...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będąc zdrowym na umyśle i wątrobie stwierdzam wszem i wobec, że kocham tych chilijskich brutali, mimo że absolutnie nie jestem gejem. Muzyka tworzona przez ten kwartet od lat przemawia do mnie z całą swą mocą i wielce cieszy strzępki mej wyjebanej w ogniu walki duszy. Panowie napierdalają bowiem niezmiennie tradycyjny, gęsty, smolisty oldschool Death Metal, który rozpierdala w pizdu i miażdży wszystko, co stanie mu na drodze!!!
Wyobraźcie sobie rdzeń inspirowany głęboko twórczością Immolation, do którego z należytym wyczuciem dokładane są nieco bardziej dzikie, nieoczywiste i niepokojące rytmy oraz dysonansowe, atonalne zagrywki i delikatne dotknięcie mrocznego parapetu, a otrzymacie w przybliżeniu obraz twórczości Unaussprechlichen Kulten. Zaprawdę powiadam Wam, doskonała to muza, która spuszcza totalny wpierdol i rozrywa na strzępy nieskalane, niewinne duszyczki. Ja do nieskalanych ani tym bardziej niewinnych nie należę, więc z masochistyczną przyjemnością poddaję się chłoście, jaką sprawia „Teufelbücher” i każdorazowo proszę o więcej. Każdy słyszalny tu instrument świadczy o mistrzowskim opanowaniu warsztatu, który zespół osiągnął na przestrzeni lat spędzonych na scenie. Szalone bębny, jak i wgniatające w glebę wiosła płynnie zmieniają rytmikę i ze wsparciem mocnego basu kreślą solidnie momentami powykręcane figury bez utraty brutalności i siły przekazu, a uzupełnione bezkompromisowym, zrozumiałym, bluźnierczym growlingiem niszczą, poniewierają i mielą bezlitośnie jak chuj! Doskonały album! Uważam, że to jedna z najlepszych płyt Death Metalowych, jakie ukazały się w 2019 roku i gotów jestem bronić tego stwierdzenia krwią własną, a każdego, kto odważy się sądzić inaczej wyzywam na walkę konną lub pieszą! Jest więc taki, co podniesie rękawicę?!

Hatzamoth


Some people hear Chile in association with death metal and think of fantastic bands such as Pentagram and Dominus Xul. Some people, who I think are sadly ignorant of one of the world’s richest metal scenes, don’t think of much at all. Unaussprechlichen Kulten are firmly on my list of classic Chilean bands worth listening to. Much like Drawn and Quartered and Funebrarum, they’ve been operating since the ‘90s but got started just a little too late to be considered a classic band, or to debut when their style of death metal had many fans active. Add that to the issues that all South Americans have with breaking out and you get one of death metal’s most consistent and killer bands being sadly unappreciated in the larger scene, something that I hope will finally change with the band’s fifth full-length album, Teufelsbücher.

In my review of Unaussprechlichen Kulten’s last album, I noted that the core of their sound was rooted in the classic Immolation formula. While you can still hear that (sort of), this isn’t really the case anymore. Focusing entirely on the riffs and ignoring the drumming and vocals, it becomes apparent that Kulten no longer really do that. There’s a relative lack of “brutal” riffs at this point, replaced instead by angular, creepy staccato leads, tremolo melodies, and distressing off-kilter rhythms that often don’t really match up guitar to guitar. Nothing is simple anymore, with every single thing being played on the guitar standing in stark contrast to what the band was playing a decade ago; even when the guitars fall a little more in line with something more conventional, they’re usually not playing the same notes, lending themselves to the horrifying atmosphere that Unaussprechlichen Kulten creates.

Every song on Teufelsbücher is a long one, which also stands in opposition to the early years of the band. I noted when Keziah Lilith Medea came out that they had written their longest song, clocking in at around seven and a half minutes. Now, only two of the six songs are under that approximate length, and even those aren’t short ones. Because the drumming and vocals root the material more firmly in death metal, it’s easy to not notice the sheer complexity of the songwriting in a casual listen, but the song lengths are really necessary to let everything going on breathe; where a lesser band’s long songs might be due to bloat or indecision, Unaussprechlichen Kulten use every note to its fullest effect, bouncing constantly between different tempos and ideas, sometimes stringing along sections by no more of a cord than strained vocals or a haunting melody played alone.

Each instrument on Unaussprechlichen Kulten speaks to the mastery of music that the band has achieved over the long years that they’ve been playing. The drums are as frantic as the guitars, changing beats and tempos as fluidly as I’ve ever heard in death metal to keep the entire package from going off the rails. The bass provides a solid rhythmic backing without losing power, infrequent synths don’t overpower when they pop in, and the vocals are deep and clear without losing intelligibility; the production that allows everything to be audible should be applauded nearly as much as the music, because it can’t be easy to mix something this dense. A final commendation goes to the fantastic artwork from Rodrigo Pereira, who seems relatively unknown outside of his country but is definitely one of the best in the industry right now.

Unaussprechlichen Kulten was already possibly my favorite active Chilean band before Teufelsbücher, but now they definitely are, even over more venerated acts from their country—hell, they’re one of the best in the game worldwide right now. These guys are absolutely insane and deserve every bit of attention that lesser bands are getting right now, and I can’t wait to see them live next month. This is the band to sell your soul to as you sink into the depths of death metal despair, for you’ll never be their match—they are Unaussprechlichen Kulten, and they’re here to stay.

HighwayCorsair



..::TRACK-LIST::..

I. The Evil Out Of Control 7:39
II. Keziah Lilith Medea 5:34
III. Cranquiluria (Creatura Aquae Parte 3) 7:27
IV. A Search And An Evocation (Spirals Of Acrid Smoke Part. 2) 6:07
V. Flapping Membraneous Wings (Shining Trapezohedron) 7:26
VI. Necromancy And Torment 8:24



..::OBSADA::..

Herbert West - Guitars
Namru Impetradorum Mortem - Bass
Joseph Curwen - Vocals, Guitars
Butcher of Christ - Drums




https://www.youtube.com/watch?v=bVvdHcYRg28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Będąc zdrowym na umyśle i wątrobie stwierdzam wszem i wobec, że kocham tych chilijskich brutali, mimo że absolutnie nie jestem gejem. Muzyka tworzona przez ten kwartet od lat przemawia do mnie z całą swą mocą i wielce cieszy strzępki mej wyjebanej w ogniu walki duszy. Panowie napierdalają bowiem niezmiennie tradycyjny, gęsty, smolisty oldschool Death Metal, który rozpierdala w pizdu i miażdży wszystko, co stanie mu na drodze!!!
Wyobraźcie sobie rdzeń inspirowany głęboko twórczością Immolation, do którego z należytym wyczuciem dokładane są nieco bardziej dzikie, nieoczywiste i niepokojące rytmy oraz dysonansowe, atonalne zagrywki i delikatne dotknięcie mrocznego parapetu, a otrzymacie w przybliżeniu obraz twórczości Unaussprechlichen Kulten. Zaprawdę powiadam Wam, doskonała to muza, która spuszcza totalny wpierdol i rozrywa na strzępy nieskalane, niewinne duszyczki. Ja do nieskalanych ani tym bardziej niewinnych nie należę, więc z masochistyczną przyjemnością poddaję się chłoście, jaką sprawia „Teufelbücher” i każdorazowo proszę o więcej. Każdy słyszalny tu instrument świadczy o mistrzowskim opanowaniu warsztatu, który zespół osiągnął na przestrzeni lat spędzonych na scenie. Szalone bębny, jak i wgniatające w glebę wiosła płynnie zmieniają rytmikę i ze wsparciem mocnego basu kreślą solidnie momentami powykręcane figury bez utraty brutalności i siły przekazu, a uzupełnione bezkompromisowym, zrozumiałym, bluźnierczym growlingiem niszczą, poniewierają i mielą bezlitośnie jak chuj! Doskonały album! Uważam, że to jedna z najlepszych płyt Death Metalowych, jakie ukazały się w 2019 roku i gotów jestem bronić tego stwierdzenia krwią własną, a każdego, kto odważy się sądzić inaczej wyzywam na walkę konną lub pieszą! Jest więc taki, co podniesie rękawicę?!

Hatzamoth


Some people hear Chile in association with death metal and think of fantastic bands such as Pentagram and Dominus Xul. Some people, who I think are sadly ignorant of one of the world’s richest metal scenes, don’t think of much at all. Unaussprechlichen Kulten are firmly on my list of classic Chilean bands worth listening to. Much like Drawn and Quartered and Funebrarum, they’ve been operating since the ‘90s but got started just a little too late to be considered a classic band, or to debut when their style of death metal had many fans active. Add that to the issues that all South Americans have with breaking out and you get one of death metal’s most consistent and killer bands being sadly unappreciated in the larger scene, something that I hope will finally change with the band’s fifth full-length album, Teufelsbücher.

In my review of Unaussprechlichen Kulten’s last album, I noted that the core of their sound was rooted in the classic Immolation formula. While you can still hear that (sort of), this isn’t really the case anymore. Focusing entirely on the riffs and ignoring the drumming and vocals, it becomes apparent that Kulten no longer really do that. There’s a relative lack of “brutal” riffs at this point, replaced instead by angular, creepy staccato leads, tremolo melodies, and distressing off-kilter rhythms that often don’t really match up guitar to guitar. Nothing is simple anymore, with every single thing being played on the guitar standing in stark contrast to what the band was playing a decade ago; even when the guitars fall a little more in line with something more conventional, they’re usually not playing the same notes, lending themselves to the horrifying atmosphere that Unaussprechlichen Kulten creates.

Every song on Teufelsbücher is a long one, which also stands in opposition to the early years of the band. I noted when Keziah Lilith Medea came out that they had written their longest song, clocking in at around seven and a half minutes. Now, only two of the six songs are under that approximate length, and even those aren’t short ones. Because the drumming and vocals root the material more firmly in death metal, it’s easy to not notice the sheer complexity of the songwriting in a casual listen, but the song lengths are really necessary to let everything going on breathe; where a lesser band’s long songs might be due to bloat or indecision, Unaussprechlichen Kulten use every note to its fullest effect, bouncing constantly between different tempos and ideas, sometimes stringing along sections by no more of a cord than strained vocals or a haunting melody played alone.

Each instrument on Unaussprechlichen Kulten speaks to the mastery of music that the band has achieved over the long years that they’ve been playing. The drums are as frantic as the guitars, changing beats and tempos as fluidly as I’ve ever heard in death metal to keep the entire package from going off the rails. The bass provides a solid rhythmic backing without losing power, infrequent synths don’t overpower when they pop in, and the vocals are deep and clear without losing intelligibility; the production that allows everything to be audible should be applauded nearly as much as the music, because it can’t be easy to mix something this dense. A final commendation goes to the fantastic artwork from Rodrigo Pereira, who seems relatively unknown outside of his country but is definitely one of the best in the industry right now.

Unaussprechlichen Kulten was already possibly my favorite active Chilean band before Teufelsbücher, but now they definitely are, even over more venerated acts from their country—hell, they’re one of the best in the game worldwide right now. These guys are absolutely insane and deserve every bit of attention that lesser bands are getting right now, and I can’t wait to see them live next month. This is the band to sell your soul to as you sink into the depths of death metal despair, for you’ll never be their match—they are Unaussprechlichen Kulten, and they’re here to stay.

HighwayCorsair



..::TRACK-LIST::..

I. The Evil Out Of Control 7:39
II. Keziah Lilith Medea 5:34
III. Cranquiluria (Creatura Aquae Parte 3) 7:27
IV. A Search And An Evocation (Spirals Of Acrid Smoke Part. 2) 6:07
V. Flapping Membraneous Wings (Shining Trapezohedron) 7:26
VI. Necromancy And Torment 8:24



..::OBSADA::..

Herbert West - Guitars
Namru Impetradorum Mortem - Bass
Joseph Curwen - Vocals, Guitars
Butcher of Christ - Drums




https://www.youtube.com/watch?v=bVvdHcYRg28



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As Vehemence galvanized through a touring cycle supporting the first Metal Blade Records released album, "God Was Created", the band took musical ideas that pushed the band dynamic further forward and streamlined the songwriting process to generate the next collection of songs: "Helping The World To See".

The band pushed ahead with steadfast determination to create songs that captured the melodic and brutal soundscapes that were presented in the previous material, while diversifying the lyrics to encapsulate individual topics. Source material for the imagery presented in these songs were the headlines of the era. Terrorist attacks, infanticide, depression and insanity, televangelism, and other atrocities became the real life horror presented in the realities that Vehemence was "helping the world to see".

Each song highlights the individual strengths of each band member, and showcase a group of individuals that truly joined together in harmony when performing together.

The artwork for the album was another highlight, as the band were able to enlist the service of Wes Benscoter. His concept for the art was pulled directly from the album title and presents a bold image to represent the sound contained within.
- Nathan / Vocals
Vehemence

Banished to Infinity, originally written in 1995 while Nathan, Scott and I were still in high school is the first Vehemence song ever written and demo’d. The Death of Me was written shortly after in 1996. In 1997 we joined with Mark and Andy to complete the Vehemence line-up. Crusade of Hypocrisy was written in 1997. We eventually scrapped the song, and used a section of it in our song ‘Nameless Faces, Scattered Remnants” off our album The Thoughts From Which I Hide. Her Beautiful Eyes has been around since the demo days but for whatever reason, we didn't include it on an album until Helping The World To See.

Bjorn - Guitar Vehemence



It's hard to approach "Helping the World to See" without immediately thinking of it as a lesser work to "God Was Created." Which it is. But to be fair, I think "God Was Created" is more important to me than most of my loved ones, so I'm not going to hold that against its followup. But more to the point, it was kind of a tricky thing to follow for anyone: a big, ambitious concept album on Metal Blade widely acclaimed both critically and popularly. Frankly, I was pretty disappointed when I heard it after being so firmly acquainted with "God Was Created". It didn't just feel like a step down; it felt lazy coming from the sort of band who made "God Was Created," so straightforward and unambitious that it seemed sort of embarrassing, like it somehow besmirched their legacy.

After growing the fuck up and becoming like twenty percent (I'm feeling charitable) of a grown-up, I've come to realize that it's a perfectly acceptable and even desirable followup to "God Was Created." Yes, it's a lesser work, but it's the sort of restrained, deliberate step down that shows a band actually aware of their abilities and strengths. Attempting a bigger, badder "God Was Created" would have failed miserably. It's not like everyone didn't know that that album was untouchable; there was zero chance that they'd be able to follow it up, and any attempt to do so would probably have fallen flat on its face. In the same way Fear Factory openly says that "Demanufacture" is never going to happen again and will now and forever be their greatest work, Vehemence basically says that with "Helping the World to See." Instead of attempting to outdo themselves with another massive, conceptual release, Vehemence exhibits some restraint here, instead choosing to treat each track as its own little universe and mastering each on its own terms. Instead of creating a great, very complete album like "God Was Created," the band decided to make a collection of individually great songs. Is it as artistically masterful as the album before? No, of course not, but it's an absolutely excellent and wonderfully realized set of tracks in its own right.

Vehemence's greatest strength has always been in their perfect application of pop/rock songwriting principles to a core of otherwise unmutated death metal; more than ever before, "Helping the World to See" emphasizes these pop elements in pursuit of a tighter, more modular sort of album. The opening and closing tracks, "By Your Bedside" and "We Are All Dying" respectively ("Her Beautiful Eyes" is just a bonus track,) are the most overtly mainstream pieces that the band has ever put together. A substantial influence from US melodeath/metalcore can be detected on these and other tracks; perhaps self-referential, since it could be argued that Vehemence themselves helped distinguish and perpetuate many of the tropes in such a style of music. The result of this sharper appreciation for the most mainstream parts of metal are simpler, more streamlined songs, which sharpen Vehemence's already pointedly riff-based structures into razorlike configurations seemingly designed for Youtube covers from every seveteen year old with an ESP on the planet. "We Are All Dying" in particular toes a very fine line between a sort of perfection of the melodeath form and utterly ludicrous excess- those riffs are more Gothenburg than Gothenburg has ever been, but just barely manage to function with the rougher, more abrasive textures of the rest of the instruments.

This is the other, and I would say slightly flawed, aspect of the album: a more brutish and seemingly defensive death metal presence which is at very distinct odds with the bulk of the highly melodic material. Tracks like "To the Taste" and "Darkness is Comfort" show a much more ostentatiously aggressive side to the band, subtracting much of the most overtly melodic riffing and emotive vocals in favor of a more traditional death metal sound. I can't help but think it sounds a bit guilty; it's as though Vehemence are apologizing for "God Was Created" (or maybe just some of the more effete items found elsewhere on this album) by trying to show off their credentials as a more "serious" death metal band. I can't help but think this is a pretty silly, unnecessary maneuver, since anyone with functioning ears can tell that one of Vehemence's greatest strengths has been their ability to craft such accessible, melodic, emotional music while not sacrificing any of the natural brutality of its execution. While Vehemence can stray into some staggeringly relaxed territory at times, it never really overwhelms the raw intensity of their natural style.

Where this album succeeds most is when it sort of caricaturizes the band's most immediate and severe elements: the aforementioned opening and closing, "Kill For God" and its total modern rock influences, or mostly-instrumental ballad track "Alone In Your Presence." While some of the songs on this album can feel like tracks written for "God Was Created" but abandoned for their excess and self-indulgence (if it can even be imagined considering what that album sounded like,) the fiercely pointed and concise nature of the music on this record definitely has its charms. The fact that the band is stylistically identical to the record before definitely helps: the intensely poppy, wonderfully arranged melodies, tight, restrained, and musical percussion, and emotive, memorable high/low vocals are all just as strong as they ever were. About my only complaint is that the production quality didn't change either; somewhat dry and claustrophobic, the guitar tone and vocal recording don't give the sort of breadth and richness I think the music deserves.

It's hard to compare "Helping the World to See" to "God Was Created" (though I've certainly done it enough) considering what seems to be antonymic artistic goals. It certainly doesn't feel very good to say that appreciating this album might rely on lowered expectations. Still, I'd like to suggest that it's more a matter of being realistic than jaded. Were it not for the existence of its predecessor, "Helping the World to See" would probably itself be near or at the top of the melodeath pile; it's only the album's older brother which knocks it down a peg. It's still better than just about anything else.

Noktorn



..::TRACK-LIST::..

1. By Your Bedside 03:51
2. Kill for God 03:44
3. Trinity Broadcasting (Know Your Enemy) 06:32
4. To the Taste 02:33
5. You Don't Have to Be Afraid Anymore 05:50
6. Alone in Your Presence 03:56
7. Spirit of the Soldier 05:27
8. Darkness Is Comfort 03:37
9. What Could Go Wrong? 06:09
10. We Are All Dying 03:00

Bonus Tracks:
11. The Death of Me (’97)
12. Banished to Infinity (’97)
13. Crusade of Hypocrisy (’97)
14. Her Beautiful Eyes (’98)



..::OBSADA::..

Mark Kozuback - Bass, Vocals (additional), Songwriting (track 4)
John Chavez - Guitars (lead) (track 3), Samples, Songwriting (tracks 7, 9), Guitars (rhythm)
Nathan Gearhart - Vocals, Lyrics
Bjorn Dannov - Guitars (1-3, 5-6, 8, 10-11), Songwriting (tracks 1-3, 5-6, 8, 10-11)
Andy Schroeder - Drums




https://www.youtube.com/watch?v=V3DsjvaxYqc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

As Vehemence galvanized through a touring cycle supporting the first Metal Blade Records released album, "God Was Created", the band took musical ideas that pushed the band dynamic further forward and streamlined the songwriting process to generate the next collection of songs: "Helping The World To See".

The band pushed ahead with steadfast determination to create songs that captured the melodic and brutal soundscapes that were presented in the previous material, while diversifying the lyrics to encapsulate individual topics. Source material for the imagery presented in these songs were the headlines of the era. Terrorist attacks, infanticide, depression and insanity, televangelism, and other atrocities became the real life horror presented in the realities that Vehemence was "helping the world to see".

Each song highlights the individual strengths of each band member, and showcase a group of individuals that truly joined together in harmony when performing together.

The artwork for the album was another highlight, as the band were able to enlist the service of Wes Benscoter. His concept for the art was pulled directly from the album title and presents a bold image to represent the sound contained within.
- Nathan / Vocals
Vehemence

Banished to Infinity, originally written in 1995 while Nathan, Scott and I were still in high school is the first Vehemence song ever written and demo’d. The Death of Me was written shortly after in 1996. In 1997 we joined with Mark and Andy to complete the Vehemence line-up. Crusade of Hypocrisy was written in 1997. We eventually scrapped the song, and used a section of it in our song ‘Nameless Faces, Scattered Remnants” off our album The Thoughts From Which I Hide. Her Beautiful Eyes has been around since the demo days but for whatever reason, we didn't include it on an album until Helping The World To See.

Bjorn - Guitar Vehemence



It's hard to approach "Helping the World to See" without immediately thinking of it as a lesser work to "God Was Created." Which it is. But to be fair, I think "God Was Created" is more important to me than most of my loved ones, so I'm not going to hold that against its followup. But more to the point, it was kind of a tricky thing to follow for anyone: a big, ambitious concept album on Metal Blade widely acclaimed both critically and popularly. Frankly, I was pretty disappointed when I heard it after being so firmly acquainted with "God Was Created". It didn't just feel like a step down; it felt lazy coming from the sort of band who made "God Was Created," so straightforward and unambitious that it seemed sort of embarrassing, like it somehow besmirched their legacy.

After growing the fuck up and becoming like twenty percent (I'm feeling charitable) of a grown-up, I've come to realize that it's a perfectly acceptable and even desirable followup to "God Was Created." Yes, it's a lesser work, but it's the sort of restrained, deliberate step down that shows a band actually aware of their abilities and strengths. Attempting a bigger, badder "God Was Created" would have failed miserably. It's not like everyone didn't know that that album was untouchable; there was zero chance that they'd be able to follow it up, and any attempt to do so would probably have fallen flat on its face. In the same way Fear Factory openly says that "Demanufacture" is never going to happen again and will now and forever be their greatest work, Vehemence basically says that with "Helping the World to See." Instead of attempting to outdo themselves with another massive, conceptual release, Vehemence exhibits some restraint here, instead choosing to treat each track as its own little universe and mastering each on its own terms. Instead of creating a great, very complete album like "God Was Created," the band decided to make a collection of individually great songs. Is it as artistically masterful as the album before? No, of course not, but it's an absolutely excellent and wonderfully realized set of tracks in its own right.

Vehemence's greatest strength has always been in their perfect application of pop/rock songwriting principles to a core of otherwise unmutated death metal; more than ever before, "Helping the World to See" emphasizes these pop elements in pursuit of a tighter, more modular sort of album. The opening and closing tracks, "By Your Bedside" and "We Are All Dying" respectively ("Her Beautiful Eyes" is just a bonus track,) are the most overtly mainstream pieces that the band has ever put together. A substantial influence from US melodeath/metalcore can be detected on these and other tracks; perhaps self-referential, since it could be argued that Vehemence themselves helped distinguish and perpetuate many of the tropes in such a style of music. The result of this sharper appreciation for the most mainstream parts of metal are simpler, more streamlined songs, which sharpen Vehemence's already pointedly riff-based structures into razorlike configurations seemingly designed for Youtube covers from every seveteen year old with an ESP on the planet. "We Are All Dying" in particular toes a very fine line between a sort of perfection of the melodeath form and utterly ludicrous excess- those riffs are more Gothenburg than Gothenburg has ever been, but just barely manage to function with the rougher, more abrasive textures of the rest of the instruments.

This is the other, and I would say slightly flawed, aspect of the album: a more brutish and seemingly defensive death metal presence which is at very distinct odds with the bulk of the highly melodic material. Tracks like "To the Taste" and "Darkness is Comfort" show a much more ostentatiously aggressive side to the band, subtracting much of the most overtly melodic riffing and emotive vocals in favor of a more traditional death metal sound. I can't help but think it sounds a bit guilty; it's as though Vehemence are apologizing for "God Was Created" (or maybe just some of the more effete items found elsewhere on this album) by trying to show off their credentials as a more "serious" death metal band. I can't help but think this is a pretty silly, unnecessary maneuver, since anyone with functioning ears can tell that one of Vehemence's greatest strengths has been their ability to craft such accessible, melodic, emotional music while not sacrificing any of the natural brutality of its execution. While Vehemence can stray into some staggeringly relaxed territory at times, it never really overwhelms the raw intensity of their natural style.

Where this album succeeds most is when it sort of caricaturizes the band's most immediate and severe elements: the aforementioned opening and closing, "Kill For God" and its total modern rock influences, or mostly-instrumental ballad track "Alone In Your Presence." While some of the songs on this album can feel like tracks written for "God Was Created" but abandoned for their excess and self-indulgence (if it can even be imagined considering what that album sounded like,) the fiercely pointed and concise nature of the music on this record definitely has its charms. The fact that the band is stylistically identical to the record before definitely helps: the intensely poppy, wonderfully arranged melodies, tight, restrained, and musical percussion, and emotive, memorable high/low vocals are all just as strong as they ever were. About my only complaint is that the production quality didn't change either; somewhat dry and claustrophobic, the guitar tone and vocal recording don't give the sort of breadth and richness I think the music deserves.

It's hard to compare "Helping the World to See" to "God Was Created" (though I've certainly done it enough) considering what seems to be antonymic artistic goals. It certainly doesn't feel very good to say that appreciating this album might rely on lowered expectations. Still, I'd like to suggest that it's more a matter of being realistic than jaded. Were it not for the existence of its predecessor, "Helping the World to See" would probably itself be near or at the top of the melodeath pile; it's only the album's older brother which knocks it down a peg. It's still better than just about anything else.

Noktorn



..::TRACK-LIST::..

1. By Your Bedside 03:51
2. Kill for God 03:44
3. Trinity Broadcasting (Know Your Enemy) 06:32
4. To the Taste 02:33
5. You Don't Have to Be Afraid Anymore 05:50
6. Alone in Your Presence 03:56
7. Spirit of the Soldier 05:27
8. Darkness Is Comfort 03:37
9. What Could Go Wrong? 06:09
10. We Are All Dying 03:00

Bonus Tracks:
11. The Death of Me (’97)
12. Banished to Infinity (’97)
13. Crusade of Hypocrisy (’97)
14. Her Beautiful Eyes (’98)



..::OBSADA::..

Mark Kozuback - Bass, Vocals (additional), Songwriting (track 4)
John Chavez - Guitars (lead) (track 3), Samples, Songwriting (tracks 7, 9), Guitars (rhythm)
Nathan Gearhart - Vocals, Lyrics
Bjorn Dannov - Guitars (1-3, 5-6, 8, 10-11), Songwriting (tracks 1-3, 5-6, 8, 10-11)
Andy Schroeder - Drums




https://www.youtube.com/watch?v=V3DsjvaxYqc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brazilian death metallers Escarnium conjure up some exceptionally gloomy and downcast death metal, depicting the world in sickening shades of gray. It's not exceedingly technical or dissonant -- their slowly unfurling riffs just tap into a subconscious well of unease that serves as the perfect setting for their similarly miserable subject matter, making sinking into this swamp easy.
- Invisible Oranges

Dysthymia is a murky, hefty slab of death metal that tackles two topics: mental illness and the horrors of the modern world.
- Decibel Magazine

"That is what Escarnium have done here – delivered a top quality, straight forward death or blackened death metal record. Great stuff."
- Games, Brrraaains & A Head-Banging Life

"The band’s third album is tight—both in length and approach. These guys just click. The sinewy riffs. The caustic, bellowing vocals. The commandingly dexterous drums. And as tight as Escarnium’s sound is, there’s an organic and almost instinctive feel to Dysthymia, as if they were merely channeling from some unknown energy source and not actually, you know, writing songs and playing their instruments."
- Last Rites



..::TRACK-LIST::..

1. Inglorious Demise 05:12
2. Far Beyond Primitive 04:32
3. Deluged in Miasma 05:43
4. Anguish Ad Nauseum 04:20
5. Dysthymia 05:19
6. Into the Grave (Grave Cover) 03:59



..::OBSADA::..

Victor Elian - Rhythm guitars, Vocals
Nestor Carrera - Drums
Alex Hahn - Lead guitars
Vitor Giovanni - Bass



https://www.youtube.com/watch?v=k5cum9vu18g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Brazilian death metallers Escarnium conjure up some exceptionally gloomy and downcast death metal, depicting the world in sickening shades of gray. It's not exceedingly technical or dissonant -- their slowly unfurling riffs just tap into a subconscious well of unease that serves as the perfect setting for their similarly miserable subject matter, making sinking into this swamp easy.
- Invisible Oranges

Dysthymia is a murky, hefty slab of death metal that tackles two topics: mental illness and the horrors of the modern world.
- Decibel Magazine

"That is what Escarnium have done here – delivered a top quality, straight forward death or blackened death metal record. Great stuff."
- Games, Brrraaains & A Head-Banging Life

"The band’s third album is tight—both in length and approach. These guys just click. The sinewy riffs. The caustic, bellowing vocals. The commandingly dexterous drums. And as tight as Escarnium’s sound is, there’s an organic and almost instinctive feel to Dysthymia, as if they were merely channeling from some unknown energy source and not actually, you know, writing songs and playing their instruments."
- Last Rites



..::TRACK-LIST::..

1. Inglorious Demise 05:12
2. Far Beyond Primitive 04:32
3. Deluged in Miasma 05:43
4. Anguish Ad Nauseum 04:20
5. Dysthymia 05:19
6. Into the Grave (Grave Cover) 03:59



..::OBSADA::..

Victor Elian - Rhythm guitars, Vocals
Nestor Carrera - Drums
Alex Hahn - Lead guitars
Vitor Giovanni - Bass



https://www.youtube.com/watch?v=k5cum9vu18g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wygląda na to, że mimo pandemicznych przeciwności losu, pod względem wydawniczym polska scena metalowa ma się całkiem dobrze. Co prawda kojarzona jest głownie z docenianym na całym świecie black metalem i wszelkimi jego mutacjami, lecz rodzimy death metal jakością nic a nic mu nie ustępuje. Doskonałym tego przykładem jest „Dead Souls Cathedral” – czwarty pełny album lubelskiego Ulcera, który śmiało może pretendować do czołówki zestawienia najlepszych płyt 2021 roku.

Przy okazji tego wydawnictwa wspomina się o hołdzie dla starej szkoły death metalu, co bardzo dobrze słychać, ale proszę nie mylić inspiracji z kopiowaniem. Na „katedrze” słyszalne są wszelakie wpływy, można rzec, że z obu stron Atlantyku. W paru miejscach („Off We Go” czy „Cold Darkness”) wyraźnie zaznacza się między innymi tzw. scena szwedzka. Gdzie indziej zaś przychodzą mi na myśl stare utwory Suffocation czy Immolation. Aczkolwiek, atmosferą duszną i ciężką niczym w koszmarze Füsslego przypomina dokonania Deathspell Omega czy Dead Congregation. No, ale ilu ludzi tyle opinii i z pewnością każdy słuchacz zinterpretuje to na swój sposób. Dość powiedzieć, że najnowsza płyta Ulcera, to żadne rzewne wspominki o archaicznym brzmieniu, lecz porywająca mroczna rozrywka, najwyższej jakości. Począwszy od abstrakcyjnej okładki autorstwa Arkadiusza Szymanka przez wybrzmiewające z dziką lubością ostre dźwięki, po siarczysty growl o zabójczej artykulacji, w sposób perfekcyjny dopełniający całości. Już sam tytuł, godny opowiadania Lovecrafta czy E. A. Poe, wieszczy wyniośle posępną aurę i tak w rzeczywistości jest.

Ten nieskromny aranżacyjnie album rozpoczyna w iście hitchkokowskim stylu osobliwe intro. Można się go raczej spodziewać się w kulminacyjnym momencie filmu grozy, niż na płycie, aczkolwiek pasuje tu idealnie. Wzmaga napięcie do granic możliwości, a dalej wcale nie jest lżej. Taki stan rzeczy utrzymuje się przez omalże pięćdziesiąt minut, co zważywszy na ciężar materiału stanowi nie lada wyzwanie. Nie jest to bowiem muzyka łatwa w odbiorze. Momentami przypomina napór nawałnicy, a mimo to słucha się jej z nieskrywaną przyjemnością. Dodatkowo album jest złożony i bogaty dźwiękowo. Przy tym na tyle umiejętnie skrojony, że daleki od zbędnego przepychu, a co za tym idzie ogłuszającego zgiełku. Posiada wszystko, czego po death metalu można oczekiwać. Klimat ogołocony z wszelkich lekkości, potężne brzmienie, wściekłość i energię. Dominują raczej średnie tempa, choć nie brakuje szybkich utworów, czego przykładem może być „Eternal Night”.

„Dead Souls Cathedral” raczy słuchacza pełnym bukietem siarczystych dźwięków na najwyższym poziomie i z pewnością zachwyci nie tylko oddanych fanów gatunku. Nie mniej jednak to im zapewne najbardziej przypadnie do gustu. Z death metalem zawsze mi było po drodze, a w tym przypadku nie zawiodłem swych oczekiwań. Jak na wstępie wspomniałem, w klasyfikacji najlepszych albumów 2021 roku, Ulcer śmiało może plasować się w ścisłej czołówce.

Robert Cisło


Podejrzewam, że w 2023 r. coraz mniej ludzi ma ochotę czytać o Death Metalu mającym brzmienie „inspirowane” Incantation, ale z drugiej strony, weterani z Ulcer nie wypadli sroce spod ogona i to co tworzą nie wynika z chwilowej mody, a z konsekwencji i prawdziwej pasji do tworzenia. W zespole najwięcej odnajdziemy członków Deivos/Dira Mortis, z zasłużonym Wizunem na perce.

Przede wszystkim, należy zacząć od tego, że produkcja jest bardzo głośna, nieco wręcz hałaśliwa. Ale też daje ona wrażenie, jakby muzyka była wykonywana na żywo do tego stopnia, że gdy się pojawiają gdzieniegdzie syntezatory (sprytnie schowane w tyle), to się patrzyłem przez okno, czy coś się nie działo na ulicy ciekawego (jakiś ambulans albo co).

Kolejna rzecz, która mnie cieszy, to poziom materiału, który bym nazwał światowym. Jak ktoś mi nie wierzy, niech sprawdzi „Not the One”, albo przepięknie zbudowany i zagrany „Disintegration”. Grupa ma kosmiczno-astralne ciągotki, ale stara się je odpowiednio zakrywać staromodnymi riffami, dzięki czemu ich styl zamiast być oczywistym, staje się wielopłaszczyznowy i trudnym do jednoczesnego ugryzienia. Chciałoby się ich porównać do kogoś, ale nie oddałoby to sprawiedliwości grupie i by ją niestety skrzywdziło.

Mroczna okładka jak i liryki starają się zaprezentować filozoficzno-refleksyjne aspekty życia – zarówno wspomniany wcześniej „Not the One” czy „Cold Darkness”, pokazując wyższą klasę układania słów w interesujące przemyślenia. Nie żebym był jakimś fascynatem tekstów (wręcz przeciwnie, bardzo często mi jeden kolega zarzuca, że mam gdzieś liryki), ale jest wyraźnie zauważalna i zaznaczona myśl przewodnia albumu, co jestem w stanie docenić.

Mimo wspomnianych, drugoplanowych efektów keyboardowych, nie znajdziecie tu jakiś intro/outro. Patrząc na tracklistę, myślałem że krótki „Eternal Night” będzie takowym instrumentalem, ale nie, jest to paradoksalnie bardzo szybka i brutalna petarda na zamienienie mózgu w papkę.

Jakby nie patrzeć, z tego typu tworów jak najbardziej należy być dumnym i osobiście cieszy mnie to, że nasza scena wciąż się rozwija i robi się coraz więcej wartościowych pozycji Made in Poland, zwłaszcza jak się to porówna z tym jak siermiężnie to nieraz wyglądało ponad 10 lat temu, kiedy zbyt często brzmienie było klockowate, a techniczna szorstkość sprawiała, że trzeba się było napracować, aby daną płytę można było zrozumieć, nie mówiąc już o polubieniu. Tutaj takowych problemów nie ma, Dead Souls Cathedral będzie stanowić chlubę mojej kolekcji, którą pewnie jeszcze nie raz będę odkrywać, w celu znalezienia dalszych tajemnic w niej zawartych.

mutant


Po krótkim zakłóceniu mocy w postaci dominacji black metalu na polskiej scenie mam wrażenie, że powoli mamy do czynienia z powrotem na salony sztuki śmierci. Obserwuję sporą ekspansję polskich kapel gatunku death i nowy krążek Ulcer bez wahania mogę zaliczyć do tych mogących dźwignąć gatunek tam, gdzie jego miejsce, czyli na piedestały. Dead Souls Cathedral wypuszczony został przez Defense Records/My Throne Promotions 18 maja bieżącego roku.

Skłamałbym, gdyby coś mnie w związku z tą płytą zaskoczyło. Tak jak się spodziewałem, album okazał się dobry, a rosnący fejm bandu niezachwiany. Dead Souls Cathedral to już czwarty long hordy pochodzącej z Lublina, i tak jak w przypadku każdej poprzedniej, można zauważyć odpowiedni progres aranżacyjno/twórczy. Zespół nadal zdecydowanie kultywuje drogę starego death metalu, ale swój styl buduje na jego wielu elementach i wpływach. Słychać tu Florydę, słychać nieco starej Szwecji, a jak mocno poszukać, to i da się znaleźć coś z wysp (Bolt Thrower, wczesne My Dying Bride, Paradise Lost – harmonie). Ważne w tej układance jest to, że utwory są skonstruowane w płynny sposób i wszystkie te inspiracje przenikają się naturalnie. Co w moim uznaniu dominuje, to diabelski, mroczny klimat, który może kojarzyć się z Immolation, jest w nich ten sam duszny, ciemny feeling, co u Amerykanów. Generalnie Ulcer także stawia na średnie tempa, masywne struktury i chaotyczne solówki, rozgniatając wszystko na swojej drodze. Mrocznego klimatu dopełniają pojawiające się tu i ówdzie brzmiące bardzo staromodnie klawisze, kojarzące się z death metalowymi albumami wczesnych lat 90. Wstawki te nie są częste i nie mają wpływu na jakieś zmiękczenie materiału, lecz dopełnienie emanacji zła – co im się udaje.

Jedynym małym minusem, z którym mało kto pewnie się zgodzi jest czas trwania albumu. Niemal pięćdziesiąt minut tak masywnej muzyki nie będzie dla mnie zawsze do przejścia. Należę do osób, którzy wolą uczucie niedosytu niż w drugą stronę. Pewnie nie byłbym w stanie wskazać, która kompozycja powinna wypaść, bo całość jest bardzo równa, ale mam wrażenie, że skrócenie materiału mogłoby polepszyć wrażenia odbioru materiału.

Reasumując, uważam Ulcer za jednego z silniejszych składów nowej fali polskiego death metalu. Zespół łączy w sobie w odpowiednich proporcjach nostalgiczne wpływy przeszłości z własnym stylem, a taki zestaw ma konkretne branie w dzisiejszych czasach.

Brzeźnicki


Old School Death Metal acts have the tendency to become clones of their idols of the past, locked up in an endless circle from where they can't escape from their own choice. But it doesn't mean that a band can't do things in a personal way using such an old and eroded approach. Names as ULCER, from Poland, shows that things can be different, as can be heard on "Dead Souls Cathedral", their latest release.

It's a form of traditional Death Metal influenced by early Swedish Death Metal names as CARNAGE, DISMEMBER, ENTOMMBED and UNLEASHED, and with some touches of North American School. But paying attention, the listeners will detect for some technical details and a clear melodic basting under their musical brutality (and that are especially evident during the guitar solos). But as written words fail to state what an album can express sometimes, the best is to say that they found a personal way to deal with the genre. And it's good, indeed. The production of the album focused its efforts to create something that could keep the Old School elements of their music into the album. But the choice for a better sonority, with a careful work that make their songs understandable to the ears, was very good one, indeed. And the Old School touch comes from the instrumental tunes used.

The mayhemic brutality of "Those Black Gods" (very good melodic basting along nasty guitars arrangements and grunts) and of "Not the One", the catchy slow parts of "Cold Darkness" (with a simple, but good, work from bass guitar and drums on the rhythmic conduction), the massive Old School weight shown on the fast tempos of "Die with Us", and the very good technical work heard on "Dead Souls Cathedral" are the best ones to begin with. But for a Death Metal addicted, "Dead Souls Cathedral" is a fine piece of Death Metal.

So be the next one on the line, and surrender to the brutality of ULCER. You won't regret the experience.

'Metal Mark' Garcia



..::TRACK-LIST::..

1. Those Black Gods 07:42
2. Not The One 05:09
3. Cold Darkness 06:23
4. Eternal Night 01:12
5. Off We Go 05:45
6. Die With Us 04:50
7. Disintegration 05:23
8. Dead Souls Cathedral 05:26
9. Into The Chasm 05:15



https://www.youtube.com/watch?v=1893J5gpXRs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Wygląda na to, że mimo pandemicznych przeciwności losu, pod względem wydawniczym polska scena metalowa ma się całkiem dobrze. Co prawda kojarzona jest głownie z docenianym na całym świecie black metalem i wszelkimi jego mutacjami, lecz rodzimy death metal jakością nic a nic mu nie ustępuje. Doskonałym tego przykładem jest „Dead Souls Cathedral” – czwarty pełny album lubelskiego Ulcera, który śmiało może pretendować do czołówki zestawienia najlepszych płyt 2021 roku.

Przy okazji tego wydawnictwa wspomina się o hołdzie dla starej szkoły death metalu, co bardzo dobrze słychać, ale proszę nie mylić inspiracji z kopiowaniem. Na „katedrze” słyszalne są wszelakie wpływy, można rzec, że z obu stron Atlantyku. W paru miejscach („Off We Go” czy „Cold Darkness”) wyraźnie zaznacza się między innymi tzw. scena szwedzka. Gdzie indziej zaś przychodzą mi na myśl stare utwory Suffocation czy Immolation. Aczkolwiek, atmosferą duszną i ciężką niczym w koszmarze Füsslego przypomina dokonania Deathspell Omega czy Dead Congregation. No, ale ilu ludzi tyle opinii i z pewnością każdy słuchacz zinterpretuje to na swój sposób. Dość powiedzieć, że najnowsza płyta Ulcera, to żadne rzewne wspominki o archaicznym brzmieniu, lecz porywająca mroczna rozrywka, najwyższej jakości. Począwszy od abstrakcyjnej okładki autorstwa Arkadiusza Szymanka przez wybrzmiewające z dziką lubością ostre dźwięki, po siarczysty growl o zabójczej artykulacji, w sposób perfekcyjny dopełniający całości. Już sam tytuł, godny opowiadania Lovecrafta czy E. A. Poe, wieszczy wyniośle posępną aurę i tak w rzeczywistości jest.

Ten nieskromny aranżacyjnie album rozpoczyna w iście hitchkokowskim stylu osobliwe intro. Można się go raczej spodziewać się w kulminacyjnym momencie filmu grozy, niż na płycie, aczkolwiek pasuje tu idealnie. Wzmaga napięcie do granic możliwości, a dalej wcale nie jest lżej. Taki stan rzeczy utrzymuje się przez omalże pięćdziesiąt minut, co zważywszy na ciężar materiału stanowi nie lada wyzwanie. Nie jest to bowiem muzyka łatwa w odbiorze. Momentami przypomina napór nawałnicy, a mimo to słucha się jej z nieskrywaną przyjemnością. Dodatkowo album jest złożony i bogaty dźwiękowo. Przy tym na tyle umiejętnie skrojony, że daleki od zbędnego przepychu, a co za tym idzie ogłuszającego zgiełku. Posiada wszystko, czego po death metalu można oczekiwać. Klimat ogołocony z wszelkich lekkości, potężne brzmienie, wściekłość i energię. Dominują raczej średnie tempa, choć nie brakuje szybkich utworów, czego przykładem może być „Eternal Night”.

„Dead Souls Cathedral” raczy słuchacza pełnym bukietem siarczystych dźwięków na najwyższym poziomie i z pewnością zachwyci nie tylko oddanych fanów gatunku. Nie mniej jednak to im zapewne najbardziej przypadnie do gustu. Z death metalem zawsze mi było po drodze, a w tym przypadku nie zawiodłem swych oczekiwań. Jak na wstępie wspomniałem, w klasyfikacji najlepszych albumów 2021 roku, Ulcer śmiało może plasować się w ścisłej czołówce.

Robert Cisło


Podejrzewam, że w 2023 r. coraz mniej ludzi ma ochotę czytać o Death Metalu mającym brzmienie „inspirowane” Incantation, ale z drugiej strony, weterani z Ulcer nie wypadli sroce spod ogona i to co tworzą nie wynika z chwilowej mody, a z konsekwencji i prawdziwej pasji do tworzenia. W zespole najwięcej odnajdziemy członków Deivos/Dira Mortis, z zasłużonym Wizunem na perce.

Przede wszystkim, należy zacząć od tego, że produkcja jest bardzo głośna, nieco wręcz hałaśliwa. Ale też daje ona wrażenie, jakby muzyka była wykonywana na żywo do tego stopnia, że gdy się pojawiają gdzieniegdzie syntezatory (sprytnie schowane w tyle), to się patrzyłem przez okno, czy coś się nie działo na ulicy ciekawego (jakiś ambulans albo co).

Kolejna rzecz, która mnie cieszy, to poziom materiału, który bym nazwał światowym. Jak ktoś mi nie wierzy, niech sprawdzi „Not the One”, albo przepięknie zbudowany i zagrany „Disintegration”. Grupa ma kosmiczno-astralne ciągotki, ale stara się je odpowiednio zakrywać staromodnymi riffami, dzięki czemu ich styl zamiast być oczywistym, staje się wielopłaszczyznowy i trudnym do jednoczesnego ugryzienia. Chciałoby się ich porównać do kogoś, ale nie oddałoby to sprawiedliwości grupie i by ją niestety skrzywdziło.

Mroczna okładka jak i liryki starają się zaprezentować filozoficzno-refleksyjne aspekty życia – zarówno wspomniany wcześniej „Not the One” czy „Cold Darkness”, pokazując wyższą klasę układania słów w interesujące przemyślenia. Nie żebym był jakimś fascynatem tekstów (wręcz przeciwnie, bardzo często mi jeden kolega zarzuca, że mam gdzieś liryki), ale jest wyraźnie zauważalna i zaznaczona myśl przewodnia albumu, co jestem w stanie docenić.

Mimo wspomnianych, drugoplanowych efektów keyboardowych, nie znajdziecie tu jakiś intro/outro. Patrząc na tracklistę, myślałem że krótki „Eternal Night” będzie takowym instrumentalem, ale nie, jest to paradoksalnie bardzo szybka i brutalna petarda na zamienienie mózgu w papkę.

Jakby nie patrzeć, z tego typu tworów jak najbardziej należy być dumnym i osobiście cieszy mnie to, że nasza scena wciąż się rozwija i robi się coraz więcej wartościowych pozycji Made in Poland, zwłaszcza jak się to porówna z tym jak siermiężnie to nieraz wyglądało ponad 10 lat temu, kiedy zbyt często brzmienie było klockowate, a techniczna szorstkość sprawiała, że trzeba się było napracować, aby daną płytę można było zrozumieć, nie mówiąc już o polubieniu. Tutaj takowych problemów nie ma, Dead Souls Cathedral będzie stanowić chlubę mojej kolekcji, którą pewnie jeszcze nie raz będę odkrywać, w celu znalezienia dalszych tajemnic w niej zawartych.

mutant


Po krótkim zakłóceniu mocy w postaci dominacji black metalu na polskiej scenie mam wrażenie, że powoli mamy do czynienia z powrotem na salony sztuki śmierci. Obserwuję sporą ekspansję polskich kapel gatunku death i nowy krążek Ulcer bez wahania mogę zaliczyć do tych mogących dźwignąć gatunek tam, gdzie jego miejsce, czyli na piedestały. Dead Souls Cathedral wypuszczony został przez Defense Records/My Throne Promotions 18 maja bieżącego roku.

Skłamałbym, gdyby coś mnie w związku z tą płytą zaskoczyło. Tak jak się spodziewałem, album okazał się dobry, a rosnący fejm bandu niezachwiany. Dead Souls Cathedral to już czwarty long hordy pochodzącej z Lublina, i tak jak w przypadku każdej poprzedniej, można zauważyć odpowiedni progres aranżacyjno/twórczy. Zespół nadal zdecydowanie kultywuje drogę starego death metalu, ale swój styl buduje na jego wielu elementach i wpływach. Słychać tu Florydę, słychać nieco starej Szwecji, a jak mocno poszukać, to i da się znaleźć coś z wysp (Bolt Thrower, wczesne My Dying Bride, Paradise Lost – harmonie). Ważne w tej układance jest to, że utwory są skonstruowane w płynny sposób i wszystkie te inspiracje przenikają się naturalnie. Co w moim uznaniu dominuje, to diabelski, mroczny klimat, który może kojarzyć się z Immolation, jest w nich ten sam duszny, ciemny feeling, co u Amerykanów. Generalnie Ulcer także stawia na średnie tempa, masywne struktury i chaotyczne solówki, rozgniatając wszystko na swojej drodze. Mrocznego klimatu dopełniają pojawiające się tu i ówdzie brzmiące bardzo staromodnie klawisze, kojarzące się z death metalowymi albumami wczesnych lat 90. Wstawki te nie są częste i nie mają wpływu na jakieś zmiękczenie materiału, lecz dopełnienie emanacji zła – co im się udaje.

Jedynym małym minusem, z którym mało kto pewnie się zgodzi jest czas trwania albumu. Niemal pięćdziesiąt minut tak masywnej muzyki nie będzie dla mnie zawsze do przejścia. Należę do osób, którzy wolą uczucie niedosytu niż w drugą stronę. Pewnie nie byłbym w stanie wskazać, która kompozycja powinna wypaść, bo całość jest bardzo równa, ale mam wrażenie, że skrócenie materiału mogłoby polepszyć wrażenia odbioru materiału.

Reasumując, uważam Ulcer za jednego z silniejszych składów nowej fali polskiego death metalu. Zespół łączy w sobie w odpowiednich proporcjach nostalgiczne wpływy przeszłości z własnym stylem, a taki zestaw ma konkretne branie w dzisiejszych czasach.

Brzeźnicki


Old School Death Metal acts have the tendency to become clones of their idols of the past, locked up in an endless circle from where they can't escape from their own choice. But it doesn't mean that a band can't do things in a personal way using such an old and eroded approach. Names as ULCER, from Poland, shows that things can be different, as can be heard on "Dead Souls Cathedral", their latest release.

It's a form of traditional Death Metal influenced by early Swedish Death Metal names as CARNAGE, DISMEMBER, ENTOMMBED and UNLEASHED, and with some touches of North American School. But paying attention, the listeners will detect for some technical details and a clear melodic basting under their musical brutality (and that are especially evident during the guitar solos). But as written words fail to state what an album can express sometimes, the best is to say that they found a personal way to deal with the genre. And it's good, indeed. The production of the album focused its efforts to create something that could keep the Old School elements of their music into the album. But the choice for a better sonority, with a careful work that make their songs understandable to the ears, was very good one, indeed. And the Old School touch comes from the instrumental tunes used.

The mayhemic brutality of "Those Black Gods" (very good melodic basting along nasty guitars arrangements and grunts) and of "Not the One", the catchy slow parts of "Cold Darkness" (with a simple, but good, work from bass guitar and drums on the rhythmic conduction), the massive Old School weight shown on the fast tempos of "Die with Us", and the very good technical work heard on "Dead Souls Cathedral" are the best ones to begin with. But for a Death Metal addicted, "Dead Souls Cathedral" is a fine piece of Death Metal.

So be the next one on the line, and surrender to the brutality of ULCER. You won't regret the experience.

'Metal Mark' Garcia



..::TRACK-LIST::..

1. Those Black Gods 07:42
2. Not The One 05:09
3. Cold Darkness 06:23
4. Eternal Night 01:12
5. Off We Go 05:45
6. Die With Us 04:50
7. Disintegration 05:23
8. Dead Souls Cathedral 05:26
9. Into The Chasm 05:15



https://www.youtube.com/watch?v=1893J5gpXRs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Abhordium's When Depravity Incarnates is an extremely positive surprise in virtually every respect. Death metal in general seems like a genre flogged to death by gazillions of more or less crappy bands in the recent years, and this particular album brings were little innovation to the table. It has not been released by a label, and in a world deluged by independent releases of questionable quality, creating a full-length indie release is both financial gambling and, too often, an artificial support for the musicians' egos.

However, in this case, everything seems to click to place in a surprising way, and the album is a very enjoyable piece of controlled chaos, and manages to renew the traditional genre, but without turning to commercial crap or disrespecting the classic rules of death metal. Even the packaging, a very nice looking digipack, with creepily innovative band member pictures and overall well-designed looks, promises something that deviates from the flow of mediocre works in the genre.

The music on When Depravity Incarnates is almost pure death metal, with a traditional but modernized sound, dashes of brutality, and the chaotic essence of the genre well under control. The riffing is extremely well executed, rapid, and sounds somewhat like a modernized, sped-up Altars of Madness. And that is what death metal should be about. The songs are logical and flow extremely well, but still retain the vital chaotic battering whirlwind of true death metal, with absolutely no core influence whatsoever; the songs are carried mostly by the wonderful guitar-work, and that's exactly how it should be. Rule #1 of death metal: riffs before everything!

The vocals are basic death growls, the drumming is almost exceptionally faithful to the conventions of the genre, and the bass serves the greater good as it should. There's a scent of brutal death metal in the air, but that's mostly because the album takes the traditional death metal to the extreme, and has a brutality of the original kind, without the annoying characteristics of the modern run-of-the-mill brutal death. Some of the rapid riffing also carries a mildly blackened feel to it, as do the vocals and lyrics on the last track, "Abyss Portal", even if the music stays true to death metal.

Production-wise the album is close to perfect. The sound is thick, but not Hi-Fi, and just the drums get a bit buried by the combined efforts of the guitars and vocals occasionally. However, even the production respects the original definition of death metal, and there's simply nothing to whine about… this is a very good album. For an independent release, When Depravity Incarnates is a very professional and credible package in every way. Most death metal albums released by labels nowadays is much less enjoyable than Abhordium on this fine piece of work, and even if there's nothing new on the album, the extreme traditionalism and purity of death metal is easily enough to make this a worthwhile purchase.

And finally, the band displayed some original innovation in their marketing efforts. Going around a festival area and selling the album out of a backpack to random metalheads drinking beer on the lawn is a traditional method to spread independent releases. However, the simple addition of an MP3 player and quality headphones for some quick sampling was quite enough to convince yours truly of the bargain.

When Depravity Incarnates is a worthy purchase for anyone into traditional death metal taken into one kind of extreme. It's also a schoolbook example of how to release an independent album the right way. Listen and learn!

Napero



..::TRACK-LIST::..

1. Cursed Phenomenon 04:30
2. Plague Upon Plague 03:25
3. Circulation of the Stygian Winds 04:02
4. Depravity Withering 03:00
5. Shades of the Horns 03:57
6. Dormant Mind 03:52
7. Chaos Mantra (Part. I) 05:32
8. Like the Ruins Betokeneth (Part. II) 04:33
9. Abyss Portal 06:49



..::OBSADA::..

Arttu Aalto - drums
Kari Laaksonen - vocals
Jarkko Neuvonen - guitars/bass




https://www.youtube.com/watch?v=ft1akf4VCGM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Abhordium's When Depravity Incarnates is an extremely positive surprise in virtually every respect. Death metal in general seems like a genre flogged to death by gazillions of more or less crappy bands in the recent years, and this particular album brings were little innovation to the table. It has not been released by a label, and in a world deluged by independent releases of questionable quality, creating a full-length indie release is both financial gambling and, too often, an artificial support for the musicians' egos.

However, in this case, everything seems to click to place in a surprising way, and the album is a very enjoyable piece of controlled chaos, and manages to renew the traditional genre, but without turning to commercial crap or disrespecting the classic rules of death metal. Even the packaging, a very nice looking digipack, with creepily innovative band member pictures and overall well-designed looks, promises something that deviates from the flow of mediocre works in the genre.

The music on When Depravity Incarnates is almost pure death metal, with a traditional but modernized sound, dashes of brutality, and the chaotic essence of the genre well under control. The riffing is extremely well executed, rapid, and sounds somewhat like a modernized, sped-up Altars of Madness. And that is what death metal should be about. The songs are logical and flow extremely well, but still retain the vital chaotic battering whirlwind of true death metal, with absolutely no core influence whatsoever; the songs are carried mostly by the wonderful guitar-work, and that's exactly how it should be. Rule #1 of death metal: riffs before everything!

The vocals are basic death growls, the drumming is almost exceptionally faithful to the conventions of the genre, and the bass serves the greater good as it should. There's a scent of brutal death metal in the air, but that's mostly because the album takes the traditional death metal to the extreme, and has a brutality of the original kind, without the annoying characteristics of the modern run-of-the-mill brutal death. Some of the rapid riffing also carries a mildly blackened feel to it, as do the vocals and lyrics on the last track, "Abyss Portal", even if the music stays true to death metal.

Production-wise the album is close to perfect. The sound is thick, but not Hi-Fi, and just the drums get a bit buried by the combined efforts of the guitars and vocals occasionally. However, even the production respects the original definition of death metal, and there's simply nothing to whine about… this is a very good album. For an independent release, When Depravity Incarnates is a very professional and credible package in every way. Most death metal albums released by labels nowadays is much less enjoyable than Abhordium on this fine piece of work, and even if there's nothing new on the album, the extreme traditionalism and purity of death metal is easily enough to make this a worthwhile purchase.

And finally, the band displayed some original innovation in their marketing efforts. Going around a festival area and selling the album out of a backpack to random metalheads drinking beer on the lawn is a traditional method to spread independent releases. However, the simple addition of an MP3 player and quality headphones for some quick sampling was quite enough to convince yours truly of the bargain.

When Depravity Incarnates is a worthy purchase for anyone into traditional death metal taken into one kind of extreme. It's also a schoolbook example of how to release an independent album the right way. Listen and learn!

Napero



..::TRACK-LIST::..

1. Cursed Phenomenon 04:30
2. Plague Upon Plague 03:25
3. Circulation of the Stygian Winds 04:02
4. Depravity Withering 03:00
5. Shades of the Horns 03:57
6. Dormant Mind 03:52
7. Chaos Mantra (Part. I) 05:32
8. Like the Ruins Betokeneth (Part. II) 04:33
9. Abyss Portal 06:49



..::OBSADA::..

Arttu Aalto - drums
Kari Laaksonen - vocals
Jarkko Neuvonen - guitars/bass




https://www.youtube.com/watch?v=ft1akf4VCGM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ultra brutalny death metal/grind z USA, drugi duży album gore-porno maniaków z Illinois.


The second album by US death/grind masters Lividity enshrined in a brand new cover artwork including layout. Originally released in 2002.



..::TRACK-LIST::..

1. T.L.C (Tight ´Lil Cunt) 4:24
2. Coated with My Semen 3:25
3. Unrelenting Homicidal Obsession 3:33
4. A Woman ´s Place Is on My Face 3:02
5. Second Cumming (Pussy Lover Part II) 4:31
6. Snack Size Tits 0:35
7. Anal Autopsy 4:51
8. Fetal Scabs 2:28
9. Conception Through Ingestion 3:50



..::OBSADA::..

Dave Kibler - Guitars, Vocals (backing)
James Whitehurst - Drums
Matt Bishop - Guitars, Vocals
Aaron Harper - Bass



https://www.youtube.com/watch?v=DFaO4d9Ab9A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ultra brutalny death metal/grind z USA, drugi duży album gore-porno maniaków z Illinois.


The second album by US death/grind masters Lividity enshrined in a brand new cover artwork including layout. Originally released in 2002.



..::TRACK-LIST::..

1. T.L.C (Tight ´Lil Cunt) 4:24
2. Coated with My Semen 3:25
3. Unrelenting Homicidal Obsession 3:33
4. A Woman ´s Place Is on My Face 3:02
5. Second Cumming (Pussy Lover Part II) 4:31
6. Snack Size Tits 0:35
7. Anal Autopsy 4:51
8. Fetal Scabs 2:28
9. Conception Through Ingestion 3:50



..::OBSADA::..

Dave Kibler - Guitars, Vocals (backing)
James Whitehurst - Drums
Matt Bishop - Guitars, Vocals
Aaron Harper - Bass



https://www.youtube.com/watch?v=DFaO4d9Ab9A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Technical death metal monsters AHTME have unveiled ‘Hair Of The Hog’, the first single from new album Mephitic, a noxious mix of wizardry and brutality, delivered with obscene ferocity, out 24th July via Unique Leader.

The band comment: “With this new album we tried to include plenty of different flavors, enough to satisfy any palate. But ‘Hair of the Hog’ has a classic taste, something everyone recognizes. The type of meal that just slams into your gullet like a beer bong full of taco meat. Dig in! ”

Surgically precise guitar riffs, a groove-driven ultra-sturdy rhythm section, topped with raw, violent roaring vocals, come together to create AHTME.

Forming in Kansas City Missouri under the name The Roman Holiday, AHTME bring a signature and unique sound to the table. After a long journey solidifying their sound, they renamed as AHTME and their 2018 debut album under that name Sewer Born turned many heads, establishing them firmly in the US death metal scene.

Relying more on groovy, and catchy riffs to grab their twisted audience by their necks and slam them to the ground. The quintet always delver something you can bang your head to, all while maintaining the guarantee to pick even the thickest of tech scabs off the arms of those interested only in speed and precision.



..::TRACK-LIST::..

1. Swarm of Fools 04:11
2. Putrid Perforation 03:47
3. Node 03:04
4. Dissolve 03:32
5. Dent 04:28
6. Hair of the Hog 03:15
7. No Stone Sacred 05:04
8. Valley of the Gourds 04:39
9. Devourment Empowerment 04:24



..::OBSADA::..

Vocals - Brent Turnbow
Drums - Jordan Plumer
Guitar - Dalton Harper
Bass - Craig Bruenger




https://www.youtube.com/watch?v=G_642Q9_TIU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Technical death metal monsters AHTME have unveiled ‘Hair Of The Hog’, the first single from new album Mephitic, a noxious mix of wizardry and brutality, delivered with obscene ferocity, out 24th July via Unique Leader.

The band comment: “With this new album we tried to include plenty of different flavors, enough to satisfy any palate. But ‘Hair of the Hog’ has a classic taste, something everyone recognizes. The type of meal that just slams into your gullet like a beer bong full of taco meat. Dig in! ”

Surgically precise guitar riffs, a groove-driven ultra-sturdy rhythm section, topped with raw, violent roaring vocals, come together to create AHTME.

Forming in Kansas City Missouri under the name The Roman Holiday, AHTME bring a signature and unique sound to the table. After a long journey solidifying their sound, they renamed as AHTME and their 2018 debut album under that name Sewer Born turned many heads, establishing them firmly in the US death metal scene.

Relying more on groovy, and catchy riffs to grab their twisted audience by their necks and slam them to the ground. The quintet always delver something you can bang your head to, all while maintaining the guarantee to pick even the thickest of tech scabs off the arms of those interested only in speed and precision.



..::TRACK-LIST::..

1. Swarm of Fools 04:11
2. Putrid Perforation 03:47
3. Node 03:04
4. Dissolve 03:32
5. Dent 04:28
6. Hair of the Hog 03:15
7. No Stone Sacred 05:04
8. Valley of the Gourds 04:39
9. Devourment Empowerment 04:24



..::OBSADA::..

Vocals - Brent Turnbow
Drums - Jordan Plumer
Guitar - Dalton Harper
Bass - Craig Bruenger




https://www.youtube.com/watch?v=G_642Q9_TIU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

VIOGRESSION powraca z trzecią dużą płytą po 30 latach! Brutalny i techniczny amerykański death metal!


VIOGRESSION's third studio album, a magnificent come-back after 30 years!

Amazing traditional, violent, technical Death Metal from Milwaukee, Wisconsin, USA!



..::TRACK-LIST::..

1. Nectar of Veins 05:33
2. Under The Riverbed 04:23
3. Death Dive 05:06
4. 3 Skulls 01:56
5. From Dust 05:38
6. Caliginous Conflagration 04:03
7. Murder 05:26
8. Sisters of Iris - Taurion 07:45
9. Blood Stained Path 04:23
10. Cipher 07:37
11. Memory Ever After 03:19



..::OBSADA::..

Vocals - Brian DeNeffe
Bass - Jason Hellman
Drums - Duane Timlin
Guitar - Matt Holtz

Guest:
Guitar - Jim Potter
Soloist, Guitar - Jason Gobel (Cipher)




https://www.youtube.com/watch?app=desktop&v=US2kFTG_6Ig



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

VIOGRESSION powraca z trzecią dużą płytą po 30 latach! Brutalny i techniczny amerykański death metal!


VIOGRESSION's third studio album, a magnificent come-back after 30 years!

Amazing traditional, violent, technical Death Metal from Milwaukee, Wisconsin, USA!



..::TRACK-LIST::..

1. Nectar of Veins 05:33
2. Under The Riverbed 04:23
3. Death Dive 05:06
4. 3 Skulls 01:56
5. From Dust 05:38
6. Caliginous Conflagration 04:03
7. Murder 05:26
8. Sisters of Iris - Taurion 07:45
9. Blood Stained Path 04:23
10. Cipher 07:37
11. Memory Ever After 03:19



..::OBSADA::..

Vocals - Brian DeNeffe
Bass - Jason Hellman
Drums - Duane Timlin
Guitar - Matt Holtz

Guest:
Guitar - Jim Potter
Soloist, Guitar - Jason Gobel (Cipher)




https://www.youtube.com/watch?app=desktop&v=US2kFTG_6Ig



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

One of the most influential metal bands ever, is without doubt Possessed. Didn’t they create an entire main genre in extreme metal? The Possessed demo ‘Death Metal’ from 1984 was ground breaking and led to a deal with Combat Records. Debut album ‘Seven Churches’ was released late 1985 and influenced many, if not all, extreme metal bands up till today. Live at Balboa Theatre, January 1986 was the gig they performed the ‘Seven Churches’ album. That night the bill was Exodus, Possessed, Dark Angel, DRI & Death Angel. All tracks are carefully restored and remastered by Achilleas Kalantzis (Vio Lence, Defiance, Varathron). Extensive liner notes / interview with Jeff Becerra. Rare, never before published pictures. Cover and booklet art by Thomas Pinheiro (Malevolent Creation, Defiance, Lobotomy). Official live album. No ultra fancy polished sound, raw as hell, the way early death / black metal was suppossed to sound, this was 1986!



..::TRACK-LIST::..

1. The Exorcist 04:47
2. Pentagram 04:10
3. Satan's Curse 04:44
4. Holy Hell 04:43
5. Burning In Hell 03:28
6. Evil Warriors 04:13
7. Seven Churches 03:37
8. Death Metal 03:59



https://www.youtube.com/watch?v=5qdOkVyWVgE


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

One of the most influential metal bands ever, is without doubt Possessed. Didn’t they create an entire main genre in extreme metal? The Possessed demo ‘Death Metal’ from 1984 was ground breaking and led to a deal with Combat Records. Debut album ‘Seven Churches’ was released late 1985 and influenced many, if not all, extreme metal bands up till today. Live at Balboa Theatre, January 1986 was the gig they performed the ‘Seven Churches’ album. That night the bill was Exodus, Possessed, Dark Angel, DRI & Death Angel. All tracks are carefully restored and remastered by Achilleas Kalantzis (Vio Lence, Defiance, Varathron). Extensive liner notes / interview with Jeff Becerra. Rare, never before published pictures. Cover and booklet art by Thomas Pinheiro (Malevolent Creation, Defiance, Lobotomy). Official live album. No ultra fancy polished sound, raw as hell, the way early death / black metal was suppossed to sound, this was 1986!



..::TRACK-LIST::..

1. The Exorcist 04:47
2. Pentagram 04:10
3. Satan's Curse 04:44
4. Holy Hell 04:43
5. Burning In Hell 03:28
6. Evil Warriors 04:13
7. Seven Churches 03:37
8. Death Metal 03:59



https://www.youtube.com/watch?v=5qdOkVyWVgE


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cult Swedish death metal band Sacrilege were only around long enough to produce two albums but nevertheless they made quite a name for themselves in the 90's and their records soon became sought after metal classics. The bands two albums "Lost In The Beauty You Slay" 1996, and The Fifth Season" 1997, have now been made available again through Dissonance Productions. This Limited Edition release includes both albums rolled into one package.



..::TRACK-LIST::..

CD 1 - Lost In The Beauty You Slay:
I. Frozen Thoughts (Cello Hellgren) 3:51
II. Beyond The Gates Of Pain (Cello Hellgren) 2:45
III. Without Delight 3:19
IV. Crying Statues Of Paleness And Ice 4:21
V. Fettered In Shackles Of Light 5:00
VI. Lost In The Beauty You Slay 4:11
VII. Silence In A Beloved Scream 4:30
VIII. Torment Of Life 4:20
IX. Initio Silentium Noctis (Cello Hellgren) 3:53


CD 2 - The Fifth Season:
I. Summon The Masses And Walk Through The Fire 4:02
II. Sweet Moment Of Triumph 3:44
III. Nine Eyes Of Twilight 5:47
IV. Feed The Cold 4:03
V. Fifth Season 2:37
VI. Moaning Idiot Heart 4:49
VII. Dim With Shame 3:46
VIII. Seduction Nocturn 4:16
IX. The Winter Enticed 5:19
X. Sorg 4:08



..::OBSADA::..

Vocals - Daniel Svensson (tracks: 1-IV to 1-VIII), Michael Andersson (tracks: 1-I to 1-III)
Vocals, Drums - Daniel Svensson (tracks: 2-I to 2-X)
Guitar - Daniel Dinsdale, Richard Bergholtz
Keyboards - Daniel Svensson (tracks: 2-I to 2-X)
Bass - Daniel Kvist
Cello - My Hellgren (tracks: 1-I, 1-II, 1-IX)
Drums, Vocals – Daniel Svensson (tracks: 1-I to 1-IX)




https://www.youtube.com/watch?v=Bi0o-Zy4kl4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cult Swedish death metal band Sacrilege were only around long enough to produce two albums but nevertheless they made quite a name for themselves in the 90's and their records soon became sought after metal classics. The bands two albums "Lost In The Beauty You Slay" 1996, and The Fifth Season" 1997, have now been made available again through Dissonance Productions. This Limited Edition release includes both albums rolled into one package.



..::TRACK-LIST::..

CD 1 - Lost In The Beauty You Slay:
I. Frozen Thoughts (Cello Hellgren) 3:51
II. Beyond The Gates Of Pain (Cello Hellgren) 2:45
III. Without Delight 3:19
IV. Crying Statues Of Paleness And Ice 4:21
V. Fettered In Shackles Of Light 5:00
VI. Lost In The Beauty You Slay 4:11
VII. Silence In A Beloved Scream 4:30
VIII. Torment Of Life 4:20
IX. Initio Silentium Noctis (Cello Hellgren) 3:53


CD 2 - The Fifth Season:
I. Summon The Masses And Walk Through The Fire 4:02
II. Sweet Moment Of Triumph 3:44
III. Nine Eyes Of Twilight 5:47
IV. Feed The Cold 4:03
V. Fifth Season 2:37
VI. Moaning Idiot Heart 4:49
VII. Dim With Shame 3:46
VIII. Seduction Nocturn 4:16
IX. The Winter Enticed 5:19
X. Sorg 4:08



..::OBSADA::..

Vocals - Daniel Svensson (tracks: 1-IV to 1-VIII), Michael Andersson (tracks: 1-I to 1-III)
Vocals, Drums - Daniel Svensson (tracks: 2-I to 2-X)
Guitar - Daniel Dinsdale, Richard Bergholtz
Keyboards - Daniel Svensson (tracks: 2-I to 2-X)
Bass - Daniel Kvist
Cello - My Hellgren (tracks: 1-I, 1-II, 1-IX)
Drums, Vocals – Daniel Svensson (tracks: 1-I to 1-IX)




https://www.youtube.com/watch?v=Bi0o-Zy4kl4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ever the vanguard of ugly, uncompromising underground metal, IRON BONEHEAD PRODUCTIONS unveils Heptaedrone, the debut demo of KHTHONIIK CERVIIKS. A German power-trio, KHTHONIIK CERVIIKS create a rabid, roiling style of barbaric black/death that evinces no shortage of idiosyncrasy. The seven tracks of Heptaedrone pulse and thrust with savage bestiality, but are shot through with wild turns of angularity and teeth-gnashingly tense texture. It's a sound that's utterly unhinged and palpably dangerous and most definitely METAL, but KHTHONIIK CERVIIKS are aiming for spiritual/astral planes far beyond the mien of "metal." Just as the label has done with fostering the "thinking man's savagery" of Bölzer and Cult of Fire, IRON BONEHEAD will destroy souls and blow minds with KHTHONIIK CERVIIKS' Heptaedrone.



..::TRACK-LIST::..

1. Khthoniik Cerviiks Exhalement 01:50
2. The Grand Sidereal Swindle 05:16
3. Colliding Spheres Bend Solar Years 06:19
4. Elektriik Redeemer 06:39
5. Magmatiik Moil 05:40

Rehearsal 2013 bonus tracks:
6. Black Hole Neurotransmission 07:39
7. Moraines Of Molten Light 09:27



..::OBSADA::..

Drums [190Bpm V.U.K.K.] - Ohourobohortiik Ssphäross
Guitar [82, 4Hz-1318, 5Hz Azimuth Assonance], Backing Vocals [Additional Vocal Sequence] - Khraâl Vri*ïl
Bass [34' LF Emitter], Lead Vocals [Main Voice Sequence] - Okkhulus Siirs

Painting - Zdzisław Beksiński



https://www.youtube.com/watch?v=OofJRv5qC1E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ever the vanguard of ugly, uncompromising underground metal, IRON BONEHEAD PRODUCTIONS unveils Heptaedrone, the debut demo of KHTHONIIK CERVIIKS. A German power-trio, KHTHONIIK CERVIIKS create a rabid, roiling style of barbaric black/death that evinces no shortage of idiosyncrasy. The seven tracks of Heptaedrone pulse and thrust with savage bestiality, but are shot through with wild turns of angularity and teeth-gnashingly tense texture. It's a sound that's utterly unhinged and palpably dangerous and most definitely METAL, but KHTHONIIK CERVIIKS are aiming for spiritual/astral planes far beyond the mien of "metal." Just as the label has done with fostering the "thinking man's savagery" of Bölzer and Cult of Fire, IRON BONEHEAD will destroy souls and blow minds with KHTHONIIK CERVIIKS' Heptaedrone.



..::TRACK-LIST::..

1. Khthoniik Cerviiks Exhalement 01:50
2. The Grand Sidereal Swindle 05:16
3. Colliding Spheres Bend Solar Years 06:19
4. Elektriik Redeemer 06:39
5. Magmatiik Moil 05:40

Rehearsal 2013 bonus tracks:
6. Black Hole Neurotransmission 07:39
7. Moraines Of Molten Light 09:27



..::OBSADA::..

Drums [190Bpm V.U.K.K.] - Ohourobohortiik Ssphäross
Guitar [82, 4Hz-1318, 5Hz Azimuth Assonance], Backing Vocals [Additional Vocal Sequence] - Khraâl Vri*ïl
Bass [34' LF Emitter], Lead Vocals [Main Voice Sequence] - Okkhulus Siirs

Painting - Zdzisław Beksiński



https://www.youtube.com/watch?v=OofJRv5qC1E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To mocny, przekonujący debiut, który z perspektywy czasu pokazuje zwartą jednostkę, która była przeznaczona do bycia wielką!!!



Debut studio EP from this twisted Colorado death metal legion. New recording of four previously released tracks from their nearly impossible-to-find demo tapes. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.



..::TRACK-LIST::..

1. The Vth Tablet (Of Enûma Eliš) 3:45
2. Obfuscating The Linear Threshold 4:20
3. Hovering Lifeless 3:52
4. Subterranean Aeon 6:08



..::OBSADA::..

Vocals, Synthesizer [Moog] - Paul Riedl
Drums - Isaac Faulk
Guitar - Morris Kolontyrsky, Paul Riedl
Bass [Fretless Bass (Session)] - Damon Good




https://www.youtube.com/watch?v=p5Owk4Xt6jE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To mocny, przekonujący debiut, który z perspektywy czasu pokazuje zwartą jednostkę, która była przeznaczona do bycia wielką!!!



Debut studio EP from this twisted Colorado death metal legion. New recording of four previously released tracks from their nearly impossible-to-find demo tapes. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities.



..::TRACK-LIST::..

1. The Vth Tablet (Of Enûma Eliš) 3:45
2. Obfuscating The Linear Threshold 4:20
3. Hovering Lifeless 3:52
4. Subterranean Aeon 6:08



..::OBSADA::..

Vocals, Synthesizer [Moog] - Paul Riedl
Drums - Isaac Faulk
Guitar - Morris Kolontyrsky, Paul Riedl
Bass [Fretless Bass (Session)] - Damon Good




https://www.youtube.com/watch?v=p5Owk4Xt6jE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album amerykańskiej death/grindowej formacji Lividity z 2000 roku wznowiony z nową oprawą graficzną.


Lividity. A brutal death band formed out of Illinois. Have established themselves as one of the sickest bands within extreme metal. But you may ask yourself. How have Lividity, a seemingly goofy prono gore death band? Rose in popularity as one of the best brutal death metal bands? Well, I’m here to say that Lividity is not only a fantastic death metal band. They fit perfectly together with bands like Regurgitation, Gorgasm, Deaden, and Skinless. And aren’t some joke of a band.

If you can get past all the dumb and goofy samples. This album is ruthless in its attack. The album is straightforward, fast, hooky, and groovy as fuck. Much like Waco Jesus, they have that tongue-in-cheek type of imagery and gory lyrics. But once again if you look just at the music. This is a very tight and brutal fucking album. Filled with everything a brutal death fan would love. And that’s a good production quality, chunky double bass, and memorable groovy riffs.

As I stated this album has a raw yet tasty mix and production quality. The guitars have a good low crunch to them, and the bass is probably more prominent or as prominent as the guitars. The bass has a great groovy tone that is heard across the whole album. The drums have a good meat and potatoes sound, and while the snare may be a tad quieter than the kick drums or the cymbals. Mainly during some blasts and turnovers. It still delivers a hella satisfying feeling and punch. Vocally this is way up in the mix. In a good way of course. It’s fucking sick overall.

This album is filled to the brim with yummy hooks and riffing. Songs like “Chamber of Bone” and “Oozing Vaginal Discharge” are packed full of meaty tremolos and obnoxious grooves. It isn’t all just blasts and frantic chords as well. You get some slower and doomy riffs and beats on the song “Anal Action Wife”. So there’s a good amount of variety of nice riffing and Slammy rhythms. You get a lot of good chugging palm-muted guitar riffs as well. But mainly it’s those nice grooves and tremolos that propel this record.

The album is a short yet sweet bash to the skull. There’s a ton of old-school death metal riffage thrown into the mix as well. So you kinda get a feel of both brutal death and osdm. Of course, those wouldn’t be complete without heavy ass Suffocation like breakdowns and riff patterns. The kinda riffs that have that creepy crawl feel to them. That is guaranteed to make your skin crawl as well.

Vocally it’s brutal as fuck as expected. You get two main vocal ranges here. You have Matt Bishop doing guitar and the lower gutturals. And then you got Dave Kibler on the other guitar doing higher shrieks as backup vocals. Both have a good vocal flow and bounce back and forth between each other perfectly. They also tend to be used at the same time layered on top of each other. Which sounds ungodly brutal. Overall the vocals have a good trade-off and flow well.

Finally, we got them drums. The drums on here are as blasty as you can expect. Tons of frantic blast beats, pummeling double bass, and heavy drum grooves are all over this fucking thing. Including the more slower doom-like sections that the guitars showcase as well. The drums are hella tight and flow well with the guitars and vocals on this album. While the drums are slightly quieter than everything else they don’t fail at delivering sickening brutality.

In conclusion, this album is an underrated classic in brutal death metal. Like I said if you can get past the goofy samples which is kinda the band's stick at this point. It’s a very well-written and tight brutal death metal album. But this is brutal death metal. Of course, it’s gonna be overly stupid and goofy. It’s sick and gory. The way extreme death metal should be. So give this band a chance. Because this truly is some very memorable and hooky brutal death metal. Good shit.

FFO: Suffocation, Deaden, Waco Jesus, Regurgitation, Broken Hope, FleshGrind, Skinless

Traumawillalwayslinger



..::TRACK-LIST::..

1. Oozing Vaginal Discharge 03:53
2. The Urge to Splurge 01:37
3. Chamber of Bone 04:27
4. Anal Action Wife 04:38
5. Stench of Virginity 04:56
6. Food 03:55
7. Dismembering Her Lifeless Corpse 05:04
8. Bloody Horror (Impetigo cover) 03:11
9. Sodomy Ritual 03:06



..::OBSADA::..

Bass - Mike 'Papa' Smith
Drums - Nick Null
Additional Vocals - Aaron Heath, Rich Lipscomb
Guitar, Backing Vocals - Dave Kibler
Guitar, Vocals - Matt Bishop




https://www.youtube.com/watch?v=f6g8xR07JoA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album amerykańskiej death/grindowej formacji Lividity z 2000 roku wznowiony z nową oprawą graficzną.


Lividity. A brutal death band formed out of Illinois. Have established themselves as one of the sickest bands within extreme metal. But you may ask yourself. How have Lividity, a seemingly goofy prono gore death band? Rose in popularity as one of the best brutal death metal bands? Well, I’m here to say that Lividity is not only a fantastic death metal band. They fit perfectly together with bands like Regurgitation, Gorgasm, Deaden, and Skinless. And aren’t some joke of a band.

If you can get past all the dumb and goofy samples. This album is ruthless in its attack. The album is straightforward, fast, hooky, and groovy as fuck. Much like Waco Jesus, they have that tongue-in-cheek type of imagery and gory lyrics. But once again if you look just at the music. This is a very tight and brutal fucking album. Filled with everything a brutal death fan would love. And that’s a good production quality, chunky double bass, and memorable groovy riffs.

As I stated this album has a raw yet tasty mix and production quality. The guitars have a good low crunch to them, and the bass is probably more prominent or as prominent as the guitars. The bass has a great groovy tone that is heard across the whole album. The drums have a good meat and potatoes sound, and while the snare may be a tad quieter than the kick drums or the cymbals. Mainly during some blasts and turnovers. It still delivers a hella satisfying feeling and punch. Vocally this is way up in the mix. In a good way of course. It’s fucking sick overall.

This album is filled to the brim with yummy hooks and riffing. Songs like “Chamber of Bone” and “Oozing Vaginal Discharge” are packed full of meaty tremolos and obnoxious grooves. It isn’t all just blasts and frantic chords as well. You get some slower and doomy riffs and beats on the song “Anal Action Wife”. So there’s a good amount of variety of nice riffing and Slammy rhythms. You get a lot of good chugging palm-muted guitar riffs as well. But mainly it’s those nice grooves and tremolos that propel this record.

The album is a short yet sweet bash to the skull. There’s a ton of old-school death metal riffage thrown into the mix as well. So you kinda get a feel of both brutal death and osdm. Of course, those wouldn’t be complete without heavy ass Suffocation like breakdowns and riff patterns. The kinda riffs that have that creepy crawl feel to them. That is guaranteed to make your skin crawl as well.

Vocally it’s brutal as fuck as expected. You get two main vocal ranges here. You have Matt Bishop doing guitar and the lower gutturals. And then you got Dave Kibler on the other guitar doing higher shrieks as backup vocals. Both have a good vocal flow and bounce back and forth between each other perfectly. They also tend to be used at the same time layered on top of each other. Which sounds ungodly brutal. Overall the vocals have a good trade-off and flow well.

Finally, we got them drums. The drums on here are as blasty as you can expect. Tons of frantic blast beats, pummeling double bass, and heavy drum grooves are all over this fucking thing. Including the more slower doom-like sections that the guitars showcase as well. The drums are hella tight and flow well with the guitars and vocals on this album. While the drums are slightly quieter than everything else they don’t fail at delivering sickening brutality.

In conclusion, this album is an underrated classic in brutal death metal. Like I said if you can get past the goofy samples which is kinda the band's stick at this point. It’s a very well-written and tight brutal death metal album. But this is brutal death metal. Of course, it’s gonna be overly stupid and goofy. It’s sick and gory. The way extreme death metal should be. So give this band a chance. Because this truly is some very memorable and hooky brutal death metal. Good shit.

FFO: Suffocation, Deaden, Waco Jesus, Regurgitation, Broken Hope, FleshGrind, Skinless

Traumawillalwayslinger



..::TRACK-LIST::..

1. Oozing Vaginal Discharge 03:53
2. The Urge to Splurge 01:37
3. Chamber of Bone 04:27
4. Anal Action Wife 04:38
5. Stench of Virginity 04:56
6. Food 03:55
7. Dismembering Her Lifeless Corpse 05:04
8. Bloody Horror (Impetigo cover) 03:11
9. Sodomy Ritual 03:06



..::OBSADA::..

Bass - Mike 'Papa' Smith
Drums - Nick Null
Additional Vocals - Aaron Heath, Rich Lipscomb
Guitar, Backing Vocals - Dave Kibler
Guitar, Vocals - Matt Bishop




https://www.youtube.com/watch?v=f6g8xR07JoA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Originally released by Metal Blade Records on June 4th, 2002, God Was Created breathed new life into U.S. Death Metal scene that had become boring & stagnant and would lay the foundation for a new generation of bands to come. No band had been able to successfully bridge the gap between the more melodic European style and the more brutal U.S. sound until this release.


“Gather round, I have a story for ye. Back in 2002, a Phoenix-based death metal group called Vehemence released an album called God Was Created, a work that escaped widespread popularity to essentially become the little engine that could – a cult classic of the genre, if you will. Far from conventional, Created had an odd sound that was melodic without a hint of Gothenburg, preferring instead riffs that combined the open-strummed hardiness of Arghoslent with the evocative melodies of Intestine Baalism. More importantly, it showed a band tossing aside genre conventions to let blossom their bizarre vision and ambition. A concept album about a young man’s fatal obsession with a devoutly religious schoolgirl, Created combined acoustic strumming, sullen spoken word, and guitarwork that alternated between demented and achingly gorgeous, all into an hour-long journey of sexual Jesus fantasies and necrophilia.’

– Angry Metal Guy

“This record is a must for fans of extreme metal. Even those who are not into the brutal death style will still be able to find something they like in “God Was Created”. It is one of those death metal releases that sidesteps sub genres and just offers good music. This record can appeal to any Dark Tranquillity fan as much as it can to any fan of Nile or Cannibal Corpse. I truly believe this to be without a doubt the best extreme metal release this year!”

- Metal Bite


Vehemence's 'God Was Created' is untouchable. It is without a doubt the greatest album that the style of melodic death metal ever turned out. It is musically flawless. This belongs alongside 'Altars Of Madness' and 'None So Vile' in the pantheon of death metal classics, despite its position of relatively little popularity, at least compared to those LPs. This lack of greater recognition makes absolutely no sense: Vehemence was greater than nearly all other metal, especially on this album, and I've never fully understood how the quality was never quite recognized. Vehemence was very critically acclaimed, and some people, like me, have professed their love for the album, and yet they seem not to have ever attained their rightful place in the greater death metal community's perception of what the genre's greatest albums are. And with music like this, there's quite literally no reason for it to be this way.

I can hardly find words to describe how beautiful and wondrously crafted this album is. Every element of this album is just so perfectly in place. It reminds me in a way of Cradle Of Filth's 'Dusk... And Her Embrace', where you can't help but be awed by how carefully and flawlessly constructed it all is. I genuinely believe that even people who hate death metal with a fiery passion could love this album easily, so amazingly is it made. It transcends the boundaries of the genre: not through music, per se, but through quality that is able to appeal to people regardless of their typical musical tastes. It combines all the best elements of death metal into a single album that destroys most everything else in music. And to imagine that THIS album is one of the pinnacles of death metal, one of the most overflowingly melodic and emotional albums I've heard in any music at all, is even more amazing. It breaks a thousand rules and somehow comes out as a perfect example of what all melodic death metal should be. It is perfect in every way.

Vehemence truly understood what melodic death metal was supposed to be. It's not supposed to be stripped of its heaviness or brutality: the melody is supposed to ADD to the music, not subtract, and that's precisely how Vehemence used it. This has precisely zero in common with Gothenburg melodeath, latter-era Death, or Cynic, because while 'God Was Created' is unbelievably melodic at times, it is still first and foremost a death metal album, and Vehemence never forgets that. It's always raw, if not instrumentally, emotionally, and it always maintains power no matter how mellow the music itself is. It's not a remarkable album because it did something new. It's a remarkable album because it did everything it SHOULD have done, and did it perfectly. There's never a moment on this album where the band puts something unnecessary in out of some feeling of obligation or on a whim. They knew what elements would result in a great album, and they went and composed it. It's a work of pure, undiluted art, and the fact that it's so under appreciated is a crime.

Here's the secret about this album, though: it's really just pop rock translated into death metal. If you strip away the distortion, the metal drumming, the unclean vocals spewing blasphemous lyrics -all the things that make this a death metal album- you have what is essentially pop rock. This is still obviously a melodic death metal album; that much is undeniable, as is that Vehemence is a death metal band. But the melodies and structures of the music are actually all pop-based, and not very death metal at all beyond the obvious aesthetics. 'True' death metal, even in its most fragile and melodic moments, never gets quite this easy on the ears, and this is a major thing that sets 'God Was Created' apart from other melodic death metal albums: it's ridiculously easy to listen to due to these poppy aesthetics. I'd wager that a good part of your enjoyment of this album is based on your ability to push aside preconceived notions of how death metal 'should' sound, and, though I am very loathe to use the word, all elitism towards the 'purity' of death metal as an art form. The music here doesn't invalidate Morbid Angel or Cryptopsy; it just goes in a different direction, and there's no reason to feel threatened by it.

Take the very first song on this album, 'Made For Her Jesus'. The opening acoustic melody could easily appear in mainstream music, though it is darker and more minor key than most. Then, when the music ignites in full, with bombastic drum accents and a quick flurry of bass and snare leading into the main rolling rhythm of the song, the sinuous lead guitar is clearly neoclassical in nature, and laced with melodies that are instantaneously classic just because they're so ubiquitous. All the melodies on this album feel familiar, but you'll probably never place them because they don't actually appear elsewhere. It's just how natural everything sounds: all the melodies are ones that SHOULD have been written long ago, even if by some twist of fate they weren't. But back to this song: it's brilliant. An instant classic of death metal, changing tempo, mood, and texture constantly, ever shifting in new, exciting, and beautiful directions without ever losing sight of the structure of the song itself. Every note is flawlessly and carefully composed. Melodic death metal literally does not get better than this song.

Or perhaps it just might. Vehemence's most legendary track, 'She Never Noticed Me', is up next, and it's quite possibly the pinnacle of Vehemence's catalog. Sublime is the only word for this song: the upward spirals of heart wrenching guitar, the stunningly dynamic drumwork, the impassioned vocal performance, the subtle orchestral backing, it's all absolute genius. How has this song not been written before? Everything's so perfectly in place and naturally constructed that it seems to have sprouted from the very air itself. It's the sort of song that master pop songwriters struggle to perfect over the course of years, and there's NINE MORE SONGS OF EQUAL QUALITY on this album! How are these guys not heralded as songwriting geniuses? How have they not been DISCOVERED more!? It's the sort of album that I can only describe through massive streams of uninterruptible, overly enthusiastic cursing. But even that fails, because you can't really describe this album. You can attempt to get your arms around the enormity of the genius at work here, but you'll never really get it. You simply have to hear it.

Like all melodic death metal albums, 'God Was Created' is all about the guitars, and they're the best guitars melodic death metal has ever had. Go beyond the fact that they're beyond awesomely played, that many of the riffs are extremely technical (without ever losing songwriting, melody, direction, or atmosphere), and that they're supremely stylized and dramatically played. The fact of the matter is that this album has essentially the best riffs composed in music. I can think of MAYBE eight other albums with riffs this brilliant, and even those are questionable as hell. Generally, most bands have a few truly great and brilliant riffs per album, and a bunch of mediocre to good ones. The riffs on 'God Was Created' are ONLY in that first category: it's like Vehemence cannibalized all the best riffs from the greatest unknown melodic death metal bands in the world and put them together to create some sort of superalbum that can't be overcome by anyone. And above the ordinary brilliant riffs, the top ten percent of THOSE can't even be comprehended by mortal ears. The worst Vehemence riffs are the best riffs of other bands.

There's at least one section in every song on this album that's completely mindblowing, and Vehemence are generally smart enough to put in near the beginning or the end and completely destroy your soul. On 'Made For Her Jesus', it's the opening distorted riff. On 'Made For Her Jesus', it's the fast sort-of chorus. On 'Fantasy From Pain', it's once again the opening section. On 'The Last Fantasy Of Christ', it's the acoustic portion. You see a pattern getting established here? THEY'RE ALL AMAZING! Add to this the fact that the first block of four songs is even better than the rest of it and you can't even process how good this album is in the best moments. The rest of the music adds greatly to it, but if this album was nothing but guitar it would still be completely fucking brilliant on every level. The drums are spectacular as well: very dynamic, with a great sense of control over volume and timbre. It's deliberately overplayed yet unobtrusive, with lots of small flourishes added to make it that much more interesting. The vocals are excellent as well, employing rich growls and throaty screams that are massively memorable and very well employed. In all honesty, though, it's hard to compliment anything when the guitars are present: they just override everything else in excellence. You know all those little lead riffs that occur in many of today's melodic death/metalcore bands? Well, remove the influence, and you have an album packed with those. It's awesome on every level. There are tremolo riffs, chug riffs, atmospheric riffs, technical riffs, every kind of riff and each individual one is a masterpiece.

There is one last element that makes this album absolute genius, though: the lyrics. Much has been made of the fact that 'God Was Created' is, at least in part, a concept album. This concept is primarily illustrated through the brutally beautiful lyrics that are employed. They are of an extremely unique style: the subject matter is often very violent or pornographic, but often illustrated in very clinical, technical terms. Juxtaposed with the impassioned delivery of the vocals and the melodramatic melodies of the music itself, and a very unique style emerges. I don't know how many bands could pull off screaming 'My hand moves to my scrotum' over a depressive tremolo riff and make it not sound ridiculous, but Vehemence makes one. It's amazing just how memorable some of the lyrics are: you'll find yourself singing along with 'She Never Noticed Me' rather quickly, and the cleverness and subtlety of the lyrics is essentially without par in metal today: 'Sometimes/I notice/A bruise/On her face/Or her swollen lip... But most oft/I gaze/At the cross/Which hangs/Between her breasts...' Somewhat prosaic when written, but utterly compelling when meshed with the music.

I could go on for dozens of pages about why this album is so great, dissecting every riff and lyric and drum beat of every song on 'God Was Created', but the result would be essentially the same as not discussing the album at all. The brilliance of this release is unquantifiably masterful on every level, and should absolutely be viewed for what it is: a classic in music, and the very acme of melodic death metal as a whole. This late group of virtuosos deserves much more attention than it ever received at the hands of the public, so do your best to change this. Get a copy of 'God Was Created' and love it like I do, because I'll be damned if I can find anything better than this. Melodic death metal is dead, and 'God Was Created' is the dagger in its heart. Inexorable.

Noktorn



..::TRACK-LIST::..

1. Made For Her Jesus 5:58
2. She Never Noticed Me 7:00
3. Fantasy From Pain 6:05
4. Christ, I Fucking Hate You! 5:02
5. Lusting For Affection 3:39
6. The Last Fantasy Of Christ 5:23
7. I Didn't Kill Her 8:55
8. God Was Created 5:55
9. I Must Not Live 6:12
10. The Lord's Work 5:34



..::OBSADA::..

Mark Kozuback - Bass, Vocals (screams)
Andy Schroeder - Drums
Bjorn Dannov - Guitars (rhythm, acoustic), Guitars (lead) (tracks 4, 6, 7, 9), Songwriting (tracks 1-9)
Nathan Gearhart - Vocals, Lyrics
Jason Keesecker - Keyboards, Piano, Songwriting (track 2)
John Chavez - Guitars (rhythm), Samples, Guitars (lead) (tracks 3, 6, 7, 9), Songwriting (tracks 2-7, 9-10)




https://www.youtube.com/watch?v=1vr_RAPiIm8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Originally released by Metal Blade Records on June 4th, 2002, God Was Created breathed new life into U.S. Death Metal scene that had become boring & stagnant and would lay the foundation for a new generation of bands to come. No band had been able to successfully bridge the gap between the more melodic European style and the more brutal U.S. sound until this release.


“Gather round, I have a story for ye. Back in 2002, a Phoenix-based death metal group called Vehemence released an album called God Was Created, a work that escaped widespread popularity to essentially become the little engine that could – a cult classic of the genre, if you will. Far from conventional, Created had an odd sound that was melodic without a hint of Gothenburg, preferring instead riffs that combined the open-strummed hardiness of Arghoslent with the evocative melodies of Intestine Baalism. More importantly, it showed a band tossing aside genre conventions to let blossom their bizarre vision and ambition. A concept album about a young man’s fatal obsession with a devoutly religious schoolgirl, Created combined acoustic strumming, sullen spoken word, and guitarwork that alternated between demented and achingly gorgeous, all into an hour-long journey of sexual Jesus fantasies and necrophilia.’

– Angry Metal Guy

“This record is a must for fans of extreme metal. Even those who are not into the brutal death style will still be able to find something they like in “God Was Created”. It is one of those death metal releases that sidesteps sub genres and just offers good music. This record can appeal to any Dark Tranquillity fan as much as it can to any fan of Nile or Cannibal Corpse. I truly believe this to be without a doubt the best extreme metal release this year!”

- Metal Bite


Vehemence's 'God Was Created' is untouchable. It is without a doubt the greatest album that the style of melodic death metal ever turned out. It is musically flawless. This belongs alongside 'Altars Of Madness' and 'None So Vile' in the pantheon of death metal classics, despite its position of relatively little popularity, at least compared to those LPs. This lack of greater recognition makes absolutely no sense: Vehemence was greater than nearly all other metal, especially on this album, and I've never fully understood how the quality was never quite recognized. Vehemence was very critically acclaimed, and some people, like me, have professed their love for the album, and yet they seem not to have ever attained their rightful place in the greater death metal community's perception of what the genre's greatest albums are. And with music like this, there's quite literally no reason for it to be this way.

I can hardly find words to describe how beautiful and wondrously crafted this album is. Every element of this album is just so perfectly in place. It reminds me in a way of Cradle Of Filth's 'Dusk... And Her Embrace', where you can't help but be awed by how carefully and flawlessly constructed it all is. I genuinely believe that even people who hate death metal with a fiery passion could love this album easily, so amazingly is it made. It transcends the boundaries of the genre: not through music, per se, but through quality that is able to appeal to people regardless of their typical musical tastes. It combines all the best elements of death metal into a single album that destroys most everything else in music. And to imagine that THIS album is one of the pinnacles of death metal, one of the most overflowingly melodic and emotional albums I've heard in any music at all, is even more amazing. It breaks a thousand rules and somehow comes out as a perfect example of what all melodic death metal should be. It is perfect in every way.

Vehemence truly understood what melodic death metal was supposed to be. It's not supposed to be stripped of its heaviness or brutality: the melody is supposed to ADD to the music, not subtract, and that's precisely how Vehemence used it. This has precisely zero in common with Gothenburg melodeath, latter-era Death, or Cynic, because while 'God Was Created' is unbelievably melodic at times, it is still first and foremost a death metal album, and Vehemence never forgets that. It's always raw, if not instrumentally, emotionally, and it always maintains power no matter how mellow the music itself is. It's not a remarkable album because it did something new. It's a remarkable album because it did everything it SHOULD have done, and did it perfectly. There's never a moment on this album where the band puts something unnecessary in out of some feeling of obligation or on a whim. They knew what elements would result in a great album, and they went and composed it. It's a work of pure, undiluted art, and the fact that it's so under appreciated is a crime.

Here's the secret about this album, though: it's really just pop rock translated into death metal. If you strip away the distortion, the metal drumming, the unclean vocals spewing blasphemous lyrics -all the things that make this a death metal album- you have what is essentially pop rock. This is still obviously a melodic death metal album; that much is undeniable, as is that Vehemence is a death metal band. But the melodies and structures of the music are actually all pop-based, and not very death metal at all beyond the obvious aesthetics. 'True' death metal, even in its most fragile and melodic moments, never gets quite this easy on the ears, and this is a major thing that sets 'God Was Created' apart from other melodic death metal albums: it's ridiculously easy to listen to due to these poppy aesthetics. I'd wager that a good part of your enjoyment of this album is based on your ability to push aside preconceived notions of how death metal 'should' sound, and, though I am very loathe to use the word, all elitism towards the 'purity' of death metal as an art form. The music here doesn't invalidate Morbid Angel or Cryptopsy; it just goes in a different direction, and there's no reason to feel threatened by it.

Take the very first song on this album, 'Made For Her Jesus'. The opening acoustic melody could easily appear in mainstream music, though it is darker and more minor key than most. Then, when the music ignites in full, with bombastic drum accents and a quick flurry of bass and snare leading into the main rolling rhythm of the song, the sinuous lead guitar is clearly neoclassical in nature, and laced with melodies that are instantaneously classic just because they're so ubiquitous. All the melodies on this album feel familiar, but you'll probably never place them because they don't actually appear elsewhere. It's just how natural everything sounds: all the melodies are ones that SHOULD have been written long ago, even if by some twist of fate they weren't. But back to this song: it's brilliant. An instant classic of death metal, changing tempo, mood, and texture constantly, ever shifting in new, exciting, and beautiful directions without ever losing sight of the structure of the song itself. Every note is flawlessly and carefully composed. Melodic death metal literally does not get better than this song.

Or perhaps it just might. Vehemence's most legendary track, 'She Never Noticed Me', is up next, and it's quite possibly the pinnacle of Vehemence's catalog. Sublime is the only word for this song: the upward spirals of heart wrenching guitar, the stunningly dynamic drumwork, the impassioned vocal performance, the subtle orchestral backing, it's all absolute genius. How has this song not been written before? Everything's so perfectly in place and naturally constructed that it seems to have sprouted from the very air itself. It's the sort of song that master pop songwriters struggle to perfect over the course of years, and there's NINE MORE SONGS OF EQUAL QUALITY on this album! How are these guys not heralded as songwriting geniuses? How have they not been DISCOVERED more!? It's the sort of album that I can only describe through massive streams of uninterruptible, overly enthusiastic cursing. But even that fails, because you can't really describe this album. You can attempt to get your arms around the enormity of the genius at work here, but you'll never really get it. You simply have to hear it.

Like all melodic death metal albums, 'God Was Created' is all about the guitars, and they're the best guitars melodic death metal has ever had. Go beyond the fact that they're beyond awesomely played, that many of the riffs are extremely technical (without ever losing songwriting, melody, direction, or atmosphere), and that they're supremely stylized and dramatically played. The fact of the matter is that this album has essentially the best riffs composed in music. I can think of MAYBE eight other albums with riffs this brilliant, and even those are questionable as hell. Generally, most bands have a few truly great and brilliant riffs per album, and a bunch of mediocre to good ones. The riffs on 'God Was Created' are ONLY in that first category: it's like Vehemence cannibalized all the best riffs from the greatest unknown melodic death metal bands in the world and put them together to create some sort of superalbum that can't be overcome by anyone. And above the ordinary brilliant riffs, the top ten percent of THOSE can't even be comprehended by mortal ears. The worst Vehemence riffs are the best riffs of other bands.

There's at least one section in every song on this album that's completely mindblowing, and Vehemence are generally smart enough to put in near the beginning or the end and completely destroy your soul. On 'Made For Her Jesus', it's the opening distorted riff. On 'Made For Her Jesus', it's the fast sort-of chorus. On 'Fantasy From Pain', it's once again the opening section. On 'The Last Fantasy Of Christ', it's the acoustic portion. You see a pattern getting established here? THEY'RE ALL AMAZING! Add to this the fact that the first block of four songs is even better than the rest of it and you can't even process how good this album is in the best moments. The rest of the music adds greatly to it, but if this album was nothing but guitar it would still be completely fucking brilliant on every level. The drums are spectacular as well: very dynamic, with a great sense of control over volume and timbre. It's deliberately overplayed yet unobtrusive, with lots of small flourishes added to make it that much more interesting. The vocals are excellent as well, employing rich growls and throaty screams that are massively memorable and very well employed. In all honesty, though, it's hard to compliment anything when the guitars are present: they just override everything else in excellence. You know all those little lead riffs that occur in many of today's melodic death/metalcore bands? Well, remove the influence, and you have an album packed with those. It's awesome on every level. There are tremolo riffs, chug riffs, atmospheric riffs, technical riffs, every kind of riff and each individual one is a masterpiece.

There is one last element that makes this album absolute genius, though: the lyrics. Much has been made of the fact that 'God Was Created' is, at least in part, a concept album. This concept is primarily illustrated through the brutally beautiful lyrics that are employed. They are of an extremely unique style: the subject matter is often very violent or pornographic, but often illustrated in very clinical, technical terms. Juxtaposed with the impassioned delivery of the vocals and the melodramatic melodies of the music itself, and a very unique style emerges. I don't know how many bands could pull off screaming 'My hand moves to my scrotum' over a depressive tremolo riff and make it not sound ridiculous, but Vehemence makes one. It's amazing just how memorable some of the lyrics are: you'll find yourself singing along with 'She Never Noticed Me' rather quickly, and the cleverness and subtlety of the lyrics is essentially without par in metal today: 'Sometimes/I notice/A bruise/On her face/Or her swollen lip... But most oft/I gaze/At the cross/Which hangs/Between her breasts...' Somewhat prosaic when written, but utterly compelling when meshed with the music.

I could go on for dozens of pages about why this album is so great, dissecting every riff and lyric and drum beat of every song on 'God Was Created', but the result would be essentially the same as not discussing the album at all. The brilliance of this release is unquantifiably masterful on every level, and should absolutely be viewed for what it is: a classic in music, and the very acme of melodic death metal as a whole. This late group of virtuosos deserves much more attention than it ever received at the hands of the public, so do your best to change this. Get a copy of 'God Was Created' and love it like I do, because I'll be damned if I can find anything better than this. Melodic death metal is dead, and 'God Was Created' is the dagger in its heart. Inexorable.

Noktorn



..::TRACK-LIST::..

1. Made For Her Jesus 5:58
2. She Never Noticed Me 7:00
3. Fantasy From Pain 6:05
4. Christ, I Fucking Hate You! 5:02
5. Lusting For Affection 3:39
6. The Last Fantasy Of Christ 5:23
7. I Didn't Kill Her 8:55
8. God Was Created 5:55
9. I Must Not Live 6:12
10. The Lord's Work 5:34



..::OBSADA::..

Mark Kozuback - Bass, Vocals (screams)
Andy Schroeder - Drums
Bjorn Dannov - Guitars (rhythm, acoustic), Guitars (lead) (tracks 4, 6, 7, 9), Songwriting (tracks 1-9)
Nathan Gearhart - Vocals, Lyrics
Jason Keesecker - Keyboards, Piano, Songwriting (track 2)
John Chavez - Guitars (rhythm), Samples, Guitars (lead) (tracks 3, 6, 7, 9), Songwriting (tracks 2-7, 9-10)




https://www.youtube.com/watch?v=1vr_RAPiIm8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Opisywany jako nowa siła (czy aby na pewno nowa?!) w świecie i w Polsce, melodic death/ black metalowy, polski zespół ETHELYN z pewnością nie jest zespołem dla bojaźliwych. Grupa rozpoczęła działać od 1995 roku, ale za robotę wzięła się tak naprawdę dopiero w XXI wieku, wydając od 2008 roku pięć albumów. Ten piąty, najnowszy, któremu nadano tytuł „Anhedonic” trafił do ludzkich mas w dniu 12.04.2024 dzięki wydawnictwu Putrid Cult.

Już na początku otwierającego album „It Comes in Wawes” pojawia się niesamowite przeczucie, że lekko nie będzie. Z każdą chwilą gęstnieje powietrze, jeszcze zanim gitary zaczną siać spustoszenie, a perkusja wpadnie w overdrive, wywołując jednocześnie śmiertelną falę ostrego wokalu, który skazuje słuchacza na wieczne cierpienie. Warstwowe wokale dodają niepokoju i głębi muzyce Ethelyn potęgując grozę, wywoływaną atakiem gitar.

Podczas, gdy większość zespołów grających tego typu muzykę kończy swoją działalność na wspomnianej ostrości, a tym samym powodując zniechęcenie do dalszego ulegania destrukcji, Ethelyn balansuje na granicy pomiędzy zniszczeniem dla samego zniszczenia a muzyką, wyjątkową muzyką!

Pozwolę sobie na napisanie o kilku, według mnie, najciekawszych utworów na płycie. Na pewno zalicza się do nich, rozpoczynający się świetną, dudniącą perkusją, niezwykle atmosferyczny „The Void Is Worse than Hell”. Dzieje się w nim naprawdę sporo, a ja cieszę się konwulsyjną podróżą, w którą zabiera mnie Ethelyn. Podobnie niesamowity jest „Feeding by Own Blood’ z wirującymi śmiercionośnymi partiami gitar. Wokal uwalnia wściekłą bestię o niepohamowanej dzikości, która grozi odesłaniem wszelkich wyobrażeń o dobru w piekielną otchłań. I wreszcie „Deathless Mother and the Mold”, o znacznie czystszym brzmieniu z oddychającymi, groźnymi wokalami i szalenie wściekłą perkusją, która sprawia wrażenie, że jest zbyt szybka, aby była ludzka.

Jest ostro, gęsto, brutalnie, oryginalnie. Zachęcam gorąco, by zapoznać się z „Anhedonic”, bo naprawdę warto!

Pablo S.


...a ten znowu o black metalu? Jakiś czas temu poświęcał się wyłącznie progresywnej muzyce, a tu takie klocki? O co chodzi? Jeśli komukolwiek przeszła przez głowę taka myśl, to pragnę uspokoić. Progres wciąż zajmuje ważne miejsce w moim sercu, ale metal jest w nim na równych prawach, a że do redakcji trafiła jakiś czas temu spora paczuszka z wydawnictwami z okolic muzyki ekstremalnej, to przez jakiś czas oddałem się tym dźwiękom…

„Anhedonic” krakowskiego ETHELYN to już piąte wydawnictwo sygnowane logo tego zespołu i choć nie znam wcześniejszych to ten najnowszy zdrowo mnie sponiewierał. Muzyka serwowania przez formację to obskurny, surowy black metal stojący daleko od tego wszystkiego co wrzuca się do wora pt. „polski black metal”. Nie nazywają się słowem po Polsku, nie mają tekstów po polsku, nie próbują być kolejną Mgłą czy Odrazą. Zespół hołduje starej skandynawskiej szkole młócąc niemiłosiernie i prąc do przodu bez oglądania się na boki. Muzyka ma niesamowite pokłady agresji, a nieco garażowe brzmienie dodaje całości obskurności z najgłębszych podkładów podziemia. Owszem od czasu do czasu zespół nieco zwolni a w kanonady dźwięków wkrada się nieco więcej „klimatów” (np. w „The Void in Worse Than Hell”), melodyjnie potrafią zagrać gitary, potrafi też być nieco podnioślej czy ciężko. Nie mniej to ekstremalna muzyka dla maniaków. Tu nawet fani black metalu mogą mieć problem z odnalezieniem (tylko czy w takiej sytuacji są fanami black metalu?).

ETHELYN zaprezentowali światu naprawdę niezły album, płytę spójną i przesiąkniętą sonicznymi eksplozjami, album wypełniony mrokiem i chłodem, daleki od wymuskanych produkcji… dobre to jest po prostu i tyle...

Piotr Michalski


Szczerze mówiąc o Ethelyn trochę już zapomniałem… Trudno mi się jednak dziwić, ich ostatni materiał został wydany sześć lat temu, a ostatnim, który ja słyszałem był „No Glory to the God” z 2012 roku. Goście zdążyli jeszcze w międzyczasie zmienić logo, więc po pierwszym rzucie oka na okładkę, która mignęła mi gdzieś w internetach, nie zajarzyłem nawet że oni, to oni… Okładka zresztą, podobnie jak cały layout, jest całkiem niezła. Wracając jednak do Ethelyn… kiedyś, widząc tą nazwę w głowie od razu otwierała mi się szufladka z napisem „melodic death/black metal”, jednak po lekturze tego krążka już chyba tak jednoznacznie nie będzie. Owszem, na „Anhedonic” znajdziemy sporo melodii, jednak jawi mi się on zdecydowanie bardziej „brutal”, niż „melodic”. Może jest tak przez dobrą, mięsistą ale jednak dość szorstką produkcję? Może przez szybkie tempa, które trzymują się tu przez większą część czasu trwania, albo przez bezlitośnie napierającą sekcję rytmiczną? Nie wiem, jednak nie można o tym materiale powiedzieć, że jest przesadnie melodyjny i wpadający w ucho „niedzielnemu” metaluchowi. Wręcz przeciwnie – już pierwsze dźwięki otwierającego „It Comes in Waves” pokazują że tu nie będzie miętkiej gry. Do plusów tego materiału na pewno zaliczyłbym partie gitar – sporo tu fajnego, napędzanego tremolami grania, jest trochę naprawdę dobrych, nośnych riffów, ciekawych zwolnień i oczywiście parę zgrabnych melodii. Jest tu więc stosunkowo różnorodnie, jednak całość jawi mi się jako dość zwarty monolit, z którego po przesłuchaniu płyty ciężko było mi przypomnieć sobie poszczególne utwory. Może było tak dlatego, że czas trwania tego krążka, szczególnie jak na tego typu intensywne granie, był stosunkowo długi. Gdyby kilka rzeczy tu powycinać, wywalić te przedłużające się motywy „sieki”, całość skrócić o kwadrans i zostawić samą „esencję” to byłaby petarda. Mnie w kilku momentach ten krążek trochę przytłaczał i nużył, generalnie jednak zapamiętam go jako kawał całkiem dobrej, momentami porywającej, death/blackowej jazdy.

Prezes


https://apocalypticrites.blogspot.com/2024/05/recenzja-ethelyn-anhedonic.html


Described as a new force (or is it really new?!) in the world and in Poland, melodic death/black metal band, the Polish band ETHELYN is certainly not a band for the timid. The group began operating in 1995, but it was not until the 21st century that they really started working, releasing five albums since 2008. The fifth and newest one, titled „Anhedonic”, reached the masses on April 12, 2024 thanks to the Putrid Cult publishing house,

Already at the beginning of the album’s opening „It Comes in Wawes” there is an incredible feeling that things won’t be easy. The air becomes thicker with each passing moment, even before the guitars begin to wreak havoc and the drums go into overdrive, simultaneously triggering a deadly wave of sharp vocals that condemn the listener to eternal suffering. Layered vocals add anxiety and depth to Ethelyn’s music, enhancing the terror caused by the attack of the guitars.

While most bands playing this type of music end their activity with the aforementioned harshness, thus discouraging further destruction, Ethelyn balances on the border between destruction for the sake of destruction and music, unique music!

Let me write about some of the most interesting songs on the album, in my opinion. One of them is definitely the extremely atmospheric „The Void Is Worse than Hell”, which begins with great, booming drums. There’s a lot going on in it, and I’m enjoying the convulsive journey Ethelyn is taking me on. “Feeding by Own Blood” is similarly amazing with its swirling deadly guitar parts. The vocals unleash a furious beast of unbridled ferocity that threatens to send all notions of goodness to the hellish abyss. And finally, „Deathless Mother and the Mold”, a much cleaner sound with breathy, menacing vocals and insanely furious drums that feel too fast to be human.

It’s sharp, dense, brutal, original. I strongly encourage you to read „Anhedonic”, because it is really worth it!

Pablo.S



..::TRACK-LIST::..

1. It Comes in Waves 03:41
2. The Void in Worse Than Hell 05:32
3. Swampborn 04:16
4. Nostalgia For a Time You’ve Never Known 05:30
5. Feeding By Own Blood 04:00
6. The Grave is Starving 06:04
7. Drowned in Sepia 05:45
8. Mirror to Mirror 04:31
9. Deathless Mother and the Mold 05:02
10. Down the Dark Hall 04:55



..::OBSADA::..

Mysth - voc
Bogunieslav - git
Wrath - bass
Morbideus - dr




https://www.youtube.com/watch?v=K5zLPBaGxDU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Opisywany jako nowa siła (czy aby na pewno nowa?!) w świecie i w Polsce, melodic death/ black metalowy, polski zespół ETHELYN z pewnością nie jest zespołem dla bojaźliwych. Grupa rozpoczęła działać od 1995 roku, ale za robotę wzięła się tak naprawdę dopiero w XXI wieku, wydając od 2008 roku pięć albumów. Ten piąty, najnowszy, któremu nadano tytuł „Anhedonic” trafił do ludzkich mas w dniu 12.04.2024 dzięki wydawnictwu Putrid Cult.

Już na początku otwierającego album „It Comes in Wawes” pojawia się niesamowite przeczucie, że lekko nie będzie. Z każdą chwilą gęstnieje powietrze, jeszcze zanim gitary zaczną siać spustoszenie, a perkusja wpadnie w overdrive, wywołując jednocześnie śmiertelną falę ostrego wokalu, który skazuje słuchacza na wieczne cierpienie. Warstwowe wokale dodają niepokoju i głębi muzyce Ethelyn potęgując grozę, wywoływaną atakiem gitar.

Podczas, gdy większość zespołów grających tego typu muzykę kończy swoją działalność na wspomnianej ostrości, a tym samym powodując zniechęcenie do dalszego ulegania destrukcji, Ethelyn balansuje na granicy pomiędzy zniszczeniem dla samego zniszczenia a muzyką, wyjątkową muzyką!

Pozwolę sobie na napisanie o kilku, według mnie, najciekawszych utworów na płycie. Na pewno zalicza się do nich, rozpoczynający się świetną, dudniącą perkusją, niezwykle atmosferyczny „The Void Is Worse than Hell”. Dzieje się w nim naprawdę sporo, a ja cieszę się konwulsyjną podróżą, w którą zabiera mnie Ethelyn. Podobnie niesamowity jest „Feeding by Own Blood’ z wirującymi śmiercionośnymi partiami gitar. Wokal uwalnia wściekłą bestię o niepohamowanej dzikości, która grozi odesłaniem wszelkich wyobrażeń o dobru w piekielną otchłań. I wreszcie „Deathless Mother and the Mold”, o znacznie czystszym brzmieniu z oddychającymi, groźnymi wokalami i szalenie wściekłą perkusją, która sprawia wrażenie, że jest zbyt szybka, aby była ludzka.

Jest ostro, gęsto, brutalnie, oryginalnie. Zachęcam gorąco, by zapoznać się z „Anhedonic”, bo naprawdę warto!

Pablo S.


...a ten znowu o black metalu? Jakiś czas temu poświęcał się wyłącznie progresywnej muzyce, a tu takie klocki? O co chodzi? Jeśli komukolwiek przeszła przez głowę taka myśl, to pragnę uspokoić. Progres wciąż zajmuje ważne miejsce w moim sercu, ale metal jest w nim na równych prawach, a że do redakcji trafiła jakiś czas temu spora paczuszka z wydawnictwami z okolic muzyki ekstremalnej, to przez jakiś czas oddałem się tym dźwiękom…

„Anhedonic” krakowskiego ETHELYN to już piąte wydawnictwo sygnowane logo tego zespołu i choć nie znam wcześniejszych to ten najnowszy zdrowo mnie sponiewierał. Muzyka serwowania przez formację to obskurny, surowy black metal stojący daleko od tego wszystkiego co wrzuca się do wora pt. „polski black metal”. Nie nazywają się słowem po Polsku, nie mają tekstów po polsku, nie próbują być kolejną Mgłą czy Odrazą. Zespół hołduje starej skandynawskiej szkole młócąc niemiłosiernie i prąc do przodu bez oglądania się na boki. Muzyka ma niesamowite pokłady agresji, a nieco garażowe brzmienie dodaje całości obskurności z najgłębszych podkładów podziemia. Owszem od czasu do czasu zespół nieco zwolni a w kanonady dźwięków wkrada się nieco więcej „klimatów” (np. w „The Void in Worse Than Hell”), melodyjnie potrafią zagrać gitary, potrafi też być nieco podnioślej czy ciężko. Nie mniej to ekstremalna muzyka dla maniaków. Tu nawet fani black metalu mogą mieć problem z odnalezieniem (tylko czy w takiej sytuacji są fanami black metalu?).

ETHELYN zaprezentowali światu naprawdę niezły album, płytę spójną i przesiąkniętą sonicznymi eksplozjami, album wypełniony mrokiem i chłodem, daleki od wymuskanych produkcji… dobre to jest po prostu i tyle...

Piotr Michalski


Szczerze mówiąc o Ethelyn trochę już zapomniałem… Trudno mi się jednak dziwić, ich ostatni materiał został wydany sześć lat temu, a ostatnim, który ja słyszałem był „No Glory to the God” z 2012 roku. Goście zdążyli jeszcze w międzyczasie zmienić logo, więc po pierwszym rzucie oka na okładkę, która mignęła mi gdzieś w internetach, nie zajarzyłem nawet że oni, to oni… Okładka zresztą, podobnie jak cały layout, jest całkiem niezła. Wracając jednak do Ethelyn… kiedyś, widząc tą nazwę w głowie od razu otwierała mi się szufladka z napisem „melodic death/black metal”, jednak po lekturze tego krążka już chyba tak jednoznacznie nie będzie. Owszem, na „Anhedonic” znajdziemy sporo melodii, jednak jawi mi się on zdecydowanie bardziej „brutal”, niż „melodic”. Może jest tak przez dobrą, mięsistą ale jednak dość szorstką produkcję? Może przez szybkie tempa, które trzymują się tu przez większą część czasu trwania, albo przez bezlitośnie napierającą sekcję rytmiczną? Nie wiem, jednak nie można o tym materiale powiedzieć, że jest przesadnie melodyjny i wpadający w ucho „niedzielnemu” metaluchowi. Wręcz przeciwnie – już pierwsze dźwięki otwierającego „It Comes in Waves” pokazują że tu nie będzie miętkiej gry. Do plusów tego materiału na pewno zaliczyłbym partie gitar – sporo tu fajnego, napędzanego tremolami grania, jest trochę naprawdę dobrych, nośnych riffów, ciekawych zwolnień i oczywiście parę zgrabnych melodii. Jest tu więc stosunkowo różnorodnie, jednak całość jawi mi się jako dość zwarty monolit, z którego po przesłuchaniu płyty ciężko było mi przypomnieć sobie poszczególne utwory. Może było tak dlatego, że czas trwania tego krążka, szczególnie jak na tego typu intensywne granie, był stosunkowo długi. Gdyby kilka rzeczy tu powycinać, wywalić te przedłużające się motywy „sieki”, całość skrócić o kwadrans i zostawić samą „esencję” to byłaby petarda. Mnie w kilku momentach ten krążek trochę przytłaczał i nużył, generalnie jednak zapamiętam go jako kawał całkiem dobrej, momentami porywającej, death/blackowej jazdy.

Prezes


https://apocalypticrites.blogspot.com/2024/05/recenzja-ethelyn-anhedonic.html


Described as a new force (or is it really new?!) in the world and in Poland, melodic death/black metal band, the Polish band ETHELYN is certainly not a band for the timid. The group began operating in 1995, but it was not until the 21st century that they really started working, releasing five albums since 2008. The fifth and newest one, titled „Anhedonic”, reached the masses on April 12, 2024 thanks to the Putrid Cult publishing house,

Already at the beginning of the album’s opening „It Comes in Wawes” there is an incredible feeling that things won’t be easy. The air becomes thicker with each passing moment, even before the guitars begin to wreak havoc and the drums go into overdrive, simultaneously triggering a deadly wave of sharp vocals that condemn the listener to eternal suffering. Layered vocals add anxiety and depth to Ethelyn’s music, enhancing the terror caused by the attack of the guitars.

While most bands playing this type of music end their activity with the aforementioned harshness, thus discouraging further destruction, Ethelyn balances on the border between destruction for the sake of destruction and music, unique music!

Let me write about some of the most interesting songs on the album, in my opinion. One of them is definitely the extremely atmospheric „The Void Is Worse than Hell”, which begins with great, booming drums. There’s a lot going on in it, and I’m enjoying the convulsive journey Ethelyn is taking me on. “Feeding by Own Blood” is similarly amazing with its swirling deadly guitar parts. The vocals unleash a furious beast of unbridled ferocity that threatens to send all notions of goodness to the hellish abyss. And finally, „Deathless Mother and the Mold”, a much cleaner sound with breathy, menacing vocals and insanely furious drums that feel too fast to be human.

It’s sharp, dense, brutal, original. I strongly encourage you to read „Anhedonic”, because it is really worth it!

Pablo.S



..::TRACK-LIST::..

1. It Comes in Waves 03:41
2. The Void in Worse Than Hell 05:32
3. Swampborn 04:16
4. Nostalgia For a Time You’ve Never Known 05:30
5. Feeding By Own Blood 04:00
6. The Grave is Starving 06:04
7. Drowned in Sepia 05:45
8. Mirror to Mirror 04:31
9. Deathless Mother and the Mold 05:02
10. Down the Dark Hall 04:55



..::OBSADA::..

Mysth - voc
Bogunieslav - git
Wrath - bass
Morbideus - dr




https://www.youtube.com/watch?v=K5zLPBaGxDU



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