...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spadł mi ten album prosto na ryj i na początku nie za bardzo wiedziałem co się dzieje, bom ostrej poniewierce został poddany już w pierwszym kawałku. To się musiało udać. Pierwszy pełny album deathmetalowców z Wysp Brytyjskich wypchany jest siedmioma potężnymi hymnami o przekozackim klimacie. Bez badziewnych dodatków czy innych bzdur. Czyste napierdalańsko i to w dodatku tak złe, że nawet w piekle się łapią za głowy. Ten ciężar naprawdę wgniata, posępne dźwięki sprawiają że otwierasz oczy bardzo szeroko z wrażenia, a do tego ciągle chcesz więcej i dostajesz więcej, bo każdy kolejny utwór jest spory. Sześć czy siedem minut to tutaj nic nadzwyczajnego. Można się poczuć jak kawał mięsa przepuszczony przez maszynkę do mielenia. Cudowne uczucie, kto death metal miłuje i nosi w sercu niczym słowo boże, ten wie i potakuje ze srogością na ryju. Charnel Passages to wypiek powstały z przepisu z doskonale znanymi składnikami, ale mimo to pchasz go sobie do mordy, bo wiesz że będzie to dobre i chcesz tego. Czysta rekomendacja z mojej strony to rzecz niesłychanie oczywista i naprawdę wiele czasu z tym albumem nie potrzebowałem, by wiedzieć że koniecznie muszę sklepać do kupy kilka zdań o tym cudeńku. Niech się cholerstwo szerzy i rozsiewa smród po wioskach i miastach.

Mielony



With just a demo and an EP released under their repertoire, UK death metal band CRUCIAMENTUM already had a reputation as one of the most prominent death metal prospects today ever since main visionary D. Lowndes formed the band in 2008. With not even a full-length album released to their name, the band have already brought an awareness to the genre akin to what their counterparts in DEAD CONGREGATION and GRAVE MIASMA (in which CRUCIAMENTUM share two members with) have brought forth within the modern age of death metal as one of the leading bands within the new era of the genre.

Even though at the time, with just their “Convocation Of Crawling Chaos” demo from 2009 (recognized as one of the best demos of modern day death metal) and their “Engulfed In Desolation” EP from 2011 under their belt, the band were quite active on the live front respectively. Having done several European and U.S. mini-tours, along with playing a decent number of exclusive shows with bands such as Dead Congregation, Grave Miasma, Sonne Adam, Anhedonist, (one U.S. run CRUCIAMENTUM did even featured a very young Pallbearer on a couple of shows, and coincidentally as an aside it was CRUCIAMENTUM mainman D. Lowndes who mastered Pallbearer’s debut album “Sorrow & Extinction”), and played notable festivals such as Hell’s Pleasure, Killtown Deathfest, and Black Mass Ritual in Europe and Maryland Deathfest, Chaos In Tejas, Rites Of Darkness (twice), and Martyrdoom in the U.S. All this without the band having even released a full-length album.

Following a slight hiatus which would eventually befall the band, CRUCIAMENTUM would inevitably resurrect itself to finally deliver their debut full-length album the death metal scene has been anticipating. Entitled “Charnel Passages”, this sees CRUCIAMENTUM deliver their mightiest work yet and has already been deemed as one of the most anticipated death metal albums of the year. “Charnel Passages” is true dark death metal majesty in every sense of the word and will stand as the death metal monument of 2015. With dark atmosphere, pummeling brutality, and skillful playing all rendered with a clear yet massive, warm, and natural sounding production, “Charnel Passages” will make its impact on the death metal scene and stand as a modern-day death metal milestone.




The OSDM (“Old School Death Metal”) movement has been going on stronger and longer than the actual era of early 90’s death metal at this point. Whether or not this is a good thing depends on who you ask but even within this revival, things have changed so drastically that it has arguably become its own thing inspired and influenced by the classics but somehow in its own drastically different space nowadays. Quite a few of its earliest practitioners have fallen to the wayside or have become otherwise forgotten amidst it being consolidated into a few specific forms. Yet as with Dead Congregation, Funebrarum, Grave Miasma, and Obliteration, their mark has not vanished. Having technically predated the OSDM explosion, these bands are notably very different in mode and execution from others who have since fallen under that tag whether by choice or the whimsy of the crowd and opportunistic labels.

England/Scotland's Cruciamentum (now having partially relocated to Florida, fitting given their influences) are a band of personal significance for me. Formed in 2007, just one year before the monumental release of Graves of the Archangels and the OSDM explosion beginning, they got their start with a single track demo, showcasing the base ideas of their sound. The sole track would be rerecorded for 2009's Convocation of Crawling Chaos which is when I would discover them. While they weren't the first post 2000’s classic-styled death metal band I'd heard, their interpretation of older USDM muscle with a contemporary atmospheric undercurrent, courtesy of their Finnish and black metal influences, grabbed my attention quickly. Back then I was just starting to dig deeper underground, and they were one of my first exposures to death metal that was less about pure BPM and technicality as much as conjuring a darkly evocative, unearthly aura.

Two years later and we would see both a split with Vasaeleth, showcasing a later rerecorded track demonstrating a movement beyond their semi-cavernous roots. More importantly, the Engulfed in Desolation EP showcased what was hinted there evolved into a drastic change in direction. An aggressively dynamic, staunchly American riff-happy approach confused some fans with its notable change in production and de-emphasis on hypnotic ambience. Soon made it was clear that they weren’t about to rest their laurels on simply having a very strong aesthetic. It would be a long four years fraught with rumours that they were going to disband but finally in 2015, Charnel Passages would be released, bringing this long arc of evolution to its most developed form.

Having once shared half of their line-up with the aforementioned Grave Miasma, Cruciamentum were frequently compared to the blackened, ambience-heavy form of death metal often referred to as caverncore. This style, emerging in the wake of experiments by bands such as Demoncy, Profanatica, Portal, and even Goat Molestor (Grave Miasma’s old moniker), existed as a kind of bridge between the murkier, doomier ends of early 90’s death metal and the most primitive non-Nordic second wave variants of black metal. While Cruciamentum focused far, far more riffs on swampy fogginess it wasn’t hard to hear why they were compared. Earlier works by the band generally were prone to longer slow-burning single string riffs and doomier escapades. 2008’s “Rotten Flesh Crucifix”, their very first song, features a notably long Disembowelment style slow chug section as heavy as it was near ritualistic.

The Incantation comparisons never carried too much weight and in 2015, chief songwriter, vocalist, and guitarist Dan Lowndes made it very clear they were completely off base this time around. What was hinted at on 2011 is continued here but far from simply morphing it into an entire album, Cruciamentum also reconcile with the sheer crushing heaviness of their debut, transmuting it into a starkly different but not exactly unfamiliar form in what is among the most satisfying and well executed North American style death metal albums. At once old school yet made of a contemporary mindset, Charnel Passages manages to capture all the strengths of the classic era without simply becoming a tribute to them, simultaneously bereft of any “experimental” bells and whistles yet deftly avoiding the pure redundancy or tediously irony-tinged worship that characterizes many who have emerged in their wake.

On their long-awaited debut, a bridge is formed between the earliest pure strains of American Morbid Angel esque death metal in all of its militant tremolo might, further excising the residual elements of thrashy staccato rhythm and static punchiness. This is augmented with an eye for evocatively forlorn melodies in the vein of Demigod’s Slumber of Sullen Eyes, informing much of its doomier practices though placing this within a stalwart multi-sectioned structural layout. It has the doom-tinged and gloomy flavoring of a Finnish style band but this exists within the structural framework and understated complexity of a malevolent American-inspired one.

While fusions of American and Nordic death metal are not new, they usually focus more on evoking an aura of trudging filthiness. By contrast these brits emphasize riff-driven fury that still manages to find room to let the sense of being amidst the catacombic chambers its excellent album cover illustrates. Lengthy tremolo riffs are part of their bread and butter. Rather than simply heading off into aimless repetition as more ritualistic acts do, they’re frequently contrasted and juxtaposed with shorter, snappier phrasings. These link together in kinetic exchanges of fluid, flowing power utilizing their improved musicianship to put their songs through more twists and turns than ever.

Melodies emerge within these barrages to an almost meditative effect amidst the rapidly developing guitar work while drums expertly adapt to and enforce tempo. With Dan having played in the funeral/death-doom bands Imindain and Profetus, dirge-like portions appear frequently to set-up a series of riffs or serve as a transition point, resolving and developing melodies before using the building momentum to launch into explanatory series of riffs. It would be a mistake to call Cruciamentum a technical band but the careful layout of each song combined with just how much happens in each one results in impressively versatile and consistently thrilling songs that never rely too much on a particular element to work.

Even stronger than their impressive grasp of the genre’s technique is how they structure these songs. As stated previously, there’s a lot in each one but it never necessarily feels that way a large part due to how smoothly everything moves. The songwriting style achieves this through a mixture of repetition and progression, hearkening back to Formulas Fatal to the Flesh. They differ specifically in how rather than using paired riffs to build up to a grand reveal, they consistently develop and vary them throughout the song. Repetition builds up energy to slingshot new riffs to the forefront while retaining energy and intensity. What in older death metal bands would usually be a mid-section break wherein the primary themes are further developed with new riffs isn’t quite the same for Charnel Passages.

Of course these moments are just as pivotal but with how the rest of the riffs are constantly developing beforehand, they don’t really indicate as massive of a complete paradigm shift. Often they coincide with the previously elaborated usage of doomy songwriting. Rather than being a complete turning point, they are more of an indicator of a shift in song direction, hinting towards explosively climactic areas where the amassed energy and thematic momentum will be fully unleashed in broadly sweeping motions. This combination of older style cyclic recombination with a now far more common sense of constantly unfolding thematic motion makes songs easy to follow but also avoids any riff becoming too comfortable and thus repetitive. It also lets the underlying theme behind a lot of these riffs and their interactions remain consistently clear in how they are evolved over these lengthy songs, ranging between five and nearly eight minutes.

Where this album falls a little short is its someway dry production, possessing a somewhat thinner guitar tone than you might expect for this kind of death metal. It does mute some of the impact at first but it does a pretty good job adding this slimy, catacombic ugliness to the riffing evocative of the sort of archaic horror presented by the cover art. At seven songs, it is for me the minimum length a full length should be (assuming no absurdly long/short song lengths) but others might find that it passes a bit quickly especially on the two seven-minute monsters it ends on. It is very tremolo heavy with few more immediately grasped chuggier portions or easy mosh-friendly stomping, single minded in its dedication to evoking the sepulchral and the decomposed. What might make it less easy to get at the same time grants it strength with excellent songwriting with how well all the tracks contrast one another.

While it’s not exactly hummable radio fare, every track usually contains a few particularly stand-out melodies and riffs. The anxiety-inducing angular upper register runs a little before and during the midsection of “Piety Carved from Flesh”, the rigidly militant marching of “Tongues of Nightshade” breaking up its gale-force blast-battling, “The Conquered Sun” subtly modifying its opening melody in a reiteration to lead into a series of snaking asymmetrical configurations; the album might be short but its length is packed with a lot of powerful, gripping sections that give its funereal atmosphere a sense of grandiosity amidst its severity.

Atmosphere in this instance is a powerful tool that gives much of this album its explosive yet morose character but it rests on a strong grip upon the genre’s fundamentals and carefully arranged songcraft. With the band now settled in the USA and closer both literally and figuratively to the birthplace of many of their influences, it is not wrong to predict only greater things for one of the best bands playing no frills death metal. Hail to the masters.

Stillborn Machine



..::TRACK-LIST::..

1. The Conquered Sun (The Dying Light Beyond Morpheus Realms) 07:33
2. Necrophagous Communion 04:59
3. Tongues Of Nightshade 05:29
4. RItes To The Abduction Of Essence 06:00
5. Piety Carved From Flesh 05:20
6. Dissolution Of Mortal Perception 07:29
7. Collapse 07:54



..::OBSADA::..

R.B. - Bass, Guitars (lead) (track 6), Percussion (additional), Vocals, Songwriting (tracks 1, 3, 5, 7)
D.B-H. Drums, Songwriting (tracks 2, 3, 6, 7)
R.C. Guitars (rhythm), Guitars (lead) (tracks 1, 3-5), Lyrics (tracks 3, 7), Songwriting (track 1)
D.L. Guitars (rhythm), Guitars (lead) (tracks 3-7), Keyboards, Vocals, Lyrics (tracks 1, 2, 5, 6), Songwriting




https://www.youtube.com/watch?v=3wtXpyEK344



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spadł mi ten album prosto na ryj i na początku nie za bardzo wiedziałem co się dzieje, bom ostrej poniewierce został poddany już w pierwszym kawałku. To się musiało udać. Pierwszy pełny album deathmetalowców z Wysp Brytyjskich wypchany jest siedmioma potężnymi hymnami o przekozackim klimacie. Bez badziewnych dodatków czy innych bzdur. Czyste napierdalańsko i to w dodatku tak złe, że nawet w piekle się łapią za głowy. Ten ciężar naprawdę wgniata, posępne dźwięki sprawiają że otwierasz oczy bardzo szeroko z wrażenia, a do tego ciągle chcesz więcej i dostajesz więcej, bo każdy kolejny utwór jest spory. Sześć czy siedem minut to tutaj nic nadzwyczajnego. Można się poczuć jak kawał mięsa przepuszczony przez maszynkę do mielenia. Cudowne uczucie, kto death metal miłuje i nosi w sercu niczym słowo boże, ten wie i potakuje ze srogością na ryju. Charnel Passages to wypiek powstały z przepisu z doskonale znanymi składnikami, ale mimo to pchasz go sobie do mordy, bo wiesz że będzie to dobre i chcesz tego. Czysta rekomendacja z mojej strony to rzecz niesłychanie oczywista i naprawdę wiele czasu z tym albumem nie potrzebowałem, by wiedzieć że koniecznie muszę sklepać do kupy kilka zdań o tym cudeńku. Niech się cholerstwo szerzy i rozsiewa smród po wioskach i miastach.

Mielony



With just a demo and an EP released under their repertoire, UK death metal band CRUCIAMENTUM already had a reputation as one of the most prominent death metal prospects today ever since main visionary D. Lowndes formed the band in 2008. With not even a full-length album released to their name, the band have already brought an awareness to the genre akin to what their counterparts in DEAD CONGREGATION and GRAVE MIASMA (in which CRUCIAMENTUM share two members with) have brought forth within the modern age of death metal as one of the leading bands within the new era of the genre.

Even though at the time, with just their “Convocation Of Crawling Chaos” demo from 2009 (recognized as one of the best demos of modern day death metal) and their “Engulfed In Desolation” EP from 2011 under their belt, the band were quite active on the live front respectively. Having done several European and U.S. mini-tours, along with playing a decent number of exclusive shows with bands such as Dead Congregation, Grave Miasma, Sonne Adam, Anhedonist, (one U.S. run CRUCIAMENTUM did even featured a very young Pallbearer on a couple of shows, and coincidentally as an aside it was CRUCIAMENTUM mainman D. Lowndes who mastered Pallbearer’s debut album “Sorrow & Extinction”), and played notable festivals such as Hell’s Pleasure, Killtown Deathfest, and Black Mass Ritual in Europe and Maryland Deathfest, Chaos In Tejas, Rites Of Darkness (twice), and Martyrdoom in the U.S. All this without the band having even released a full-length album.

Following a slight hiatus which would eventually befall the band, CRUCIAMENTUM would inevitably resurrect itself to finally deliver their debut full-length album the death metal scene has been anticipating. Entitled “Charnel Passages”, this sees CRUCIAMENTUM deliver their mightiest work yet and has already been deemed as one of the most anticipated death metal albums of the year. “Charnel Passages” is true dark death metal majesty in every sense of the word and will stand as the death metal monument of 2015. With dark atmosphere, pummeling brutality, and skillful playing all rendered with a clear yet massive, warm, and natural sounding production, “Charnel Passages” will make its impact on the death metal scene and stand as a modern-day death metal milestone.




The OSDM (“Old School Death Metal”) movement has been going on stronger and longer than the actual era of early 90’s death metal at this point. Whether or not this is a good thing depends on who you ask but even within this revival, things have changed so drastically that it has arguably become its own thing inspired and influenced by the classics but somehow in its own drastically different space nowadays. Quite a few of its earliest practitioners have fallen to the wayside or have become otherwise forgotten amidst it being consolidated into a few specific forms. Yet as with Dead Congregation, Funebrarum, Grave Miasma, and Obliteration, their mark has not vanished. Having technically predated the OSDM explosion, these bands are notably very different in mode and execution from others who have since fallen under that tag whether by choice or the whimsy of the crowd and opportunistic labels.

England/Scotland's Cruciamentum (now having partially relocated to Florida, fitting given their influences) are a band of personal significance for me. Formed in 2007, just one year before the monumental release of Graves of the Archangels and the OSDM explosion beginning, they got their start with a single track demo, showcasing the base ideas of their sound. The sole track would be rerecorded for 2009's Convocation of Crawling Chaos which is when I would discover them. While they weren't the first post 2000’s classic-styled death metal band I'd heard, their interpretation of older USDM muscle with a contemporary atmospheric undercurrent, courtesy of their Finnish and black metal influences, grabbed my attention quickly. Back then I was just starting to dig deeper underground, and they were one of my first exposures to death metal that was less about pure BPM and technicality as much as conjuring a darkly evocative, unearthly aura.

Two years later and we would see both a split with Vasaeleth, showcasing a later rerecorded track demonstrating a movement beyond their semi-cavernous roots. More importantly, the Engulfed in Desolation EP showcased what was hinted there evolved into a drastic change in direction. An aggressively dynamic, staunchly American riff-happy approach confused some fans with its notable change in production and de-emphasis on hypnotic ambience. Soon made it was clear that they weren’t about to rest their laurels on simply having a very strong aesthetic. It would be a long four years fraught with rumours that they were going to disband but finally in 2015, Charnel Passages would be released, bringing this long arc of evolution to its most developed form.

Having once shared half of their line-up with the aforementioned Grave Miasma, Cruciamentum were frequently compared to the blackened, ambience-heavy form of death metal often referred to as caverncore. This style, emerging in the wake of experiments by bands such as Demoncy, Profanatica, Portal, and even Goat Molestor (Grave Miasma’s old moniker), existed as a kind of bridge between the murkier, doomier ends of early 90’s death metal and the most primitive non-Nordic second wave variants of black metal. While Cruciamentum focused far, far more riffs on swampy fogginess it wasn’t hard to hear why they were compared. Earlier works by the band generally were prone to longer slow-burning single string riffs and doomier escapades. 2008’s “Rotten Flesh Crucifix”, their very first song, features a notably long Disembowelment style slow chug section as heavy as it was near ritualistic.

The Incantation comparisons never carried too much weight and in 2015, chief songwriter, vocalist, and guitarist Dan Lowndes made it very clear they were completely off base this time around. What was hinted at on 2011 is continued here but far from simply morphing it into an entire album, Cruciamentum also reconcile with the sheer crushing heaviness of their debut, transmuting it into a starkly different but not exactly unfamiliar form in what is among the most satisfying and well executed North American style death metal albums. At once old school yet made of a contemporary mindset, Charnel Passages manages to capture all the strengths of the classic era without simply becoming a tribute to them, simultaneously bereft of any “experimental” bells and whistles yet deftly avoiding the pure redundancy or tediously irony-tinged worship that characterizes many who have emerged in their wake.

On their long-awaited debut, a bridge is formed between the earliest pure strains of American Morbid Angel esque death metal in all of its militant tremolo might, further excising the residual elements of thrashy staccato rhythm and static punchiness. This is augmented with an eye for evocatively forlorn melodies in the vein of Demigod’s Slumber of Sullen Eyes, informing much of its doomier practices though placing this within a stalwart multi-sectioned structural layout. It has the doom-tinged and gloomy flavoring of a Finnish style band but this exists within the structural framework and understated complexity of a malevolent American-inspired one.

While fusions of American and Nordic death metal are not new, they usually focus more on evoking an aura of trudging filthiness. By contrast these brits emphasize riff-driven fury that still manages to find room to let the sense of being amidst the catacombic chambers its excellent album cover illustrates. Lengthy tremolo riffs are part of their bread and butter. Rather than simply heading off into aimless repetition as more ritualistic acts do, they’re frequently contrasted and juxtaposed with shorter, snappier phrasings. These link together in kinetic exchanges of fluid, flowing power utilizing their improved musicianship to put their songs through more twists and turns than ever.

Melodies emerge within these barrages to an almost meditative effect amidst the rapidly developing guitar work while drums expertly adapt to and enforce tempo. With Dan having played in the funeral/death-doom bands Imindain and Profetus, dirge-like portions appear frequently to set-up a series of riffs or serve as a transition point, resolving and developing melodies before using the building momentum to launch into explanatory series of riffs. It would be a mistake to call Cruciamentum a technical band but the careful layout of each song combined with just how much happens in each one results in impressively versatile and consistently thrilling songs that never rely too much on a particular element to work.

Even stronger than their impressive grasp of the genre’s technique is how they structure these songs. As stated previously, there’s a lot in each one but it never necessarily feels that way a large part due to how smoothly everything moves. The songwriting style achieves this through a mixture of repetition and progression, hearkening back to Formulas Fatal to the Flesh. They differ specifically in how rather than using paired riffs to build up to a grand reveal, they consistently develop and vary them throughout the song. Repetition builds up energy to slingshot new riffs to the forefront while retaining energy and intensity. What in older death metal bands would usually be a mid-section break wherein the primary themes are further developed with new riffs isn’t quite the same for Charnel Passages.

Of course these moments are just as pivotal but with how the rest of the riffs are constantly developing beforehand, they don’t really indicate as massive of a complete paradigm shift. Often they coincide with the previously elaborated usage of doomy songwriting. Rather than being a complete turning point, they are more of an indicator of a shift in song direction, hinting towards explosively climactic areas where the amassed energy and thematic momentum will be fully unleashed in broadly sweeping motions. This combination of older style cyclic recombination with a now far more common sense of constantly unfolding thematic motion makes songs easy to follow but also avoids any riff becoming too comfortable and thus repetitive. It also lets the underlying theme behind a lot of these riffs and their interactions remain consistently clear in how they are evolved over these lengthy songs, ranging between five and nearly eight minutes.

Where this album falls a little short is its someway dry production, possessing a somewhat thinner guitar tone than you might expect for this kind of death metal. It does mute some of the impact at first but it does a pretty good job adding this slimy, catacombic ugliness to the riffing evocative of the sort of archaic horror presented by the cover art. At seven songs, it is for me the minimum length a full length should be (assuming no absurdly long/short song lengths) but others might find that it passes a bit quickly especially on the two seven-minute monsters it ends on. It is very tremolo heavy with few more immediately grasped chuggier portions or easy mosh-friendly stomping, single minded in its dedication to evoking the sepulchral and the decomposed. What might make it less easy to get at the same time grants it strength with excellent songwriting with how well all the tracks contrast one another.

While it’s not exactly hummable radio fare, every track usually contains a few particularly stand-out melodies and riffs. The anxiety-inducing angular upper register runs a little before and during the midsection of “Piety Carved from Flesh”, the rigidly militant marching of “Tongues of Nightshade” breaking up its gale-force blast-battling, “The Conquered Sun” subtly modifying its opening melody in a reiteration to lead into a series of snaking asymmetrical configurations; the album might be short but its length is packed with a lot of powerful, gripping sections that give its funereal atmosphere a sense of grandiosity amidst its severity.

Atmosphere in this instance is a powerful tool that gives much of this album its explosive yet morose character but it rests on a strong grip upon the genre’s fundamentals and carefully arranged songcraft. With the band now settled in the USA and closer both literally and figuratively to the birthplace of many of their influences, it is not wrong to predict only greater things for one of the best bands playing no frills death metal. Hail to the masters.

Stillborn Machine



..::TRACK-LIST::..

1. The Conquered Sun (The Dying Light Beyond Morpheus Realms) 07:33
2. Necrophagous Communion 04:59
3. Tongues Of Nightshade 05:29
4. RItes To The Abduction Of Essence 06:00
5. Piety Carved From Flesh 05:20
6. Dissolution Of Mortal Perception 07:29
7. Collapse 07:54



..::OBSADA::..

R.B. - Bass, Guitars (lead) (track 6), Percussion (additional), Vocals, Songwriting (tracks 1, 3, 5, 7)
D.B-H. Drums, Songwriting (tracks 2, 3, 6, 7)
R.C. Guitars (rhythm), Guitars (lead) (tracks 1, 3-5), Lyrics (tracks 3, 7), Songwriting (track 1)
D.L. Guitars (rhythm), Guitars (lead) (tracks 3-7), Keyboards, Vocals, Lyrics (tracks 1, 2, 5, 6), Songwriting




https://www.youtube.com/watch?v=3wtXpyEK344



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



To jeden z najlepszych albumów w swoim gatunku!
Dino Cazares jest naturalnie gwiazdą!
A Emilio Marquez za bębnami całkowicie rozpierdala system...



..::TRACK-LIST::..

1. Adertencia
2. Regresando Odio
3. Maldito
4. Rituales Salvajes
5. Yo No Fui
6. Padre Pedofilio
7. Enterrado Vivo
8. Puta Con Dio ?
9. Adelitas
10. Twiquiado
11. Perro Primero
12. Saadistico
13. Batalla Final
14. Cristo Satanico
15. y Tu Mama Combien

Bonus Tracks:
16. Misas Negras
17. Matando Gueros
18. Regresando Odio (Live)
19. Padre Pedofilio (Live)
20. Enterrado Vivo (Live)
21. Adelitas (Live)
22. y Tu Mama Cambie (Live)
23. Puta Con Pito (Live)
24. Angel Of Death (Live)



..::OBSADA::..

Bass [Bajo], Vocals [Gritos] - Maldito X
Drums [Bateria] - Sadistico
Guitar [Guitarra] - Asesino




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



To jeden z najlepszych albumów w swoim gatunku!
Dino Cazares jest naturalnie gwiazdą!
A Emilio Marquez za bębnami całkowicie rozpierdala system...



..::TRACK-LIST::..

1. Adertencia
2. Regresando Odio
3. Maldito
4. Rituales Salvajes
5. Yo No Fui
6. Padre Pedofilio
7. Enterrado Vivo
8. Puta Con Dio ?
9. Adelitas
10. Twiquiado
11. Perro Primero
12. Saadistico
13. Batalla Final
14. Cristo Satanico
15. y Tu Mama Combien

Bonus Tracks:
16. Misas Negras
17. Matando Gueros
18. Regresando Odio (Live)
19. Padre Pedofilio (Live)
20. Enterrado Vivo (Live)
21. Adelitas (Live)
22. y Tu Mama Cambie (Live)
23. Puta Con Pito (Live)
24. Angel Of Death (Live)



..::OBSADA::..

Bass [Bajo], Vocals [Gritos] - Maldito X
Drums [Bateria] - Sadistico
Guitar [Guitarra] - Asesino




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Equinox was a black / death metal band from Florida, formed in 1992.Featuring guitar players Pete Slate (Druid Lord, ex-Acheron, ex-Incubus, and Tony Blakk (Druid Lord, Massacre (live), ex-Diabolic (live), ex-Acheron) and vocalist / bassist Matt Wagner. Re-release of the sold out, legendary 1996 debut of Equinox which was mixed at Morrisound Studios, Tampa, Florida by Tom Morris (Sepultura, Kreator, Morbid Angel). The booklet contains extensive liner notes from Olivier ‘Zoltar’ Badin (Cathedral, Dark Funeral) and many rare and old pictures, flyers, posters and complete new cover artwork. The album is completely remastered plus as bonus the 1995 Ep, Live in Orlando 1993 and The Anthem to the Moon demo 1993. 15 tracks in total.



..::TRACK-LIST::..

1. Rites of Red Giving 06:16
2. Return to Mystery 04:00
3. Until the Dawn's Mist 04:35
4. The Mourning River 04:15
5. Valley of the Kings 04:45
6. Dreams of the Winter Solstice 05:37
7. Winds of Autumn 06:55
8. Infernal Atavism (Descend to Tetragrammaton) 05:14
9. Path to Eternal Ruin 05:59

Bonus Tracks:
10. De Sacrificio Summo (Upon the Throne of Eternity ep 1995) 06:25
11. Intro (live in Orlando 1993) 01:01
12. The Eye (live in Orlando 1993) 04:03
13. Psychic Rebirth (Anthem to the Moon demo 1993) 05:01
14. Dreams of the Winter Solstice (Anthem to the Moon demo 1993) 05:25
15. Divine Ascension (Anthem to the Moon demo 1993) 05:59



..::OBSADA::..

Matt Wagner - Vocals, Bass
Pete Slate - Guitars
Tony Blakk - Guitars
Steve Spillers - Drums




https://www.youtube.com/watch?v=K0RWa5xrOMY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Equinox was a black / death metal band from Florida, formed in 1992.Featuring guitar players Pete Slate (Druid Lord, ex-Acheron, ex-Incubus, and Tony Blakk (Druid Lord, Massacre (live), ex-Diabolic (live), ex-Acheron) and vocalist / bassist Matt Wagner. Re-release of the sold out, legendary 1996 debut of Equinox which was mixed at Morrisound Studios, Tampa, Florida by Tom Morris (Sepultura, Kreator, Morbid Angel). The booklet contains extensive liner notes from Olivier ‘Zoltar’ Badin (Cathedral, Dark Funeral) and many rare and old pictures, flyers, posters and complete new cover artwork. The album is completely remastered plus as bonus the 1995 Ep, Live in Orlando 1993 and The Anthem to the Moon demo 1993. 15 tracks in total.




1. Rites of Red Giving 06:16
2. Return to Mystery 04:00
3. Until the Dawn's Mist 04:35
4. The Mourning River 04:15
5. Valley of the Kings 04:45
6. Dreams of the Winter Solstice 05:37
7. Winds of Autumn 06:55
8. Infernal Atavism (Descend to Tetragrammaton) 05:14
9. Path to Eternal Ruin 05:59

Bonus Tracks:
10. De Sacrificio Summo (Upon the Throne of Eternity ep 1995) 06:25
11. Intro (live in Orlando 1993) 01:01
12. The Eye (live in Orlando 1993) 04:03
13. Psychic Rebirth (Anthem to the Moon demo 1993) 05:01
14. Dreams of the Winter Solstice (Anthem to the Moon demo 1993) 05:25
15. Divine Ascension (Anthem to the Moon demo 1993) 05:59




Matt Wagner - Vocals, Bass
Pete Slate - Guitars
Tony Blakk - Guitars
Steve Spillers - Drums




https://www.youtube.com/watch?v=K0RWa5xrOMY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album nowojorczyków z Malignancy. Ekstremalnie brutalna dawka technicznego death metalu!

Dla fanów MORTICIAN, SUFFOCATION, DYING FETUS, DEVOURMENT, WORMED.



Originally I started listening to this album thinking that I am going to hate it. Why? Because it's different and for a cult classic band such as Malignancy that already put out a handful of amazing releases, it's not always the best idea to change sound and style. While I was listening to this release for the first 1-2 times I thought this was just a toned-down version of Intrauterine Cannibalism when in reality this is much much more than that.

First things first, Roger is back in the band although this time he takes up the bass duties and leaves the drumming to Mike Heller. The fact that he is back in the band didn't really excite me all that much until I heard the amazing bass sound they are working with. It's loud, it's fast and it's an all-around amazing piece of a technical element that they managed to sneak into their mostly riff-heavy music. The riffs on this record are even better than they were on Inhuman Grotesqueries since they are actually a lot more memorable than they were on the previous record. I think at this point in their career it's pretty obvious that Danny Nelson's vocals are always top-notch both in terms of brutality and variety. This doesn't change this time either. The really low and guttural growls sometimes mixed with the high-pitched screams of this guy is just insane.

To start of the album, we get a strange intro with a bunch of samples cut together, but luckily Roger didn't bring along his Mortician style, so this intro sits well below 1 minute and the only purpose of it, is to lead into Type Zero Civilization (which starts of with one of the greatest screams you will hear from the band). It's a fast-paced track as usual, and the riff with the technical "seasoning" is a real treat to my ears. If you were to compare this song to anything from their debut album you would hear how they evolved over time. The vocals are "cleaner" just like the production, the bass is even louder, the riffs that were mostly chugging brutal death metal riffs are now switched to technical death metal riffs with occasional chugs here and there. It's kinda funny how the slam elements are basically the only thing that hasn't changed over 13 years. Yes, they are still here, but this time they make a strong presence. Breakdowns here and there, but nothing deathcore level of time-wasting, so they don't end up being all that annoying.

The band also managed to take up a new habit. They actually made songs longer than 4 minutes!!! 2 of them to be exact. While the first one Separatists is also a riff-heavy track (at least from my point of view) it starts out with an amazing acoustic intro and goes into few licks which turns into a breakdown soon enough. After that breakdown, the rest of the song is a lot better to be fair. The second 4-minute song, on the other hand, is a lot less interesting. The Breach starts off with a break-neck speed riff, but it quickly transforms into some technical wankery (and not the good kind of tech-wankery). It could have used less technical riffs and more of the already amazing high-pitched screams and we would have gotten an amazing song, but in this case, we just got a song that should have been 2 minutes but is 4 minutes and it's not necessarily able to fill up this time period.

Overall other than the very last track, this album is all killer, no filler. Every second of it screams that it was made by the very best and at this point, 3 full-lengths, 2 EPs and 2 splits into their career I can safely say they are one of the best (if not the very best) and most consistent brutal death metal band ever.

Feast for the Damned



..::TRACK-LIST::..

1. Intro 0:47
2. Type Zero Civilization 2:53
3. Eugenics 2:55
4. Extinction Event 3:03
5. Global Systemic Collapse 3:51
6. Cataclysmic Euphoria 3:17
7. Separatists 4:44
8. Monstrous Indifference 1:23
9. Cryptobiosis 2:28
10. Creatures Of Conformity 2:53
11. The Breach 4:06



..::OBSADA::..

Vocals - Danny Nelson
Guitar - Ron Kachnic
Bass - Roger J. Beaujard
Drums - Mike Heller



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album nowojorczyków z Malignancy. Ekstremalnie brutalna dawka technicznego death metalu!

Dla fanów MORTICIAN, SUFFOCATION, DYING FETUS, DEVOURMENT, WORMED.



Originally I started listening to this album thinking that I am going to hate it. Why? Because it's different and for a cult classic band such as Malignancy that already put out a handful of amazing releases, it's not always the best idea to change sound and style. While I was listening to this release for the first 1-2 times I thought this was just a toned-down version of Intrauterine Cannibalism when in reality this is much much more than that.

First things first, Roger is back in the band although this time he takes up the bass duties and leaves the drumming to Mike Heller. The fact that he is back in the band didn't really excite me all that much until I heard the amazing bass sound they are working with. It's loud, it's fast and it's an all-around amazing piece of a technical element that they managed to sneak into their mostly riff-heavy music. The riffs on this record are even better than they were on Inhuman Grotesqueries since they are actually a lot more memorable than they were on the previous record. I think at this point in their career it's pretty obvious that Danny Nelson's vocals are always top-notch both in terms of brutality and variety. This doesn't change this time either. The really low and guttural growls sometimes mixed with the high-pitched screams of this guy is just insane.

To start of the album, we get a strange intro with a bunch of samples cut together, but luckily Roger didn't bring along his Mortician style, so this intro sits well below 1 minute and the only purpose of it, is to lead into Type Zero Civilization (which starts of with one of the greatest screams you will hear from the band). It's a fast-paced track as usual, and the riff with the technical "seasoning" is a real treat to my ears. If you were to compare this song to anything from their debut album you would hear how they evolved over time. The vocals are "cleaner" just like the production, the bass is even louder, the riffs that were mostly chugging brutal death metal riffs are now switched to technical death metal riffs with occasional chugs here and there. It's kinda funny how the slam elements are basically the only thing that hasn't changed over 13 years. Yes, they are still here, but this time they make a strong presence. Breakdowns here and there, but nothing deathcore level of time-wasting, so they don't end up being all that annoying.

The band also managed to take up a new habit. They actually made songs longer than 4 minutes!!! 2 of them to be exact. While the first one Separatists is also a riff-heavy track (at least from my point of view) it starts out with an amazing acoustic intro and goes into few licks which turns into a breakdown soon enough. After that breakdown, the rest of the song is a lot better to be fair. The second 4-minute song, on the other hand, is a lot less interesting. The Breach starts off with a break-neck speed riff, but it quickly transforms into some technical wankery (and not the good kind of tech-wankery). It could have used less technical riffs and more of the already amazing high-pitched screams and we would have gotten an amazing song, but in this case, we just got a song that should have been 2 minutes but is 4 minutes and it's not necessarily able to fill up this time period.

Overall other than the very last track, this album is all killer, no filler. Every second of it screams that it was made by the very best and at this point, 3 full-lengths, 2 EPs and 2 splits into their career I can safely say they are one of the best (if not the very best) and most consistent brutal death metal band ever.

Feast for the Damned



..::TRACK-LIST::..

1. Intro 0:47
2. Type Zero Civilization 2:53
3. Eugenics 2:55
4. Extinction Event 3:03
5. Global Systemic Collapse 3:51
6. Cataclysmic Euphoria 3:17
7. Separatists 4:44
8. Monstrous Indifference 1:23
9. Cryptobiosis 2:28
10. Creatures Of Conformity 2:53
11. The Breach 4:06



..::OBSADA::..

Vocals - Danny Nelson
Guitar - Ron Kachnic
Bass - Roger J. Beaujard
Drums - Mike Heller



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

10 lat po debiutanckim albumie niemiecki INGURGITATING OBLIVION powraca! Przytłączający, chaotyczny i gęsty techniczny death metal, który zadowoli fanów GORGUTS, IMMOLATION i MORBID ANGEL!


Po dziesięciu latach nową płytę zdecydował się wydać niemiecki ansambl death metalowy Ingurgitating Oblivion. To dopiero ich drugi pełny krążek. Nie miałem jednak okazji posłuchać wcześniejszych nagrań, a więc nie porównam nowych dźwięków z żadnymi z przeszłości. Mogę jedynie skupić się tym, co akuratnie wylatuje z moich głośników. Zanim odpaliłem sobie płytę, to moją uwagę przykuł czas trwania poszczególnych utworów. Wyraźnie widać, że nikt tu nie zamierza bawić się w krótkie strzały. Cel jest zgoła odmienny. Z jednej strony sugerowało to, że są tu ciekawe pomysły, a z drugiej budziło daleko posuniętą ostrożność, czy aby nie ma tu przekombinowania i piłowania dźwięków dla samego piłowania. W ostatecznym rozrachunku okazuje się, że ta druga myśl jest zdecydowanie bliższa prawdy. Przede wszystkim cholernie wymęczył mnie ten album. Tak naprawdę już podczas drugiego odsłuchu miałem dość. Nie dlatego, że panowie nie umieją grać. Umieją i to bardzo dobrze i tu jest mały problem. Pakują w te swoje utwory mnóstwo dźwięków i zapominają, że czasami prościej naprawdę oznacza lepiej. Można się w tym wszystkim pogubić. Wystarczy na chwilkę się zapomnieć i wątek macie zgubiony jak w banku. Męczą mnie ostatnimi czasy takie dźwięki. Biegłość instrumentalna to zdecydowanie za mało dla mnie. Ja chcę dobrych utworów, kopiących zadek pomysłów i czegoś, co momentalnie zapadnie w pamięć. Czegoś takiego nie ma tu za wiele. Ba, nie ma praktycznie wcale. Pewnie paru onanistów się tym albumem zachwyci, ale ja się do nich nie zaliczam. Znużony jestem tym albumem okrutnie. Niby krew się leje obficie, niby jest zdrowo posunięta brutalność, niby jest wszystko co być powinno. Co z tego, skoro to wszystko zlewa się w jedną, niesłuchalną magmę? Ewidentnie brak tu umiaru. Niemal gotów jestem założyć się, że kapela chciała upchać na płytę, jak najwięcej pomysłów, ale wyszło to tak sobie. Nie mam problemu, żeby sobie te dźwięki gdzieś tam w tle leciały, ale raczej nie więcej niż dwa razy pod rząd. Potem zaczyna narastać wkurwienie i rozdrażnienie, a wtedy lepiej się wyciszyć. Taki to właśnie album jest. Pierwszy odsłuch jakoś szybko mija, ale potem zaczyna się uważne słuchanie i narastające w szybkim tempie zmęczenie. Dziękuję, ale to nie jest album dla mnie. Może innym razem, o ile będę miał ochotę sprawdzić. Na dzień dzisiejszy wydaje mi się to bardzo mało prawdopodobne.

Paweł Denys


Incredibly impressed with Ingurgitating Oblivion's third effort Vision Wallows in Symphonies of Light, I decided to venture back in their discography a bit. While this is by all means solid, there's really no signs that just one album later they would be a band that would not only write an avant-garde dissonant jazz-influenced 22 minute tech death epic dripping with alien atmosphere, but also somehow manage to make it sound amazing and not a pretentious, bloated pile of horse dung. On their sophomore Continuum of Absence they are not exactly your average death metal band, but they're also not that far removed.

Continuum generally undulates between a really modern and busy not-quite-tech-death-but-getting-there sound and a thick, doomy dissonant lurching. While not exactly trailblazers of originality, and even if a Gorguts influence can be quite prominent of times, I'm glad that it's not just a rip off one or two obvious old school classics and call it a day sort of affair. Ingurgitating Oblivion (that name though - I had to look up "ingurgitating" to make sure it was a real word) are a busy band and have a fair amount of ideas to bounce about. How busy they are can be cool, but it also sometimes work to their detriment. While they're really good at the tech death aspect of their sound, sometimes they forget to let the music breathe. While not as common as the frantic buzz of twisting distortion and frantic blastbeats, the dissonant lurching portion of their sound would serve this function well if not for one thing. While the drummer is quite technically adept, he doesn't really know when to step back and allow for breathing room. During the more doomy churning he just keeps hammering away at the double bass, seemingly unaware of what the rest of the band is doing.

It does seem that this is supposed to be death metal with a decent amount of atmosphere, but this doesn't really shine through as well as it could. While the dark ambient sections are pretty good, the production is a bit dry and dull. A thick murky atmosphere could have been achieved with ease in the slower sections, but the guitar tone just doesn't get the job done. That said, these parts are still cool and the music is much better off for having them. Still, the songs don't do very much to differentiate themselves from each other. In the end it just becomes a blur and I can't really recall any individual song having its own character or being a standout moment.

I hope I'm not being needlessly harsh with this album because of what a massive improvement the next one would be. This is by all means a solid death metal album and above average. It's just not something I see myself coming back to very often, especially when the next one is a goddamn masterpiece (definitely my favourite death metal album of this year so far).

Thumbman



..::TRACK-LIST::..

1. Eternal Quiescence 10:21
2. Antinomian Rites 04:52
3. Burden Of Recurrence 08:28
4. Descent To The Temple 06:45
5. Avatar Of Radiating Abscence 07:26
6. Offering 03:46
7. Stupendous, Featureless, Still 07:50



..::OBSADA::..

Vocals [All] - Ulrich Kreienbrink
Guitar - Florian Engelke, Sascha Hermesdorf
Bass Guitar - Christian Pfeil
Drums - Ingo Neugebauer

Sampler - Ulrich Kreienbrink
Soloist - Jan Ferdinand (tracks: 1), Lille Gruber (tracks: 4)




https://www.youtube.com/watch?v=es0ftusCI5o



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

10 lat po debiutanckim albumie niemiecki INGURGITATING OBLIVION powraca! Przytłączający, chaotyczny i gęsty techniczny death metal, który zadowoli fanów GORGUTS, IMMOLATION i MORBID ANGEL!


Po dziesięciu latach nową płytę zdecydował się wydać niemiecki ansambl death metalowy Ingurgitating Oblivion. To dopiero ich drugi pełny krążek. Nie miałem jednak okazji posłuchać wcześniejszych nagrań, a więc nie porównam nowych dźwięków z żadnymi z przeszłości. Mogę jedynie skupić się tym, co akuratnie wylatuje z moich głośników. Zanim odpaliłem sobie płytę, to moją uwagę przykuł czas trwania poszczególnych utworów. Wyraźnie widać, że nikt tu nie zamierza bawić się w krótkie strzały. Cel jest zgoła odmienny. Z jednej strony sugerowało to, że są tu ciekawe pomysły, a z drugiej budziło daleko posuniętą ostrożność, czy aby nie ma tu przekombinowania i piłowania dźwięków dla samego piłowania. W ostatecznym rozrachunku okazuje się, że ta druga myśl jest zdecydowanie bliższa prawdy. Przede wszystkim cholernie wymęczył mnie ten album. Tak naprawdę już podczas drugiego odsłuchu miałem dość. Nie dlatego, że panowie nie umieją grać. Umieją i to bardzo dobrze i tu jest mały problem. Pakują w te swoje utwory mnóstwo dźwięków i zapominają, że czasami prościej naprawdę oznacza lepiej. Można się w tym wszystkim pogubić. Wystarczy na chwilkę się zapomnieć i wątek macie zgubiony jak w banku. Męczą mnie ostatnimi czasy takie dźwięki. Biegłość instrumentalna to zdecydowanie za mało dla mnie. Ja chcę dobrych utworów, kopiących zadek pomysłów i czegoś, co momentalnie zapadnie w pamięć. Czegoś takiego nie ma tu za wiele. Ba, nie ma praktycznie wcale. Pewnie paru onanistów się tym albumem zachwyci, ale ja się do nich nie zaliczam. Znużony jestem tym albumem okrutnie. Niby krew się leje obficie, niby jest zdrowo posunięta brutalność, niby jest wszystko co być powinno. Co z tego, skoro to wszystko zlewa się w jedną, niesłuchalną magmę? Ewidentnie brak tu umiaru. Niemal gotów jestem założyć się, że kapela chciała upchać na płytę, jak najwięcej pomysłów, ale wyszło to tak sobie. Nie mam problemu, żeby sobie te dźwięki gdzieś tam w tle leciały, ale raczej nie więcej niż dwa razy pod rząd. Potem zaczyna narastać wkurwienie i rozdrażnienie, a wtedy lepiej się wyciszyć. Taki to właśnie album jest. Pierwszy odsłuch jakoś szybko mija, ale potem zaczyna się uważne słuchanie i narastające w szybkim tempie zmęczenie. Dziękuję, ale to nie jest album dla mnie. Może innym razem, o ile będę miał ochotę sprawdzić. Na dzień dzisiejszy wydaje mi się to bardzo mało prawdopodobne.

Paweł Denys


Incredibly impressed with Ingurgitating Oblivion's third effort Vision Wallows in Symphonies of Light, I decided to venture back in their discography a bit. While this is by all means solid, there's really no signs that just one album later they would be a band that would not only write an avant-garde dissonant jazz-influenced 22 minute tech death epic dripping with alien atmosphere, but also somehow manage to make it sound amazing and not a pretentious, bloated pile of horse dung. On their sophomore Continuum of Absence they are not exactly your average death metal band, but they're also not that far removed.

Continuum generally undulates between a really modern and busy not-quite-tech-death-but-getting-there sound and a thick, doomy dissonant lurching. While not exactly trailblazers of originality, and even if a Gorguts influence can be quite prominent of times, I'm glad that it's not just a rip off one or two obvious old school classics and call it a day sort of affair. Ingurgitating Oblivion (that name though - I had to look up "ingurgitating" to make sure it was a real word) are a busy band and have a fair amount of ideas to bounce about. How busy they are can be cool, but it also sometimes work to their detriment. While they're really good at the tech death aspect of their sound, sometimes they forget to let the music breathe. While not as common as the frantic buzz of twisting distortion and frantic blastbeats, the dissonant lurching portion of their sound would serve this function well if not for one thing. While the drummer is quite technically adept, he doesn't really know when to step back and allow for breathing room. During the more doomy churning he just keeps hammering away at the double bass, seemingly unaware of what the rest of the band is doing.

It does seem that this is supposed to be death metal with a decent amount of atmosphere, but this doesn't really shine through as well as it could. While the dark ambient sections are pretty good, the production is a bit dry and dull. A thick murky atmosphere could have been achieved with ease in the slower sections, but the guitar tone just doesn't get the job done. That said, these parts are still cool and the music is much better off for having them. Still, the songs don't do very much to differentiate themselves from each other. In the end it just becomes a blur and I can't really recall any individual song having its own character or being a standout moment.

I hope I'm not being needlessly harsh with this album because of what a massive improvement the next one would be. This is by all means a solid death metal album and above average. It's just not something I see myself coming back to very often, especially when the next one is a goddamn masterpiece (definitely my favourite death metal album of this year so far).

Thumbman



..::TRACK-LIST::..

1. Eternal Quiescence 10:21
2. Antinomian Rites 04:52
3. Burden Of Recurrence 08:28
4. Descent To The Temple 06:45
5. Avatar Of Radiating Abscence 07:26
6. Offering 03:46
7. Stupendous, Featureless, Still 07:50



..::OBSADA::..

Vocals [All] - Ulrich Kreienbrink
Guitar - Florian Engelke, Sascha Hermesdorf
Bass Guitar - Christian Pfeil
Drums - Ingo Neugebauer

Sampler - Ulrich Kreienbrink
Soloist - Jan Ferdinand (tracks: 1), Lille Gruber (tracks: 4)




https://www.youtube.com/watch?v=es0ftusCI5o



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Wznowienie debiutanckiej płyty z 1996 roku w wykonaniu jednej z najbrutalniejszych deathmetalowych załóg z UK!
Krążek zawiera również 'Mangled Remains' demo!


Formed in 1992, and releasing their only demo in 1993, the band caused controversy in 1995 when their album Gore and Perversion was infamously seized and incinerated by the local police due to the album's offensive content, and banned upon release. Since then the band has carried on with their ferocious death metal, getting better with each album. They have toured all over the world and loves it!



..::TRACK-LIST::..

1. Raping the Corpse 04:35
2. Human Gore 04:57
3. Penile Dissection 03:37
4. It Can't Be My Grave 01:16
5. Dead Bitch In The Skip 05:49
6. No More Room in the Freezer 03:06
7. Mutilated Genitalia 03:03
8. Immense Suffering 01:57
9. To Kill with a Drill 06:07
10. Pharaonic Circumcision 02:44
11. Coprophiliac Connoisseur 04:49
12. Fontanelle Fornication 04:22
13. I.A.I. 05:48



..::OBSADA::..

Mic - Drums
Ollie - Vocals, Guitar, Bass



https://www.youtube.com/watch?v=ROdXpSp36og



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Wznowienie debiutanckiej płyty z 1996 roku w wykonaniu jednej z najbrutalniejszych deathmetalowych załóg z UK!
Krążek zawiera również 'Mangled Remains' demo!


Formed in 1992, and releasing their only demo in 1993, the band caused controversy in 1995 when their album Gore and Perversion was infamously seized and incinerated by the local police due to the album's offensive content, and banned upon release. Since then the band has carried on with their ferocious death metal, getting better with each album. They have toured all over the world and loves it!



..::TRACK-LIST::..

1. Raping the Corpse 04:35
2. Human Gore 04:57
3. Penile Dissection 03:37
4. It Can't Be My Grave 01:16
5. Dead Bitch In The Skip 05:49
6. No More Room in the Freezer 03:06
7. Mutilated Genitalia 03:03
8. Immense Suffering 01:57
9. To Kill with a Drill 06:07
10. Pharaonic Circumcision 02:44
11. Coprophiliac Connoisseur 04:49
12. Fontanelle Fornication 04:22
13. I.A.I. 05:48



..::OBSADA::..

Mic - Drums
Ollie - Vocals, Guitar, Bass



https://www.youtube.com/watch?v=ROdXpSp36og



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Debiutancki materiał angielskiego zespołu złożonego z muzyków EXTREME NOISE TERROR, GOREROTTED, WINTERFYLLETH, HELLBASTARD AND INTRORECTALGESTATION...
Nieustający i brutalny death metal!



..::TRACK-LIST::..

1. Punishment Without Mercy 04:42
2. In Gristle and Sinew 04:30
3. Prelude to Pestilence 01:51
4. Pestilent Plains 05:07



..::OBSADA::..

Vocals - BM
Bass - PL
Drums - JR
Guitar - MW

Trumpet [guest] - Will Chalk (tracks: 3,4)




https://www.youtube.com/watch?v=B1gYJSNFxOs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Debiutancki materiał angielskiego zespołu złożonego z muzyków EXTREME NOISE TERROR, GOREROTTED, WINTERFYLLETH, HELLBASTARD AND INTRORECTALGESTATION...
Nieustający i brutalny death metal!



..::TRACK-LIST::..

1. Punishment Without Mercy 04:42
2. In Gristle and Sinew 04:30
3. Prelude to Pestilence 01:51
4. Pestilent Plains 05:07



..::OBSADA::..

Vocals - BM
Bass - PL
Drums - JR
Guitar - MW

Trumpet [guest] - Will Chalk (tracks: 3,4)




https://www.youtube.com/watch?v=B1gYJSNFxOs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album z 2005 roku.
Fińscy mistrzowie nordyckiego death metalu!


The circumstances related to the recording of "Terror Of Thousand Faces" caused Jarkko Rantanen's band so many obstacles that this lp...could not be released! Problems with funds, production, release (as many as 3 years after the disc was ready in 2002) or the line-up (this is nothing new) are roughly what happened at Adramelech after "Pure Blood Doom" was released. Interestingly, all these adversities did not come into an lp that was detached from the style of these Finns or brought another reduction in form. Contrary to widespread (and wrong - as I will prove in a moment) criticism, "Terror..." looks much better than its predecessor.

"Terror Of Thousand Faces" much more often returns to "overwhelming" regions, neatly referring to the stuffiness of "Psychostasia". And here we should praise first of all Jari Laine, who made a sensible gain from the previous album and managed to find a golden mean between the riffs from their debut and those from "Pure...". The filthy patents and the "overwhelming" atmosphere are back, and all of this was obtained with more brutality than in the days of Rantanen's vocals, and without any technical tricks. Of course, these elements are not as good as in the times of "Psychostasia", although "Terror..." really doesn't bother to give a low note, and such songs as "Book Of Flesh", "Bleeding For Supremacy", "Slain In" The Grace Of Thy Name" or "Orphica Holodemiurgia" (the most atmospheric and my definite top1 from this album) immediately captivate with their gloomy atmosphere and classic death metal sounds. Disadvantages are the occasional uniformity (especially at the beginning of the album), not very unique vocals by Marko Silvennoinen (although better than Ali anyway) and a bit weird production (especially the drums - less "juicy" than before). Generally, tiny of disadvantages and without obscuring the pluses, which are definitely not missing here.

Surprisingly, the uninteresting problems that affected Adramelech at the turn of the 20th and 21st centuries did not come into a reduction of overall level. Well, the Finns on "Terror Of Thousand Faces" managed to record a very sensible, death metal album in their characteristic style. Unfortunately, the determination was not enough to continue. "Terror Of Thousand Faces" is Adramelech's last release for many years.

Hames Jetfield



..::TRACK-LIST::..

1. Intro 00:24
2. Halls of Human Tragedy 02:21
3. Descent to Eternal Torment 02:58
4. Bleeding for Supremacy 02:51
5. Suicide, Terrorize 02:03
6. I Don't Care About Your Murder 03:40
7. Slain in the Grace of Thy Name 04:05
8. Book of Flesh 03:42
9. Terror of Thousand Faces 02:53
10. Orphica Holodemiurgia 04:07



..::OBSADA::..

Jarkko Rantanen - Drums
Jari Laine - Guitars, Bass, Lyrics
Marko Silvennoinen - Vocals, Lyrics




https://www.youtube.com/watch?v=NVZzle7A0_k



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album z 2005 roku.
Fińscy mistrzowie nordyckiego death metalu!


The circumstances related to the recording of "Terror Of Thousand Faces" caused Jarkko Rantanen's band so many obstacles that this lp...could not be released! Problems with funds, production, release (as many as 3 years after the disc was ready in 2002) or the line-up (this is nothing new) are roughly what happened at Adramelech after "Pure Blood Doom" was released. Interestingly, all these adversities did not come into an lp that was detached from the style of these Finns or brought another reduction in form. Contrary to widespread (and wrong - as I will prove in a moment) criticism, "Terror..." looks much better than its predecessor.

"Terror Of Thousand Faces" much more often returns to "overwhelming" regions, neatly referring to the stuffiness of "Psychostasia". And here we should praise first of all Jari Laine, who made a sensible gain from the previous album and managed to find a golden mean between the riffs from their debut and those from "Pure...". The filthy patents and the "overwhelming" atmosphere are back, and all of this was obtained with more brutality than in the days of Rantanen's vocals, and without any technical tricks. Of course, these elements are not as good as in the times of "Psychostasia", although "Terror..." really doesn't bother to give a low note, and such songs as "Book Of Flesh", "Bleeding For Supremacy", "Slain In" The Grace Of Thy Name" or "Orphica Holodemiurgia" (the most atmospheric and my definite top1 from this album) immediately captivate with their gloomy atmosphere and classic death metal sounds. Disadvantages are the occasional uniformity (especially at the beginning of the album), not very unique vocals by Marko Silvennoinen (although better than Ali anyway) and a bit weird production (especially the drums - less "juicy" than before). Generally, tiny of disadvantages and without obscuring the pluses, which are definitely not missing here.

Surprisingly, the uninteresting problems that affected Adramelech at the turn of the 20th and 21st centuries did not come into a reduction of overall level. Well, the Finns on "Terror Of Thousand Faces" managed to record a very sensible, death metal album in their characteristic style. Unfortunately, the determination was not enough to continue. "Terror Of Thousand Faces" is Adramelech's last release for many years.

Hames Jetfield



..::TRACK-LIST::..

1. Intro 00:24
2. Halls of Human Tragedy 02:21
3. Descent to Eternal Torment 02:58
4. Bleeding for Supremacy 02:51
5. Suicide, Terrorize 02:03
6. I Don't Care About Your Murder 03:40
7. Slain in the Grace of Thy Name 04:05
8. Book of Flesh 03:42
9. Terror of Thousand Faces 02:53
10. Orphica Holodemiurgia 04:07



..::OBSADA::..

Jarkko Rantanen - Drums
Jari Laine - Guitars, Bass, Lyrics
Marko Silvennoinen - Vocals, Lyrics




https://www.youtube.com/watch?v=NVZzle7A0_k



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Zbiór dwóch demówek z 1987 roku surowego deathmetalowego zespołu, na bazie którego powstała NAUSEA z Los Angeles.
W składzie: Oscar Garcia (Terrorizer, Nausea), Carlos 'Cosmo' Reveles (Terrorizer, Nausea) oraz Eric Castro (Nausea).



..::TRACK-LIST::..

Majesty
Bestial Vomit (Demo 1987):
1. Intro / Enemy Alliance 3:24
2. Maggots 2:50
3. Desecration Of Gods 2:28
4. Bestial Vomit 3:22
5. Annihilation 2:40

Demo Two (7.26.87):
6. Bloodshed 2:09
7. Self Fear 1:58
8. Awaken From The Grave 2:14
9. World Downfall 2:21
10. Predator 1:08

Jam Session with Terrorizer (7.17.87):
11. Majesty & Terrorizer - Instinct Of Survival 2:34
12. Majesty & Terrorizer - World Downfall 2:14



..::OBSADA::..

Drums - Eric Castro
Guitar - Cosmo Reveles
Guitar, Vocals - Oscar Garcia




https://www.youtube.com/watch?v=2FdWFxNs9ZU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Zbiór dwóch demówek z 1987 roku surowego deathmetalowego zespołu, na bazie którego powstała NAUSEA z Los Angeles.
W składzie: Oscar Garcia (Terrorizer, Nausea), Carlos 'Cosmo' Reveles (Terrorizer, Nausea) oraz Eric Castro (Nausea).



..::TRACK-LIST::..

Majesty
Bestial Vomit (Demo 1987):
1. Intro / Enemy Alliance 3:24
2. Maggots 2:50
3. Desecration Of Gods 2:28
4. Bestial Vomit 3:22
5. Annihilation 2:40

Demo Two (7.26.87):
6. Bloodshed 2:09
7. Self Fear 1:58
8. Awaken From The Grave 2:14
9. World Downfall 2:21
10. Predator 1:08

Jam Session with Terrorizer (7.17.87):
11. Majesty & Terrorizer - Instinct Of Survival 2:34
12. Majesty & Terrorizer - World Downfall 2:14



..::OBSADA::..

Drums - Eric Castro
Guitar - Cosmo Reveles
Guitar, Vocals - Oscar Garcia




https://www.youtube.com/watch?v=2FdWFxNs9ZU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Piąty album Pyrrhon, Exhaust, nie jest albumem koncepcyjnym. Jednak wiele utworów porusza temat tego, gdzie jesteśmy w 2024 roku; ludzie są przytłoczeni i nie mogą złapać oddechu. Album początkowo nosił tytuł „Exhaustion”, ale perkusista Steve Schwegler zauważył powtarzające się obrazy samochodów powoli niszczejących z powodu nadmiernego użytkowania — trafna metafora albumu eksplorującego wieczne wypalenie. Na szerszą skalę Exhaust dotyczy rzeczy — maszyn lub ludzi — które są ścierane i nigdy nie odzyskują sił. Wskazuje również na wyczerpanie związane z pozostawaniem przy zdrowych zmysłach w świecie opanowanym przez urządzenia cyfrowe, media społecznościowe, hologramy i sztuczną inteligencję.

Exhaust został nagrany z wieloletnim producentem Pyrrhon, Colinem Marstonem w grudniu 2023 roku w Menegroth, studiach The Thousand Caves w Queens, na krótko przed zamknięciem studia.



Stretched, stuck, snapped—Pyrrhon has spent much of the past few years living, trudging the way many do in their 30s. It’s not that life becomes untenable in the twists and turns about which time inevitably navigates, but that reality grows a face, a scent, a terror that swells as its layers develop and crust and encapsulate. Uncertainty and anxiety weigh heavy in the heart, and, no doubt, after releasing 2020’s Abscess Time, which they couldn’t support on the road, the ever-reaching cast of Pyrrhon hit a wall. Time passed, and pressure grew. So to escape the grind with grind, to combat the noise with noise, to face life with death metal, Pyrrhon holed up in the woods to create (lightly ‘shroomed) again—not to Exhaust, but to explore and explode.

A dry skronk persists through Exhaust in a manner that both befits Pyrrhon’s past and eschews elements of the established Pyrrhon sound. Modern classic What Passes for Survival and noise rock breakaway Abscess Time both found a bounce in guitarist Dylan DiLella’s manic string flips and vocalist Doug Moore’s echoing, encompassing howls. Exhaust, stripped by the intensity of its frustration, instead sees simpler, chunkier riffs dissolve and digest more easily into incessant snare guidance, with Pyrrhon finding a grooving, hardcore shuffle that owes its tangible hooks to the world of ancient Prong or Deadguy (“The Greatest City on Earth,” “Strange Pains,” “Luck of the Draw”). Pyrrhon hasn’t become accessible though—consonance incompatible whammy excursions (“The Greatest…”), psychedelic narratives (“Out of Gas”), and escalating, shrill recursions (“Strange Pains,” “Stress Fractures”) ensure otherwise. But they all build a feel relatable against the sense of mid-life dread that Exhaust embodies.

The lyrics that have always been Pyrrhon’s gravity come to focus in a manner that rings in the ear without the constant need for subtitles. Though Moore still possesses a demonic bleating, its power remains reserved for impactful moments like the grinding acceleration of “First as Tragedy, Then as Farce” and the closing quasi-slam of “Hell Medicine.” Spitting and sneering, Moore delivers higher clarity barked beats of plain-faced, pain-laced poetry detailing with little opacity existential musings of the current state of the world (“First as…,” “The Greatest…,” “Stress Fractures”), addiction trappings (“Luck…,” “Hell Medicine”), and exhaustion (“Out of Gas”).1 Pyrrhon teeters on the brink of collapse throughout each racing number, with Moore’s interjections finding psychedelic delay and rapid-fire tremolo modulation as layers beyond dense prose (“The Greatest…,” “Strange Pains,” “Out of Gas”). And as Exhaust’s back half unfolds, these same glottal expulsions find a distance and excruciated fizzle against Pyrrhon’s chaotic crescendos (“Stress Fractures,” “Last Gasp”). No matter the manner of narrative distribution, Moore’s words resonate with barbed intention.

Exhaust’s scathed landscape does come at a cost, though. Pyrrhon has steadily traded away complex song structure for riff-based impact and whiplash rhythms as a catalyst. Yet each lashing on this svelte journey maintains and thrives in a driving guitar chunk-and-twang that grip kitmaster Schwegler’s hopping ostinatos in an Obscura-by-way-of-Big-Apple-noise freakout,2 true to Pyrrhon’s trademark amplified scrawl. Phrase by phrase it becomes ever clearer that this more exacting songwriting approach means to snag your neck and groove as much as any long-form switch blast or paint-stripping sermon would. And with riffs that deliver the experimental grind of Brutal Truth as much as they do DiLella’s signature punk-frenzied whinny, even the simplest of pit-starters land with the bombast that Pyrrhon crafts (“First as…,” “Luck…,” “Concrete Charlie”). Marston3 has again taken the board for Exhaust, letting its rehearsal-room-on-fire-attitude muscle into DiLella’s tight, thrashing tone—a touch compressed on the ear at first, but a choice that lets darting chord squeals and tuning-challenging bends pierce through at will.

For an album dedicated to burnout, a theme all too appreciable to those on the wrong side of twenty-five, Pyrrhon charges forth with an experimental vigor and practiced ambition untarnished by time. Informed by age—by critique, applause, setback, adventure, waiting, watching, breathing, bleeding—Exhaust emerges as the product of a band that knows that lightning can’t strike twice: it must find a lead. Hunger steers Pyrrhon. Struggle defines Exhaust. Though far from the most avant, unpredictable set in the Pyrrhon registry, Exhaust billows with the fury of defeat and determination—damn fine music for a downfall.

Dolphin Whisperer



CABIN FEVER: THE MAKING OF PYRRHON'S EXHAUST
By Justin M. Norton

PYRRHON WAS STUCK in mid-2023 after prolonged global unrest and personal changes. In 2020, their album Abscess Time arrived at the heart of the pandemic. In 2021, they went on one tour at the height of the Delta COVID wave before clubs started shutting down again. In 2022, they played a single show. In 2023, they had only three songs written for a fifth album.

The band decided to shake things loose with a retreat. Armed with their instruments, psychedelic mushrooms, and a few bad movies, they rented a cabin in rural northeastern Pennsylvania in May 2023. The decision worked. The creative energy surged, and the band wrote three new songs over the weekend.

“Initially, we just didn't seem to be able to strike the same intensity as past Pyrrhon records,” vocalist and lyricist Doug Moore says. However, the time in the cabin allowed the band to reconnect as musicians and friends. “It was a turning point for the record,” Moore says. “We didn't have enough material. We hadn’t spent that much time together, and it felt like we were able to rediscover who we are and feel the energy of the collaboration.”

“We’d never done a creative retreat before, and it was so cool to write stuff on the spot,” guitarist Dylan DiLella says. “Writing stuff in the same room showed us that we don’t have to try as hard to create cool music. There was a lot of bashing our heads in this band, especially when trying to make this record. Going with the energy in the room helped us trust ourselves more.”

Pyrrhon, which formed in New York City in 2008 when most of the band was in college, has always been classified as technical death metal for convenience. Their music, however, defies convention—even in the anything-goes world of 21st-century metal. Pyrrhon's music contains the musical prowess of Gorguts’s Obscura, the unrelenting rhythmic pummeling of Big Black, and the experimentation of free jazz. Moore’s lyrics - a combination of poetry and flash prose - are a welcome relief in an art form awash in stale cliches and genre tropes. Pyrron’s jarring and complex music - a true outlier when the band released their first album over a decade ago - requires attention and scrutiny, and demands replay.

Pyrrhon’s fifth album, Exhaust, is not a concept record. However, many songs touch on where we are in 2024; people are overwhelmed and unable to catch their breath. The album was initially called “Exhaustion,” but drummer Steve Schwegler noticed recurring imagery about cars slowly degrading from overuse - an apt metaphor for an album exploring perpetual burnout. On a larger level, Exhaust is about things - machines or humans - being ground down and never recovering. It also hints at the exhaustion of staying sane in a world overrun with digital devices, social media, holograms, and artificial intelligence.

“It’s about the experience of being pushed beyond your ability to sustain things,” Moore says. “We went through a pandemic, and now people act like it didn’t happen. We went through an attempted fascist insurrection, and now people act like it didn’t happen. It’s a sense of constantly juggling things and never having a handle on them. That feeling became a big part of this record and the imagery.”

Pyrrhon’s songwriting process has always been democratic. On Exhaust, however, they wrote more material as a unit. In the past, one member wrote the framework of a song using a sequence of riffs or grooves. For Exhaust, Pyrrhon worked more collaboratively and wrote several songs as a group while jamming. “On the trip to Pennsylvania, we wrote as a group on the spot,” Moore says. “But even outside that, we wrote songs in our practice space. We have the same democratic principle as before, but what happened with Exhaust was that we all got better at realizing what works. It’s supposed to sound wild, but we’ve been a band for over 15 years, and the current lineup has been together for nearly a decade. The result was knowing what to do to serve the big picture.”

“Exhaust sounds like a band playing together, which is tough for a technical experimental death metal band,” DiLella says. “That’s always been our goal, but we haven't achieved it until this record. It’s our tightest record, but in some ways, it's also the loosest. It’s easy to forget about the burning passion we all had when we started this band. We are all passionate music fans, and that is channeled into this band. We just have recently realized how lucky we are to have Pyrrhon.”

Exhaust was recorded with longtime Pyrrhon producer Colin Marston in December 2023 at Menegroth, The Thousand Caves studios in Queens, shortly before the studio closed. The album benefits from the band members' other musical pursuits and life changes over the past four years. Moore joined the experimental black metal band Scarcity and became a software developer. DiLella joined the ascendant noise rock band Couch Slut and became a guitar teacher. Bassist Erik Malave studied library science. Schwegler finished college on the GI Bill and got an engineering job. “Our jobs and our lives changed a lot,” Moore says. “We almost had to figure out how to be a band again.”

In Pyrrhon’s early days, the band often wrote about their adopted hometown of New York. Their debut album, An Excellent Servant But A Terrible Master, is, in many ways, an album about the city. In recent years, however, they have looked wider for inspiration - even to topics like American football. One of Exhaust’s standout tracks “Concrete Charlie” is loosely based on hard-hitting Philadelphia Eagles linebacker Chuck Bednarik, who exhibited CTE symptoms at the end of his life.

“It’s outwardly about football but more about how a larger system used and discarded him,” Moore says. “It’s part of the American experience. These titans of sports and people lionized by American culture are turned into mulch by the end of their lives. Football is a microcosm of American life, and we lionize these men who achieve extraordinary things but are fundamentally being exploited.”

A little more than a year removed from the cabin, Pyrrhon is reenergized and looking forward. “The pandemic and everything that happened honestly gave us a chance to pause for the first time since we’ve been a band,” DiLella says. “In the past, when albums were done, we started working on a new one. I’ve been reflecting on the band’s early days lately. We were kids when the band started. Now, I feel like we can work to our strengths more. I feel more confident and think the rest of the band does, too.”

“I did a lot of soul-searching with Exhaust,” Moore says. “We've been through a time of great uncertainty. I tend to get into my head about this stuff. Now that our lives are more balanced, I feel it was all worth it.”



..::TRACK-LIST::..

1. Not Going To Mars 04:07
2. First As Tragedy, Then As Farce 02:13
3. The Greatest City On Earth 03:33
4. Strange Pains 02:53
5. Out Of Gas 05:13
6. Luck Of The Draw 02:59
7. Concrete Charlie 03:47
8. Stress Fractures 04:13
9. Last Gasp 04:43
10. Hell Medicine 04:17



..::OBSADA::..

Erik Malave - bass guitar, backing vocals
Dylan DiLella - guitars
Doug Moore - vocals
Steve Schwegler - drums




https://www.youtube.com/watch?v=BD-I4GwWYz0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Piąty album Pyrrhon, Exhaust, nie jest albumem koncepcyjnym. Jednak wiele utworów porusza temat tego, gdzie jesteśmy w 2024 roku; ludzie są przytłoczeni i nie mogą złapać oddechu. Album początkowo nosił tytuł „Exhaustion”, ale perkusista Steve Schwegler zauważył powtarzające się obrazy samochodów powoli niszczejących z powodu nadmiernego użytkowania — trafna metafora albumu eksplorującego wieczne wypalenie. Na szerszą skalę Exhaust dotyczy rzeczy — maszyn lub ludzi — które są ścierane i nigdy nie odzyskują sił. Wskazuje również na wyczerpanie związane z pozostawaniem przy zdrowych zmysłach w świecie opanowanym przez urządzenia cyfrowe, media społecznościowe, hologramy i sztuczną inteligencję.

Exhaust został nagrany z wieloletnim producentem Pyrrhon, Colinem Marstonem w grudniu 2023 roku w Menegroth, studiach The Thousand Caves w Queens, na krótko przed zamknięciem studia.



Stretched, stuck, snapped—Pyrrhon has spent much of the past few years living, trudging the way many do in their 30s. It’s not that life becomes untenable in the twists and turns about which time inevitably navigates, but that reality grows a face, a scent, a terror that swells as its layers develop and crust and encapsulate. Uncertainty and anxiety weigh heavy in the heart, and, no doubt, after releasing 2020’s Abscess Time, which they couldn’t support on the road, the ever-reaching cast of Pyrrhon hit a wall. Time passed, and pressure grew. So to escape the grind with grind, to combat the noise with noise, to face life with death metal, Pyrrhon holed up in the woods to create (lightly ‘shroomed) again—not to Exhaust, but to explore and explode.

A dry skronk persists through Exhaust in a manner that both befits Pyrrhon’s past and eschews elements of the established Pyrrhon sound. Modern classic What Passes for Survival and noise rock breakaway Abscess Time both found a bounce in guitarist Dylan DiLella’s manic string flips and vocalist Doug Moore’s echoing, encompassing howls. Exhaust, stripped by the intensity of its frustration, instead sees simpler, chunkier riffs dissolve and digest more easily into incessant snare guidance, with Pyrrhon finding a grooving, hardcore shuffle that owes its tangible hooks to the world of ancient Prong or Deadguy (“The Greatest City on Earth,” “Strange Pains,” “Luck of the Draw”). Pyrrhon hasn’t become accessible though—consonance incompatible whammy excursions (“The Greatest…”), psychedelic narratives (“Out of Gas”), and escalating, shrill recursions (“Strange Pains,” “Stress Fractures”) ensure otherwise. But they all build a feel relatable against the sense of mid-life dread that Exhaust embodies.

The lyrics that have always been Pyrrhon’s gravity come to focus in a manner that rings in the ear without the constant need for subtitles. Though Moore still possesses a demonic bleating, its power remains reserved for impactful moments like the grinding acceleration of “First as Tragedy, Then as Farce” and the closing quasi-slam of “Hell Medicine.” Spitting and sneering, Moore delivers higher clarity barked beats of plain-faced, pain-laced poetry detailing with little opacity existential musings of the current state of the world (“First as…,” “The Greatest…,” “Stress Fractures”), addiction trappings (“Luck…,” “Hell Medicine”), and exhaustion (“Out of Gas”).1 Pyrrhon teeters on the brink of collapse throughout each racing number, with Moore’s interjections finding psychedelic delay and rapid-fire tremolo modulation as layers beyond dense prose (“The Greatest…,” “Strange Pains,” “Out of Gas”). And as Exhaust’s back half unfolds, these same glottal expulsions find a distance and excruciated fizzle against Pyrrhon’s chaotic crescendos (“Stress Fractures,” “Last Gasp”). No matter the manner of narrative distribution, Moore’s words resonate with barbed intention.

Exhaust’s scathed landscape does come at a cost, though. Pyrrhon has steadily traded away complex song structure for riff-based impact and whiplash rhythms as a catalyst. Yet each lashing on this svelte journey maintains and thrives in a driving guitar chunk-and-twang that grip kitmaster Schwegler’s hopping ostinatos in an Obscura-by-way-of-Big-Apple-noise freakout,2 true to Pyrrhon’s trademark amplified scrawl. Phrase by phrase it becomes ever clearer that this more exacting songwriting approach means to snag your neck and groove as much as any long-form switch blast or paint-stripping sermon would. And with riffs that deliver the experimental grind of Brutal Truth as much as they do DiLella’s signature punk-frenzied whinny, even the simplest of pit-starters land with the bombast that Pyrrhon crafts (“First as…,” “Luck…,” “Concrete Charlie”). Marston3 has again taken the board for Exhaust, letting its rehearsal-room-on-fire-attitude muscle into DiLella’s tight, thrashing tone—a touch compressed on the ear at first, but a choice that lets darting chord squeals and tuning-challenging bends pierce through at will.

For an album dedicated to burnout, a theme all too appreciable to those on the wrong side of twenty-five, Pyrrhon charges forth with an experimental vigor and practiced ambition untarnished by time. Informed by age—by critique, applause, setback, adventure, waiting, watching, breathing, bleeding—Exhaust emerges as the product of a band that knows that lightning can’t strike twice: it must find a lead. Hunger steers Pyrrhon. Struggle defines Exhaust. Though far from the most avant, unpredictable set in the Pyrrhon registry, Exhaust billows with the fury of defeat and determination—damn fine music for a downfall.

Dolphin Whisperer



CABIN FEVER: THE MAKING OF PYRRHON'S EXHAUST
By Justin M. Norton

PYRRHON WAS STUCK in mid-2023 after prolonged global unrest and personal changes. In 2020, their album Abscess Time arrived at the heart of the pandemic. In 2021, they went on one tour at the height of the Delta COVID wave before clubs started shutting down again. In 2022, they played a single show. In 2023, they had only three songs written for a fifth album.

The band decided to shake things loose with a retreat. Armed with their instruments, psychedelic mushrooms, and a few bad movies, they rented a cabin in rural northeastern Pennsylvania in May 2023. The decision worked. The creative energy surged, and the band wrote three new songs over the weekend.

“Initially, we just didn't seem to be able to strike the same intensity as past Pyrrhon records,” vocalist and lyricist Doug Moore says. However, the time in the cabin allowed the band to reconnect as musicians and friends. “It was a turning point for the record,” Moore says. “We didn't have enough material. We hadn’t spent that much time together, and it felt like we were able to rediscover who we are and feel the energy of the collaboration.”

“We’d never done a creative retreat before, and it was so cool to write stuff on the spot,” guitarist Dylan DiLella says. “Writing stuff in the same room showed us that we don’t have to try as hard to create cool music. There was a lot of bashing our heads in this band, especially when trying to make this record. Going with the energy in the room helped us trust ourselves more.”

Pyrrhon, which formed in New York City in 2008 when most of the band was in college, has always been classified as technical death metal for convenience. Their music, however, defies convention—even in the anything-goes world of 21st-century metal. Pyrrhon's music contains the musical prowess of Gorguts’s Obscura, the unrelenting rhythmic pummeling of Big Black, and the experimentation of free jazz. Moore’s lyrics - a combination of poetry and flash prose - are a welcome relief in an art form awash in stale cliches and genre tropes. Pyrron’s jarring and complex music - a true outlier when the band released their first album over a decade ago - requires attention and scrutiny, and demands replay.

Pyrrhon’s fifth album, Exhaust, is not a concept record. However, many songs touch on where we are in 2024; people are overwhelmed and unable to catch their breath. The album was initially called “Exhaustion,” but drummer Steve Schwegler noticed recurring imagery about cars slowly degrading from overuse - an apt metaphor for an album exploring perpetual burnout. On a larger level, Exhaust is about things - machines or humans - being ground down and never recovering. It also hints at the exhaustion of staying sane in a world overrun with digital devices, social media, holograms, and artificial intelligence.

“It’s about the experience of being pushed beyond your ability to sustain things,” Moore says. “We went through a pandemic, and now people act like it didn’t happen. We went through an attempted fascist insurrection, and now people act like it didn’t happen. It’s a sense of constantly juggling things and never having a handle on them. That feeling became a big part of this record and the imagery.”

Pyrrhon’s songwriting process has always been democratic. On Exhaust, however, they wrote more material as a unit. In the past, one member wrote the framework of a song using a sequence of riffs or grooves. For Exhaust, Pyrrhon worked more collaboratively and wrote several songs as a group while jamming. “On the trip to Pennsylvania, we wrote as a group on the spot,” Moore says. “But even outside that, we wrote songs in our practice space. We have the same democratic principle as before, but what happened with Exhaust was that we all got better at realizing what works. It’s supposed to sound wild, but we’ve been a band for over 15 years, and the current lineup has been together for nearly a decade. The result was knowing what to do to serve the big picture.”

“Exhaust sounds like a band playing together, which is tough for a technical experimental death metal band,” DiLella says. “That’s always been our goal, but we haven't achieved it until this record. It’s our tightest record, but in some ways, it's also the loosest. It’s easy to forget about the burning passion we all had when we started this band. We are all passionate music fans, and that is channeled into this band. We just have recently realized how lucky we are to have Pyrrhon.”

Exhaust was recorded with longtime Pyrrhon producer Colin Marston in December 2023 at Menegroth, The Thousand Caves studios in Queens, shortly before the studio closed. The album benefits from the band members' other musical pursuits and life changes over the past four years. Moore joined the experimental black metal band Scarcity and became a software developer. DiLella joined the ascendant noise rock band Couch Slut and became a guitar teacher. Bassist Erik Malave studied library science. Schwegler finished college on the GI Bill and got an engineering job. “Our jobs and our lives changed a lot,” Moore says. “We almost had to figure out how to be a band again.”

In Pyrrhon’s early days, the band often wrote about their adopted hometown of New York. Their debut album, An Excellent Servant But A Terrible Master, is, in many ways, an album about the city. In recent years, however, they have looked wider for inspiration - even to topics like American football. One of Exhaust’s standout tracks “Concrete Charlie” is loosely based on hard-hitting Philadelphia Eagles linebacker Chuck Bednarik, who exhibited CTE symptoms at the end of his life.

“It’s outwardly about football but more about how a larger system used and discarded him,” Moore says. “It’s part of the American experience. These titans of sports and people lionized by American culture are turned into mulch by the end of their lives. Football is a microcosm of American life, and we lionize these men who achieve extraordinary things but are fundamentally being exploited.”

A little more than a year removed from the cabin, Pyrrhon is reenergized and looking forward. “The pandemic and everything that happened honestly gave us a chance to pause for the first time since we’ve been a band,” DiLella says. “In the past, when albums were done, we started working on a new one. I’ve been reflecting on the band’s early days lately. We were kids when the band started. Now, I feel like we can work to our strengths more. I feel more confident and think the rest of the band does, too.”

“I did a lot of soul-searching with Exhaust,” Moore says. “We've been through a time of great uncertainty. I tend to get into my head about this stuff. Now that our lives are more balanced, I feel it was all worth it.”



..::TRACK-LIST::..

1. Not Going To Mars 04:07
2. First As Tragedy, Then As Farce 02:13
3. The Greatest City On Earth 03:33
4. Strange Pains 02:53
5. Out Of Gas 05:13
6. Luck Of The Draw 02:59
7. Concrete Charlie 03:47
8. Stress Fractures 04:13
9. Last Gasp 04:43
10. Hell Medicine 04:17



..::OBSADA::..

Erik Malave - bass guitar, backing vocals
Dylan DiLella - guitars
Doug Moore - vocals
Steve Schwegler - drums




https://www.youtube.com/watch?v=BD-I4GwWYz0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Debiutancki album Deadspeak „Plagues of Sulfur Bound” ujrzał światło dzienne w Raw Skull Recordz! Ten album otworzy nowy rozdział dla chłopaków z Deadspeak. Zmiksowany przez Stijna van Gestela i zmasterowany przez Grega Wilkinsona, możesz spodziewać się surowych i brudnych riffów, grzmiących niskich tonów i atmosferycznych interludiów. Ten album to ogromny krok naprzód w stosunku do ich dema. Z grafiką niesamowitego Paolo Girardiego, który wykonał znakomitą robotę, uchwycając istotę tytułowego utworu albumu.



..::TRACK-LIST::..

1. Entering Realms Infernal 01:48
2. Plagues of Sulfur Bound 04:16
3. Parallel Existence 05:20
4. Tidal Disruption 07:36
5. Knee Deep in Death 03:13
6. Polarisation in Times of Dispossession 09:37
7. Into Endless Divinities 04:15
8. Death Shall Rise 04:15



..::OBSADA::..

Moanne de Kroon - Drums
Jasper Post - Guitars, Vocals
Lieuwe Kuik - Bass




https://www.youtube.com/watch?v=igCKY7nqC3w



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Debiutancki album Deadspeak „Plagues of Sulfur Bound” ujrzał światło dzienne w Raw Skull Recordz! Ten album otworzy nowy rozdział dla chłopaków z Deadspeak. Zmiksowany przez Stijna van Gestela i zmasterowany przez Grega Wilkinsona, możesz spodziewać się surowych i brudnych riffów, grzmiących niskich tonów i atmosferycznych interludiów. Ten album to ogromny krok naprzód w stosunku do ich dema. Z grafiką niesamowitego Paolo Girardiego, który wykonał znakomitą robotę, uchwycając istotę tytułowego utworu albumu.



..::TRACK-LIST::..

1. Entering Realms Infernal 01:48
2. Plagues of Sulfur Bound 04:16
3. Parallel Existence 05:20
4. Tidal Disruption 07:36
5. Knee Deep in Death 03:13
6. Polarisation in Times of Dispossession 09:37
7. Into Endless Divinities 04:15
8. Death Shall Rise 04:15



..::OBSADA::..

Moanne de Kroon - Drums
Jasper Post - Guitars, Vocals
Lieuwe Kuik - Bass




https://www.youtube.com/watch?v=igCKY7nqC3w



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

'Spewing Mephitic Putridity' całkowicie zaspokoił moje wstydliwe pragnienia albumu deathmetalowego brzmiącego jak ktoś wymiotujący śluzem jelitowym i mega-robakami przez 33 minuty.
Był odpychający, obrzydliwy. Był też naprawdę ciężki...

A jak jest teraz?
Po prostu czysta zgnilizna, najwyższej jakości.
Jeśli szukasz prawdziwej, cuchnącej skrajności death metalu, a nie bicia konia, ukrytego za makabryczną estetyką, to jest to!!!
Miłego słuchania!

FA


Wcześniejsza twórczość Cryptworm sponiewierała mnie dość mocno, na tyle mocno, że nawet chłopaków zwywiadowałem po tym jak wydali „Reeking Gunk of Abhorrence”. Moja morda ucieszyła się więc niesłychanie gdy wjechało promo ich najnowszego albumu – „Oozing Ardioactive Vomition”. Sprawdźmy więc, jak smakuje ten węgiersko – brytyjski rzyg.

Cryptworm, jeśli nie pamiętacie, serwuje nam przegniłe, death metalowe mięsko, na którym czerwie ucztują sobie w najlepsze. No jest to samo gęste, nie ma co ukrywać, a słuchanie tej muzyki jest jak brodzenie w szambie – choć dziwna sprawa, sprawia mnie to niesłychaną przyjemność. Muzyka Cryptworm jest bardzo oldschoolowa – tutaj w zasadzie nie ma żadnych zmian. Zestaw inspiracji również się raczej nie zmienił – Pungent Stench, Impetigo, niekiedy Mortician, Carcass… Samo crème de la crème krwistego death/grindu w najlepszym wydaniu. Cryptworm znakomicie odrobiło lekcje – dzięki temu „Oozing Ardioactive Vomition” emanuje feelingiem wczesnych lat dziewięćdziesiątych, ale bez przegiętej kalkomanii. Brzmienie jest mięsiste, chrzęszczące, a jak dołożymy do tego bulgotliwy wokal to ja jestem ponownie kupiony przez Cryptworm.

Teksty i okładka oczywiście również utrzymane są w stylistyce gore łamanego przez różnorakie obrzydliwości, choć jeśli chodzi o front cover to w przypadku debiutu chyba bardziej mi pasował – ale to już raczej kwestia gustu. Ten konkretny ma w sobie brzydotę oryginalnych okładek Impetigo (których autor nota bene zmarł kilka dni temu na wylew) i może o to im chodziło? Niewykluczone.

Kolejna bardzo dobra pozycja w dyskografii Cryptworm. Słucham jej nieprzerwanie gdy już wskoczy w odtwarzacz i nie mogę wyjść z podziwu – jak komuś udaje się nagrać muzykę tak odpychającą, do której paradoksalnie tak bardzo mnie ciągnie?

Oracle


Following the huge success of their debut album last year, Cryptworm are back with its follow-up. Promising to be another rancid affair of true Death Metal abhorrence…

Packing a punch of putrescence, Cryptworm’s annihilating grooves and offal-drenched soundscapes fit the nastiest niches of Death Metal’s darkest depths. Their new record instantly picks up where the previous left off with the fetid filth spraying forth from every element. The riffs bounce like a corpse being molested in the dead of night while the pulverising drums punish with equally sadistic force. Gruesome vocals spew atop these instrumental violations and altogether the sound on “Oozing Radioactive Vomition” contort into the most hostile and hideous vision from the band to date.

Each mangled moment will have you feeling quite unwell with the disgusting delivery as unrelenting as you should already expect, being that any real Death Metal lover will already be engrossed in the grotesque sounds of Cryptworm by now. Their new offering injects even more fury and unpleasantries into the already crushing sound they had carefully built, taking things even further into the abyssal murk of the underground for all real maniacs to revel in the molten rot on display. If the song titles such as “Miasmatic Foetid Odour” and “Engulfed by Gurgling Purge Fluids” don’t already give you an idea of what to expect, than allow your ears to fall victim to the sonic suppuration of Cryptworm’s most malformed release to date...



..::TRACK-LIST::..

1. Oozing Radioactive Vomition 05:44
2. Organ Snatcher 06:36
3. Miasmatic Foetid Odour 05:08
4. Necrophagous (Postmortal Devourment) 06:11
5. Engulfed by Gurgling Purge Fluids 05:50
6. Submerged into Vile Repugnance 05:25



..::OBSADA::..

Tibor Hanyi - Bass, Guitars, Vocals
Joss Farrington - Bass
Jamie Wintle - Drums




https://www.youtube.com/watch?v=Hh8esgy8ul4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

'Spewing Mephitic Putridity' całkowicie zaspokoił moje wstydliwe pragnienia albumu deathmetalowego brzmiącego jak ktoś wymiotujący śluzem jelitowym i mega-robakami przez 33 minuty.
Był odpychający, obrzydliwy. Był też naprawdę ciężki...

A jak jest teraz?
Po prostu czysta zgnilizna, najwyższej jakości.
Jeśli szukasz prawdziwej, cuchnącej skrajności death metalu, a nie bicia konia, ukrytego za makabryczną estetyką, to jest to!!!
Miłego słuchania!

FA


Wcześniejsza twórczość Cryptworm sponiewierała mnie dość mocno, na tyle mocno, że nawet chłopaków zwywiadowałem po tym jak wydali „Reeking Gunk of Abhorrence”. Moja morda ucieszyła się więc niesłychanie gdy wjechało promo ich najnowszego albumu – „Oozing Ardioactive Vomition”. Sprawdźmy więc, jak smakuje ten węgiersko – brytyjski rzyg.

Cryptworm, jeśli nie pamiętacie, serwuje nam przegniłe, death metalowe mięsko, na którym czerwie ucztują sobie w najlepsze. No jest to samo gęste, nie ma co ukrywać, a słuchanie tej muzyki jest jak brodzenie w szambie – choć dziwna sprawa, sprawia mnie to niesłychaną przyjemność. Muzyka Cryptworm jest bardzo oldschoolowa – tutaj w zasadzie nie ma żadnych zmian. Zestaw inspiracji również się raczej nie zmienił – Pungent Stench, Impetigo, niekiedy Mortician, Carcass… Samo crème de la crème krwistego death/grindu w najlepszym wydaniu. Cryptworm znakomicie odrobiło lekcje – dzięki temu „Oozing Ardioactive Vomition” emanuje feelingiem wczesnych lat dziewięćdziesiątych, ale bez przegiętej kalkomanii. Brzmienie jest mięsiste, chrzęszczące, a jak dołożymy do tego bulgotliwy wokal to ja jestem ponownie kupiony przez Cryptworm.

Teksty i okładka oczywiście również utrzymane są w stylistyce gore łamanego przez różnorakie obrzydliwości, choć jeśli chodzi o front cover to w przypadku debiutu chyba bardziej mi pasował – ale to już raczej kwestia gustu. Ten konkretny ma w sobie brzydotę oryginalnych okładek Impetigo (których autor nota bene zmarł kilka dni temu na wylew) i może o to im chodziło? Niewykluczone.

Kolejna bardzo dobra pozycja w dyskografii Cryptworm. Słucham jej nieprzerwanie gdy już wskoczy w odtwarzacz i nie mogę wyjść z podziwu – jak komuś udaje się nagrać muzykę tak odpychającą, do której paradoksalnie tak bardzo mnie ciągnie?

Oracle


Following the huge success of their debut album last year, Cryptworm are back with its follow-up. Promising to be another rancid affair of true Death Metal abhorrence…

Packing a punch of putrescence, Cryptworm’s annihilating grooves and offal-drenched soundscapes fit the nastiest niches of Death Metal’s darkest depths. Their new record instantly picks up where the previous left off with the fetid filth spraying forth from every element. The riffs bounce like a corpse being molested in the dead of night while the pulverising drums punish with equally sadistic force. Gruesome vocals spew atop these instrumental violations and altogether the sound on “Oozing Radioactive Vomition” contort into the most hostile and hideous vision from the band to date.

Each mangled moment will have you feeling quite unwell with the disgusting delivery as unrelenting as you should already expect, being that any real Death Metal lover will already be engrossed in the grotesque sounds of Cryptworm by now. Their new offering injects even more fury and unpleasantries into the already crushing sound they had carefully built, taking things even further into the abyssal murk of the underground for all real maniacs to revel in the molten rot on display. If the song titles such as “Miasmatic Foetid Odour” and “Engulfed by Gurgling Purge Fluids” don’t already give you an idea of what to expect, than allow your ears to fall victim to the sonic suppuration of Cryptworm’s most malformed release to date...



..::TRACK-LIST::..

1. Oozing Radioactive Vomition 05:44
2. Organ Snatcher 06:36
3. Miasmatic Foetid Odour 05:08
4. Necrophagous (Postmortal Devourment) 06:11
5. Engulfed by Gurgling Purge Fluids 05:50
6. Submerged into Vile Repugnance 05:25



..::OBSADA::..

Tibor Hanyi - Bass, Guitars, Vocals
Joss Farrington - Bass
Jamie Wintle - Drums




https://www.youtube.com/watch?v=Hh8esgy8ul4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Długo oczekiwany drugi album koreańsko-japońskiego zespołu! Brutalny i techniczny death metal inspirowany przez DISGORGE (US), NECROPHAGIST, SUFFOCATION, DECREPIT BIRTH, DEEDS OF FLESH, DATURA!


One of the most Brutal and Technical guitarist JongHa (from Korea) in Asian countries.
Japanese Drummer, Temma (Shinda Saibo No Katamari / STRANGULATION) joined the band and first recording with JongHa on this album, entitled "Moribund".
Recording finished in 2019 but they lost the day to release this album due to the COVID-19 pandemic.
Finally the long long night coming dawn and see the light of the day in 2024!
Long awaited 2nd album unleashed on the world!
Recommended for fans of DISGORGE (US)、NECROPHAGIST、SUFFOCATION、DECREPIT BIRTH、DEEDS OF FLESH、DATURA



..::TRACK-LIST::..

1. Intro 00:19
2. Devoiced of Truth 03:24
3. Reeks of Hypocrisy 03:16
4. The Conclamation 03:12
5. Self-Indulgence 03:04
6. Foredoomed to death 03:21
7. Living with a False Hope 03:18
8. Aspire in Hallucination 02:10
9. Xenomorphic Ruination 03:15
10. Orthodox Disease 02:51



..::OBSADA::..

Chuck Jenga - Guitars, Vocals
Temma Takahata - Drums




https://www.youtube.com/watch?v=C-ODgDskNWs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Długo oczekiwany drugi album koreańsko-japońskiego zespołu! Brutalny i techniczny death metal inspirowany przez DISGORGE (US), NECROPHAGIST, SUFFOCATION, DECREPIT BIRTH, DEEDS OF FLESH, DATURA!


One of the most Brutal and Technical guitarist JongHa (from Korea) in Asian countries.
Japanese Drummer, Temma (Shinda Saibo No Katamari / STRANGULATION) joined the band and first recording with JongHa on this album, entitled "Moribund".
Recording finished in 2019 but they lost the day to release this album due to the COVID-19 pandemic.
Finally the long long night coming dawn and see the light of the day in 2024!
Long awaited 2nd album unleashed on the world!
Recommended for fans of DISGORGE (US)、NECROPHAGIST、SUFFOCATION、DECREPIT BIRTH、DEEDS OF FLESH、DATURA



..::TRACK-LIST::..

1. Intro 00:19
2. Devoiced of Truth 03:24
3. Reeks of Hypocrisy 03:16
4. The Conclamation 03:12
5. Self-Indulgence 03:04
6. Foredoomed to death 03:21
7. Living with a False Hope 03:18
8. Aspire in Hallucination 02:10
9. Xenomorphic Ruination 03:15
10. Orthodox Disease 02:51



..::OBSADA::..

Chuck Jenga - Guitars, Vocals
Temma Takahata - Drums




https://www.youtube.com/watch?v=C-ODgDskNWs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Sesja nagraniowa do "Apophenia" rozpoczęła się w lipcu 2023 roku w "Roslyn Studio", gdzie wbito partie perkusji. Ścieżki gitary i wokalu powstały w "Zed Studio", z kolei bas Kamil Stadnicki zarejestrował w swoim domowym studio. Za miksy i mastering odpowiada Tomasz Zalewski. Na okładce wykorzystano obraz nieżyjącego już Mariusza Lewandowskiego.

Deivos powstał w 1997 roku w Lublinie. Od początku grupie przewodzi gitarzysta Tomasz Kołcon. W roku 2018 na stanowisko drugiego gitarzysty powrócił - po dwóch latach przerwy - Mścisław z Abusiveness. Skład uzupełniają Hubert Banach na wokalu, Kamil Stadnicki na basie i Krzysztof Saran na perkusji.

BARDZO DOBRY KRĄŻEK!!!


"Apophenia" is the seventh studio full-length from Poland’s long-running death metal technicians DEIVOS!

A hypnotically demolishing listening experience, DEIVOS’ Apophenia ruptures forth with nine new tracks. The album is void of filler, stacked end-to-end with breakneck transitions and bulldozing passages of technical but not overthought death metal that dismantles everything in its path.

Apophenia was captured across Poland throughout 2023, the drums engineered/recorded by Krzysztof Godycki at Roslyn Studio, the bass recorded at Kamil Home Studio, and the guitars and vocals recorded at Zed Studio where the album was mixed and mastered by Tomek Zalewski at Zed Studio in early 2024. The album’s intros and outros were created by Mścisław except the “Feretory” outro by Head.One.Beatz. The record features cover art by the late Mariusz Lewandowski (Mizmor, Bell Witch, Fuming Mouth), design and layout by Michał Kaczkowski, and photography by Marcin Studziński.

“Featuring nine new, brutal tracks, Apophenia gives a modern definition to the concept of ‘all killer, no filler,’ as each track is lean and visceral. There’s no bullshit to pull out of it. From start to finish, DEIVOS set out on a mission of brutality, and they deliver. Songs like ‘My Sacrifice’ and ‘The Great Day of His Wrath’ leave very little room to breathe. Honestly, that could be said about the whole damn record.” - METAL SUCKS



..::TRACK-LIST::..

1. Feretory 03:50
2. My Sacrifice 01:58
3. Sermon of Hypocrisy 04:10
4. De Materia Turpi 04:06
5. Revelations 04:59
6. The Great Day of His Wrath 02:40
7. Apophenia 04:19
8. Maelstrom of Decay 01:55
9. Persecutor 05:04



https://www.youtube.com/watch?v=LqJpXZXcCp4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Sesja nagraniowa do "Apophenia" rozpoczęła się w lipcu 2023 roku w "Roslyn Studio", gdzie wbito partie perkusji. Ścieżki gitary i wokalu powstały w "Zed Studio", z kolei bas Kamil Stadnicki zarejestrował w swoim domowym studio. Za miksy i mastering odpowiada Tomasz Zalewski. Na okładce wykorzystano obraz nieżyjącego już Mariusza Lewandowskiego.

Deivos powstał w 1997 roku w Lublinie. Od początku grupie przewodzi gitarzysta Tomasz Kołcon. W roku 2018 na stanowisko drugiego gitarzysty powrócił - po dwóch latach przerwy - Mścisław z Abusiveness. Skład uzupełniają Hubert Banach na wokalu, Kamil Stadnicki na basie i Krzysztof Saran na perkusji.

BARDZO DOBRY KRĄŻEK!!!


"Apophenia" is the seventh studio full-length from Poland’s long-running death metal technicians DEIVOS!

A hypnotically demolishing listening experience, DEIVOS’ Apophenia ruptures forth with nine new tracks. The album is void of filler, stacked end-to-end with breakneck transitions and bulldozing passages of technical but not overthought death metal that dismantles everything in its path.

Apophenia was captured across Poland throughout 2023, the drums engineered/recorded by Krzysztof Godycki at Roslyn Studio, the bass recorded at Kamil Home Studio, and the guitars and vocals recorded at Zed Studio where the album was mixed and mastered by Tomek Zalewski at Zed Studio in early 2024. The album’s intros and outros were created by Mścisław except the “Feretory” outro by Head.One.Beatz. The record features cover art by the late Mariusz Lewandowski (Mizmor, Bell Witch, Fuming Mouth), design and layout by Michał Kaczkowski, and photography by Marcin Studziński.

“Featuring nine new, brutal tracks, Apophenia gives a modern definition to the concept of ‘all killer, no filler,’ as each track is lean and visceral. There’s no bullshit to pull out of it. From start to finish, DEIVOS set out on a mission of brutality, and they deliver. Songs like ‘My Sacrifice’ and ‘The Great Day of His Wrath’ leave very little room to breathe. Honestly, that could be said about the whole damn record.” - METAL SUCKS



..::TRACK-LIST::..

1. Feretory 03:50
2. My Sacrifice 01:58
3. Sermon of Hypocrisy 04:10
4. De Materia Turpi 04:06
5. Revelations 04:59
6. The Great Day of His Wrath 02:40
7. Apophenia 04:19
8. Maelstrom of Decay 01:55
9. Persecutor 05:04



https://www.youtube.com/watch?v=LqJpXZXcCp4



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

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



..::OPIS::..

Powalający brudny i przesterowany death metal połączony z crustpunkiem!

Dla fanów wszystkiego od CELTIC FROST, CRO-MAGS, DISCHARGE po BOLT THROWER!

Dwie demówki z 2010 roku na jednym CD.



..::TRACK-LIST::..

Flesh Torn In Twilight:
1. Christ Hole
2. Immemorial Past
3. Daemonic Sign
4. Rebirth Into Perversion

Interminable Night:
5. In Arms Of Nothing
6. Warm Flesh
7. Interminable Night



https://www.youtube.com/watch?v=dYuHBDnaH14



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

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



..::OPIS::..

Powalający brudny i przesterowany death metal połączony z crustpunkiem!

Dla fanów wszystkiego od CELTIC FROST, CRO-MAGS, DISCHARGE po BOLT THROWER!

Dwie demówki z 2010 roku na jednym CD.



..::TRACK-LIST::..

Flesh Torn In Twilight:
1. Christ Hole
2. Immemorial Past
3. Daemonic Sign
4. Rebirth Into Perversion

Interminable Night:
5. In Arms Of Nothing
6. Warm Flesh
7. Interminable Night



https://www.youtube.com/watch?v=dYuHBDnaH14



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