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


..::OPIS::..

Jestem pod naprawdę wielkim wrażeniem tego albumu i z pewnością to jedna z najlepszych płyt tego roku. Po długim okresie oczekiwania QRIXKUOR w końcu wydał debiutanckiego pełniaka i naprawdę warto było czekać. Warto było bo "Poison Palinopsia" to album trącący geniuszem. Bo tylko geniusz potrafi na pozór chaotyczne dźwięki poskładać w swego rodzaju smolistą death symfonię... QRIXKUOR to obecnie załoga pochodząca z całkowicie różnych części naszej planety a mianowicie z Anglii i Nowej Zelandii. Formalnie zespół istnieje już prawie 10 lat, pierwsze demo wyrzucili w 2014 i dopiero teraz udało się z LP. Będący głównym sprawcą tego projektu, gitarzysta i wokalista ukrywający się za literką S. to osoba wykształcona muzycznie. Wszelkie znajdujące się na albumie fragmenty z wykorzystaniem klasycznych instrumentów są jego autorstwa i nagrane przez profesjonalnych muzyków. I jest to świetne wytchnienie i kontrast dla tego co się na tym albumie dzieje. A dzieje się naprawdę sporo, pomimo, iż na album składają się tylko dwa utwory trwające prawie 50 minut. Nudy nie ma choćby przez chwilę. To muza złożona i intensywna. To wręcz kopalnia prawdziwe infernalnych riffów podanych w dusznej atmosferze. Album wymaga jednak od nas uważnego słuchania ale odwdzięczy się nam przeniesieniem do innego wymiaru, pozwoli nam dotknąć prawdziwego mroku i otchłani. Brudne, bluźniercze wokale dodają całości jeszcze więcej złowrogiego klimatu. Perkusja brzmi potężnie i absolutnie na najwyższym poziomie. Nie podlega dyskusji. Muzyczna wizja Qrixkuor jest chora. Momentami wręcz psychodeliczna, ale również głęboka i przenikliwa. Jednocześnie odrzucająca i przyciągająca. Uważaj bo jak nie zdołasz uciec to świat Qrixkuor pochłonie cię na zawsze...
Genialny album...

RG

Qrixkuor, mimo iż zespół młody, zdążył już sobie zaskarbić garstkę fanów w specyficznym gronie odbiorców. Takich, którym wystarczy posypać uszy gruzem i są szczęśliwy jak świnia w gnoju. Maniaków nie uznających łatwych melodii, o ile w ogóle, nie padających na kolana przed technicznymi popisami, brzydzących się wypolerowanym brzmieniem a wśród znajomych uchodzących za pozerów, którzy szukają w monotonnym dudnieniu czegoś, czego tam ponoć nie ma. Właśnie dla tych kilku odmieńców mam bardzo dobrą wiadomość. Oto po kilku pomniejszych wydawnictwach brytyjsko-nowozelandzkie komando uderza w końcu pełnym materiałem. Co prawda zawiera on jedynie dwa utwory, lecz każdy z nich trwający circa dwadzieścia pięć minut. Dla mnie to jeden chuj, bo tego typu albumy i tak zawsze traktuję jako całość, więc czy są one dzielone na dwa czy na dwadzieścia części nie robi mi żadnej różnicy. Bo faktycznie, "Poison Palinopsia" jest monolitem, którego nie da się słuchać fragmentarycznie czy jednym uchem. To kolos, prawdziwy potwór, opowiadający swoją historię zdanie po zdaniu, a każde jego słowo ocieka płonącą smołą i trującym umysł jadem. Opowieść ta toczy się powoli z chwilowymi jedynie zrywami akcji. Dźwięki przelewają się niczym rozgrzana lawa, hipnotyzując i budując wokół przerażającą aurę. W niektórych miejscach pojawiają się nieco bardziej melodyjne, black metalowe patenty czy zeschizowane dysonanse przeplatane erupcjami wściekłości. Schowany w tle, charczący demonicznie wokal pełni z kolei jakby rolę dodatkowego instrumentu. Mimo że brzmienie jest tu standardowo zamulone, nie da się narzekać na jego czytelność a wszelkie niuanse są doskonale uwypuklone. Muzyka Qrixkuor nie wyrywa się z ram gatunku, a mimo to jest, zaskakująco wręcz chwilami, bogata i urozmaicona. Jednocześnie nie jest to krążek łatwy i wiele fragmentów zaczyna gadać dopiero po kilku, a nawet kilkunastu odsłuchach. "Poison Palinopsia" jest materiałem niemodnym, wymagającym i przeznaczonym dla cierpliwych. Dla mnie to ekstraklasa gruzowego grania i pozycja obowiązkowa do zakupu.

jesusatan



The recrudescent scourge of Qrixkuor returns to unleash its debut full-length album, entitled ‘Poison Palinopsia,’ to be released on Friday July 9th in conspiracy with Invictus Productions in Europe and Dark Descent Records in the United States. Following 2016’s enigmatic ‘Three Devils Dance’ MLP, ‘Poison Palinopsia’ is a sordid wound in reality’s distorted veil that spent 5 restless years aching for a blade to grant it life - the hour has finally come.

Recorded, mixed and mastered by Greg Chandler at Priory Recording Studios in Birmingham, England and with cover art contributed once again by the inimitable Daniel Corcuera, the album is a furious and fanatically channelled tempest of feral energy, synonymous in its nightmarish aural attack that seeks to chisel avenues to black inner worlds - a truly fitting soundscape for man’s current state of despondent dissonance.

A 48 minute, 2 part labyrinthine descent into the demented depths of the divine, ‘Poison Palinopsia’ is less a listening experience and more a voyage - a summoning to scale the treacherous terrains of merciless mountains of madness. The images remain with the light long slain…



Two tracks sitting in at almost 49 minutes... And it's not a Doom Metal release?! Talk about ambitious stuff here! This is a genuine Death Metal release by the band Qrixkuor full of speed, blast beats, and furious energies, as well as doomy bits thrown in for good measure. With that being the case, the two tracks element here is quite fascinating. Let us dig into what this record is all about.

Poison Palinopsia begins with an orchestral soundscape dominated by the sounds of a damning pulse of the timpani surrounded by faint and rumbling low brass playing. The band enters seamlessly as it meets an end in a way that made such a contrasting instrumentation not so contrasting after all. This is due to a unique quality which fascinated me throughout the whole release, which is that instrumentally it feels as if everything the band accomplishes on this record is somehow connected to the orchestral segment. But it goes beyond that. Throughout these two lengthy tracks, there are short moments of the orchestra making additional entries. The music from the orchestra and the band always matches energies. This gives the album a higher replay value as listeners who stay for the details may begin to start connecting these two elements in the album.

As far as the band's playing, it is varied and busy, sometimes deceptively. The levels of sound and chaos on this album are sometimes less obvious until you really focus on each instrument. At the moment the band starts after the first orchestral segment they hold a Doom-metal pace for a few minutes full of tremolo picking and dense textures. It is cavernous, although not to the same extent as say, Cerebral Rot's latest album. The first track suddenly bursts into high gear at around 5:31, and the blasting energy and furious riffing could not be more exciting in the way it fits here. Over time, the pace changes frequently throughout these two tracks, displaying both high speed and Doom-paced sides of the band with high quality. The many guitar solos are always a highlight of the album, especially near the end of the first track, "Serpentine Susurrus- Mother's Abomination."

With two tracks, it's hard to just name favorite songs. Rather, it is quite like listening to and analyzing a symphony by one of the great symphony writers in that it is more likely to have favorite moments within each song. My favorite moment may be on the second track, "Recrudescent Malevolence- Mother's Illumination," at the 16:06 mark. It is a short-lived moment with a harmonically simple and familiar structure of descending harmonies with very flavorful lead guitar action. The fact that it is short-lived leaves me wanting more, but at the same time gives me more incentive to replay a section or even the whole track again. Another moment I really enjoyed which was quite clever was the orchestral interjection that happens in the first track at 12:41. This orchestral segment features violins on top of the timpani and horns, playing a maniacal burst of notes that almost sounds like a crowd of laughter of evil intentions. The way the band works around these orchestral bits is always mirrored in energy and musical energies, making it always a welcomed feature.

As for me, I always have high expectations when I see the label Dark Descent Records in connection to a release. If you like extreme metal, there is a ton of value in their catalogue and it should be explored. This record may break some people with its individual track run times, but those who enjoy an album-listening experience like myself will get a lot out of this release. Interestingly, both tracks happen to be 24 minutes long, with only 20 seconds of difference in timing. I wonder if that was intentional or accidental. I would imagine it was planned that way, as it would be quite the coincidence when dealing with songs of these lengths. For an incredibly well thought out album of Death Metal that shifts between multiple gears and is full of tricks and hidden goodies to be revealed over multiple listens, look no further than Qrixkuor's Poison Palinopsia

Micah.Ram


Obscure blackened death metal trio Qrixkuor return from the abyss with their debut album. Set for release on August 13th via Dark Descent Records and Invictus Productions.

The introduction of this album is daunting to say the last with a mixture of bombastic and unsettling tones to concoct a potent feeling of dread. The way in which crashing cymbals subtly come in under lurking guitar riffs with demonic vocals is no less disturbing, opening a passage of convulsive and unwelcoming death metal that descends upon us with vitriol and profoundly otherworldly atmospherics. The word cavernous has become ubiquitous with a lot of death metal in recent years but here it could not be more appropriate with the fashion in which the riffs drip upon the drums in truly eerie splendour and a voice of inhuman snarls meets the instruments to complement rather than detract from the dastardly ambience. Portals open as dreary passages take the charnel soundscapes further into another realm, contorting with mystical musicianship that is truly wonderful to behold. Now, to discuss the vessel in which this music is carried. Monolithic production values of utmost power hold this release with a ferociously united sound that is piercing when it needs to be then unleashes a weighty blow of darkness. This is obviously not going to be an easy listen, but a warped abyss of blackened death metal malice to altar the psyche.

Dynamic would be an understatement, here we can see a lurching doom progress with organic transitions into a full on rampage of blast beats and tremolo riffing madness only to descent into hammering onslaughts before returning to contemplative psychedelia. Swirling guitars and bass continually play off of each other to give a spasming effect while in unison give us a meditative ambience with the ritualistic drum work pummelling throughout while not becoming stale as we see powerful hits break the mould for the obliterating strings to seep through. Vocally the album invokes the best of black and death metal with sinister and haunting passages to meet a savagery of unbridled proportions. This accentuates all of the discourse in the dissonant lead work and then devolved back to a primal rhythmic bellowing, allowing the trio to explore many passages of the mind while returning to a sort of dialogue that can return to a neutral point before forcefully erupting once more into chaos. If ever there was an example of an album somehow being funereal and yet ecstatically energetic in a way that will grab you by the throat, this is it.

This is black-death Metal at its most majestic. A mind-opening experience of meditative, volatile and sporadic music that is reached with a masterful execution both in terms of skilful songwriting and also the playing itself, with a magnificent production and aesthetic to offer the opus at its best in terms of presentation. The two songs are luxuriously embellished while avoiding pompous pretence or unnecessary dawdling. Everything you hear is necessary to convey the album while certainly not holding back on the expansive yet claustrophobic experience that one can not only hear, but see and feel.

Nattskog



..::TRACK-LIST::..

1. Serpentine Susurrus - Mother's Abomination 24:11
2. Recrudescent Malevolence - Mother's Illumination 24:31



..::OBSADA::..

S - Guitars, Vocals
DBH - Drums
VK - Bass



https://www.youtube.com/watch?v=lN38LnbGzao


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

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


..::OPIS::..

Jestem pod naprawdę wielkim wrażeniem tego albumu i z pewnością to jedna z najlepszych płyt tego roku. Po długim okresie oczekiwania QRIXKUOR w końcu wydał debiutanckiego pełniaka i naprawdę warto było czekać. Warto było bo "Poison Palinopsia" to album trącący geniuszem. Bo tylko geniusz potrafi na pozór chaotyczne dźwięki poskładać w swego rodzaju smolistą death symfonię... QRIXKUOR to obecnie załoga pochodząca z całkowicie różnych części naszej planety a mianowicie z Anglii i Nowej Zelandii. Formalnie zespół istnieje już prawie 10 lat, pierwsze demo wyrzucili w 2014 i dopiero teraz udało się z LP. Będący głównym sprawcą tego projektu, gitarzysta i wokalista ukrywający się za literką S. to osoba wykształcona muzycznie. Wszelkie znajdujące się na albumie fragmenty z wykorzystaniem klasycznych instrumentów są jego autorstwa i nagrane przez profesjonalnych muzyków. I jest to świetne wytchnienie i kontrast dla tego co się na tym albumie dzieje. A dzieje się naprawdę sporo, pomimo, iż na album składają się tylko dwa utwory trwające prawie 50 minut. Nudy nie ma choćby przez chwilę. To muza złożona i intensywna. To wręcz kopalnia prawdziwe infernalnych riffów podanych w dusznej atmosferze. Album wymaga jednak od nas uważnego słuchania ale odwdzięczy się nam przeniesieniem do innego wymiaru, pozwoli nam dotknąć prawdziwego mroku i otchłani. Brudne, bluźniercze wokale dodają całości jeszcze więcej złowrogiego klimatu. Perkusja brzmi potężnie i absolutnie na najwyższym poziomie. Nie podlega dyskusji. Muzyczna wizja Qrixkuor jest chora. Momentami wręcz psychodeliczna, ale również głęboka i przenikliwa. Jednocześnie odrzucająca i przyciągająca. Uważaj bo jak nie zdołasz uciec to świat Qrixkuor pochłonie cię na zawsze...
Genialny album...

RG

Qrixkuor, mimo iż zespół młody, zdążył już sobie zaskarbić garstkę fanów w specyficznym gronie odbiorców. Takich, którym wystarczy posypać uszy gruzem i są szczęśliwy jak świnia w gnoju. Maniaków nie uznających łatwych melodii, o ile w ogóle, nie padających na kolana przed technicznymi popisami, brzydzących się wypolerowanym brzmieniem a wśród znajomych uchodzących za pozerów, którzy szukają w monotonnym dudnieniu czegoś, czego tam ponoć nie ma. Właśnie dla tych kilku odmieńców mam bardzo dobrą wiadomość. Oto po kilku pomniejszych wydawnictwach brytyjsko-nowozelandzkie komando uderza w końcu pełnym materiałem. Co prawda zawiera on jedynie dwa utwory, lecz każdy z nich trwający circa dwadzieścia pięć minut. Dla mnie to jeden chuj, bo tego typu albumy i tak zawsze traktuję jako całość, więc czy są one dzielone na dwa czy na dwadzieścia części nie robi mi żadnej różnicy. Bo faktycznie, "Poison Palinopsia" jest monolitem, którego nie da się słuchać fragmentarycznie czy jednym uchem. To kolos, prawdziwy potwór, opowiadający swoją historię zdanie po zdaniu, a każde jego słowo ocieka płonącą smołą i trującym umysł jadem. Opowieść ta toczy się powoli z chwilowymi jedynie zrywami akcji. Dźwięki przelewają się niczym rozgrzana lawa, hipnotyzując i budując wokół przerażającą aurę. W niektórych miejscach pojawiają się nieco bardziej melodyjne, black metalowe patenty czy zeschizowane dysonanse przeplatane erupcjami wściekłości. Schowany w tle, charczący demonicznie wokal pełni z kolei jakby rolę dodatkowego instrumentu. Mimo że brzmienie jest tu standardowo zamulone, nie da się narzekać na jego czytelność a wszelkie niuanse są doskonale uwypuklone. Muzyka Qrixkuor nie wyrywa się z ram gatunku, a mimo to jest, zaskakująco wręcz chwilami, bogata i urozmaicona. Jednocześnie nie jest to krążek łatwy i wiele fragmentów zaczyna gadać dopiero po kilku, a nawet kilkunastu odsłuchach. "Poison Palinopsia" jest materiałem niemodnym, wymagającym i przeznaczonym dla cierpliwych. Dla mnie to ekstraklasa gruzowego grania i pozycja obowiązkowa do zakupu.

jesusatan



The recrudescent scourge of Qrixkuor returns to unleash its debut full-length album, entitled ‘Poison Palinopsia,’ to be released on Friday July 9th in conspiracy with Invictus Productions in Europe and Dark Descent Records in the United States. Following 2016’s enigmatic ‘Three Devils Dance’ MLP, ‘Poison Palinopsia’ is a sordid wound in reality’s distorted veil that spent 5 restless years aching for a blade to grant it life - the hour has finally come.

Recorded, mixed and mastered by Greg Chandler at Priory Recording Studios in Birmingham, England and with cover art contributed once again by the inimitable Daniel Corcuera, the album is a furious and fanatically channelled tempest of feral energy, synonymous in its nightmarish aural attack that seeks to chisel avenues to black inner worlds - a truly fitting soundscape for man’s current state of despondent dissonance.

A 48 minute, 2 part labyrinthine descent into the demented depths of the divine, ‘Poison Palinopsia’ is less a listening experience and more a voyage - a summoning to scale the treacherous terrains of merciless mountains of madness. The images remain with the light long slain…



Two tracks sitting in at almost 49 minutes... And it's not a Doom Metal release?! Talk about ambitious stuff here! This is a genuine Death Metal release by the band Qrixkuor full of speed, blast beats, and furious energies, as well as doomy bits thrown in for good measure. With that being the case, the two tracks element here is quite fascinating. Let us dig into what this record is all about.

Poison Palinopsia begins with an orchestral soundscape dominated by the sounds of a damning pulse of the timpani surrounded by faint and rumbling low brass playing. The band enters seamlessly as it meets an end in a way that made such a contrasting instrumentation not so contrasting after all. This is due to a unique quality which fascinated me throughout the whole release, which is that instrumentally it feels as if everything the band accomplishes on this record is somehow connected to the orchestral segment. But it goes beyond that. Throughout these two lengthy tracks, there are short moments of the orchestra making additional entries. The music from the orchestra and the band always matches energies. This gives the album a higher replay value as listeners who stay for the details may begin to start connecting these two elements in the album.

As far as the band's playing, it is varied and busy, sometimes deceptively. The levels of sound and chaos on this album are sometimes less obvious until you really focus on each instrument. At the moment the band starts after the first orchestral segment they hold a Doom-metal pace for a few minutes full of tremolo picking and dense textures. It is cavernous, although not to the same extent as say, Cerebral Rot's latest album. The first track suddenly bursts into high gear at around 5:31, and the blasting energy and furious riffing could not be more exciting in the way it fits here. Over time, the pace changes frequently throughout these two tracks, displaying both high speed and Doom-paced sides of the band with high quality. The many guitar solos are always a highlight of the album, especially near the end of the first track, "Serpentine Susurrus- Mother's Abomination."

With two tracks, it's hard to just name favorite songs. Rather, it is quite like listening to and analyzing a symphony by one of the great symphony writers in that it is more likely to have favorite moments within each song. My favorite moment may be on the second track, "Recrudescent Malevolence- Mother's Illumination," at the 16:06 mark. It is a short-lived moment with a harmonically simple and familiar structure of descending harmonies with very flavorful lead guitar action. The fact that it is short-lived leaves me wanting more, but at the same time gives me more incentive to replay a section or even the whole track again. Another moment I really enjoyed which was quite clever was the orchestral interjection that happens in the first track at 12:41. This orchestral segment features violins on top of the timpani and horns, playing a maniacal burst of notes that almost sounds like a crowd of laughter of evil intentions. The way the band works around these orchestral bits is always mirrored in energy and musical energies, making it always a welcomed feature.

As for me, I always have high expectations when I see the label Dark Descent Records in connection to a release. If you like extreme metal, there is a ton of value in their catalogue and it should be explored. This record may break some people with its individual track run times, but those who enjoy an album-listening experience like myself will get a lot out of this release. Interestingly, both tracks happen to be 24 minutes long, with only 20 seconds of difference in timing. I wonder if that was intentional or accidental. I would imagine it was planned that way, as it would be quite the coincidence when dealing with songs of these lengths. For an incredibly well thought out album of Death Metal that shifts between multiple gears and is full of tricks and hidden goodies to be revealed over multiple listens, look no further than Qrixkuor's Poison Palinopsia

Micah.Ram


Obscure blackened death metal trio Qrixkuor return from the abyss with their debut album. Set for release on August 13th via Dark Descent Records and Invictus Productions.

The introduction of this album is daunting to say the last with a mixture of bombastic and unsettling tones to concoct a potent feeling of dread. The way in which crashing cymbals subtly come in under lurking guitar riffs with demonic vocals is no less disturbing, opening a passage of convulsive and unwelcoming death metal that descends upon us with vitriol and profoundly otherworldly atmospherics. The word cavernous has become ubiquitous with a lot of death metal in recent years but here it could not be more appropriate with the fashion in which the riffs drip upon the drums in truly eerie splendour and a voice of inhuman snarls meets the instruments to complement rather than detract from the dastardly ambience. Portals open as dreary passages take the charnel soundscapes further into another realm, contorting with mystical musicianship that is truly wonderful to behold. Now, to discuss the vessel in which this music is carried. Monolithic production values of utmost power hold this release with a ferociously united sound that is piercing when it needs to be then unleashes a weighty blow of darkness. This is obviously not going to be an easy listen, but a warped abyss of blackened death metal malice to altar the psyche.

Dynamic would be an understatement, here we can see a lurching doom progress with organic transitions into a full on rampage of blast beats and tremolo riffing madness only to descent into hammering onslaughts before returning to contemplative psychedelia. Swirling guitars and bass continually play off of each other to give a spasming effect while in unison give us a meditative ambience with the ritualistic drum work pummelling throughout while not becoming stale as we see powerful hits break the mould for the obliterating strings to seep through. Vocally the album invokes the best of black and death metal with sinister and haunting passages to meet a savagery of unbridled proportions. This accentuates all of the discourse in the dissonant lead work and then devolved back to a primal rhythmic bellowing, allowing the trio to explore many passages of the mind while returning to a sort of dialogue that can return to a neutral point before forcefully erupting once more into chaos. If ever there was an example of an album somehow being funereal and yet ecstatically energetic in a way that will grab you by the throat, this is it.

This is black-death Metal at its most majestic. A mind-opening experience of meditative, volatile and sporadic music that is reached with a masterful execution both in terms of skilful songwriting and also the playing itself, with a magnificent production and aesthetic to offer the opus at its best in terms of presentation. The two songs are luxuriously embellished while avoiding pompous pretence or unnecessary dawdling. Everything you hear is necessary to convey the album while certainly not holding back on the expansive yet claustrophobic experience that one can not only hear, but see and feel.

Nattskog



..::TRACK-LIST::..

1. Serpentine Susurrus - Mother's Abomination 24:11
2. Recrudescent Malevolence - Mother's Illumination 24:31



..::OBSADA::..

S - Guitars, Vocals
DBH - Drums
VK - Bass



https://www.youtube.com/watch?v=lN38LnbGzao


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

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


..::OPIS::..

Powstały w 2025 roku w cieniu Czeskich Budziejowic zespół Temora wymiotuje zgniłą mieszanką starej szkoły śmierci i rozkładającego się, nowofalowego brudu.
To fenomenalnie dopracowany materiał. Paskudna rzecz, która z radością pluje we własne odchody!!!


Spawned in 2025 in the shadows of Budweis, Czech Republic's TEMORA vomit forth a rotten blend of old-school death and decaying new wave filth. Forged in teenage chaos, their debut demo reeked onto cassette through Filth Junkies Records last year, bearing the appropriate title Demo 2025. Despite that humble title, TEMORA twist and turn through a gnarled & gross style of death metal that's alternately slimy and slamming. The still-young quartet exude palpable physicality, sounding menacingly natural - and authentically throwback in that wise choice. Nevertheless, in all aspects - songwriting, production, execution - Demo 2025 is incredibly accomplished and certainly sets the stage for BIG things once their debut album is imminent. Five songs in 16 minutes: get in, get gross, and get out!



..::TRACK-LIST::..

1. Koroze 03:32
2. Astrální vize 03:01
3. Trollmor 03:43
4. Znesvěcení slunce 04:39
5. Možnost volby (Gride cover) 00:22



..::OBSADA::..

Pája - guitar
Rozvik - guitar, vocals
Matyáš - drums, vocals
Jáchym - bass



https://www.youtube.com/watch?v=6EVtM5lYu2Y


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

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


..::OPIS::..

Powstały w 2025 roku w cieniu Czeskich Budziejowic zespół Temora wymiotuje zgniłą mieszanką starej szkoły śmierci i rozkładającego się, nowofalowego brudu.
To fenomenalnie dopracowany materiał. Paskudna rzecz, która z radością pluje we własne odchody!!!


Spawned in 2025 in the shadows of Budweis, Czech Republic's TEMORA vomit forth a rotten blend of old-school death and decaying new wave filth. Forged in teenage chaos, their debut demo reeked onto cassette through Filth Junkies Records last year, bearing the appropriate title Demo 2025. Despite that humble title, TEMORA twist and turn through a gnarled & gross style of death metal that's alternately slimy and slamming. The still-young quartet exude palpable physicality, sounding menacingly natural - and authentically throwback in that wise choice. Nevertheless, in all aspects - songwriting, production, execution - Demo 2025 is incredibly accomplished and certainly sets the stage for BIG things once their debut album is imminent. Five songs in 16 minutes: get in, get gross, and get out!



..::TRACK-LIST::..

1. Koroze 03:32
2. Astrální vize 03:01
3. Trollmor 03:43
4. Znesvěcení slunce 04:39
5. Možnost volby (Gride cover) 00:22



..::OBSADA::..

Pája - guitar
Rozvik - guitar, vocals
Matyáš - drums, vocals
Jáchym - bass



https://www.youtube.com/watch?v=6EVtM5lYu2Y


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

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


..::OPIS::..

JUMPIN' JESUS to niemiecki zespół deathmetalowy istniejący w latach 1989-1991. CD zawiera Demo 1990 oraz jedyny duży album "The Art Of Crucifying" z 1993 roku. JJ był częscią drugiej fali niemieckiego death metalu obok takich zespołow jak PROTECTOR, TORCHURE, INCUBATOR...



Skaczący Jezusek to raczej zapomniany death metal starej szkoły, zrodzony w poronionych głowach kolońskich szaleńców o nazwiskach: Mike Gage oraz Oliver Ullrich. W 1989 roku.

Kapela od innych wyróżnia się przede wszystkim techniczną grą i ogromną ilością płynnie zmienianych riffów o nieco surrealistycznym zabarwieniu i mechaniczno-kosmicznych akcentach. Sporo tu solówek, ale kapela obchodzi się bez klawiszy (z wyjątkiem symbolicznych introsów), utrzymując kompozycje w stylistyce odjechanego death/thrashu, jakiego w tamtym czasie niemalże nikt jeszcze nie grał poza Florydą.

Jumpin' Jesus nagrał podobno jeszcze w roku założenia swoje pierwsze demo Live Wire, kolejne zdaje się rok później, w 1990, natomiast pełny album, poprzedzony następną demówką o tytule Braincramps, ukazał się w 1991 roku. Niestety, ta pierwsza płyta okazała się także ostatnim wydawnictwem niemieckiej kapeli, co można pewnie - po części przynajmniej - złożyć na karb unikalności zaprezentowanej na The Art of Crucifying muzyki. Mam wrażenie, że - podobnie jak jakieś D.V.C. (aka Darth Vader's Church) - swoim nieszablonowym graniem musieli ciutkę spowodować zamęt w głowach nieprzygotowanych na to słuchaczy. Moja znajomość bohaterów tematu ogranicza się wyłącznie do tego albumu.

Nie jest to granie tak wygładzone, jak Atheist, a jednocześnie dość mocno połamane, nieoczywiste, ale przez to tym bardziej intrygujące. Nie są to może mega przeboje wypchane zapamiętywalnymi na pierwszy rzut ucha motywami, jednak nie sposób odmówić tej, na pierwszy rzut oka może ciut kuriozalnej formie pewnej gracji, jak płynie na solówkach, wciąż zachowując pełen ciężar fragmentów bardziej łomotanych. Muzyka jednocześnie prymitywna i wysublimowana. Ostatecznie, po kilku przesłuchaniach okazuje się, że wcale tak trudno nie jest tego zapamiętać - w tej łupaninie poukrywano sporo smaczków, a całość jest niesłychanie zgrabna, pełna mistyczno-futyrystycznych ozdobników.

Szkoda, że tak się to skończyło, ale widocznie ktoś musi przecierać szlaki.

Zawartość muzyczną The Art of Crucifying doskonale uzupełnia geigerowska okładka, w której niestety spierdolono kolorystykę na CD. Ta z wersji winylowej (kasetowej mniej) w pełni oddaje, co kryje się w środku...



Jumpin' Jesus was a German death metal band based in North-Rhine Westphalia, Germany. The band formed in 1989, and released their first demo the same year. They also released another demo named "Brain Cramps". In 1990, they released a demo entitled "Demo 1990". This demo had songs that would be re-recorded for their follow-up full-length album, "The Art of Crucifying", and the album was released on Morbid Music / West Virginia Records in 1991. The album was recorded, mixed and mastered at Stage 1 Studio in Buhne, Germany (Asphyx, Dew-Sentenced, Tankard, Krisiun) by Andy Classen. Jumpin' Jesus was a part of the second wave of German death metal, next to bands like Protector, Torchure and Incubator. The band shortly split after the release of "The Art of Crucifying", due to musical differences. Members of Jumpin' Jesus would pursue in other bands in the following years



..::TRACK-LIST::..

The Art Of Crucifying
1. Out Of The Unknown 5:41
2. Braincramps 3:02
3. The King Of Worms 4:29
4. Cloning The Future 7:53
5. Chaingang 4:23
6. Burnt Offerings 5:11
7. Important Gain 4:10
8. Rotten Flesh 3:37
9. Thru In4cers I's 4:00
10. Lost Yourself 4:27
11. The Preacher 0:23

Demo 1990
12. Intro: The Transcendental Circle / Out Of The Unknown 7:44
13. Braincramps 2:43
14. Burnt Offering 4:58
15. Cloning The Future 7:57
16. H.U.A.L.P. (Humiliating Understructive Antisocial Lethal Pestilence) 0:04



..::OBSADA::..

Vocals - Miro Pavelic (tracks: 1 to 11)
Bass - Rene Genschewski (tracks: 1 to 11)
Drums - Bobby Ferdula
Electric Guitar - Mike Gare, Oliver Ulrich



https://www.youtube.com/watch?v=QnC2zCKu3GY


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

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


..::OPIS::..

JUMPIN' JESUS to niemiecki zespół deathmetalowy istniejący w latach 1989-1991. CD zawiera Demo 1990 oraz jedyny duży album "The Art Of Crucifying" z 1993 roku. JJ był częscią drugiej fali niemieckiego death metalu obok takich zespołow jak PROTECTOR, TORCHURE, INCUBATOR...



Skaczący Jezusek to raczej zapomniany death metal starej szkoły, zrodzony w poronionych głowach kolońskich szaleńców o nazwiskach: Mike Gage oraz Oliver Ullrich. W 1989 roku.

Kapela od innych wyróżnia się przede wszystkim techniczną grą i ogromną ilością płynnie zmienianych riffów o nieco surrealistycznym zabarwieniu i mechaniczno-kosmicznych akcentach. Sporo tu solówek, ale kapela obchodzi się bez klawiszy (z wyjątkiem symbolicznych introsów), utrzymując kompozycje w stylistyce odjechanego death/thrashu, jakiego w tamtym czasie niemalże nikt jeszcze nie grał poza Florydą.

Jumpin' Jesus nagrał podobno jeszcze w roku założenia swoje pierwsze demo Live Wire, kolejne zdaje się rok później, w 1990, natomiast pełny album, poprzedzony następną demówką o tytule Braincramps, ukazał się w 1991 roku. Niestety, ta pierwsza płyta okazała się także ostatnim wydawnictwem niemieckiej kapeli, co można pewnie - po części przynajmniej - złożyć na karb unikalności zaprezentowanej na The Art of Crucifying muzyki. Mam wrażenie, że - podobnie jak jakieś D.V.C. (aka Darth Vader's Church) - swoim nieszablonowym graniem musieli ciutkę spowodować zamęt w głowach nieprzygotowanych na to słuchaczy. Moja znajomość bohaterów tematu ogranicza się wyłącznie do tego albumu.

Nie jest to granie tak wygładzone, jak Atheist, a jednocześnie dość mocno połamane, nieoczywiste, ale przez to tym bardziej intrygujące. Nie są to może mega przeboje wypchane zapamiętywalnymi na pierwszy rzut ucha motywami, jednak nie sposób odmówić tej, na pierwszy rzut oka może ciut kuriozalnej formie pewnej gracji, jak płynie na solówkach, wciąż zachowując pełen ciężar fragmentów bardziej łomotanych. Muzyka jednocześnie prymitywna i wysublimowana. Ostatecznie, po kilku przesłuchaniach okazuje się, że wcale tak trudno nie jest tego zapamiętać - w tej łupaninie poukrywano sporo smaczków, a całość jest niesłychanie zgrabna, pełna mistyczno-futyrystycznych ozdobników.

Szkoda, że tak się to skończyło, ale widocznie ktoś musi przecierać szlaki.

Zawartość muzyczną The Art of Crucifying doskonale uzupełnia geigerowska okładka, w której niestety spierdolono kolorystykę na CD. Ta z wersji winylowej (kasetowej mniej) w pełni oddaje, co kryje się w środku...



Jumpin' Jesus was a German death metal band based in North-Rhine Westphalia, Germany. The band formed in 1989, and released their first demo the same year. They also released another demo named "Brain Cramps". In 1990, they released a demo entitled "Demo 1990". This demo had songs that would be re-recorded for their follow-up full-length album, "The Art of Crucifying", and the album was released on Morbid Music / West Virginia Records in 1991. The album was recorded, mixed and mastered at Stage 1 Studio in Buhne, Germany (Asphyx, Dew-Sentenced, Tankard, Krisiun) by Andy Classen. Jumpin' Jesus was a part of the second wave of German death metal, next to bands like Protector, Torchure and Incubator. The band shortly split after the release of "The Art of Crucifying", due to musical differences. Members of Jumpin' Jesus would pursue in other bands in the following years



..::TRACK-LIST::..

The Art Of Crucifying
1. Out Of The Unknown 5:41
2. Braincramps 3:02
3. The King Of Worms 4:29
4. Cloning The Future 7:53
5. Chaingang 4:23
6. Burnt Offerings 5:11
7. Important Gain 4:10
8. Rotten Flesh 3:37
9. Thru In4cers I's 4:00
10. Lost Yourself 4:27
11. The Preacher 0:23

Demo 1990
12. Intro: The Transcendental Circle / Out Of The Unknown 7:44
13. Braincramps 2:43
14. Burnt Offering 4:58
15. Cloning The Future 7:57
16. H.U.A.L.P. (Humiliating Understructive Antisocial Lethal Pestilence) 0:04



..::OBSADA::..

Vocals - Miro Pavelic (tracks: 1 to 11)
Bass - Rene Genschewski (tracks: 1 to 11)
Drums - Bobby Ferdula
Electric Guitar - Mike Gare, Oliver Ulrich



https://www.youtube.com/watch?v=QnC2zCKu3GY


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

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


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


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

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


..::OPIS::..

Okładka zeszłorocznego debiutu Filth "Time to Rot" idealnie oddała jego psychodelicznie odrażającą zawartość i podobnie jest też z okładką ich drugiego albumu, "Death Exhibition". Podczas gdy debiutancki LP udowodnił, że Filth byli prawdziwymi pretendentami do staroszkolnego, wskrzeszonego death metalowego barbarzyństwa, "Death Exhibition" ukazuje power trio brzmiące zarówno bardziej finezyjnie, jak i barbarzyńsko. Formuła prawie się nie zmieniła, ale fundamenty ich brzmienia zostały tu jeszcze bardziej rozbudowane; czy to surowe, miażdżące brzmienie pierwszych dwóch albumów Grave (w tym zejścia w bardziej doomowe rejony "You'll Never See..."), czy też przydymiony charakter pierwszych dwóch albumów Immolation (narodziny sekwencji "odwróconych riffów" w death metalu), Filth posuwa się naprzód, torturując ciało i umysł na "Death Exhibition".
...
Oczywiście można dostrzec inne, podobne, oldschoolowe wpływy – Demilich, Autopsy, Incantation, fiński Abhorrence – ale bądźcie pewni, że Filth wlewa własną osobowość (i odrobinę dziwactwa) do tego bulgoczącego kotła, aby zachować autentyczność, zamiast po prostu zżynać z przeszłości. Dodajcie do tego wilgotną, całkowicie analogową produkcję, a otrzymacie prawdziwą Wystawę Śmierci, z którą trzeba się liczyć.



ME SACO UN OJO RECORDS and ROTTED LIFE are proud to present the highly anticipated second album of Sweden's FILTH, Death Exhibition. ME SACO UN OJO will release the album in Europe on CD and vinyl LP formats, while ROTTED LIFE will release it in the United States on CD and cassette tape formats.

Sweden's FILTH have a knack for fitting album covers. The one to last year's celebrated Time to Rot debut album captured its psychedically putrid contents perfectly, and so does the cover to their sophomore full-length, Death Exhibition. Whereas that no-less-weighty debut LP proved FILTH were true contenders to old-school death metal barbarity thawed in the present, Death Exhibition sees the power-trio sounding both more finessed and more barbaric. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further here; whether it's the crude, tank-rolling crush of Grave's first two albums (including the dips into doomier territory on You'll Never See...) or the sooty angularity of Immolation's first two (the birth of the "backwards riff" sequence in DM), FILTH go the distance in punishing the body and tormenting the mind on Death Exhibition.

Most poignant case in point: the dank crypt of instrumental "...Inhumed...," where flanged-out bass begins the plummet to unfathomable depths, establishing both atmosphere and physical presence of a most intimidating nature, and then carried to its conclusion in companion instrumental "...Exhumed...," where the chasm to (and from) that crypt becomes a hypnotically haunting trudge. Who else is doing such exemplary work with death metal instrumentals?

Naturally, other similarly old-school influences can be spotted - Demilich, Autopsy, Incantation, Finland's Abhorrence - but rest assured that FILTH inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else's past. Add in humid, wholly analog production and you truly have a Death Exhibition worth reckoning.



Swedish trio FILTH are back with their second full-length, "Death Exhibition", following last year's "Time to Rot" without much of a wait. Per (vocals, drums), Sebastian (guitar, bass), and Ismael (guitar) once again lean into the rotting textures of old-school death metal, but this time the album's world isn't built solely around speed and brutality. What stands out about FILTH is their ability to place the genre's most primitive instincts alongside a heavier, more atmospheric, and at times downright strange approach to structure.

The opening 'Intro' on "Death Exhibition" announces that the album will establish its own space before launching into a direct attack. Boiling noise and a cinematic atmosphere give way to crawling guitars, deep growls, and increasingly weighty rhythms as it moves into 'Split Casket'. The death metal here operates through physical weight more than sheer speed. The density created by the interlocking guitars combines with constantly active drumming, although the track doesn't yet reveal the album's full potential. The real momentum arrives with 'Buried Alive'. Higher tempos come to the fore here as an exception, and FILTH's riffs don't merely accelerate—they also acquire a sharper edge of aggression.

This approach to tempo defines much of the album. Rather than constantly chasing blast beats, FILTH prefer to create a heavy pressure within mid-tempo and uptempo passages. When the drums occasionally double the pace, they don't so much alter the underlying rhythmic character as add a sudden surge of tension to it. Per's vocals follow the same logic. Extremely deep, full-bodied growls aren't used constantly; instead, vocal lines are stretched out, allowing the spaces between them to contribute to the music's weight. The relative scarcity of vocals therefore never feels like a deficiency. On the contrary, the sections where the growls become more prominent, as on 'Mental Butchery', gain additional impact from the surrounding instrumental space.

The role of the guitars simultaneously reveals the album's strongest and most contentious aspect. "Death Exhibition" preserves the direct, blunt-force riffing of early death metal while expanding it through sections with a stronger doom character. There is a clear continuity between the propulsive riffs of 'Split Casket' and 'Buried Alive' and the heavier, muddier structures of tracks such as '...Exhumed...'. The goal here isn't to push the genre's speed as far as possible, but to extend the physical weight of the riff. When the guitars occasionally open into melodic lines, they likewise serve atmospheric purposes rather than functioning as mere decoration.

The most successful expressions of this approach emerge in the two instrumentals. '...Inhumed...' breaks away from the conventional death metal song structure midway through the album, building itself around flanged bass and dark guitar textures. Here, the bass isn't merely a rhythmic support element; it becomes a sound that directly shapes the track's atmosphere. '...Exhumed...' follows by carrying the idea forward through a more doom-oriented riff structure. The relationship between the two tracks forms one of the album's most thoughtfully conceived compositions: one represents a descent into the depths, while the other seems to struggle slowly toward the surface through that same dark space. This is where FILTH's experimental side truly makes sense; unusual elements aren't being used to move away from the genre, but to expand death metal's physical sensation.

That said, not every slowdown on the album is equally effective. In some of the more doom-heavy guitar passages, the ideas can feel stretched without enough direction behind them. While the more orderly and controlled structure of "Death Exhibition" trims away some of the looser energy of the debut, it also makes certain passages more predictable in return. This is particularly noticeable in the more groove-oriented sections. On a track such as 'Sadistic Ways', the guitars could generate more aggression and impact, yet the current guitar tone doesn't always deliver the full physical force these riffs are capable of producing.

This is where the production creates an important distinction. The album's dirty, humid, analog character fits its aesthetic extremely well. The sounds haven't been sterilized; the rough edges of the guitars, the substantial presence of the bass, and the pronounced drum hits preserve the organic character of old-school death metal. Yet the guitar tone, which could be expected to hit with more punch than it does here—especially compared with the debut—remains somewhat more controlled this time around, and that becomes a disadvantage on groove-driven riffs. Interestingly, the same production choice that strengthens the album's atmospheric side occasionally pulls its aggressive side into the background.

FILTH's reference points within the genre also help make sense of this picture. The tank-like weight of early GRAVE, the angular and restless riffing of early IMMOLATION, the muddy darkness of AUTOPSY, the crushing atmosphere of INCANTATION, and the old Finnish death metal tradition surrounding DEMILICH and ABHORRENCE can all be felt within the album's genetic makeup. But "Death Exhibition" doesn't simply present these influences as pieces taken from the past. The strangeness of its instrumental passages and the space it gives to doom allow FILTH to place that heritage within their own sonic vocabulary. As a result, the album's old-school character functions less as a nostalgic costume than as a foundation for composition.

The album cover's move toward a more direct death metal aesthetic, one that supports this musical approach, doesn't seem accidental either. Still, the visual side finds its strongest counterpart in the music itself, where the theme of decay is constructed not only through aggressive riffs but also through space, slowdowns, and sonic textures. FILTH become interesting here not when they try to do more, but when they begin using the genre's basic materials at different levels of intensity.

The closing 'Rotted Life' consequently serves as a good summary of the album. The track is in almost no hurry, yet the guitars' movement beneath the surface, the deep vocals, and the increasingly heavy structure create a distinct tension. It's one of the tracks that demonstrates how FILTH's music cannot be measured by speed alone. The structure, which runs for just over half an hour across ten tracks including the intro, also works in its favor: the album never outstays its welcome, and the instrumental sections feel integrated into its overall atmosphere rather than detached experiments sitting outside the main body.

"Death Exhibition" doesn't abandon the old-school death metal backbone established with "Time to Rot"; it expands it into a heavier, more controlled, and more atmospheric space. That expansion isn't equally successful everywhere: some of the doom-oriented passages would benefit from a more forceful guitar tone and more clearly defined compositional direction. Even so, FILTH's second album gains its significance by moving beyond mere admiration for the genre's past and rearranging some of its fundamental elements—riff weight, dirty tone, deep vocals, and physical intensity—in different proportions. That is where "Death Exhibition" is most convincing: it preserves the rotten material of old-school death metal while making room for a little more darkness within it.

Ozan



..::TRACK-LIST::..

1. Intro 00:29
2. Split Casket 03:35
3. Buried Alive 03:39
4. Born a Corpse 03:21
5. Mental Butchery 04:06
6. Inhumed 04:07
7. Sadistic Ways 03:38
8. Exhibition of Death 04:13
9. Exhumed 02:44
10. Rotted Life 04:26



https://www.youtube.com/watch?v=xq_kYmj-nuI


SEED 15:00-22:00.
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..::OPIS::..

Klasyczny niemiecki grind/death metal; szósta duża płyta z 1999 roku.
Reedycja VIC RECORDS zawiera również cover IMPETIGO "Wizzard of Gore".



After finally seeing Blood live, and being blown away by what I'd consider to be one of the best extreme metal shows I've ever witnessed, I think it's the best time to discuss in detail why I've always held these German wacks in such a high regard - considering them to be pretty much the best grindcore band of all time. I remember, during the earlier part of my adolescence, holding Carcass' "Reek of Putrefaction" as my all-time favorite grind album, being enamored with its inhuman putridity and insane riff galore, believing nothing could ever top it. Then, around the age of seventeen, I ran across Blood for the first time, hearing the track "Ebola", and of course I was floored: no grindcore band I knew up until then had ever sounded this violent, this powerful, this nasty, this wretched in spite of its extreme minimalism and streamlined presentation. Not too long after, I dove deep into Blood's discography, discovering and falling in love with the haunting, morbid extremity of works such as "O agios pethane" and "Christbait". But the album that really took the cake for me was the one featuring the track that made me a convert in the first place - an album that was even able to surpass what, up until that point, I'd consider to be the artistic peak of the genre. "Reek of Putrefaction" was not my favorite grindcore record anymore: "Gas. Flames. Bones." was.

I wonder why this album gets overlooked so often, even by Blood fans and by the band themselves. To me it's easily Blood's most violent, intense, consistent, all-encompassing work, yet it's probably also their least talked about, generally relegated to a mere footnote in their discography (especially since vocalist Martin Witchskinner rejoined the band, with live shows shifting their focus back to the first three records as a consequence of that). "Gas. Flames. Bones." is an abrupt departure from the formula of previous albums such as "Mental Conflicts" and "Depraved Goddess", which bore an overall lighter, less busy, more punk-laden approach featuring less intense riffs, more minimalistic songwriting and a generally more relaxed pace to the songs: on the contrary, this is probably Blood's grittiest, fiercest, overall busiest offering - cramming an insane amount of riffs in generally shorter amounts of space, with a stunning newfound sensibility, eloquence and dynamism in the songwriting department, in stark contrast to the relatively static songwriting of previous two works; this restless urgency is further aggravated by a rather severe, solemn atmosphere that's instantly established by the intro track, setting the mood for the album right at the start with a sample from Carl Orff's "Carmina Burana" (which, to be fair, was already featured on a track from "Depraved Goddess"), later joined by drums, bass and guitars accenting it and giving it a new level of gravitas and epic drama.

And fuck me if the album doesn't deliver on that, with the following nineteen tracks. This is Blood turned up to eleven in any conceivable regard: "Gas. Flames. Bones." blends the robust, choppy yet intensely atmospheric riffage heard on "Christbait", "O agios pethane" and (to a degree) "Mental Conflicts" with the merciless nonstop blasting of "Impulse to Destroy", all that with an added level of vehemence the band hadn't quite shown before. If "O agios pethane" just dared to gaze into the abyss of human depravity, "Gas. Flames. Bones." takes you straight into the slaughterhouse and smashes your skull with the most downright evil, pitch-black negative riffage the band has ever delivered in their career (enhanced by the grimy, sludgy guitar tone, both obesely heavy in the lower/mid frequencies and annoyingly buzzy in the highs), while Ventilator blasts restlessly and Clausi spews his hatred right into the mic. By the way, about Clausi's vocals: he's no Martin (whose performance on "Impulse to Destroy" remains one of a kind), but I find his role in carrying the band during the "Mental Conflicts"/"Dysangelium" era to be quite underrated. His ogre-like growls, while nothing revolutionary, always manage to sound notably expressive in spite of their - by nature - limited range: they're angry, mean-spirited and filled with utter hatred and contempt, at times tastefully emphasized by the occasional high rasps placed as backing vocals (which sound as devilish and sinister as they can ever get in grindcore), and it always feels like the guy is giving all he's got, never phoning it in - especially during the more relentless tracks such as "Mankind", whose chorus you're never going to forget once you've heard it.

The best word to describe Blood's trademark riffing would be tasty: at least, that's the feeling it always gave me. Bands like Depression and Rot have tried to replicate this style, but no one can quite pull it off as good as the originals (even though Rot's latest record is definitely the best attempt I've heard so far). Blood takes the fat, simple, straight-to-the-point riffing of death/grind staples like Terrorizer and improves upon it, giving it more depth, three-dimensionality and overall memorability. As a general rule, Blood riffs are some of the catchiest you're ever going to hear in grindcore: whether they're long-winded tremolos or ultra-minimal three-chord affairs, they're always granted to remain stuck in your head, and the band is always sure to develop and milk their already catchy motifs to the highest extent as far as the old school grind formula can go. A track like "Woundead", for instance, feels like a masterclass in extreme musical minimalism, showing how to indulge in just a few notes per song while still crafting and developing a theme that feels rich and dynamic, in a way that feels worthy of raw black metal champions such as Darkthrone, Von, Ildjarn and Profanatica. As a result, these tracks feel heavy and weighty but ultimately sweet and satisfying, pretty much the feeling you get when eating a fuckton of chocolate if you get what I mean - and well, "Gas. Flames. Bones." is without a doubt the one Blood album that's going to give you an indigestion.

First of all, you're gonna hear the most memorably wicked tremolo riffs the band has ever written on tracks such as "Screaming With No Face", "Perishment in Utter Ecstasy", "FH-70mm", "Serial Infanticide" and "Positional Warfare". Songs are also filled with tons of open-chord punky riffage, which was already making a significant comeback in Blood's sound by the times of "Depraved Goddess". Aside from your usual d-beat up-tempos in the vein of "Flames and Gas" or "Multiglobalised Fallacy", I also find worth noting that this is probably the Blood album with the most amount of pure, unadulterated grindcore minimalism since the times of "Impulse to Destroy", as it's immediately apparent by hearing tracks such as the rather lo-fi "Holy Rot": streams of quasi-atonal early Napalm Death power chords abound all throughout the record - and yet, even during those seemingly inarticulate sections, Blood's mature, distinct, well thought-out songwriting formula is still preserved, if not even emphasized to a higher degree; the main motifs of tracks like "Ebola" are built around two or three power chords - and yet they feel more "alive" and with more things to say than most prog discographies ever will, possessing such a distinct, unmistakable identity that it sounds unreal when you hear it. Despite this relatively high amount of stripped down punky minimalism, however, the more rigid, percussive approach developed between "Christbait" and "Mental Conflicts" in the form of choppier, chuggier riffage still plays an important role on numerous pieces such as "Auto Cannibalism", "Defaced Total Mutation" and "Fleshconsumer", at times even intertwining with the whirly grindcore riffs (see: "Derangement") in a dynamic, ever-changing stream of violence that never lets you off the hook and never gives you a chance to catch your breath, in a way that seems unthinkable for such an old school, minimalistic grind record. "Gas. Flames. Bones." manages to accomplish the kind of mature, narrative approach to grindcore songwriting that records like "Reek of Putrefaction" needed twice the amount of riffs to properly convey, and that's the album's secret strength in a nutshell.

And I still haven't talked about what happens when the songs slow down. Ohhh, boy: I've never been more happy to hear a grindcore record slow down than on "Gas. Flames. Bones." - and that's saying a lot, considering how much I've just praised the album's blasting sections. If you're familiar with famous Blood tunes such as "Spasmo Paralytic Dreams", you know how infectious their chugging mid-tempos can be - and on this album, this formula reaches its peak on "Der Henker", whose main riff is one you can't truly forget, and the grinding double-bass mid-paced attacks of "Hecatomb". Staying true to Blood's tried-and-true formula since the first album, songs like "Screaming With No Face", "Derangement" and "Serial Infanticide" feature some chugging mid-paced breaks which only serve to add some dynamism and make later blasting sections feel even more impactful. And yet, this particular Blood album adds an even more interesting ingredient to the mix: the second halves of tracks such as "Auto Cannibalism" and "Der Henker" feature some open-chord pauses/slowdowns with a rather martial, solemn rhythmic cadence that makes them feel more akin to black metal than anything death metal or grindcore-related. During these slower parts, the riffs are sludgier, more minimalistic and more dripping with misanthropic malevolence than anywhere else on the record - and these slow, almost black-ish interludes later morph into more apocalyptic, minimalistic grindcore blasting with such an intuitive naturalness that speaks volumes about this band's musical intelligence. I've heard Blood being associated multiple times with black metal despite their surface musical attributes sounding nothing like it: after all, many of their smaller gigs (like the one I attended last weekend) tend to revolve around a predominantly black/death-oriented bill, closer to the war metal scene than to the grindcore one - and let's also not forget that the band themselves used to wear some haphazardly-made corpsepaint on stage around the times of "O agios pethane" and "Mental Conflicts". However, to me this connection has never been more apparent than on "Gas. Flames. Bones.", especially during its slower portions: closing track "Positional Warfare" is a perfect way to wrap things up by emphasizing, through its rather epic construction and morbid use of melody, the album's evil, depraved nature that sounds more akin to Blasphemy or Goatpenis than Napalm Death or Repulsion in spirit.

Hey, wait a minute - all this chit-chat about guitar riffs and atmosphere has diverted me from discussing one of the most defining elements of this record and Blood as a whole: Ventilator's INSANE drumming. I can't really imagine this band without him: this is one of those cases, along with Cryptopsy and a few others, where the concept of the drummer being the engine of a band ascends to a whole new level of meaning. If you've read some of my past reviews about cult underground releases from the 80's, you might be aware of my slight preference for more old school, primitive forms of blasting - more chaotic and directly related to the thrash beat archetype. However, as far as proper extreme metal blast-beats go, Ventilator has always been among my favorites interpreters of the style. He's not a particularly fast drummer by current standards (although he was clearly ahead of the curve back in 1989), but nevertheless, he's often able to make his performance feel faster than it really is, through the sheer intensity of his playing: unlike many trigger-reliant extreme metal drummers of today (and seemingly keeping faith to D.D. Crazy's style), he never speeds up at the expense of hitting his drumkit with the reasonable amount of strength, and that makes his faster sections all the more impactful and significant. I swear his playing is ten times more stunning and jaw-dropping when heard live, but the albums where the ridiculous intensity of his drumming is more immediately apparent are "Impulse to Destroy" and "Gas. Flames. Bones." - the latter benefitting from ten more years of technical advancement, put at the service of a more lethally precise performance that truly leaves no survivors. Starting right from "Screaming With No Face", you're run over by a never-ending flood of blast-beats, overwhelming your senses like on no other Blood album ever. I generally tend to enjoy my grindcore with sloppier, less precise drumming (see: Mick Harris' crashing, mayhemic wall of sound on Napalm Death's first two records) - but this is one of those cases where technical precision, being implemented into such an overall intense musical framework, does truly benefit the music, instead of making it more streamlined and boring as it sadly is often the case.

The mix between "Gas. Flames. Bones."'s hyperactive songwriting and relentlessly fast drumming does really constitute what you'd call an explosive cocktail: Ventilator never sits on a beat for too long, switching between steamrolling blast-beats, restless d-beats and massive, grinding mid-tempos. Aside from the usual modern grind blasting, he even digs up some of those older, more primitive proto-blast skank beats that used to be very popular back in the late 80's and could still be heard at times on "Impulse to Destroy" (see: "Foulmouthed Politicians") on tracks such as "Serial Infanticide" or even the verse sections from "Flames and Gas". But the thing that sends me on the moon when it comes to Ventilator's drumming is the mercilessly precise violence of his breaks: really, this guy took grindcore's typical drum break and turned it into a mind-blowing art form. Past examples of that could be found on songs such as "Cannibal Ritual" (which I had the pleasure to hear live), but my favorite example ever can be found right on this album, more specifically on "Flames and Gas", which ends in a reckless blastfest accented by some of the sharpest, most precise drum breaks I've ever heard, getting more and more intense each time they repeat until the end of the song. This is another testament to Blood's unbelievable songwriting prowess, even concerning the tiniest, seemingly most trivial details.

I didn't plan for this review to be this long, but well, it seems like you can never give this album enough praise. "Gas. Flames. Bones." remains to this day my favorite work in the entire grindcore genre - a vibrant, inspired, splendidly crafted synthesis of all its best attributes (in a similar way to Vomitory's "Blood Rapture" for death metal), and I can't imagine anything possibly topping it. Could Mortician be counted as reasonable contenders? Well - they do possess a huge, undeniable grindcore baggage in their sound (further testified by their Napalm Death and Repulsion covers), but their thuggy musical approach is overall much more akin to your typical 90's NY brutal death act than any pre-2000 grindcore band; Blood on the other hand is pure old school death/grind, and no one does it better than they do on this record. Even though I was blown away by the live renditions of their earlier, more classic albums, I still wish the band would cover at least a handful of tracks from this criminally overlooked masterpiece I encourage any grindcore fan (both old school and modern) to check out. It's an album so violent, deranged, gritty and genuinely evil that it could truly have come out of the Nazi camps depicted on its cover.

Noise Maniakk



..::TRACK-LIST::..

1. Intro 1:52
2. Screaming With No Face 1:19
3. Flames And Gas 1:35
4. Auto Cannibalism 1:55
5. Ebola 1:23
6. Perishment In Utter Ecstasy 1:48
7. Defaced Total Mutation 1:02
8. 2011 0:06
9. Der Henker 2:48
10. Fleshconsumer 1:01
11. Multiglobalised Fallacy 1:20
12. Derangement 2:33
13. Woundead 0:41
14. FH-70mm 1:20
15. Holy Rot 1:49
16. Mankind 1:16
17. Serial Infanticide 2:16
18. Amputation 1:24
19. Hecatomb 1:41
2. Positional Warfare 2:13

Bonus Track:
21. Wizards Of Gore 3:24

Track 21 originally appeared on the tribute to Impetigo CD "Wizards of Gore" on Razorback Records and is extra for this edition.



..::OBSADA::..

Vocals - Clausi
Bass - Taki
Drums - Ventilator
Guitar - Eisen



https://www.youtube.com/watch?v=U6XsKsDyqKg


SEED 15:00-22:00.
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...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Klasyczny niemiecki grind/death metal; szósta duża płyta z 1999 roku.
Reedycja VIC RECORDS zawiera również cover IMPETIGO "Wizzard of Gore".



After finally seeing Blood live, and being blown away by what I'd consider to be one of the best extreme metal shows I've ever witnessed, I think it's the best time to discuss in detail why I've always held these German wacks in such a high regard - considering them to be pretty much the best grindcore band of all time. I remember, during the earlier part of my adolescence, holding Carcass' "Reek of Putrefaction" as my all-time favorite grind album, being enamored with its inhuman putridity and insane riff galore, believing nothing could ever top it. Then, around the age of seventeen, I ran across Blood for the first time, hearing the track "Ebola", and of course I was floored: no grindcore band I knew up until then had ever sounded this violent, this powerful, this nasty, this wretched in spite of its extreme minimalism and streamlined presentation. Not too long after, I dove deep into Blood's discography, discovering and falling in love with the haunting, morbid extremity of works such as "O agios pethane" and "Christbait". But the album that really took the cake for me was the one featuring the track that made me a convert in the first place - an album that was even able to surpass what, up until that point, I'd consider to be the artistic peak of the genre. "Reek of Putrefaction" was not my favorite grindcore record anymore: "Gas. Flames. Bones." was.

I wonder why this album gets overlooked so often, even by Blood fans and by the band themselves. To me it's easily Blood's most violent, intense, consistent, all-encompassing work, yet it's probably also their least talked about, generally relegated to a mere footnote in their discography (especially since vocalist Martin Witchskinner rejoined the band, with live shows shifting their focus back to the first three records as a consequence of that). "Gas. Flames. Bones." is an abrupt departure from the formula of previous albums such as "Mental Conflicts" and "Depraved Goddess", which bore an overall lighter, less busy, more punk-laden approach featuring less intense riffs, more minimalistic songwriting and a generally more relaxed pace to the songs: on the contrary, this is probably Blood's grittiest, fiercest, overall busiest offering - cramming an insane amount of riffs in generally shorter amounts of space, with a stunning newfound sensibility, eloquence and dynamism in the songwriting department, in stark contrast to the relatively static songwriting of previous two works; this restless urgency is further aggravated by a rather severe, solemn atmosphere that's instantly established by the intro track, setting the mood for the album right at the start with a sample from Carl Orff's "Carmina Burana" (which, to be fair, was already featured on a track from "Depraved Goddess"), later joined by drums, bass and guitars accenting it and giving it a new level of gravitas and epic drama.

And fuck me if the album doesn't deliver on that, with the following nineteen tracks. This is Blood turned up to eleven in any conceivable regard: "Gas. Flames. Bones." blends the robust, choppy yet intensely atmospheric riffage heard on "Christbait", "O agios pethane" and (to a degree) "Mental Conflicts" with the merciless nonstop blasting of "Impulse to Destroy", all that with an added level of vehemence the band hadn't quite shown before. If "O agios pethane" just dared to gaze into the abyss of human depravity, "Gas. Flames. Bones." takes you straight into the slaughterhouse and smashes your skull with the most downright evil, pitch-black negative riffage the band has ever delivered in their career (enhanced by the grimy, sludgy guitar tone, both obesely heavy in the lower/mid frequencies and annoyingly buzzy in the highs), while Ventilator blasts restlessly and Clausi spews his hatred right into the mic. By the way, about Clausi's vocals: he's no Martin (whose performance on "Impulse to Destroy" remains one of a kind), but I find his role in carrying the band during the "Mental Conflicts"/"Dysangelium" era to be quite underrated. His ogre-like growls, while nothing revolutionary, always manage to sound notably expressive in spite of their - by nature - limited range: they're angry, mean-spirited and filled with utter hatred and contempt, at times tastefully emphasized by the occasional high rasps placed as backing vocals (which sound as devilish and sinister as they can ever get in grindcore), and it always feels like the guy is giving all he's got, never phoning it in - especially during the more relentless tracks such as "Mankind", whose chorus you're never going to forget once you've heard it.

The best word to describe Blood's trademark riffing would be tasty: at least, that's the feeling it always gave me. Bands like Depression and Rot have tried to replicate this style, but no one can quite pull it off as good as the originals (even though Rot's latest record is definitely the best attempt I've heard so far). Blood takes the fat, simple, straight-to-the-point riffing of death/grind staples like Terrorizer and improves upon it, giving it more depth, three-dimensionality and overall memorability. As a general rule, Blood riffs are some of the catchiest you're ever going to hear in grindcore: whether they're long-winded tremolos or ultra-minimal three-chord affairs, they're always granted to remain stuck in your head, and the band is always sure to develop and milk their already catchy motifs to the highest extent as far as the old school grind formula can go. A track like "Woundead", for instance, feels like a masterclass in extreme musical minimalism, showing how to indulge in just a few notes per song while still crafting and developing a theme that feels rich and dynamic, in a way that feels worthy of raw black metal champions such as Darkthrone, Von, Ildjarn and Profanatica. As a result, these tracks feel heavy and weighty but ultimately sweet and satisfying, pretty much the feeling you get when eating a fuckton of chocolate if you get what I mean - and well, "Gas. Flames. Bones." is without a doubt the one Blood album that's going to give you an indigestion.

First of all, you're gonna hear the most memorably wicked tremolo riffs the band has ever written on tracks such as "Screaming With No Face", "Perishment in Utter Ecstasy", "FH-70mm", "Serial Infanticide" and "Positional Warfare". Songs are also filled with tons of open-chord punky riffage, which was already making a significant comeback in Blood's sound by the times of "Depraved Goddess". Aside from your usual d-beat up-tempos in the vein of "Flames and Gas" or "Multiglobalised Fallacy", I also find worth noting that this is probably the Blood album with the most amount of pure, unadulterated grindcore minimalism since the times of "Impulse to Destroy", as it's immediately apparent by hearing tracks such as the rather lo-fi "Holy Rot": streams of quasi-atonal early Napalm Death power chords abound all throughout the record - and yet, even during those seemingly inarticulate sections, Blood's mature, distinct, well thought-out songwriting formula is still preserved, if not even emphasized to a higher degree; the main motifs of tracks like "Ebola" are built around two or three power chords - and yet they feel more "alive" and with more things to say than most prog discographies ever will, possessing such a distinct, unmistakable identity that it sounds unreal when you hear it. Despite this relatively high amount of stripped down punky minimalism, however, the more rigid, percussive approach developed between "Christbait" and "Mental Conflicts" in the form of choppier, chuggier riffage still plays an important role on numerous pieces such as "Auto Cannibalism", "Defaced Total Mutation" and "Fleshconsumer", at times even intertwining with the whirly grindcore riffs (see: "Derangement") in a dynamic, ever-changing stream of violence that never lets you off the hook and never gives you a chance to catch your breath, in a way that seems unthinkable for such an old school, minimalistic grind record. "Gas. Flames. Bones." manages to accomplish the kind of mature, narrative approach to grindcore songwriting that records like "Reek of Putrefaction" needed twice the amount of riffs to properly convey, and that's the album's secret strength in a nutshell.

And I still haven't talked about what happens when the songs slow down. Ohhh, boy: I've never been more happy to hear a grindcore record slow down than on "Gas. Flames. Bones." - and that's saying a lot, considering how much I've just praised the album's blasting sections. If you're familiar with famous Blood tunes such as "Spasmo Paralytic Dreams", you know how infectious their chugging mid-tempos can be - and on this album, this formula reaches its peak on "Der Henker", whose main riff is one you can't truly forget, and the grinding double-bass mid-paced attacks of "Hecatomb". Staying true to Blood's tried-and-true formula since the first album, songs like "Screaming With No Face", "Derangement" and "Serial Infanticide" feature some chugging mid-paced breaks which only serve to add some dynamism and make later blasting sections feel even more impactful. And yet, this particular Blood album adds an even more interesting ingredient to the mix: the second halves of tracks such as "Auto Cannibalism" and "Der Henker" feature some open-chord pauses/slowdowns with a rather martial, solemn rhythmic cadence that makes them feel more akin to black metal than anything death metal or grindcore-related. During these slower parts, the riffs are sludgier, more minimalistic and more dripping with misanthropic malevolence than anywhere else on the record - and these slow, almost black-ish interludes later morph into more apocalyptic, minimalistic grindcore blasting with such an intuitive naturalness that speaks volumes about this band's musical intelligence. I've heard Blood being associated multiple times with black metal despite their surface musical attributes sounding nothing like it: after all, many of their smaller gigs (like the one I attended last weekend) tend to revolve around a predominantly black/death-oriented bill, closer to the war metal scene than to the grindcore one - and let's also not forget that the band themselves used to wear some haphazardly-made corpsepaint on stage around the times of "O agios pethane" and "Mental Conflicts". However, to me this connection has never been more apparent than on "Gas. Flames. Bones.", especially during its slower portions: closing track "Positional Warfare" is a perfect way to wrap things up by emphasizing, through its rather epic construction and morbid use of melody, the album's evil, depraved nature that sounds more akin to Blasphemy or Goatpenis than Napalm Death or Repulsion in spirit.

Hey, wait a minute - all this chit-chat about guitar riffs and atmosphere has diverted me from discussing one of the most defining elements of this record and Blood as a whole: Ventilator's INSANE drumming. I can't really imagine this band without him: this is one of those cases, along with Cryptopsy and a few others, where the concept of the drummer being the engine of a band ascends to a whole new level of meaning. If you've read some of my past reviews about cult underground releases from the 80's, you might be aware of my slight preference for more old school, primitive forms of blasting - more chaotic and directly related to the thrash beat archetype. However, as far as proper extreme metal blast-beats go, Ventilator has always been among my favorites interpreters of the style. He's not a particularly fast drummer by current standards (although he was clearly ahead of the curve back in 1989), but nevertheless, he's often able to make his performance feel faster than it really is, through the sheer intensity of his playing: unlike many trigger-reliant extreme metal drummers of today (and seemingly keeping faith to D.D. Crazy's style), he never speeds up at the expense of hitting his drumkit with the reasonable amount of strength, and that makes his faster sections all the more impactful and significant. I swear his playing is ten times more stunning and jaw-dropping when heard live, but the albums where the ridiculous intensity of his drumming is more immediately apparent are "Impulse to Destroy" and "Gas. Flames. Bones." - the latter benefitting from ten more years of technical advancement, put at the service of a more lethally precise performance that truly leaves no survivors. Starting right from "Screaming With No Face", you're run over by a never-ending flood of blast-beats, overwhelming your senses like on no other Blood album ever. I generally tend to enjoy my grindcore with sloppier, less precise drumming (see: Mick Harris' crashing, mayhemic wall of sound on Napalm Death's first two records) - but this is one of those cases where technical precision, being implemented into such an overall intense musical framework, does truly benefit the music, instead of making it more streamlined and boring as it sadly is often the case.

The mix between "Gas. Flames. Bones."'s hyperactive songwriting and relentlessly fast drumming does really constitute what you'd call an explosive cocktail: Ventilator never sits on a beat for too long, switching between steamrolling blast-beats, restless d-beats and massive, grinding mid-tempos. Aside from the usual modern grind blasting, he even digs up some of those older, more primitive proto-blast skank beats that used to be very popular back in the late 80's and could still be heard at times on "Impulse to Destroy" (see: "Foulmouthed Politicians") on tracks such as "Serial Infanticide" or even the verse sections from "Flames and Gas". But the thing that sends me on the moon when it comes to Ventilator's drumming is the mercilessly precise violence of his breaks: really, this guy took grindcore's typical drum break and turned it into a mind-blowing art form. Past examples of that could be found on songs such as "Cannibal Ritual" (which I had the pleasure to hear live), but my favorite example ever can be found right on this album, more specifically on "Flames and Gas", which ends in a reckless blastfest accented by some of the sharpest, most precise drum breaks I've ever heard, getting more and more intense each time they repeat until the end of the song. This is another testament to Blood's unbelievable songwriting prowess, even concerning the tiniest, seemingly most trivial details.

I didn't plan for this review to be this long, but well, it seems like you can never give this album enough praise. "Gas. Flames. Bones." remains to this day my favorite work in the entire grindcore genre - a vibrant, inspired, splendidly crafted synthesis of all its best attributes (in a similar way to Vomitory's "Blood Rapture" for death metal), and I can't imagine anything possibly topping it. Could Mortician be counted as reasonable contenders? Well - they do possess a huge, undeniable grindcore baggage in their sound (further testified by their Napalm Death and Repulsion covers), but their thuggy musical approach is overall much more akin to your typical 90's NY brutal death act than any pre-2000 grindcore band; Blood on the other hand is pure old school death/grind, and no one does it better than they do on this record. Even though I was blown away by the live renditions of their earlier, more classic albums, I still wish the band would cover at least a handful of tracks from this criminally overlooked masterpiece I encourage any grindcore fan (both old school and modern) to check out. It's an album so violent, deranged, gritty and genuinely evil that it could truly have come out of the Nazi camps depicted on its cover.

Noise Maniakk



..::TRACK-LIST::..

1. Intro 1:52
2. Screaming With No Face 1:19
3. Flames And Gas 1:35
4. Auto Cannibalism 1:55
5. Ebola 1:23
6. Perishment In Utter Ecstasy 1:48
7. Defaced Total Mutation 1:02
8. 2011 0:06
9. Der Henker 2:48
10. Fleshconsumer 1:01
11. Multiglobalised Fallacy 1:20
12. Derangement 2:33
13. Woundead 0:41
14. FH-70mm 1:20
15. Holy Rot 1:49
16. Mankind 1:16
17. Serial Infanticide 2:16
18. Amputation 1:24
19. Hecatomb 1:41
2. Positional Warfare 2:13

Bonus Track:
21. Wizards Of Gore 3:24

Track 21 originally appeared on the tribute to Impetigo CD "Wizards of Gore" on Razorback Records and is extra for this edition.



..::OBSADA::..

Vocals - Clausi
Bass - Taki
Drums - Ventilator
Guitar - Eisen



https://www.youtube.com/watch?v=U6XsKsDyqKg


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

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


..::OPIS::..

The album ‘Sanctum Disruption, Sphere of the Rotting’ contains the two heaviest and most brutal Dutch death metal demos ever. Especially their second demo ‘Sphere of the Rotting’ is in the world wide death metal underground highly acclaimed as one of the most extreme demos ever. This six track demo was recorded at Het Pand in 1992 with Frits van Mourik (Phlebotomized, Threnody, Lair of Golgotha). The booklet comes with extensive liner notes and many rare pictures. The debut demo ‘Sanctum’s Disruption’ (1991) is restored and remixed, the second demo is fully remastered. Also included is one never released track from the second demo sessions and a live track.



..::TRACK-LIST::..

Sphere Of The Rotting Demo 1992
1. The Initiation 0:44
2. Aroused By The Deceased 3:31
3. Sanctum's Disruption 4:17
4. Witch From Akyrz 2:18
5. Pernicious Saviour 4:59
6. Church Of Delusion 3:57

Sanctum's Disruption 1990
7. Witch From Akyrz 2:26
8. Mutual Hatred 2:03
9. Things That Were And Shall Be Again 3:20
10. Obtruncation 2:06
11. Repudiated Angel 3:14

Bonus Track:
12. Aroused By The Deceased 4:30

Track 12 - recorded live in October 22th, 1994 at Schedelpop Festival, Oostburg.




https://www.youtube.com/watch?v=8ZYcDPp4KpA


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

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


..::OPIS::..

The album ‘Sanctum Disruption, Sphere of the Rotting’ contains the two heaviest and most brutal Dutch death metal demos ever. Especially their second demo ‘Sphere of the Rotting’ is in the world wide death metal underground highly acclaimed as one of the most extreme demos ever. This six track demo was recorded at Het Pand in 1992 with Frits van Mourik (Phlebotomized, Threnody, Lair of Golgotha). The booklet comes with extensive liner notes and many rare pictures. The debut demo ‘Sanctum’s Disruption’ (1991) is restored and remixed, the second demo is fully remastered. Also included is one never released track from the second demo sessions and a live track.



..::TRACK-LIST::..

Sphere Of The Rotting Demo 1992
1. The Initiation 0:44
2. Aroused By The Deceased 3:31
3. Sanctum's Disruption 4:17
4. Witch From Akyrz 2:18
5. Pernicious Saviour 4:59
6. Church Of Delusion 3:57

Sanctum's Disruption 1990
7. Witch From Akyrz 2:26
8. Mutual Hatred 2:03
9. Things That Were And Shall Be Again 3:20
10. Obtruncation 2:06
11. Repudiated Angel 3:14

Bonus Track:
12. Aroused By The Deceased 4:30

Track 12 - recorded live in October 22th, 1994 at Schedelpop Festival, Oostburg.




https://www.youtube.com/watch?v=8ZYcDPp4KpA


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

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


..::OPIS::..

Reedycja jedynej dużej płyty z 1995 roku w wykonaniu deathmetalowego zespołu z Florydy. Twórcą zespołu był Tony Laureano znany z takich zespołów jak MALEVOLENT CREATION, NILE, BRUJERIA... Jako bonus CD zawiera drugie demo "Cultivated Innards" (1993).




..::TRACK-LIST::..

1. To Lead Astray
2. Pain Infini
3. Of Hell
4. Feed the Liar
5. Fallen Cross
6. America A.D.
7. The Ungodly
8. Technical Fool
9. As Anvients Evolve (Guitar Solo-Schuldiner)

Bonus Tracks: 'Cultivated Innards' demo 1993
10. Oblivious Decline
11. We Implode
12. Obliterate
13. Cultivated Innards
14. Fearless Spawn
15. Subliminal Manipulations



..::OBSADA::..

Vocals - Nik Chevalier
Guitar - Josh Sweeny
Lead Guitar - Ken Barber
Bass - Ryan Robinson
Drums - Tony Laureano



https://www.youtube.com/watch?v=2E_XVhKUH0Q


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

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


..::OPIS::..

Reedycja jedynej dużej płyty z 1995 roku w wykonaniu deathmetalowego zespołu z Florydy. Twórcą zespołu był Tony Laureano znany z takich zespołów jak MALEVOLENT CREATION, NILE, BRUJERIA... Jako bonus CD zawiera drugie demo "Cultivated Innards" (1993).




..::TRACK-LIST::..

1. To Lead Astray
2. Pain Infini
3. Of Hell
4. Feed the Liar
5. Fallen Cross
6. America A.D.
7. The Ungodly
8. Technical Fool
9. As Anvients Evolve (Guitar Solo-Schuldiner)

Bonus Tracks: 'Cultivated Innards' demo 1993
10. Oblivious Decline
11. We Implode
12. Obliterate
13. Cultivated Innards
14. Fearless Spawn
15. Subliminal Manipulations



..::OBSADA::..

Vocals - Nik Chevalier
Guitar - Josh Sweeny
Lead Guitar - Ken Barber
Bass - Ryan Robinson
Drums - Tony Laureano



https://www.youtube.com/watch?v=2E_XVhKUH0Q


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

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


..::OPIS::..

Jeśli ktoś zapyta mnie o mój ulubiony zespół Gene’a Palubickiego obecnie, bez wahania wskażę na Hexorcist. Wielbię ich od debiutu, który ukazał się pięć lat temu ze znaczkiem Godz ov War Productions. No i teraz kwartet uderza ponownie.

I cóż, materiał znów ukazuje się u Grega, jako fantastycznie wydana taśma, a do tego dla tych, którzy nie oddają hołdu magnetofonowemu diabłu – również dzięki Invictus Productions. Tyle kronikarskich bzdetów, przejdźmy do muzyki – a ta jest kurewsko doskonała. Nie zmieniła się stylistycznie ani na jotę – i to jest jej największa zaleta. Hexorcist jest emanacją oldschoolowego death/thrash metalu, ze zdecydowanym wskazaniem na pierwszy z członów. To moja trzecia recenzja dokonań tej grupy i po raz trzeci muszę wymienić najdonioślejsze z nazw – Angelcorpse, Morbid Angel, Possessed, Dark Angel… Weźcie z nich co najlepsze: agresję, szaleństwo, diabelstwo, technikę, feeling. Powstanie z tego Hexorcist. Nie potrafię siedzieć na dupie spokojnie, gdy leci ich muzyka – „Crucificial Imprecations” jest na to po prostu kolejnym dowodem.

Na tym krążku wszystko składa się na wspaniały hołd dla przełomu lat osiemdziesiątych i dziewięćdziesiątych. O muzyce już powiedziałem – dwójka Hexorcist jest jak skok w tamte lata. Również formalnie ten zespół totalnie dowozi pod tym kątem. Ten krążek jest raczej krótki, ma tylko osiem numerów i trwa pół godziny, podczas gdy dziś mam wrażenie że zespoły nie chcą nagrywać tak krótkich albumów. Ba, Hexorcist nawet nagrał kawałek „Hexorcist” i nie wiem dlaczego, ale takie rzeczy również kojarzą mi się cholernie z czymś niedzisiejszym. No i okładka – żadne tam jebane AI, ale też nie masowo produkowane czarnobiałe frontcovery. Nie powiem, że to truchło na koniu z front coveru to „maskotka” zespołu, natomiast chyba coś jest na rzeczy i ta spójność okładek nie jest na pewno przypadkowa.

Jeszcze słowo o formacie – oczywiście najpierw trafiło do mnie promo cyfrowe, natomiast niedawno otworzyłem przesyłkę od Godz ov War Productions i oczom mym (i Waszym, boście byli świadkami), ukazała się cudnej urody taśma. Cała zadrukowana, z długaśną rozkładówką – warta każdych pieniędzy, nie tylko z sentymentu. Jeśli jesteście maniakami kaset, koniecznie piszcie na Kobyłkę po swoją kopię.

Tyle peanów. Hexorcist potęgą jest i basta. Dla każdego, kto tęskni za wspaniałymi latami, gdy rodziła się ekstrema, te dźwięki będą niczym za przeproszeniem biblia. Na kolana!

Oracle


Troszkę wody w rzece upłynęło od chwili wydania bardzo dobrego debiutu Amerykanów. Z drugiej strony, te pięć lat minęło jak z chuja strzelił, i oto mamy następcę „Evil Reaping Death”. W międzyczasie zespół przepoczwarzył się personalnie, a konkretnie na wokalach pojawił się Gienek Palubicki, choć zastanawiam się dlaczego pod nazwiskiem własnym, a nie jako Hexorcist V. Myślę, że poniekąd magia nazwiska miała na celu zwiększenie zainteresowania zespołem, zwłaszcza że ten zasłużonej atencji chyba nie osiągnął. No ale przejdźmy do meritum. Hexorcist to twór, który mocno czerpie ze spuścizny Morbid Angel, o czym zresztą wspomniałem przedstawiając wam ich wcześniejsze materiały. „Crucificial Imprecations” jest prostolinijną kontynuacją stylu opartego na wspomnianych stylu. Zaznaczam, że mówimy o rozwijaniu pewnego wzorca, a nie bezpośrednim kopiowaniu, tym bardziej, że na „dwójce” sposób interpretacji własnej znanych klasyków został odrobinę urozmaicony. Poza oczywistymi konotacjami melodycznymi z ekipą Treya i spółki, na nowych nagraniach pojawia się więcej solówek mocniej kojarzących się z Nocturnus. Acz z drugiej strony nie wiem, czy to wrażenie nie jest u mnie spowodowane faktem, iż kilka dni temu odszedł od nas pan Browning, a przy tej okazji jego dyskografię sobie odświeżałem. Drugą sprawą jest brzmienie. Jakby bardziej surowe w porównaniu do debiutu. Nie powiem, że demówkowe, ale noszące takie znamiona. W każdym razie stuprocentowo organiczne, z celowymi chyba drobnymi niedociągnięciami. Pod względem muzyki sprawa jest raczej wiadoma. Zastanawiam się tylko, czy dokooptowany na wokal Gene miał jakiś, choćby drobny wpływ na ostateczny wpływ kompozycji. Osobiście stawiałbym na „tak”, bo „Crucificial Imprecations” ma w sobie też drobne zalążki Angelcorpse, albo może bardziej Perdition temple, czyli stylu będącego wypadkową obu klasycznych ekip. Album ten nie należy do odkrywczych, bardziej odkrywkowych. Nie umniejsza to bynajmniej jego jakości. Moim zdaniem Hexorcist to jedni z najbardziej utalentowanych spadkobierców tego, co zrodziło się na Florydzie jakieś czterdzieści lat temu. Jeśli czerpać od najlepszych, do dokładnie w takim stylu jak oni. A konsekwencję obranego przez zespół stylu widać w tym przypadku nawet po okładce. I to chyba wystarczy za cały komentarz do tej płyty. Bo nad czym się tu niby rozwodzić?

jesusatan


Having never heard of this band before grabbing the promo because it looked cool, I’m certainly glad I took a chance here, because Hexorcist are firm worshippers of the olden style of death metal when it was still in its infancy stages. I love the olde sound, and Crucificial Imprecations is exactly that: half an hour of no-nonsense, evil sounding death metal that I can easily see sitting beside Sijjin on the modern pantheon of actual old-school sounding death metal bands instead of the flagrant use of the genre label that Rate Your Music likes to perpetuate as “OSDM” when in reality these bands don’t sound anything like how the TRVE old school death metal bands used to sound. Crucificial Imprecations delivers exactly what I look for when I reach for this sound, and they do it in such a trim runtime.

And no wonder Hexorcist have that old sound, because they have the legendary Gene Palubicki (Angelcorpse, Perdition Temple, Malefic Throne, many more) at the helm. There’s no corny intros on Crucificial Imprecations, only a brief build-up in the first and second tracks before it’s an all-out riff assault. I’m a big fan in particular how menacing this is from front to back, with Palubicki’s trademark evil rasps in conjunction with the absolutely pulse-pounding blasts and evil sounding riffs. There’s no real highlight track here, as all of them are absolutely feral sounding and could have been lost relics from the early age of death metal had this not been a current year release. Everyone does top-notch work on Crucificial Imprecations, and this album as a whole exudes a pervading menace like that of a shark circling its prey before going in for the kill.

Hexorcist has wowed me. I’m a huge fan of what they’re doing, as I love this particular style of death metal, and while it won’t be making my year-end list, it’s just good solid headbanging chaos that makes me want to listen again. This ain’t your “traditional” old school death metal like what collective review sites would want you to believe, but instead it’s an actual relic that could have been released in the late 1980s or early 1990s amongst the first wave of death metal acts, much like Sijjin, and delivers its vitriolic hymns with the fervor I expect and want from an album that sounds like this. I absolutely recommend this.

Aeons Burning


Five years ago, Hexorcist released one of my favourite death metal records of the 2020s, entitled “Evil Reaping Death“. As such, I was delighted to hear of its successor, which will be released by Invictus Productions and Godz of War Productions on 31st July.

An ominous introduction sets the morbid mood for the carnage ahead, swelling before erupting into chaotic death metal fury. The savagery of the riffs and pulverising drums entwine with whammy abuse and maniacal vocals to give the purified late 80s death metal onslaught that Hexorcist have built their sound around. Once again, they have utilised a classic-sounding production that allows every instrument to not only be heard but felt. The spaces between them give rusted breezes of decay to allow each sanguineous note to be digested. If you’re bored of death metal being mid to low tempos with super low tunings but not much aggression, Hexorcist will have you poised for punishment. From the swooping fills to the vicious leads, cutting bass lines, and consistently barbarous guitar riffs, there is no weakness in the invocations of “Crucificial Imprecations”, which starts off as it means to go on – with a nuclear metal attack.

Twisted passages of deity-defacing death-thrash armageddon permeate the unrelenting chaos and offer these discomforting atmospheres without a moment of mercy or respite. Crank the evil and sadistic up to eleven and feed it on a diet of the most lethal death and thrash metal of the 80s, and you can imagine roughly what Hexorcist sounds like, although be warned; they are neither predictable nor adhere to any conventions but the upholding of diabolical might. There is not even a slither of fat to trim; this is not one of those bloated records where you are wondering why it has to be so long. Hexorcist do not allow even a second of music to make the cut if it isn’t absolutely perfect for the album. From those bursts of bestial fierceness to the more grooving whiplash hooks, you will not be spared for even a moment of this annihilating opus.

Remember the likes of “Show No Mercy”, “Bloody Vengeance”, “Altars of Madness”, “Seven Churches”, “INRI” and those other records that were the pinnacle of evil? Remember how they might have been death, black, thrash or some other constellation of metallic warfare that often wove it all together before pigeonholing and homogeny became the name of the game? Hexorcist nails that wild, unbridled and most hostile blend of their influences in such a way that feels truly authentic and feral. With razor-sharp musicianship that keeps all of the low end gut-wrenching while the malicious guitars cut like blades, allowing the skull to be caved in by indomitable drums. Not to mention the voracious hunger for carnage in the vocal department. This is a record without weakness that shows no mercy nor quarter and most importantly never falters in its consistent morbid majesty.

A rapturous invocation of pure death metal excellence. The magick of this primordial evil is to the point and yet expansive with technicality and precision, delivering total mania. A vicious and unforgiving half an hour of death metal that summons the ancient spirits of Morbid Angel, Sadistic Intent, Angelcorpse, Necrovore, Possessed, and more. A truly impeccable follow-up to one of the best debuts of the 2020s. Submit to the power from hell and unleash the macabre with Hexorcist’s ripping and ruthless new record.

Nattskog7



..::TRACK-LIST::..

1. Crucificial Imprecations 05:37
2. Defacing Deities 04:08
3. Emissary of Evil 03:53
4. Adverse Sacraments 03:19
5. Deconsecration 02:21
6. Hexorcist 03:11
7. Unconsecrated Offerings 04:25
8. Exordium of Profanation 04:05



..::OBSADA::..

Mors Ululatus - Orator of the Poison Gospels of Madness
Pest - Deathammers of Relentless Onslaughts
Maleferious - Chainsaws and Dispenser of Curses
Lvctvs - Awakener of Arcane Hexes from the Depths
Trucluentus - Lead Barer of Merciless Gladium



https://www.youtube.com/watch?v=qYG6ri7Hgz8


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

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


..::OPIS::..

Jeśli ktoś zapyta mnie o mój ulubiony zespół Gene’a Palubickiego obecnie, bez wahania wskażę na Hexorcist. Wielbię ich od debiutu, który ukazał się pięć lat temu ze znaczkiem Godz ov War Productions. No i teraz kwartet uderza ponownie.

I cóż, materiał znów ukazuje się u Grega, jako fantastycznie wydana taśma, a do tego dla tych, którzy nie oddają hołdu magnetofonowemu diabłu – również dzięki Invictus Productions. Tyle kronikarskich bzdetów, przejdźmy do muzyki – a ta jest kurewsko doskonała. Nie zmieniła się stylistycznie ani na jotę – i to jest jej największa zaleta. Hexorcist jest emanacją oldschoolowego death/thrash metalu, ze zdecydowanym wskazaniem na pierwszy z członów. To moja trzecia recenzja dokonań tej grupy i po raz trzeci muszę wymienić najdonioślejsze z nazw – Angelcorpse, Morbid Angel, Possessed, Dark Angel… Weźcie z nich co najlepsze: agresję, szaleństwo, diabelstwo, technikę, feeling. Powstanie z tego Hexorcist. Nie potrafię siedzieć na dupie spokojnie, gdy leci ich muzyka – „Crucificial Imprecations” jest na to po prostu kolejnym dowodem.

Na tym krążku wszystko składa się na wspaniały hołd dla przełomu lat osiemdziesiątych i dziewięćdziesiątych. O muzyce już powiedziałem – dwójka Hexorcist jest jak skok w tamte lata. Również formalnie ten zespół totalnie dowozi pod tym kątem. Ten krążek jest raczej krótki, ma tylko osiem numerów i trwa pół godziny, podczas gdy dziś mam wrażenie że zespoły nie chcą nagrywać tak krótkich albumów. Ba, Hexorcist nawet nagrał kawałek „Hexorcist” i nie wiem dlaczego, ale takie rzeczy również kojarzą mi się cholernie z czymś niedzisiejszym. No i okładka – żadne tam jebane AI, ale też nie masowo produkowane czarnobiałe frontcovery. Nie powiem, że to truchło na koniu z front coveru to „maskotka” zespołu, natomiast chyba coś jest na rzeczy i ta spójność okładek nie jest na pewno przypadkowa.

Jeszcze słowo o formacie – oczywiście najpierw trafiło do mnie promo cyfrowe, natomiast niedawno otworzyłem przesyłkę od Godz ov War Productions i oczom mym (i Waszym, boście byli świadkami), ukazała się cudnej urody taśma. Cała zadrukowana, z długaśną rozkładówką – warta każdych pieniędzy, nie tylko z sentymentu. Jeśli jesteście maniakami kaset, koniecznie piszcie na Kobyłkę po swoją kopię.

Tyle peanów. Hexorcist potęgą jest i basta. Dla każdego, kto tęskni za wspaniałymi latami, gdy rodziła się ekstrema, te dźwięki będą niczym za przeproszeniem biblia. Na kolana!

Oracle


Troszkę wody w rzece upłynęło od chwili wydania bardzo dobrego debiutu Amerykanów. Z drugiej strony, te pięć lat minęło jak z chuja strzelił, i oto mamy następcę „Evil Reaping Death”. W międzyczasie zespół przepoczwarzył się personalnie, a konkretnie na wokalach pojawił się Gienek Palubicki, choć zastanawiam się dlaczego pod nazwiskiem własnym, a nie jako Hexorcist V. Myślę, że poniekąd magia nazwiska miała na celu zwiększenie zainteresowania zespołem, zwłaszcza że ten zasłużonej atencji chyba nie osiągnął. No ale przejdźmy do meritum. Hexorcist to twór, który mocno czerpie ze spuścizny Morbid Angel, o czym zresztą wspomniałem przedstawiając wam ich wcześniejsze materiały. „Crucificial Imprecations” jest prostolinijną kontynuacją stylu opartego na wspomnianych stylu. Zaznaczam, że mówimy o rozwijaniu pewnego wzorca, a nie bezpośrednim kopiowaniu, tym bardziej, że na „dwójce” sposób interpretacji własnej znanych klasyków został odrobinę urozmaicony. Poza oczywistymi konotacjami melodycznymi z ekipą Treya i spółki, na nowych nagraniach pojawia się więcej solówek mocniej kojarzących się z Nocturnus. Acz z drugiej strony nie wiem, czy to wrażenie nie jest u mnie spowodowane faktem, iż kilka dni temu odszedł od nas pan Browning, a przy tej okazji jego dyskografię sobie odświeżałem. Drugą sprawą jest brzmienie. Jakby bardziej surowe w porównaniu do debiutu. Nie powiem, że demówkowe, ale noszące takie znamiona. W każdym razie stuprocentowo organiczne, z celowymi chyba drobnymi niedociągnięciami. Pod względem muzyki sprawa jest raczej wiadoma. Zastanawiam się tylko, czy dokooptowany na wokal Gene miał jakiś, choćby drobny wpływ na ostateczny wpływ kompozycji. Osobiście stawiałbym na „tak”, bo „Crucificial Imprecations” ma w sobie też drobne zalążki Angelcorpse, albo może bardziej Perdition temple, czyli stylu będącego wypadkową obu klasycznych ekip. Album ten nie należy do odkrywczych, bardziej odkrywkowych. Nie umniejsza to bynajmniej jego jakości. Moim zdaniem Hexorcist to jedni z najbardziej utalentowanych spadkobierców tego, co zrodziło się na Florydzie jakieś czterdzieści lat temu. Jeśli czerpać od najlepszych, do dokładnie w takim stylu jak oni. A konsekwencję obranego przez zespół stylu widać w tym przypadku nawet po okładce. I to chyba wystarczy za cały komentarz do tej płyty. Bo nad czym się tu niby rozwodzić?

jesusatan


Having never heard of this band before grabbing the promo because it looked cool, I’m certainly glad I took a chance here, because Hexorcist are firm worshippers of the olden style of death metal when it was still in its infancy stages. I love the olde sound, and Crucificial Imprecations is exactly that: half an hour of no-nonsense, evil sounding death metal that I can easily see sitting beside Sijjin on the modern pantheon of actual old-school sounding death metal bands instead of the flagrant use of the genre label that Rate Your Music likes to perpetuate as “OSDM” when in reality these bands don’t sound anything like how the TRVE old school death metal bands used to sound. Crucificial Imprecations delivers exactly what I look for when I reach for this sound, and they do it in such a trim runtime.

And no wonder Hexorcist have that old sound, because they have the legendary Gene Palubicki (Angelcorpse, Perdition Temple, Malefic Throne, many more) at the helm. There’s no corny intros on Crucificial Imprecations, only a brief build-up in the first and second tracks before it’s an all-out riff assault. I’m a big fan in particular how menacing this is from front to back, with Palubicki’s trademark evil rasps in conjunction with the absolutely pulse-pounding blasts and evil sounding riffs. There’s no real highlight track here, as all of them are absolutely feral sounding and could have been lost relics from the early age of death metal had this not been a current year release. Everyone does top-notch work on Crucificial Imprecations, and this album as a whole exudes a pervading menace like that of a shark circling its prey before going in for the kill.

Hexorcist has wowed me. I’m a huge fan of what they’re doing, as I love this particular style of death metal, and while it won’t be making my year-end list, it’s just good solid headbanging chaos that makes me want to listen again. This ain’t your “traditional” old school death metal like what collective review sites would want you to believe, but instead it’s an actual relic that could have been released in the late 1980s or early 1990s amongst the first wave of death metal acts, much like Sijjin, and delivers its vitriolic hymns with the fervor I expect and want from an album that sounds like this. I absolutely recommend this.

Aeons Burning


Five years ago, Hexorcist released one of my favourite death metal records of the 2020s, entitled “Evil Reaping Death“. As such, I was delighted to hear of its successor, which will be released by Invictus Productions and Godz of War Productions on 31st July.

An ominous introduction sets the morbid mood for the carnage ahead, swelling before erupting into chaotic death metal fury. The savagery of the riffs and pulverising drums entwine with whammy abuse and maniacal vocals to give the purified late 80s death metal onslaught that Hexorcist have built their sound around. Once again, they have utilised a classic-sounding production that allows every instrument to not only be heard but felt. The spaces between them give rusted breezes of decay to allow each sanguineous note to be digested. If you’re bored of death metal being mid to low tempos with super low tunings but not much aggression, Hexorcist will have you poised for punishment. From the swooping fills to the vicious leads, cutting bass lines, and consistently barbarous guitar riffs, there is no weakness in the invocations of “Crucificial Imprecations”, which starts off as it means to go on – with a nuclear metal attack.

Twisted passages of deity-defacing death-thrash armageddon permeate the unrelenting chaos and offer these discomforting atmospheres without a moment of mercy or respite. Crank the evil and sadistic up to eleven and feed it on a diet of the most lethal death and thrash metal of the 80s, and you can imagine roughly what Hexorcist sounds like, although be warned; they are neither predictable nor adhere to any conventions but the upholding of diabolical might. There is not even a slither of fat to trim; this is not one of those bloated records where you are wondering why it has to be so long. Hexorcist do not allow even a second of music to make the cut if it isn’t absolutely perfect for the album. From those bursts of bestial fierceness to the more grooving whiplash hooks, you will not be spared for even a moment of this annihilating opus.

Remember the likes of “Show No Mercy”, “Bloody Vengeance”, “Altars of Madness”, “Seven Churches”, “INRI” and those other records that were the pinnacle of evil? Remember how they might have been death, black, thrash or some other constellation of metallic warfare that often wove it all together before pigeonholing and homogeny became the name of the game? Hexorcist nails that wild, unbridled and most hostile blend of their influences in such a way that feels truly authentic and feral. With razor-sharp musicianship that keeps all of the low end gut-wrenching while the malicious guitars cut like blades, allowing the skull to be caved in by indomitable drums. Not to mention the voracious hunger for carnage in the vocal department. This is a record without weakness that shows no mercy nor quarter and most importantly never falters in its consistent morbid majesty.

A rapturous invocation of pure death metal excellence. The magick of this primordial evil is to the point and yet expansive with technicality and precision, delivering total mania. A vicious and unforgiving half an hour of death metal that summons the ancient spirits of Morbid Angel, Sadistic Intent, Angelcorpse, Necrovore, Possessed, and more. A truly impeccable follow-up to one of the best debuts of the 2020s. Submit to the power from hell and unleash the macabre with Hexorcist’s ripping and ruthless new record.

Nattskog7



..::TRACK-LIST::..

1. Crucificial Imprecations 05:37
2. Defacing Deities 04:08
3. Emissary of Evil 03:53
4. Adverse Sacraments 03:19
5. Deconsecration 02:21
6. Hexorcist 03:11
7. Unconsecrated Offerings 04:25
8. Exordium of Profanation 04:05



..::OBSADA::..

Mors Ululatus - Orator of the Poison Gospels of Madness
Pest - Deathammers of Relentless Onslaughts
Maleferious - Chainsaws and Dispenser of Curses
Lvctvs - Awakener of Arcane Hexes from the Depths
Trucluentus - Lead Barer of Merciless Gladium



https://www.youtube.com/watch?v=qYG6ri7Hgz8


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

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


..::OPIS::..

Cephalic Carnage nie tylko konsekwentnie oddala sie od swych grindowych korzeni, ale jednocześnie z każdym kolejnym albumem na nowo zaskakuje niesamowitą umiejętnością łączenia różnych metalowych stylistyk. Bez względu na to, czy będzie to grind, death metal czy sludge, ich punktem wspólnym jest odpowiednia dawka brutalności; eklektyzm ma przecież swoje granice.

Amerykanie nie boją się prawie niczego, czego dowodzi choćby wydana osiem lat temu epka "Halls Of Amenti", zawierająca tylko jeden, 19-minutowy doommetalowy kawałek. Niezłe osiągnięcie, biorąc pod uwagę, że grindowa przeszłość kapeli wciąż jest najbardziej żywa w pamięci słuchaczy.

Lubię poprzednie materiały zespołu, ze szczególnym wskazaniem na dwa ostatnie, nie ukrywam jednak, że zawsze bardziej podobały mi się raczej poszczególne tracki aniżeli całe albumy. "Misled by Certainty" to jednak zupełnie inna historia. To pierwsza płyta Cephalic Carnage, którą akceptuję w całości. Co więcej, moim zdaniem (niektórzy pewnie zatrzęsą się z oburzenia) to szczytowe osiągnięcie podopiecznych Relapse Records. To jeden z tych krążków, których opisanie słowani wydaje się zadaniem co najmniej karkołomnym. Przy tak znacznym zróżnicowaniu klimatów brak tu słabszych momentów czy wypełniaczy, a każdy element tej bogatej mozaiki jest na swoim miejscu. Nie mogę wyjść z podziwu, jak Amerykanom udało się utrzymać całość tego materiału w ryzach.

Z jednej strony znalazło się tu miejsce dla czterech grindowych pocisków, z których trzy trwają po około trzydzieści sekund. Z prostych i bardziej dosadnych tracków jest tu jeszcze "When I Arrive" - dość prosty w konstrukcji, szybki i klasyczny death/thrashowy numer, z całkowicie zaskakującą końcówką. Za to "A King And A Thief" to wzorcowy amerykański deathmetalowy zamulacz z bulgoczącym wokalem, w który wpleciona została heavymetalowa solówka. Co ciekawe, kwiatek ten całkiem nieźle komponuje się z kożuchem. Jednak to, co najciekawsze, koncentruje się w pozostałych utworach wypełniających większość ponad 50-minutowego albumu. Już pierwsze sekundy otwierającego płytę "The Incorrigible Flame" zmuszają do zastanowienia, czy to na pewno Cephalic Carnage, czy może raczej Atheist. Te partie gitary, ta jazzująca solówki, tego się nie spodziewałem. To po prostu doskonały techniczny death metal, a takich momentów jest tu znacznie więcej niż kiedykolwiek wcześniej. Każdy kawałek ma swój charakter i swój pazur, każdy zasługuje na wnikliwą uwagę.

Przeciwwagą dla najszybszych kawałków jest na przykład ciężki i walcowaty "Cordyceps Humanis". Nie można też nie wspomnieć o doskonałym "Ohrwurm". Utwór ten promuje "Misled by Certainty" (sprawdźcie teledysk - robi wrażenie) i, choć różni się on od reszty płyty, uważam, że to doskonały wybór. Znalazła się tu jeszcze jedna, najbardziej nietypowa dla Cephalic Carnage perła, w postaci 12-minutowego "Repangaea", którego klimat i wykorzystanie w nim saksofonu momentami przywodzą mi na myśl twórczość Yakuza. To zresztą nic dziwnego, bowiem za partie tego instrumentu odpowiada tu właśnie Bruce Lamont ze wspomnianego zespołu.

Przez cały czas trwania krążka uwagę przyciągają bardzo zróżnicowane wokale: od wszelkich odmian growlingu, przez blackmetalowe skrzeki, po różnego rodzaju czyste partie śpiewu. Takie bogactwo głosów to nie tylko zasługa wokalistów Cephalic, ale także zaproszonych gości. Pojawia się ich tu cała rzesza, a wśród nich między innymi Ross Dolan (Immolation), Sherwood Webber (Skinless), Alex Camargo (Krisiun) czy Travis Ryan (Cattle Decapitation). Każdy z nich śpiewa w innym stylu, dzięki czemu "Misled by Certainty" jest urozmaicony pod absolutnie każdym względem. Doskonały, wielobarwny album, a przy tym mój osobisty faworyt do płyty roku w szeroko pojętej deathmetalowej szufladzie.

Szymon Kubicki


W pierwszych latach XXI wieku Cephalic Carnage należeli do grona najczęściej słuchanych przeze mnie zespołów – byli brutalni, techniczni, popieprzeni i przede wszystkim oryginalni. Drugiej takiej kapeli nie było! A potem nadszedł „Xenosapien”, który nie dość, że nie naruszył mi jajec ani kręgosłupa, to wręcz trochę mnie do nich zniechęcił. Może to była kwestia przesytu taką muzyką, może zwyczajnie mi spowszedniała, ale faktem jest, że z Amerykanów ewidentnie coś uleciało; coś, czego nie można wytłumaczyć tylko zmianami składu. Nagle Cephalic Carnage zrobili się wtórni, nudni, przewidywalni i jacyś tacy… normalni.

Na Misled By Certainty zespół zaprezentował się z nieco ciekawszej strony niż na poprzedniej płycie, co jednak nie oznacza, że wprowadził do brzmienia jakiekolwiek nowości, czy że podszedł do tematu z innej, nieznanej dotąd strony. Cephalic Carnage zawsze korzystali z bardzo szerokiego wachlarza wpływów i to dotyczy również tego materiału, bo poza technicznym death metalem (który obecnie należy uznać za fundament ich brzmienia) mamy tu grind (w odwrocie), sludge, doom czy odrobinę jazzu. Problem w tym, że to wszystko, w dodatku w podobnych konfiguracjach, pojawiło się w ich twórczości już wcześniej, więc po paru latach i po paru powtórzeniach w ogóle nie zaskakuje, a cieszy tylko umiarkowanie. I nie zmienia tego lista kilkunastu (!) gości, głównie wokalistów, wśród których znalazły się takie osobistości jak Alex Camargo czy Ross Dolan. Oczywiście, w sensie ogólnym niektóre patenty — choćby saksofon w „Ohrwurm” i „Repangaea” — wciąż można uznać za nietypowe czy oryginalne, ale w przypadku tego zespołu nie są niczym specjalnym, od nich trzeba wymagać więcej.

Misled By Certainty chyba najbardziej brakuje dzikości, żywiołowości i nieokiełznanego szaleństwa, którym charakteryzowały się zwłaszcza „Exploiting Dysfunction” i „Lucid Interval”. Na tamtych pamiętnych płytach Cephalic Carnage potrafili porządnie zamieszać, wziąć pomysły z kosmosu i w oparciu o nie zrobić jeden wielki młyn. Tymczasem opisywany materiał sprawia wrażenie skomponowanego z kalkulatorem i suwmiarką – jest dokładnie przemyślany, poukładany, wręcz drętwy. Spontan? Nie tutaj. Poza tym wydaje mi się, że muzyce Amerykanów nie służy przesadnie wypolerowane brzmienie, a właśnie z takim mamy do czynienia na Misled By Certainty. Trochę to wygląda, jakby zespół na siłę próbował stać się listener-friendly, choć wcale tego nie potrzebował.

Jojczę i narzekam, a tak naprawdę Misled By Certainty to całkiem dobra, urozmaicona i interesująca płyta. Cephalic Carnage z rozmachem pocinają dość wymagającą muzykę, której daleko do death-grindowego banału – to budzi uznanie i może się podobać. Niestety całość, a ta jest przydłuuuga, nie rajcuje tak, jak powinna. Niewykluczone jednak, że nowi słuchacze będą propozycją zespołu oczarowani.

demo


CEPHALIC CARNAGE returns with the explosive new album ‘Misled by Certainty’, the long-awaited follow-up to their critically-acclaimed ‘Xenosapien’. ‘Misled by Certainty’ heaps spasms of unpredictability onto their signature grinding death metal madness. The 50+ minute journey into metals most extreme realms see these veterans takes it to edge before pulling it back with 'Repangea,' perhaps their most sprawling and epic work to date.



Cephalic Carnage have been around the block. For nearly twenty years they’ve been playing their unique blend of grindcore and technical death metal. When it comes to metal, these guys know what the fuck is up. Their previous album Xenosapien is one of my favorites from any genre to have been released in the past few years. That record was a huge step forward for the band, as it showed they are capable of evolving their sound and not sticking to the formula that so many deathgrind bands conform to. So it comes as no surprise that Cephalic Carnage have once again reinvented themselves with Misled by Certainty, their most mature, complex, and strange release yet.

The album opens with the first single, “The Incorrigible Flame”. This is easily the most accessible track on the album. The arrangement here is fairly standard for a CC song, with melodic yet complex guitar riffs, and a solo for good measure. In the middle of the song there is this neat dissonant duel-guitar riff that caught me by surprise. We’re only one track in and the band is already showcasing their immense songwriting capabilities. “Abraxas of Filth” is an early highlight, with a blistering bass line that will melt your face off, and some of the heaviest riffs the band has ever written. At the 2:20 mark, the track erupts into this incredible chaos. My note for the track at this point reads, “WHAT THE FUCK IS GOING ON THIS IS INSANE!” Fans of the band are familiar with this feeling, and it’s a feeling you’re sure to experience dozens of times over the course of this record.

“Cordyceps Humanis” opens with one hell of a riff. The track chugs along until the midpoint, where everything slows down and the guitars ring out. This is our first relief from the constant barrage thus far, until suddenly we’re thrown back into the carnage. The entire album is this roller-coaster ride, where the band never lets us know where we’re going next. The arrangements are incredibly complex and diverse, not to mention some of the heaviest of the band’s entire career. “Ohrwurm”, the second single from the album, is the weirdest yet. The bass line in the opening is awesome, and then…a saxophone? This is yet another departure from the established sound, and to top it all off, is the craziest saxophone solo of all time. Only in a Cephalic Carnage record.

And then we have the closer, “Repangaea”. The most ambitious song the band has ever written. Coming in at nearly 12 minutes, this track wouldn’t sound out of place on a Mastodon record. Here, the band wanders into unexplored territory, with the final product being a prog metal masterpiece. They make Mastodon and Baroness look like chumps with this beast of a song. At times I was even reminded of Tool. Near the 9-minute mark, the guitars ring out and a piano comes in. I expected the song to slowly fade to its conclusion, but Cephalic Carnage surprise me once again by blasting out of the silence into the incredibly heavy climax. By the end of the song my jaw was on the floor.

Misled by Certainty is a contender for album of the year. The band is at the top of their game with new guitarist Brian Hopp, and bassist Nick Schendzielos continues to prove that he’s one of the best in all of metal. The production is top-notch, and the band as musicians are better than ever. If you’re a fan of metal, you need to purchase this record as soon as you finish reading this.

Matthew Cebreros


From Lucid Interval onward, Cephalic Carnage is slowly straying away from the brutal, crazy grindcore that made them famous, replacing that with a more polished technical death metal approach. Anomalies and Xenosapien showed fewer grind elements in Cephalic Carnage's music, but 2010's Misled by Certainty has the Colorado-based quintet with a completely redefined sound. Although I enjoy both eras of the band, I have to say that I am very pleased with the new and fresh sound Cephalic Carnage is pursuing. There are still quite a few crazy 30-second grindcore outbursts on Misled by Certainty, but in-between these sections we are greeted by a more melodic Cephalic Carnage. What is the result of such a change in direction? Possibly Cephalic Carnage's best album yet. It's still as brutal as anything, but the intricacy and attention to detail that was somewhat lacking on their earlier releases is finally here.

The music on Misled by Certainty is similar to that of the last two Cephalic Carnage albums, albeit a bit more melodic. What that means is that this is brutal technical death metal with some weird and crazy twists. Throughout this album you'll hear saxophone solos, a few beautiful sections, heavy riffing, atmospheric synths, and crazy grindcore spas-attacks. Needless to say, that's not what you can expect from your everyday extreme metal release - and that's why Cephalic Carnage is so worthy of praise. Of course, the dedicated grindcore fans who enjoyed albums like Conforming to Abnormality and Exploiting Dysfunction may feel a bit disappointed, but for death metal fans who are looking for a unique spin on the genre are definitely in luck with this release.

Misled by Certainty is a 14-track, 53:36 album. Although there are a few cuts that I don't really enjoy, there is some of Cephalic Carnage's best material to be found here as well. The opening number, The Incorrigible Flame is probably my favorite song here. The technical madness of Abraxas of Filth, the melodic Dimensional Modulation Transmography, and the epic Repangaea are also notable. This is an extremely varied album, though, and just because you like a few tracks does not mean you will like all of them. You need to have a very open mind when approaching this release.

The musicianship is some of the best in extreme metal. Cephalic Carnage is an extremely tight-playing group, and they always play in perfect (dis)harmony. Although all of the musicians are terrific, I must say that John Merryman's drumming has always been the highlight in Cephalic Carnage's music for me. He is just a complete technical monster - certainly a force to be reckoned with in extreme metal!

The production is great. It's crystal clear, heavy enough to fit the music like a glove, and powerful enough to convey all of the feeling in the compositions. If you're looking for an extremely professional sound in extreme metal, look no further than Misled by Certainty!

Conclusion:

Misled by Certainty is a terrific 6th album by Cephalic Carnage. This is the perfect balance between satisfying the faithful and expanding the fanbase. I don't hesitate in calling this the best Cephalic Carnage album so far, and I really hope the band further explores this genre in the future! As for know, this is a big 4 (almost 4.5) star rating. If you like your metal to be crazy and extremely heavy, but still enjoy a sense of direction, this is an essential 2010 album!

J-Man



..::TRACK-LIST::..

1. The Incorrigible Flame 04:30
2. Warbots A.M. 04:38
3. Abraxas of Filth 03:44
4. Pure Horses 00:37
5. Cordyceps Humanis 05:05
6. Raped by an Orb 04:14
7. P.G.A.D. 00:34
8. Dimensional Modulation Transmography 05:04
9. Ohrwurm 04:56
10. When I Arrive 03:08
11. A King and a Thief 02:45
12. Power and Force 01:38
13. Repangaea 12:11
14. Aeyeucgh! 00:31



..::OBSADA::..

Lenzig Leal - vocals
John Merryman - drums
Steve Goldburg - guitar
Nick Schendzielos - bass
Brian Hopp - guitar



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


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

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


..::OPIS::..

Cephalic Carnage nie tylko konsekwentnie oddala sie od swych grindowych korzeni, ale jednocześnie z każdym kolejnym albumem na nowo zaskakuje niesamowitą umiejętnością łączenia różnych metalowych stylistyk. Bez względu na to, czy będzie to grind, death metal czy sludge, ich punktem wspólnym jest odpowiednia dawka brutalności; eklektyzm ma przecież swoje granice.

Amerykanie nie boją się prawie niczego, czego dowodzi choćby wydana osiem lat temu epka "Halls Of Amenti", zawierająca tylko jeden, 19-minutowy doommetalowy kawałek. Niezłe osiągnięcie, biorąc pod uwagę, że grindowa przeszłość kapeli wciąż jest najbardziej żywa w pamięci słuchaczy.

Lubię poprzednie materiały zespołu, ze szczególnym wskazaniem na dwa ostatnie, nie ukrywam jednak, że zawsze bardziej podobały mi się raczej poszczególne tracki aniżeli całe albumy. "Misled by Certainty" to jednak zupełnie inna historia. To pierwsza płyta Cephalic Carnage, którą akceptuję w całości. Co więcej, moim zdaniem (niektórzy pewnie zatrzęsą się z oburzenia) to szczytowe osiągnięcie podopiecznych Relapse Records. To jeden z tych krążków, których opisanie słowani wydaje się zadaniem co najmniej karkołomnym. Przy tak znacznym zróżnicowaniu klimatów brak tu słabszych momentów czy wypełniaczy, a każdy element tej bogatej mozaiki jest na swoim miejscu. Nie mogę wyjść z podziwu, jak Amerykanom udało się utrzymać całość tego materiału w ryzach.

Z jednej strony znalazło się tu miejsce dla czterech grindowych pocisków, z których trzy trwają po około trzydzieści sekund. Z prostych i bardziej dosadnych tracków jest tu jeszcze "When I Arrive" - dość prosty w konstrukcji, szybki i klasyczny death/thrashowy numer, z całkowicie zaskakującą końcówką. Za to "A King And A Thief" to wzorcowy amerykański deathmetalowy zamulacz z bulgoczącym wokalem, w który wpleciona została heavymetalowa solówka. Co ciekawe, kwiatek ten całkiem nieźle komponuje się z kożuchem. Jednak to, co najciekawsze, koncentruje się w pozostałych utworach wypełniających większość ponad 50-minutowego albumu. Już pierwsze sekundy otwierającego płytę "The Incorrigible Flame" zmuszają do zastanowienia, czy to na pewno Cephalic Carnage, czy może raczej Atheist. Te partie gitary, ta jazzująca solówki, tego się nie spodziewałem. To po prostu doskonały techniczny death metal, a takich momentów jest tu znacznie więcej niż kiedykolwiek wcześniej. Każdy kawałek ma swój charakter i swój pazur, każdy zasługuje na wnikliwą uwagę.

Przeciwwagą dla najszybszych kawałków jest na przykład ciężki i walcowaty "Cordyceps Humanis". Nie można też nie wspomnieć o doskonałym "Ohrwurm". Utwór ten promuje "Misled by Certainty" (sprawdźcie teledysk - robi wrażenie) i, choć różni się on od reszty płyty, uważam, że to doskonały wybór. Znalazła się tu jeszcze jedna, najbardziej nietypowa dla Cephalic Carnage perła, w postaci 12-minutowego "Repangaea", którego klimat i wykorzystanie w nim saksofonu momentami przywodzą mi na myśl twórczość Yakuza. To zresztą nic dziwnego, bowiem za partie tego instrumentu odpowiada tu właśnie Bruce Lamont ze wspomnianego zespołu.

Przez cały czas trwania krążka uwagę przyciągają bardzo zróżnicowane wokale: od wszelkich odmian growlingu, przez blackmetalowe skrzeki, po różnego rodzaju czyste partie śpiewu. Takie bogactwo głosów to nie tylko zasługa wokalistów Cephalic, ale także zaproszonych gości. Pojawia się ich tu cała rzesza, a wśród nich między innymi Ross Dolan (Immolation), Sherwood Webber (Skinless), Alex Camargo (Krisiun) czy Travis Ryan (Cattle Decapitation). Każdy z nich śpiewa w innym stylu, dzięki czemu "Misled by Certainty" jest urozmaicony pod absolutnie każdym względem. Doskonały, wielobarwny album, a przy tym mój osobisty faworyt do płyty roku w szeroko pojętej deathmetalowej szufladzie.

Szymon Kubicki


W pierwszych latach XXI wieku Cephalic Carnage należeli do grona najczęściej słuchanych przeze mnie zespołów – byli brutalni, techniczni, popieprzeni i przede wszystkim oryginalni. Drugiej takiej kapeli nie było! A potem nadszedł „Xenosapien”, który nie dość, że nie naruszył mi jajec ani kręgosłupa, to wręcz trochę mnie do nich zniechęcił. Może to była kwestia przesytu taką muzyką, może zwyczajnie mi spowszedniała, ale faktem jest, że z Amerykanów ewidentnie coś uleciało; coś, czego nie można wytłumaczyć tylko zmianami składu. Nagle Cephalic Carnage zrobili się wtórni, nudni, przewidywalni i jacyś tacy… normalni.

Na Misled By Certainty zespół zaprezentował się z nieco ciekawszej strony niż na poprzedniej płycie, co jednak nie oznacza, że wprowadził do brzmienia jakiekolwiek nowości, czy że podszedł do tematu z innej, nieznanej dotąd strony. Cephalic Carnage zawsze korzystali z bardzo szerokiego wachlarza wpływów i to dotyczy również tego materiału, bo poza technicznym death metalem (który obecnie należy uznać za fundament ich brzmienia) mamy tu grind (w odwrocie), sludge, doom czy odrobinę jazzu. Problem w tym, że to wszystko, w dodatku w podobnych konfiguracjach, pojawiło się w ich twórczości już wcześniej, więc po paru latach i po paru powtórzeniach w ogóle nie zaskakuje, a cieszy tylko umiarkowanie. I nie zmienia tego lista kilkunastu (!) gości, głównie wokalistów, wśród których znalazły się takie osobistości jak Alex Camargo czy Ross Dolan. Oczywiście, w sensie ogólnym niektóre patenty — choćby saksofon w „Ohrwurm” i „Repangaea” — wciąż można uznać za nietypowe czy oryginalne, ale w przypadku tego zespołu nie są niczym specjalnym, od nich trzeba wymagać więcej.

Misled By Certainty chyba najbardziej brakuje dzikości, żywiołowości i nieokiełznanego szaleństwa, którym charakteryzowały się zwłaszcza „Exploiting Dysfunction” i „Lucid Interval”. Na tamtych pamiętnych płytach Cephalic Carnage potrafili porządnie zamieszać, wziąć pomysły z kosmosu i w oparciu o nie zrobić jeden wielki młyn. Tymczasem opisywany materiał sprawia wrażenie skomponowanego z kalkulatorem i suwmiarką – jest dokładnie przemyślany, poukładany, wręcz drętwy. Spontan? Nie tutaj. Poza tym wydaje mi się, że muzyce Amerykanów nie służy przesadnie wypolerowane brzmienie, a właśnie z takim mamy do czynienia na Misled By Certainty. Trochę to wygląda, jakby zespół na siłę próbował stać się listener-friendly, choć wcale tego nie potrzebował.

Jojczę i narzekam, a tak naprawdę Misled By Certainty to całkiem dobra, urozmaicona i interesująca płyta. Cephalic Carnage z rozmachem pocinają dość wymagającą muzykę, której daleko do death-grindowego banału – to budzi uznanie i może się podobać. Niestety całość, a ta jest przydłuuuga, nie rajcuje tak, jak powinna. Niewykluczone jednak, że nowi słuchacze będą propozycją zespołu oczarowani.

demo


CEPHALIC CARNAGE returns with the explosive new album ‘Misled by Certainty’, the long-awaited follow-up to their critically-acclaimed ‘Xenosapien’. ‘Misled by Certainty’ heaps spasms of unpredictability onto their signature grinding death metal madness. The 50+ minute journey into metals most extreme realms see these veterans takes it to edge before pulling it back with 'Repangea,' perhaps their most sprawling and epic work to date.



Cephalic Carnage have been around the block. For nearly twenty years they’ve been playing their unique blend of grindcore and technical death metal. When it comes to metal, these guys know what the fuck is up. Their previous album Xenosapien is one of my favorites from any genre to have been released in the past few years. That record was a huge step forward for the band, as it showed they are capable of evolving their sound and not sticking to the formula that so many deathgrind bands conform to. So it comes as no surprise that Cephalic Carnage have once again reinvented themselves with Misled by Certainty, their most mature, complex, and strange release yet.

The album opens with the first single, “The Incorrigible Flame”. This is easily the most accessible track on the album. The arrangement here is fairly standard for a CC song, with melodic yet complex guitar riffs, and a solo for good measure. In the middle of the song there is this neat dissonant duel-guitar riff that caught me by surprise. We’re only one track in and the band is already showcasing their immense songwriting capabilities. “Abraxas of Filth” is an early highlight, with a blistering bass line that will melt your face off, and some of the heaviest riffs the band has ever written. At the 2:20 mark, the track erupts into this incredible chaos. My note for the track at this point reads, “WHAT THE FUCK IS GOING ON THIS IS INSANE!” Fans of the band are familiar with this feeling, and it’s a feeling you’re sure to experience dozens of times over the course of this record.

“Cordyceps Humanis” opens with one hell of a riff. The track chugs along until the midpoint, where everything slows down and the guitars ring out. This is our first relief from the constant barrage thus far, until suddenly we’re thrown back into the carnage. The entire album is this roller-coaster ride, where the band never lets us know where we’re going next. The arrangements are incredibly complex and diverse, not to mention some of the heaviest of the band’s entire career. “Ohrwurm”, the second single from the album, is the weirdest yet. The bass line in the opening is awesome, and then…a saxophone? This is yet another departure from the established sound, and to top it all off, is the craziest saxophone solo of all time. Only in a Cephalic Carnage record.

And then we have the closer, “Repangaea”. The most ambitious song the band has ever written. Coming in at nearly 12 minutes, this track wouldn’t sound out of place on a Mastodon record. Here, the band wanders into unexplored territory, with the final product being a prog metal masterpiece. They make Mastodon and Baroness look like chumps with this beast of a song. At times I was even reminded of Tool. Near the 9-minute mark, the guitars ring out and a piano comes in. I expected the song to slowly fade to its conclusion, but Cephalic Carnage surprise me once again by blasting out of the silence into the incredibly heavy climax. By the end of the song my jaw was on the floor.

Misled by Certainty is a contender for album of the year. The band is at the top of their game with new guitarist Brian Hopp, and bassist Nick Schendzielos continues to prove that he’s one of the best in all of metal. The production is top-notch, and the band as musicians are better than ever. If you’re a fan of metal, you need to purchase this record as soon as you finish reading this.

Matthew Cebreros


From Lucid Interval onward, Cephalic Carnage is slowly straying away from the brutal, crazy grindcore that made them famous, replacing that with a more polished technical death metal approach. Anomalies and Xenosapien showed fewer grind elements in Cephalic Carnage's music, but 2010's Misled by Certainty has the Colorado-based quintet with a completely redefined sound. Although I enjoy both eras of the band, I have to say that I am very pleased with the new and fresh sound Cephalic Carnage is pursuing. There are still quite a few crazy 30-second grindcore outbursts on Misled by Certainty, but in-between these sections we are greeted by a more melodic Cephalic Carnage. What is the result of such a change in direction? Possibly Cephalic Carnage's best album yet. It's still as brutal as anything, but the intricacy and attention to detail that was somewhat lacking on their earlier releases is finally here.

The music on Misled by Certainty is similar to that of the last two Cephalic Carnage albums, albeit a bit more melodic. What that means is that this is brutal technical death metal with some weird and crazy twists. Throughout this album you'll hear saxophone solos, a few beautiful sections, heavy riffing, atmospheric synths, and crazy grindcore spas-attacks. Needless to say, that's not what you can expect from your everyday extreme metal release - and that's why Cephalic Carnage is so worthy of praise. Of course, the dedicated grindcore fans who enjoyed albums like Conforming to Abnormality and Exploiting Dysfunction may feel a bit disappointed, but for death metal fans who are looking for a unique spin on the genre are definitely in luck with this release.

Misled by Certainty is a 14-track, 53:36 album. Although there are a few cuts that I don't really enjoy, there is some of Cephalic Carnage's best material to be found here as well. The opening number, The Incorrigible Flame is probably my favorite song here. The technical madness of Abraxas of Filth, the melodic Dimensional Modulation Transmography, and the epic Repangaea are also notable. This is an extremely varied album, though, and just because you like a few tracks does not mean you will like all of them. You need to have a very open mind when approaching this release.

The musicianship is some of the best in extreme metal. Cephalic Carnage is an extremely tight-playing group, and they always play in perfect (dis)harmony. Although all of the musicians are terrific, I must say that John Merryman's drumming has always been the highlight in Cephalic Carnage's music for me. He is just a complete technical monster - certainly a force to be reckoned with in extreme metal!

The production is great. It's crystal clear, heavy enough to fit the music like a glove, and powerful enough to convey all of the feeling in the compositions. If you're looking for an extremely professional sound in extreme metal, look no further than Misled by Certainty!

Conclusion:

Misled by Certainty is a terrific 6th album by Cephalic Carnage. This is the perfect balance between satisfying the faithful and expanding the fanbase. I don't hesitate in calling this the best Cephalic Carnage album so far, and I really hope the band further explores this genre in the future! As for know, this is a big 4 (almost 4.5) star rating. If you like your metal to be crazy and extremely heavy, but still enjoy a sense of direction, this is an essential 2010 album!

J-Man



..::TRACK-LIST::..

1. The Incorrigible Flame 04:30
2. Warbots A.M. 04:38
3. Abraxas of Filth 03:44
4. Pure Horses 00:37
5. Cordyceps Humanis 05:05
6. Raped by an Orb 04:14
7. P.G.A.D. 00:34
8. Dimensional Modulation Transmography 05:04
9. Ohrwurm 04:56
10. When I Arrive 03:08
11. A King and a Thief 02:45
12. Power and Force 01:38
13. Repangaea 12:11
14. Aeyeucgh! 00:31



..::OBSADA::..

Lenzig Leal - vocals
John Merryman - drums
Steve Goldburg - guitar
Nick Schendzielos - bass
Brian Hopp - guitar



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


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

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


..::OPIS::..

Po trzech latach studyjnej ciszy, GODSLUT powraca z drugim albumem "The Art Of Deconstruction". Mimo stosunkowo krótkiego stażu GODSLUT zdążył zaznaczyć swoją obecność na polskiej scenie deathmetalowej, prezentując dojrzałe i bezkompromisowe podejście do gatunku.

GODSLUT od 2021 roku tworzy bezkompromisowy, techniczny thrash/death metal. W 2022 zespół podpisał kontrakt płytowy z wytwórnią Selfmadegod Records, a w maju 2023 roku wypuścił na świat debiutancki album Procreation Of God, na który bębny nagrał legendarny wręcz Paweł “Pavulon” Jaroszewicz (Hate, Decapitated, Antigama, Vltimas, Chivas i wiele więcej). Materiał prezentuje techniczny i bezkompromisowy death metal z wpływami thrash i groove metalu. Płyta została nagrana w 2022 roku, a za miks i mastering odpowiadał Paweł „Janos” Grabowski.

Zespół ma za sobą kilka udanych tras oraz występów w wydarzeniach takich jak m.in: Mystic Festival 2026, Metal Mine Festival 2024, Rockowisko Zwierzyniec 2024, czy trasy “Chaosu Nastał Czas” by Knock Out Productions; dzieląc scenę z wieloma szanowanymi grupami: Behemoth, Mastodon, Decapitated, Saxon, Watain, Hate, Krisiun, Blood Red Throne, Vomitory, Frontside, Hostia, Hamulec, Punched Orange The Materia, czy Redemptor.

Dla fanów MORBID ANGEL, VADER, DECAPITATED, SUFFOCATION, DEATH



Kiedy tak sobie skanowałem na szybko Internety w poszukiwaniu czegoś na temat Godslut, natknąłem się na informację, iż zespół ten, po wydaniu debiutu, trzy lata temu, u tego samego wydawcy, okrzyknięty został przez niektórych „nową nadzieją polskiego death metalu”. Uuu, grubo! Trzeba było sprawdzić, bo przecież, co jak co, ale death metal to ja kocham od dziecka, trochę znam, i coś tam się orientuję. Hmm… nie wiem jak to wyglądało na debiucie, i czy aby nazwisko widniejącego wówczas w składzie bandu muzyka nie przyczyniło się kapkę do sukcesu marketingowego, ale to, co słyszę na „The Art of Deconstruction” to… taki Decapitated 2.0. I to porównanie wali mnie po uszach w zasadzie od pierwszej nutki do przedostatniego taktu (o ostatnim później). Owszem jest to death metal. Bardzo przykładnie (dla mnie ZBYT przykładnie) wyprodukowany, wyczyszczony tak, by każde pryknięcie stopy, czy plumkniecie basu było doskonale słyszalne, i żeby przypadkiem żaden paproszek się gdzieś na strunie nie osadził. Owszem, z zachowaniem odpowiedniego ciężaru i masy, żeby nie było niedomówień, acz bardziej typowego dla djentu. Samo granie Godslut to taki polski death metal z okresu późniejszego niż złota era. Czyli czasów, kiedy to poprzez narastający w kompozycjach poziom groove’u, pewnego rodzaju przebojowość i chwytliwość, wprowadzanie elementów z bardziej komercyjnych gatunków pobocznych trochę ten pierwotny metal śmierci poprowadziły z głębokiego undergroundu ku szerszej publiczności. Kojarzycie pewnie Fear Factory i ich „kultowy” „Demanufactured”. Na nowym krążku Godslut są momenty wzorowane chyba na owym wydawnictwie. Zresztą potwierdza się to liniach wokalnych, nierzadko wychodzące poza sferę klasycznego growla. Są też akordy o rodowodzie hard core’owym, jest też (o ja pierdolę, i to już jest gwóźdź do trumny) akustyczna balladka, i to z partiami wokali żeńskich! Na szczęście jest to już ostatni numer na płycie (kurwa, tytułowy haha!), ale powiem szczerze, jak dewotka na spowiedzi. Przez tą piosenkę nie chciało mi się włączać „The Art of Deconstruction” po raz drugi. Pomijając ten straszny babol, reszta materiału to solidny death metal dla fanów bardziej przystępnego oblicza gatunku, w którym osobiście niezbyt gustuję. Fanom wspomnianego Decapitated powinno się jednak spodobać. „Nadzieja polskiego death metalu”? Błagam… Nawet Mystic na początku działalności by chyba tego nie wymyślił.

jesusatan


Wbrew temu, co tu i ówdzie próbowano nam, obywatelom, w mało wybredny sposób wciskać, debiutancki krążek Godslut niczym się na tle lokalnej sceny nie wyróżniał, a bajdurzenie o jego jakiejkolwiek wyjątkowości było naprawdę grubą przesadą. Na swoje szczęście zespół nie podchwycił tej narracji — czy może strategii marketingowej — i nie robił z siebie wizjonerów polskiego death metalu. I słusznie, bo kolejne potwierdzenie tego, że nimi nie są, dostaliśmy na The Art Of Deconstruction – owszem, słychać tu naturalny rozwój, ale na pewno nie zapędy rewolucyjne, choć w pewnych kwestiach chłopakom odwagi nie brakuje.

W ciągu tych trzech lat, jakie upłynęły od „Procreation Of God”, muzycy Godslut zdołali się poprawić praktycznie w każdym elemencie swego rzemiosła, ponadto dookreślili styl (tudzież ograniczyli liczbę inspiracji), uczynili go bardziej zwartym i wewnętrznie spójnym. Stąd też utwory na The Art Of Deconstruction są lepiej przemyślane, dojrzalej zaaranżowane, znacznie więcej się w nich dzieje, a ze względu na fajną motorykę i wplecione z wyczuciem efektowne solówki (Krzysiek Śniadecki brzmi jak nieślubne dziecko Vogga i Jacka Hiro) zdradzają całkiem niezły potencjał koncertowy – no, są po prostu ciekawsze. Niestety, poziomem oryginalności nie odbiegają od tych z debiutu – mnóstwo w nich jawnych zapożyczeń z późnego Decapitated oraz środkowego Banisher (długimi momentami Godslut grają bardziej banisherowo niż Banisher obecnie…), co wprawdzie dobrze świadczy o umiejętnościach chłopaków, ale na dłuższą metę może okazać się nużące/odstraszające dla osób szukających w muzyce czegoś nowego.

Żeby nie było, mimo wieeelu podobieństw do wspomnianych wyżej zespołów Godslut nie są w nie ślepo zapatrzeni i w paru miejscach The Art Of Deconstruction proponują coś niecoś od siebie, co w różnym stopniu wykracza poza formułę wypracowaną przez starszych kolegów. Większość tych, nazwijmy to, eksperymentów dotyczy elementu, który był główną bolączką „Procreation Of God” – wokali. Te „podstawowe”, choć wciąż nie idealne, są zdecydowanie lepiej-pewniej wykonane i już nie wkurwiają, natomiast te „kombinowane”, najczęściej czyst(aw)e, trudno uznać za udane i pasujące do całości. Do całości nie pasuje również kawałek tytułowy, który jest… taką dość ckliwą balladką z gościnnym udziałem wokalistki. Może i nie zaskakuje tak, jak kiedyś „Painful Silence”, ale sensu ma tyle samo co numer Sceptic. Obstawiam, że powstała tylko po to, żeby Krzysiek Śniadecki mógł się wytrzepać także na akustyku.

Godslut nie zmarnowali szansy danej im przez Selfmadegod (kawałkiem „Self-made Gods” zapewnili sobie chyba dożywotni kontrakt) i na The Art Of Deconstruction zrobili wyraźny krok naprzód względem poprzednika. Potencjał mają niemały, niemniej jeszcze dużo pracy przed nimi, żeby można było mówić o zespole bez automatycznego przywoływania i tych, z których twórczości obficie czerpią.

demo


Death metal outfit GODSLUT have released their highly anticipated second album, "The Art Of Deconstruction". Despite its relatively short history, GODSLUT has already established a strong presence within the Polish death metal scene, earning recognition through a mature, uncompromising approach to the genre.

GODSLUT has been crafting uncompromising, technical thrash/death metal since 2021. Year later, the band signed a record deal with Selfmadegod Records and, in May 2023, released its debut album, Procreation Of God. The drums on the record were performed by the legendary Paweł “Pavulon” Jaroszewicz (Hate, Decapitated, Antigama, Vltimas, Chivas, and many more). The album delivers technical and relentless death metal with strong thrash metal influences. Recorded in 2022, it was mixed and mastered by Paweł “Janos” Grabowski.

GODSLUT has completed several successful tours and appeared at major events including: Mystic Festival 2026, Metal Mine Festival 2024, Rockowisko Zwierzyniec 2024, and the “Chaosu Nastał Czas” tours organized by Knock Out Productions. Along the way, GODSLUT shared the stage with numerous acclaimed acts such as: Behemoth, Mastodon, Decapitated, Saxon, Watain, Hate, Krisiun, Blood Red Throne, Vomitory, Frontside, Hostia, Hamulec, Punched Orange, The Materia, and Redemptor.

For fans of MORBID ANGEL, VADER, DECAPITATED, SUFFOCATION, DEATH



..::TRACK-LIST::..

1. Scent 03:56
2. Druglust 03:45
3. Self-made Gods 03:34
4. ...All the Fucking Same 02:18
5. New Revelation 03:03
6. Stifled 03:34
7. Sacred Genocide 04:01
8. The Art of Deconstruction 06:11



..::OBSADA::..

Krzysiek Śniadecki - git, voc
Daniel Kozyra - bass, voc
Jakub Maciuk - dr



https://www.youtube.com/watch?v=e1zuPcwWwI0


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

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


..::OPIS::..

Po trzech latach studyjnej ciszy, GODSLUT powraca z drugim albumem "The Art Of Deconstruction". Mimo stosunkowo krótkiego stażu GODSLUT zdążył zaznaczyć swoją obecność na polskiej scenie deathmetalowej, prezentując dojrzałe i bezkompromisowe podejście do gatunku.

GODSLUT od 2021 roku tworzy bezkompromisowy, techniczny thrash/death metal. W 2022 zespół podpisał kontrakt płytowy z wytwórnią Selfmadegod Records, a w maju 2023 roku wypuścił na świat debiutancki album Procreation Of God, na który bębny nagrał legendarny wręcz Paweł “Pavulon” Jaroszewicz (Hate, Decapitated, Antigama, Vltimas, Chivas i wiele więcej). Materiał prezentuje techniczny i bezkompromisowy death metal z wpływami thrash i groove metalu. Płyta została nagrana w 2022 roku, a za miks i mastering odpowiadał Paweł „Janos” Grabowski.

Zespół ma za sobą kilka udanych tras oraz występów w wydarzeniach takich jak m.in: Mystic Festival 2026, Metal Mine Festival 2024, Rockowisko Zwierzyniec 2024, czy trasy “Chaosu Nastał Czas” by Knock Out Productions; dzieląc scenę z wieloma szanowanymi grupami: Behemoth, Mastodon, Decapitated, Saxon, Watain, Hate, Krisiun, Blood Red Throne, Vomitory, Frontside, Hostia, Hamulec, Punched Orange The Materia, czy Redemptor.

Dla fanów MORBID ANGEL, VADER, DECAPITATED, SUFFOCATION, DEATH



Kiedy tak sobie skanowałem na szybko Internety w poszukiwaniu czegoś na temat Godslut, natknąłem się na informację, iż zespół ten, po wydaniu debiutu, trzy lata temu, u tego samego wydawcy, okrzyknięty został przez niektórych „nową nadzieją polskiego death metalu”. Uuu, grubo! Trzeba było sprawdzić, bo przecież, co jak co, ale death metal to ja kocham od dziecka, trochę znam, i coś tam się orientuję. Hmm… nie wiem jak to wyglądało na debiucie, i czy aby nazwisko widniejącego wówczas w składzie bandu muzyka nie przyczyniło się kapkę do sukcesu marketingowego, ale to, co słyszę na „The Art of Deconstruction” to… taki Decapitated 2.0. I to porównanie wali mnie po uszach w zasadzie od pierwszej nutki do przedostatniego taktu (o ostatnim później). Owszem jest to death metal. Bardzo przykładnie (dla mnie ZBYT przykładnie) wyprodukowany, wyczyszczony tak, by każde pryknięcie stopy, czy plumkniecie basu było doskonale słyszalne, i żeby przypadkiem żaden paproszek się gdzieś na strunie nie osadził. Owszem, z zachowaniem odpowiedniego ciężaru i masy, żeby nie było niedomówień, acz bardziej typowego dla djentu. Samo granie Godslut to taki polski death metal z okresu późniejszego niż złota era. Czyli czasów, kiedy to poprzez narastający w kompozycjach poziom groove’u, pewnego rodzaju przebojowość i chwytliwość, wprowadzanie elementów z bardziej komercyjnych gatunków pobocznych trochę ten pierwotny metal śmierci poprowadziły z głębokiego undergroundu ku szerszej publiczności. Kojarzycie pewnie Fear Factory i ich „kultowy” „Demanufactured”. Na nowym krążku Godslut są momenty wzorowane chyba na owym wydawnictwie. Zresztą potwierdza się to liniach wokalnych, nierzadko wychodzące poza sferę klasycznego growla. Są też akordy o rodowodzie hard core’owym, jest też (o ja pierdolę, i to już jest gwóźdź do trumny) akustyczna balladka, i to z partiami wokali żeńskich! Na szczęście jest to już ostatni numer na płycie (kurwa, tytułowy haha!), ale powiem szczerze, jak dewotka na spowiedzi. Przez tą piosenkę nie chciało mi się włączać „The Art of Deconstruction” po raz drugi. Pomijając ten straszny babol, reszta materiału to solidny death metal dla fanów bardziej przystępnego oblicza gatunku, w którym osobiście niezbyt gustuję. Fanom wspomnianego Decapitated powinno się jednak spodobać. „Nadzieja polskiego death metalu”? Błagam… Nawet Mystic na początku działalności by chyba tego nie wymyślił.

jesusatan


Wbrew temu, co tu i ówdzie próbowano nam, obywatelom, w mało wybredny sposób wciskać, debiutancki krążek Godslut niczym się na tle lokalnej sceny nie wyróżniał, a bajdurzenie o jego jakiejkolwiek wyjątkowości było naprawdę grubą przesadą. Na swoje szczęście zespół nie podchwycił tej narracji — czy może strategii marketingowej — i nie robił z siebie wizjonerów polskiego death metalu. I słusznie, bo kolejne potwierdzenie tego, że nimi nie są, dostaliśmy na The Art Of Deconstruction – owszem, słychać tu naturalny rozwój, ale na pewno nie zapędy rewolucyjne, choć w pewnych kwestiach chłopakom odwagi nie brakuje.

W ciągu tych trzech lat, jakie upłynęły od „Procreation Of God”, muzycy Godslut zdołali się poprawić praktycznie w każdym elemencie swego rzemiosła, ponadto dookreślili styl (tudzież ograniczyli liczbę inspiracji), uczynili go bardziej zwartym i wewnętrznie spójnym. Stąd też utwory na The Art Of Deconstruction są lepiej przemyślane, dojrzalej zaaranżowane, znacznie więcej się w nich dzieje, a ze względu na fajną motorykę i wplecione z wyczuciem efektowne solówki (Krzysiek Śniadecki brzmi jak nieślubne dziecko Vogga i Jacka Hiro) zdradzają całkiem niezły potencjał koncertowy – no, są po prostu ciekawsze. Niestety, poziomem oryginalności nie odbiegają od tych z debiutu – mnóstwo w nich jawnych zapożyczeń z późnego Decapitated oraz środkowego Banisher (długimi momentami Godslut grają bardziej banisherowo niż Banisher obecnie…), co wprawdzie dobrze świadczy o umiejętnościach chłopaków, ale na dłuższą metę może okazać się nużące/odstraszające dla osób szukających w muzyce czegoś nowego.

Żeby nie było, mimo wieeelu podobieństw do wspomnianych wyżej zespołów Godslut nie są w nie ślepo zapatrzeni i w paru miejscach The Art Of Deconstruction proponują coś niecoś od siebie, co w różnym stopniu wykracza poza formułę wypracowaną przez starszych kolegów. Większość tych, nazwijmy to, eksperymentów dotyczy elementu, który był główną bolączką „Procreation Of God” – wokali. Te „podstawowe”, choć wciąż nie idealne, są zdecydowanie lepiej-pewniej wykonane i już nie wkurwiają, natomiast te „kombinowane”, najczęściej czyst(aw)e, trudno uznać za udane i pasujące do całości. Do całości nie pasuje również kawałek tytułowy, który jest… taką dość ckliwą balladką z gościnnym udziałem wokalistki. Może i nie zaskakuje tak, jak kiedyś „Painful Silence”, ale sensu ma tyle samo co numer Sceptic. Obstawiam, że powstała tylko po to, żeby Krzysiek Śniadecki mógł się wytrzepać także na akustyku.

Godslut nie zmarnowali szansy danej im przez Selfmadegod (kawałkiem „Self-made Gods” zapewnili sobie chyba dożywotni kontrakt) i na The Art Of Deconstruction zrobili wyraźny krok naprzód względem poprzednika. Potencjał mają niemały, niemniej jeszcze dużo pracy przed nimi, żeby można było mówić o zespole bez automatycznego przywoływania i tych, z których twórczości obficie czerpią.

demo


Death metal outfit GODSLUT have released their highly anticipated second album, "The Art Of Deconstruction". Despite its relatively short history, GODSLUT has already established a strong presence within the Polish death metal scene, earning recognition through a mature, uncompromising approach to the genre.

GODSLUT has been crafting uncompromising, technical thrash/death metal since 2021. Year later, the band signed a record deal with Selfmadegod Records and, in May 2023, released its debut album, Procreation Of God. The drums on the record were performed by the legendary Paweł “Pavulon” Jaroszewicz (Hate, Decapitated, Antigama, Vltimas, Chivas, and many more). The album delivers technical and relentless death metal with strong thrash metal influences. Recorded in 2022, it was mixed and mastered by Paweł “Janos” Grabowski.

GODSLUT has completed several successful tours and appeared at major events including: Mystic Festival 2026, Metal Mine Festival 2024, Rockowisko Zwierzyniec 2024, and the “Chaosu Nastał Czas” tours organized by Knock Out Productions. Along the way, GODSLUT shared the stage with numerous acclaimed acts such as: Behemoth, Mastodon, Decapitated, Saxon, Watain, Hate, Krisiun, Blood Red Throne, Vomitory, Frontside, Hostia, Hamulec, Punched Orange, The Materia, and Redemptor.

For fans of MORBID ANGEL, VADER, DECAPITATED, SUFFOCATION, DEATH



..::TRACK-LIST::..

1. Scent 03:56
2. Druglust 03:45
3. Self-made Gods 03:34
4. ...All the Fucking Same 02:18
5. New Revelation 03:03
6. Stifled 03:34
7. Sacred Genocide 04:01
8. The Art of Deconstruction 06:11



..::OBSADA::..

Krzysiek Śniadecki - git, voc
Daniel Kozyra - bass, voc
Jakub Maciuk - dr



https://www.youtube.com/watch?v=e1zuPcwWwI0


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

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


..::OPIS::..

Z nowym albumem powraca czeski Snêť – i bardzo fajnie, szczególnie że od czasu ich debiutu znacząco powiększyli bazę maniaków za swoją północną granicą – takie przynajmniej odnoszę wrażenie. Czy nowym album poszerzą ją jeszcze bardziej?

No mam taką nadzieję, bo „V bažinách vědomí” jest krążkiem nie ustępującym w niczym świetnej poprzednicze sprzed pięciu lat. Czy słychać tutaj jakieś zmiany? Niekoniecznie – na pewno nie tak duże, żeby wpływały na wartość artystyczną lub stylistyczną. Snêť bowiem w nowych dziesięciu numerach celuje nadal w gust tego samego odbiorcy – maniaka death metalu spod znaku Autopsy, Incantation, Undergang czy nawet Bolt Thrower… Mniej tutaj natomiast gore/deathowych podjazdów w stylu Impetigo, które można było jeszcze znaleźć na „Mokváni V Okovech. Czesi tym razem postawili na gruzowo – duszną atmosferę po całości i moim zdaniem jest to dobry zabieg. Nie zmieniły się za to growle, te nadal są głębokie i obleśne. Zaś teksty – już tylko obleśne.

Malkontenci oczywiście wskażą, że Snêť nie przedstawia nam niczego nowego, ale doprawdy – przecież w death metalu świeże rzeczy pojawiają się raz na kilkanaście tysięcy zespołów, a nie każda grupa może być przecież Blood Incantation. To, czym parają się Czesi, jest dla mnie wystarczające. Wyciagają wszystko co najlepsze z metalu śmierci i podają nam w formie kompostu ze składową z ludzkich szczątków. Całość okrasili do tego charakterystyczną okładką, która w jakiś pogmatwany sposób dobrze koreluje z zawartością muzyczną. I mnie osobiście niczego więcej nie potrzeba.

Pięć lat czekania nie poszło na marne. Teraz tylko czekać na jakąś polską datę, bo ostatni koncert oczywiście nie wpisał się w moją rozpiskę. Do tego czasu – jeszcze nie raz obrócę w odtwarzaczu „V bažinách vědomí”.

Oracle


Having annihilated the underground with their 2021 debut LP and kept things flowing with two splits in the interim, this promises to be an excellent slab of old-school death metal.

The record kicks right in with ominous and eerie atmospherics coupled with some absolutely revolting grooves; it is clear these fiends mean business. It should be abundantly obvious that Sněť have been refining their craft to something precise and lethal. Keeping those 90s hallmarks intact but with these little touches that say “we have found our own identity”, there is a gruesomeness and discomfort on this record that will suggest a maturing from the band while their aim to play punishing music is no less in-your-face.

Consuming you with an eldritch atmosphere while piercing through the fog with rancidity, Sněť have a massive production on their new offering that will crush all with total morbidity. Combining the mulch-y tones of death metal’s heyday with an even more classic warmth to their sound is a winning combination. While still feeling as grotesque as ever, there is more to this album than just that. It’s a savage, battering listen that combines excellently placed hooks with the more violent and chaotic moments to concoct something straightforward and yet gripping. There is no pretence to Sněť; they simply play death metal the way they want to hear it, and that really shows on “V bažinách vědomí”. Do not miss this if you love brutality, grooves, death, or riffs - because it has offal-drenched buckets of all of the above.




Hell yeah, here are my favorite Czech death metal freaks Sněť with their sophomore album “ V bažinách vědomí” which in English means “The Unspeakable”. Maybe.

In comparison to their debut album “Mokvání v okovech” not too much has changed to be honest. But that´s a good news I would say because there you could find everything a dark OSDM heart needs to be (un)happy. Dragging riffs, sick vocals, hellish pummeling drums and many breaks with a lot of vibes that reach from sickest Autopsy parts to some casual Slayer riffing.

What sometimes crept into the songs are some slower and more melodic parts and even some spoke parts like in “Ve stínu slunce”. This one is a creeping one, like a slimy snail creeping down your throat after brutally forced to swallow it. Another mid-tempo track with some cool groovy vibes and the best title on “V bažinách vědomí” is “Nekončící koloběh snění a probouzení”. Kicking off a little bit like a brutal death metal track (this slam shit if you know what I mean) but quickly evolving into some sick Autopsy/ Death-worship this one offers some really cool song ideas with some casual twists in it. And the title of the song – damn, at my next Karaoke evening I will assume to sing that one. Or at least force my fellow campaigners to pronounce it after some beers.
On the other hand the guys have composed some brutal tracks that musically break your spine. The pummeling drums literally stand for the cracking of the bones (“Apokalyptický smaragd budoucí doby” or “Dřevěný kůl”). These songs taken as example are sheer brutality paired with a lot of fury. The slight echoing vocals and the warm production are giving the songs an atmosphere of a nightmarish swamp you are actually wading through. The repeating guitar riffs feel like some sharp branches hidden under the surface that are trying t impale your already bleeding feet. As you can read this album is quite an unpleasant thing.

“Moskyt” matches perfect to the album cover. Again, the image of that swamp is before my inner eye and this mosquito which introduces that track is a great symbol for it. Probably it is a mosquito that conducts some plagues like malaria or dengue fever. Just an evil mosquito.

The album finishes with “Znetvořená panna”which probably doesn´t deal with the famous Italian dessert. In this song, especially at the beginning, you can hear some Slayer influences from their slower tracks like “Seasons In The Abyss” and in the further progress also some sicker riffs that might had been written by Kerry King too. This is a catchy ass-kicking track to end this furious and sick album.

Anything I miss? Well, to be honest, I didn´t had this cool activity while listening to it the first time this time. When I had the pleasure of listening to their debut the first time I mowed the lawn, but now…nothing. Blame it on the heat waves and drought the last months where nothing did grow. So it just is a great album without a lawnmower.

spookymicha666



..::TRACK-LIST::..

1. Tíha světů 04:47
2. Kladivo ve tmě 03:48
3. Natur 03:01
4. Ve stínu slunce 04:37
5. Apokalyptický smaragd budoucí doby 03:55
6. Moskyt 03:29
7. Jako každý 02:37
8. Nekončící koloběh snění a probouzení 04:00
9. Dřevěný kůl 02:57
10. Znetvořená panna 04:38



..::OBSADA::..

Krutörr - drums
Hnisatel - guitars
Hrdlořez - bass
Ransolič - guitars
Řád Zdechlin - vocals



https://www.youtube.com/watch?v=6E0MUGdqskI


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

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


..::OPIS::..

Z nowym albumem powraca czeski Snêť – i bardzo fajnie, szczególnie że od czasu ich debiutu znacząco powiększyli bazę maniaków za swoją północną granicą – takie przynajmniej odnoszę wrażenie. Czy nowym album poszerzą ją jeszcze bardziej?

No mam taką nadzieję, bo „V bažinách vědomí” jest krążkiem nie ustępującym w niczym świetnej poprzednicze sprzed pięciu lat. Czy słychać tutaj jakieś zmiany? Niekoniecznie – na pewno nie tak duże, żeby wpływały na wartość artystyczną lub stylistyczną. Snêť bowiem w nowych dziesięciu numerach celuje nadal w gust tego samego odbiorcy – maniaka death metalu spod znaku Autopsy, Incantation, Undergang czy nawet Bolt Thrower… Mniej tutaj natomiast gore/deathowych podjazdów w stylu Impetigo, które można było jeszcze znaleźć na „Mokváni V Okovech. Czesi tym razem postawili na gruzowo – duszną atmosferę po całości i moim zdaniem jest to dobry zabieg. Nie zmieniły się za to growle, te nadal są głębokie i obleśne. Zaś teksty – już tylko obleśne.

Malkontenci oczywiście wskażą, że Snêť nie przedstawia nam niczego nowego, ale doprawdy – przecież w death metalu świeże rzeczy pojawiają się raz na kilkanaście tysięcy zespołów, a nie każda grupa może być przecież Blood Incantation. To, czym parają się Czesi, jest dla mnie wystarczające. Wyciagają wszystko co najlepsze z metalu śmierci i podają nam w formie kompostu ze składową z ludzkich szczątków. Całość okrasili do tego charakterystyczną okładką, która w jakiś pogmatwany sposób dobrze koreluje z zawartością muzyczną. I mnie osobiście niczego więcej nie potrzeba.

Pięć lat czekania nie poszło na marne. Teraz tylko czekać na jakąś polską datę, bo ostatni koncert oczywiście nie wpisał się w moją rozpiskę. Do tego czasu – jeszcze nie raz obrócę w odtwarzaczu „V bažinách vědomí”.

Oracle


Having annihilated the underground with their 2021 debut LP and kept things flowing with two splits in the interim, this promises to be an excellent slab of old-school death metal.

The record kicks right in with ominous and eerie atmospherics coupled with some absolutely revolting grooves; it is clear these fiends mean business. It should be abundantly obvious that Sněť have been refining their craft to something precise and lethal. Keeping those 90s hallmarks intact but with these little touches that say “we have found our own identity”, there is a gruesomeness and discomfort on this record that will suggest a maturing from the band while their aim to play punishing music is no less in-your-face.

Consuming you with an eldritch atmosphere while piercing through the fog with rancidity, Sněť have a massive production on their new offering that will crush all with total morbidity. Combining the mulch-y tones of death metal’s heyday with an even more classic warmth to their sound is a winning combination. While still feeling as grotesque as ever, there is more to this album than just that. It’s a savage, battering listen that combines excellently placed hooks with the more violent and chaotic moments to concoct something straightforward and yet gripping. There is no pretence to Sněť; they simply play death metal the way they want to hear it, and that really shows on “V bažinách vědomí”. Do not miss this if you love brutality, grooves, death, or riffs - because it has offal-drenched buckets of all of the above.




Hell yeah, here are my favorite Czech death metal freaks Sněť with their sophomore album “ V bažinách vědomí” which in English means “The Unspeakable”. Maybe.

In comparison to their debut album “Mokvání v okovech” not too much has changed to be honest. But that´s a good news I would say because there you could find everything a dark OSDM heart needs to be (un)happy. Dragging riffs, sick vocals, hellish pummeling drums and many breaks with a lot of vibes that reach from sickest Autopsy parts to some casual Slayer riffing.

What sometimes crept into the songs are some slower and more melodic parts and even some spoke parts like in “Ve stínu slunce”. This one is a creeping one, like a slimy snail creeping down your throat after brutally forced to swallow it. Another mid-tempo track with some cool groovy vibes and the best title on “V bažinách vědomí” is “Nekončící koloběh snění a probouzení”. Kicking off a little bit like a brutal death metal track (this slam shit if you know what I mean) but quickly evolving into some sick Autopsy/ Death-worship this one offers some really cool song ideas with some casual twists in it. And the title of the song – damn, at my next Karaoke evening I will assume to sing that one. Or at least force my fellow campaigners to pronounce it after some beers.
On the other hand the guys have composed some brutal tracks that musically break your spine. The pummeling drums literally stand for the cracking of the bones (“Apokalyptický smaragd budoucí doby” or “Dřevěný kůl”). These songs taken as example are sheer brutality paired with a lot of fury. The slight echoing vocals and the warm production are giving the songs an atmosphere of a nightmarish swamp you are actually wading through. The repeating guitar riffs feel like some sharp branches hidden under the surface that are trying t impale your already bleeding feet. As you can read this album is quite an unpleasant thing.

“Moskyt” matches perfect to the album cover. Again, the image of that swamp is before my inner eye and this mosquito which introduces that track is a great symbol for it. Probably it is a mosquito that conducts some plagues like malaria or dengue fever. Just an evil mosquito.

The album finishes with “Znetvořená panna”which probably doesn´t deal with the famous Italian dessert. In this song, especially at the beginning, you can hear some Slayer influences from their slower tracks like “Seasons In The Abyss” and in the further progress also some sicker riffs that might had been written by Kerry King too. This is a catchy ass-kicking track to end this furious and sick album.

Anything I miss? Well, to be honest, I didn´t had this cool activity while listening to it the first time this time. When I had the pleasure of listening to their debut the first time I mowed the lawn, but now…nothing. Blame it on the heat waves and drought the last months where nothing did grow. So it just is a great album without a lawnmower.

spookymicha666



..::TRACK-LIST::..

1. Tíha světů 04:47
2. Kladivo ve tmě 03:48
3. Natur 03:01
4. Ve stínu slunce 04:37
5. Apokalyptický smaragd budoucí doby 03:55
6. Moskyt 03:29
7. Jako každý 02:37
8. Nekončící koloběh snění a probouzení 04:00
9. Dřevěný kůl 02:57
10. Znetvořená panna 04:38



..::OBSADA::..

Krutörr - drums
Hnisatel - guitars
Hrdlořez - bass
Ransolič - guitars
Řád Zdechlin - vocals



https://www.youtube.com/watch?v=6E0MUGdqskI


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

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


..::OPIS::..

Trzecia płyta ekipy z Oregonu grającej miażdżący techniczny death metal w stylu INVERACITY, HOUR OF PENANCE, DECREPIT BIRTH, starego SUFFOCATION, ORIGIN.



Dominion Of Misery is the impending new long-player from Oregon-based technical death metal outfit, OMNIHILITY. The follow-up to 2014’s critically lauded Deathscapes Of The Subconscious, Dominion Of Misery was again captured at Castle Ultimate with famed producer Zack Ohren (Animosity, Suffocation, All Shall Perish) who continues to lead the charge by pushing the recorded boundaries in extreme music. Dominion Of Misery includes the maniacal artwork of Mark Cooper (Rings Of Saturn, Deeds Of Flesh, Master) bringing the entire package alive with his twisted Lovecraft-gone-Giger inspired visuals.




Continuing their onslaught of brutality, Oregon-based brutal/technical death metallers Omnihility have grown rather accomplished and competent to turn their mechanically-infused assault into a whirlwind of technical and brutal death. Being the first recorded output of the band for new members bassist Isamu Sato and vocalist Adam Toepfer, the groups’ third full-length album is released February 26, 2016 on Unique Leader Records.

Much like their previous works, this is mainly a finely-acute mixture of swirling, dive-bombing technically-challenging riffing that hurtles forth at rather frantic tempos that adds an overt brutality as the band whips up a frenzy of complex arrangements alongside the mechanical patterns with the occasional dip into a more mid-tempo chug-based pattern. This serves as a nice buffer to off-set the more brutal moments here with the tightly-wound, frenzied rhythms here containing a rather charging, chaotic focus with this series of riffing coming together incredibly well to deliver a competent, pummeling release that manages to whip through enough dizzying riffing to placate the tech-crowd while featuring the kind of frenetic rhythms that give the album a solid, brutal tone. Though the technical rhythms do end up winning out in the end, there’s plenty of tight, frantic brutality on display to really give this one plenty of appeal to that section as well with the tightly-wound rhythms offering up a fine amount of brutal rhythms. There’s only a slight issue with this one, as the album sounds way too mechanical and triggered at times to really breathe like the material really calls for here as the guitars really offer no depth or variety in their tone and stay on the same format for the album’s duration while the drumming is rather one-note choppy blasts without much deviation as well. Still, this one doesn’t really do a whole lot to hamper this one as there’s plenty to readily enjoy here.

With only a minor troubling issue that holds this one back and manages to get out plenty of enjoyably complex and challenging brutality which allows this one to readily appeal to fans of both the technical and brutal realms who can also manage to overlook the minor production issue that plagues this one which isn’t a part of others.

slayrrr666



..::TRACK-LIST::..

1. Intro: Morte Aeterna 03:02
2. Psychotic Annihilation 04:01
3. Immaculate Deception 04:30
4. Dementia Praecox 04:10
5. Dead Eden 04:47
6. Within Shadows 03:15
7. Reflections in Blood 05:09
8. Parasitic Existence 04:55
9. Necrotic, Consumption, Obsession 04:28
10. Dominion of Misery 03:27



..::OBSADA::..

Dan Rabago - Guitars
Steve Crum - Drums
Isamu Sato - Bass
John Kurzejeski - Vocals



https://www.youtube.com/watch?v=28bTBqy6SHU


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

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


..::OPIS::..

Trzecia płyta ekipy z Oregonu grającej miażdżący techniczny death metal w stylu INVERACITY, HOUR OF PENANCE, DECREPIT BIRTH, starego SUFFOCATION, ORIGIN.



Dominion Of Misery is the impending new long-player from Oregon-based technical death metal outfit, OMNIHILITY. The follow-up to 2014’s critically lauded Deathscapes Of The Subconscious, Dominion Of Misery was again captured at Castle Ultimate with famed producer Zack Ohren (Animosity, Suffocation, All Shall Perish) who continues to lead the charge by pushing the recorded boundaries in extreme music. Dominion Of Misery includes the maniacal artwork of Mark Cooper (Rings Of Saturn, Deeds Of Flesh, Master) bringing the entire package alive with his twisted Lovecraft-gone-Giger inspired visuals.




Continuing their onslaught of brutality, Oregon-based brutal/technical death metallers Omnihility have grown rather accomplished and competent to turn their mechanically-infused assault into a whirlwind of technical and brutal death. Being the first recorded output of the band for new members bassist Isamu Sato and vocalist Adam Toepfer, the groups’ third full-length album is released February 26, 2016 on Unique Leader Records.

Much like their previous works, this is mainly a finely-acute mixture of swirling, dive-bombing technically-challenging riffing that hurtles forth at rather frantic tempos that adds an overt brutality as the band whips up a frenzy of complex arrangements alongside the mechanical patterns with the occasional dip into a more mid-tempo chug-based pattern. This serves as a nice buffer to off-set the more brutal moments here with the tightly-wound, frenzied rhythms here containing a rather charging, chaotic focus with this series of riffing coming together incredibly well to deliver a competent, pummeling release that manages to whip through enough dizzying riffing to placate the tech-crowd while featuring the kind of frenetic rhythms that give the album a solid, brutal tone. Though the technical rhythms do end up winning out in the end, there’s plenty of tight, frantic brutality on display to really give this one plenty of appeal to that section as well with the tightly-wound rhythms offering up a fine amount of brutal rhythms. There’s only a slight issue with this one, as the album sounds way too mechanical and triggered at times to really breathe like the material really calls for here as the guitars really offer no depth or variety in their tone and stay on the same format for the album’s duration while the drumming is rather one-note choppy blasts without much deviation as well. Still, this one doesn’t really do a whole lot to hamper this one as there’s plenty to readily enjoy here.

With only a minor troubling issue that holds this one back and manages to get out plenty of enjoyably complex and challenging brutality which allows this one to readily appeal to fans of both the technical and brutal realms who can also manage to overlook the minor production issue that plagues this one which isn’t a part of others.

slayrrr666



..::TRACK-LIST::..

1. Intro: Morte Aeterna 03:02
2. Psychotic Annihilation 04:01
3. Immaculate Deception 04:30
4. Dementia Praecox 04:10
5. Dead Eden 04:47
6. Within Shadows 03:15
7. Reflections in Blood 05:09
8. Parasitic Existence 04:55
9. Necrotic, Consumption, Obsession 04:28
10. Dominion of Misery 03:27



..::OBSADA::..

Dan Rabago - Guitars
Steve Crum - Drums
Isamu Sato - Bass
John Kurzejeski - Vocals



https://www.youtube.com/watch?v=28bTBqy6SHU


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

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


..::OPIS::..

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



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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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

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


..::OPIS::..

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



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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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

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


..::OPIS::..

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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

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


..::OPIS::..

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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

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


..::OPIS::..

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




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

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

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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

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


..::OPIS::..

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




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

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

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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


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