parkkila
Drums - Janne Björkenfjäll
Guitar, Bass - Benny Moberg

Vocals [Guest] - Raquel Centeno (tracks: 9), Ronnie Ripper (tracks: 7)



https://www.youtube.com/watch?v=en8xfC5KYkI


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

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


..::OPIS::..

Legal Butchery was a Belgian brutal death metal band active in the mid-1990s. While they did not release an official compilation album explicitly titled Anthology 94-96, their core output during this exact window consists of their 1994 demo and their 1996 debut studio album released through Shiver Records.



..::TRACK-LIST::..

The Cause And Effect Of Eternal Suffering Demo Tape 1994
1. The Colony Of Leprocy
2. The Cause And Effect Of Eternal Suffering
3. Antropophagy
4. Cascade Of Blood
5. Legal Butchery
6. Die Like The Rest
7. Repression

The Cause And Effect Of Eternal Suffering Full-Lenght CD 1996
8. Fast Case Of Rising Gorge
9. Exit To False Worship
10. The Killing Pleasure
11. Gossip
12. Key To Paradise : Elected Erected
13. Repression
14. In Memory We Keep
15. I Assume , I Hope , I Realize
16. Outro

Bonus:
17. Unknown Song [Unreleased 1997 Studio Track]



..::OBSADA::..

Vogel - Bass
Steven - Drums
Pim - Guitars
Tony - Guitars
Yvan - Vocals



https://www.youtube.com/watch?v=-4b5YuKdTOc


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

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


..::OPIS::..

Legal Butchery was a Belgian brutal death metal band active in the mid-1990s. While they did not release an official compilation album explicitly titled Anthology 94-96, their core output during this exact window consists of their 1994 demo and their 1996 debut studio album released through Shiver Records.



..::TRACK-LIST::..

The Cause And Effect Of Eternal Suffering Demo Tape 1994
1. The Colony Of Leprocy
2. The Cause And Effect Of Eternal Suffering
3. Antropophagy
4. Cascade Of Blood
5. Legal Butchery
6. Die Like The Rest
7. Repression

The Cause And Effect Of Eternal Suffering Full-Lenght CD 1996
8. Fast Case Of Rising Gorge
9. Exit To False Worship
10. The Killing Pleasure
11. Gossip
12. Key To Paradise : Elected Erected
13. Repression
14. In Memory We Keep
15. I Assume , I Hope , I Realize
16. Outro

Bonus:
17. Unknown Song [Unreleased 1997 Studio Track]



..::OBSADA::..

Vogel - Bass
Steven - Drums
Pim - Guitars
Tony - Guitars
Yvan - Vocals



https://www.youtube.com/watch?v=-4b5YuKdTOc


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

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


..::OPIS::..

Cztery albumy studyjne, dziesięć lat nieoficjalnej i oficjalnej działalności i w końcu Deicide doczekał się swojej koncertówki. Z wielkiej czwórki deathu, do której zaliczano jeszcze, a może przede wszystkim Morbid Angel, Cannibal Corpse i nasze Vader, wcześniej dorobili się takiego wydawnictwa tylko szaleńcy Treya Azagthotha i nasze polskie komando z Olsztyna. "When Satan Lives", jak to koncertówka, jest swego rodzaju "Best Offem" i podsumowaniem dotychczasowych dokonań satanistów z Florydy, więc z założenia zawiera wszystkie hity, jakie Bentonowi i spółce udało się stworzyć do 1998 r. W tym czasie były i wzloty w typie "Deicide" i "Legion", zachowawcze, jednak wciąż dobre "Once Upon The Cross" oraz pierwsza poważna sraka w postaci "Serpents Of The Light". Nie zmienia to faktu, że udało się z tego pozbierać 17 kawałków świetnej muzy, która w wydaniu live powinna zabijać. Czy udało się to uchwycić na pieczołowicie nagrywanych taśmach z "House Of Blues" w Chicago? Śmiem wątpić.

Nie będę kłamał i przyznam, że jestem fanem oszukiwanych koncertówek Iron Maiden, Slayera i Metalliki, gdzie słychać publiczność, gdzie mimo potężnych sprzęgnięć wszystko jest selektywne i zachowuje atmosferę koncertu. Oczywista sprawa, że osobno rejestruje się ofiary pod sceną, następnie pogłaśniając je, a niektóre momenty dogrywa się najzwyczajniej w studio. Przecież i Hammetowi może odsłuch nawalić, Nicko McBrain może rozwalić werbel, a Tom Araya połknąć mikrofon. Taka uroda występów live, więc po to się w nich grzebie, żeby nie było, że to przypadkiem bootleg. Całą sprawa sprowadza się jednak do zachowania całej dramaturgii występu, jakiegoś dynamizmu czy choćby namiastki atmosfery koncertowej - gdy dajmy na to leci intro i wręcz czuje się, jak podjarani fani walą w pory. Tego akurat na przytoczonych płytach live nie brakuje, nie udało się jednakże maszynie koncertowej, jaką bez wątpienia był Deicide. I tutaj nie będę wylewał gorzkich żalów, bo podobnie oceniam mizerotę "Live In Japan" Vader, "Entangled In Chaos" Morbid Angel czy "Live Cannibalism" Cannibal Corpse - płyt koncertowych smacznych z powodu nazw zespołów i mnogości wiekopomnych utworów, zaś w warstwie emocjonalnej pustych bardziej niż fabuła "Duke Nukem 3D". W tym panteonie gwiazd deathu, Bogobójstwo nie ma się czego wstydzić, odwala po prostu standardową robotę, podsumowuje, co ma podsumować i idzie do "chałpy".

Zaczyna się antybosko, bo od stałego zadowalacza publiczności "When Satan Rules His Word". Fajerwerkowo odegrany hymn rzeczywiście powala w każdych warunkach, a przy pierwszym zwolnieniu nawet słychać z publiki rozbrajające "Satana" - plus na konto Deicide, heh, "disease, run free... killing". Potem hojnie obdarzeni zostają fani debiutanckiej płyty oraz "Once Upon The Cross". "Lunatic Of God's Creation", "They Are The Children Of The Underworld", finałowy "Sarcificial Suicide", to tylko kilka z rzuconych pod scenę na "When Satan Lives". Zaskakuje zaś obecność tylko jednego numeru z deicidowego exegi monumentum "Legion". "Dead But Dreaming" to chyba najbardziej zwierzęcy moment tego gigu, a gdzie "Revocate The Agitator" albo "In Hell I Burn"? Pierwsze poważne potknięcie, bo wypychać taki stuff kawałkami ze słabej "Serpents Of The Light", to lekkie przegięcie. Jakkolwiek koncert ten wyłuskano z trasy promującej czwartą płytę Deicide, to - jeśli ktoś już coś w ten sposób podsumowuje - to daje jednocześnie do zrozumienia, że jakiejś muzy w swojej dyskografii wybitnie nie akceptuje. A że jest to przy okazji muza najlepsza, to hmmm... już bardzo dziwna sprawa. Co jeszcze... Aha, to dogrywanie w studio, które aż samo wyłazi bokami. Rzecz jest rzemieślniczo odegrana bez żadnych fałszów, pogłosów i tym podobnych rzeczy. Solówki Hoffmanów to igła i żyleta, jakby skserowali je prosto z taśm studyjnych. Takie doskonałe, rutynowe show w przyrodzie się nie zdarzają, że o pomyłkach mistrza Schuldinera na "Live In L.A". tylko wspomnę. Na pewno brzmi to świetnie, ale czy równie "żywo"? Ale zaraz, nad tym to już chyba rozwodziłem się wyżej.

Mimo tej maksymalnej polerki warto "When Satan Lives" przytulić. Jak ktoś niekoniecznie chce wywalać szmalec na całą dyskografię Deicide, to ten koncert jest dla niego. Zbiór najlepszych numerów, jakaś tam lajtowa demonstracja mocy scenicznej, to wystarczający powód, żeby nadgonić zaległości edukacyjne w dziedzinie klasyki satanic death metalu. Żeby zaś wiedza była kompletna, polecam zainwestowanie w dwupaki, które walają się po każdym większym sklepie nie dla idiotów. Za okazyjną cenę można zgarnąć w jednym metalboksie "Serpents Of The Light" i "When Satan Lives", do tego dorzucić ze trzy dychy na debiut i "Legion", i wierzcie mi lub nie, o Deicide wiedzieć już więcej nie będziecie musieli. Kto zapragnie doświadczyć prawdziwej potęgi na żywo, to cóż, najlepiej zrobi wynajdując sobie wehikuł czasu i przenosząc się 11 lat do tyłu, kiedy i autora tej recenzji, jeszcze razem z Hoffmanami w składzie, Benton przerobił na Whiskas podczas koncertu.

"When Satan Lives" jest także ważny z innych względów. To epitafium wielkości Deicide. Niegdyś najbrutalniejsi i najbardziej obrazoburczy, choć sami nie mieli odwagi tego przyznać, musieli pogodzić się z faktem, że dzieci wykarmione na bluźnierczym bebiko własnej produkcji powoli zaczęły zabierać im chleb grając lepiej. Nadeszła ostateczna era takich miotaczy. jak "Apocaliptic Revelation" Krisiun, "Exterminate" Angelcorpse czy "Burn The Promised Land" Rebaelliun, których smoliste niszczyciele powydawane mniej więcej w tym samym okresie stawiały Deicide co najwyżej w drugiej lidze podwórkowego grania w kratki. Ale to nie miejsce, by o tym rozprawiać.

Ocena... to koncertówka, oceny brak.

Megakruk

Koncertówka When Satan Lives w żadnym wypadku nie powala na kolana i niczym nie zaskakuje, jednak na pewno jest solidną dokumentacją tego, jak Deicide wypadali na scenie, gdy byli w swojej szczytowej formie. To czysty pokaz siły, brutalności i scenicznej precyzji weteranów death metalu. Od początku koncertu hiciory (że wymienię tylko „Dead By Down”, „Bastard Of Christ” i „When Satan Rules His World”) sypią się jak polska prawica (i lewica, i centrum, i w ogóle wszystko) w parlamencie, publika szaleje a zespół wylewa z siebie sześćset sześćdziesiąte szóste poty, napieprzając prawie godzinę (czyli trochę krótko) na najwyższych obrotach. Deicide przelecieli po wszystkich swoich wydawnictwach, szczególny nacisk kładąc na nowsze krążki z „Serpents Of The Light” na czele. Szkoda tylko, że przy całej obfitości z „Legion” dostał nam się tylko jeden kawałek – mocarny „Dead But Dreaming”. Cały zespół wymiata jak należy (przy czym szczególne brawa dla Asheima), więc poziom wykonania nie odbiega zbytnio (a w przypadku ostatniego krążka – wcale) od wersji studyjnych. Również brzmieniowo When Satan Lives wypada całkiem nieźle, co nie powinno nikogo dziwić w kontekście poprawek dokonanych w Morrisound. Na krążku świetnie uchwycono duszną atmosferę koncertowego szaleństwa, co szybko udziela się także i słuchaczowi. A to z kolei oznacza, że fajnie się przy tym wydziera japę, i to nie tylko w refrenach. Na koniec mała sugestia a propos powyższego: radziłbym tego unikać przy rozkręcającej się anginie. Dość łatwo można sobie wtedy na dłuuugo zjebać gardełko, zapewniam…

demo

One could say that this point here was the precise moment that Deicide should have released a live album like 'When Satan Lives'. Just one year after the seminal 'Serpents Of The Light' release, Deicide cranked out a fifty-five minute live release with music taken from Chicago's House Of Blues. Composed primarily of songs from the previously mentioned 'Serpents', 'Once Upon The Cross' (where the flaws of that album are invalidated by the power of the performance here), and the 'Deicide' debut, the Floridian legends somehow invert in a small way the quality of the albums' respective songs in the live setting. While 'Once Upon The Cross' compositions are made dramatically more powerful due to the added sonic brutality of this live LP, tracks off the more developed 'Serpents Of The Light' seem to fall slightly flat when the aid of that album's black metal-influenced production is absent.

Beginning with 'When Satan Rules His World', Deicide stuns with a stirring new rendition of a song that was merely average on 'Once Upon The Cross'. Glen Benton's vocals, ordinarily more high-pitched and intelligible, are reduced to an ultra-low, nearly brutal death growl, which combined with the greater bass presence and drum intensity, make this and other tracks many times more effective than they were before. The lyrics and riffs become numerous shades darker at the hand of the band on stage, turning generic songs into masterworks of Satanic assault. This track is a gem of the 17-song release, proving how much more effective Deicide can be when the sheen of professional production is taken off, leaving only the pure, hateful shell of the band to play.

Unfortunately, such a policy doesn't fair quite as well for the tracks of 'Serpents Of The Light'. That album's emphasis on higher-pitched riffing, raw production, and distinct melody are obfuscated by the bass-heavy production and low growling which renders the LP's unusually clever lyrics unintelligible. This results in songs such as the title track which, while still effective in a sense, are not nearly as powerful as they are on record. However, the riffs are certainly still distinct (despite sounding like they are tuned a step lower) and still as effective as they were before; just not quite as sharp as before.

With only an isolated track from 'Legion' and a few from 'Deicide', the vast majority of music here is taken from the third and fourth albums. While this may displease the crowd that believes that only Deicide's first pair of records is relevant, it still functions in good form as a live representation of the band. While not essential, this is a release worth exploring by fans of Deicide as well as those who are looking for a 'Best Of' with which to explore their discography.

Noktorn



..::TRACK-LIST::..

1. When Satan Rules His World
2. Blame It On God
3. Bastard Of Christ
4. They Are The Children Of The Underworld
5. Serpents Of The Light
6. Dead But Dreaming
7. Slave To The Cross
8. Lunatic Of God’s Creation
9. Oblivious To Evil
10. Once Upon The Cross
11. Believe The Lie
12. Trick Or Betrayed
13. Behind The Light Thou Shall Rise
14. Deicide
15. Father Baker’s
16. Dead By Dawn
17. Sacrificial Suicide



..::OBSADA::..

Glen Benton - Bass, Vocals
Brian Hoffman - Guitars (lead)
Eric Hoffman - Guitars (lead)
Steve Asheim - Drums



https://www.youtube.com/watch?v=EyE9I6y1Z0k


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

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


..::OPIS::..

Cztery albumy studyjne, dziesięć lat nieoficjalnej i oficjalnej działalności i w końcu Deicide doczekał się swojej koncertówki. Z wielkiej czwórki deathu, do której zaliczano jeszcze, a może przede wszystkim Morbid Angel, Cannibal Corpse i nasze Vader, wcześniej dorobili się takiego wydawnictwa tylko szaleńcy Treya Azagthotha i nasze polskie komando z Olsztyna. "When Satan Lives", jak to koncertówka, jest swego rodzaju "Best Offem" i podsumowaniem dotychczasowych dokonań satanistów z Florydy, więc z założenia zawiera wszystkie hity, jakie Bentonowi i spółce udało się stworzyć do 1998 r. W tym czasie były i wzloty w typie "Deicide" i "Legion", zachowawcze, jednak wciąż dobre "Once Upon The Cross" oraz pierwsza poważna sraka w postaci "Serpents Of The Light". Nie zmienia to faktu, że udało się z tego pozbierać 17 kawałków świetnej muzy, która w wydaniu live powinna zabijać. Czy udało się to uchwycić na pieczołowicie nagrywanych taśmach z "House Of Blues" w Chicago? Śmiem wątpić.

Nie będę kłamał i przyznam, że jestem fanem oszukiwanych koncertówek Iron Maiden, Slayera i Metalliki, gdzie słychać publiczność, gdzie mimo potężnych sprzęgnięć wszystko jest selektywne i zachowuje atmosferę koncertu. Oczywista sprawa, że osobno rejestruje się ofiary pod sceną, następnie pogłaśniając je, a niektóre momenty dogrywa się najzwyczajniej w studio. Przecież i Hammetowi może odsłuch nawalić, Nicko McBrain może rozwalić werbel, a Tom Araya połknąć mikrofon. Taka uroda występów live, więc po to się w nich grzebie, żeby nie było, że to przypadkiem bootleg. Całą sprawa sprowadza się jednak do zachowania całej dramaturgii występu, jakiegoś dynamizmu czy choćby namiastki atmosfery koncertowej - gdy dajmy na to leci intro i wręcz czuje się, jak podjarani fani walą w pory. Tego akurat na przytoczonych płytach live nie brakuje, nie udało się jednakże maszynie koncertowej, jaką bez wątpienia był Deicide. I tutaj nie będę wylewał gorzkich żalów, bo podobnie oceniam mizerotę "Live In Japan" Vader, "Entangled In Chaos" Morbid Angel czy "Live Cannibalism" Cannibal Corpse - płyt koncertowych smacznych z powodu nazw zespołów i mnogości wiekopomnych utworów, zaś w warstwie emocjonalnej pustych bardziej niż fabuła "Duke Nukem 3D". W tym panteonie gwiazd deathu, Bogobójstwo nie ma się czego wstydzić, odwala po prostu standardową robotę, podsumowuje, co ma podsumować i idzie do "chałpy".

Zaczyna się antybosko, bo od stałego zadowalacza publiczności "When Satan Rules His Word". Fajerwerkowo odegrany hymn rzeczywiście powala w każdych warunkach, a przy pierwszym zwolnieniu nawet słychać z publiki rozbrajające "Satana" - plus na konto Deicide, heh, "disease, run free... killing". Potem hojnie obdarzeni zostają fani debiutanckiej płyty oraz "Once Upon The Cross". "Lunatic Of God's Creation", "They Are The Children Of The Underworld", finałowy "Sarcificial Suicide", to tylko kilka z rzuconych pod scenę na "When Satan Lives". Zaskakuje zaś obecność tylko jednego numeru z deicidowego exegi monumentum "Legion". "Dead But Dreaming" to chyba najbardziej zwierzęcy moment tego gigu, a gdzie "Revocate The Agitator" albo "In Hell I Burn"? Pierwsze poważne potknięcie, bo wypychać taki stuff kawałkami ze słabej "Serpents Of The Light", to lekkie przegięcie. Jakkolwiek koncert ten wyłuskano z trasy promującej czwartą płytę Deicide, to - jeśli ktoś już coś w ten sposób podsumowuje - to daje jednocześnie do zrozumienia, że jakiejś muzy w swojej dyskografii wybitnie nie akceptuje. A że jest to przy okazji muza najlepsza, to hmmm... już bardzo dziwna sprawa. Co jeszcze... Aha, to dogrywanie w studio, które aż samo wyłazi bokami. Rzecz jest rzemieślniczo odegrana bez żadnych fałszów, pogłosów i tym podobnych rzeczy. Solówki Hoffmanów to igła i żyleta, jakby skserowali je prosto z taśm studyjnych. Takie doskonałe, rutynowe show w przyrodzie się nie zdarzają, że o pomyłkach mistrza Schuldinera na "Live In L.A". tylko wspomnę. Na pewno brzmi to świetnie, ale czy równie "żywo"? Ale zaraz, nad tym to już chyba rozwodziłem się wyżej.

Mimo tej maksymalnej polerki warto "When Satan Lives" przytulić. Jak ktoś niekoniecznie chce wywalać szmalec na całą dyskografię Deicide, to ten koncert jest dla niego. Zbiór najlepszych numerów, jakaś tam lajtowa demonstracja mocy scenicznej, to wystarczający powód, żeby nadgonić zaległości edukacyjne w dziedzinie klasyki satanic death metalu. Żeby zaś wiedza była kompletna, polecam zainwestowanie w dwupaki, które walają się po każdym większym sklepie nie dla idiotów. Za okazyjną cenę można zgarnąć w jednym metalboksie "Serpents Of The Light" i "When Satan Lives", do tego dorzucić ze trzy dychy na debiut i "Legion", i wierzcie mi lub nie, o Deicide wiedzieć już więcej nie będziecie musieli. Kto zapragnie doświadczyć prawdziwej potęgi na żywo, to cóż, najlepiej zrobi wynajdując sobie wehikuł czasu i przenosząc się 11 lat do tyłu, kiedy i autora tej recenzji, jeszcze razem z Hoffmanami w składzie, Benton przerobił na Whiskas podczas koncertu.

"When Satan Lives" jest także ważny z innych względów. To epitafium wielkości Deicide. Niegdyś najbrutalniejsi i najbardziej obrazoburczy, choć sami nie mieli odwagi tego przyznać, musieli pogodzić się z faktem, że dzieci wykarmione na bluźnierczym bebiko własnej produkcji powoli zaczęły zabierać im chleb grając lepiej. Nadeszła ostateczna era takich miotaczy. jak "Apocaliptic Revelation" Krisiun, "Exterminate" Angelcorpse czy "Burn The Promised Land" Rebaelliun, których smoliste niszczyciele powydawane mniej więcej w tym samym okresie stawiały Deicide co najwyżej w drugiej lidze podwórkowego grania w kratki. Ale to nie miejsce, by o tym rozprawiać.

Ocena... to koncertówka, oceny brak.

Megakruk

Koncertówka When Satan Lives w żadnym wypadku nie powala na kolana i niczym nie zaskakuje, jednak na pewno jest solidną dokumentacją tego, jak Deicide wypadali na scenie, gdy byli w swojej szczytowej formie. To czysty pokaz siły, brutalności i scenicznej precyzji weteranów death metalu. Od początku koncertu hiciory (że wymienię tylko „Dead By Down”, „Bastard Of Christ” i „When Satan Rules His World”) sypią się jak polska prawica (i lewica, i centrum, i w ogóle wszystko) w parlamencie, publika szaleje a zespół wylewa z siebie sześćset sześćdziesiąte szóste poty, napieprzając prawie godzinę (czyli trochę krótko) na najwyższych obrotach. Deicide przelecieli po wszystkich swoich wydawnictwach, szczególny nacisk kładąc na nowsze krążki z „Serpents Of The Light” na czele. Szkoda tylko, że przy całej obfitości z „Legion” dostał nam się tylko jeden kawałek – mocarny „Dead But Dreaming”. Cały zespół wymiata jak należy (przy czym szczególne brawa dla Asheima), więc poziom wykonania nie odbiega zbytnio (a w przypadku ostatniego krążka – wcale) od wersji studyjnych. Również brzmieniowo When Satan Lives wypada całkiem nieźle, co nie powinno nikogo dziwić w kontekście poprawek dokonanych w Morrisound. Na krążku świetnie uchwycono duszną atmosferę koncertowego szaleństwa, co szybko udziela się także i słuchaczowi. A to z kolei oznacza, że fajnie się przy tym wydziera japę, i to nie tylko w refrenach. Na koniec mała sugestia a propos powyższego: radziłbym tego unikać przy rozkręcającej się anginie. Dość łatwo można sobie wtedy na dłuuugo zjebać gardełko, zapewniam…

demo

One could say that this point here was the precise moment that Deicide should have released a live album like 'When Satan Lives'. Just one year after the seminal 'Serpents Of The Light' release, Deicide cranked out a fifty-five minute live release with music taken from Chicago's House Of Blues. Composed primarily of songs from the previously mentioned 'Serpents', 'Once Upon The Cross' (where the flaws of that album are invalidated by the power of the performance here), and the 'Deicide' debut, the Floridian legends somehow invert in a small way the quality of the albums' respective songs in the live setting. While 'Once Upon The Cross' compositions are made dramatically more powerful due to the added sonic brutality of this live LP, tracks off the more developed 'Serpents Of The Light' seem to fall slightly flat when the aid of that album's black metal-influenced production is absent.

Beginning with 'When Satan Rules His World', Deicide stuns with a stirring new rendition of a song that was merely average on 'Once Upon The Cross'. Glen Benton's vocals, ordinarily more high-pitched and intelligible, are reduced to an ultra-low, nearly brutal death growl, which combined with the greater bass presence and drum intensity, make this and other tracks many times more effective than they were before. The lyrics and riffs become numerous shades darker at the hand of the band on stage, turning generic songs into masterworks of Satanic assault. This track is a gem of the 17-song release, proving how much more effective Deicide can be when the sheen of professional production is taken off, leaving only the pure, hateful shell of the band to play.

Unfortunately, such a policy doesn't fair quite as well for the tracks of 'Serpents Of The Light'. That album's emphasis on higher-pitched riffing, raw production, and distinct melody are obfuscated by the bass-heavy production and low growling which renders the LP's unusually clever lyrics unintelligible. This results in songs such as the title track which, while still effective in a sense, are not nearly as powerful as they are on record. However, the riffs are certainly still distinct (despite sounding like they are tuned a step lower) and still as effective as they were before; just not quite as sharp as before.

With only an isolated track from 'Legion' and a few from 'Deicide', the vast majority of music here is taken from the third and fourth albums. While this may displease the crowd that believes that only Deicide's first pair of records is relevant, it still functions in good form as a live representation of the band. While not essential, this is a release worth exploring by fans of Deicide as well as those who are looking for a 'Best Of' with which to explore their discography.

Noktorn



..::TRACK-LIST::..

1. When Satan Rules His World
2. Blame It On God
3. Bastard Of Christ
4. They Are The Children Of The Underworld
5. Serpents Of The Light
6. Dead But Dreaming
7. Slave To The Cross
8. Lunatic Of God’s Creation
9. Oblivious To Evil
10. Once Upon The Cross
11. Believe The Lie
12. Trick Or Betrayed
13. Behind The Light Thou Shall Rise
14. Deicide
15. Father Baker’s
16. Dead By Dawn
17. Sacrificial Suicide



..::OBSADA::..

Glen Benton - Bass, Vocals
Brian Hoffman - Guitars (lead)
Eric Hoffman - Guitars (lead)
Steve Asheim - Drums



https://www.youtube.com/watch?v=EyE9I6y1Z0k


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

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


..::OPIS::..

To może być nie lada gratka dla wielbicieli klasycznego death metalu w wersji brutalnej. Stara kapela z USA wydaje swoje, wybrane trzy materiały, czyli demówkę, epkę oraz debiutanckiego longa, które pierwotnie ukazały się w latach dziewięćdziesiątych. To soczyste i barbarzyńskie granie, które leci przed siebie bez udziwnień, częstując sowicie łamiącymi kości kanonadami, miażdżącymi zwolnieniami i chwytliwymi, lecz piekielnie ciężkimi średnimi tempami. Zbiór tradycyjnego kostkowania, blastów, tłumienia strun i tremolo. Został on wygenerowany za pomocą gęstego brzmienia, które podbijają łomocząca perkusja i ultramięsisty bas, a towarzyszą wszystkiemu, rzygające growle. Scattered Remnants napierdala brutal-death metal, do którego wplata sporo elementów znanych ze slam metalu, zatem oprócz blast beatów, gniotących bujanek, dostajemy także pokaźną ilość rytmicznych riffów, breakdown’ów i palm mutingu z wychodzącym okresowo na pierwszy plan basem, i bulgoczącymi wokalami. Agresywna i brutalna muza odznaczająca się niezwykłą chropowatością oraz ciężkością. Niosąca ze sobą bestialskie dźwięki, które delikatniejszym uszom będą zapewne wydawać się zbyt wstrętne, aby ich słuchać. Przeznaczona do dewastacji produkcja, która nieustannie dudni, wpędza w szaleństwo i rani zgrzytliwymi akordami. Jeśli komuś połączenie Suffocation z wczesną Pyrexia i takim też Cryptopsy, to będzie się pławić w zachwycie, słuchając tego wydawnictwa. Do tego dorzućmy odrobinę Exhumed, Infester z Incantation i danie gotowe. Smacznego. Świetne przypomnienie tego co dawno zostało zapomniane.

shub niggurath


Emerging from the Massachusetts underground in the early 1990s, Scattered Remnants carved out a reputation through sheer brutality, crafting a sound rooted in primitive violence, grotesque atmosphere, and the raw extremity that defined the era's deepest tape-trading circles.

Originally released in 1994, Procreating Mass Carnage stands as an early document of their descent into uncompromising death metal savagery. Long circulated among collectors and underground diehards, the demo has developed a cult reputation over the decades for its filthy production, suffocating riffs, and relentlessly bludgeoning approach. There is no polish here -- only raw aggression, cavernous heaviness, and the sound of a band pushing deeper into darkness before the modern brutal death metal movement had fully taken shape.

Tracks like "Profanation of Christ" showcase the band's ability to combine oppressive atmosphere with punishing riffs and grotesque pacing, capturing the unhinged spirit of underground American death metal during one of its most formative eras. While many bands from the time faded into obscurity, Scattered Remnants remained a name whispered among dedicated collectors and fans searching for the genre's most authentic and overlooked recordings.

Re-mastered by Peter Rutcho, this long-buried piece of underground death metal history is ripe for a new generation of listeners while giving longtime fans an official way to revisit one of Massachusetts' cult extreme metal artifacts.



If you've never heard of Scattered Remnants, the cover art on this demo might lead you to believe you're in for slow funereal riffs and melancholic keyboard playing, but Procreating Mass Carnage is a relic of monstrously powerful and sickening brutal death metal that sounds like it just wants to leech into your bloodstream. This band seems to have made quite the impact on their scene, because it's not uncommon that I hear them being brought up despite the fact that their discography is far from prolific. And for the longest time I wondered why, because the idea I had in my mind was that this was just another generic band that released a couple things in the '90s and then broke up. At some point, I stumbled upon this release in a collage of brutal death metal demos and, based on the artwork, had to know what it sounded like. Imagine the look on my face when I was met with one of the most primitive, bludgeoning pieces of sound that this genre has to offer.

First things first, this is rawww. The guitars are loaded with that unintentional but to-die-for grittiness of early '90s brutal death metal, and it gives the music an extra layer of filth which genuinely makes it twice as enjoyable. With this sound the band play a bunch of Suffocation-style riffs but slowed down so that you can really hear the guitar tone in action, and on top of this are vocals reminiscent of early Cryptopsy material. The highlight of the experience is the track 'Profanation of Christ' which has riffing that sounds like a gloomier version of something Pyrexia would write. Already with the bands I've mentioned, you can tell that we're not talking about bedroom quality stuff. Procreating Mass Carnage really is a gem that resembles some of the most respected names within brutal death metal, and it does so with an attitude that's darker and a lot more visceral.

Vocally, Scattered Remnants are rather... scattered, and this leads to them being very off-the-wall and deranged sounding. They hover around your average death metal growl but with a tone that's super anguish-filled, resembling the band Infester quite closely. Then, out of nowhere, you get ravaging shrieks that sound like the vocalist is actively writhing in pain, and this is what I'm talking about when I make the comparison to Cryptopsy. Overall, there's not a single exclamation on this record that isn't tormented and on a completely other level of beastliness.

When all the elements come together—the foul riffing, top-notch songwriting, and insane vocal delivery—you get tracks that are really precious and obliterate you from head to toe but leave you smiling. Procreating Mass Carnage is an example of a piece of music that could really never be recreated, even thirty years later with equipment that's far more advanced, because there really is some magic baked into this that would be impossible to capture for a second time. Music like this is what I live for in brutal death metal, and I feel bad for anyone who hasn't gotten the chance to hear this yet.

AngelOfGore



..::TRACK-LIST::..

1. Intro 01:18
2. Profanation of Christ 07:33
3. Ridding Genital Flesh 04:01
4. Infusing Fecal Embryo 02:56
5. Anal Birth 06:29
6. Cranial Defilement 03:53



..::OBSADA::..

Jay Hendershaw - Vocals
Ron Miles - Bass
Eric Roy - Drums
Jay Sarate - Guitar
Mark LaBlanc - Guitar



https://www.youtube.com/watch?v=oaKnyq6u7uE


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

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


..::OPIS::..

To może być nie lada gratka dla wielbicieli klasycznego death metalu w wersji brutalnej. Stara kapela z USA wydaje swoje, wybrane trzy materiały, czyli demówkę, epkę oraz debiutanckiego longa, które pierwotnie ukazały się w latach dziewięćdziesiątych. To soczyste i barbarzyńskie granie, które leci przed siebie bez udziwnień, częstując sowicie łamiącymi kości kanonadami, miażdżącymi zwolnieniami i chwytliwymi, lecz piekielnie ciężkimi średnimi tempami. Zbiór tradycyjnego kostkowania, blastów, tłumienia strun i tremolo. Został on wygenerowany za pomocą gęstego brzmienia, które podbijają łomocząca perkusja i ultramięsisty bas, a towarzyszą wszystkiemu, rzygające growle. Scattered Remnants napierdala brutal-death metal, do którego wplata sporo elementów znanych ze slam metalu, zatem oprócz blast beatów, gniotących bujanek, dostajemy także pokaźną ilość rytmicznych riffów, breakdown’ów i palm mutingu z wychodzącym okresowo na pierwszy plan basem, i bulgoczącymi wokalami. Agresywna i brutalna muza odznaczająca się niezwykłą chropowatością oraz ciężkością. Niosąca ze sobą bestialskie dźwięki, które delikatniejszym uszom będą zapewne wydawać się zbyt wstrętne, aby ich słuchać. Przeznaczona do dewastacji produkcja, która nieustannie dudni, wpędza w szaleństwo i rani zgrzytliwymi akordami. Jeśli komuś połączenie Suffocation z wczesną Pyrexia i takim też Cryptopsy, to będzie się pławić w zachwycie, słuchając tego wydawnictwa. Do tego dorzućmy odrobinę Exhumed, Infester z Incantation i danie gotowe. Smacznego. Świetne przypomnienie tego co dawno zostało zapomniane.

shub niggurath


Emerging from the Massachusetts underground in the early 1990s, Scattered Remnants carved out a reputation through sheer brutality, crafting a sound rooted in primitive violence, grotesque atmosphere, and the raw extremity that defined the era's deepest tape-trading circles.

Originally released in 1994, Procreating Mass Carnage stands as an early document of their descent into uncompromising death metal savagery. Long circulated among collectors and underground diehards, the demo has developed a cult reputation over the decades for its filthy production, suffocating riffs, and relentlessly bludgeoning approach. There is no polish here -- only raw aggression, cavernous heaviness, and the sound of a band pushing deeper into darkness before the modern brutal death metal movement had fully taken shape.

Tracks like "Profanation of Christ" showcase the band's ability to combine oppressive atmosphere with punishing riffs and grotesque pacing, capturing the unhinged spirit of underground American death metal during one of its most formative eras. While many bands from the time faded into obscurity, Scattered Remnants remained a name whispered among dedicated collectors and fans searching for the genre's most authentic and overlooked recordings.

Re-mastered by Peter Rutcho, this long-buried piece of underground death metal history is ripe for a new generation of listeners while giving longtime fans an official way to revisit one of Massachusetts' cult extreme metal artifacts.



If you've never heard of Scattered Remnants, the cover art on this demo might lead you to believe you're in for slow funereal riffs and melancholic keyboard playing, but Procreating Mass Carnage is a relic of monstrously powerful and sickening brutal death metal that sounds like it just wants to leech into your bloodstream. This band seems to have made quite the impact on their scene, because it's not uncommon that I hear them being brought up despite the fact that their discography is far from prolific. And for the longest time I wondered why, because the idea I had in my mind was that this was just another generic band that released a couple things in the '90s and then broke up. At some point, I stumbled upon this release in a collage of brutal death metal demos and, based on the artwork, had to know what it sounded like. Imagine the look on my face when I was met with one of the most primitive, bludgeoning pieces of sound that this genre has to offer.

First things first, this is rawww. The guitars are loaded with that unintentional but to-die-for grittiness of early '90s brutal death metal, and it gives the music an extra layer of filth which genuinely makes it twice as enjoyable. With this sound the band play a bunch of Suffocation-style riffs but slowed down so that you can really hear the guitar tone in action, and on top of this are vocals reminiscent of early Cryptopsy material. The highlight of the experience is the track 'Profanation of Christ' which has riffing that sounds like a gloomier version of something Pyrexia would write. Already with the bands I've mentioned, you can tell that we're not talking about bedroom quality stuff. Procreating Mass Carnage really is a gem that resembles some of the most respected names within brutal death metal, and it does so with an attitude that's darker and a lot more visceral.

Vocally, Scattered Remnants are rather... scattered, and this leads to them being very off-the-wall and deranged sounding. They hover around your average death metal growl but with a tone that's super anguish-filled, resembling the band Infester quite closely. Then, out of nowhere, you get ravaging shrieks that sound like the vocalist is actively writhing in pain, and this is what I'm talking about when I make the comparison to Cryptopsy. Overall, there's not a single exclamation on this record that isn't tormented and on a completely other level of beastliness.

When all the elements come together—the foul riffing, top-notch songwriting, and insane vocal delivery—you get tracks that are really precious and obliterate you from head to toe but leave you smiling. Procreating Mass Carnage is an example of a piece of music that could really never be recreated, even thirty years later with equipment that's far more advanced, because there really is some magic baked into this that would be impossible to capture for a second time. Music like this is what I live for in brutal death metal, and I feel bad for anyone who hasn't gotten the chance to hear this yet.

AngelOfGore



..::TRACK-LIST::..

1. Intro 01:18
2. Profanation of Christ 07:33
3. Ridding Genital Flesh 04:01
4. Infusing Fecal Embryo 02:56
5. Anal Birth 06:29
6. Cranial Defilement 03:53



..::OBSADA::..

Jay Hendershaw - Vocals
Ron Miles - Bass
Eric Roy - Drums
Jay Sarate - Guitar
Mark LaBlanc - Guitar



https://www.youtube.com/watch?v=oaKnyq6u7uE


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

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


..::OPIS::..

UWAGA!! Pod żadnym pozorem nie sugerujcie się tą koszmarną okładką!! Nie wiem dlaczego Ci muzycy postanowili zdobić swoje albumy takimi koszmarkami do tego z logiem rodem w stylu kapel gore.

Pierwsze odsłuchanie „The Devil’s Resolve” było dla mnie niezwykle miłym zaskoczeniem, a to z kilku powodów:
1. Album brzmi niczym Amorphis z czasów „Tales From the 1000 Lakes”,
2. Melodie wręcz powalają
3. Jest wiele smaczków. w postaci akustycznych gitar czy folkowych motywów (znów kłania się wspominany Amorphis)
4. Pojawiające się growle nie przeszkadzają a w połączeniu z czystymi wokalizami dają ciekawy efekt przywodzący na myśl…. zgadliście Amorphis

Po wypisaniu tych czterech punktów postanowiłem zajrzeć do bio i… wiele się wyjaśniło. Okazuje się, że w Barren Earth udziela się dwóch muzyków, którzy udzielali się w wymienianej tu już kilkukrotnie kapeli. Olli-Pekka Laine oraz Kasper Martenson wnieśli do zespołu wyraźnie odczuwalny pierwiastek twórców „Tales… czy „Elegy”. Okazuje się, że w składzie zespołu jest też niejaki Sami Yli-Sirniö znany ze swych występów z Waltari czy Kratorem.

„The Devil’s Resolve” to osiem niezwykle melodyjnych acz nie odartych z brutalności epickich utworów. Ogromną rolę odgrywają tu instrumenty klawiszowe, które budują atmosferę i nadają muzyce posmaku fińskiego folku. Tu obok siebie występują delikatne zaśpiewane na tle pianina czyste partie wokalne jak i grobowe, bulgoczące growle. Taki „The Rains Begin” to klasyczny przedstawiciel tego albumu. Jest tu wszystko – dobra melodia, ciekawe dodatki a do tego fragmenty utrzymane w duchu rocka z lat 70-tych z Hammondami na czele.

Jestem niesamowicie pozytywnie zaskoczony i prawdę mówiąc nie przypuszczałem, że w tym gatunku jest jeszcze w stanie mnie zaskoczyć i porwać swą zawartością jakakolwiek płyta!

Piotr Michalski


Barren Earth should require little introduction, this Finnish supergroup have been kicking it since 2007 and this is their second full-length release “The Devil’s Resolve”. Welding Melodic Death Metal with 70’s style Progressive Rock, Barren Earth are the sonic equivalent of a winning lottery ticket for a prog-nut like me.

Take “Elegy” period Amorphis, add healthy doses of mid-period Opeth and Edge of Sanity roll up and smoke said concoction to the sounds of Riverside or Porcupine Tree and once the haze clears you’ll be facing Barren Earth. If you enjoyed the latest In Mourning album I reviewed then this one will be right up your street, and is certainly of a similar quality. A good base of comparison from the get-go, and as far as production goes is if you did hear the latest In Mourning, “The Devil’s Resolve” is a much warmer sounding album, and definitely feels a little more natural.

The proceedings kick off in style on “The Devil’s Resolve”. From the push of the play button a volume swell paves the way for a dark and dirty theme, with a slight Doom Metal edge. The articulation and build is superb; “Passing of the Crimson Shadows” is the ideal opener, with excellent dynamic it really works its magic in introducing the listener to the album, and the band. The vocal approach is that of a balance between clean and harsh, and I honestly believe Mikko Kotamäki is at his best with Barren Earth, his clean vocals are particularly well done here, reminding of the British Progressive Rock acts from the 70’s. “The Rains Begins” absolutely reeks of Amorphis, featuring lush melodies, excellent layered vocals, and a tremendous prog section in the middle. “Vintage Warlords” is a song which shows exactly what Barren Earth are about and would be a good one for new listeners to check out. Rounding off the first half of “The Devil’s Resolve” is “As It Is Written” which almost ends up being the weakest on the album, if not for some great guitar melodies and a breathtaking piano segment in the middle.

The prog elements are very well played on “The Devil’s Resolve” and I feel as though the band put forth a fairly interesting take on the genre, especially when taking into account the Progressive Death Metal side. Of course the Metal scene is no stranger to Progressive Metal bands lending from the 70’s glory days, however Barren Earth succeed in flawlessly incorporating that style into their sound, and save a few Dan Swanö related acts and select Opeth I’d say this was some of the finest material in the Progressive Death Metal niche.

The second half of the album crawls along with the dirge of “The Dead Exiles” which is a bonafide highlight. The first half of the track is dark and oppressive with Doom Metal pacing, which slowly builds into an absolutely stomping riff that demands a nodding head at the very least. The flame ignited in “The Dead Exiles” burns right through the superb “Oriental Pyre”. “White Fields” takes us on to the final stretch of the album, and probably stands as the weakest on “The Devil’s Resolve”, although some strong riffage keeps it from totally missing the mark. Closing the show is the haunting “Where All Stories End” which rounds off the album in great form, giving the listener a sense of finality. One of the more melodic numbers, with some of the finer vocal lines served up on the album.

Admittedly “The Devil’s Resolve” did require a few listens for it to fully gel. It wasn’t until I sat down and truly focused on the album and each of its aspects that I fully appreciated what Barren Earth had done. A dynamic, progressive album; “The Devil’s Resolve” should be high priority for any Progressive Metal fan. There is a suitable level of depth here that will keep the listener coming back for more which is one of the many reasons why “The Devil’s Resolve” is a such a special release.

Andromeda Unchained


The Devil's Resolve" is the 2nd full-length studio album by Finnish death/doom metal act Barren Earth. The album was released through Peaceville Records in March 2012. Barren Earth features quite a few prolific Finnish musicians like former Amorphis bassist Olli-Pekka Laine, guitarist Sami Yli-Sirniö (Kreator, Waltari) and drummer Marko Tarvonen (Moonsorrow) and that arguably qualifies them to be called a Finnish metal supergroup.
The fact that the band are made up of very seasoned musicians is audible, as everything is delivered with conviction and professionalism. In addition to the "core" death/doom metal sound on the album, there are also a couple of progressive tendencies featured in the music. It´s especially audible in the longer tracks like album opener "Passing of the Crimson Shadows" and "As it is Written". The addition of ethnic folk elements makes me think of Amorphis more than one time during the playing time. A reference which is further enhanced by the clean/growling vocal delivery and the use of 70s influenced organs/keyboards. You can add an Opeth influence to the equation, but that´s only when Barren Earth are most progressive. The tracks are made up of epic heavy riffing and lead themes (both from the guitars and the keyboards) and more atmospheric sections. There is good variation on the album and that provides "The Devil's Resolve" with a longivity factor that not all releases possess.

"The Devil's Resolve" is a heavy and quite intriguing album and the fact that it´s well produced (in the more polished end of the style) and very well performed, are not exactly negatives either. To fans of the style this should be a real treat (just think early- to mid 90s Amorphis meets late 90s/early 00s Opeth and you´re halfway there). A 4 star (80%) rating is deserved.

UMUR



..::TRACK-LIST::..

1. Passing Of The Crimson Shadows 07:17
2. The Rains Begin 04:55
3. Vintage Warlords 04:31
4. As It Is Written (Bagpipes-Hittavainen) 07:29
5. The Dead Exiles (Guitar-Markus Vanhala) 06:21
6. Oriental Pyre 05:18
7. White Fields (Vocals-Mathias Lillmåns) 04:59
8. Where All Stories End 05:55



..::OBSADA::..

Mikko Kotamäki - Vocals
Sami Yli-Sirniö - Guitars, Vocals (backing)
Janne Perttilä - Guitars, Vocals (backing)
Olli-Pekka Laine - Bass, Vocals (backing)
Kasper Mårtenson - Keyboards, Vocals (backing)
Marko Tarvonen - Drums, Vocals (backing)



https://www.youtube.com/watch?v=0uWBoOu32J4


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

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


..::OPIS::..

UWAGA!! Pod żadnym pozorem nie sugerujcie się tą koszmarną okładką!! Nie wiem dlaczego Ci muzycy postanowili zdobić swoje albumy takimi koszmarkami do tego z logiem rodem w stylu kapel gore.

Pierwsze odsłuchanie „The Devil’s Resolve” było dla mnie niezwykle miłym zaskoczeniem, a to z kilku powodów:
1. Album brzmi niczym Amorphis z czasów „Tales From the 1000 Lakes”,
2. Melodie wręcz powalają
3. Jest wiele smaczków. w postaci akustycznych gitar czy folkowych motywów (znów kłania się wspominany Amorphis)
4. Pojawiające się growle nie przeszkadzają a w połączeniu z czystymi wokalizami dają ciekawy efekt przywodzący na myśl…. zgadliście Amorphis

Po wypisaniu tych czterech punktów postanowiłem zajrzeć do bio i… wiele się wyjaśniło. Okazuje się, że w Barren Earth udziela się dwóch muzyków, którzy udzielali się w wymienianej tu już kilkukrotnie kapeli. Olli-Pekka Laine oraz Kasper Martenson wnieśli do zespołu wyraźnie odczuwalny pierwiastek twórców „Tales… czy „Elegy”. Okazuje się, że w składzie zespołu jest też niejaki Sami Yli-Sirniö znany ze swych występów z Waltari czy Kratorem.

„The Devil’s Resolve” to osiem niezwykle melodyjnych acz nie odartych z brutalności epickich utworów. Ogromną rolę odgrywają tu instrumenty klawiszowe, które budują atmosferę i nadają muzyce posmaku fińskiego folku. Tu obok siebie występują delikatne zaśpiewane na tle pianina czyste partie wokalne jak i grobowe, bulgoczące growle. Taki „The Rains Begin” to klasyczny przedstawiciel tego albumu. Jest tu wszystko – dobra melodia, ciekawe dodatki a do tego fragmenty utrzymane w duchu rocka z lat 70-tych z Hammondami na czele.

Jestem niesamowicie pozytywnie zaskoczony i prawdę mówiąc nie przypuszczałem, że w tym gatunku jest jeszcze w stanie mnie zaskoczyć i porwać swą zawartością jakakolwiek płyta!

Piotr Michalski


Barren Earth should require little introduction, this Finnish supergroup have been kicking it since 2007 and this is their second full-length release “The Devil’s Resolve”. Welding Melodic Death Metal with 70’s style Progressive Rock, Barren Earth are the sonic equivalent of a winning lottery ticket for a prog-nut like me.

Take “Elegy” period Amorphis, add healthy doses of mid-period Opeth and Edge of Sanity roll up and smoke said concoction to the sounds of Riverside or Porcupine Tree and once the haze clears you’ll be facing Barren Earth. If you enjoyed the latest In Mourning album I reviewed then this one will be right up your street, and is certainly of a similar quality. A good base of comparison from the get-go, and as far as production goes is if you did hear the latest In Mourning, “The Devil’s Resolve” is a much warmer sounding album, and definitely feels a little more natural.

The proceedings kick off in style on “The Devil’s Resolve”. From the push of the play button a volume swell paves the way for a dark and dirty theme, with a slight Doom Metal edge. The articulation and build is superb; “Passing of the Crimson Shadows” is the ideal opener, with excellent dynamic it really works its magic in introducing the listener to the album, and the band. The vocal approach is that of a balance between clean and harsh, and I honestly believe Mikko Kotamäki is at his best with Barren Earth, his clean vocals are particularly well done here, reminding of the British Progressive Rock acts from the 70’s. “The Rains Begins” absolutely reeks of Amorphis, featuring lush melodies, excellent layered vocals, and a tremendous prog section in the middle. “Vintage Warlords” is a song which shows exactly what Barren Earth are about and would be a good one for new listeners to check out. Rounding off the first half of “The Devil’s Resolve” is “As It Is Written” which almost ends up being the weakest on the album, if not for some great guitar melodies and a breathtaking piano segment in the middle.

The prog elements are very well played on “The Devil’s Resolve” and I feel as though the band put forth a fairly interesting take on the genre, especially when taking into account the Progressive Death Metal side. Of course the Metal scene is no stranger to Progressive Metal bands lending from the 70’s glory days, however Barren Earth succeed in flawlessly incorporating that style into their sound, and save a few Dan Swanö related acts and select Opeth I’d say this was some of the finest material in the Progressive Death Metal niche.

The second half of the album crawls along with the dirge of “The Dead Exiles” which is a bonafide highlight. The first half of the track is dark and oppressive with Doom Metal pacing, which slowly builds into an absolutely stomping riff that demands a nodding head at the very least. The flame ignited in “The Dead Exiles” burns right through the superb “Oriental Pyre”. “White Fields” takes us on to the final stretch of the album, and probably stands as the weakest on “The Devil’s Resolve”, although some strong riffage keeps it from totally missing the mark. Closing the show is the haunting “Where All Stories End” which rounds off the album in great form, giving the listener a sense of finality. One of the more melodic numbers, with some of the finer vocal lines served up on the album.

Admittedly “The Devil’s Resolve” did require a few listens for it to fully gel. It wasn’t until I sat down and truly focused on the album and each of its aspects that I fully appreciated what Barren Earth had done. A dynamic, progressive album; “The Devil’s Resolve” should be high priority for any Progressive Metal fan. There is a suitable level of depth here that will keep the listener coming back for more which is one of the many reasons why “The Devil’s Resolve” is a such a special release.

Andromeda Unchained


The Devil's Resolve" is the 2nd full-length studio album by Finnish death/doom metal act Barren Earth. The album was released through Peaceville Records in March 2012. Barren Earth features quite a few prolific Finnish musicians like former Amorphis bassist Olli-Pekka Laine, guitarist Sami Yli-Sirniö (Kreator, Waltari) and drummer Marko Tarvonen (Moonsorrow) and that arguably qualifies them to be called a Finnish metal supergroup.
The fact that the band are made up of very seasoned musicians is audible, as everything is delivered with conviction and professionalism. In addition to the "core" death/doom metal sound on the album, there are also a couple of progressive tendencies featured in the music. It´s especially audible in the longer tracks like album opener "Passing of the Crimson Shadows" and "As it is Written". The addition of ethnic folk elements makes me think of Amorphis more than one time during the playing time. A reference which is further enhanced by the clean/growling vocal delivery and the use of 70s influenced organs/keyboards. You can add an Opeth influence to the equation, but that´s only when Barren Earth are most progressive. The tracks are made up of epic heavy riffing and lead themes (both from the guitars and the keyboards) and more atmospheric sections. There is good variation on the album and that provides "The Devil's Resolve" with a longivity factor that not all releases possess.

"The Devil's Resolve" is a heavy and quite intriguing album and the fact that it´s well produced (in the more polished end of the style) and very well performed, are not exactly negatives either. To fans of the style this should be a real treat (just think early- to mid 90s Amorphis meets late 90s/early 00s Opeth and you´re halfway there). A 4 star (80%) rating is deserved.

UMUR



..::TRACK-LIST::..

1. Passing Of The Crimson Shadows 07:17
2. The Rains Begin 04:55
3. Vintage Warlords 04:31
4. As It Is Written 07:29
5. The Dead Exiles 06:21
6. Oriental Pyre 05:18
7. White Fields 04:59
8. Where All Stories End 05:55



..::OBSADA::..

Mikko Kotamäki - Vocals
Sami Yli-Sirniö - Guitars, Vocals (backing)
Janne Perttilä - Guitars, Vocals (backing)
Olli-Pekka Laine - Bass, Vocals (backing)
Kasper Mårtenson - Keyboards, Vocals (backing)
Marko Tarvonen - Drums, Vocals (backing)



https://www.youtube.com/watch?v=0uWBoOu32J4


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

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


..::OPIS::..

Rivers of Nihil uchwycił piorun w butelce dwa razy z rzędu.
Płyta 'The Work' jest ekscytująca, ale i poruszająca. Poza technicznym kunsztem, który prezentuje zespół, 'The Work' to zdumiewająca eksploracja wytrwałości.
Życie potrafi być dewastujące, niezależnie od tego, czy zmagamy się z demotywującą pracą, uzależnieniem, żałobą czy chorobą psychiczną, życie wymaga pracy, aby istnieć. Na 'The Work' zespół nie tylko ukazuje tę brutalną rzeczywistość, ale także daje promyk nadziei – że wytrwałość jest niezbędna, a coś lepszego jest w zasięgu ręki...



There’s no doubt that the music of Pennsylvanian outfit Rivers of Nihil transcends genres. Whilst the band sit mainly in the technical death metal camp, the cerebral challenges, and dramatic sonic soundscapes that the band create make listening to their music intoxicating, as well as challenging and at times even a little uncomfortable.

Following on from 2018’s ‘Where Owls Know My Name’, this 64-minute opus once more incorporates as wide a range of instruments as previous albums. Within the first three songs we’ve been coerced by the piano led intro to ‘The Tower (Theme from ‘The Work’)’ with subtle layered saxophone (courtesy of friend Zach Strouse) and semi-choral backing vocals that relay with explosive and aggressive extremities. There are raging blastbeats and thrashing chaos as well as extreme abstract and diverse passages during ‘Dreaming Black Clockwork’. It’s uncompromising, relentless, and harrowing. It’s also beautifully counterbalanced with songs such as the emotionally charged ‘Wait’, with a softer tempo and the versatility of vocalist Jake Dieffenbach to the fore. There is an almost shoegaze feel at times.

Much of this record is pleasantly mellow in temperament and whilst I wasn’t hugely familiar with the band’s back catalogue I know of ‘Owls’ and the band’s reputation for driving outside of the lines. They certainly bring that to this record. ‘Focus’ sees Lyricist and bassist Adam Biggs consider a relationship with medication and drugs, diving back to his early ADHD prescriptions. It’s a massive track, with a huge sound and irregular time changes, despite its relatively short length in comparison to other tracks.

Rivers of Nihil began writing on the ‘Owls’ tour back in 2018, so although it’s taken some time to come to fruition, the upside is a carefully crafted and sensibly approached record that demonstrates the band’s desire to avoid pigeon holing. They do that with ease, the gorgeous delicacy of ‘Maybe One Day’ demonstrating that if there is a band who can avoid a label, it is Rivers of Nihil. There are metal moments a plenty, but this is a band who defy the rule book.

‘The Work’ is a record that takes time to absorb. I will need to spend longer with it to get deeply acquainted – something that I will be doing. It’s difficult to appreciate the intensity of ‘Episode’, the darkness of ‘The Void from Which No Sound Escape’s or the mastery of the 11 minute plus closing song, ‘Terrestria IV: Work’ in a mere couple of sittings. There’s a complexity which demands your undivided attention to appreciate the sublime musicality. An album that is likely to hit my top five of the year, this is something that every music lover needs to listen to.

Paul Hutchings



..::TRACK-LIST::..

1. The Tower (Theme From "The Work") 4:31
2. Dreaming Black Clockwork 6:39
3. Wait 4:06
4. Focus 4:54
5. Clean 6:08
6. The Void From Which No Sound Escapes 6:43
7. MORE? 3:25
8. Tower 2 1:58
9. Episode 7:30
10. Maybe One Day 7:04
11. Terrestria IV: Work 11:30

Bonus Track:
12. Final Tower 4:35



..::OBSADA::..

Acoustic Guitar, Electric Guitar, Synth [Synthetics], Programmed By [Programming], Keyboards [Keys], Field Recording - Brody J. Uttley
Bass Guitar, Vocals - Adam K. Biggs
Electric Guitar - Jonathan N. Topore
Percussion, Vocals - Jared S. Klein
Vocals - Jacob D. Dieffenbach

The Hands:
Alto Saxophone [Alto Saxophones], Tenor Saxophone [Tenor Saxophones], Baritone Saxophone [Baritone Saxophones] - Zach Strouse (tracks: 1, 2, 6, 9, 11)
Cello - Grant McFarland (tracks: 6)
Vocals - James M. Dorton III (tracks: 9, 11)
Vocals [Whispers In The Void] - Stephan Lopez




https://www.youtube.com/watch?v=2NYuLb5gLmM


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

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


..::OPIS::..

Rivers of Nihil uchwycił piorun w butelce dwa razy z rzędu.
Płyta 'The Work' jest ekscytująca, ale i poruszająca. Poza technicznym kunsztem, który prezentuje zespół, 'The Work' to zdumiewająca eksploracja wytrwałości.
Życie potrafi być dewastujące, niezależnie od tego, czy zmagamy się z demotywującą pracą, uzależnieniem, żałobą czy chorobą psychiczną, życie wymaga pracy, aby istnieć. Na 'The Work' zespół nie tylko ukazuje tę brutalną rzeczywistość, ale także daje promyk nadziei – że wytrwałość jest niezbędna, a coś lepszego jest w zasięgu ręki...



There’s no doubt that the music of Pennsylvanian outfit Rivers of Nihil transcends genres. Whilst the band sit mainly in the technical death metal camp, the cerebral challenges, and dramatic sonic soundscapes that the band create make listening to their music intoxicating, as well as challenging and at times even a little uncomfortable.

Following on from 2018’s ‘Where Owls Know My Name’, this 64-minute opus once more incorporates as wide a range of instruments as previous albums. Within the first three songs we’ve been coerced by the piano led intro to ‘The Tower (Theme from ‘The Work’)’ with subtle layered saxophone (courtesy of friend Zach Strouse) and semi-choral backing vocals that relay with explosive and aggressive extremities. There are raging blastbeats and thrashing chaos as well as extreme abstract and diverse passages during ‘Dreaming Black Clockwork’. It’s uncompromising, relentless, and harrowing. It’s also beautifully counterbalanced with songs such as the emotionally charged ‘Wait’, with a softer tempo and the versatility of vocalist Jake Dieffenbach to the fore. There is an almost shoegaze feel at times.

Much of this record is pleasantly mellow in temperament and whilst I wasn’t hugely familiar with the band’s back catalogue I know of ‘Owls’ and the band’s reputation for driving outside of the lines. They certainly bring that to this record. ‘Focus’ sees Lyricist and bassist Adam Biggs consider a relationship with medication and drugs, diving back to his early ADHD prescriptions. It’s a massive track, with a huge sound and irregular time changes, despite its relatively short length in comparison to other tracks.

Rivers of Nihil began writing on the ‘Owls’ tour back in 2018, so although it’s taken some time to come to fruition, the upside is a carefully crafted and sensibly approached record that demonstrates the band’s desire to avoid pigeon holing. They do that with ease, the gorgeous delicacy of ‘Maybe One Day’ demonstrating that if there is a band who can avoid a label, it is Rivers of Nihil. There are metal moments a plenty, but this is a band who defy the rule book.

‘The Work’ is a record that takes time to absorb. I will need to spend longer with it to get deeply acquainted – something that I will be doing. It’s difficult to appreciate the intensity of ‘Episode’, the darkness of ‘The Void from Which No Sound Escape’s or the mastery of the 11 minute plus closing song, ‘Terrestria IV: Work’ in a mere couple of sittings. There’s a complexity which demands your undivided attention to appreciate the sublime musicality. An album that is likely to hit my top five of the year, this is something that every music lover needs to listen to.

Paul Hutchings



..::TRACK-LIST::..

1. The Tower (Theme From "The Work") 4:31
2. Dreaming Black Clockwork 6:39
3. Wait 4:06
4. Focus 4:54
5. Clean 6:08
6. The Void From Which No Sound Escapes 6:43
7. MORE? 3:25
8. Tower 2 1:58
9. Episode 7:30
10. Maybe One Day 7:04
11. Terrestria IV: Work 11:30

Bonus Track:
12. Final Tower 4:35



..::OBSADA::..

Acoustic Guitar, Electric Guitar, Synth [Synthetics], Programmed By [Programming], Keyboards [Keys], Field Recording - Brody J. Uttley
Bass Guitar, Vocals - Adam K. Biggs
Electric Guitar - Jonathan N. Topore
Percussion, Vocals - Jared S. Klein
Vocals - Jacob D. Dieffenbach

The Hands:
Alto Saxophone [Alto Saxophones], Tenor Saxophone [Tenor Saxophones], Baritone Saxophone [Baritone Saxophones] - Zach Strouse (tracks: 1, 2, 6, 9, 11)
Cello - Grant McFarland (tracks: 6)
Vocals - James M. Dorton III (tracks: 9, 11)
Vocals [Whispers In The Void] - Stephan Lopez




https://www.youtube.com/watch?v=2NYuLb5gLmM


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

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


..::OPIS::..

It’s time to announce what is arguably the most ambitious release of Holocausto Canibal over our prolific 25 years of existence!
Holocausto Canibal – Trilhos de Carnificina Inexorável [1997-2022]

Includes 6 CD’s filled with 107 tracks!!!
More than 5h of savage grindage ready to blast your ears!!!
Super limited edition boxset with:
– Limited Collectors Box with Magnetic Closure
– Gory Tiles Puzzle Panel
– Authenticity hand numbered certificate (signed by the whole band)
– Collectible individual photo cards from each member
– Liner notes from past and current members
– “Grotescas Reminiscências” – new CD filled with rarities and unreleased tracks, including a 2022 new track “Ferócia Maligna”.

Also included:
– The first five classic albums: “Gonorreia Visceral”, “Sublime Massacre Corpóreo”, “Opusgenitalia”, “Gorefilia”, “Catalepsia Necrótica” [for the first time ever on CD].
– The EP’s: “Libido Dispareunia”, “Larvas”, “Compendio de Aversões”, “oPus I” and the unholy rehearsal tape “Ensaios ’98” [also for the very first time ever on CD]
– Extra Tracks: all the electronic remixes recorded during this 25 years and 2 more totally unreleased tracks [by Mercic and Alex do Vale].
– Larger than life booklets with more than 80 pages in total filled with lyrics, original covers, censored covers and rare never seen before footage
Design and artwork by Phobos Anomaly Design!



..::TRACK-LIST::..

..::OBSADA::..

CD 1:
Gonorreia Visceral (2000)
1. Vagina Convulsa (Convulsed Vagina) 02:04
2. Holocausto Canibal (Cannibal Holocaust) 01:41
3. Empalamento (Impalement) 01:01
4. Antropofagia Auto Infligida (Self Inflicted Anthropophagy) 02:12
5. Septicemia Vaginal (Vaginal Septicemia) 02:01
6. Carnificina Psicopata (Psychopath Carnage) 04:22
7. Gorgasmos... Orgásmicos Espasmos Gore (Gorgasms... Gory Orgasmic Spasms) 01:58
8. Faixa 8 (Track 8) 02:59

Carlos - vocals
Nuno Pereira - guitar
Jose Pedro - bass
Joao Lamelas - drums


oPus I (tape) (1998)
9. Intro: Morticínio
10. Holocausto Canibal
11. Síntese Hemorrágica
12. Antros de Insanidade
13. Antropofagia Auto-Infligida
14. Empalamento
15. Instintos Necrófilos
16. Carnificina Psicopata
17. Everlast Imprecation

Zé Pedro - Bass
Ivan - Drums
Nuno T. - Guitars
Nuno P. - Guitars
Ricardo Silva - Vocals



https://www.youtube.com/watch?v=aKijZvAooL0


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

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


..::OPIS::..

It’s time to announce what is arguably the most ambitious release of Holocausto Canibal over our prolific 25 years of existence!
Holocausto Canibal – Trilhos de Carnificina Inexorável [1997-2022]

Includes 6 CD’s filled with 107 tracks!!!
More than 5h of savage grindage ready to blast your ears!!!
Super limited edition boxset with:
– Limited Collectors Box with Magnetic Closure
– Gory Tiles Puzzle Panel
– Authenticity hand numbered certificate (signed by the whole band)
– Collectible individual photo cards from each member
– Liner notes from past and current members
– “Grotescas Reminiscências” – new CD filled with rarities and unreleased tracks, including a 2022 new track “Ferócia Maligna”.

Also included:
– The first five classic albums: “Gonorreia Visceral”, “Sublime Massacre Corpóreo”, “Opusgenitalia”, “Gorefilia”, “Catalepsia Necrótica” [for the first time ever on CD].
– The EP’s: “Libido Dispareunia”, “Larvas”, “Compendio de Aversões”, “oPus I” and the unholy rehearsal tape “Ensaios ’98” [also for the very first time ever on CD]
– Extra Tracks: all the electronic remixes recorded during this 25 years and 2 more totally unreleased tracks [by Mercic and Alex do Vale].
– Larger than life booklets with more than 80 pages in total filled with lyrics, original covers, censored covers and rare never seen before footage
Design and artwork by Phobos Anomaly Design!



..::TRACK-LIST::..

..::OBSADA::..

CD 1:
Gonorreia Visceral (2000)
1. Vagina Convulsa (Convulsed Vagina) 02:04
2. Holocausto Canibal (Cannibal Holocaust) 01:41
3. Empalamento (Impalement) 01:01
4. Antropofagia Auto Infligida (Self Inflicted Anthropophagy) 02:12
5. Septicemia Vaginal (Vaginal Septicemia) 02:01
6. Carnificina Psicopata (Psychopath Carnage) 04:22
7. Gorgasmos... Orgásmicos Espasmos Gore (Gorgasms... Gory Orgasmic Spasms) 01:58
8. Faixa 8 (Track 8) 02:59

Carlos - vocals
Nuno Pereira - guitar
Jose Pedro - bass
Joao Lamelas - drums


oPus I (tape) (1998)
9. Intro: Morticínio
10. Holocausto Canibal
11. Síntese Hemorrágica
12. Antros de Insanidade
13. Antropofagia Auto-Infligida
14. Empalamento
15. Instintos Necrófilos
16. Carnificina Psicopata
17. Everlast Imprecation

Zé Pedro - Bass
Ivan - Drums
Nuno T. - Guitars
Nuno P. - Guitars
Ricardo Silva - Vocals



https://www.youtube.com/watch?v=aKijZvAooL0


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

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


..::OPIS::..

With their succession of mighty technical death metal albums, Allegaeon have continued to expand and improve their sound. Each subsequent release has seen the band evolve and mature while keeping the excitement present throughout their past discography. “Damnum” (which is Latin for “Loss”) is the logical next step that I believe many were anticipating and the title alone suggests a departure from their usual scientific/ dystopic themes in exchange for more personal subjects. These are translated through the abstract lyrics, cover art and of course the intensity of the music. On this record, Allegaeon are taking their blend of brutality, melody and extreme technical musicianship to the next level allowing no time to get distracted or lost in your thoughts. This album will engulf and assault you with every type of musical prowess the band can display.

Despite the constant intensity, “Damnum” stands out from most other death metal albums of similar calibre thanks to its complex but melodic guitar riffs which are handled by the virtuosity of Greg Burgess and Michael Stancel. Mesmerising guitar leads are present throughout the whole album and allow the listener to remain fully engaged in the music's flow. These leads provide the main melodies as they are superimposed to the harsh vocals that belt out the lyrics. Meanwhile the drums and bass lay the foundations for the power that “Damnum” demonstrates. The bass (played by Brandon Michael) is as dynamic as the guitars, the drumming of most recent member Jeff Saltzman is fast, technical but always precise and well structured so that the listener can easily latch onto the grooves and still be astonished by the musicianship. One of the big novelties of this record is the extended use of vocalist Riley McShane's clean singing which is a rarity in technical death metal but fits surprisingly well whenever this band incorporate it. While these were only used as a brief experimentation on their last album, in “Damnum” they're used more prominently even when the music is blasting at full power like in the awesome hook of the song “Of Beasts And Worms” or in the chorus of closing track “Only Loss” which is perhaps the most intense moment of clean singing.

The first five tracks are the kind of absolute bangers you'd expect from Allegaeon at this stage of their evolution but something feels particularly special about this specific group of opening songs. They embody a massive charge of musical vehemence laced with powerful rhythms, catchy guitar melodies and a few unexpected surprises here and there to serve such a buffet to your eardrums. I must highlight “To Carry My Grief Through Torpor And Silence” and “Vermin” which are exemplary tech death songs for you to release your energy to while admiring the intricate music. The prior is split by a wonderful acoustic guitar passage superimposed to a bass solo before the music builds into the spectacular guitar solo. That's just one of the many details that make Allegaeon's musical foundations shine even brighter. Things get more experimental but also more dramatic with “Called Home” and “The Dopamine Void”, the intensity breaks up to give way to songs that start slower and allow the band to show their progressive rock influences. Eventually these two songs evolve into their own madness with the second part of “The Dopamine Void” exploding into a full frenzy as Riley sings at his fastest pace.

The lyrics are obviously about personal issues and experiences but the specific subject matters are never too obvious since the slightly abstract writing leaves room for interpretation. The only exception is “Called Home” because the blunt lyrics of that song reveal the story behind it which I won't describe in this review in case there are sensitive people reading this. Despite this being the slowest song it has a huge build-up and remains the most spine-chilling moment of the record. It will give you goose bumps at the least and waterfalls coming out of your eyes at the most if you have the misfortune of relating to the themes in question. This sad mood is appropriately followed by “Blight” which is one of the more dissonant songs and “Saturnine” is another embellished tech-death banger that prepares you for the album's finale. A beautiful and moody interlude softly carries you towards the overwhelming “Only Loss”, a stomping behemoth that will leave you speechless as if you'd seen a ghost while Riley's final words “onlyyyyy loooossss” echo in your mind.

So Allegaeon have conjured all of their frustrations and turned them into strengths to share with their fans a collection of songs that sound like they came straight from the guts. This is where technical intensity meets emotion thanks to each member's musical talents and the group's ability to bring them together. The additional use of orchestrations, synths and piano help enhance the grandeur and expressive nature of the music. And last but not least I must salute Dave Otero who handled all the mixing and mastering process in a way that makes every musical element perceptible within the monstrous overall sound. It might be worth mentioning that he's also mixed the recent outputs by Aborted, Akhlys and Cattle Decapitation who, as you most likely know, all have a dense and overwhelming sound, I think that alone says enough about this man's skills. I was a bit sad to see Riley depart since he's had quite an evolution during his time with Allegaeon but the band are now reunited with their former vocalist Ezra Haynes and I have full confidence that whatever they put out next will be brilliant. “Damnum” still leaves a strong impact more than two years after its release and will remain a timeless album!

DBH20

I have been following Allegaeon since 2010, when they released their first album: Fragments of Form and Function, on Metal Blade Records. I was instantly a fan of their highly technical, yet super melodic sound. They had quite a few line up changes throughout the years but Greg Burgess is the only original member still in the band and I feel like no matter the changes, he has been the connective tissue that made Allegaeon who they are. After the release of Damnum, the band announced they were parting ways with vocalist Riley McShane, who provided vocals since Proponent for Sentience. It’s a real shame because he really shines brighter than a hot giant ball of gas collapsing in on itself, maintained by the constant nuclear fusion in its core. I can say with confidence that this is the most ambitious and musically diverse album the band ever did.

Damnum starts with the song Bastards of The Earth, which has a beautiful classical acoustic guitar intro. Nevertheless, it doesn’t stay calm for a long time, after a few second, they immediately erect a bombastic wall of sound, with every instruments in full gear, from the blast beats to the chunky guitar riff and the long, deep scream/growl of Riley. Everything hits you in the face perfectly, like any metal fan likes. After the middle mark, there is a beautiful break, with the signature classical guitar of Greg. Furthermore, not only is the music brilliant on this album, but the lyrical content should also be highlighted. Instead of focusing mainly on science and science fiction, like on their previous albums, they get a lot more personal and philosophical. While still having a little bit of those elements in. On Bastards Of The Earth, for example, we have these lines: “Thrust into a world akin to darkness, ruptured by the sun.” and “A spinning wheel that spells disaster - the circle growing deeper every day.” The world of darkness ruptured by the sun is obviously the world we live in today and I see the spinning wheel as a metaphor for our current capitalist system that gave us global warming and the disasters that it causes and will continue to cause.

This song, like all the other songs on this album, has a real proggy feel to it. What I mean by that is that almost every song is over five minutes long and they don’t necessarily have a traditional verse chorus verse chorus structure. Nevertheless, in true technical death metal fashion, there is so much solos everywhere. They definitely do not disappoint on that end. Rather than focusing only on the technical abilities, Greg Burgess is as much technical as he is melodic in his playing. I think he writes most of the music, but on Damnum, every member participated in the writing process, which sprinkles a lot of new and different ideas everywhere. A few examples would be the classical guitars, which is not a new idea for them, but is featured a lot more on this album. Greg is an incredible guitarist on both electric and classical guitars. Another example would be the beautiful and epic sounding piano solo on the song Blight or the classical prog rock organs playing in the background in the beginning of Of Beasts And Worms, or the classical guitars mixed with a tam tam rhythm on the song To Carry My Grief Through Torpor And Silence etc. You get the idea.

Of Beasts And Worms has the most catchy chorus of all of the album. Here, Riley McShane’s clean vocals are on full display. In the last two albums, we had a little taste of his beautiful clean vocals but never to this degree. His voice is so clear and pure, when he goes for higher notes, singing:” This is the place where I rest my bones and the river that cleanses me runs alone. To be there again where my spirit longs and sleep in the soil forevermore”, it gives me chills every time! I think these lyrics could be interpretated as someone who gives up fighting. I feel like these lyrics are more mature and darker, abording real subject matters. Musically, it feels almost as if Mikael Åkerfeldt himself wrote the song: the quieter clean guitars, the rock organs with a soft, spoken words section. (Spoiler alert, it is not the only time Opeth is a clear inspiration on this album.)

Without a doubt, the most Opeth sounding part on the album is on the song Called Home. It starts with a beautiful classical guitar picking and after a while, the drum beat starts slowly. I don’t know who made the recording and the mixing, but it is masterfully done! Everything sounds clean, but completely organic at the same time. We also get a bit of Gojira influences here and there. On the song Blight for example, it starts as a heavy technical death metal riff and drum patterns, but they add the signature “Gojira slide” here and there, which is a cool little musical easter egg. This has also a beautiful and quite long piano solo. It sounds like a grand piano, which makes the whole thing sound even more majestic!

I think I could go on and on talking about this album. After all, it was my favorite album of 2022 for a good reason. There are so much little things you don’t necessarily hear during your first listens. For example, on In Mourning, they adjusted the noisegate so that you can hear Greg’s breathing while he plays guitar. That subtitle touch is just one example of how meticulously crafted everything is. For a few years, it was evident that Allegaeon was going more and more on the prog side, with their many Rush covers, but on Damnum, they really nailed the mix of progressive, technical and melodic death metal blend. I can’t wait to see what they will offer next!

hellzora666



..::TRACK-LIST::..

1. Bastards of the Earth 04:32
2. Of Beasts and Worms 06:30
3. Into Embers 05:19
4. To Carry My Grief Through Torpor and Silence 05:19
5. Vermin 05:10
6. Called Home 07:40
7. Blight 05:01
8. The Dopamine Void, Pt. I 02:06
9. The Dopamine Void, Pt. II 05:01
10. Saturnine 04:41
11. In Mourning 01:51
12. Only Loss 06:53



..::OBSADA::..

Jeff Saltzman - Drums
Michael Stancel - Guitars
Riley McShane - Vocals
Brandon Michael - Bass
Greg Burgess - Guitars



https://www.youtube.com/watch?v=79pGsIxrNuc


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

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


..::OPIS::..

With their succession of mighty technical death metal albums, Allegaeon have continued to expand and improve their sound. Each subsequent release has seen the band evolve and mature while keeping the excitement present throughout their past discography. “Damnum” (which is Latin for “Loss”) is the logical next step that I believe many were anticipating and the title alone suggests a departure from their usual scientific/ dystopic themes in exchange for more personal subjects. These are translated through the abstract lyrics, cover art and of course the intensity of the music. On this record, Allegaeon are taking their blend of brutality, melody and extreme technical musicianship to the next level allowing no time to get distracted or lost in your thoughts. This album will engulf and assault you with every type of musical prowess the band can display.

Despite the constant intensity, “Damnum” stands out from most other death metal albums of similar calibre thanks to its complex but melodic guitar riffs which are handled by the virtuosity of Greg Burgess and Michael Stancel. Mesmerising guitar leads are present throughout the whole album and allow the listener to remain fully engaged in the music's flow. These leads provide the main melodies as they are superimposed to the harsh vocals that belt out the lyrics. Meanwhile the drums and bass lay the foundations for the power that “Damnum” demonstrates. The bass (played by Brandon Michael) is as dynamic as the guitars, the drumming of most recent member Jeff Saltzman is fast, technical but always precise and well structured so that the listener can easily latch onto the grooves and still be astonished by the musicianship. One of the big novelties of this record is the extended use of vocalist Riley McShane's clean singing which is a rarity in technical death metal but fits surprisingly well whenever this band incorporate it. While these were only used as a brief experimentation on their last album, in “Damnum” they're used more prominently even when the music is blasting at full power like in the awesome hook of the song “Of Beasts And Worms” or in the chorus of closing track “Only Loss” which is perhaps the most intense moment of clean singing.

The first five tracks are the kind of absolute bangers you'd expect from Allegaeon at this stage of their evolution but something feels particularly special about this specific group of opening songs. They embody a massive charge of musical vehemence laced with powerful rhythms, catchy guitar melodies and a few unexpected surprises here and there to serve such a buffet to your eardrums. I must highlight “To Carry My Grief Through Torpor And Silence” and “Vermin” which are exemplary tech death songs for you to release your energy to while admiring the intricate music. The prior is split by a wonderful acoustic guitar passage superimposed to a bass solo before the music builds into the spectacular guitar solo. That's just one of the many details that make Allegaeon's musical foundations shine even brighter. Things get more experimental but also more dramatic with “Called Home” and “The Dopamine Void”, the intensity breaks up to give way to songs that start slower and allow the band to show their progressive rock influences. Eventually these two songs evolve into their own madness with the second part of “The Dopamine Void” exploding into a full frenzy as Riley sings at his fastest pace.

The lyrics are obviously about personal issues and experiences but the specific subject matters are never too obvious since the slightly abstract writing leaves room for interpretation. The only exception is “Called Home” because the blunt lyrics of that song reveal the story behind it which I won't describe in this review in case there are sensitive people reading this. Despite this being the slowest song it has a huge build-up and remains the most spine-chilling moment of the record. It will give you goose bumps at the least and waterfalls coming out of your eyes at the most if you have the misfortune of relating to the themes in question. This sad mood is appropriately followed by “Blight” which is one of the more dissonant songs and “Saturnine” is another embellished tech-death banger that prepares you for the album's finale. A beautiful and moody interlude softly carries you towards the overwhelming “Only Loss”, a stomping behemoth that will leave you speechless as if you'd seen a ghost while Riley's final words “onlyyyyy loooossss” echo in your mind.

So Allegaeon have conjured all of their frustrations and turned them into strengths to share with their fans a collection of songs that sound like they came straight from the guts. This is where technical intensity meets emotion thanks to each member's musical talents and the group's ability to bring them together. The additional use of orchestrations, synths and piano help enhance the grandeur and expressive nature of the music. And last but not least I must salute Dave Otero who handled all the mixing and mastering process in a way that makes every musical element perceptible within the monstrous overall sound. It might be worth mentioning that he's also mixed the recent outputs by Aborted, Akhlys and Cattle Decapitation who, as you most likely know, all have a dense and overwhelming sound, I think that alone says enough about this man's skills. I was a bit sad to see Riley depart since he's had quite an evolution during his time with Allegaeon but the band are now reunited with their former vocalist Ezra Haynes and I have full confidence that whatever they put out next will be brilliant. “Damnum” still leaves a strong impact more than two years after its release and will remain a timeless album!

DBH20

I have been following Allegaeon since 2010, when they released their first album: Fragments of Form and Function, on Metal Blade Records. I was instantly a fan of their highly technical, yet super melodic sound. They had quite a few line up changes throughout the years but Greg Burgess is the only original member still in the band and I feel like no matter the changes, he has been the connective tissue that made Allegaeon who they are. After the release of Damnum, the band announced they were parting ways with vocalist Riley McShane, who provided vocals since Proponent for Sentience. It’s a real shame because he really shines brighter than a hot giant ball of gas collapsing in on itself, maintained by the constant nuclear fusion in its core. I can say with confidence that this is the most ambitious and musically diverse album the band ever did.

Damnum starts with the song Bastards of The Earth, which has a beautiful classical acoustic guitar intro. Nevertheless, it doesn’t stay calm for a long time, after a few second, they immediately erect a bombastic wall of sound, with every instruments in full gear, from the blast beats to the chunky guitar riff and the long, deep scream/growl of Riley. Everything hits you in the face perfectly, like any metal fan likes. After the middle mark, there is a beautiful break, with the signature classical guitar of Greg. Furthermore, not only is the music brilliant on this album, but the lyrical content should also be highlighted. Instead of focusing mainly on science and science fiction, like on their previous albums, they get a lot more personal and philosophical. While still having a little bit of those elements in. On Bastards Of The Earth, for example, we have these lines: “Thrust into a world akin to darkness, ruptured by the sun.” and “A spinning wheel that spells disaster - the circle growing deeper every day.” The world of darkness ruptured by the sun is obviously the world we live in today and I see the spinning wheel as a metaphor for our current capitalist system that gave us global warming and the disasters that it causes and will continue to cause.

This song, like all the other songs on this album, has a real proggy feel to it. What I mean by that is that almost every song is over five minutes long and they don’t necessarily have a traditional verse chorus verse chorus structure. Nevertheless, in true technical death metal fashion, there is so much solos everywhere. They definitely do not disappoint on that end. Rather than focusing only on the technical abilities, Greg Burgess is as much technical as he is melodic in his playing. I think he writes most of the music, but on Damnum, every member participated in the writing process, which sprinkles a lot of new and different ideas everywhere. A few examples would be the classical guitars, which is not a new idea for them, but is featured a lot more on this album. Greg is an incredible guitarist on both electric and classical guitars. Another example would be the beautiful and epic sounding piano solo on the song Blight or the classical prog rock organs playing in the background in the beginning of Of Beasts And Worms, or the classical guitars mixed with a tam tam rhythm on the song To Carry My Grief Through Torpor And Silence etc. You get the idea.

Of Beasts And Worms has the most catchy chorus of all of the album. Here, Riley McShane’s clean vocals are on full display. In the last two albums, we had a little taste of his beautiful clean vocals but never to this degree. His voice is so clear and pure, when he goes for higher notes, singing:” This is the place where I rest my bones and the river that cleanses me runs alone. To be there again where my spirit longs and sleep in the soil forevermore”, it gives me chills every time! I think these lyrics could be interpretated as someone who gives up fighting. I feel like these lyrics are more mature and darker, abording real subject matters. Musically, it feels almost as if Mikael Åkerfeldt himself wrote the song: the quieter clean guitars, the rock organs with a soft, spoken words section. (Spoiler alert, it is not the only time Opeth is a clear inspiration on this album.)

Without a doubt, the most Opeth sounding part on the album is on the song Called Home. It starts with a beautiful classical guitar picking and after a while, the drum beat starts slowly. I don’t know who made the recording and the mixing, but it is masterfully done! Everything sounds clean, but completely organic at the same time. We also get a bit of Gojira influences here and there. On the song Blight for example, it starts as a heavy technical death metal riff and drum patterns, but they add the signature “Gojira slide” here and there, which is a cool little musical easter egg. This has also a beautiful and quite long piano solo. It sounds like a grand piano, which makes the whole thing sound even more majestic!

I think I could go on and on talking about this album. After all, it was my favorite album of 2022 for a good reason. There are so much little things you don’t necessarily hear during your first listens. For example, on In Mourning, they adjusted the noisegate so that you can hear Greg’s breathing while he plays guitar. That subtitle touch is just one example of how meticulously crafted everything is. For a few years, it was evident that Allegaeon was going more and more on the prog side, with their many Rush covers, but on Damnum, they really nailed the mix of progressive, technical and melodic death metal blend. I can’t wait to see what they will offer next!

hellzora666



..::TRACK-LIST::..

1. Bastards of the Earth 04:32
2. Of Beasts and Worms 06:30
3. Into Embers 05:19
4. To Carry My Grief Through Torpor and Silence 05:19
5. Vermin 05:10
6. Called Home 07:40
7. Blight 05:01
8. The Dopamine Void, Pt. I 02:06
9. The Dopamine Void, Pt. II 05:01
10. Saturnine 04:41
11. In Mourning 01:51
12. Only Loss 06:53



..::OBSADA::..

Jeff Saltzman - Drums
Michael Stancel - Guitars
Riley McShane - Vocals
Brandon Michael - Bass
Greg Burgess - Guitars



https://www.youtube.com/watch?v=79pGsIxrNuc


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

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


..::OPIS::..

Ofensywa na całym froncie. Machina wojenna udoskonalona do granic możliwości. Potencjał broni w niezmierzonych ilościach. Moc silników, potęga stali i... nagły atak. Zaskoczenie. Ekstremum w perfekcyjnej formie. Energia, która rozsadza świadomość. Ogień!!!

Od dawna czekałem na taką płytę, która w sposób bezkompromisowy, a zarazem perfekcyjny, prezentuje tak ekstremalny przekaz. Dodatkowo cieszy fakt, że to właśnie Vader, polski zespół cieszący się dużym uznaniem na całym świecie, nagrał płytę wręcz wybuchową. "Litany" może poszczycić się produkcją i brzmieniem na światowym poziomie. I to wszystko bez konieczności nagrywania płyty poza granicami naszego kraju. Gdańskie "Red Studio" świetnie spełniło swoje realizatorskie zadanie. Od początku obcowania z nowym albumem Vader, największą uwagę zwraca piorunująco szybka gra perkusisty, która teraz przybrała wręcz nieludzki wymiar. Do tego dochodzi ściana tnących jak brzytwy gitar i potężna energia płynąca z gry całego zespołu.

Wszystkie elementy na "Litany" stanowią precyzyjnie dopracowaną konstrukcję, która poraża olbrzymim ładunkiem emocji, zaklętych w stalowe ramy. Niech Moc będzie z wami!

Marcin Ratyński


Przez trzy lata jakie minęły od „Black To The Blind” Vader nie próżnował. Najpierw ukazała się ciekawa i odważna EPka „Kingdom”, z najwolniejszym w karierze, ale bardzo fajnym utworem tytułowym i gdzie oprócz tego są, między innymi, elektroniczne remixy dwóch utworów z „Black To The Blind”. Następnie zaś uwieńczenie mnóstwa światowych występów na koncertówkach „Live In Japan” i wydanym na video „Vision And Voice”. Szczególnie ta pierwsza zrobiła na mnie ogromne wrażenie i katowałem ją niemiłosiernie jako kwintesencję wielkiego sukcesu i koncertowego geniuszu. No, ale nie można w nieskończoność odcinać kuponów od zdartych już płyt i trzeba było dostarczyć wygłodniałej gawiedzi nowych emocji. Tak przyszedł rok 2000, a z nim album „Litany”. Jak przystało na największych, Vader nie zawiódł i po raz kolejny we wspaniały sposób wpisał się na czarne karty historii death metalu.

„Litany” jest płytą podobną do „Black To The Blind” praktycznie pod każdym względem. Oznacza to jednak, że dziedziczy wszystkie jej niesamowite zalety. Znów więc mamy do czynienia z absolutnym mistrzostwem muzycznym i kunsztem najwyższej próby. Znów jest potwornie szybko i piekielnie precyzyjnie. To jest tornado. To co wyrabia Docent na perkusji jest po prostu niesamowite. Posłuchajcie „Cold Demons”, posłuchajcie „North” i „A World Of Hurt”. Co tam się dzieje? To jest masakra. Ilość uderzeń i tempo w jakim są wygrywane jest porażająca. To są lawiny dźwięków dopadające słuchacza między gitarowym gąszczem i przytłaczające go już totalnie do ziemi.

Czy jednak ta konwencja sama w sobie nie staje się już nudna i powtarzalna? Zdecydowanie nie, bowiem Peter ma ogromny talent do wymyślania fantastycznych riffów, grania świetnych solówek i w ogóle układania zajebistych piosenek. Jak każda płyta Vader, „Litany” jest zbiorem genialnych utworów. Zabójczo szybkich, ale z rytmem, z melodią i z doskonałym wokalem. „Wings”, „Xeper”, „Litany”, „The Calling”, „Forwards To Die!!!” to są niszczące hiciory dołączające do panteonu wielkich przebojów tego wielkiego zespołu. Super jest „Cold Demons”, którego tekst traktuje o niszczycielskiej mocy czołgów, a sam jest co najmniej tak niszczycielski jak cała pancerna dywizja. Fantastyczny jest "The World Made Flesh" gdzie solówki na gitarze i perkusji przechodzą same siebie, a Peter z Docentem łamią kolejne bariery i prześigują się w swojej perfekcyjności.

Na deser mamy „The Final Massacre” z pierwszej płyty. Ja się cieszyłem, że te kawałki są przypominane i nabierają nowego wymiaru, bo, pomimo całej boskości „The Ultimate Incantation”, nie miała ona najlepszego brzmienia, a tak można odkrywać je na nowo. Na wspomnianym „Kingdom” było „Breath Of Centuries”, teraz kolejne danie.

Cała płyta jest króciutka. Nawet z bonusowym utworem ledwo dobija do pół godziny. Napada nagle, pustoszy, demoluje i znika tak szybko jak się pojawiła, zostawiając po sobie ruiny i zgliszcza. To jest Vader w swojej najlepszej odsłonie.

Wujas


Czy zespół VADER może być dla kogokolwiek (mam tu na myśli szczególnie zwolenników gitarowych brzmień) nieznany? Szczerze wątpię, ale kto wie, może znajdą się „anomalie” wśród społeczeństwa, którym ta nazwa kojarzy się głównie z czarnym charakterem spod znaku „Star Wars”. Jak by nie było, wierzę, że sympatycy metalowego żywiołu, w pierwszej kolejności pomyślą o naszym rodzimym produkcie eksportowym, któremu od lat przewodzi niezastąpiony Piotr ‘Peter’ Wiwczarek. To głównie dzięki niemu fani metalowej ekstremy zyskali wiele powodów do zadowolenia. Za jeden z nich bez wątpienia trzeba uznać kultowe wydawnictwo z 2000 roku.

Tak dokładnie, mowa o pamiętnym i soczyście agresywnym „Litany”! To właśnie ta płyta doczekała się reedycji z okazji 25 urodzin. Czy to dobrze czy też źle? Generalnie nie ma jednoznacznej odpowiedzi. Z jednej strony taki zabieg można uznać za pozytywny ruch, szczególnie z uwagi na fakt, że pewnie wielu młodszych fanów borykało się z problemem nabycia tego wydawnictwa, zwłaszcza w „normalnej” cenie (ceny płyt to w ogóle temat na dłuższe rozważanie). Z drugiej strony, grzebanie przy klasykach jest niczym praca na żywym organizmie, operacja może nie przynieść spodziewanych rezultatów, a w niektórych przypadkach, cała akcja kończy się totalnym niepowodzeniem. Z jakim przypadkiem mamy do czynienia? Jeżeli chodzi o jakość, a dokładniej brzmienie, pod tym względem eksperyment nie powiódł się do końca, przynajmniej w moim odczuciu. Mianowicie, specyficzna choć nieidealna barwa pierwotnego wydawnictwa została w pewien sposób ugrzeczniona, spłaszczona, skompresowana. Osobiście bardziej cenię sobie nieokiełznaną niedoskonałość pierwowzoru. Przy tak intensywnych dźwiękach jakie niesie ze sobą „Litany”, brzmieniowa niesubordynacja pasowała idealnie i to nie wymagało zmiany. Wersja z 2000 roku to bezsprzecznie metalowy, bezkompromisowy cios prosto w twarz! Za plus można uznać fakt, że reedycja została wzbogacona o dwa kawałki, które pierwotnie ukazały się na japońskiej wersji. Pierwszy z nich, „Red Dunes” to co prawda jedynie kawałek instrumentalny, atmosferyczny przerywnik, ale za to drugi, „Lord of Desert”, to soczysty utwór z krwi i kości. Co by nie mówić, takie bonusy zawsze są mile widziane.

Jakieś inne różnice? Nowa wersja „Litany” została wydana w formie digipacka, a sama szata graficzna uległa kosmetycznej metamorfozie. Użyto też mniej połyskującego papieru do bookletu, więc w dotyku też można wyczuć zmianę. Jeżeli chodzi o zawartość stricte muzyczną, w tej kwestii 25 lat temu napisano już pewnie wszystko co najbardziej istotne – z perspektywy czasu, ten materiał wciąż kopie jak trzeba i nie wydaje mi się by w przyszłości coś miało ulec zmianie w tej kwestii. Bez wątpienia jest to album ponadczasowy, pełen niespożytkowanej energii.

Podsumowując, ogólne zamierzenie na pewno ma sens. Co prawda reedycje wzbudzają ambiwalentne odczucia i nie ma co się dziwić. Przy niektórych albumach, zwłaszcza przy brzmieniu, nie warto „mieszać”, bo pierwotne wersje mają swój urok, niepowtarzalny klimat, nawet pomimo niedoskonałości. Obecnie większość płyt brzmi do zrzygania tak samo, więc jakże miło włączyć coś sprzed lat i poczuć klimat czasów minionych, gdzie różnorodność, zwłaszcza brzmieniowa nie była jedynie okazjonalnym akcentem. Jeżeli w przyszłości będę włączał „Litany”, a na 666% będę, to w odtwarzaczu najczęściej zagości wersja właśnie sprzed 25 lat.

S!X


The last installment of this series. I saved the best for last. This release is a crowning achievement in death metal.

Two Polish bands in this series!. What's in the water there? I admit, I don't have a whole lot of music from Poland and the rest of the bands in my collection from there play black metal. Maybe the guys in Behemoth and Vader are just mutants. Whatever the case, I'm damn glad they're around. This is my favorite death metal album, bar none.

It's like the band set up on the turret of a battle tank and the moment you switch this on, they come crashing out of your speakers and plow through your house growling, riffing, and blasting on a suicidal last stand of destruction. Intense.

The drum sound! My god! It's like the fucking Hulk is doing the footwork here. THEY ARE COLOSSAL. Loudest and beefiest bass drums I've ever heard on an album. Just holy shit...I'll restrain the navy blue vicar for now (seriously, read his reviews). And get ready to have your skull caved in and your insides reorganized from the bludgeoning drumming performance on Litany.

That is cool by itself but the riffing is just as great! They typically whip up whirlwinds of violent yet melodic tremolo in addition to the requisite palm muting and crushing European style power chords. Whiplash inducing so you might want to strap yourself down before hitting the play button. Don't forget to brace for impact when the 1st Company of Badass Polish Mutants comes tearing out. If you cranked this shit on a loud stereo your neighbors would probably kill you if the marauding sound waves didn't grind them into pudding first.

YOU BURN
YOU SLAY - DESTROY!!!
YOU THROW THE FLAMES AND BOLTS
JUST FORWARDS!!! FORWARDS!!! ATTACK!!! ATTACK!!!

Those are lyrics! This music hurts stuff. It tears off heads no less. Yes, the Hulk is definitely in session on this masterpiece of death metal. Plus they're vox that you can mostly understand, always a great thing.

Litany is primarily up tempo but not in the pretentious way. The songs are broken up well without letting them breathe TOO much, of course. Assault is the name of the game here. It's been my feeling that music represents some sort of movement in it's rhythms. This would represent bashing your head into a cement wall very rapidly. And it feels good...it's metal. Metal with POUNDING FACEFUCKING FLINTSTONE RHYTHMS OF DEATH. I couldn't hold that in any longer and it's important to know.

While the theme of war is hardly new, Vader pulls it off just as well as, if not better than, Bolt Thrower even if they deal with other themes too.. The fifth track "Cold Demons" features an intro and outro sample of a tank crew engaging a target then leaving at the end of the song. Not to mention the barbaric vocalist screaming "FIRE!!!" in sync with the cannon towards the end! That track alone would be worth enough for a good score Just go ahead and order it if you don't already have Litany. Download it while you wait. I'll let the album speak for itself.

European death with a modern flair sans the cheese and wank. 100% punishing.

Arboreal



..::TRACK-LIST::..

1. Wings 3:10
2. The One Made Of Dreams 1:49
3. Xeper 4:00
4. Litany 3:01
5. Cold Demons 3:12
6. The Calling 3:10
7. North 1:36
8. Forwards To Die!!! 1:38
9. A World Of Hurt 1:51
10. Red Dunes 1:13
11. Lord Of Desert 1:58
12. The World Made Flesh 2:48
13. The Final Massacre 4:31

Track 10-11 from Japanese Bonus Tracks

Recorded & mixed at Red Studio, Gdynia, November 1999
Pre-mastered at Red Studio, Gdynia, November 1999
Mastered at Studio 333, Częstochowa, December 1999
Remastered at Hertz Recording Studio, May 2025



..::OBSADA::..

Piotr 'Peter' Wiwczarek - lead vocals, lead guitar, bass,[7]
Maurycy 'Mauser' Stefanowicz - rhythm guitar
Leszek 'Shambo' Rakowski - bass (credited, did not perform)[7]
Krzysztof 'Doc' Raczkowski - drums



https://www.youtube.com/watch?v=uNVmPrfe08Y


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

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


..::OPIS::..

Ofensywa na całym froncie. Machina wojenna udoskonalona do granic możliwości. Potencjał broni w niezmierzonych ilościach. Moc silników, potęga stali i... nagły atak. Zaskoczenie. Ekstremum w perfekcyjnej formie. Energia, która rozsadza świadomość. Ogień!!!

Od dawna czekałem na taką płytę, która w sposób bezkompromisowy, a zarazem perfekcyjny, prezentuje tak ekstremalny przekaz. Dodatkowo cieszy fakt, że to właśnie Vader, polski zespół cieszący się dużym uznaniem na całym świecie, nagrał płytę wręcz wybuchową. "Litany" może poszczycić się produkcją i brzmieniem na światowym poziomie. I to wszystko bez konieczności nagrywania płyty poza granicami naszego kraju. Gdańskie "Red Studio" świetnie spełniło swoje realizatorskie zadanie. Od początku obcowania z nowym albumem Vader, największą uwagę zwraca piorunująco szybka gra perkusisty, która teraz przybrała wręcz nieludzki wymiar. Do tego dochodzi ściana tnących jak brzytwy gitar i potężna energia płynąca z gry całego zespołu.

Wszystkie elementy na "Litany" stanowią precyzyjnie dopracowaną konstrukcję, która poraża olbrzymim ładunkiem emocji, zaklętych w stalowe ramy. Niech Moc będzie z wami!

Marcin Ratyński


Przez trzy lata jakie minęły od „Black To The Blind” Vader nie próżnował. Najpierw ukazała się ciekawa i odważna EPka „Kingdom”, z najwolniejszym w karierze, ale bardzo fajnym utworem tytułowym i gdzie oprócz tego są, między innymi, elektroniczne remixy dwóch utworów z „Black To The Blind”. Następnie zaś uwieńczenie mnóstwa światowych występów na koncertówkach „Live In Japan” i wydanym na video „Vision And Voice”. Szczególnie ta pierwsza zrobiła na mnie ogromne wrażenie i katowałem ją niemiłosiernie jako kwintesencję wielkiego sukcesu i koncertowego geniuszu. No, ale nie można w nieskończoność odcinać kuponów od zdartych już płyt i trzeba było dostarczyć wygłodniałej gawiedzi nowych emocji. Tak przyszedł rok 2000, a z nim album „Litany”. Jak przystało na największych, Vader nie zawiódł i po raz kolejny we wspaniały sposób wpisał się na czarne karty historii death metalu.

„Litany” jest płytą podobną do „Black To The Blind” praktycznie pod każdym względem. Oznacza to jednak, że dziedziczy wszystkie jej niesamowite zalety. Znów więc mamy do czynienia z absolutnym mistrzostwem muzycznym i kunsztem najwyższej próby. Znów jest potwornie szybko i piekielnie precyzyjnie. To jest tornado. To co wyrabia Docent na perkusji jest po prostu niesamowite. Posłuchajcie „Cold Demons”, posłuchajcie „North” i „A World Of Hurt”. Co tam się dzieje? To jest masakra. Ilość uderzeń i tempo w jakim są wygrywane jest porażająca. To są lawiny dźwięków dopadające słuchacza między gitarowym gąszczem i przytłaczające go już totalnie do ziemi.

Czy jednak ta konwencja sama w sobie nie staje się już nudna i powtarzalna? Zdecydowanie nie, bowiem Peter ma ogromny talent do wymyślania fantastycznych riffów, grania świetnych solówek i w ogóle układania zajebistych piosenek. Jak każda płyta Vader, „Litany” jest zbiorem genialnych utworów. Zabójczo szybkich, ale z rytmem, z melodią i z doskonałym wokalem. „Wings”, „Xeper”, „Litany”, „The Calling”, „Forwards To Die!!!” to są niszczące hiciory dołączające do panteonu wielkich przebojów tego wielkiego zespołu. Super jest „Cold Demons”, którego tekst traktuje o niszczycielskiej mocy czołgów, a sam jest co najmniej tak niszczycielski jak cała pancerna dywizja. Fantastyczny jest "The World Made Flesh" gdzie solówki na gitarze i perkusji przechodzą same siebie, a Peter z Docentem łamią kolejne bariery i prześigują się w swojej perfekcyjności.

Na deser mamy „The Final Massacre” z pierwszej płyty. Ja się cieszyłem, że te kawałki są przypominane i nabierają nowego wymiaru, bo, pomimo całej boskości „The Ultimate Incantation”, nie miała ona najlepszego brzmienia, a tak można odkrywać je na nowo. Na wspomnianym „Kingdom” było „Breath Of Centuries”, teraz kolejne danie.

Cała płyta jest króciutka. Nawet z bonusowym utworem ledwo dobija do pół godziny. Napada nagle, pustoszy, demoluje i znika tak szybko jak się pojawiła, zostawiając po sobie ruiny i zgliszcza. To jest Vader w swojej najlepszej odsłonie.

Wujas


Czy zespół VADER może być dla kogokolwiek (mam tu na myśli szczególnie zwolenników gitarowych brzmień) nieznany? Szczerze wątpię, ale kto wie, może znajdą się „anomalie” wśród społeczeństwa, którym ta nazwa kojarzy się głównie z czarnym charakterem spod znaku „Star Wars”. Jak by nie było, wierzę, że sympatycy metalowego żywiołu, w pierwszej kolejności pomyślą o naszym rodzimym produkcie eksportowym, któremu od lat przewodzi niezastąpiony Piotr ‘Peter’ Wiwczarek. To głównie dzięki niemu fani metalowej ekstremy zyskali wiele powodów do zadowolenia. Za jeden z nich bez wątpienia trzeba uznać kultowe wydawnictwo z 2000 roku.

Tak dokładnie, mowa o pamiętnym i soczyście agresywnym „Litany”! To właśnie ta płyta doczekała się reedycji z okazji 25 urodzin. Czy to dobrze czy też źle? Generalnie nie ma jednoznacznej odpowiedzi. Z jednej strony taki zabieg można uznać za pozytywny ruch, szczególnie z uwagi na fakt, że pewnie wielu młodszych fanów borykało się z problemem nabycia tego wydawnictwa, zwłaszcza w „normalnej” cenie (ceny płyt to w ogóle temat na dłuższe rozważanie). Z drugiej strony, grzebanie przy klasykach jest niczym praca na żywym organizmie, operacja może nie przynieść spodziewanych rezultatów, a w niektórych przypadkach, cała akcja kończy się totalnym niepowodzeniem. Z jakim przypadkiem mamy do czynienia? Jeżeli chodzi o jakość, a dokładniej brzmienie, pod tym względem eksperyment nie powiódł się do końca, przynajmniej w moim odczuciu. Mianowicie, specyficzna choć nieidealna barwa pierwotnego wydawnictwa została w pewien sposób ugrzeczniona, spłaszczona, skompresowana. Osobiście bardziej cenię sobie nieokiełznaną niedoskonałość pierwowzoru. Przy tak intensywnych dźwiękach jakie niesie ze sobą „Litany”, brzmieniowa niesubordynacja pasowała idealnie i to nie wymagało zmiany. Wersja z 2000 roku to bezsprzecznie metalowy, bezkompromisowy cios prosto w twarz! Za plus można uznać fakt, że reedycja została wzbogacona o dwa kawałki, które pierwotnie ukazały się na japońskiej wersji. Pierwszy z nich, „Red Dunes” to co prawda jedynie kawałek instrumentalny, atmosferyczny przerywnik, ale za to drugi, „Lord of Desert”, to soczysty utwór z krwi i kości. Co by nie mówić, takie bonusy zawsze są mile widziane.

Jakieś inne różnice? Nowa wersja „Litany” została wydana w formie digipacka, a sama szata graficzna uległa kosmetycznej metamorfozie. Użyto też mniej połyskującego papieru do bookletu, więc w dotyku też można wyczuć zmianę. Jeżeli chodzi o zawartość stricte muzyczną, w tej kwestii 25 lat temu napisano już pewnie wszystko co najbardziej istotne – z perspektywy czasu, ten materiał wciąż kopie jak trzeba i nie wydaje mi się by w przyszłości coś miało ulec zmianie w tej kwestii. Bez wątpienia jest to album ponadczasowy, pełen niespożytkowanej energii.

Podsumowując, ogólne zamierzenie na pewno ma sens. Co prawda reedycje wzbudzają ambiwalentne odczucia i nie ma co się dziwić. Przy niektórych albumach, zwłaszcza przy brzmieniu, nie warto „mieszać”, bo pierwotne wersje mają swój urok, niepowtarzalny klimat, nawet pomimo niedoskonałości. Obecnie większość płyt brzmi do zrzygania tak samo, więc jakże miło włączyć coś sprzed lat i poczuć klimat czasów minionych, gdzie różnorodność, zwłaszcza brzmieniowa nie była jedynie okazjonalnym akcentem. Jeżeli w przyszłości będę włączał „Litany”, a na 666% będę, to w odtwarzaczu najczęściej zagości wersja właśnie sprzed 25 lat.

S!X


The last installment of this series. I saved the best for last. This release is a crowning achievement in death metal.

Two Polish bands in this series!. What's in the water there? I admit, I don't have a whole lot of music from Poland and the rest of the bands in my collection from there play black metal. Maybe the guys in Behemoth and Vader are just mutants. Whatever the case, I'm damn glad they're around. This is my favorite death metal album, bar none.

It's like the band set up on the turret of a battle tank and the moment you switch this on, they come crashing out of your speakers and plow through your house growling, riffing, and blasting on a suicidal last stand of destruction. Intense.

The drum sound! My god! It's like the fucking Hulk is doing the footwork here. THEY ARE COLOSSAL. Loudest and beefiest bass drums I've ever heard on an album. Just holy shit...I'll restrain the navy blue vicar for now (seriously, read his reviews). And get ready to have your skull caved in and your insides reorganized from the bludgeoning drumming performance on Litany.

That is cool by itself but the riffing is just as great! They typically whip up whirlwinds of violent yet melodic tremolo in addition to the requisite palm muting and crushing European style power chords. Whiplash inducing so you might want to strap yourself down before hitting the play button. Don't forget to brace for impact when the 1st Company of Badass Polish Mutants comes tearing out. If you cranked this shit on a loud stereo your neighbors would probably kill you if the marauding sound waves didn't grind them into pudding first.

YOU BURN
YOU SLAY - DESTROY!!!
YOU THROW THE FLAMES AND BOLTS
JUST FORWARDS!!! FORWARDS!!! ATTACK!!! ATTACK!!!

Those are lyrics! This music hurts stuff. It tears off heads no less. Yes, the Hulk is definitely in session on this masterpiece of death metal. Plus they're vox that you can mostly understand, always a great thing.

Litany is primarily up tempo but not in the pretentious way. The songs are broken up well without letting them breathe TOO much, of course. Assault is the name of the game here. It's been my feeling that music represents some sort of movement in it's rhythms. This would represent bashing your head into a cement wall very rapidly. And it feels good...it's metal. Metal with POUNDING FACEFUCKING FLINTSTONE RHYTHMS OF DEATH. I couldn't hold that in any longer and it's important to know.

While the theme of war is hardly new, Vader pulls it off just as well as, if not better than, Bolt Thrower even if they deal with other themes too.. The fifth track "Cold Demons" features an intro and outro sample of a tank crew engaging a target then leaving at the end of the song. Not to mention the barbaric vocalist screaming "FIRE!!!" in sync with the cannon towards the end! That track alone would be worth enough for a good score Just go ahead and order it if you don't already have Litany. Download it while you wait. I'll let the album speak for itself.

European death with a modern flair sans the cheese and wank. 100% punishing.

Arboreal



..::TRACK-LIST::..

1. Wings 3:10
2. The One Made Of Dreams 1:49
3. Xeper 4:00
4. Litany 3:01
5. Cold Demons 3:12
6. The Calling 3:10
7. North 1:36
8. Forwards To Die!!! 1:38
9. A World Of Hurt 1:51
10. Red Dunes 1:13
11. Lord Of Desert 1:58
12. The World Made Flesh 2:48
13. The Final Massacre 4:31

Track 10-11 from Japanese Bonus Tracks

Recorded & mixed at Red Studio, Gdynia, November 1999
Pre-mastered at Red Studio, Gdynia, November 1999
Mastered at Studio 333, Częstochowa, December 1999
Remastered at Hertz Recording Studio, May 2025



..::OBSADA::..

Piotr 'Peter' Wiwczarek - lead vocals, lead guitar, bass,[7]
Maurycy 'Mauser' Stefanowicz - rhythm guitar
Leszek 'Shambo' Rakowski - bass (credited, did not perform)[7]
Krzysztof 'Doc' Raczkowski - drums



https://www.youtube.com/watch?v=uNVmPrfe08Y


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