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


..::OPIS::..

Siódma pieczęć została złamana – pod czarnymi skrzydłami Osmose Productions nadchodzi najnowszy album polskiego Kingdom!
Bezkompromisowe hymny mroku i zniszczenia, 10 nowych utworów plus cover bluźnierców z Deicide.
Nagrano w Garaż Studio pod okiem Mateusza Szulborskiego AD 2024.
Zgodnie z tradycją, okładkę wykonał Maciej Kamuda.



Naszego rodzimego Kingdom nikomu przedstawiać nie trzeba. Chłopaki działają prężnie od ponad dwudziestu lat, regularnie siejąc deathmetalowe plugastwo. „Primeval Cult of Strength in the Womb of Suffer” to już ich siódmy krążek, który ukaże się pod koniec września, tym razem pod skrzydłami Osmose Productions. Nie będę ukrywał, że zespół nigdy nie należał do ścisłego top moich faworytów. Nigdy też nie powiedziałem (bo najzwyczajniej w świecie panowie nie dali mi ku temu pretekstu), że Kingdom jest zespołem słabym czy przeciętnym. Oni zawsze mieścili się w „czwórce”, jeśli by wystawiać im notę w skali szkolnej. Niemniej jednak, poprzedni album wykazywał jakby tendencje zwyżkowe, bo słuchałem go najczęściej. Szalikowcy zespołu ucieszą się zatem na informację, iż na nowym wydawnictwie Mazowszan, ów kurs został zachowany. A jestem nawet w stanie zaryzykować, że „Primeval Cult of Strength in the Womb of Suffer” to najbardziej dojrzały i dopracowany materiał zespołu w ich długoletniej historii. O samej muzyce Kingdom nic odkrywczego napisać się nie da. To nadal jest ten sam staroszkolny, oparty głównie na amerykańskich wzorcach pokroju Deicide czy Morbid Angel metal śmierci. Czysty jak łza i na wskroś brutalny. Mamy tutaj dziesięć kompozycji autorskich (w tym jeden stanowiący akustyczne interludium), plus cover „Lunatic of God’s Creation”. Nie wiem jak to jest, ale w covery to Kingdom akurat umiom średnio, bo tak jak nie podobała mi się ich wersja „Lucretia My Reflection” na splicie z Throneum, tak i w tym przypadku uważam wersję szlagieru Deicide za średnio udaną. Co do całej reszty natomiast, nie mam pytań. Panowie potrafią mocno dosypać do kotła swojej, zazwyczaj mocno rozpędzonej, lokomotywy, zasypując słuchacza gradem blastów i agresywnych riffów, niejednokrotnie o charakterze Angelcorpse’owym. Nawet jeśli chwilami odrobinę zwolnią, to i tak tylko po to, by za chwilę zaatakować ze zdwojoną siłą. Podobnie śmiercionośnym narzędziem co linie gitarowe czy ponadprzeciętnie intensywne beczki, są rzygające wokale, głębsze w kawałkach śpiewanych po angielsku, nieco bardziej wrzeszczane w tych po naszemu. A że całość brzmi bardziej niż prawilnie, to i narzekać nie ma na co, bo w ogólnym rozrachunku, album ten spuszcza po prostu piękny, deathmetalowy wpierdol. Fanom zespołu nowej płyty zatem polecać nie ma sensu, bo i tak po nią sięgną. Tak samo powinien zrobić każdy, komu oldskulowy, bezkompromisowy metal z kostuchą w herbie gra w sercu najgłośniej. Kingdom to gwarancja wysokiej jakości. I za to ich ogromnie szanuję.

jesusatan


The seventh seal has been broken - under the black wings of Osmose Productions the latest album of Polish Kingdom is coming!
Uncompromising hymns of darkness and destruction, 10 new songs plus a cover of blasphemers from Deicide.
Recorded in Garaż Studio under the supervision of Mateusz Szulborski A.D. 2024.
In line with tradition cover art was made by Maciej Kamuda.

Furious Satanic Death metal from Poland at it's very best! For fans of Angelcorpse, Morbid Angel, Deicide...



..::TRACK-LIST::..

1. Behold Thy Light Dying 03:00
2. Przedwieczny kult siły 03:44
3. Exterminatus 03:14
4. Her Last Stand 03:33
5. Ruiny ludzkości 03:22
6. Flame of Death 03:38
7. Womb of Suffer 03:03
8. Sadness in Existence 02:19
9. Devils' Warmonger 02:59
10. Blood God 04:10
11. Lunatic of God's Creation 04:39




https://www.youtube.com/watch?v=Id1n83I6eTM



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

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


..::OPIS::..

Siódma pieczęć została złamana – pod czarnymi skrzydłami Osmose Productions nadchodzi najnowszy album polskiego Kingdom!
Bezkompromisowe hymny mroku i zniszczenia, 10 nowych utworów plus cover bluźnierców z Deicide.
Nagrano w Garaż Studio pod okiem Mateusza Szulborskiego AD 2024.
Zgodnie z tradycją, okładkę wykonał Maciej Kamuda.



Naszego rodzimego Kingdom nikomu przedstawiać nie trzeba. Chłopaki działają prężnie od ponad dwudziestu lat, regularnie siejąc deathmetalowe plugastwo. „Primeval Cult of Strength in the Womb of Suffer” to już ich siódmy krążek, który ukaże się pod koniec września, tym razem pod skrzydłami Osmose Productions. Nie będę ukrywał, że zespół nigdy nie należał do ścisłego top moich faworytów. Nigdy też nie powiedziałem (bo najzwyczajniej w świecie panowie nie dali mi ku temu pretekstu), że Kingdom jest zespołem słabym czy przeciętnym. Oni zawsze mieścili się w „czwórce”, jeśli by wystawiać im notę w skali szkolnej. Niemniej jednak, poprzedni album wykazywał jakby tendencje zwyżkowe, bo słuchałem go najczęściej. Szalikowcy zespołu ucieszą się zatem na informację, iż na nowym wydawnictwie Mazowszan, ów kurs został zachowany. A jestem nawet w stanie zaryzykować, że „Primeval Cult of Strength in the Womb of Suffer” to najbardziej dojrzały i dopracowany materiał zespołu w ich długoletniej historii. O samej muzyce Kingdom nic odkrywczego napisać się nie da. To nadal jest ten sam staroszkolny, oparty głównie na amerykańskich wzorcach pokroju Deicide czy Morbid Angel metal śmierci. Czysty jak łza i na wskroś brutalny. Mamy tutaj dziesięć kompozycji autorskich (w tym jeden stanowiący akustyczne interludium), plus cover „Lunatic of God’s Creation”. Nie wiem jak to jest, ale w covery to Kingdom akurat umiom średnio, bo tak jak nie podobała mi się ich wersja „Lucretia My Reflection” na splicie z Throneum, tak i w tym przypadku uważam wersję szlagieru Deicide za średnio udaną. Co do całej reszty natomiast, nie mam pytań. Panowie potrafią mocno dosypać do kotła swojej, zazwyczaj mocno rozpędzonej, lokomotywy, zasypując słuchacza gradem blastów i agresywnych riffów, niejednokrotnie o charakterze Angelcorpse’owym. Nawet jeśli chwilami odrobinę zwolnią, to i tak tylko po to, by za chwilę zaatakować ze zdwojoną siłą. Podobnie śmiercionośnym narzędziem co linie gitarowe czy ponadprzeciętnie intensywne beczki, są rzygające wokale, głębsze w kawałkach śpiewanych po angielsku, nieco bardziej wrzeszczane w tych po naszemu. A że całość brzmi bardziej niż prawilnie, to i narzekać nie ma na co, bo w ogólnym rozrachunku, album ten spuszcza po prostu piękny, deathmetalowy wpierdol. Fanom zespołu nowej płyty zatem polecać nie ma sensu, bo i tak po nią sięgną. Tak samo powinien zrobić każdy, komu oldskulowy, bezkompromisowy metal z kostuchą w herbie gra w sercu najgłośniej. Kingdom to gwarancja wysokiej jakości. I za to ich ogromnie szanuję.

jesusatan


The seventh seal has been broken - under the black wings of Osmose Productions the latest album of Polish Kingdom is coming!
Uncompromising hymns of darkness and destruction, 10 new songs plus a cover of blasphemers from Deicide.
Recorded in Garaż Studio under the supervision of Mateusz Szulborski A.D. 2024.
In line with tradition cover art was made by Maciej Kamuda.

Furious Satanic Death metal from Poland at it's very best! For fans of Angelcorpse, Morbid Angel, Deicide...



..::TRACK-LIST::..

1. Behold Thy Light Dying 03:00
2. Przedwieczny kult siły 03:44
3. Exterminatus 03:14
4. Her Last Stand 03:33
5. Ruiny ludzkości 03:22
6. Flame of Death 03:38
7. Womb of Suffer 03:03
8. Sadness in Existence 02:19
9. Devils' Warmonger 02:59
10. Blood God 04:10
11. Lunatic of God's Creation 04:39




https://www.youtube.com/watch?v=Id1n83I6eTM



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

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


..::OPIS::..

A gdyby tak połączyć brutalny growl, ultraszybką perkusję, masywne metalowe riffy i tak dużo melodii, ile się tylko da? Taki pewnie zamysł towarzyszył powstaniu trzeciej płyty kalifornijskiej grupy Fallujah. Amerykańscy metalowcy, po ciepło przyjętej przez krytykę i słuchaczy płycie „The Flesh Prevails” (2014), zaprezentowali kolejną dawkę oryginalnej muzyki, będącej mieszanką technicznego death metalu i atmosferycznego, melodyjnego grania. To mieszanka na tyle unikalna, że mówi się o Fallujah jako prekursorach nowego subgatunku: „Atmospheric Death Metal”.

To określenie wiele mówi o muzyce zespołu. Dużo tu bowiem nastrojowych melodii, wyczarowanych na syntezatorach, sporo żeńskich wokali i solówek gitarowych, których nie powstydziliby się progresywni rockowi wyjadacze. Z drugiej strony niemało też agresji, ciężkich riffów i brutalnego growlu, niczym z płyt Cannibal Corpse. To muzyka, która pieści i zarazem wali na odlew. Takie połączenie lodu z ogniem. Niby niemożliwe, ale płonący deser lodowy to całkiem miła i ciekawa niespodzianka.

Najbardziej reprezentacyjną próbką płyty, taką jej wizytówką, jest utwór „Adrenaline” – to bezkompromisowa, metalowa jazda z elektronicznymi, melodyjnymi wstawkami, połamanymi rytmami i chwytliwym, gitarowym solo. Uwagę zwraca też wybrany do promocji albumu „The Void Alone” – ciężki, ale zarazem bardzo melodyjny z czystym, kobiecym wokalem, wrzuconym jakby dla równowagi dla growlu wokalisty. Za tę subtelniejszą stronę utworu odpowiada Tori Letzler – wokalistka znana ze współpracy ze znanym filmowym kompozytorem Hansem Zimmerem („Batman v Superman”, „Gladiator”). Udzieliła swojego głosu także w utworze „Wind for Wings”, w którym wokalista na chwilę rezygnuje z growlu na rzecz czystego śpiewu.

Większość utworów wygląda podobnie: dużo agresywnego growlu, bijąca rekordy uderzeń na sekundę perkusja, zadziorne, metalowe riffy i chwile oddechu w postaci melodii z syntezatora. I to też największa wada tego wydawnictwa: o ile charakterystycznie brzmienie Fallujah zapada w pamięć i jest czymś oryginalnym, o tyle trudno po pierwszym wysłuchaniu jakoś szczególnie wyróżnić któryś z utworów. Całość da się podzielić z grubsza na te „spokojne” i te „metalowe”. Brutalny growl bywa na dłuższą metę męczący, bo o ile w tle dzieje się całkiem dużo i ciekawie, przykryte jest to tłumiącą warstwą agresywnego wokalu. Czasem aż chciałoby się usłyszeć trochę więcej czystego śpiewu dla kontrastu i złapania oddechu.

Skoro już mowa o oddechu, jest też kilka momentów, których posłuchać mogą nawet ci, którzy z reguły omijają death metal szerokim łukiem. Myślę tu zwłaszcza o tytułowym „Dreamless” – to zdecydowanie najładniejszy i najspokojniejszy utwór na płycie (choć wciąż metalowy, bo stopa perkusyjna chodzi tu aż miło) z solówką zagraną przez Tymona Kruideniera, znanego z występów z progresywnymi deathmetalowcami z Cynic. Bardzo nastrojowo jest też w „Fidelio”, w którym dominują klawisze, melorecytacja, miłe melodie i ambientowy klimat. Jeszcze bardziej ambientowo jest w „Les Silences” – to już elektronika na całego, zabawa z dźwiękiem, w której ważniejszy niż linearny przebieg melodii jest klimat. Coś jakby Jean-Michel Jarre skrzyżowany z Enigmą.

„Dreamless” to album eklektyczny, progresywny i na pewno wart uwagi. Ciężki, ale jednocześnie klimatyczny, pełen elektroniki, przestrzeni, sampli, z domieszką czystych i damskich wokali. Pozostaje tylko mieć nadzieję, że na następnej płycie zawartość będzie bardziej zbalansowana.

Tomasz Kolasa


Fallujah za sprawą poprzedniego krążka odnieśli spory sukces, którego miarą nie jest nawet obecny kontrakt z Nuclear Blast (bo jak oni zwęszą walutę, to są skłonni podpisać papiery z każdym), a pierwsi naśladowcy z różnym skutkiem kopiujący patenty z „The Flesh Prevails”. Czy wśród tych epigonów znajdzie się jakiś poważny konkurent dla Amerykanów? Na razie raczej nie, i to z dwóch powodów. Po pierwsze jest to granie zbyt złożone i oryginalne, żeby je szybko rozpracować i tak po prostu przystosować do własnego stylu, a przy okazji nie być posądzonym o (ślepe) naśladownictwo. Po drugie Fallujah — a dokładniej Scott Carstairs — rozwijają swoje wizje w takim tempie, że zawsze będą przynajmniej o krok przed innymi, którym również marzy się bycie na czasie.

A Dreamless jest właśnie, jakby to paskudnie nie brzmiało, albumem na czasie: niejednoznacznym, progresywnym i eklektycznym. Nie każdemu takie podejście do death metalu — czy do metalu w ogóle — spasuje, ale nie można odmówić zespołowi konsekwencji w dążeniu do własnego stylu, który zresztą już teraz jest bardzo pojemny. To, co znamy jako dodatki do technicznego grzańska z poprzedniego krążka, zostało na Dreamless bardziej dopracowane i przede wszystkim rozbudowane. Więcej jest zatem wszystkiego, co może od tej płyty odstraszać ortodoksów, a co da się podciągnąć pod nowoczesność: elektroniki, przestrzeni, sampli, czystych i damskich wokali… Jednym słowem: klimatu.

W kwestii budowania atmosfery (a przy okazji spójności muzyki) Amerykanie poszli tak daleko, że udało im się uzyskać rzadko spotykaną w takim graniu immersyjność, choć nie sprzyjają jej liryki oparte na kilku niepowiązanych ze sobą filmach. Dla mniej przychylnych może to oznaczać tylko tyle, że kolejne kawałki trudno od siebie odróżnić. Bardziej wyrozumiali dostają natomiast prawie godzinę wymagających dźwięków, które przyjemnie falują, płynnie przechodząc z brutalnych wyziewów w spokojne refleksyjne ambienty.

Fallujah na Dreamless zdecydowanie odeszli od typowej dla technicznego death metalu stylistyki, mniej szpanują umiejętnościami (choć tylko ignorant nie zauważyłby, że grają jeszcze lepiej i na lepszym sprzęcie), nie dociskają pedału gazu do dechy — mimo iż wciąż potrafią solidnie dopieprzyć — a bardziej skupiają się na rozwijaniu progresywnej strony muzyki i robieniu z nią tego, na co tylko mają ochotę. Na tej płycie naprawdę nie słychać, żeby członkowie Fallujah przejmowali się jakimiś ograniczeniami, ramami gatunkowymi czy bali się zrobić coś, co takiemu zespołowi nie przystoi. Taka odwaga popłaca, bo jak już na wstępie wspomniałem – to nie oni, ale ich naśladują.

Warto zaznaczyć, że przy okazji Dreamless zespół wyraźnie poprawił brzmienie i ogólną selektywność, rozdzielając obowiązki realizatorskie na Zacka Ohrena (gitary, bas, wokale) i Marka Lewisa (perkusja). Dzięki temu jakże rozsądnemu posunięciu instrumenty nie zlewają się już w jedno, jak to miało miejsce na „The Flesh Prevails”. Jeśli tylko Nuclear Blast należycie wykorzysta obecne atuty Fallujah, to jest szansa, że zrobią z nich gwiazdę dużego formatu. No, chyba że im się wcześniej znudzą...

demo


I must preface this by saying I'm a die hard metal fan, and anything core is unlikely to find itself a home in my music catalog. In particular anything core that could have the word progressive attached to it. To many bands in the scene today seem to resort to mindless guitar wankery and uninteresting, relentless sweep picking. And while Fallujah's roots are certainly cemented more in the core direction, I must confess I love this album and the band.The recording quality is incredible. As a guitar player I find their tones phenomenal. The cleans are crisp and beautiful, everything has been dialed in so perfectly. Now as for the music, I think that progressive bands can easily fall into the wanton wankery category of music, Dreamless is far from that.

Tracks like 'The Void Alone' 'Scar Queen' and 'Lacuna' showcase the talent of these musicians excellently. All of these guys are ridiculously technically proficient, but that only serves to further the music, not hinder it. The drumming on this album is truly incredible. The driving double bass is blazingly fast, and the guitar solos melodic and beautiful. The instrumental tracks as well such as 'Fidelio' and 'Wind for Wings' serve as a nice break for the album. Allowing for a peaceful atmosphere to build before shattering the calm with crushing guitars and thunderous bass lines. The combination of growls and clean vocals is well done, although my one critique would be that the cleans can seem a bit randomly distributed. On songs like 'The Prodigal Son' for example, my personal favorite track, I think it might have been better served as an instrumental. That being said it really doesn't interfere with the flow of the song or the album.

Overall I was extremely pleased by Dreamless. None of the tracks on the album were boring, they serve their purpose well, whether it be fast-paced, guitar driven brutality, or some of the more peaceful and melodic tracks on the album. Lyrically I have to admit I was confused. In an interview the singer stated that the album was based off of a movie and it was intended to be a puzzle to figure out. No clue what the hell the movie is. So with that said, Dreamless is a killer album. Very inventive, interesting, and original which is hard to come by in the progressive metal landscape today. Many bands seem to be taking the same direction, but I find Fallujah's use of clean guitar tones and more atmospheric sections fascinating and am excited for any further releases they might have.

ReverseTracheotomy



..::TRACK-LIST::..

1. Face Of Death 03:30
2. Adrenaline 04:21
3. The Void Alone 04:18
4. Abandon 04:31
5. Scar Queen 04:04
6. Dreamless 06:18
7. The Prodigal Son 04:17
8. Amber Gaze 04:32
9. Fidelio 02:44
10. Wind For Wings 06:14
11. Les Silences 05:56
12. Lacuna 04:53



..::OBSADA::..

Andrew Baird - Drums
Scott Carstairs - Guitars, Songwriting (tracks 1-8, 10, 12)
Alex Hofmann - Vocals, Lyrics, Songwriting (tracks 9, 11)
Rob Morey - Bass
Brian James - Guitars



https://www.youtube.com/watch?v=H-5R7falsho



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

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


..::OPIS::..

A gdyby tak połączyć brutalny growl, ultraszybką perkusję, masywne metalowe riffy i tak dużo melodii, ile się tylko da? Taki pewnie zamysł towarzyszył powstaniu trzeciej płyty kalifornijskiej grupy Fallujah. Amerykańscy metalowcy, po ciepło przyjętej przez krytykę i słuchaczy płycie „The Flesh Prevails” (2014), zaprezentowali kolejną dawkę oryginalnej muzyki, będącej mieszanką technicznego death metalu i atmosferycznego, melodyjnego grania. To mieszanka na tyle unikalna, że mówi się o Fallujah jako prekursorach nowego subgatunku: „Atmospheric Death Metal”.

To określenie wiele mówi o muzyce zespołu. Dużo tu bowiem nastrojowych melodii, wyczarowanych na syntezatorach, sporo żeńskich wokali i solówek gitarowych, których nie powstydziliby się progresywni rockowi wyjadacze. Z drugiej strony niemało też agresji, ciężkich riffów i brutalnego growlu, niczym z płyt Cannibal Corpse. To muzyka, która pieści i zarazem wali na odlew. Takie połączenie lodu z ogniem. Niby niemożliwe, ale płonący deser lodowy to całkiem miła i ciekawa niespodzianka.

Najbardziej reprezentacyjną próbką płyty, taką jej wizytówką, jest utwór „Adrenaline” – to bezkompromisowa, metalowa jazda z elektronicznymi, melodyjnymi wstawkami, połamanymi rytmami i chwytliwym, gitarowym solo. Uwagę zwraca też wybrany do promocji albumu „The Void Alone” – ciężki, ale zarazem bardzo melodyjny z czystym, kobiecym wokalem, wrzuconym jakby dla równowagi dla growlu wokalisty. Za tę subtelniejszą stronę utworu odpowiada Tori Letzler – wokalistka znana ze współpracy ze znanym filmowym kompozytorem Hansem Zimmerem („Batman v Superman”, „Gladiator”). Udzieliła swojego głosu także w utworze „Wind for Wings”, w którym wokalista na chwilę rezygnuje z growlu na rzecz czystego śpiewu.

Większość utworów wygląda podobnie: dużo agresywnego growlu, bijąca rekordy uderzeń na sekundę perkusja, zadziorne, metalowe riffy i chwile oddechu w postaci melodii z syntezatora. I to też największa wada tego wydawnictwa: o ile charakterystycznie brzmienie Fallujah zapada w pamięć i jest czymś oryginalnym, o tyle trudno po pierwszym wysłuchaniu jakoś szczególnie wyróżnić któryś z utworów. Całość da się podzielić z grubsza na te „spokojne” i te „metalowe”. Brutalny growl bywa na dłuższą metę męczący, bo o ile w tle dzieje się całkiem dużo i ciekawie, przykryte jest to tłumiącą warstwą agresywnego wokalu. Czasem aż chciałoby się usłyszeć trochę więcej czystego śpiewu dla kontrastu i złapania oddechu.

Skoro już mowa o oddechu, jest też kilka momentów, których posłuchać mogą nawet ci, którzy z reguły omijają death metal szerokim łukiem. Myślę tu zwłaszcza o tytułowym „Dreamless” – to zdecydowanie najładniejszy i najspokojniejszy utwór na płycie (choć wciąż metalowy, bo stopa perkusyjna chodzi tu aż miło) z solówką zagraną przez Tymona Kruideniera, znanego z występów z progresywnymi deathmetalowcami z Cynic. Bardzo nastrojowo jest też w „Fidelio”, w którym dominują klawisze, melorecytacja, miłe melodie i ambientowy klimat. Jeszcze bardziej ambientowo jest w „Les Silences” – to już elektronika na całego, zabawa z dźwiękiem, w której ważniejszy niż linearny przebieg melodii jest klimat. Coś jakby Jean-Michel Jarre skrzyżowany z Enigmą.

„Dreamless” to album eklektyczny, progresywny i na pewno wart uwagi. Ciężki, ale jednocześnie klimatyczny, pełen elektroniki, przestrzeni, sampli, z domieszką czystych i damskich wokali. Pozostaje tylko mieć nadzieję, że na następnej płycie zawartość będzie bardziej zbalansowana.

Tomasz Kolasa


Fallujah za sprawą poprzedniego krążka odnieśli spory sukces, którego miarą nie jest nawet obecny kontrakt z Nuclear Blast (bo jak oni zwęszą walutę, to są skłonni podpisać papiery z każdym), a pierwsi naśladowcy z różnym skutkiem kopiujący patenty z „The Flesh Prevails”. Czy wśród tych epigonów znajdzie się jakiś poważny konkurent dla Amerykanów? Na razie raczej nie, i to z dwóch powodów. Po pierwsze jest to granie zbyt złożone i oryginalne, żeby je szybko rozpracować i tak po prostu przystosować do własnego stylu, a przy okazji nie być posądzonym o (ślepe) naśladownictwo. Po drugie Fallujah — a dokładniej Scott Carstairs — rozwijają swoje wizje w takim tempie, że zawsze będą przynajmniej o krok przed innymi, którym również marzy się bycie na czasie.

A Dreamless jest właśnie, jakby to paskudnie nie brzmiało, albumem na czasie: niejednoznacznym, progresywnym i eklektycznym. Nie każdemu takie podejście do death metalu — czy do metalu w ogóle — spasuje, ale nie można odmówić zespołowi konsekwencji w dążeniu do własnego stylu, który zresztą już teraz jest bardzo pojemny. To, co znamy jako dodatki do technicznego grzańska z poprzedniego krążka, zostało na Dreamless bardziej dopracowane i przede wszystkim rozbudowane. Więcej jest zatem wszystkiego, co może od tej płyty odstraszać ortodoksów, a co da się podciągnąć pod nowoczesność: elektroniki, przestrzeni, sampli, czystych i damskich wokali… Jednym słowem: klimatu.

W kwestii budowania atmosfery (a przy okazji spójności muzyki) Amerykanie poszli tak daleko, że udało im się uzyskać rzadko spotykaną w takim graniu immersyjność, choć nie sprzyjają jej liryki oparte na kilku niepowiązanych ze sobą filmach. Dla mniej przychylnych może to oznaczać tylko tyle, że kolejne kawałki trudno od siebie odróżnić. Bardziej wyrozumiali dostają natomiast prawie godzinę wymagających dźwięków, które przyjemnie falują, płynnie przechodząc z brutalnych wyziewów w spokojne refleksyjne ambienty.

Fallujah na Dreamless zdecydowanie odeszli od typowej dla technicznego death metalu stylistyki, mniej szpanują umiejętnościami (choć tylko ignorant nie zauważyłby, że grają jeszcze lepiej i na lepszym sprzęcie), nie dociskają pedału gazu do dechy — mimo iż wciąż potrafią solidnie dopieprzyć — a bardziej skupiają się na rozwijaniu progresywnej strony muzyki i robieniu z nią tego, na co tylko mają ochotę. Na tej płycie naprawdę nie słychać, żeby członkowie Fallujah przejmowali się jakimiś ograniczeniami, ramami gatunkowymi czy bali się zrobić coś, co takiemu zespołowi nie przystoi. Taka odwaga popłaca, bo jak już na wstępie wspomniałem – to nie oni, ale ich naśladują.

Warto zaznaczyć, że przy okazji Dreamless zespół wyraźnie poprawił brzmienie i ogólną selektywność, rozdzielając obowiązki realizatorskie na Zacka Ohrena (gitary, bas, wokale) i Marka Lewisa (perkusja). Dzięki temu jakże rozsądnemu posunięciu instrumenty nie zlewają się już w jedno, jak to miało miejsce na „The Flesh Prevails”. Jeśli tylko Nuclear Blast należycie wykorzysta obecne atuty Fallujah, to jest szansa, że zrobią z nich gwiazdę dużego formatu. No, chyba że im się wcześniej znudzą...

demo


I must preface this by saying I'm a die hard metal fan, and anything core is unlikely to find itself a home in my music catalog. In particular anything core that could have the word progressive attached to it. To many bands in the scene today seem to resort to mindless guitar wankery and uninteresting, relentless sweep picking. And while Fallujah's roots are certainly cemented more in the core direction, I must confess I love this album and the band.The recording quality is incredible. As a guitar player I find their tones phenomenal. The cleans are crisp and beautiful, everything has been dialed in so perfectly. Now as for the music, I think that progressive bands can easily fall into the wanton wankery category of music, Dreamless is far from that.

Tracks like 'The Void Alone' 'Scar Queen' and 'Lacuna' showcase the talent of these musicians excellently. All of these guys are ridiculously technically proficient, but that only serves to further the music, not hinder it. The drumming on this album is truly incredible. The driving double bass is blazingly fast, and the guitar solos melodic and beautiful. The instrumental tracks as well such as 'Fidelio' and 'Wind for Wings' serve as a nice break for the album. Allowing for a peaceful atmosphere to build before shattering the calm with crushing guitars and thunderous bass lines. The combination of growls and clean vocals is well done, although my one critique would be that the cleans can seem a bit randomly distributed. On songs like 'The Prodigal Son' for example, my personal favorite track, I think it might have been better served as an instrumental. That being said it really doesn't interfere with the flow of the song or the album.

Overall I was extremely pleased by Dreamless. None of the tracks on the album were boring, they serve their purpose well, whether it be fast-paced, guitar driven brutality, or some of the more peaceful and melodic tracks on the album. Lyrically I have to admit I was confused. In an interview the singer stated that the album was based off of a movie and it was intended to be a puzzle to figure out. No clue what the hell the movie is. So with that said, Dreamless is a killer album. Very inventive, interesting, and original which is hard to come by in the progressive metal landscape today. Many bands seem to be taking the same direction, but I find Fallujah's use of clean guitar tones and more atmospheric sections fascinating and am excited for any further releases they might have.

ReverseTracheotomy



..::TRACK-LIST::..

1. Face Of Death 03:30
2. Adrenaline 04:21
3. The Void Alone 04:18
4. Abandon 04:31
5. Scar Queen 04:04
6. Dreamless 06:18
7. The Prodigal Son 04:17
8. Amber Gaze 04:32
9. Fidelio 02:44
10. Wind For Wings 06:14
11. Les Silences 05:56
12. Lacuna 04:53



..::OBSADA::..

Andrew Baird - Drums
Scott Carstairs - Guitars, Songwriting (tracks 1-8, 10, 12)
Alex Hofmann - Vocals, Lyrics, Songwriting (tracks 9, 11)
Rob Morey - Bass
Brian James - Guitars



https://www.youtube.com/watch?v=H-5R7falsho



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

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


..::OPIS::..

Drugi album AZARATH. Nieludzkie tempa, miażdżace riffy, przerażajaco ciężkie brzmienie i Szatan ryczący z tekstów, łacza się z iście mistrzowska precyzja wykonania. "Infernal Blasting" to jedna z najbardziej okrutnych i diabelskich płyt polskiego death metalu.

Wydawca


Człowiek to jest jednak głupi!
Pół roku zwlekałem z zakupem drugiej płyty Azarath tylko i wyłącznie dlatego, że zraził mnie do siebie slogan reklamowy w katalogu Pagan Records. "To jedna z najbardziej okrutnych i diabelskich płyt nagranych w ostatnich latach", przeczytałem kiedyś. Nie potrafię się po czymś takim powstrzymać od szyderczego śmiechu, po zapewne kilku setkach godzin przespanych przy najróżniejszych "płytach roku" bywa z tym problem. "Infernal Blasting" ściera głupi uśmiech z gęby, brutalnym kopniakiem łamie wyszczerzone zęby i wraz ze złośliwymi komentarzami wbija je z powrotem w gardło. Depcze, niszczy, mieli, wypluwa i szcza na zewłok.

A imię tej bestii - Azarath. Jeszcze kilka lat temu kojarzona wyłącznie jako projekt muzyków Behemoth i Damnation, dzisiaj trójmiejska załoga jest absolutną ekstraklasą death metalu. Nie bójmy się dodać, że nie tylko jeśli chodzi o krajowe podwórko, ale także światową scenę. Nie zawaham się przy tym stwierdzić, że "Infernal Blasting" śmiało można zestawić, jeśli nie ze szczytowymi osiągnięciami gatunku, to przynajmniej z nieco mniej doniosłymi dziełami najważniejszych, najbardziej wpływowych jego przedstawicieli. Ta płyta zionie bowiem nie tylko czystym, nieokiełznanym, perwersyjnym barbarzyństwem w treści, ale też ogromnym profesjonalizmem w formie. I to w każdym jej aspekcie - od wykonania (niewiarygodne partie perkusji w wykonaniu Inferno), przez realizację nagrań (czekać tylko, aż do Arka Malczewskiego i Studio Hendrix zaczną ustawiać się w kolejce pierwsze zachodnie kapele), po wydanie (ascetyczny, elegancki digi-pack). Wszystko jest tu najwyższej próby, a produkt finalny zadowoli najwybredniejszego fana morderczego death metalu, który wyrywa trzewia i każe słuchać diabelskich podszeptów: "kup płytę Azarath, kup płytę Azarath, kup płytę Azarath". Judasze cholerne.

Tak oto doczekaliśmy się smutnych poniekąd czasów, w których jedyne powody do dumy z bycia Polakiem dają Otylia Jędrzejczak i garstka death metalowców z Azarath na czele. Bruno, Bart i Inferno olimpijskiego złota pewnie nie zdobędą, warto natomiast ich uhonorować stawiając oryginał "Infernal Blasting" na półce z płytami. Ściągając mp3, ściągasz komunizm, kupując takie płyty - zapalasz Diabłu ogarek. I jest to dobre.

BadBlood


Pure Satanic Death Metal massacre with unbelieveably fast drums blasted out by Inferno (BEHEMOTH/ WITCHMASTER...). Crushing production and heavy as fuck sound. A must!



Azarath is the best-kept secret in death metal. Unbelievably brutal and fast. Chaos, chaos, chaos. War, war, war. The riffs are catchy enough to stick with you and rock out to but are played so heavily and quickly, just completely savage.

The musicianship here is top-notch. The solos are pure Kerry King - fast, noisy, junky scales - and for the music it's perfect. Just totally wild. Behemoth's Inferno contributes some of his fastest, tightest drumming ever, which is probably the real highlight of the album. Vokills appropriately alter between the high screams and low growls to great effect. Production is thin enough to be satisfyingly kvlt without losing the distinctions between the instruments, and the drums come in esp. well. Lyrics are pure Satanic war metal. Azarath keeps it simple, and that's a good thing.

This album floored me when it first came out and I'm still not sick of it. One of the best death metal albums ever.

barbeloh



..::TRACK-LIST::..

1. Legacy of Tyrant Goat 02:57
2. Nuclear Revelation 03:01
3. False God Burn in Hell 02:53
4. Demon Speed 01:57
5. Christscum 03:35
6. Damned to Hell 02:53
7. Infested with Sin 02:42
8. Joy of Mutilation 03:08
9. Born to Rot 06:13



..::OBSADA::..

Bruno - Vocals, Bass
Inferno - Drums
Bart - Guitars



https://www.youtube.com/watch?v=Q-T2-ZVukTU



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

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


..::OPIS::..

Drugi album AZARATH. Nieludzkie tempa, miażdżace riffy, przerażajaco ciężkie brzmienie i Szatan ryczący z tekstów, łacza się z iście mistrzowska precyzja wykonania. "Infernal Blasting" to jedna z najbardziej okrutnych i diabelskich płyt polskiego death metalu.

Wydawca


Człowiek to jest jednak głupi!
Pół roku zwlekałem z zakupem drugiej płyty Azarath tylko i wyłącznie dlatego, że zraził mnie do siebie slogan reklamowy w katalogu Pagan Records. "To jedna z najbardziej okrutnych i diabelskich płyt nagranych w ostatnich latach", przeczytałem kiedyś. Nie potrafię się po czymś takim powstrzymać od szyderczego śmiechu, po zapewne kilku setkach godzin przespanych przy najróżniejszych "płytach roku" bywa z tym problem. "Infernal Blasting" ściera głupi uśmiech z gęby, brutalnym kopniakiem łamie wyszczerzone zęby i wraz ze złośliwymi komentarzami wbija je z powrotem w gardło. Depcze, niszczy, mieli, wypluwa i szcza na zewłok.

A imię tej bestii - Azarath. Jeszcze kilka lat temu kojarzona wyłącznie jako projekt muzyków Behemoth i Damnation, dzisiaj trójmiejska załoga jest absolutną ekstraklasą death metalu. Nie bójmy się dodać, że nie tylko jeśli chodzi o krajowe podwórko, ale także światową scenę. Nie zawaham się przy tym stwierdzić, że "Infernal Blasting" śmiało można zestawić, jeśli nie ze szczytowymi osiągnięciami gatunku, to przynajmniej z nieco mniej doniosłymi dziełami najważniejszych, najbardziej wpływowych jego przedstawicieli. Ta płyta zionie bowiem nie tylko czystym, nieokiełznanym, perwersyjnym barbarzyństwem w treści, ale też ogromnym profesjonalizmem w formie. I to w każdym jej aspekcie - od wykonania (niewiarygodne partie perkusji w wykonaniu Inferno), przez realizację nagrań (czekać tylko, aż do Arka Malczewskiego i Studio Hendrix zaczną ustawiać się w kolejce pierwsze zachodnie kapele), po wydanie (ascetyczny, elegancki digi-pack). Wszystko jest tu najwyższej próby, a produkt finalny zadowoli najwybredniejszego fana morderczego death metalu, który wyrywa trzewia i każe słuchać diabelskich podszeptów: "kup płytę Azarath, kup płytę Azarath, kup płytę Azarath". Judasze cholerne.

Tak oto doczekaliśmy się smutnych poniekąd czasów, w których jedyne powody do dumy z bycia Polakiem dają Otylia Jędrzejczak i garstka death metalowców z Azarath na czele. Bruno, Bart i Inferno olimpijskiego złota pewnie nie zdobędą, warto natomiast ich uhonorować stawiając oryginał "Infernal Blasting" na półce z płytami. Ściągając mp3, ściągasz komunizm, kupując takie płyty - zapalasz Diabłu ogarek. I jest to dobre.

BadBlood


Pure Satanic Death Metal massacre with unbelieveably fast drums blasted out by Inferno (BEHEMOTH/ WITCHMASTER...). Crushing production and heavy as fuck sound. A must!



Azarath is the best-kept secret in death metal. Unbelievably brutal and fast. Chaos, chaos, chaos. War, war, war. The riffs are catchy enough to stick with you and rock out to but are played so heavily and quickly, just completely savage.

The musicianship here is top-notch. The solos are pure Kerry King - fast, noisy, junky scales - and for the music it's perfect. Just totally wild. Behemoth's Inferno contributes some of his fastest, tightest drumming ever, which is probably the real highlight of the album. Vokills appropriately alter between the high screams and low growls to great effect. Production is thin enough to be satisfyingly kvlt without losing the distinctions between the instruments, and the drums come in esp. well. Lyrics are pure Satanic war metal. Azarath keeps it simple, and that's a good thing.

This album floored me when it first came out and I'm still not sick of it. One of the best death metal albums ever.

barbeloh



..::TRACK-LIST::..

1. Legacy of Tyrant Goat 02:57
2. Nuclear Revelation 03:01
3. False God Burn in Hell 02:53
4. Demon Speed 01:57
5. Christscum 03:35
6. Damned to Hell 02:53
7. Infested with Sin 02:42
8. Joy of Mutilation 03:08
9. Born to Rot 06:13



..::OBSADA::..

Bruno - Vocals, Bass
Inferno - Drums
Bart - Guitars



https://www.youtube.com/watch?v=Q-T2-ZVukTU



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

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


..::OPIS::..

Zespół Jade zawładnął moim odtwarzaczem na długi długi czas za sprawą debiutanckiej demówki. Był to na tyle fantastyczny materiał, że ich nawet zwywiadowałem. I cierpliwie czekałem na jakieś nowe dźwięki od tej kapeli.

Minęły niespełna trzy lata i nareszcie się doczekałem. „The Pacification of Death” to wspaniały krążek – powiem Wam już na wstępie i bez ogródek. Przede wszystkim – ta płyta brzmi świeżo. Jade rozwija na niej pomysły, którymi zafascynował mnie przy okazji demówki. A dla tych, którzy nie kojarzą – ten niemiecko – hiszpański projekt sam określa swoją muzykę jako psychodeliczny death metal. Nie lubię łatek, ale coś w tym jest. Zapewne się powtórzę, ale czuję w muzyce Jade sporo nawiązań do tego co robi choćby taki Bolzer, jednakże na debiucie są już one mniej wyczuwalne w porównaniu do demówki. Zarazem kapela rozwija wachlarz pomysłów, jakimi operuje i nie wszystkie one są moim zdaniem stricte zaczerpnięte z death metalu czy metalu w ogóle. Gdzieś podskórnie w przypadku „The Pacification of Death” przebija mi się nazwa Pink Floyd, z wczesnych lat i płyt w stylu „Meddle”. A żeby Wam jeszcze odrobinę to wszystko pogmatwać to może napiszę, że to trochę tak jakby Grave Miasma chciała odegrać „Echoes” na swoją modłę? Kurwa, sam nie wiem. Fascynuje mnie ten album i to co na nim słyszę. A także to, jak on brzmi – bo sound tej płyty jest doskonały. To, jaka atmosfera jest dzięki niemu kreowana jest wręcz trudne do opisania. I generalnie – ten album jest sam w sobie trudny. Jeśli oczekujecie po prostu death metalowego napierdolu, będziecie rozczarowani. Jeśli lubicie zaś poszukiwać w muzyce ekstremalnej innych dźwięków – koniecznie zainteresujcie się Jade. Ja jestem kupiony całkowicie, nie myślałem że pod koniec roku dam jeszcze jakiejś płycie maksymalną ocenę, a tu taki wic.

Ja wracam do słuchania „The Pacification of Death”, najlepszej płyty końcówki tego roku. A może i całego roku? To jeszcze przemyślę.

Oracle


This is the debut album from international death metal band Jade.

I’ve loosely called this death metal in the introductory sentence above, but The Pacification of Death provides more than this. I suppose blackened atmospheric death metal is more accurate; Jade excel in crafting music that combines 80s/90s death/doom and mood-heavy black metal, resulting in a 40-minute album that is more notable than most.

The Pacification of Death is an atmospheric powerhouse. It has a firm epic melodic streak that manifests throughout, yet doesn’t prevent the album from exhibiting a great range of extreme metal traits. Elements of ancient doom metal and atmospheric black metal can be keenly felt, all wrapped up in a compelling death metal framework that’s thoroughly inclusive of non-death metal styles. The band take their influences and make them their own, ending up with six very charismatic and characterful tracks.

Rich melodies are frequently deployed, with skill and passion. The underpinning death/doom shares ground with the early incarnations of bands like Paradise Lost, while a Sulphur Aeon-esque death metal sheen coats the music like expensive silk. Acts like Suffering Hour, Esoctrilihum, Immolation, and The Ruins of Beverast, can also be referenced, which should also help inform your opinion of Jade, but without painting a full picture.

The vocals are a mix of expressive growls and shouted semi-cleans, that interact with each other very well. The latter style remind me of some of the performances on Mayhem‘s The Grand Declaration of War and the singer of Bölzer.

Jade’s music manages to sound both lavishly pristine and earthy and raw. It’s a beguiling combination that probably shouldn’t work, but does. This is music for both throne rooms and gutters.

The Pacification of Death delivers a striking and bold style that’s endearing and enjoyable. It offers an epic atmospheric journey from dizzying decadent heights to gritty dark depths.

Very highly recommended.

Wonderbox Metal


A bit of melodic death doom you say ? Ok then, here we go!

A gloomy windswept intro leads us tentatively down towards the dark path to the gates of this album. A soaring guitar melody haunts the music as it begins, followed by the gruff death vocals of the bassist/vocalist J. A riff soon follows the roar joined then by clean vocals, mixing well with the death growl from before. This mix of vocals is excellent, it’s dark, it’s menacing and it’s evil. The music is as promised, magnificent melodic death metal. Drums roll along giving a perfect bed for the two types of vocals to sit upon. 'The Pacification of Death' is a powerful monstrous opening title track.

The second track proves instantly that weight is not exclusive to the opening number. A similar combination of the two vocal styles is still prominent, and enjoyable, in 'Dragged Fears & Drowned Bones'. The haunting clean approach adds a ghostly feel to the demonic coarse style vocal delivery. The music is heavy, riffy, and good.

This vibe is continued into the next track. A faster thrashy black metal guitar now drops in to shake and blacken the atmosphere a little more. The tone of 'Emanation of Decay' is a little more aggressive but still contains all the atmosphere you would hope and expect from a band of this type. Sometimes expectations can leave you feeling a little flat when it come down to the nitty gritty, but not here, not with Jade and this debut.
The international three piece named J. M. and A. have mastered their craft already.

'The Pacification of Death' drips with an evil and power that never seeps away. The songs are lengthy with a lot to digest in several listens. The cleaner vocal delivery occasionally reminds of the style of doom lords Conan, with the vocal sound acting as a screamed battle call or instruction. This album manages to display all the grimness of death metal while creating an enjoyable atmosphere bringing the listener back for more and more of this debut release.

Neil Bolton



..::TRACK-LIST::..

1. The Pacification Of death 07:11
2. Dragged Fears & Drowned Bones 06:23
3. Emanation Of Decay 05:59
4. Silk Ransoms 06:56
5. Ghastly Eyes 06:21
6. The Saddest Night 07:06



..::OBSADA::..

J. - Bass & Vocals
M. - Drums
A. - Guitars




https://www.youtube.com/watch?v=polL52mWtLw



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

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


..::OPIS::..

Zespół Jade zawładnął moim odtwarzaczem na długi długi czas za sprawą debiutanckiej demówki. Był to na tyle fantastyczny materiał, że ich nawet zwywiadowałem. I cierpliwie czekałem na jakieś nowe dźwięki od tej kapeli.

Minęły niespełna trzy lata i nareszcie się doczekałem. „The Pacification of Death” to wspaniały krążek – powiem Wam już na wstępie i bez ogródek. Przede wszystkim – ta płyta brzmi świeżo. Jade rozwija na niej pomysły, którymi zafascynował mnie przy okazji demówki. A dla tych, którzy nie kojarzą – ten niemiecko – hiszpański projekt sam określa swoją muzykę jako psychodeliczny death metal. Nie lubię łatek, ale coś w tym jest. Zapewne się powtórzę, ale czuję w muzyce Jade sporo nawiązań do tego co robi choćby taki Bolzer, jednakże na debiucie są już one mniej wyczuwalne w porównaniu do demówki. Zarazem kapela rozwija wachlarz pomysłów, jakimi operuje i nie wszystkie one są moim zdaniem stricte zaczerpnięte z death metalu czy metalu w ogóle. Gdzieś podskórnie w przypadku „The Pacification of Death” przebija mi się nazwa Pink Floyd, z wczesnych lat i płyt w stylu „Meddle”. A żeby Wam jeszcze odrobinę to wszystko pogmatwać to może napiszę, że to trochę tak jakby Grave Miasma chciała odegrać „Echoes” na swoją modłę? Kurwa, sam nie wiem. Fascynuje mnie ten album i to co na nim słyszę. A także to, jak on brzmi – bo sound tej płyty jest doskonały. To, jaka atmosfera jest dzięki niemu kreowana jest wręcz trudne do opisania. I generalnie – ten album jest sam w sobie trudny. Jeśli oczekujecie po prostu death metalowego napierdolu, będziecie rozczarowani. Jeśli lubicie zaś poszukiwać w muzyce ekstremalnej innych dźwięków – koniecznie zainteresujcie się Jade. Ja jestem kupiony całkowicie, nie myślałem że pod koniec roku dam jeszcze jakiejś płycie maksymalną ocenę, a tu taki wic.

Ja wracam do słuchania „The Pacification of Death”, najlepszej płyty końcówki tego roku. A może i całego roku? To jeszcze przemyślę.

Oracle


This is the debut album from international death metal band Jade.

I’ve loosely called this death metal in the introductory sentence above, but The Pacification of Death provides more than this. I suppose blackened atmospheric death metal is more accurate; Jade excel in crafting music that combines 80s/90s death/doom and mood-heavy black metal, resulting in a 40-minute album that is more notable than most.

The Pacification of Death is an atmospheric powerhouse. It has a firm epic melodic streak that manifests throughout, yet doesn’t prevent the album from exhibiting a great range of extreme metal traits. Elements of ancient doom metal and atmospheric black metal can be keenly felt, all wrapped up in a compelling death metal framework that’s thoroughly inclusive of non-death metal styles. The band take their influences and make them their own, ending up with six very charismatic and characterful tracks.

Rich melodies are frequently deployed, with skill and passion. The underpinning death/doom shares ground with the early incarnations of bands like Paradise Lost, while a Sulphur Aeon-esque death metal sheen coats the music like expensive silk. Acts like Suffering Hour, Esoctrilihum, Immolation, and The Ruins of Beverast, can also be referenced, which should also help inform your opinion of Jade, but without painting a full picture.

The vocals are a mix of expressive growls and shouted semi-cleans, that interact with each other very well. The latter style remind me of some of the performances on Mayhem‘s The Grand Declaration of War and the singer of Bölzer.

Jade’s music manages to sound both lavishly pristine and earthy and raw. It’s a beguiling combination that probably shouldn’t work, but does. This is music for both throne rooms and gutters.

The Pacification of Death delivers a striking and bold style that’s endearing and enjoyable. It offers an epic atmospheric journey from dizzying decadent heights to gritty dark depths.

Very highly recommended.

Wonderbox Metal


A bit of melodic death doom you say ? Ok then, here we go!

A gloomy windswept intro leads us tentatively down towards the dark path to the gates of this album. A soaring guitar melody haunts the music as it begins, followed by the gruff death vocals of the bassist/vocalist J. A riff soon follows the roar joined then by clean vocals, mixing well with the death growl from before. This mix of vocals is excellent, it’s dark, it’s menacing and it’s evil. The music is as promised, magnificent melodic death metal. Drums roll along giving a perfect bed for the two types of vocals to sit upon. 'The Pacification of Death' is a powerful monstrous opening title track.

The second track proves instantly that weight is not exclusive to the opening number. A similar combination of the two vocal styles is still prominent, and enjoyable, in 'Dragged Fears & Drowned Bones'. The haunting clean approach adds a ghostly feel to the demonic coarse style vocal delivery. The music is heavy, riffy, and good.

This vibe is continued into the next track. A faster thrashy black metal guitar now drops in to shake and blacken the atmosphere a little more. The tone of 'Emanation of Decay' is a little more aggressive but still contains all the atmosphere you would hope and expect from a band of this type. Sometimes expectations can leave you feeling a little flat when it come down to the nitty gritty, but not here, not with Jade and this debut.
The international three piece named J. M. and A. have mastered their craft already.

'The Pacification of Death' drips with an evil and power that never seeps away. The songs are lengthy with a lot to digest in several listens. The cleaner vocal delivery occasionally reminds of the style of doom lords Conan, with the vocal sound acting as a screamed battle call or instruction. This album manages to display all the grimness of death metal while creating an enjoyable atmosphere bringing the listener back for more and more of this debut release.

Neil Bolton



..::TRACK-LIST::..

1. The Pacification Of death 07:11
2. Dragged Fears & Drowned Bones 06:23
3. Emanation Of Decay 05:59
4. Silk Ransoms 06:56
5. Ghastly Eyes 06:21
6. The Saddest Night 07:06



..::OBSADA::..

J. - Bass & Vocals
M. - Drums
A. - Guitars




https://www.youtube.com/watch?v=polL52mWtLw



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

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


..::OPIS::..

Dźwiękowe rarytasy i nigdy nie słyszane dźwięki od Napalm Death z lat 2004-2016.
Te utwory to bonusy z japońskich wersji ich albumów, niektóre pochodzą z płyt winylowych, inne ze splitów, z B-side'ów i wszystkiego, czego nie można znaleźć na popularnych wersjach.

NAPALM DEATH szczyci się swoją brutalnością!
Tylko muzyczna przemoc!



..::TRACK-LIST::..

CD 1:
1. Standardization 2:46
2. Oh So Pseudo 2:36
3. It Failed To Explode 3:38
4. Losers 4:21
5. Call That An Option? 3:03
6. Caste As Waste 3:06
7. We Hunt In Packs 3:49
8. Oxygen Of Duplicity 3:30
9. Paracide (Gepøpel cover) 1:39
10. Critical Gluttonous Mass 2:26
11. Aim Without An Aim 3:04
12. An Extract (Strip It Clean) 3:11
13. Phonetics For The Stupefied 3:29
14. Suppressed Hunger 3:09
15. To Go Off And Things (Cardiacs cover) 2:29

CD 2:
1. Clouds Of Cancer / Victims Of Ignorance (G-Anx cover) 2:05
2. What Is Past Is Prologue 2:56
3. Like Piss To A Sting 1:31
4. Where The Barren Is Fertile 2:22
5. Crash The Pose (Gauze cover) 1:32
6. Earthwire 2:54
7. Will By Mouth 1:25
8. Everything In Mono 2:48
9. Omnipresent Knife In Your Back 5:15
10. Lifeline (Sacrilege cover) 3:18
11. Youth Offender 2:07
12. No Impediment To Triumph (Bhopal cover) 3:01
13. Legacy Was Yesterday 2:15
14. Outconditioned (Despair cover) 2:25
15. Atheist Runt 6:07
16. Weltschmerz (Extended Apocalyptic Version) 4:04



..::OBSADA::..

Mark 'Barney' Greenway - Slurs
Shane Embury - Dirty bass smears
Mitch Harris - Coded chords
Danny Herrera - Uncommon beats




https://www.youtube.com/watch?v=lZzrZtOd2Po



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

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


..::OPIS::..

Dźwiękowe rarytasy i nigdy nie słyszane dźwięki od Napalm Death z lat 2004-2016.
Te utwory to bonusy z japońskich wersji ich albumów, niektóre pochodzą z płyt winylowych, inne ze splitów, z B-side'ów i wszystkiego, czego nie można znaleźć na popularnych wersjach.

NAPALM DEATH szczyci się swoją brutalnością!
Tylko muzyczna przemoc!



..::TRACK-LIST::..

CD 1:
1. Standardization 2:46
2. Oh So Pseudo 2:36
3. It Failed To Explode 3:38
4. Losers 4:21
5. Call That An Option? 3:03
6. Caste As Waste 3:06
7. We Hunt In Packs 3:49
8. Oxygen Of Duplicity 3:30
9. Paracide (Gepøpel cover) 1:39
10. Critical Gluttonous Mass 2:26
11. Aim Without An Aim 3:04
12. An Extract (Strip It Clean) 3:11
13. Phonetics For The Stupefied 3:29
14. Suppressed Hunger 3:09
15. To Go Off And Things (Cardiacs cover) 2:29

CD 2:
1. Clouds Of Cancer / Victims Of Ignorance (G-Anx cover) 2:05
2. What Is Past Is Prologue 2:56
3. Like Piss To A Sting 1:31
4. Where The Barren Is Fertile 2:22
5. Crash The Pose (Gauze cover) 1:32
6. Earthwire 2:54
7. Will By Mouth 1:25
8. Everything In Mono 2:48
9. Omnipresent Knife In Your Back 5:15
10. Lifeline (Sacrilege cover) 3:18
11. Youth Offender 2:07
12. No Impediment To Triumph (Bhopal cover) 3:01
13. Legacy Was Yesterday 2:15
14. Outconditioned (Despair cover) 2:25
15. Atheist Runt 6:07
16. Weltschmerz (Extended Apocalyptic Version) 4:04



..::OBSADA::..

Mark 'Barney' Greenway - Slurs
Shane Embury - Dirty bass smears
Mitch Harris - Coded chords
Danny Herrera - Uncommon beats




https://www.youtube.com/watch?v=lZzrZtOd2Po



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

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


..::OPIS::..

Kto lubi debiut Entombed i produkty pochodne? Oho, widzę mam atencję… No i bardzo dobrze, bowiem ci, którzy pozostali tu po przeczytaniu rozpoczynającego ten tekst pytania, pozostać powinni. Dla was, kochane metale (że tak sobie cynicznie podkradnę to hasło) rodzima A.D.G. przygotowała całkiem smakowitą przekąskę w postaci debiutanckiego krążka Denomination. Po krótkim introsie, atakują nas dźwięki bardzo mocno kojarzące się ze Szwecją, głównie ze wspomnianymi na wstępie klasykami. Piękne to były czasy i czasem zdaje mi się, że nasi zachodni sąsiedzi tez za nimi tęsknią. Wystarczy wspomnieć tylko Fleshcrawl, czy z młodszych Slaughterday albo Revel In Flesh. Teraz do tego grona dopisać także możecie w swoim kajeciku Denominacje. Panowie bawią się bowiem podobną nutą, w której to króluje groove i swoista przebojowość. W zasadzie wszystko co znajdziecie na „They Burn As One” jest jak pizza na zamówienie, ze wszystkimi ulubionymi dodatkami. Jest wspominane wojenne intro, outro, są d-beaty, typowe przyspieszenia czy nawet standardowe kombinowane growle, a nawet sposób ich artykulacji. Są rymowane często teksty, które ułatwiają nucenie sobie zasłyszanych piosenek. Jest ciężar i mocne pierdolnięcie w starym stylu, z odpowiednim zróżnicowaniem i podejściem do tematu z każdej strony. Żeby też, po niemiecku, ordnung był, brzmienie jest na tym płycie tak prawilne, jak reguła nakazuje. Całość śmiga co prawda dość modernistycznie, lecz gdzieś tam w tle odór staroci także wyczuć się da.

Rzecz w tym, że to wszystko jest na wskroś przewidywalne, mocno oparte na odwzorowywaniu i pozbawione jakichkolwiek elementów zaskoczenia. Owszem, może to być zarówno wadą jak i zaletą. Ja, osobiście na 'szwedziznę' muszę mieć ochotę, i aby zespół przekonał mnie, że dziś mam wpierdolić kotleciki z IKEI zamiast dajmy na to schabowego, to musi mieć jakąś siłę przebicia. Na debiucie Denomination mimo wszystko nie wyczuwam specjalnie kuszącego zapachu. I niby w zasadzie nie ma się na tych nagraniach czegokolwiek czepiać. Wydaje mi się jednak, że są one skierowane jedynie do maniaków gatunku. Ci zapewne łykną ten krążek i z uśmiechem się obliżą. Ja też nawet mlasnąłem, ale zabrakło mi tej wisienki na torcie w postaci czegoś własnego. Fajny materiał, choć absolutnie nie obowiązkowy.

jesusatan



..::TRACK-LIST::..

1. Intro 01:44
2. This is resurrection 03:49
3. Bugs 02:19
4. Left hand of god 02:48
5. Selfseeker 01:33
6. Hydrofluoric Acid 02:54
7. Slow decay 03:55
8. Requiem to harry 02:12
9. Cleansing flames 03:17
10. Der Mensch über alles 01:55
11. Conscious mind 01:24
12. Hate decade in review 03:16
13. Outro 01:19



..::OBSADA::..

Oliver Heil - vocals
Tommy Surbeck - bass
Kevin Papandreou - lead guitar
Dirk Alberti - rhythm guitar
Anton Tischenko - drums




https://www.youtube.com/watch?v=1l5sH-OBJqM



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

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


..::OPIS::..

Kto lubi debiut Entombed i produkty pochodne? Oho, widzę mam atencję… No i bardzo dobrze, bowiem ci, którzy pozostali tu po przeczytaniu rozpoczynającego ten tekst pytania, pozostać powinni. Dla was, kochane metale (że tak sobie cynicznie podkradnę to hasło) rodzima A.D.G. przygotowała całkiem smakowitą przekąskę w postaci debiutanckiego krążka Denomination. Po krótkim introsie, atakują nas dźwięki bardzo mocno kojarzące się ze Szwecją, głównie ze wspomnianymi na wstępie klasykami. Piękne to były czasy i czasem zdaje mi się, że nasi zachodni sąsiedzi tez za nimi tęsknią. Wystarczy wspomnieć tylko Fleshcrawl, czy z młodszych Slaughterday albo Revel In Flesh. Teraz do tego grona dopisać także możecie w swoim kajeciku Denominacje. Panowie bawią się bowiem podobną nutą, w której to króluje groove i swoista przebojowość. W zasadzie wszystko co znajdziecie na „They Burn As One” jest jak pizza na zamówienie, ze wszystkimi ulubionymi dodatkami. Jest wspominane wojenne intro, outro, są d-beaty, typowe przyspieszenia czy nawet standardowe kombinowane growle, a nawet sposób ich artykulacji. Są rymowane często teksty, które ułatwiają nucenie sobie zasłyszanych piosenek. Jest ciężar i mocne pierdolnięcie w starym stylu, z odpowiednim zróżnicowaniem i podejściem do tematu z każdej strony. Żeby też, po niemiecku, ordnung był, brzmienie jest na tym płycie tak prawilne, jak reguła nakazuje. Całość śmiga co prawda dość modernistycznie, lecz gdzieś tam w tle odór staroci także wyczuć się da.

Rzecz w tym, że to wszystko jest na wskroś przewidywalne, mocno oparte na odwzorowywaniu i pozbawione jakichkolwiek elementów zaskoczenia. Owszem, może to być zarówno wadą jak i zaletą. Ja, osobiście na 'szwedziznę' muszę mieć ochotę, i aby zespół przekonał mnie, że dziś mam wpierdolić kotleciki z IKEI zamiast dajmy na to schabowego, to musi mieć jakąś siłę przebicia. Na debiucie Denomination mimo wszystko nie wyczuwam specjalnie kuszącego zapachu. I niby w zasadzie nie ma się na tych nagraniach czegokolwiek czepiać. Wydaje mi się jednak, że są one skierowane jedynie do maniaków gatunku. Ci zapewne łykną ten krążek i z uśmiechem się obliżą. Ja też nawet mlasnąłem, ale zabrakło mi tej wisienki na torcie w postaci czegoś własnego. Fajny materiał, choć absolutnie nie obowiązkowy.

jesusatan



..::TRACK-LIST::..

1. Intro 01:44
2. This is resurrection 03:49
3. Bugs 02:19
4. Left hand of god 02:48
5. Selfseeker 01:33
6. Hydrofluoric Acid 02:54
7. Slow decay 03:55
8. Requiem to harry 02:12
9. Cleansing flames 03:17
10. Der Mensch über alles 01:55
11. Conscious mind 01:24
12. Hate decade in review 03:16
13. Outro 01:19



..::OBSADA::..

Oliver Heil - vocals
Tommy Surbeck - bass
Kevin Papandreou - lead guitar
Dirk Alberti - rhythm guitar
Anton Tischenko - drums




https://www.youtube.com/watch?v=1l5sH-OBJqM



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

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


..::OPIS::..

W ostatnim czasie nie brakowało nam 'death-doomów', które idealnie oddawałyby sedno gatunku, ale zawsze jest miejsce na więcej, o ile tylko istnieje talent potrzebny do stworzenia takiej doskonałości.
To właśnie w każdej możliwej formie, na przestrzeni całego albumu 'Töviskert', Rothadás raz po raz udowadnia!

Jest marką godną szacunku, a to dopiero drugi album zespołu...

FA

Following from their 2019 demo and 2021 debut LP, Hungarian death-doom masters Rothadas are back with their spectral sophomore album…

Immediately tendrils of decrepit and morbid death metal will pull you into the abyssal atmospherics the band so vibrantly conjure from the depths. Sepulchral guitars and reverberate drums contort into a monstrosity of festering evil while the macabre vocals permeate and resonate through the crushing mix. Everything constantly moving, shifting, into darker realms; you will be constantly thrown into new realms of horror with each passing moment. From their blasting cacophonies of rotten splendour to the eldritch doom that fills the air with anguish, each second has purpose in painting a picture of terror and charnel mystery in this superb follow-up to their impressive debut album.

Still lost in the abyss? Good. The darkness may feel like you are drowning, inhaling putrescent mass with each attempt to breathe but that is just the effect such potently devastating music has. There is plenty of memorability in the groove-ridden tracks while not just stagnating on a dull riff for the whole record. Thankfully Rothadas have an endless arsenal of varied ideas that each exude total malice and visceral aggression. Stomping your skull into shards, blistering your flesh or simply holding you in bewilderment with their atmospheric prowess, you will not waste a second listening to this absolute behemoth of death metal mastery and if you survive I am sure you will come back for more…


..::TRACK-LIST::..

1. Urnaszellem... szentek csontpora 08:01
2. Vértükör 07:32
3. Sóhajok kapuja 07:08
4. Tetemek tava... lidércek tánca 06:25
5. Sikoltó füst 06:05
6. Az örök isten Lucifer 09:27



https://www.youtube.com/watch?v=VVwO-a8SorQ



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

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


..::OPIS::..

W ostatnim czasie nie brakowało nam 'death-doomów', które idealnie oddawałyby sedno gatunku, ale zawsze jest miejsce na więcej, o ile tylko istnieje talent potrzebny do stworzenia takiej doskonałości.
To właśnie w każdej możliwej formie, na przestrzeni całego albumu 'Töviskert', Rothadás raz po raz udowadnia!

Jest marką godną szacunku, a to dopiero drugi album zespołu...

FA

Following from their 2019 demo and 2021 debut LP, Hungarian death-doom masters Rothadas are back with their spectral sophomore album…

Immediately tendrils of decrepit and morbid death metal will pull you into the abyssal atmospherics the band so vibrantly conjure from the depths. Sepulchral guitars and reverberate drums contort into a monstrosity of festering evil while the macabre vocals permeate and resonate through the crushing mix. Everything constantly moving, shifting, into darker realms; you will be constantly thrown into new realms of horror with each passing moment. From their blasting cacophonies of rotten splendour to the eldritch doom that fills the air with anguish, each second has purpose in painting a picture of terror and charnel mystery in this superb follow-up to their impressive debut album.

Still lost in the abyss? Good. The darkness may feel like you are drowning, inhaling putrescent mass with each attempt to breathe but that is just the effect such potently devastating music has. There is plenty of memorability in the groove-ridden tracks while not just stagnating on a dull riff for the whole record. Thankfully Rothadas have an endless arsenal of varied ideas that each exude total malice and visceral aggression. Stomping your skull into shards, blistering your flesh or simply holding you in bewilderment with their atmospheric prowess, you will not waste a second listening to this absolute behemoth of death metal mastery and if you survive I am sure you will come back for more…



..::TRACK-LIST::..

1. Urnaszellem... szentek csontpora 08:01
2. Vértükör 07:32
3. Sóhajok kapuja 07:08
4. Tetemek tava... lidércek tánca 06:25
5. Sikoltó füst 06:05
6. Az örök isten Lucifer 09:27



https://www.youtube.com/watch?v=VVwO-a8SorQ



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

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



Trzecia duża płyta weteranów z Teksasu!
Nieustający, czysty brutalny death metal zagrany z ogromną precyzją.



..::TRACK-LIST::..

1. Euthanized 04:11
2. Beyond Barriers 04:44
3. Internal Inferno 04:11
4. Marred Souls 05:47
5. Ambivalent Reflections 04:26
6. Ascension to Nowhere 01:28
7. Immune to Immorality 03:03
8. Marching over Blood / Samurai (Attomica cover) 04:28
9. Hum-unkind 04:46



..::OBSADA::..

Jaime Perez - Drums
Abel Barrera - Bass
Mike Mena - Vocals
Joe Dan De La Rosa - Guitars



https://www.youtube.com/watch?v=Er-ZERb1pKs


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

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



Trzecia duża płyta weteranów z Teksasu!
Nieustający, czysty brutalny death metal zagrany z ogromną precyzją.



..::TRACK-LIST::..

1. Euthanized 04:11
2. Beyond Barriers 04:44
3. Internal Inferno 04:11
4. Marred Souls 05:47
5. Ambivalent Reflections 04:26
6. Ascension to Nowhere 01:28
7. Immune to Immorality 03:03
8. Marching over Blood / Samurai (Attomica cover) 04:28
9. Hum-unkind 04:46



..::OBSADA::..

Jaime Perez - Drums
Abel Barrera - Bass
Mike Mena - Vocals
Joe Dan De La Rosa - Guitars



https://www.youtube.com/watch?v=Er-ZERb1pKs


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

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


..::OPIS::..

Inverted Matter is a death metal entity born as an evolution of Inverted, a band born in 2007 in the upper Treviso area, in North-eastern Italy. At the end of 2015, parting ways with Alessandro and Enrico Scriminich (guitarist and drummer who went on to form black metal band Gorrch), former Suffocation drummer Mike Smith was recruited to write a new album. At the beginning of 2016 the lineup was completed with the addition of Jason Nealy (Bleeding Eyes) as guitarist and Leonardo “Livio” Langaro (Kani) as studio bassist.

Harbinger is a concept album which focuses entirely on the oldest arthropod ever to exist on Earth, the trilobite. The eight songs Inverted Matter crafted deal with a scientific research that goes from the still unknown origins of the species to their extinction, in a mix of old school and progressive death metal influences.



..::TRACK-LIST::..

1. RAD 04:22
2. Scenario 04:48
3. Limulus Amebocite Lysate 03:37
4. Enrollment 03:07
5. Hopeless 03:53
6. Ecdisys 05:26
7. Void 03:19
8. P-Tr 05:21



..::OBSADA::..

Vocals - Paolo 'Crawl' Forner
Bass - Francesco 'Ba' Barioli
Drums - Marco 'Bestia' Dal Pastro
Guitar - Andrea 'Grind' Tocchetto, Jason 'J' Nealy




https://www.youtube.com/watch?v=Hgl7lYWJRpc



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

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


..::OPIS::..

Inverted Matter is a death metal entity born as an evolution of Inverted, a band born in 2007 in the upper Treviso area, in North-eastern Italy. At the end of 2015, parting ways with Alessandro and Enrico Scriminich (guitarist and drummer who went on to form black metal band Gorrch), former Suffocation drummer Mike Smith was recruited to write a new album. At the beginning of 2016 the lineup was completed with the addition of Jason Nealy (Bleeding Eyes) as guitarist and Leonardo “Livio” Langaro (Kani) as studio bassist.

Harbinger is a concept album which focuses entirely on the oldest arthropod ever to exist on Earth, the trilobite. The eight songs Inverted Matter crafted deal with a scientific research that goes from the still unknown origins of the species to their extinction, in a mix of old school and progressive death metal influences.



..::TRACK-LIST::..

1. RAD 04:22
2. Scenario 04:48
3. Limulus Amebocite Lysate 03:37
4. Enrollment 03:07
5. Hopeless 03:53
6. Ecdisys 05:26
7. Void 03:19
8. P-Tr 05:21



..::OBSADA::..

Vocals Paolo 'Crawl' Forner
Bass - Francesco 'Ba' Barioli
Drums - Marco 'Bestia' Dal Pastro
Guitar - Andrea 'Grind' Tocchetto, Jason 'J' Nealy




https://www.youtube.com/watch?v=Hgl7lYWJRpc



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

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


..::OPIS::..

Zabójczo brutalny atak, nieustannie mający na celu dostarczenie słuchaczowi solidnego wpierdolu!!!

FA

THE 2017 STUDIO OPUS OF BRUTAL & MERCILESS DEATH METAL FROM THE US MASTERS

Morta Skuld formed in Milwaukee in 1990, going on to release three albums on Peaceville Records (initially via legendary sub-label Deaf Records) in the early-mid 90's, with the band’s debut - the now classic Dying Remains - seeing its release in 1993. Reuniting once more with Peaceville Records, 2017 saw the comeback album from the reinvigorated US death metal maestros, with their first full-length release since the Surface album in 1997.

Wounds Deeper than Time presents Morta Skuld’s finely honed mix of power and brutality with a foot firmly planted in the old school. A pummelling union of twisted melody and crushing riffs, Wounds Deeper than Time was recorded mixed and mastered at Mercenary studios by Scott Creekmore (Putrid Pile, Broken Hope, No Zodiac, Waco Jesus, Bloodline, Lividity) & produced by the band themselves. Cover art comes courtesy of Patrick Kachellek, who created the cover for the band’s comeback EP, Serving Two Masters in 2014. Joining longstanding member and founder David Gregor (Guitar/vocals) is Scott Willecke (Guitar), AJ Lewandowski (bass) & Eric House (drums).

Morta Skuld have played numerous high profile shows over the years with the likes of Obituary, Death, Deicide, Napalm Death, Fear Factory, and Cannibal Corpse.




Finally coming back into the fold, Wisconsin death metallers Morta Skuld have been toiling away in the underground ever since the beginning of their career and especially once they reformed several years back for a nice reunion that’s still on-going. With a new lineup with second guitarist Scott Willecke and bassist AJ joining the fold, the groups’ first post-comeback and fourth full-length overall effort was released February 17, 2017 on Peaceville Records.

Despite the long layoff, it’s quite clear the band hasn’t lost their step at all as there’s plenty of life left for the group to explore based on this one. Pumping out such classic-sounding material filled with plenty of charging mid-tempo riffing and pummeling rhythms that keeps the material tight, intense and straightforward much in the same way that they usually offered in the past, making for a slew of crunchy, highly-impressive efforts. Due to the chaotic nature of these efforts, there’s plenty to work with here once this manages to get the majority of the albums’ running time with these rhythms, so when it changes over into it’s more mid-tempo elements there’s a natural balance between the ravenous, crunchy patterns and more mid-tempo, straightforward work that still slogs through the same general intensity and savageness which is what makes for the more cohesive and engaging type of work throughout here. As this is all quite common and expected with the band, that they’re able to reproduce this type of influence and clarity in this day and age makes for quite an impactful time here as this one keeps their old-school tone intact here with a great deal of their changing tones that was quite apparent throughout their catalog. While that’s all good, there’s a decidedly more modern feel and tone in the production that sounds way too clean and processed for such an old-school vibe from the arrangements of the tracks, and that does stick out throughout here quite apparently rather than the murky old-school feel. Still, that’s the only thing really wrong here.

Filled with a lot of great moments and a few minor flaws with the more modernized sound, the fact remains that there’s quite a lot of highly-enjoyable work to be found here as the guys come back into the fold with a dynamic effort that will greatly please fans of their past work or old-school death in general.

slayrrr666



..::TRACK-LIST::..

1. Breathe In The Black 05:04
2. Hating Life 03:52
3. My Weakness 04:03
4. Against The Origin 04:08
5. In Judgment 04:46
6. Wounds Deeper Than Time 05:30
7. Scars Within 04:34
8. Devour The Chaos 04:19
9. Becoming One Flesh 06:06



..::OBSADA::..

Scott Willecke - Guitars
Dave Gregor - Guitars, Vocals
Eric House - Drums
AJ Lewandowski - Bass




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



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

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


..::OPIS::..

Zabójczo brutalny atak, nieustannie mający na celu dostarczenie słuchaczowi solidnego wpierdolu!!!

FA

THE 2017 STUDIO OPUS OF BRUTAL & MERCILESS DEATH METAL FROM THE US MASTERS

Morta Skuld formed in Milwaukee in 1990, going on to release three albums on Peaceville Records (initially via legendary sub-label Deaf Records) in the early-mid 90's, with the band’s debut - the now classic Dying Remains - seeing its release in 1993. Reuniting once more with Peaceville Records, 2017 saw the comeback album from the reinvigorated US death metal maestros, with their first full-length release since the Surface album in 1997.

Wounds Deeper than Time presents Morta Skuld’s finely honed mix of power and brutality with a foot firmly planted in the old school. A pummelling union of twisted melody and crushing riffs, Wounds Deeper than Time was recorded mixed and mastered at Mercenary studios by Scott Creekmore (Putrid Pile, Broken Hope, No Zodiac, Waco Jesus, Bloodline, Lividity) & produced by the band themselves. Cover art comes courtesy of Patrick Kachellek, who created the cover for the band’s comeback EP, Serving Two Masters in 2014. Joining longstanding member and founder David Gregor (Guitar/vocals) is Scott Willecke (Guitar), AJ Lewandowski (bass) & Eric House (drums).

Morta Skuld have played numerous high profile shows over the years with the likes of Obituary, Death, Deicide, Napalm Death, Fear Factory, and Cannibal Corpse.




Finally coming back into the fold, Wisconsin death metallers Morta Skuld have been toiling away in the underground ever since the beginning of their career and especially once they reformed several years back for a nice reunion that’s still on-going. With a new lineup with second guitarist Scott Willecke and bassist AJ joining the fold, the groups’ first post-comeback and fourth full-length overall effort was released February 17, 2017 on Peaceville Records.

Despite the long layoff, it’s quite clear the band hasn’t lost their step at all as there’s plenty of life left for the group to explore based on this one. Pumping out such classic-sounding material filled with plenty of charging mid-tempo riffing and pummeling rhythms that keeps the material tight, intense and straightforward much in the same way that they usually offered in the past, making for a slew of crunchy, highly-impressive efforts. Due to the chaotic nature of these efforts, there’s plenty to work with here once this manages to get the majority of the albums’ running time with these rhythms, so when it changes over into it’s more mid-tempo elements there’s a natural balance between the ravenous, crunchy patterns and more mid-tempo, straightforward work that still slogs through the same general intensity and savageness which is what makes for the more cohesive and engaging type of work throughout here. As this is all quite common and expected with the band, that they’re able to reproduce this type of influence and clarity in this day and age makes for quite an impactful time here as this one keeps their old-school tone intact here with a great deal of their changing tones that was quite apparent throughout their catalog. While that’s all good, there’s a decidedly more modern feel and tone in the production that sounds way too clean and processed for such an old-school vibe from the arrangements of the tracks, and that does stick out throughout here quite apparently rather than the murky old-school feel. Still, that’s the only thing really wrong here.

Filled with a lot of great moments and a few minor flaws with the more modernized sound, the fact remains that there’s quite a lot of highly-enjoyable work to be found here as the guys come back into the fold with a dynamic effort that will greatly please fans of their past work or old-school death in general.

slayrrr666



..::TRACK-LIST::..

1. Breathe In The Black 05:04
2. Hating Life 03:52
3. My Weakness 04:03
4. Against The Origin 04:08
5. In Judgment 04:46
6. Wounds Deeper Than Time 05:30
7. Scars Within 04:34
8. Devour The Chaos 04:19
9. Becoming One Flesh 06:06



..::OBSADA::..

Scott Willecke - Guitars
Dave Gregor - Guitars, Vocals
Eric House - Drums
AJ Lewandowski - Bass




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



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

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


..::OPIS::..

Zabija tak jak ponad trzy dekady temu!!!
'Cause of Death' to nie tylko punkt zwrotny w karierze Obituary, ale także jedna z płyt, które wyznaczyły standardy jakości w death metalu. Scott Burns, który odpowiadał za produkcję, uchwycił esencję twórczości zespołu, tworząc materiał pełen głębi i brutalności, jednocześnie kładąc szczególny nacisk na przejrzystość i jakość brzmienia.
Atmosfera i techniczne mistrzostwo tego albumu sprawiają, że pozostaje on jednym z najważniejszych krążków w historii gatunku.



The first Obituary album I got was Xecutioner's Return, which I am pretty sure was my first death metal album as well. I liked that so much I decided to by the Two From The Vault: Slowly We Rot/Cause of Death. Slowly We Rot is a good albums and I probably prefer it to Xecutioner's Return but Cause of Death is just amazing. It's easily my favourite release by Obituary.

The thing I like about Obituary when you compare them to some other death metal bands is that they understand that being brutal is not always about speed. There are some cool fast parts on this album but there are also slow parts which are just as brutal. As well as that each member of the band is great on their instruments.

The guitars are great. There are some great, aggressive riffs which will stick in your head for a long time afterwards and the solos are also great. James Murphy is a great guitarist and I think it’s probably his influence that makes this album my favourite. The songs are longer than on Slowly We Rot and most of them are definitely more technical, although they still retain the brutality of the debut. The drums are excellent whether they are playing speedy machine gun rhythms or cool slower ones. After listening to this album I found myself with the drum beats in my head for days afterwards. Finally, the vocals. John Tardy is one amazing growler/screamer. He barely sounds human on this album. If you listen carefully you can just understand the sickening lyrics which fit excellently, I mean, come on "Chopped in Half, Feel the blood spill from your mouth", you don't get much better than that in death metal.

It's hard for me to say the best songs from the album because they are all so good. I like all of them but some more than others. Infected, Body Bag, Chopped in Half, Memories Remain and Turned Inside Out are probably my favourite songs. Circle of the Tyrants is good; I haven't heard the original so I don't no how it compares though. The other songs, Dying, Find the Arise and the title track are all good death metal songs but the ones I mentioned before really stick out.

Obituary is one of my favourite bands and this is my favourite releases by them. This album is essential death metal listening and any fan of Obituary or death metal in general who doesn’t have this album should go out and buy it today, or be shot.

DarkSurgeon


Looking to hear some exploding, mind-boggling, ear-piercing, highly original and unable-to-top kind of death metal? Well, "Cause of Death" was created and reflects that kind of vibe within itself. It is so traumatizing, especially the vocals by John Tardy - talk about the sound of death!!! Well, it's a great line up, especially with who's hitting the lead guitar work, but nonetheless the immortal James Murphy. Clocking in some brutal, distorted rhythm work with chords galore and speeds slow, but daunting, Trevor Peres is in charge. Donald Tardy hits behind the set with precision and mortification.

An album ahead of its time, a time when the Floridian death metal scene was reaching its highest. Obituary makes a mark in the scene so high and with utmost originality as well as a sort of "best 'of" compilation of songs that can only be replicated by the band. While to me it does sound like a compilation album, but really is a full-length brutal release that features guitar chords chunky and thick with an atmospheric death rattle to it. James Murphy raids the lead department and yet again sparks with utter intensity, featuring leads that are fully compliant on the fretboard the same way he hit "Spiritual Healing" by Death.

Musicianship is at its highest with John Tardy spewing forth death, gore, etc. type of lyrics, rhythms that are marked well with that intensity, leads fitting the atmosphere perfectly, and a production perfected by Scott Burns. He seemed to top death metal recorders in the production department at the time where these original sounding death metal bands were producing sounds that are so captivating and skull-wrenching. The overall aura on here was not only the vocals, rhythms, leads and drums, but the whole atmosphere featuring the most deathly sounding music ever put forth onto the scene.

Yes, they did have many competitors playing death metal, such as bands like Death, Pestilence, Cannibal Corpse, et al, and yet at that time they seemed to be among the great musicians playing this kind of metal. However, lyrical concepts are what they are on here and it suits the music. That thick, grinding, choppy, and tremolo-picked rhythms were well thought out and James Murphy rips out that talent that he bestowed on lead guitar. Such a great musician that has succumbed to the possibly life threatening brain cancer the same way that Chuck Schuldiner did. Murphy seems to be in pretty bad shape nowadays and hopefully the Sweet Relief Foundation will find funds to save him.

Get the remastered edition of "Cause of Death" for it features bonus demo tracks and an augmented, atmospheric, and damn bloody good cast of musicians with one of the top producer at the time. The music, the band, the era, and the augmented scene of deathly dying of metal is depicted. This album to me remains among the top albums in the genre of death metal ever recorded. It is my view at least, having been into death metal for over 23 years. Trust me, I know as picky as I am with albums that this one is top notch. If you choose to own it, get it ASAP because of its utter brain-wrenching death metal that's ever been heard. Obituary's finest here on this recording.

Orbitball


This is my favorite Obituary album (though I do not own their latest release, "Darkest Day", so I can't speak for it!) The reasoning here is simple: with "Cause of Death", Obituary reached something deep within the soul. The band had already released a masterpiece, with the awesome "Slowly We Rot" foreshadowing a great career playing death metal and releasing great albums in the future, but with this album, things were different. The distinctive guitar player, Allen West, who is known for his bluesy soloing, and more "laid back" approach when compared to other death metal guitar players of the day, such as Trey Azagthoth or the Hoffman brothers, was replaced by guitar virtuoso James Murphy. Okay, virtuoso is probably pushing it, but the guy is a damn good guitar player. His style was completely different from what people would have been used to with Allen West in this position, completely ditching West's bluesy, atmospheric approach, in favor of something which valued substance over style. By this, I mean that West prominently made use of whammy bar and other such "stylistic" trademarks which helped craft a greater sense of imagery upon the band's music, while Murphy took on a more melodic and technical, yet extremely emotional (in my eyes, at least) approach that has the ability to make the listener fall to his or her knees, in tears, marveling at the sheer beauty. That is hyperbole, but rest assured, the solos on this album rock.

Look no further than the album's title track, "Cause of Death" (which also happens to feature some of the best lyrics ever penned by vocalist John Tardy), for a wild ride! The song's introduction possesses one of the most memorable and soul-shattering solos on the entire album, and it alone does wonders to justify why this album is so awesome in the first place. However, that's far from all this album has to offer. Why, the album's opening track, "Infected", makes use of an extremely moody, very unsettling solo before the track even gets going with the main riff, to great effect. In fact, "great effect" is probably a really good way to describe this album. Just about everything here is in tip-top shape. Donald Tardy's drum kit sounds better than ever, with his snare tone in particular shining as one of the production's most stellar aspects, and rhythm guitarist Trevor Peres not only nails us with some of the most powerful and brutal riffs of his career (2:57 in "Chopped in Half", for instance), but the riffs are perfectly represented within his extremely crunchy, almost chainsaw-esque guitar tone (it's still not quite the same tone as one would find on a Dismember album, though!). The bass guitar of Frank Watkins (another new-comer to the band, at this time), is easily recognizable, sitting beneath the more obvious sections of the band's music, and supplying backing brutality beneath the sawing guitar riffs. He's not a bassist of flair, but he gets the job done!

Back to talking of riffs and guitars, Trevor Peres also delivers some amazing riffs here (as previously stated). "Body Bag" opens with one of the catchiest and most memorable riffs on the album, and the riff at 0:33 in "Memories Remain" still haunts my dreams (accompanied by the ever so subtle "LIEF GAOS ANNN...EVEAN AFTA... DEAFFFTHH" line from John Tardy), and in all honesty, the overall approach that he takes to his playing is enough to cement him as one of the riff-masters of the genre. Unlike many, there is very little "showing off" to be seen, and you won't hear anything in these riffs that doesn't need to be there, and does not help advance the song further. Even his rhythm riffs which churn below the unreal shredding of James Murphy, and are often comprised of only two or three chords, are capable of sticking to the mind even when a melodic solo is shredding above (Gavin Ward of Bolt Thrower is another guitarist who deserves credit for doing this, as well).

And the final member who needs to be discussed is the man himself: vocalist John Tardy. This guy is my personal favorite vocalist in all of death metal, and with "Cause of Death", he proves why. If he sounded insane on "Slowly We Rot" (and he did), then he doesn't even sound human on this album. The sheer terror in the man's voice is simply unbelievable, but what's more, is his presence within the music. By this, I mean that it took me years to realize that there are actually only one or two lines of lyrics growled in the entirety of "Chopped in Half". To have such a strong presence, that the listener doesn't even notice when you stop singing, is something truly remarkable. He simply sounds like a beast which has been unleashed from it's cage! Of course, Tardy's vocal performance is one of the few aspects of Obituary's music which has never waned in any noticeable way, even 20 years on, so this should hardly come as a surprise to anybody who was already familiar with the band.

Another unique aspect of his vocal performance with this album, is his use of backing vocal tracks. I once heard King Diamond claim that there was "alot going on" vocally on the "Don't Break the Oath" album from Mercyful Fate, and I think this description probably fits this album pretty well too (though to a much lesser extent!). It's a rather hard thing to explain, though. When you listen to some of the songs on this album, for example the album opener, "Infected" (which is where the "backing vocal" tracks are probably at their most prominent), you will hear a main vocal track of John Tardy growling along, while a side track sticks in a few words here and there. At other moments, such as the breakdown of "Body Bag" (which occurs at about 2:19), you will hear a backing track supply terrifying screams below Tardy's already maddening death grunt. This particular method of "double tracking" doesn't appear to be very common these days, where bands choose instead to copy the Deicide method (and if you don't know what that is, listen to any Deicide song from the "Scars of the Crucifix" album!), which I think is rather sad. Like I said earlier, this helps enhance the presence of Tardy's voice, giving the listener the impression that they are in a room filled with demonic, grunting entities (which is much more brutal than having two different styles repeat the same line...), or perhaps they are hearing sadistic voices in their heads, taunting them and urging them to kill? In either case, the vocals of John Tardy are clearly great on this album, and do wonders to enhance the atmosphere into something far beyond anything the band ever had done or ever would do.

There is so much more to talk about with this album, but in the end, I shouldn't need to explain further. If you don't already own this album, and are considering buying it...go ahead and do it, you won't regret it.

enigmatech



..::TRACK-LIST::..

1. Infected
2. Body Bag
3. Chopped In Half
4. Circle Of The Tyrants
5. Dying
6. Find The Arise
7. Cause of Death
8. Memories Remain
9. Turned Inside Out

Bonus Tracks:
10. Infected (demo)
11. Memories Remain (demo)
12. Chopped In Half (demo)



..::OBSADA::..

John Tardy - vocals
James Murphy - lead guitar
Trevor Peres - rhythm guitar
Frank Watkins - bass
Donald Tardy - drums




https://www.youtube.com/watch?v=EYxd8WxQIsU


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

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


..::OPIS::..

Zabija tak jak ponad trzy dekady temu!!!
'Cause of Death' to nie tylko punkt zwrotny w karierze Obituary, ale także jedna z płyt, które wyznaczyły standardy jakości w death metalu. Scott Burns, który odpowiadał za produkcję, uchwycił esencję twórczości zespołu, tworząc materiał pełen głębi i brutalności, jednocześnie kładąc szczególny nacisk na przejrzystość i jakość brzmienia.
Atmosfera i techniczne mistrzostwo tego albumu sprawiają, że pozostaje on jednym z najważniejszych krążków w historii gatunku.



The first Obituary album I got was Xecutioner's Return, which I am pretty sure was my first death metal album as well. I liked that so much I decided to by the Two From The Vault: Slowly We Rot/Cause of Death. Slowly We Rot is a good albums and I probably prefer it to Xecutioner's Return but Cause of Death is just amazing. It's easily my favourite release by Obituary.

The thing I like about Obituary when you compare them to some other death metal bands is that they understand that being brutal is not always about speed. There are some cool fast parts on this album but there are also slow parts which are just as brutal. As well as that each member of the band is great on their instruments.

The guitars are great. There are some great, aggressive riffs which will stick in your head for a long time afterwards and the solos are also great. James Murphy is a great guitarist and I think it’s probably his influence that makes this album my favourite. The songs are longer than on Slowly We Rot and most of them are definitely more technical, although they still retain the brutality of the debut. The drums are excellent whether they are playing speedy machine gun rhythms or cool slower ones. After listening to this album I found myself with the drum beats in my head for days afterwards. Finally, the vocals. John Tardy is one amazing growler/screamer. He barely sounds human on this album. If you listen carefully you can just understand the sickening lyrics which fit excellently, I mean, come on "Chopped in Half, Feel the blood spill from your mouth", you don't get much better than that in death metal.

It's hard for me to say the best songs from the album because they are all so good. I like all of them but some more than others. Infected, Body Bag, Chopped in Half, Memories Remain and Turned Inside Out are probably my favourite songs. Circle of the Tyrants is good; I haven't heard the original so I don't no how it compares though. The other songs, Dying, Find the Arise and the title track are all good death metal songs but the ones I mentioned before really stick out.

Obituary is one of my favourite bands and this is my favourite releases by them. This album is essential death metal listening and any fan of Obituary or death metal in general who doesn’t have this album should go out and buy it today, or be shot.

DarkSurgeon


Looking to hear some exploding, mind-boggling, ear-piercing, highly original and unable-to-top kind of death metal? Well, "Cause of Death" was created and reflects that kind of vibe within itself. It is so traumatizing, especially the vocals by John Tardy - talk about the sound of death!!! Well, it's a great line up, especially with who's hitting the lead guitar work, but nonetheless the immortal James Murphy. Clocking in some brutal, distorted rhythm work with chords galore and speeds slow, but daunting, Trevor Peres is in charge. Donald Tardy hits behind the set with precision and mortification.

An album ahead of its time, a time when the Floridian death metal scene was reaching its highest. Obituary makes a mark in the scene so high and with utmost originality as well as a sort of "best 'of" compilation of songs that can only be replicated by the band. While to me it does sound like a compilation album, but really is a full-length brutal release that features guitar chords chunky and thick with an atmospheric death rattle to it. James Murphy raids the lead department and yet again sparks with utter intensity, featuring leads that are fully compliant on the fretboard the same way he hit "Spiritual Healing" by Death.

Musicianship is at its highest with John Tardy spewing forth death, gore, etc. type of lyrics, rhythms that are marked well with that intensity, leads fitting the atmosphere perfectly, and a production perfected by Scott Burns. He seemed to top death metal recorders in the production department at the time where these original sounding death metal bands were producing sounds that are so captivating and skull-wrenching. The overall aura on here was not only the vocals, rhythms, leads and drums, but the whole atmosphere featuring the most deathly sounding music ever put forth onto the scene.

Yes, they did have many competitors playing death metal, such as bands like Death, Pestilence, Cannibal Corpse, et al, and yet at that time they seemed to be among the great musicians playing this kind of metal. However, lyrical concepts are what they are on here and it suits the music. That thick, grinding, choppy, and tremolo-picked rhythms were well thought out and James Murphy rips out that talent that he bestowed on lead guitar. Such a great musician that has succumbed to the possibly life threatening brain cancer the same way that Chuck Schuldiner did. Murphy seems to be in pretty bad shape nowadays and hopefully the Sweet Relief Foundation will find funds to save him.

Get the remastered edition of "Cause of Death" for it features bonus demo tracks and an augmented, atmospheric, and damn bloody good cast of musicians with one of the top producer at the time. The music, the band, the era, and the augmented scene of deathly dying of metal is depicted. This album to me remains among the top albums in the genre of death metal ever recorded. It is my view at least, having been into death metal for over 23 years. Trust me, I know as picky as I am with albums that this one is top notch. If you choose to own it, get it ASAP because of its utter brain-wrenching death metal that's ever been heard. Obituary's finest here on this recording.

Orbitball


This is my favorite Obituary album (though I do not own their latest release, "Darkest Day", so I can't speak for it!) The reasoning here is simple: with "Cause of Death", Obituary reached something deep within the soul. The band had already released a masterpiece, with the awesome "Slowly We Rot" foreshadowing a great career playing death metal and releasing great albums in the future, but with this album, things were different. The distinctive guitar player, Allen West, who is known for his bluesy soloing, and more "laid back" approach when compared to other death metal guitar players of the day, such as Trey Azagthoth or the Hoffman brothers, was replaced by guitar virtuoso James Murphy. Okay, virtuoso is probably pushing it, but the guy is a damn good guitar player. His style was completely different from what people would have been used to with Allen West in this position, completely ditching West's bluesy, atmospheric approach, in favor of something which valued substance over style. By this, I mean that West prominently made use of whammy bar and other such "stylistic" trademarks which helped craft a greater sense of imagery upon the band's music, while Murphy took on a more melodic and technical, yet extremely emotional (in my eyes, at least) approach that has the ability to make the listener fall to his or her knees, in tears, marveling at the sheer beauty. That is hyperbole, but rest assured, the solos on this album rock.

Look no further than the album's title track, "Cause of Death" (which also happens to feature some of the best lyrics ever penned by vocalist John Tardy), for a wild ride! The song's introduction possesses one of the most memorable and soul-shattering solos on the entire album, and it alone does wonders to justify why this album is so awesome in the first place. However, that's far from all this album has to offer. Why, the album's opening track, "Infected", makes use of an extremely moody, very unsettling solo before the track even gets going with the main riff, to great effect. In fact, "great effect" is probably a really good way to describe this album. Just about everything here is in tip-top shape. Donald Tardy's drum kit sounds better than ever, with his snare tone in particular shining as one of the production's most stellar aspects, and rhythm guitarist Trevor Peres not only nails us with some of the most powerful and brutal riffs of his career (2:57 in "Chopped in Half", for instance), but the riffs are perfectly represented within his extremely crunchy, almost chainsaw-esque guitar tone (it's still not quite the same tone as one would find on a Dismember album, though!). The bass guitar of Frank Watkins (another new-comer to the band, at this time), is easily recognizable, sitting beneath the more obvious sections of the band's music, and supplying backing brutality beneath the sawing guitar riffs. He's not a bassist of flair, but he gets the job done!

Back to talking of riffs and guitars, Trevor Peres also delivers some amazing riffs here (as previously stated). "Body Bag" opens with one of the catchiest and most memorable riffs on the album, and the riff at 0:33 in "Memories Remain" still haunts my dreams (accompanied by the ever so subtle "LIEF GAOS ANNN...EVEAN AFTA... DEAFFFTHH" line from John Tardy), and in all honesty, the overall approach that he takes to his playing is enough to cement him as one of the riff-masters of the genre. Unlike many, there is very little "showing off" to be seen, and you won't hear anything in these riffs that doesn't need to be there, and does not help advance the song further. Even his rhythm riffs which churn below the unreal shredding of James Murphy, and are often comprised of only two or three chords, are capable of sticking to the mind even when a melodic solo is shredding above (Gavin Ward of Bolt Thrower is another guitarist who deserves credit for doing this, as well).

And the final member who needs to be discussed is the man himself: vocalist John Tardy. This guy is my personal favorite vocalist in all of death metal, and with "Cause of Death", he proves why. If he sounded insane on "Slowly We Rot" (and he did), then he doesn't even sound human on this album. The sheer terror in the man's voice is simply unbelievable, but what's more, is his presence within the music. By this, I mean that it took me years to realize that there are actually only one or two lines of lyrics growled in the entirety of "Chopped in Half". To have such a strong presence, that the listener doesn't even notice when you stop singing, is something truly remarkable. He simply sounds like a beast which has been unleashed from it's cage! Of course, Tardy's vocal performance is one of the few aspects of Obituary's music which has never waned in any noticeable way, even 20 years on, so this should hardly come as a surprise to anybody who was already familiar with the band.

Another unique aspect of his vocal performance with this album, is his use of backing vocal tracks. I once heard King Diamond claim that there was "alot going on" vocally on the "Don't Break the Oath" album from Mercyful Fate, and I think this description probably fits this album pretty well too (though to a much lesser extent!). It's a rather hard thing to explain, though. When you listen to some of the songs on this album, for example the album opener, "Infected" (which is where the "backing vocal" tracks are probably at their most prominent), you will hear a main vocal track of John Tardy growling along, while a side track sticks in a few words here and there. At other moments, such as the breakdown of "Body Bag" (which occurs at about 2:19), you will hear a backing track supply terrifying screams below Tardy's already maddening death grunt. This particular method of "double tracking" doesn't appear to be very common these days, where bands choose instead to copy the Deicide method (and if you don't know what that is, listen to any Deicide song from the "Scars of the Crucifix" album!), which I think is rather sad. Like I said earlier, this helps enhance the presence of Tardy's voice, giving the listener the impression that they are in a room filled with demonic, grunting entities (which is much more brutal than having two different styles repeat the same line...), or perhaps they are hearing sadistic voices in their heads, taunting them and urging them to kill? In either case, the vocals of John Tardy are clearly great on this album, and do wonders to enhance the atmosphere into something far beyond anything the band ever had done or ever would do.

There is so much more to talk about with this album, but in the end, I shouldn't need to explain further. If you don't already own this album, and are considering buying it...go ahead and do it, you won't regret it.

enigmatech



..::TRACK-LIST::..

1. Infected
2. Body Bag
3. Chopped In Half
4. Circle Of The Tyrants
5. Dying
6. Find The Arise
7. Cause of Death
8. Memories Remain
9. Turned Inside Out

Bonus Tracks:
10. Infected (demo)
11. Memories Remain (demo)
12. Chopped In Half (demo)



..::OBSADA::..

John Tardy - vocals
James Murphy - lead guitar
Trevor Peres - rhythm guitar
Frank Watkins - bass
Donald Tardy - drums




https://www.youtube.com/watch?v=EYxd8WxQIsU


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

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


..::OPIS::..

Po pięcioletniej przerwie Wasteform powraca z trzecią dużą płytą! Powalający masywny i ciężki brutalny death metal w amerykańskim stylu.
5 nowych numerów + 2 koncertowe wcześniej niepublikowane.
Pozycja obowiązkowa dla fanów SUFFOCATION, PYREXIA, DYING FETUS, SKINLESS!



..::TRACK-LIST::..

1. Sasquatch Sausages 04:02
2. Bedtime Butcher 03:14
3. Remnants Of... 04:06
4. Gori Amos 04:22
5. Goatmass 06:31
6. A Bitter End (Live) 05:19
7. Sewer Chewer (Live) 01:29



..::OBSADA::..

Bass - Samm Beleya
Drums - Bryan Mearon
Guitar - Akim Vladimir
Vocals - Greg Kennedy



https://www.youtube.com/watch?v=SJZlrc4q5iY


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

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


..::OPIS::..

Po pięcioletniej przerwie Wasteform powraca z trzecią dużą płytą! Powalający masywny i ciężki brutalny death metal w amerykańskim stylu.
5 nowych numerów + 2 koncertowe wcześniej niepublikowane.
Pozycja obowiązkowa dla fanów SUFFOCATION, PYREXIA, DYING FETUS, SKINLESS!



..::TRACK-LIST::..

1. Sasquatch Sausages 04:02
2. Bedtime Butcher 03:14
3. Remnants Of... 04:06
4. Gori Amos 04:22
5. Goatmass 06:31
6. A Bitter End (Live) 05:19
7. Sewer Chewer (Live) 01:29



..::OBSADA::..

Bass - Samm Beleya
Drums - Bryan Mearon
Guitar - Akim Vladimir
Vocals - Greg Kennedy



https://www.youtube.com/watch?v=SJZlrc4q5iY


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

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


..::OPIS::..

Czołówka nowej fali islandzkiego death metalu! Połączenie brutalnego, technicznego i progresywnego grania.

Pozycja obowiązkowa dla fanów GORGUTS, SUFFOCATION, CEPHALIC CARNAGE!!!



This is Severed Crotch's first full-length album. The songs on the album range all the way from the band's earliest days up to very recent material. It was mostly recorded by Ási Jóhannson and co-produced by Severed Crotch and was self-released by the band during the summer of 2010. In march 2011 it was released worldwide by Amputated Vein Records



A refreshing take on a style of death metal that may be considered stale to some.

I'm not a huge technical death metal fan but I can appreciate the style and the bands that play it.
At my first glance at the name and cover I thought this would be another boring brutal/slam death metal album, but I was wrong. The first song "A Breath of Hatred" had me interested for what was to come and didn't lose my attention. The one minute mark of this song has me headbanging and throwing up metal horns with a very creative riff that goes for a little bit without getting old. To me it seems most tech death bands have parts that you REALLY, REALLY like but they're not long enough. But that is not the case with SEVERED CROTCH. When they have a good flow picking up, they don't drop it. They ride that flow not too long and not too short. Just long enough for the listener to get really into it.
The vocals are also a remarkable element. They are generally low pitched, but the vocalist can change it up every now and then. It seems to flow with the music very well and makes it pleasing to the listener. The rest of the album kind of has the same feel to it, but it's not repetitive. You won't find yourself saying, "This is lame. I want to listen to something else." What you really find yourself saying at the end is, "Wow. That was impressive. I wonder if they have more material."

Any fan of death metal can enjoy this, even if technical death metal isn't their preference. And please, don't get turned off by the band name. I'm a very picky person and even I can look past it. Once you have listened to this, and you if you enjoyed it, I hope you also look forward to more releases by them.

730



..::TRACK-LIST::..

1. Precursor To Entropy 3:38
2. Breeding Failure 4:53
3. Ecstasy In Death 3:39
4. Human Recipes 4:17
5. XII 4:01
6. Soul Cremation 4:09
7. A Breath Of Hatred 4:47
8. The Nature Of Infidelity 6:03
9. Caught In Transcendence 6:23



..::OBSADA::..

Gunni - Drums
Þórður - Bass
Ingólfur - Vocals
Ingvar - Guitars
Kjartan - Guitars

Supervised By [Vocals Supervised By] - Ragnar Ólafsson
Piano - Svenni Svenn
Choir - Elli



https://www.youtube.com/watch?v=aS68wBrS-jM



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

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


..::OPIS::..

Czołówka nowej fali islandzkiego death metalu! Połączenie brutalnego, technicznego i progresywnego grania.

Pozycja obowiązkowa dla fanów GORGUTS, SUFFOCATION, CEPHALIC CARNAGE!!!



This is Severed Crotch's first full-length album. The songs on the album range all the way from the band's earliest days up to very recent material. It was mostly recorded by Ási Jóhannson and co-produced by Severed Crotch and was self-released by the band during the summer of 2010. In march 2011 it was released worldwide by Amputated Vein Records



A refreshing take on a style of death metal that may be considered stale to some.

I'm not a huge technical death metal fan but I can appreciate the style and the bands that play it.
At my first glance at the name and cover I thought this would be another boring brutal/slam death metal album, but I was wrong. The first song "A Breath of Hatred" had me interested for what was to come and didn't lose my attention. The one minute mark of this song has me headbanging and throwing up metal horns with a very creative riff that goes for a little bit without getting old. To me it seems most tech death bands have parts that you REALLY, REALLY like but they're not long enough. But that is not the case with SEVERED CROTCH. When they have a good flow picking up, they don't drop it. They ride that flow not too long and not too short. Just long enough for the listener to get really into it.
The vocals are also a remarkable element. They are generally low pitched, but the vocalist can change it up every now and then. It seems to flow with the music very well and makes it pleasing to the listener. The rest of the album kind of has the same feel to it, but it's not repetitive. You won't find yourself saying, "This is lame. I want to listen to something else." What you really find yourself saying at the end is, "Wow. That was impressive. I wonder if they have more material."

Any fan of death metal can enjoy this, even if technical death metal isn't their preference. And please, don't get turned off by the band name. I'm a very picky person and even I can look past it. Once you have listened to this, and you if you enjoyed it, I hope you also look forward to more releases by them.

730



..::TRACK-LIST::..

1. Precursor To Entropy 3:38
2. Breeding Failure 4:53
3. Ecstasy In Death 3:39
4. Human Recipes 4:17
5. XII 4:01
6. Soul Cremation 4:09
7. A Breath Of Hatred 4:47
8. The Nature Of Infidelity 6:03
9. Caught In Transcendence 6:23



..::OBSADA::..

Gunni - Drums
Þórður - Bass
Ingólfur - Vocals
Ingvar - Guitars
Kjartan - Guitars

Supervised By [Vocals Supervised By] - Ragnar Ólafsson
Piano - Svenni Svenn
Choir - Elli



https://www.youtube.com/watch?v=aS68wBrS-jM



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

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


..::OPIS::..

Drugi album morderczej załogi z Północnej Karoliny, w skład której wchodzą ludzie z LUST OF DECAY, PUTRILAGE, LECHEROUS NOCTURNE, FLESH CONSUMED. Najwyższej klasy brutalny amerykański death metal.


To fantastyczny powrót Atrocious Abnormality.
Album składa się z dziewięciu niezwykle przyjemnych utworów, pełnych nieustępliwego, agresywnego i świetnie zaaranżowanego death metalu od początku do końca, który przez cały czas zachowuje brutalność i techniczny charakter.

FA


North Carolina death metal machine Atrocious Abnormality are poised to strike with their highly anticipated second full length CD, ‘Formed in Disgust’. A punishing follow up to their 2007 debut release ‘Echoes of the Rotting’, this new offering is a brutal combination of throat ripping guttural vocals and bowel shredding guitar riffs, together with an onslaught of merciless drumming and a bass bombardment of deadly precision. Ranging from fast technical sections, to slower haunting passages, to pit crushing slam and groove breakdowns, this CD has something for everyone and will satisfy the ravenous hunger of the most discerning death metal cannibals. In addition to this outbreak of sickness, there are also some respectable guest vocalist featured throughout the album to maximize the blasphemous carnage. Artwork by Marco Hasmann.


Hailing from North Carolina is Atrocious Abnormality, and they have returned with their sophomore effort entitled “Formed in Disgust”, which I must say is disgustingly awesome! There is no doubt that this is going to be one of the best brutal death metal albums of 2016. Having only been around since 2006 and having only a demo and 1 other album to their credit, these guys have crafted and mastered their art early on. Each one of these 9 tunes is so oozingly infectious, all you can do is just sit back and attempt to take in all of its awesomeness.

I need to start this one out by talking about the drum work. This is just absolutely sick! Not sure if the drums are triggered or not but the double bass is just insane. Thick and bottom heavy, well mixed and produced, Brent Williams can definitely hold his own with any drummer playing the same type of metal. He sounds absolutely super human behind the kit. Like a mixture of newer Suffocation, and Infected Flesh with a little “Legion” era Deicide style thrown in for good measure. I really like his playing ability. This guy has a lot of skill and is not afraid to display it. James O’Neal plays bass and a few of the bass lines are brought to the forefront of the music to play alongside the riffs which seems to add a nice agony filled chaos to the music. Some bands to bring the bass to the forefront of the music, yes, but These guys have a unique approach in that it is of a higher chord where as other bands use a lower chord just to get the “fuzz” or the “rumble” effect of the instrument. The more I think about it and listen to it, the more it reminds me of the bass work on Cannibal Corpse’s “Butchered at Birth” and “Tomb of the Mutilated” releases. Steve Green tackles both guitar and vocal duties and does a damn fine job of both. In many aspects of his playing it reminds me of mid to late 90’s traditional death metal style of riffage. Perhaps not in composition but more in style and delivery. There is also an unmistakable grindcore edge as well which only adds to the awesomeness and overall enjoyment of the album as a whole. Steve’s vocal patterns fit the material perfectly and aren’t all that hard to decipher when following along with the lyrics as compared to other bands playing the same type of brutal death metal. This is definitely a plus.

When you put all the aspects of this album together, you have something that is 100% true to form and unwavering in its intensity and brutality. There are absolutely no compromises. From beginning to end, this album does not let up and it keeps you right on the edge of your seat. So, if you like any of the above mentioned bands, then you are advised to get this and add it to your collection. This wonderful work or art is released by Comatose Records which just happens to be created and owned by Mr. Steve Green. Show the label some love and Atrocious Abnormality some love and get this CD, put it in your stereo and crank it up and let its awesomeness consume you whole!

Akerthorpe


The second full-length from North Carolina brutal death metallers Atrocious Abnormality offer such a wide array of influences spanning the entire gamut of elements popular within the brutal death realm it become wholly enjoyable. Straight from the beginning here, this one manages to feature such a varied and completely over-the-top attack that features a wide range of work throughout here. Nominally under most brutal death metal there comes all the tight, ferocious riffing that contains all sorts of shredding, flesh-ripping patterns and ripping speed-driven rhythms that offer up the most pulverizing beats and riffs possible, all of which comes through quite nicely in the genre as this is among the fastest bands in this particular style. Alongside this explosive series of riff-work, there’s a large amount of spindly, technical rhythms at these dizzying speeds that are complex not only for the different arrangements as well as the manner of changing from the different styles and paces with expert precision, catapulting this one even further along the range with a dynamic style all wrapped together. Coupled together with a few explosive slams brought in with ‘Erotic Tales of Disembowelment’ as well, the wide array of work here makes for a completely varied and complete look that makes for a dynamic attack.

The first half gives this one plenty to enjoy about it. Opener ‘Failed Apocalypse’ uses the sampled speech to set up the slowly-unfolding onslaught of spindly technical riffing and battering bass-lines slamming together through the staggered mid-tempo paces leading nicely into proper first track ‘Exterminate the Apostles’ featuring battering drumming and inhuman blasting alongside charging up-tempo series of technical riff-work full of tight, speed-driven rhythms and battering drumming charging along into the heavy slams featured in the spindly riffing of the final half for a dynamic, blistering effort. ‘Storm of Ash’ takes a steady stream of blasting drumming and tight chugging rhythms building into a slew of frantic, technical riffs slowly taking the frenetic rhythms along faster speeds with charging intensity erupting through blistering speeds slamming into the finale for a truly spectacular highlight. ‘Erotic Tales of Disembowelment’ weaves a strong series of spindly technical riffing and blasting drumming alongside a tight, thumping series of slams chugging through the series of frantic, mid-tempo segments full of dexterous, diving technicality in the riffing carrying through into the final half for another spectacular effort. The title track takes on blistering spindly riff-work and frantic blasting alongside the tight, blazing speed-driven rhythms charging along through the choppy rhythms carrying into the utterly relentless drumming bringing the frantic speeds along the finale for a strong overall effort.

Likewise, the second half here follows the first half rather nicely. ‘Bound for Damnation’ uses the lengthy sampled storyline intro that turns into blistering drum-work alongside dexterous riffing change-ups and tight, charging paces throughout with a series of blistering razor-wire rhythms savagely razing through the occasional slam blasting through the final half for a highly enjoyable track. ‘The Inevitable Undoing’ utilizes choppy drumming blasting throughout the series of spindly riffing full of tight, frenzied sections providing the blistering speed and choppy rhythms blazing throughout the series of scattered patterns dripping with the frenzied slamming through the finale making for another strong highlight effort. ‘Echoes of the Rotting’ blazes through a series of strong choppy technical riffs with the thumping rhythms taking the tight, frenetic riffs alongside the furious blasting drum-work full of dexterous pacing changes with the dynamic riffing covering the changes throughout the final half for overall-back-to-back highlights. Finally, album-closer ‘Incestry’ starts with a bluegrass-banjo intro before diving into a pummeling series of tight rhythms and utterly dexterous technical patterns filled with varying tempo changes with the riffing flowing through a series of utterly blistering rhythms alongside the dive-bombing patterns throughout the finale for a truly explosive finishing note here.

As there’s not a whole lot of overall flaws here and plenty to enjoy from the varied and comprehensive attack featured here that has so much to enjoy containing nearly everything possible in terms of brutal death metal that this one is completely appealing for any and all fans of the style or those that simply enjoy good, heavy extreme metal.

slayrrr666



..::TRACK-LIST::..

1. Failed Apocalypse 03:15
2. Exterminate the Apostles 03:32
3. Storm of Ash 03:07
4. Erotic Tales of Disembowelment 03:10
5. Formed in Disgust 02:52
6. Bound for Damnation 04:09
7. The Inevitable Undoing 03:47
8. Echoes of the Rotting 02:34
9. Incestry 03:06



..::OBSADA::..

James O'Neal - Bass
Brent Williams - Drums
Steve Green - Guitars, Vocals



https://www.youtube.com/watch?v=BK7CI6NP7po



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

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


..::OPIS::..

Drugi album morderczej załogi z Północnej Karoliny, w skład której wchodzą ludzie z LUST OF DECAY, PUTRILAGE, LECHEROUS NOCTURNE, FLESH CONSUMED. Najwyższej klasy brutalny amerykański death metal.


To fantastyczny powrót Atrocious Abnormality.
Album składa się z dziewięciu niezwykle przyjemnych utworów, pełnych nieustępliwego, agresywnego i świetnie zaaranżowanego death metalu od początku do końca, który przez cały czas zachowuje brutalność i techniczny charakter.

FA


North Carolina death metal machine Atrocious Abnormality are poised to strike with their highly anticipated second full length CD, ‘Formed in Disgust’. A punishing follow up to their 2007 debut release ‘Echoes of the Rotting’, this new offering is a brutal combination of throat ripping guttural vocals and bowel shredding guitar riffs, together with an onslaught of merciless drumming and a bass bombardment of deadly precision. Ranging from fast technical sections, to slower haunting passages, to pit crushing slam and groove breakdowns, this CD has something for everyone and will satisfy the ravenous hunger of the most discerning death metal cannibals. In addition to this outbreak of sickness, there are also some respectable guest vocalist featured throughout the album to maximize the blasphemous carnage. Artwork by Marco Hasmann.


Hailing from North Carolina is Atrocious Abnormality, and they have returned with their sophomore effort entitled “Formed in Disgust”, which I must say is disgustingly awesome! There is no doubt that this is going to be one of the best brutal death metal albums of 2016. Having only been around since 2006 and having only a demo and 1 other album to their credit, these guys have crafted and mastered their art early on. Each one of these 9 tunes is so oozingly infectious, all you can do is just sit back and attempt to take in all of its awesomeness.

I need to start this one out by talking about the drum work. This is just absolutely sick! Not sure if the drums are triggered or not but the double bass is just insane. Thick and bottom heavy, well mixed and produced, Brent Williams can definitely hold his own with any drummer playing the same type of metal. He sounds absolutely super human behind the kit. Like a mixture of newer Suffocation, and Infected Flesh with a little “Legion” era Deicide style thrown in for good measure. I really like his playing ability. This guy has a lot of skill and is not afraid to display it. James O’Neal plays bass and a few of the bass lines are brought to the forefront of the music to play alongside the riffs which seems to add a nice agony filled chaos to the music. Some bands to bring the bass to the forefront of the music, yes, but These guys have a unique approach in that it is of a higher chord where as other bands use a lower chord just to get the “fuzz” or the “rumble” effect of the instrument. The more I think about it and listen to it, the more it reminds me of the bass work on Cannibal Corpse’s “Butchered at Birth” and “Tomb of the Mutilated” releases. Steve Green tackles both guitar and vocal duties and does a damn fine job of both. In many aspects of his playing it reminds me of mid to late 90’s traditional death metal style of riffage. Perhaps not in composition but more in style and delivery. There is also an unmistakable grindcore edge as well which only adds to the awesomeness and overall enjoyment of the album as a whole. Steve’s vocal patterns fit the material perfectly and aren’t all that hard to decipher when following along with the lyrics as compared to other bands playing the same type of brutal death metal. This is definitely a plus.

When you put all the aspects of this album together, you have something that is 100% true to form and unwavering in its intensity and brutality. There are absolutely no compromises. From beginning to end, this album does not let up and it keeps you right on the edge of your seat. So, if you like any of the above mentioned bands, then you are advised to get this and add it to your collection. This wonderful work or art is released by Comatose Records which just happens to be created and owned by Mr. Steve Green. Show the label some love and Atrocious Abnormality some love and get this CD, put it in your stereo and crank it up and let its awesomeness consume you whole!

Akerthorpe


The second full-length from North Carolina brutal death metallers Atrocious Abnormality offer such a wide array of influences spanning the entire gamut of elements popular within the brutal death realm it become wholly enjoyable. Straight from the beginning here, this one manages to feature such a varied and completely over-the-top attack that features a wide range of work throughout here. Nominally under most brutal death metal there comes all the tight, ferocious riffing that contains all sorts of shredding, flesh-ripping patterns and ripping speed-driven rhythms that offer up the most pulverizing beats and riffs possible, all of which comes through quite nicely in the genre as this is among the fastest bands in this particular style. Alongside this explosive series of riff-work, there’s a large amount of spindly, technical rhythms at these dizzying speeds that are complex not only for the different arrangements as well as the manner of changing from the different styles and paces with expert precision, catapulting this one even further along the range with a dynamic style all wrapped together. Coupled together with a few explosive slams brought in with ‘Erotic Tales of Disembowelment’ as well, the wide array of work here makes for a completely varied and complete look that makes for a dynamic attack.

The first half gives this one plenty to enjoy about it. Opener ‘Failed Apocalypse’ uses the sampled speech to set up the slowly-unfolding onslaught of spindly technical riffing and battering bass-lines slamming together through the staggered mid-tempo paces leading nicely into proper first track ‘Exterminate the Apostles’ featuring battering drumming and inhuman blasting alongside charging up-tempo series of technical riff-work full of tight, speed-driven rhythms and battering drumming charging along into the heavy slams featured in the spindly riffing of the final half for a dynamic, blistering effort. ‘Storm of Ash’ takes a steady stream of blasting drumming and tight chugging rhythms building into a slew of frantic, technical riffs slowly taking the frenetic rhythms along faster speeds with charging intensity erupting through blistering speeds slamming into the finale for a truly spectacular highlight. ‘Erotic Tales of Disembowelment’ weaves a strong series of spindly technical riffing and blasting drumming alongside a tight, thumping series of slams chugging through the series of frantic, mid-tempo segments full of dexterous, diving technicality in the riffing carrying through into the final half for another spectacular effort. The title track takes on blistering spindly riff-work and frantic blasting alongside the tight, blazing speed-driven rhythms charging along through the choppy rhythms carrying into the utterly relentless drumming bringing the frantic speeds along the finale for a strong overall effort.

Likewise, the second half here follows the first half rather nicely. ‘Bound for Damnation’ uses the lengthy sampled storyline intro that turns into blistering drum-work alongside dexterous riffing change-ups and tight, charging paces throughout with a series of blistering razor-wire rhythms savagely razing through the occasional slam blasting through the final half for a highly enjoyable track. ‘The Inevitable Undoing’ utilizes choppy drumming blasting throughout the series of spindly riffing full of tight, frenzied sections providing the blistering speed and choppy rhythms blazing throughout the series of scattered patterns dripping with the frenzied slamming through the finale making for another strong highlight effort. ‘Echoes of the Rotting’ blazes through a series of strong choppy technical riffs with the thumping rhythms taking the tight, frenetic riffs alongside the furious blasting drum-work full of dexterous pacing changes with the dynamic riffing covering the changes throughout the final half for overall-back-to-back highlights. Finally, album-closer ‘Incestry’ starts with a bluegrass-banjo intro before diving into a pummeling series of tight rhythms and utterly dexterous technical patterns filled with varying tempo changes with the riffing flowing through a series of utterly blistering rhythms alongside the dive-bombing patterns throughout the finale for a truly explosive finishing note here.

As there’s not a whole lot of overall flaws here and plenty to enjoy from the varied and comprehensive attack featured here that has so much to enjoy containing nearly everything possible in terms of brutal death metal that this one is completely appealing for any and all fans of the style or those that simply enjoy good, heavy extreme metal.

slayrrr666



..::TRACK-LIST::..

1. Failed Apocalypse 03:15
2. Exterminate the Apostles 03:32
3. Storm of Ash 03:07
4. Erotic Tales of Disembowelment 03:10
5. Formed in Disgust 02:52
6. Bound for Damnation 04:09
7. The Inevitable Undoing 03:47
8. Echoes of the Rotting 02:34
9. Incestry 03:06



..::OBSADA::..

James O'Neal - Bass
Brent Williams - Drums
Steve Green - Guitars, Vocals



https://www.youtube.com/watch?v=BK7CI6NP7po



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

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


..::OPIS::..

To kolejny zespół w Great Dane Records, który wzbudza we mnie wspomnienia zamierzchłych czasów. Słyszałem Perversity już z początków ich działalności, z jakiegoś demo, którego tytułu teraz nie pamiętam… Zapamiętałem tylko, że w tamtych czasach grali czysty death metal, i to całkiem dobry, pewnie dlatego też nazwa zespołu nigdy nie uciekła mi z pamięci. Wraz z nowym albumem odkrywam, że Perversity nie zmienili swojego podejścia do ekstremalnej muzyki i wciąż grają old schoolowy death metal, taki szczery, surowy, brutalny i bluźnierczy, ale i jeszcze lepszy niz to pamiętam.

Ten album posiada jakby 2 główne oblicza. Pierwsze, to proste death metalowe riffy, sporo szybkich balastów perkusyjnych, i rasowo brzmiące death metalowe wokale czyli standard, ale zbudowany na solidnych death metalowych podwalinach i wpływach. Album mocno przypomina mi Hate z ich death metalowej ery. Druga twarz tej płyty to super brzmiące dysonanse gitarowe w stylu Immolation, co daje gdzie czysty death metal zderza się z nieco udziwniony riffami co daje czasami dość mroczny efekt. Jak napisałem Perversity wsadzam na piłkę wraz z Hate I Immolation, ale myślę że ich muzyka broni się sama swoją pomysłowością, linczujaca umysł brutalnością i szorstkością. Płyta wyprodukowana jest dość surowe, ale podchodzi mi brzmienie tej płyty, bez wątpienia. Oprócz death metalowych masakr i kakofonicznych nawalanek, zespół potrafi zagrać kilka ciężkich jak młot Thora kawałków, które brzmią soczyście i całkiem miażdżąca.

Cieszy mnie że death metal w roku 2024 ciągle brzmi interesująco, co udowodnił na swoim albumie słowacki Perversity.

Slawek Migacz


This is another band on Great Dane Records that brings back memories of past times. I heard the music of Perversity in the beginning of their activity, from some demo, the title of which I don't remember now... I only memorized that at the time they played pure death metal, and they have been quite good at that, which is probably why the name of the band has never escaped my memory. With the new album, I discover that Perversity have not changed their approach to extreme music and they still into old school death metal,which sounds honest, raw, brutal and blasphemous, but even better than before.

This album has two main faces. The first one is based on simple death metal riffs, plenty of drum beats, and really great-sounding death metal vocals. Everything is built on solid death metal foundations and influences but the band delivers pretty standard death metal, which is good in their case. The album strongly reminds me of Hate from their death metal era. The second face of this album are superbly interwined guitar dissonances, in the style of Immolation, where pure death metal collides with slightly weird death metal riffs, which brings a quite dark effects at times. As I wrote, I like Perversity along with Hate and Immolation, but I think that their music defends itself with its ingenuity, lynching the mind brutality and roughness of sound. The production of the album is quite raw, but I just like it as it is, without a doubt. In addition to death metal massacres and cacophonous tempos, the band recorded several songs as heavy as Thor's hammer, which sounds really crushing and brutal and it`s very accurate that Perversity also has slower songs in their tracklist.

I'm glad that death metal still sounds interesting in 2024, as the Slovak Perversity proved on this very album.

Slawek Migacz


"Negation Spirituel" is the 6th album of the band, composed of 10 tracks with a total duration of 38 minutes. You can expect pure death metal marked by darkness and brutality.

-The lyrical concept of the album is spiritual negation is a form of negative theology and is as old as philosophy itself. It is a form of theological thinking and religious practise which attempts to approach the negative belief that there is no salvation in the end of the world. That your soul will not be saved by the light of heaven. And everything will be swallowed by the darkness and chaos itself.

- This stunning artwork was created by the very talented Janka Varadyova of "JanaVe Art". The design and layout were made by Hans from "Dis-Art Design".

- The album was recorded, mixed and mastered by Martin Barla in his "MF Studios" in Poprad between June and October 2023.

For fans of: Immolation, Sinister or Morbid Angel



..::TRACK-LIST::..

1. Feasting (intro) 01:41
2. The mouth of abyzou 03:17
3. Patron of hate 03:43
4. Your flesh is my temple 03:26
5. Spiritual negation 02:27
6. Venom divine 03:04
7. Wrath manifest 05:01
8. Exaltation of the morningstar 05:54
9. Fate weaver 03:07
10. Epitome of diabolization 06:33



..::OBSADA::..

Jozef 'Dodi' Košč - guitar, backVox
Marek Baran - drums
Juraj 'Kazateľ' Handzuš - vocals
Radoslav Smrek - bass
Martin 'Fetus' Calko - guitar

Guests:
Lenka 'Ena' Serafinova - female vocals in the track 'Epitome of Diabolization'
Rene Blahusiak - lead guitar (solo) in the track 'Epitome of Diabolization'



https://www.youtube.com/watch?v=FE1v9NrItTE



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

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


..::OPIS::..

To kolejny zespół w Great Dane Records, który wzbudza we mnie wspomnienia zamierzchłych czasów. Słyszałem Perversity już z początków ich działalności, z jakiegoś demo, którego tytułu teraz nie pamiętam… Zapamiętałem tylko, że w tamtych czasach grali czysty death metal, i to całkiem dobry, pewnie dlatego też nazwa zespołu nigdy nie uciekła mi z pamięci. Wraz z nowym albumem odkrywam, że Perversity nie zmienili swojego podejścia do ekstremalnej muzyki i wciąż grają old schoolowy death metal, taki szczery, surowy, brutalny i bluźnierczy, ale i jeszcze lepszy niz to pamiętam.

Ten album posiada jakby 2 główne oblicza. Pierwsze, to proste death metalowe riffy, sporo szybkich balastów perkusyjnych, i rasowo brzmiące death metalowe wokale czyli standard, ale zbudowany na solidnych death metalowych podwalinach i wpływach. Album mocno przypomina mi Hate z ich death metalowej ery. Druga twarz tej płyty to super brzmiące dysonanse gitarowe w stylu Immolation, co daje gdzie czysty death metal zderza się z nieco udziwniony riffami co daje czasami dość mroczny efekt. Jak napisałem Perversity wsadzam na piłkę wraz z Hate I Immolation, ale myślę że ich muzyka broni się sama swoją pomysłowością, linczujaca umysł brutalnością i szorstkością. Płyta wyprodukowana jest dość surowe, ale podchodzi mi brzmienie tej płyty, bez wątpienia. Oprócz death metalowych masakr i kakofonicznych nawalanek, zespół potrafi zagrać kilka ciężkich jak młot Thora kawałków, które brzmią soczyście i całkiem miażdżąca.

Cieszy mnie że death metal w roku 2024 ciągle brzmi interesująco, co udowodnił na swoim albumie słowacki Perversity.

Slawek Migacz


This is another band on Great Dane Records that brings back memories of past times. I heard the music of Perversity in the beginning of their activity, from some demo, the title of which I don't remember now... I only memorized that at the time they played pure death metal, and they have been quite good at that, which is probably why the name of the band has never escaped my memory. With the new album, I discover that Perversity have not changed their approach to extreme music and they still into old school death metal,which sounds honest, raw, brutal and blasphemous, but even better than before.

This album has two main faces. The first one is based on simple death metal riffs, plenty of drum beats, and really great-sounding death metal vocals. Everything is built on solid death metal foundations and influences but the band delivers pretty standard death metal, which is good in their case. The album strongly reminds me of Hate from their death metal era. The second face of this album are superbly interwined guitar dissonances, in the style of Immolation, where pure death metal collides with slightly weird death metal riffs, which brings a quite dark effects at times. As I wrote, I like Perversity along with Hate and Immolation, but I think that their music defends itself with its ingenuity, lynching the mind brutality and roughness of sound. The production of the album is quite raw, but I just like it as it is, without a doubt. In addition to death metal massacres and cacophonous tempos, the band recorded several songs as heavy as Thor's hammer, which sounds really crushing and brutal and it`s very accurate that Perversity also has slower songs in their tracklist.

I'm glad that death metal still sounds interesting in 2024, as the Slovak Perversity proved on this very album.

Slawek Migacz


"Negation Spirituel" is the 6th album of the band, composed of 10 tracks with a total duration of 38 minutes. You can expect pure death metal marked by darkness and brutality.

-The lyrical concept of the album is spiritual negation is a form of negative theology and is as old as philosophy itself. It is a form of theological thinking and religious practise which attempts to approach the negative belief that there is no salvation in the end of the world. That your soul will not be saved by the light of heaven. And everything will be swallowed by the darkness and chaos itself.

- This stunning artwork was created by the very talented Janka Varadyova of "JanaVe Art". The design and layout were made by Hans from "Dis-Art Design".

- The album was recorded, mixed and mastered by Martin Barla in his "MF Studios" in Poprad between June and October 2023.

For fans of: Immolation, Sinister or Morbid Angel



..::TRACK-LIST::..

1. Feasting (intro) 01:41
2. The mouth of abyzou 03:17
3. Patron of hate 03:43
4. Your flesh is my temple 03:26
5. Spiritual negation 02:27
6. Venom divine 03:04
7. Wrath manifest 05:01
8. Exaltation of the morningstar 05:54
9. Fate weaver 03:07
10. Epitome of diabolization 06:33



..::OBSADA::..

Jozef 'Dodi' Košč - guitar, backVox
Marek Baran - drums
Juraj 'Kazateľ' Handzuš - vocals
Radoslav Smrek - bass
Martin 'Fetus' Calko - guitar

Guests:
Lenka 'Ena' Serafinova - female vocals in the track 'Epitome of Diabolization'
Rene Blahusiak - lead guitar (solo) in the track 'Epitome of Diabolization'



https://www.youtube.com/watch?v=FE1v9NrItTE



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