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


..::OPIS::..

Z pewnością krążek zrobi na wielu piorunujące wrażenie i choć brak w nim całkowicie innowacyjności, to niewiele współczesnych zespołów death-metalowych może zaoferować tak olśniewający wir kompozytorski i ognistą brutalność. Potencjał tych młodych dżentelmenów sięga trumny.
Emocje płynące z 'Resurrect ' trwają tylko przez pewien czas, zanim cała twórczość stanie się przewidywalna.
Dla tych, którzy po prostu chcą zatracić się w czystej brutalności, ten album będzie strzałem w dziesiątkę. Album to istna rozkosz chaosu, z momentami porywającej energii.

FA


I must confess I have never heard an Orchestra sound quite like this one, but given that this is a metallic quintet from France and not an orchestra at all, perhaps that isn’t surprising. Formed in 2011 in Grenoble, France, a year later they released their debut EP ‘Oppressive Procession’, and performed nearly thirty shows throughout France alongside the likes of Betraying The Martyrs, UltraVomit, Death Mentality, Agnostic Front, Promethee, and many others. That Summer, the band secured a three-week tour of Latin American with Descomunal which included a performance at Ecuador’s QuitoFest. 2013 saw the release of their Klonosphere-issued ‘Architects Of Destruction debut’, and they are now back with their second full length album. When a band states that their influences are Origin, Abominable Putridity, Pathology, Aborted, Carnifex, Job for a Cowboy, Rings of Saturn, Fleshgod Apocalypse, Behemoth, Decapitated, Hour of Penance, Dyscarnate, Dying Fetus, Misery Index, Benighted, Kronos and Rise Of Doom then one knows what to expect even before the first death metal notes make it out of the speakers.

I was a little surprised not to see Cannibal Corpse and Testament in the list, as these guys have obviously been paying close attention to these guys, and not so much of the bombast of the likes of Fleshgod Apocalypse. The vocals are coarse, the drums simply brutal with great blast beats, while the guitars and bass all sing as one. There is a great deal of complexity in this music, with layered arrangements that show how much these guys have played together as they never skip a beat or miss a note. Death metal in its truest form rarely gets much better than this, and the production allows it all to shine as the only thing to do is to keep turning it up louder and louder. Brutal, massively over the top, this is sweat-drenched metal that is essential for any fans of the genre.

Kev Rowland



..::TRACK-LIST::..

1. Calvaire 00:25
2. Resurrect the Scourge 03:19
3. Through the Realm of Chaos 03:44
4. Vengeful Flavors 03:19
5. Dogmes Anxiogenesis 03:19
6. Area of Desolation 02:09
7. Demoligarchie 03:30
8. Siamese Traitors 04:07
9. Apostate 03:07
10. Necrosphere 03:59
11. Spread the Chaos and Terror 03:05
12. Desecrate 04:16



..::OBSADA::..

Kévin Reymond - Guitars
Cédric Ciulli - Drums
Jean-Baptiste Machon - Guitars
Pierrick Debeaux - Bass
Florian Gatta - Vocals



https://www.youtube.com/watch?v=D6dzkb4HNOA


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

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


..::OPIS::..

Z pewnością krążek zrobi na wielu piorunujące wrażenie i choć brak w nim całkowicie innowacyjności, to niewiele współczesnych zespołów death-metalowych może zaoferować tak olśniewający wir kompozytorski i ognistą brutalność. Potencjał tych młodych dżentelmenów sięga trumny.
Emocje płynące z 'Resurrect ' trwają tylko przez pewien czas, zanim cała twórczość stanie się przewidywalna.
Dla tych, którzy po prostu chcą zatracić się w czystej brutalności, ten album będzie strzałem w dziesiątkę. Album to istna rozkosz chaosu, z momentami porywającej energii.

FA


I must confess I have never heard an Orchestra sound quite like this one, but given that this is a metallic quintet from France and not an orchestra at all, perhaps that isn’t surprising. Formed in 2011 in Grenoble, France, a year later they released their debut EP ‘Oppressive Procession’, and performed nearly thirty shows throughout France alongside the likes of Betraying The Martyrs, UltraVomit, Death Mentality, Agnostic Front, Promethee, and many others. That Summer, the band secured a three-week tour of Latin American with Descomunal which included a performance at Ecuador’s QuitoFest. 2013 saw the release of their Klonosphere-issued ‘Architects Of Destruction debut’, and they are now back with their second full length album. When a band states that their influences are Origin, Abominable Putridity, Pathology, Aborted, Carnifex, Job for a Cowboy, Rings of Saturn, Fleshgod Apocalypse, Behemoth, Decapitated, Hour of Penance, Dyscarnate, Dying Fetus, Misery Index, Benighted, Kronos and Rise Of Doom then one knows what to expect even before the first death metal notes make it out of the speakers.

I was a little surprised not to see Cannibal Corpse and Testament in the list, as these guys have obviously been paying close attention to these guys, and not so much of the bombast of the likes of Fleshgod Apocalypse. The vocals are coarse, the drums simply brutal with great blast beats, while the guitars and bass all sing as one. There is a great deal of complexity in this music, with layered arrangements that show how much these guys have played together as they never skip a beat or miss a note. Death metal in its truest form rarely gets much better than this, and the production allows it all to shine as the only thing to do is to keep turning it up louder and louder. Brutal, massively over the top, this is sweat-drenched metal that is essential for any fans of the genre.

Kev Rowland



..::TRACK-LIST::..

1. Calvaire 00:25
2. Resurrect the Scourge 03:19
3. Through the Realm of Chaos 03:44
4. Vengeful Flavors 03:19
5. Dogmes Anxiogenesis 03:19
6. Area of Desolation 02:09
7. Demoligarchie 03:30
8. Siamese Traitors 04:07
9. Apostate 03:07
10. Necrosphere 03:59
11. Spread the Chaos and Terror 03:05
12. Desecrate 04:16



..::OBSADA::..

Kévin Reymond - Guitars
Cédric Ciulli - Drums
Jean-Baptiste Machon - Guitars
Pierrick Debeaux - Bass
Florian Gatta - Vocals



https://www.youtube.com/watch?v=D6dzkb4HNOA


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

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


..::OPIS::..

Brutalny death metal XXI wieku!!!
A gdybym mógł dać Continuum jedną sugestię... to następnym razem wolałbym, żeby było w nim trochę więcej emocji.

FA


Wow, if this isn’t the starriest compendium witnessed on the death metal circuit so far… luminaries from quite a few technical/progressive outfits (Brain Drill, Flesh Consumed, Decrepit Birth, Rings of Saturn, Inanimate Existence, Deeds of Flesh, etc.) have gotten together with the intention on producing for a change… another compilation of dazzling technical death acrobatics.

In other words, the name of the game remains the same the guys preferring to stick with what they can do best, stupefying the audience with ultra-precise clinical shreds which, from the aforementioned acts, comes the closest to mid-period Deeds of Flesh and Decrepit Birth which in its turn means that fans of the dazzling brutality movement (also Cryptopsy, Suffocation, Grotesque) will be left the happiest in the not very long run (the album is 32-min long).

The debut established the familiar, but totally attention-grapping trajectory with guitar pyrotechnics galore the latter usually served in hyper-speed or thereabouts. On the album here the setting has been preserved to a large extent the guys adding a hefty spacey psychedelic flair to the steel rifforamas, this gimmick immediately felt on the opening “Theorem” that also presents the frequently-interrupted with slower stomping carvings hyper-active template, a multifarious journey which tolerates the melodic pinch harmonics on “A History Denied” and the momentary djent-like stiffness of “Designed Obsolescence”, the latter an involuntary bait thrown in order to lure the Meshuggah and Terminal Function lovers. However, the manic thrashing intensity of the short blitzkrieg “All Manner of Decay” will sweep those away the band increasing the velocity for a rousing happy-blasting finale on the “None So Vile” leftover “Remnants of Ascension” and the more varied but still pretty brutal roller-coaster “Repeating Actions”.

Although there will be some who will question this effort’s validity and significance in an oversaturated with brutal guitar acrobatics contemporary scene, it’s undeniable that an adroitly-performed piece of music will invariably attract the relevant crowd. Nothing short of perfection is expected from such an all-star assembly and the guys deliver in spades, again not offering anything new and ground-breaking, but trying to sum up what their careers have been standing for all these years, quite successfully at that. I’m not quite sure if I’ll be salivating over another similarly-styled offering coming out of their camp in another few years, but right now I see no reason why I shouldn’t be moshing around, risking a severe neck-sprain, also trying to shut this wide-open-due-to-awe mouth of mine in order to avoid swallowing some of the bugs flying around.

bayern



..::TRACK-LIST::..

1. Theorem 04:12
2. Release from Flesh and Blood 03:53
3. A History Denied 04:05
4. Designed Obsolescence 03:02
5. All Manner of Decay 03:44
6. Autonomic 03:17
7. Into the Void 04:05
8. Remnants of Ascension 02:07
9. Repeating Actions 03:35



..::OBSADA::..

Ron Casey - Drums
Chase Fraser - Guitars (lead)
Ivan Munguia - Guitars (rhythm)
Riley McShane - Vocals
Nick Willbrand - Bass




https://www.youtube.com/watch?v=mjG9kHbNhUM



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

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


..::OPIS::..

Brutalny death metal XXI wieku!!!
A gdybym mógł dać Continuum jedną sugestię... to następnym razem wolałbym, żeby było w nim trochę więcej emocji.

FA


Wow, if this isn’t the starriest compendium witnessed on the death metal circuit so far… luminaries from quite a few technical/progressive outfits (Brain Drill, Flesh Consumed, Decrepit Birth, Rings of Saturn, Inanimate Existence, Deeds of Flesh, etc.) have gotten together with the intention on producing for a change… another compilation of dazzling technical death acrobatics.

In other words, the name of the game remains the same the guys preferring to stick with what they can do best, stupefying the audience with ultra-precise clinical shreds which, from the aforementioned acts, comes the closest to mid-period Deeds of Flesh and Decrepit Birth which in its turn means that fans of the dazzling brutality movement (also Cryptopsy, Suffocation, Grotesque) will be left the happiest in the not very long run (the album is 32-min long).

The debut established the familiar, but totally attention-grapping trajectory with guitar pyrotechnics galore the latter usually served in hyper-speed or thereabouts. On the album here the setting has been preserved to a large extent the guys adding a hefty spacey psychedelic flair to the steel rifforamas, this gimmick immediately felt on the opening “Theorem” that also presents the frequently-interrupted with slower stomping carvings hyper-active template, a multifarious journey which tolerates the melodic pinch harmonics on “A History Denied” and the momentary djent-like stiffness of “Designed Obsolescence”, the latter an involuntary bait thrown in order to lure the Meshuggah and Terminal Function lovers. However, the manic thrashing intensity of the short blitzkrieg “All Manner of Decay” will sweep those away the band increasing the velocity for a rousing happy-blasting finale on the “None So Vile” leftover “Remnants of Ascension” and the more varied but still pretty brutal roller-coaster “Repeating Actions”.

Although there will be some who will question this effort’s validity and significance in an oversaturated with brutal guitar acrobatics contemporary scene, it’s undeniable that an adroitly-performed piece of music will invariably attract the relevant crowd. Nothing short of perfection is expected from such an all-star assembly and the guys deliver in spades, again not offering anything new and ground-breaking, but trying to sum up what their careers have been standing for all these years, quite successfully at that. I’m not quite sure if I’ll be salivating over another similarly-styled offering coming out of their camp in another few years, but right now I see no reason why I shouldn’t be moshing around, risking a severe neck-sprain, also trying to shut this wide-open-due-to-awe mouth of mine in order to avoid swallowing some of the bugs flying around.

bayern



..::TRACK-LIST::..

1. Theorem 04:12
2. Release from Flesh and Blood 03:53
3. A History Denied 04:05
4. Designed Obsolescence 03:02
5. All Manner of Decay 03:44
6. Autonomic 03:17
7. Into the Void 04:05
8. Remnants of Ascension 02:07
9. Repeating Actions 03:35



..::OBSADA::..

Ron Casey - Drums
Chase Fraser - Guitars (lead)
Ivan Munguia - Guitars (rhythm)
Riley McShane - Vocals
Nick Willbrand - Bass




https://www.youtube.com/watch?v=mjG9kHbNhUM



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

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


..::OPIS::..

'Spawn of Almighty Essence' to bardzo mocny, przyjemny i satysfakcjonujący kawałek brutalności!
Jeśli istnieje jedno słowo, które podsumowuje ten album, to prawdopodobnie jest to eklektyzm. Podczas gdy zdecydowana większość zespołów, które grają brutalniejszy rodzaj death metalu, często skupia się na jednym konkretnym rodzaju ekstremum, SCHIZOGEN wyraźnie poświęcił trzy lata od debiutu na skrupulatną pracę nad swoim brzmieniem i stylem, aby był on tak wszechobecny, jak to tylko możliwe.

Ten album wprowadza elementy tech death metalu, slam, a nawet melo-death, co oznacza, że ​​prawdopodobnie każdy fan death metalu znajdzie tu coś dla siebie. Oferowany przez nich kunszt muzyczny osiągnął nowe szczyty, a w pewnych momentach prawie niemożliwe jest pełne docenienie każdego małego subtelnego ozdobnika ze względu na intensywność i wirtuozerię całości. Dzięki Spawn of Almighty Essence , SCHIZOGEN nie tylko stworzyli swoje najlepsze dzieło do tej pory, ale także wyznaczyli sobie niezwykle wysoki punkt odniesienia do pokonania w przyszłości.



I really got to hand it to Jason Tipton at Willowtip Records. He has a unique ability to find some of the most intricately brutal death metal bands (Defeated Sanity, Putridity, Abysmal Torment, etc). Ukraine’s Schizogen are no exception with their 2020 2nd full length Spawn of Almighty Essence.

Musically these guys waste zero time beginning to pummel with the first track “Birth of The Great Mass”. Schizogen are a four piece and with only one guitarist the overall production on this is quick massive. Pun completely intended. The guitar work of Grinder is also over the place. I would compare it to the frenzied fretboard work of Diego Sanchez from the almighty Disgorge. It makes me wonder how many pinch harmonics he averaged per song. Grinder along with bassist Pavel work extremely well together which with not having a second guitarist is pretty crucial for these type of arrangements. The drum work of Vadim is quite ferocious and provides plenty of tempo changes.

Lyrically a lot of the song concepts seem to revolve around biological catastrophes. Tracks like “Roots of New Civilization” and “Biological Damage Processes” really speak to these themes as well as the awesome cover art done by Marco Hasmann. Vocalist Pablo is not reinventing the wheel by any means but his vocals due fit the music quite well. I really enjoy the contrast between the whammy bar dive breakdowns into more melodic phrasing. Tracks like “The Genes Recoding” and “The Physical Essence of The Devourer” are great examples of this. At 36 minutes plus this is a fantastic 2nd album and another great addition to the Willowtip roster.

Nick K.



..::TRACK-LIST::..

1. Birth of the Great Mass 05:18
2. Galaxies Systematic Infection 05:02
3. The Physical Essence of the Devourer 05:23
4. Biological Damage Processes 03:50
5. Roots of the New Civilization 05:44
6. The Genes Recoding 04:14
7. The Last Stage of Colonization 07:21
8. Cold Winds of the New World 02:20



..::OBSADA::..

Pablo - Vocals
Grinder - Guitars
Vadim - Drums
Pavel - Bass



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


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

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


..::OPIS::..

'Spawn of Almighty Essence' to bardzo mocny, przyjemny i satysfakcjonujący kawałek brutalności!
Jeśli istnieje jedno słowo, które podsumowuje ten album, to prawdopodobnie jest to eklektyzm. Podczas gdy zdecydowana większość zespołów, które grają brutalniejszy rodzaj death metalu, często skupia się na jednym konkretnym rodzaju ekstremum, SCHIZOGEN wyraźnie poświęcił trzy lata od debiutu na skrupulatną pracę nad swoim brzmieniem i stylem, aby był on tak wszechobecny, jak to tylko możliwe.

Ten album wprowadza elementy tech death metalu, slam, a nawet melo-death, co oznacza, że ​​prawdopodobnie każdy fan death metalu znajdzie tu coś dla siebie. Oferowany przez nich kunszt muzyczny osiągnął nowe szczyty, a w pewnych momentach prawie niemożliwe jest pełne docenienie każdego małego subtelnego ozdobnika ze względu na intensywność i wirtuozerię całości. Dzięki Spawn of Almighty Essence , SCHIZOGEN nie tylko stworzyli swoje najlepsze dzieło do tej pory, ale także wyznaczyli sobie niezwykle wysoki punkt odniesienia do pokonania w przyszłości.



I really got to hand it to Jason Tipton at Willowtip Records. He has a unique ability to find some of the most intricately brutal death metal bands (Defeated Sanity, Putridity, Abysmal Torment, etc). Ukraine’s Schizogen are no exception with their 2020 2nd full length Spawn of Almighty Essence.

Musically these guys waste zero time beginning to pummel with the first track “Birth of The Great Mass”. Schizogen are a four piece and with only one guitarist the overall production on this is quick massive. Pun completely intended. The guitar work of Grinder is also over the place. I would compare it to the frenzied fretboard work of Diego Sanchez from the almighty Disgorge. It makes me wonder how many pinch harmonics he averaged per song. Grinder along with bassist Pavel work extremely well together which with not having a second guitarist is pretty crucial for these type of arrangements. The drum work of Vadim is quite ferocious and provides plenty of tempo changes.

Lyrically a lot of the song concepts seem to revolve around biological catastrophes. Tracks like “Roots of New Civilization” and “Biological Damage Processes” really speak to these themes as well as the awesome cover art done by Marco Hasmann. Vocalist Pablo is not reinventing the wheel by any means but his vocals due fit the music quite well. I really enjoy the contrast between the whammy bar dive breakdowns into more melodic phrasing. Tracks like “The Genes Recoding” and “The Physical Essence of The Devourer” are great examples of this. At 36 minutes plus this is a fantastic 2nd album and another great addition to the Willowtip roster.

Nick K.



..::TRACK-LIST::..

1. Birth of the Great Mass 05:18
2. Galaxies Systematic Infection 05:02
3. The Physical Essence of the Devourer 05:23
4. Biological Damage Processes 03:50
5. Roots of the New Civilization 05:44
6. The Genes Recoding 04:14
7. The Last Stage of Colonization 07:21
8. Cold Winds of the New World 02:20



..::OBSADA::..

Pablo - Vocals
Grinder - Guitars
Vadim - Drums
Pavel - Bass



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


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

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


..::OPIS::..

Ta godzina niesamowitego muzycznego napięcia i 'szaleństwa' zawsze ucieka mi niczym krwawa rzeka.
Płyta dosłownie tryska energią. Macie dwie możliwości.
Albo wytrzymacie napór i po chwili zgodzicie się na tę całą makabryczną grę, albo tchórzliwie spierdolicie.
Gdzieś czytałem, że na Malcie żyje specjalny gatunek pszczół, który produkuje niezwykle odurzający miód. Jeśli tak jest naprawdę, to panowie z ABYSMAL TORMENT musieli zostać użądleni przez jakiś naprawdę wkurwiony rój.

FA

Abysmal Torment w ciągu kilkunastu lat scenicznej działalności dorobili się przyzwoitego grona zwolenników na całym świecie, ale cuś mi się wydaje, że z lekka przeceniają u nich głód swojej muzyki i ogólne oddanie. Maltańczycy postanowili bowiem wynagrodzić fanom pięcioletnią przerwę wydawniczą i na potrzeby Cultivate The Apostate skomponowali pełną godzinę brutalnych death metalowych tortur. W tym miejscu kark mięknie, a kolana się uginają, bo jak dobry by nie był ten materiał, jest go po prostu od zajebania, a odnosząc go ilościowo do średniej gatunkowej – dostaliśmy (przynajmniej) dwa albumy w cenie jednego. Promocja jak w Biedronce – oszczędność kasy i miejsca na półce, zastanawia mnie tylko, kto — nawet z najtwardszych zawodników — będzie w stanie wysłuchać Cultivate The Apostate od początku do końca z pełną uwagą, nie wyrywając się w międzyczasie do innych zajęć. Tym bardziej, że Abysmal Torment nie stosują tu żadnych trików nabijających czas: rozbudowanych introsów, przerywników czy kilkunastominutowych fragmentów ciszy przed „ukrytymi” kawałkami – nie, zrobili aż trzynaście konkretnych numerów i w każdym napierają pozbawiony udziwnień, zwarty, stuprocentowo amerykański i odpowiednio techniczny brutal death metal.

Warto przy tym zaznaczyć, że trzymają zaskakująco równy poziom przez całą płytę, ani na chwilę nie spuszczając z tonu. Mimo to udało mi się wychwycić aż trzy kawałki, które wybijają się nieco za sprawą bardziej chwytliwych riffów: „Communion Of Ejaculation”, „Metamorphis Of The Maggots” i „Amidst Your Scorched Barren Shrine”. Z góry jednak ostrzegam, że różnice między nimi a pozostałymi są naprawdę minimalne i nie ma sensu nastawiać się na jakieś symfonie urozmaiceń. Godzina takiego grania to nie w kij dmuchał i dlatego bez odpowiedniego podejścia i znaaacznej ilości wolnego czasu Cultivate The Apostate potrafi dość szybko zmęczyć i w konsekwencji zanudzić. I obojętnie jaki aspekt tego albumu byśmy rozpatrywali, czego byśmy nie wychwalali, wrócimy do jego objętości. Muzycy Abysmal Torment najwyraźniej chcieli tym kolosalnym materiałem uszczęśliwić wielu, ale raczej zawęzili krąg potencjalnych odbiorców, bo wyszła im płyta dla bardzo zdeterminowanych.

demo


Abysmal Torment is known as a brutal death metal band and this is exemplified greatly by this beast of an album. Their previous work "Omnicide" was very underwhelming to me personally, although it was reviewed very highly. This time around the band may have had the biggest step up in terms of progression I have personally ever seen. This overall is an amazing album and should definitely be recognized as the best brutal death metal album this year so far in my opinion, even if it does have its faults. Both will be mentioned in this review.

I will start with the instrumentals: The guitars are tuned in a way that is very reminiscent to the old school Swedish/Finnish death metal chainsaw sound, and it sounds amazing for the album as a whole; if you like old Demigod, you will love the sound of this album. One of my favorite things about the album is how thick the guitar wall is on the entirety of the album, it doesn't sound muddy or distorted at all, just overwhelming and grandiose. The guitar work is very solid, while it is usually very fast throughout, it never gets overly technical to where it loses its slamming brutality. To mention the slamming brutality, holy crap people, if you are a fan of slam, this is basically a dream come true. The album clocks in at almost exactly an hour and the entire time is spent slamming, while still done tastefully. One of my favorites is in "Amidst Your Scorched Barren Shrine"; the slam in the middle of that song is almost nauseating to hear it is so hard and heavy.

The guitars usually keep a chug pattern throughout the slams, but almost every slam has its own little harmonic piece to go along with it on the lead guitar, a very nice accent to break the monotony that can come with the genre. A small complaint I have is that there is a dearth of solos on this behemoth of an album; I know it is usual for the genre but since it is a full hour long, they could have incorporated a few in somewhere. While this may be a brutal death metal album, the guitars are actually very groovy at parts, in "Hymn to Lucifer" there is a riff in that song that I guarantee will get stuck in your head for some time, which will make you listen to it over and over again to satiate it.

The drums are very present in this album, which they better be if you plan to have any chance at being a brutal death metal band. Most of the time filled is blasting which may be a turn off to some, but there is actually a ton of variation to the drumming. One thing I love, and don't see often is during the super heavy parts or slams, he matches the bass drum with the chug and it just amplifies the heaviness so much it's unreal; more people need to do it. The fills are never repetitive and are fast as crap, usually incorporating the bass drum in with it which is a plus. The bass is audible but underwhelming compared to the hulking beast that are the guitar walls on this album, some may hear it better than I but that is what I can tell.

Now to get to my complaints: The vocals are my biggest complaint of the album and is what detracts the most from this master work of brutality. They are mid range and stay mid range almost throughout the entire album, except for a handful of high pitch screams here and there. They are not bad at all on their own, don't get me wrong, but the fact that they stay so flat for the entire hour is almost infuriating. If I could give some advice to someone who listens to this: don't listen to it all at once, do 2 or 3 sessions because I love brutal death metal as much as anyone out there, but these vocals frankly got on my nerves around the 30 minute mark. I also noticed that the back half of the album is leaps and bounds better than the front half in my opinion, the first half of the album kind of blends together with the constant brutality. The back half is much more listenable and memorable, but again this is only my opinion. One last thing is I think it would benefit the album greatly if maybe 1 or 2 songs sidestepped the never ending slams to do some melodic work; the little accents on the slams sound amazing and a song made entirely of those in the midst of this crazy album would be nice, and are almost needed.

Some things outside of the music that deserve mentioning are that the album artwork is freaking insane. Some of the best artwork I've ever seen for a brutal death metal album, not just blood, gore and naked women; some serious symbolism in this that deserves a second look and comprehension if you're into that side of the music. The production value is great and is mixed very well, albeit some parts could be turned up or down at times. The physical copy of the album is great, high quality and has amazing artwork in the booklet, even including relevant quotes from notable people in history. Nothing about it feels cheap or flimsy (the jewel case version). If you are a fan of slam or brutal death metal you will love this almost unconditionally so I highly recommend you give this a listen, you wont regret it.

epicdrumline



..::TRACK-LIST::..

1. Whispering Venomous Ones 04:48
2. Host Of The Swine 04:36
3. Communion Of Ejaculation 03:46
4. Dead In The Flesh 04:24
5. Metamorphis Of The Maggots 04:42
6. Strangled Within Coils 04:35
7. Amidst Your Scorched Barren Shrine 04:47
8. Hang Them High 04:16
9. Dawning New Aeon 05:05
10. Malkuth 04:32
11. Conjured To Serve None 05:12
12. Hymn To Lucifer 04:34
13. Cultivate The Apostate 04:39



..::OBSADA::..

Nick Farrugia - Vocals
Melchior Borg - Vocals
Kurt Pace - Guitars
Karl Romano - Bass
Max Vassallo - Drums
David Depasquale - Guitars




https://www.youtube.com/watch?v=qORlDGh2D8E



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

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


..::OPIS::..

Ta godzina niesamowitego muzycznego napięcia i 'szaleństwa' zawsze ucieka mi niczym krwawa rzeka.
Płyta dosłownie tryska energią. Macie dwie możliwości.
Albo wytrzymacie napór i po chwili zgodzicie się na tę całą makabryczną grę, albo tchórzliwie spierdolicie.
Gdzieś czytałem, że na Malcie żyje specjalny gatunek pszczół, który produkuje niezwykle odurzający miód. Jeśli tak jest naprawdę, to panowie z ABYSMAL TORMENT musieli zostać użądleni przez jakiś naprawdę wkurwiony rój.

FA

Abysmal Torment w ciągu kilkunastu lat scenicznej działalności dorobili się przyzwoitego grona zwolenników na całym świecie, ale cuś mi się wydaje, że z lekka przeceniają u nich głód swojej muzyki i ogólne oddanie. Maltańczycy postanowili bowiem wynagrodzić fanom pięcioletnią przerwę wydawniczą i na potrzeby Cultivate The Apostate skomponowali pełną godzinę brutalnych death metalowych tortur. W tym miejscu kark mięknie, a kolana się uginają, bo jak dobry by nie był ten materiał, jest go po prostu od zajebania, a odnosząc go ilościowo do średniej gatunkowej – dostaliśmy (przynajmniej) dwa albumy w cenie jednego. Promocja jak w Biedronce – oszczędność kasy i miejsca na półce, zastanawia mnie tylko, kto — nawet z najtwardszych zawodników — będzie w stanie wysłuchać Cultivate The Apostate od początku do końca z pełną uwagą, nie wyrywając się w międzyczasie do innych zajęć. Tym bardziej, że Abysmal Torment nie stosują tu żadnych trików nabijających czas: rozbudowanych introsów, przerywników czy kilkunastominutowych fragmentów ciszy przed „ukrytymi” kawałkami – nie, zrobili aż trzynaście konkretnych numerów i w każdym napierają pozbawiony udziwnień, zwarty, stuprocentowo amerykański i odpowiednio techniczny brutal death metal.

Warto przy tym zaznaczyć, że trzymają zaskakująco równy poziom przez całą płytę, ani na chwilę nie spuszczając z tonu. Mimo to udało mi się wychwycić aż trzy kawałki, które wybijają się nieco za sprawą bardziej chwytliwych riffów: „Communion Of Ejaculation”, „Metamorphis Of The Maggots” i „Amidst Your Scorched Barren Shrine”. Z góry jednak ostrzegam, że różnice między nimi a pozostałymi są naprawdę minimalne i nie ma sensu nastawiać się na jakieś symfonie urozmaiceń. Godzina takiego grania to nie w kij dmuchał i dlatego bez odpowiedniego podejścia i znaaacznej ilości wolnego czasu Cultivate The Apostate potrafi dość szybko zmęczyć i w konsekwencji zanudzić. I obojętnie jaki aspekt tego albumu byśmy rozpatrywali, czego byśmy nie wychwalali, wrócimy do jego objętości. Muzycy Abysmal Torment najwyraźniej chcieli tym kolosalnym materiałem uszczęśliwić wielu, ale raczej zawęzili krąg potencjalnych odbiorców, bo wyszła im płyta dla bardzo zdeterminowanych.

demo


Abysmal Torment is known as a brutal death metal band and this is exemplified greatly by this beast of an album. Their previous work "Omnicide" was very underwhelming to me personally, although it was reviewed very highly. This time around the band may have had the biggest step up in terms of progression I have personally ever seen. This overall is an amazing album and should definitely be recognized as the best brutal death metal album this year so far in my opinion, even if it does have its faults. Both will be mentioned in this review.

I will start with the instrumentals: The guitars are tuned in a way that is very reminiscent to the old school Swedish/Finnish death metal chainsaw sound, and it sounds amazing for the album as a whole; if you like old Demigod, you will love the sound of this album. One of my favorite things about the album is how thick the guitar wall is on the entirety of the album, it doesn't sound muddy or distorted at all, just overwhelming and grandiose. The guitar work is very solid, while it is usually very fast throughout, it never gets overly technical to where it loses its slamming brutality. To mention the slamming brutality, holy crap people, if you are a fan of slam, this is basically a dream come true. The album clocks in at almost exactly an hour and the entire time is spent slamming, while still done tastefully. One of my favorites is in "Amidst Your Scorched Barren Shrine"; the slam in the middle of that song is almost nauseating to hear it is so hard and heavy.

The guitars usually keep a chug pattern throughout the slams, but almost every slam has its own little harmonic piece to go along with it on the lead guitar, a very nice accent to break the monotony that can come with the genre. A small complaint I have is that there is a dearth of solos on this behemoth of an album; I know it is usual for the genre but since it is a full hour long, they could have incorporated a few in somewhere. While this may be a brutal death metal album, the guitars are actually very groovy at parts, in "Hymn to Lucifer" there is a riff in that song that I guarantee will get stuck in your head for some time, which will make you listen to it over and over again to satiate it.

The drums are very present in this album, which they better be if you plan to have any chance at being a brutal death metal band. Most of the time filled is blasting which may be a turn off to some, but there is actually a ton of variation to the drumming. One thing I love, and don't see often is during the super heavy parts or slams, he matches the bass drum with the chug and it just amplifies the heaviness so much it's unreal; more people need to do it. The fills are never repetitive and are fast as crap, usually incorporating the bass drum in with it which is a plus. The bass is audible but underwhelming compared to the hulking beast that are the guitar walls on this album, some may hear it better than I but that is what I can tell.

Now to get to my complaints: The vocals are my biggest complaint of the album and is what detracts the most from this master work of brutality. They are mid range and stay mid range almost throughout the entire album, except for a handful of high pitch screams here and there. They are not bad at all on their own, don't get me wrong, but the fact that they stay so flat for the entire hour is almost infuriating. If I could give some advice to someone who listens to this: don't listen to it all at once, do 2 or 3 sessions because I love brutal death metal as much as anyone out there, but these vocals frankly got on my nerves around the 30 minute mark. I also noticed that the back half of the album is leaps and bounds better than the front half in my opinion, the first half of the album kind of blends together with the constant brutality. The back half is much more listenable and memorable, but again this is only my opinion. One last thing is I think it would benefit the album greatly if maybe 1 or 2 songs sidestepped the never ending slams to do some melodic work; the little accents on the slams sound amazing and a song made entirely of those in the midst of this crazy album would be nice, and are almost needed.

Some things outside of the music that deserve mentioning are that the album artwork is freaking insane. Some of the best artwork I've ever seen for a brutal death metal album, not just blood, gore and naked women; some serious symbolism in this that deserves a second look and comprehension if you're into that side of the music. The production value is great and is mixed very well, albeit some parts could be turned up or down at times. The physical copy of the album is great, high quality and has amazing artwork in the booklet, even including relevant quotes from notable people in history. Nothing about it feels cheap or flimsy (the jewel case version). If you are a fan of slam or brutal death metal you will love this almost unconditionally so I highly recommend you give this a listen, you wont regret it.

epicdrumline



..::TRACK-LIST::..

1. Whispering Venomous Ones 04:48
2. Host Of The Swine 04:36
3. Communion Of Ejaculation 03:46
4. Dead In The Flesh 04:24
5. Metamorphis Of The Maggots 04:42
6. Strangled Within Coils 04:35
7. Amidst Your Scorched Barren Shrine 04:47
8. Hang Them High 04:16
9. Dawning New Aeon 05:05
10. Malkuth 04:32
11. Conjured To Serve None 05:12
12. Hymn To Lucifer 04:34
13. Cultivate The Apostate 04:39



..::OBSADA::..

Nick Farrugia - Vocals
Melchior Borg - Vocals
Kurt Pace - Guitars
Karl Romano - Bass
Max Vassallo - Drums
David Depasquale - Guitars




https://www.youtube.com/watch?v=qORlDGh2D8E



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

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


..::OPIS::..

Jeśli chcecie dynamicznego, złożonego death metalu z nutą ponurości i depresyjną melodią, bierzcie to gówno natychmiast!!!
Jeśli lubicie, dajmy na to OBSCUR'e ale wolelibyście, żeby zrobili coś bardziej pierwotnego zamiast masturbować się w kosmosie... to jest to coś dla was.



..::TRACK-LIST::..

1. Depleted Kingdom 07:33
2. Chalice 04:48
3. The Barren Throne 03:45
4. Putrid Seed of Affection 03:18
5. Iron Jaw 04:35
6. Sovereign Carnal Passion 04:58
7. Sky Burial 07:57
8. Veil of Mercy 03:22
9. Mass Extiction Codex 04:14
10. Storm Drainer 04:55
11. Unearthed 03:27



..::OBSADA::..

Gísli Rúnar Guðmundsson - Bass
Ragnar Sverrisson - Drums
Unnar Sigurðsson - Guitars
Jóhann Ingi Sigurðsson - Guitars
Benedikt Natanael Bjarnason - Vocals




https://www.youtube.com/watch?v=ElAfL9vIyL4



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

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


..::OPIS::..

Jeśli chcecie dynamicznego, złożonego death metalu z nutą ponurości i depresyjną melodią, bierzcie to gówno natychmiast!!!
Jeśli lubicie, dajmy na to OBSCUR'e ale wolelibyście, żeby zrobili coś bardziej pierwotnego zamiast masturbować się w kosmosie... to jest to coś dla was.



..::TRACK-LIST::..

1. Depleted Kingdom 07:33
2. Chalice 04:48
3. The Barren Throne 03:45
4. Putrid Seed of Affection 03:18
5. Iron Jaw 04:35
6. Sovereign Carnal Passion 04:58
7. Sky Burial 07:57
8. Veil of Mercy 03:22
9. Mass Extiction Codex 04:14
10. Storm Drainer 04:55
11. Unearthed 03:27



..::OBSADA::..

Gísli Rúnar Guðmundsson - Bass
Ragnar Sverrisson - Drums
Unnar Sigurðsson - Guitars
Jóhann Ingi Sigurðsson - Guitars
Benedikt Natanael Bjarnason - Vocals




https://www.youtube.com/watch?v=ElAfL9vIyL4



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

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


..::OPIS::..

Stało się, kolejne techniczne monstrum ujrzało światło dzienne. Co więcej, "Multi-Dimensional Fractal-Sorcery and Super Science" jest tak dobry, że już po pierwszych seansach z nim zaliczam Gigan do czołówki zespołów prezentujących pokrzywione podejście do death metalu.

Trójca technicznego i niekonwencjonalnego grania już w komplecie. Oprócz Gorguts i Ulcerate, do gry wchodzi Gigan wraz z kosmicznym "Multi-Dimensional Fractal Sorcery and Super Science". Już tytuł mówi sam za siebie.

Trzeci album Amerykanów to totalne wariactwo, prezentujące zupełnie inne podejście do tworzenia aniżeli Gorguts czy Ulcerate, do których Gigan często jest porównywany. Pierwszym charakterystycznym wyróżnikiem jest tempo, w jaki formacja wyrzuca z siebie całe twórcze wyładowanie. Jest to bardzo szybki materiał, miejscami zahaczający o grindcore w stylu Cephalic Carnage ("Electro-Stimulated Hallucinatory Response"). Wcześniej doszło do zmian w składzie kapeli, za perkusją zasiadł Nate Cotton, szaleniec znany ze współpracy z math/grindcore‘owcami z Bedlam Of Cacophony, a co za tym idzie, jego techniczny i zabójczo szybki warsztat przekłada się na najnowszy majstersztyk Amerykanów. O przykłady nietrudno, gdyż wspomniany styl gry opanowuje niemal cały album. Wyraźne piętno niepohamowanych podwójnych uderzeń stopy i grawitacyjnych blast beatowych uderzeń daje się we znaki na przykład w "Influence Through Ritualistic Projection". To niezwykle techniczne podejście do chaotycznego grania, a przy okazji agresywne i wściekłe, niepozostawiające miejsca na kompromisy.

Zmiany nastąpiły także za mikrofonem. Johna Collet zastąpił Eston Browne, nie naruszając pierwotnej aury charakterystycznej dla Gigan. Tak naprawdę, jedynym pierwotnym członkiem i uczestnikiem wszystkich astralnych podróży muzycznych formacji jest gitarzysta Eric Hersemann, którego wariackie rzemiosło na najnowszym albumie sięgnęło zenitu.

Niech pierwsze minuty rozpoczynające album was nie zwiodą, niepozorny początek to jedynie cisza przed burzą. To pokręcona muzyka, wpadającą w ucho, a jednocześnie drażniąca umysł. Riff wielokrotnie pojawiający się "Electro-Stimulated Hallucinatory Response" swoją melodyką i chwytliwością natychmiast zapisuje się w pamięci słuchacza, a "Mother of Toads" męczącymi słuch partiami urywa głowę. Gigan perfekcyjnie zadbał o to, by zachować równowagę między sferą ciężką do przetrawienia, a partiami swobodnych wywodów muzycznych. Mamy tutaj także momenty z klasycznymi rytmami, pozwalającymi na rytmiczne kiwanie głową, co w przypadku produkcji zahaczających nawet o mathcore jest unikatem ("Cosmic Triangular Communications").

Każdy utwór urozmaica niekonwencjonalna wstawka, raz jest to dźwięk spawanego żelaza, czasem mamy wrażenie wsłuchiwania się w dźwięki kosmosu, lub psychodeliczny bełkot człowieka, a w wieńczącym płytę "Electro-Stimulated Hallucinatory Response" pojawia się przyjemna ambientowa partia. To najbardziej niezwykłe zwieńczenie podróży wśród wszystkich najbardziej oczekiwanych albumów niekonwencjonalnego death metalu wydanych w tym roku. Mogę jedynie mieć nadzieję, że ostatni kwartał 2013 roku przyniesie jeszcze jakąś niespodziankę, równie dobrą co "Vermis", "Colored Sands", czy "Multi-Dimensional Fractal Sorcery and Super Science". Warto zapoznać się z tym tryptykiem lecz ostrzegam, po jego przesłuchaniu już nic w waszym życiu nie będzie takie same.

Adam Piętak


Gigan nie odpuszcza! Gigan atakuje ponownie ze zdwojoną siłą! Po intrygującym „Quasi-Hallucinogenic Sonic Landscapes” przyszła pora na Multi wymiarową magię fraktalną i super naukę. Przerost formy nad treścią? Oj nie, nie! Panowie tworzą ścieżkę dźwiękową do filmu o szeroko pojętej schizofrenii, zjadaniu ludzkich kończyn oraz wbijaniu gwoździ głową. Oni są jak epidemia. Na początku niezrozumiali i chaotyczni lecz z czasem lepiej wchodzą i sieją większe spustoszenie. Ich muzyka to stan permanentnego tornada. Momentami czujemy się jakby wrzucono nas do pudełka i trząchano nim ile sił a potem dostajemy w zęby zwalniającą i wybuchającą progresją. Amerykanie są nieprzewidywalni jak wybuchy na słońcu i w sumie mają zbliżoną charakterystykę. Ogólnie rzecz ujmując, jest to muzyka specjalistyczna. Kompozycje potrafią dobić do 9 minut. Są uzupełniane wszelkiej maści sprzężeniami i ambientowymi dobitkami. Generowany jest niepokój a wszechobecny szał nie pozwoli Wam odetchnąć.

Gigan wypracował sobie specyficzny styl. Zestawia natężenie z powtarzalnością a wszystko to zamyka mocarnym brzmieniem. Do tego ciągłe, techniczne zwroty akcji i wyuzdane solówki. Jest to bardzo konkretny materiał. Może męczyć ale kiedy się przyjmie to gwarantuje interesujące przeżycia. Z pewnością wymaga także otwartego umysłu. Potrafi przytłoczyć słuchacza więc trzeba mieć wypoczęty umysł. Na pierwszy rzut ucha, zdaje się, że jest tu dysonans kompozycyjny. Jest dużo wtrąceń, które stanowią esencję tego konceptu. Żeby go w pełni wyeksploatować, potrzeba wielu sesji. Jeśli natomiast nie chcemy zgłębiać jakoś specjalnie tej przestrzeni – możemy go potraktować jako niszczycielski kombajn stylistyczny. Polecam uzupełnić płyny i dać się ponieść. Ekstremalny, wysokooktanowy death metal poddający w wątpliwość sens istnienia i nie tylko. Polecam!

Rimmön


One of the most original, innovative, and futuristic death metal bands in the world has returned with a brand full length. A kaleidoscopic sound voyage that is at once musically complex and meticulously concise, Multi-Dimensional Fractal Sorcery And Super-Science dishes up eight hymns of cranium-twisting, hallucinatory brutality.



When I was growing up, death metal was happening all over the place. You had the continuing explosion of brutal death metal, the hay-day of melodic death metal, and the development of technical death metal. With such exponential growth, the bubble is always bound to burst. And it did. Oh how it did. Since then, most of the genres have become caricatures of their former selves. There is the occasional surprise here and there, but for the most part, these wells have gone dry.

And yet from the ashes, a new breed of technical death metal seems to be rising. Between groups like Ulcerate, Malthusian, and Portal; there seems to be a veritable geyser of untapped potential that is far from stagnant. Enter Gigan, a tech death band far removed from the endless waves of Dying Fetus clones. With a penchant for the progressive, and occasionally psychedelic, the latest album Multi-Dimensional Fractal-Sorcery And Super Science is as impressive as it is wordy.

The most basic thing about this album is probably the vocals. They are your typical death metal grunts and growls with the occasional retch for good measure. But Gigan’s “basic” is your average group’s 110%. Eston Browne will throttle the shit out of you. Each verbal assault is measured and calculated to be as crushing as possible. But let’s move on to the true stars here: Nate Cotton and Eric Hersemann. These cacophonous riffs and insatiable rhythms will have your head spinning like Lind Blair. Time signature leap from measure to measure while the guitar throbs, pulsates, and punctures.

And yet, for all of its chaos, Multi-Dimensional Fractal-Sorcery And Super Science is far from an unfettered freak show. This is “technical” death after all. Each wailing chord, each sweeping of the fretboard, each jarring tempo change is coldly calculated. There is a level of order that rivals the aforementioned Ulcerate, but within a completely different aesthetic. Foregoing a bleak, sandblasted blackness, Gigan occupies a massive obelisk in the cosmos. There are surprising amounts of hooks and memorable moments carrying each song through time and space.

Final word: this is some of the best death metal you will hear from the past few years. It's alarmingly technical, but not in the done-to-death (har har) traditional sense. There is a sense of the psychedelic, as well as a masterful churning of dissonance into melody and order. This is a supernova contained within a tesseract.

flightoficarus86



..::TRACK-LIST::..

1. Beneath The Sea Of Tranquility 09:10
2. Influence Through Ritualistic Projection 04:02
3. Electro-Stimulated Hallucinatory Response 06:30
4. Mother Of Toads 05:32
5. Obsidian Sun 04:36
6. Cosmic Triangular Communications 04:42
7. Gibbering Hordes Of Zemiath 04:39
8. Bio-Engineered Molecular Abnormalities 05:23



..::OBSADA::..

Vocals - Eston Browne
Drums, Percussion - Nathan Cotton
Guitar, Bass, Theremin, Synth, Xylophone, Sounds, Lyrics By, Concept By - Eric Hersemann




https://www.youtube.com/watch?v=keIGxLH4luE



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

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


..::OPIS::..

Stało się, kolejne techniczne monstrum ujrzało światło dzienne. Co więcej, "Multi-Dimensional Fractal-Sorcery and Super Science" jest tak dobry, że już po pierwszych seansach z nim zaliczam Gigan do czołówki zespołów prezentujących pokrzywione podejście do death metalu.

Trójca technicznego i niekonwencjonalnego grania już w komplecie. Oprócz Gorguts i Ulcerate, do gry wchodzi Gigan wraz z kosmicznym "Multi-Dimensional Fractal Sorcery and Super Science". Już tytuł mówi sam za siebie.

Trzeci album Amerykanów to totalne wariactwo, prezentujące zupełnie inne podejście do tworzenia aniżeli Gorguts czy Ulcerate, do których Gigan często jest porównywany. Pierwszym charakterystycznym wyróżnikiem jest tempo, w jaki formacja wyrzuca z siebie całe twórcze wyładowanie. Jest to bardzo szybki materiał, miejscami zahaczający o grindcore w stylu Cephalic Carnage ("Electro-Stimulated Hallucinatory Response"). Wcześniej doszło do zmian w składzie kapeli, za perkusją zasiadł Nate Cotton, szaleniec znany ze współpracy z math/grindcore‘owcami z Bedlam Of Cacophony, a co za tym idzie, jego techniczny i zabójczo szybki warsztat przekłada się na najnowszy majstersztyk Amerykanów. O przykłady nietrudno, gdyż wspomniany styl gry opanowuje niemal cały album. Wyraźne piętno niepohamowanych podwójnych uderzeń stopy i grawitacyjnych blast beatowych uderzeń daje się we znaki na przykład w "Influence Through Ritualistic Projection". To niezwykle techniczne podejście do chaotycznego grania, a przy okazji agresywne i wściekłe, niepozostawiające miejsca na kompromisy.

Zmiany nastąpiły także za mikrofonem. Johna Collet zastąpił Eston Browne, nie naruszając pierwotnej aury charakterystycznej dla Gigan. Tak naprawdę, jedynym pierwotnym członkiem i uczestnikiem wszystkich astralnych podróży muzycznych formacji jest gitarzysta Eric Hersemann, którego wariackie rzemiosło na najnowszym albumie sięgnęło zenitu.

Niech pierwsze minuty rozpoczynające album was nie zwiodą, niepozorny początek to jedynie cisza przed burzą. To pokręcona muzyka, wpadającą w ucho, a jednocześnie drażniąca umysł. Riff wielokrotnie pojawiający się "Electro-Stimulated Hallucinatory Response" swoją melodyką i chwytliwością natychmiast zapisuje się w pamięci słuchacza, a "Mother of Toads" męczącymi słuch partiami urywa głowę. Gigan perfekcyjnie zadbał o to, by zachować równowagę między sferą ciężką do przetrawienia, a partiami swobodnych wywodów muzycznych. Mamy tutaj także momenty z klasycznymi rytmami, pozwalającymi na rytmiczne kiwanie głową, co w przypadku produkcji zahaczających nawet o mathcore jest unikatem ("Cosmic Triangular Communications").

Każdy utwór urozmaica niekonwencjonalna wstawka, raz jest to dźwięk spawanego żelaza, czasem mamy wrażenie wsłuchiwania się w dźwięki kosmosu, lub psychodeliczny bełkot człowieka, a w wieńczącym płytę "Electro-Stimulated Hallucinatory Response" pojawia się przyjemna ambientowa partia. To najbardziej niezwykłe zwieńczenie podróży wśród wszystkich najbardziej oczekiwanych albumów niekonwencjonalnego death metalu wydanych w tym roku. Mogę jedynie mieć nadzieję, że ostatni kwartał 2013 roku przyniesie jeszcze jakąś niespodziankę, równie dobrą co "Vermis", "Colored Sands", czy "Multi-Dimensional Fractal Sorcery and Super Science". Warto zapoznać się z tym tryptykiem lecz ostrzegam, po jego przesłuchaniu już nic w waszym życiu nie będzie takie same.

Adam Piętak


Gigan nie odpuszcza! Gigan atakuje ponownie ze zdwojoną siłą! Po intrygującym „Quasi-Hallucinogenic Sonic Landscapes” przyszła pora na Multi wymiarową magię fraktalną i super naukę. Przerost formy nad treścią? Oj nie, nie! Panowie tworzą ścieżkę dźwiękową do filmu o szeroko pojętej schizofrenii, zjadaniu ludzkich kończyn oraz wbijaniu gwoździ głową. Oni są jak epidemia. Na początku niezrozumiali i chaotyczni lecz z czasem lepiej wchodzą i sieją większe spustoszenie. Ich muzyka to stan permanentnego tornada. Momentami czujemy się jakby wrzucono nas do pudełka i trząchano nim ile sił a potem dostajemy w zęby zwalniającą i wybuchającą progresją. Amerykanie są nieprzewidywalni jak wybuchy na słońcu i w sumie mają zbliżoną charakterystykę. Ogólnie rzecz ujmując, jest to muzyka specjalistyczna. Kompozycje potrafią dobić do 9 minut. Są uzupełniane wszelkiej maści sprzężeniami i ambientowymi dobitkami. Generowany jest niepokój a wszechobecny szał nie pozwoli Wam odetchnąć.

Gigan wypracował sobie specyficzny styl. Zestawia natężenie z powtarzalnością a wszystko to zamyka mocarnym brzmieniem. Do tego ciągłe, techniczne zwroty akcji i wyuzdane solówki. Jest to bardzo konkretny materiał. Może męczyć ale kiedy się przyjmie to gwarantuje interesujące przeżycia. Z pewnością wymaga także otwartego umysłu. Potrafi przytłoczyć słuchacza więc trzeba mieć wypoczęty umysł. Na pierwszy rzut ucha, zdaje się, że jest tu dysonans kompozycyjny. Jest dużo wtrąceń, które stanowią esencję tego konceptu. Żeby go w pełni wyeksploatować, potrzeba wielu sesji. Jeśli natomiast nie chcemy zgłębiać jakoś specjalnie tej przestrzeni – możemy go potraktować jako niszczycielski kombajn stylistyczny. Polecam uzupełnić płyny i dać się ponieść. Ekstremalny, wysokooktanowy death metal poddający w wątpliwość sens istnienia i nie tylko. Polecam!

Rimmön


One of the most original, innovative, and futuristic death metal bands in the world has returned with a brand full length. A kaleidoscopic sound voyage that is at once musically complex and meticulously concise, Multi-Dimensional Fractal Sorcery And Super-Science dishes up eight hymns of cranium-twisting, hallucinatory brutality.



When I was growing up, death metal was happening all over the place. You had the continuing explosion of brutal death metal, the hay-day of melodic death metal, and the development of technical death metal. With such exponential growth, the bubble is always bound to burst. And it did. Oh how it did. Since then, most of the genres have become caricatures of their former selves. There is the occasional surprise here and there, but for the most part, these wells have gone dry.

And yet from the ashes, a new breed of technical death metal seems to be rising. Between groups like Ulcerate, Malthusian, and Portal; there seems to be a veritable geyser of untapped potential that is far from stagnant. Enter Gigan, a tech death band far removed from the endless waves of Dying Fetus clones. With a penchant for the progressive, and occasionally psychedelic, the latest album Multi-Dimensional Fractal-Sorcery And Super Science is as impressive as it is wordy.

The most basic thing about this album is probably the vocals. They are your typical death metal grunts and growls with the occasional retch for good measure. But Gigan’s “basic” is your average group’s 110%. Eston Browne will throttle the shit out of you. Each verbal assault is measured and calculated to be as crushing as possible. But let’s move on to the true stars here: Nate Cotton and Eric Hersemann. These cacophonous riffs and insatiable rhythms will have your head spinning like Lind Blair. Time signature leap from measure to measure while the guitar throbs, pulsates, and punctures.

And yet, for all of its chaos, Multi-Dimensional Fractal-Sorcery And Super Science is far from an unfettered freak show. This is “technical” death after all. Each wailing chord, each sweeping of the fretboard, each jarring tempo change is coldly calculated. There is a level of order that rivals the aforementioned Ulcerate, but within a completely different aesthetic. Foregoing a bleak, sandblasted blackness, Gigan occupies a massive obelisk in the cosmos. There are surprising amounts of hooks and memorable moments carrying each song through time and space.

Final word: this is some of the best death metal you will hear from the past few years. It's alarmingly technical, but not in the done-to-death (har har) traditional sense. There is a sense of the psychedelic, as well as a masterful churning of dissonance into melody and order. This is a supernova contained within a tesseract.

flightoficarus86



..::TRACK-LIST::..

1. Beneath The Sea Of Tranquility 09:10
2. Influence Through Ritualistic Projection 04:02
3. Electro-Stimulated Hallucinatory Response 06:30
4. Mother Of Toads 05:32
5. Obsidian Sun 04:36
6. Cosmic Triangular Communications 04:42
7. Gibbering Hordes Of Zemiath 04:39
8. Bio-Engineered Molecular Abnormalities 05:23



..::OBSADA::..

Vocals - Eston Browne
Drums, Percussion - Nathan Cotton
Guitar, Bass, Theremin, Synth, Xylophone, Sounds, Lyrics By, Concept By - Eric Hersemann




https://www.youtube.com/watch?v=keIGxLH4luE



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

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


..::OPIS::..

Nie jest to przełomowy album, ale są momenty, które skutecznie mnie zaskoczyły, jak na przykład syntezatory w stylu Johna Carpentera w 'The Kraken', czy dosłownie każdy moment, w którym słychać trąbkę, i za to absolutnie chylę czoła przed zespołem.


Since their inception in 2013, Exocrine has been extremely active. In the 8 years since their formation, this would be the fourth album they've put out. For technical death metal, that's a lot of releases for less than a decade when you consider most bands take anywhere from 3-5 years on average per album. This raises an eyebrow for the quality of their albums in my book. I have not listened to the previous three albums even one time, but when this was released I decided to check it out. This band doesn't receive much publicity; despite the quantity of albums and the fact that they're signed to Unique Leader Records, I don't see many people talking about Exocrine. And after listening to this album, I'm really confused as to why that is. This is excellent technical death metal that deserves more attention.

Alright, let's get the obvious out of the way - this is FAST. Like, really fast. Fans of bands such as Archspire and Cytotoxin will feel at home with the ludicrously quick blast beats and shockingly tight riffage played over the blasting. There's sweeps aplenty here as well, as these Frenchmen are clearly all masters of their respective instruments. Some other bands worth referencing are The Zenith Passage and perhaps fellow country mates Henker, for those of you who really know their tech death. With that palate of bands to refer to, the music should speak for itself; fast winded songs with a good atmosphere, weaving through multiple complex parts to create a basket full of great songs that are worth revisiting. There's some breaks in certain songs to allow the listener a breather from the madness, including a… trumpet?

Alright, we've all heard of the saxophone in technical death metal. That seems to be the new hip thing that every band wants to add into their music. But a trumpet is a unique choice, and it's not exactly intertwined into the tech death itself, rather it comes in and plays a soothing sound when all the music behind it stops. These are the breathing moments they give to the listener and they're actually really cool. I'm not too familiar with the trumpet in other music, but it sounds good as fuck here and I'm glad they added it. It definitely gives them something that separates them from other bands in their genre.

The riffs are great on this album. In case I haven't said it already, they're all lightning fast and technical, but they're catchy and memorable. The riffs are what remind me the most of Archspire, and that peaks when they slow it down a bit for a groovier riff that could make even a non metalhead start to move their head up and down. The lead guitars are great too, probably even better. A lot of the leads remind me of The Zenith Passage debut we got in 2016. They're littered in every song and there's a dozen good ones to pick out just off the top of my head. The songs themselves are of course fucking dominant. They flow very well and don't ever get too crazily structured, and they do keep defined choruses and verses so that they don't lose the average listener too quickly. Another quirk that reminds me of Archspire and Cytotoxin, something very few bands have been able to execute as well as those two.

The vocals are actually pretty dynamic as well. This guy has good pig squeals to compliment his angry sounding death growls. Not often do you hear pig squeals in this kind of music, but they make it work perfectly. There's little black metal shrieks on the album which is definitely disappointing, but oh well, the rest of the vocal department is fine. He goes pretty fast at times too which I appreciate.

Exocrine are firing on all cylinders on their fourth album "Maelstrom." If this band is still not on your radar, better get it on now, my friend. Any fans of technical death metal will enjoy Exocrine, they have something for everyone in the subgenre and keep it 100% tech/prog the whole time. They bludgeon you with frantic riffing and mesmerizing leads and wrap it all up in a package that's easy to digest, but far from diluted or dull. How this band doesn't have more reviews on their page, I don't know. Superb tech.

FFO: Cytotoxin, Archspire, The Zenith Passage

chrisc7249



..::TRACK-LIST::..

1. Maelstrom 04:33
2. The Kraken 04:06
3. Wall of Water 05:10
4. Abyssal Flesh 03:25
5. Orbital Station 04:22
6. The Wreck 05:15
7. Starvation Project 04:10
8. The Chosen One 04:37
9. Galactic Gods 05:51



..::OBSADA::..

Jordy - Bass, Vocals
Nicolas - Guitars
Sylvain - Guitars (lead)
Théo - Drums



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



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

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


..::OPIS::..

Nie jest to przełomowy album, ale są momenty, które skutecznie mnie zaskoczyły, jak na przykład syntezatory w stylu Johna Carpentera w 'The Kraken', czy dosłownie każdy moment, w którym słychać trąbkę, i za to absolutnie chylę czoła przed zespołem.


Since their inception in 2013, Exocrine has been extremely active. In the 8 years since their formation, this would be the fourth album they've put out. For technical death metal, that's a lot of releases for less than a decade when you consider most bands take anywhere from 3-5 years on average per album. This raises an eyebrow for the quality of their albums in my book. I have not listened to the previous three albums even one time, but when this was released I decided to check it out. This band doesn't receive much publicity; despite the quantity of albums and the fact that they're signed to Unique Leader Records, I don't see many people talking about Exocrine. And after listening to this album, I'm really confused as to why that is. This is excellent technical death metal that deserves more attention.

Alright, let's get the obvious out of the way - this is FAST. Like, really fast. Fans of bands such as Archspire and Cytotoxin will feel at home with the ludicrously quick blast beats and shockingly tight riffage played over the blasting. There's sweeps aplenty here as well, as these Frenchmen are clearly all masters of their respective instruments. Some other bands worth referencing are The Zenith Passage and perhaps fellow country mates Henker, for those of you who really know their tech death. With that palate of bands to refer to, the music should speak for itself; fast winded songs with a good atmosphere, weaving through multiple complex parts to create a basket full of great songs that are worth revisiting. There's some breaks in certain songs to allow the listener a breather from the madness, including a… trumpet?

Alright, we've all heard of the saxophone in technical death metal. That seems to be the new hip thing that every band wants to add into their music. But a trumpet is a unique choice, and it's not exactly intertwined into the tech death itself, rather it comes in and plays a soothing sound when all the music behind it stops. These are the breathing moments they give to the listener and they're actually really cool. I'm not too familiar with the trumpet in other music, but it sounds good as fuck here and I'm glad they added it. It definitely gives them something that separates them from other bands in their genre.

The riffs are great on this album. In case I haven't said it already, they're all lightning fast and technical, but they're catchy and memorable. The riffs are what remind me the most of Archspire, and that peaks when they slow it down a bit for a groovier riff that could make even a non metalhead start to move their head up and down. The lead guitars are great too, probably even better. A lot of the leads remind me of The Zenith Passage debut we got in 2016. They're littered in every song and there's a dozen good ones to pick out just off the top of my head. The songs themselves are of course fucking dominant. They flow very well and don't ever get too crazily structured, and they do keep defined choruses and verses so that they don't lose the average listener too quickly. Another quirk that reminds me of Archspire and Cytotoxin, something very few bands have been able to execute as well as those two.

The vocals are actually pretty dynamic as well. This guy has good pig squeals to compliment his angry sounding death growls. Not often do you hear pig squeals in this kind of music, but they make it work perfectly. There's little black metal shrieks on the album which is definitely disappointing, but oh well, the rest of the vocal department is fine. He goes pretty fast at times too which I appreciate.

Exocrine are firing on all cylinders on their fourth album "Maelstrom." If this band is still not on your radar, better get it on now, my friend. Any fans of technical death metal will enjoy Exocrine, they have something for everyone in the subgenre and keep it 100% tech/prog the whole time. They bludgeon you with frantic riffing and mesmerizing leads and wrap it all up in a package that's easy to digest, but far from diluted or dull. How this band doesn't have more reviews on their page, I don't know. Superb tech.

FFO: Cytotoxin, Archspire, The Zenith Passage

chrisc7249



..::TRACK-LIST::..

1. Maelstrom 04:33
2. The Kraken 04:06
3. Wall of Water 05:10
4. Abyssal Flesh 03:25
5. Orbital Station 04:22
6. The Wreck 05:15
7. Starvation Project 04:10
8. The Chosen One 04:37
9. Galactic Gods 05:51



..::OBSADA::..

Jordy - Bass, Vocals
Nicolas - Guitars
Sylvain - Guitars (lead)
Théo - Drums



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



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

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


..::OPIS::..

The End Complete to trzecia już klasyczna pozycja w przegniłej dyskografii Obituary. Ale czy najlepsza? Zasadniczo jest to kwestia dość problematyczna, bowiem choć niczego nowego tu raczej nie uświadczymy, był to album świetnie przyjęty przez krytykę, odniósł też olbrzymi sukces komercyjny (grubo ponad 250 000 egzemplarzy sprzedanych na całym świecie jak na death metal to jednak coś!). Nie jest to płyta zła, nie jest też średnia – to porządny brutalny metalowy krążek, ale gdy wcześniej nagrywa się tak ważne dla gatunku i świeże killery jak „Slowly We Rot” i „Cause Of Death”, to już zawsze ma się pod górkę. I to właśnie ta wielkość poprzedniczek, jak dla mnie, przyćmiewa The End Complete. Brakuje mi tu tego nieokiełznanego szaleństwa znanego z debiutu (który nota bene był zdecydowanie szybszy) oraz doskonałej gry Murphy’ego (gdyż Allen West postanowił powrócić do kapeli). Brzmienie również odbiega, od tego, jakim zachwycałem się na „dwójce” – nie jest już tak cholernie ciężkie (choć chłopaki akurat byli nim zachwyceni), inny jest też brud gitar i sound garów (szczególnie werbel). Mimo wszystko The End Complete plusów i tak ma sporo: jak zwykle wyśmienite wymioty Johna, dzikie solówki (którym bliżej do debiutu), kapitalna gra Donalda (znakomita praca centralek!), przez większość czasu walcowanie w średnich tempach i oczywiście kilka przejebanych zwolnień. – Muzyka bardzo typowa dla Nekrologu, która wejdzie tylko określonej liczbie słuchaczy nie zaznajomionych z poprzednimi dokonaniami zespołu, bo fanom przełknięcie tej dawki muzycznych nieczystości na pewno nie sprawi problemu. OK, płyta bardzo dobra, ale chyba aż zbyt równa — praktycznie nie można wybrać jakiegoś szczególnie wybijającego się wałka — i przez to trochę jednowymiarowa, co nie zmienia faktu, że to 36 minut solidnej death metalowej zgnilizny.

demo


After the well-taken Cause of Death, James Murphy left, and Allen West was re-inserted, the difference is quite obvious, the riffs are totally different than the previous 2. While they had more complex, but still simple riffs, this takes the simple but effective riffs further. They are catchy and heavy, but simple.

The production is quite a bit different too, more of a muddy, but not too muddy sound to it, the drum sound is the biggest difference, not quite as loud as they were on Cause of Death, but it works. The guitar has a little more of a flatter sound than COD, but has a good sound for the album. The bass is heard quite well, the vocals sound a bit more pushed back than the previous 2 also, and he doesn't really do that wild loud scream anymore, which I kind of miss, but oh well, John Tardy still has great vocals.

The logo is very different too, look at the previous 2 logos, then look at this, totally different, this is Roadrunners best selling shirt.

Now, does this album top Cause of Death? no that would be too hard. Does this album kick ass? very much. the album kicks off with "I'm in Pain" which has an interesting intro...it starts with feedback!, this is one of the faster tracks on it, nice riffs being thrown around, and a shredding solo. Just about all the tracks are good between the first and the title track, the only one I don't care for is "Corrosive" it's nothing special, this is why I took 5% off the album rating. Now The End Complete is probably the best song on here, a very catchy song all the way through, shredding solo, then a catchy outro riff which lasts about 2 minutes. Then comes Rotting Ways, which is one of the slowest on the album, also the longest, but has wicked nice riffs going around, creepy sounding riffs, a strong way to close a good album.

Well, there it is, if you liked Cause of Death, and don't mind a bit of a change, look here, if you want another Cause of Death, don't look here.

Chopped in Half



..::TRACK-LIST::..

1. I’m In Pain
2. Back To One
3. Dead Silence
4. In The End of Life
5. Sickness
6. Corrosive
7. Killing Time
8. The End Complete
9. Rotting Ways

Bonus Tracks:
10. I’m In Pain (live)
11. Killing Time (live)



..::OBSADA::..

Rhythm Guitar - Trevor Peres
Vocals - John Tardy
Lead Guitar - Allen West
Bass - Frank Watkins
Drums - Donald Tardy



https://www.youtube.com/watch?v=rE34z7uVjSM



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

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


..::OPIS::..

The End Complete to trzecia już klasyczna pozycja w przegniłej dyskografii Obituary. Ale czy najlepsza? Zasadniczo jest to kwestia dość problematyczna, bowiem choć niczego nowego tu raczej nie uświadczymy, był to album świetnie przyjęty przez krytykę, odniósł też olbrzymi sukces komercyjny (grubo ponad 250 000 egzemplarzy sprzedanych na całym świecie jak na death metal to jednak coś!). Nie jest to płyta zła, nie jest też średnia – to porządny brutalny metalowy krążek, ale gdy wcześniej nagrywa się tak ważne dla gatunku i świeże killery jak „Slowly We Rot” i „Cause Of Death”, to już zawsze ma się pod górkę. I to właśnie ta wielkość poprzedniczek, jak dla mnie, przyćmiewa The End Complete. Brakuje mi tu tego nieokiełznanego szaleństwa znanego z debiutu (który nota bene był zdecydowanie szybszy) oraz doskonałej gry Murphy’ego (gdyż Allen West postanowił powrócić do kapeli). Brzmienie również odbiega, od tego, jakim zachwycałem się na „dwójce” – nie jest już tak cholernie ciężkie (choć chłopaki akurat byli nim zachwyceni), inny jest też brud gitar i sound garów (szczególnie werbel). Mimo wszystko The End Complete plusów i tak ma sporo: jak zwykle wyśmienite wymioty Johna, dzikie solówki (którym bliżej do debiutu), kapitalna gra Donalda (znakomita praca centralek!), przez większość czasu walcowanie w średnich tempach i oczywiście kilka przejebanych zwolnień. – Muzyka bardzo typowa dla Nekrologu, która wejdzie tylko określonej liczbie słuchaczy nie zaznajomionych z poprzednimi dokonaniami zespołu, bo fanom przełknięcie tej dawki muzycznych nieczystości na pewno nie sprawi problemu. OK, płyta bardzo dobra, ale chyba aż zbyt równa — praktycznie nie można wybrać jakiegoś szczególnie wybijającego się wałka — i przez to trochę jednowymiarowa, co nie zmienia faktu, że to 36 minut solidnej death metalowej zgnilizny.

demo


After the well-taken Cause of Death, James Murphy left, and Allen West was re-inserted, the difference is quite obvious, the riffs are totally different than the previous 2. While they had more complex, but still simple riffs, this takes the simple but effective riffs further. They are catchy and heavy, but simple.

The production is quite a bit different too, more of a muddy, but not too muddy sound to it, the drum sound is the biggest difference, not quite as loud as they were on Cause of Death, but it works. The guitar has a little more of a flatter sound than COD, but has a good sound for the album. The bass is heard quite well, the vocals sound a bit more pushed back than the previous 2 also, and he doesn't really do that wild loud scream anymore, which I kind of miss, but oh well, John Tardy still has great vocals.

The logo is very different too, look at the previous 2 logos, then look at this, totally different, this is Roadrunners best selling shirt.

Now, does this album top Cause of Death? no that would be too hard. Does this album kick ass? very much. the album kicks off with "I'm in Pain" which has an interesting intro...it starts with feedback!, this is one of the faster tracks on it, nice riffs being thrown around, and a shredding solo. Just about all the tracks are good between the first and the title track, the only one I don't care for is "Corrosive" it's nothing special, this is why I took 5% off the album rating. Now The End Complete is probably the best song on here, a very catchy song all the way through, shredding solo, then a catchy outro riff which lasts about 2 minutes. Then comes Rotting Ways, which is one of the slowest on the album, also the longest, but has wicked nice riffs going around, creepy sounding riffs, a strong way to close a good album.

Well, there it is, if you liked Cause of Death, and don't mind a bit of a change, look here, if you want another Cause of Death, don't look here.

Chopped in Half



..::TRACK-LIST::..

1. I’m In Pain
2. Back To One
3. Dead Silence
4. In The End of Life
5. Sickness
6. Corrosive
7. Killing Time
8. The End Complete
9. Rotting Ways

Bonus Tracks:
10. I’m In Pain (live)
11. Killing Time (live)



..::OBSADA::..

Rhythm Guitar - Trevor Peres
Vocals - John Tardy
Lead Guitar - Allen West
Bass - Frank Watkins
Drums - Donald Tardy



https://www.youtube.com/watch?v=rE34z7uVjSM



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

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


..::OPIS::..

Dawno, dawno temu istniał zespół z New Jersey o nazwie Ripping Corpse . W latach 1987-1992 nagrali cztery dema i jeden pełnometrażowy album zatytułowany „ Dreaming With the Dead” , a potem... BUM!. Jeśli nie słyszeliście o zespole, być może słyszeliście o jego członkach. Jeden z nich, Eric Rutan, dołączył później do czegoś o nazwie Morbid Angel . Robił też kilka innych rzeczy, na przykład brał udział w projekcie Hate Eternal .

Reszta Ripping Corpse później dołączyła do zespołu o nazwie Dim Mak . Pomiędzy '99 a 2006 Dim Mak wyprodukował trzy albumy. Teraz, pięć lat po ostatnim, nowy jest w drodze. Oryginalny skład Dim Mak nie przetrwał w nienaruszonym stanie, ale dwaj kluczowi członkowie nadal tam są - obaj są wychowankami Ripping Corpse: gitarzysta Shaune Kelley (który był również w Hate Eternal) i basista Scot Nornick . Nie odczuli specjalnie degradacji w dziale perkusyjnym, ponieważ obecnym perkusistą jest John Longstreth z Origin i Gorguts . Nowym wokalistą jest facet o imieniu Joe Capizzi , który był kiedyś w zespole, którego nie znam, o nazwie The Dying Light .




Named after the deadliest form of martial art, otherwise known as the “death point strike” & “poison hands” DIM MAK attack the listener with pinpoint precision and light-speed velocity. The Emergence of Reptilian Altars features DIM MAK’s trademark intricate multi-speed song structures played with high-velocity aggression. Features former members of Hate Eternal, Origin, The Red Chord, Ripping Corpse, and The Dying Light.



..::TRACK-LIST::..

1. Thrice Cursed 04:16
2. The Sounds of Carnage 03:41
3. The Secret of the Tides of Blood 03:56
4. Between Immensity and Eternity 04:16
5. Through the Rivers of Pestilence 02:01
6. Fully Disassembled 03:57
7. The Emergence of Reptilian Altars 04:07
8. Kutulu 03:55



..::OBSADA::..

John Longstreth - Drums
Shaune Kelley - Guitars
Joe Capizzi - Vocals
Scott Hornick - Bass



https://www.youtube.com/watch?v=4QBFjAhb3JY



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

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


..::OPIS::..

Dawno, dawno temu istniał zespół z New Jersey o nazwie Ripping Corpse . W latach 1987-1992 nagrali cztery dema i jeden pełnometrażowy album zatytułowany „ Dreaming With the Dead” , a potem... BUM!. Jeśli nie słyszeliście o zespole, być może słyszeliście o jego członkach. Jeden z nich, Eric Rutan, dołączył później do czegoś o nazwie Morbid Angel . Robił też kilka innych rzeczy, na przykład brał udział w projekcie Hate Eternal .

Reszta Ripping Corpse później dołączyła do zespołu o nazwie Dim Mak . Pomiędzy '99 a 2006 Dim Mak wyprodukował trzy albumy. Teraz, pięć lat po ostatnim, nowy jest w drodze. Oryginalny skład Dim Mak nie przetrwał w nienaruszonym stanie, ale dwaj kluczowi członkowie nadal tam są - obaj są wychowankami Ripping Corpse: gitarzysta Shaune Kelley (który był również w Hate Eternal) i basista Scot Nornick . Nie odczuli specjalnie degradacji w dziale perkusyjnym, ponieważ obecnym perkusistą jest John Longstreth z Origin i Gorguts . Nowym wokalistą jest facet o imieniu Joe Capizzi , który był kiedyś w zespole, którego nie znam, o nazwie The Dying Light .




Named after the deadliest form of martial art, otherwise known as the “death point strike” & “poison hands” DIM MAK attack the listener with pinpoint precision and light-speed velocity. The Emergence of Reptilian Altars features DIM MAK’s trademark intricate multi-speed song structures played with high-velocity aggression. Features former members of Hate Eternal, Origin, The Red Chord, Ripping Corpse, and The Dying Light.



..::TRACK-LIST::..

1. Thrice Cursed 04:16
2. The Sounds of Carnage 03:41
3. The Secret of the Tides of Blood 03:56
4. Between Immensity and Eternity 04:16
5. Through the Rivers of Pestilence 02:01
6. Fully Disassembled 03:57
7. The Emergence of Reptilian Altars 04:07
8. Kutulu 03:55



..::OBSADA::..

John Longstreth - Drums
Shaune Kelley - Guitars
Joe Capizzi - Vocals
Scott Hornick - Bass



https://www.youtube.com/watch?v=4QBFjAhb3JY



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

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


..::OPIS::..

12 czerwca br. Relapse Records wydała debiutancką Epkę zespołu Living Gate, która nosi tytuł Deathlust. Materiał na niej zawarty to stuprocentowy death metal starej amerykańskiej szkoły i nic jakby w tym zaskakującego, że Relapse stawia tu swoje logo. Sama muzyka to też raczej rzecz mało zaskakująca, zastanawiająca natomiast jest informacja, iż Living Gate to zespół złożony z członków zespołów Amenra, Yob, Oathbreaker i Norska. Co jak co, ale po muzykach, których macierzyste kapele lawirują w raczej ezoterycznych dźwiękach, takiego obrotu sprawy się bym nie spodziewał.

Nie zmienia to jednak faktu, że Living Gate stał się rzeczywistością, a Deathlust orze mózg bardzo intensywnie. Jak się można spodziewać, Epka pomimo że utrzymana jest w stricte death metalowym rejonie, to posiada mały pierwiastek spaczenia i iście złowieszczy klimat. Członkowie kapeli w macierzystych zespołach grają może przystępniej, lecz nadal ciężko, mrocznie i to jest także punkt zbiorczy z LG. Krążek jest bardzo „ocieniony”, pełźnie gdzieś w mroku, za rogiem kryjąc swój obrzydliwy łeb poza zasięgiem zmysłów niczym potwory mitologii Lovecrafta, starając się doprowadzić umysł do szaleństwa.

Pięć kompozycji łączących się w Deathlust, swój mrok zasysa z klasyki florydzkiego metalu, mieszając w sobie chaotyczny styl Immolation, ciężar Incantation z odrobiną nowej\starej szkoły (kapele typu Outher Heaven, Creeping Death czy Tomb Mold, które kroczą podobnymi ścieżkami). Jest ciężko, brutalnie, w umiarkowanych tempach, a większość riffów unika wysokich dźwięków bardzo skutecznie. Jest to dla mego ucha atrakcyjny sposób tworzenia metalu, ale przyznaję także, że takie podejście tworzy ryzyko, iż pełny krążek może okazać się za mało urozmaicony. Możliwe, że są to niepotrzebne obawy i LG bez problemów nagra morderczy debiut, ale na dzień dzisiejszy osiemnaście minut trwania Ep wydaje się czasem idealnym, by utrzymać słuchacza w czujności i nie powodować przesytu. Jednocześnie bardzo bym nie chciał, żeby muzycy zrezygnowali z intensywności na rzecz większej ilości upiększaczy. Co przyniesie debiut mam nadzieję wyjaśni się w niedalekiej przyszłości, a na dziś zostawiam solidne cztery z plusem, czyli w skali KVLT wypada na 6.5.

Brzeźnicki


Oh man! Have the last few years been good to me. The death metal resurgence is in full swing and the giant goat headed monstrosity of modern music is spewing out new music from every orifice onto a willing and welcoming audience. Within the revival old school death metal has exploded with groups like Gatecreeper, Tomb Mold, Spectral Voice and Frozen Soul getting lots of coverage across the metal universe. So chin up folks, staple your eyes open, spread your arms wide…and accept a new offering from the monstrosity in the form of the debut EP from Living Gate titled Deathlust, ready to crush all around it and cloak the world in its formidable darkness on the 12th June.

Featuring members from esteemed groups such as Yob, Oathbreaker, Amenra and Wiegedood there is some serious pedigree associated to this record. I’m a fan of all the member’s respective groups. Couple that with this being released via the mighty Relapse Records, well you’ve got a tubby bloke from the Cotswolds very excited and eager to get his grubby mitts it. First things first, the artwork….Shoggoth Kinetics take a bow, you killed it. It’s got that perfect death metal record look, a pile of mutated corpses and alienesque masses, all in black and white with a big red logo. Perfect!

The record kicks of quicker and harder than a Zinedine Zidane head-butt to the chest with The Delusion Of Consciousness, starting with this slamming riff that’s just eviscerating. The drums are raw, the bass tone is filthy, and I can hear it in the mix which is a bonus. The slamming riff is accompanied by bellowing growls, before Living Gate up the ante with the introduction of some blasts alongside some knuckle dragging riffs, and those vocals change to this wretched howl that is just heinous.

The opening track screams influence from Suffocation, Demilich and Death but this is no tribute band. It’s got its own spin on the classic sound taking it in a more brutal direction, which just kills. It’s straight up destruction. It appears to finish abruptly before surprising me with this thirty second chunk of harmonious guitar licks reminiscent of Chuck Schuldiner himself.

The next track Roped is notably slower in tempo but still just as heavy. It builds into this mid paced blast fest featuring loads of guttural vocals, china work and a few pick scrapes thrown in for good measure. Living Gate then tear you apart with these scathing dual vocals, a mixture of the gutturals bouncing off anguished screams. It’s punishing but sounds great. The record continues with riff after riff of crushing death metal madness with title track Deathlust and the swarming destruction of Heaven Ablaze which keeps up the pummelling pace. Aside from the slight change of pace in Roped, this record does not let up in its brutality.

Final track, named after the band, Living Gate is the pick of the bunch, with melodic guitar lines sat in between the usual solid crushing riffage and destructive drums. It’s a nice change of sound compared to the first four tracks. It’s the one that drew me in the most as it chops and changes while still keeping the sound built earlier within the record.

It’s where Living Gate shows the sounds the individual members bought to the fold, which was one of the things I was most excited about with this EP. The track winds down with a slowed down solo that really stands out, before all the musicians are completely drowned out by a dissonant and overbearing noise. It then breaks away, leaving us with some light guitar work that is creepy and a fine way to finish the EP.

To sum up Deathlust is a great EP. I love how aggressive the sound is and how there is no fucking about. Its five tracks of madness that had me hooked from start to finish. Highlights were the dual vocals that just complement each other really well and the drum work is ace.

The only criticism I have is the production is a little light, with all of that destruction and heaviness I was hoping for a thicker sound. It doesn’t detract from the performance or the quality of the EP overall. I think this is going to get a lot of people talking and I look forward to a full length from this project.

Matt Alexander


If you have paid any attention to the past few years of extreme metal one thing will have become immediately self-evident. Death metal is back. A genre that had stagnated for years, except for at its most curious fringes (and not in the good way, as per death metal visual parlance), had simply run its course. It’s not an overstatement that a great many critics and even once rabid fans of the genre had all but written it off. The blood had coagulated; reanimation of the flesh had failed, and it had turned to dust.

Then, seemingly out of nowhere, the scene has exploded again. There is suddenly an incredible depth to the death metal genre. There’s a greater quantity – and quality – of those fringe acts doing weird and wonderful things with the blueprint, be that imbuing the sound with new elements to create Frankenstein’s monster-esque new entities or other bands co-opting the veins of death metal into their sound, making them kin to the genre, if not wholly fitting the term and the aesthetic.

One thing death metal had never been wanting for was a plethora of acts mimicking the greats that had gone before. It was exactly this, for the most part, that had led to the feeling the genre had simply run out of ideas, or, more the point, had maybe not had that many ideas in the first place. After all, classic death metal isn’t exactly known for its subtlety. As subtle as a brick to the face. But in this new renaissance of death metal, a large contributing factor to its success and it being celebrated is bands doing exactly this – using the building blocks of the genre once again.

The major difference this time is that they aren’t mimicking the sound or paying some kind of ‘pub-rock’ version of a tribute act any longer. These are bands who are performing an autopsy on the genre – taking a look into the viscera that makes it tick, makes it work in all its unholy ways – and then using that knowledge to reinvent classic death metal. This isn’t an ode to the (undead) fallen, but, rather, is the occult prayer to create new legion. New death metal bands who measure up to the founding fathers – call it reincarnation, call it necromancy if you will – but all I know is that it’s most welcome. Time to take that bath in blood. Hail Satan.

Into this brave evil new world, come Living Gate. The band certainly have strong credentials, with a member from Yob and a trio surrounding him from Belgium’s Church of Ra – taking in contributors from Amenra, Oathbreaker and Wiegedood. Perhaps the latter is the lynchpin to proving these excellent musicians had the chops to take on the classic death metal sound. Wiegedood have, over the course of three ever greater records, proven post-metal savants could master the vagaries of black metal. The same is true on this, Living Gate’s debut EP, Deathlust. Five tracks of unbridled hell released with the backing of Relapse Records, proving their reverence for and living sacrifice to the genre.

Living Gate produce death metal so tight its decaying flesh is bound together by barbed wire. The average song is roughly three and a half minutes, but do not fear, there are no pop ditties here. Unless this is the sound of the charts in Hell…? I’d be down for that.

Fans of Suffocation and Demilich should take note – this one goes out to you. Ferocious doesn’t quite capture it, with ‘The Delusion of Consciousness’ kicking things off in rabid style, and the horror never lets up from there. ‘Roped’ may take the pace down, but the guitars become all the more malevolent, with each change of riff feeling like a knife in the eye. ‘Deathlust’, from which the EP takes its name, is the most frenzied of the quintet, ripping and tearing at the constrains of the sonic realm it finds itself in, and nodding toward Morbid Angel, too. ‘Heaven Ablaze’ belches forth its rare cocktail of poison while the musicians take their proverbial bow as the sheer technical proficiency and execution of their craft becomes ever more apparent. Finishing up their amoral sermon is the eponymous ‘Living Gate’, a track that pummels and screams at the void like those that have gone before, but also showcases an ongoing intelligence in the songwriting and direction of the band, even if the brain that holds it is itself liquifying, weeping out of every orifice.

Deathlust is brutal, yes, but it is the intensity with which the five tracks are delivered that marks the release out for special note, and its superlative production is certainly responsible for that as well as the craft of the songs within. With a burgeoning, braying pack of death metal bands leading the undead charge for your attention and wallet, only those with complete mastery of their sickening art can climb the mountain of corpses to the top. Living Gate certainly had the constituent parts to pull this off, but it was by no means guaranteed. But this EP will immediately put pay to any doubters. Let us hope that they are encouraged to conjure more foul sounds from the pit, and not become a well-regarded, short-lived project. Meet you at the gate when the clock strikes thirteen – the living gate...

Chris Keith-Wright



..::TRACK-LIST::..

1. The Delusion Of Consciousness 03:31
2. Roped 03:35
3. Deathlust 02:28
4. Heaven Ablaze 03:35
5. Living Gate 04:37



..::OBSADA::..

Aaron Rieseberg - Bass
Wim Sreppoc - Drums
Lennart Bossu - Guitars
Levy Seynaeve - Guitars, Vocals








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

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


..::OPIS::..

12 czerwca br. Relapse Records wydała debiutancką Epkę zespołu Living Gate, która nosi tytuł Deathlust. Materiał na niej zawarty to stuprocentowy death metal starej amerykańskiej szkoły i nic jakby w tym zaskakującego, że Relapse stawia tu swoje logo. Sama muzyka to też raczej rzecz mało zaskakująca, zastanawiająca natomiast jest informacja, iż Living Gate to zespół złożony z członków zespołów Amenra, Yob, Oathbreaker i Norska. Co jak co, ale po muzykach, których macierzyste kapele lawirują w raczej ezoterycznych dźwiękach, takiego obrotu sprawy się bym nie spodziewał.

Nie zmienia to jednak faktu, że Living Gate stał się rzeczywistością, a Deathlust orze mózg bardzo intensywnie. Jak się można spodziewać, Epka pomimo że utrzymana jest w stricte death metalowym rejonie, to posiada mały pierwiastek spaczenia i iście złowieszczy klimat. Członkowie kapeli w macierzystych zespołach grają może przystępniej, lecz nadal ciężko, mrocznie i to jest także punkt zbiorczy z LG. Krążek jest bardzo „ocieniony”, pełźnie gdzieś w mroku, za rogiem kryjąc swój obrzydliwy łeb poza zasięgiem zmysłów niczym potwory mitologii Lovecrafta, starając się doprowadzić umysł do szaleństwa.

Pięć kompozycji łączących się w Deathlust, swój mrok zasysa z klasyki florydzkiego metalu, mieszając w sobie chaotyczny styl Immolation, ciężar Incantation z odrobiną nowej\starej szkoły (kapele typu Outher Heaven, Creeping Death czy Tomb Mold, które kroczą podobnymi ścieżkami). Jest ciężko, brutalnie, w umiarkowanych tempach, a większość riffów unika wysokich dźwięków bardzo skutecznie. Jest to dla mego ucha atrakcyjny sposób tworzenia metalu, ale przyznaję także, że takie podejście tworzy ryzyko, iż pełny krążek może okazać się za mało urozmaicony. Możliwe, że są to niepotrzebne obawy i LG bez problemów nagra morderczy debiut, ale na dzień dzisiejszy osiemnaście minut trwania Ep wydaje się czasem idealnym, by utrzymać słuchacza w czujności i nie powodować przesytu. Jednocześnie bardzo bym nie chciał, żeby muzycy zrezygnowali z intensywności na rzecz większej ilości upiększaczy. Co przyniesie debiut mam nadzieję wyjaśni się w niedalekiej przyszłości, a na dziś zostawiam solidne cztery z plusem, czyli w skali KVLT wypada na 6.5.

Brzeźnicki


Oh man! Have the last few years been good to me. The death metal resurgence is in full swing and the giant goat headed monstrosity of modern music is spewing out new music from every orifice onto a willing and welcoming audience. Within the revival old school death metal has exploded with groups like Gatecreeper, Tomb Mold, Spectral Voice and Frozen Soul getting lots of coverage across the metal universe. So chin up folks, staple your eyes open, spread your arms wide…and accept a new offering from the monstrosity in the form of the debut EP from Living Gate titled Deathlust, ready to crush all around it and cloak the world in its formidable darkness on the 12th June.

Featuring members from esteemed groups such as Yob, Oathbreaker, Amenra and Wiegedood there is some serious pedigree associated to this record. I’m a fan of all the member’s respective groups. Couple that with this being released via the mighty Relapse Records, well you’ve got a tubby bloke from the Cotswolds very excited and eager to get his grubby mitts it. First things first, the artwork….Shoggoth Kinetics take a bow, you killed it. It’s got that perfect death metal record look, a pile of mutated corpses and alienesque masses, all in black and white with a big red logo. Perfect!

The record kicks of quicker and harder than a Zinedine Zidane head-butt to the chest with The Delusion Of Consciousness, starting with this slamming riff that’s just eviscerating. The drums are raw, the bass tone is filthy, and I can hear it in the mix which is a bonus. The slamming riff is accompanied by bellowing growls, before Living Gate up the ante with the introduction of some blasts alongside some knuckle dragging riffs, and those vocals change to this wretched howl that is just heinous.

The opening track screams influence from Suffocation, Demilich and Death but this is no tribute band. It’s got its own spin on the classic sound taking it in a more brutal direction, which just kills. It’s straight up destruction. It appears to finish abruptly before surprising me with this thirty second chunk of harmonious guitar licks reminiscent of Chuck Schuldiner himself.

The next track Roped is notably slower in tempo but still just as heavy. It builds into this mid paced blast fest featuring loads of guttural vocals, china work and a few pick scrapes thrown in for good measure. Living Gate then tear you apart with these scathing dual vocals, a mixture of the gutturals bouncing off anguished screams. It’s punishing but sounds great. The record continues with riff after riff of crushing death metal madness with title track Deathlust and the swarming destruction of Heaven Ablaze which keeps up the pummelling pace. Aside from the slight change of pace in Roped, this record does not let up in its brutality.

Final track, named after the band, Living Gate is the pick of the bunch, with melodic guitar lines sat in between the usual solid crushing riffage and destructive drums. It’s a nice change of sound compared to the first four tracks. It’s the one that drew me in the most as it chops and changes while still keeping the sound built earlier within the record.

It’s where Living Gate shows the sounds the individual members bought to the fold, which was one of the things I was most excited about with this EP. The track winds down with a slowed down solo that really stands out, before all the musicians are completely drowned out by a dissonant and overbearing noise. It then breaks away, leaving us with some light guitar work that is creepy and a fine way to finish the EP.

To sum up Deathlust is a great EP. I love how aggressive the sound is and how there is no fucking about. Its five tracks of madness that had me hooked from start to finish. Highlights were the dual vocals that just complement each other really well and the drum work is ace.

The only criticism I have is the production is a little light, with all of that destruction and heaviness I was hoping for a thicker sound. It doesn’t detract from the performance or the quality of the EP overall. I think this is going to get a lot of people talking and I look forward to a full length from this project.

Matt Alexander


If you have paid any attention to the past few years of extreme metal one thing will have become immediately self-evident. Death metal is back. A genre that had stagnated for years, except for at its most curious fringes (and not in the good way, as per death metal visual parlance), had simply run its course. It’s not an overstatement that a great many critics and even once rabid fans of the genre had all but written it off. The blood had coagulated; reanimation of the flesh had failed, and it had turned to dust.

Then, seemingly out of nowhere, the scene has exploded again. There is suddenly an incredible depth to the death metal genre. There’s a greater quantity – and quality – of those fringe acts doing weird and wonderful things with the blueprint, be that imbuing the sound with new elements to create Frankenstein’s monster-esque new entities or other bands co-opting the veins of death metal into their sound, making them kin to the genre, if not wholly fitting the term and the aesthetic.

One thing death metal had never been wanting for was a plethora of acts mimicking the greats that had gone before. It was exactly this, for the most part, that had led to the feeling the genre had simply run out of ideas, or, more the point, had maybe not had that many ideas in the first place. After all, classic death metal isn’t exactly known for its subtlety. As subtle as a brick to the face. But in this new renaissance of death metal, a large contributing factor to its success and it being celebrated is bands doing exactly this – using the building blocks of the genre once again.

The major difference this time is that they aren’t mimicking the sound or paying some kind of ‘pub-rock’ version of a tribute act any longer. These are bands who are performing an autopsy on the genre – taking a look into the viscera that makes it tick, makes it work in all its unholy ways – and then using that knowledge to reinvent classic death metal. This isn’t an ode to the (undead) fallen, but, rather, is the occult prayer to create new legion. New death metal bands who measure up to the founding fathers – call it reincarnation, call it necromancy if you will – but all I know is that it’s most welcome. Time to take that bath in blood. Hail Satan.

Into this brave evil new world, come Living Gate. The band certainly have strong credentials, with a member from Yob and a trio surrounding him from Belgium’s Church of Ra – taking in contributors from Amenra, Oathbreaker and Wiegedood. Perhaps the latter is the lynchpin to proving these excellent musicians had the chops to take on the classic death metal sound. Wiegedood have, over the course of three ever greater records, proven post-metal savants could master the vagaries of black metal. The same is true on this, Living Gate’s debut EP, Deathlust. Five tracks of unbridled hell released with the backing of Relapse Records, proving their reverence for and living sacrifice to the genre.

Living Gate produce death metal so tight its decaying flesh is bound together by barbed wire. The average song is roughly three and a half minutes, but do not fear, there are no pop ditties here. Unless this is the sound of the charts in Hell…? I’d be down for that.

Fans of Suffocation and Demilich should take note – this one goes out to you. Ferocious doesn’t quite capture it, with ‘The Delusion of Consciousness’ kicking things off in rabid style, and the horror never lets up from there. ‘Roped’ may take the pace down, but the guitars become all the more malevolent, with each change of riff feeling like a knife in the eye. ‘Deathlust’, from which the EP takes its name, is the most frenzied of the quintet, ripping and tearing at the constrains of the sonic realm it finds itself in, and nodding toward Morbid Angel, too. ‘Heaven Ablaze’ belches forth its rare cocktail of poison while the musicians take their proverbial bow as the sheer technical proficiency and execution of their craft becomes ever more apparent. Finishing up their amoral sermon is the eponymous ‘Living Gate’, a track that pummels and screams at the void like those that have gone before, but also showcases an ongoing intelligence in the songwriting and direction of the band, even if the brain that holds it is itself liquifying, weeping out of every orifice.

Deathlust is brutal, yes, but it is the intensity with which the five tracks are delivered that marks the release out for special note, and its superlative production is certainly responsible for that as well as the craft of the songs within. With a burgeoning, braying pack of death metal bands leading the undead charge for your attention and wallet, only those with complete mastery of their sickening art can climb the mountain of corpses to the top. Living Gate certainly had the constituent parts to pull this off, but it was by no means guaranteed. But this EP will immediately put pay to any doubters. Let us hope that they are encouraged to conjure more foul sounds from the pit, and not become a well-regarded, short-lived project. Meet you at the gate when the clock strikes thirteen – the living gate...

Chris Keith-Wright



..::TRACK-LIST::..

1. The Delusion Of Consciousness 03:31
2. Roped 03:35
3. Deathlust 02:28
4. Heaven Ablaze 03:35
5. Living Gate 04:37



..::OBSADA::..

Aaron Rieseberg - Bass
Wim Sreppoc - Drums
Lennart Bossu - Guitars
Levy Seynaeve - Guitars, Vocals




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



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

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


..::OPIS::..

Czwarty album, który zdefiniował karierę deathmetalowców z New Jersey!

Łączy w sobie wszystkie najlepsze elementy death metalu - groove, szybkość, brutalność, kunszt techniczny i nowatorskie podejście do kompozycji.
To krążek, który jedną nogą mocno osadzony jest w przyszłości, a drugą w old-schoolowych klimatach.

FA

Techdeath has long been my favorite of the death metal subgenres. There’s something about the in-your-face aggression combined with the finesse of rhythmic trickery and masterful technique that just hits my ears the right way. The problem, though, is that the space is distinctly oversaturated in the grand scheme of metal. You can’t throw a guitar pick without hitting a new technical outfit square in the chops. There are whole labels (*glances sideways at The Artisan Era*) that seem to be dedicated to cranking out tech act after tech act. It’s a hard scene to stand out in, is my point.

Enter Cognitive, a New Jersey-based five-piece that’s doing everything it can to make a splash in a sea of similar and—quite frankly—mediocre bands. Malevolent Thoughts of a Hastened Extinction is their fourth full-length effort and third with Unique Leader Records, who are another one of those labels that produces a ton of techdeath acts. So does the album deliver? I’m happy to report that it very much does, and some of its tracks are impressive for different reasons than you might think.

The musical hallmarks of techdeath are all here, and they’re performed extremely well. Harry Lannon and Rob Wharton are the guitarists, with Lannon handling leads, and their playing features plenty of fretboard acrobatics, rhythmic shifts, and on-a-dime directional changes. The cool thing, though, is that nothing feels extraneous, and it doesn’t sound like the parts are tricky just for difficulty’s sake. I’m particularly impressed by Lannon’s solos and his sense for writing passages that have a soul—it’s not just empty technique on display. Bass duty is covered by Tyler Capone-Vitale, and he’s superb, handling a lot of speedy, complicated stuff. The occasions where he doubles the guitars to up the heavy factor of brutal passages are fabulous. Shane Jost’s vocals are seething and intense, and he uses an impressive range of effects; again I feel like his performance shows real heart, not the hollow violence that you often hear. Finally, AJ Viana, also of the mighty Hath, puts on a clinic behind the drumset. He’s extremely precise, his sound is weighty but doesn’t weight the band down, and he has an exceptional feel for when to keep things relatively straightforward and when to get a little crazy.

So what is it that Cognitive does that sets them apart? For one, they blend a whole slew of stylistic influences into their songs. Make no mistake, Malevolent Thoughts is a techdeath record through and through, but there are little flashes and touches of all sorts of things that keep the tracks interesting and fresh. For example, there’s a nasty slam a little over two minutes into “The Maw” that absolutely crushes, and it’s not the only one on this record. “From the Depths” is an excellent showcase of some of the band’s blackened touches, with Jost’s high screams on fully display several times. “Arterial Red” features some riffwork that’s reminiscent of—and I swear this is a compliment—djent. “Oroborous” alternates between intense tech riffing complete with dissonant twisting guitar lines and heavy as hell deathcore-esque passages. Looking for something brutal with a straight up beat in 4 that you can mosh to? The second half of “To Feed the Worms” has got you covered, after the groovy, whiplash-inducing opening section gets you prepped. Lannon and Wharton aren’t afraid to step away from the technical badassery and scratch your itch for chug, and when they do it’s highly effective.

Cognitive also periodically backs the aggression down a notch or two (not too far, don’t worry) and writes a song or two that gets a bit more emotional than you might expect. “Malevolent Thoughts” is one of these, speaking and generally looking in an inward direction, with Jost’s scream of “I don’t want to feel like this anymore” providing a highlight that segues into an excellent expressive guitar solo. But it’s the slow-paced “Destitute” that drops the aggression a couple more notches, its transparently personal examination of genuinely trying and having nothing to show for it landing in an unexpectedly emotional way. It reminds me a little of last year’s concept-based Mordrake by Xenobiotic, or maybe a better comparison is the song “Forsaken” by Necropia—an introspective interval that makes a huge impression in an album of mostly hostile, vicious tracks. There’s another emotive solo, and it’s not like it’s a ballad or anything, but there are even some smartly executed clean vocals!

Recording and mixing, which began with a few already written tracks pre-pandemic and went through a lengthy pause before being finished this year, was handled by the band’s drummer, AJ Viana. If you’ve heard Of Rot and Ruin, the amazing 2019 effort from his other band Hath, then you’re already familiar with his work on the recording/mixing front, and you’ll know it’s outstanding. (As a sidebar, Viana has a done several streams on Hath’s Twitch channel where he walked through his mixing processes, and it’s great stuff that you should watch.) Malevolent Thoughts is another example of his impressive abilities behind the board and at the computer, because it sounds fantastic—the balance is great and all elements sound authentic with a sense of presence. Mastering was by Alan Douches of West West Side Music, whose consistently great work you’ve heard on about a billion other albums (including, again, Of Rot and Ruin).

Don’t miss this effort from Cognitive when it drops on July 16 via Unique Leader Records. Malevolent Thoughts of a Hastened Extinction is a massive, exceptional tower of sonic power that shows what technical death metal can be in the hands of not just great musicians, but great songwriters.

Kep



..::TRACK-LIST::..

1. Eniac 04:47
2. The Maw 03:18
3. Arterial Red 03:41
4. From the Depths 03:39
5. Oroborous 02:55
6. To Feed the Worms 04:03
7. Malevolent Thoughts 03:57
8. Tearing Tendon from Bone 03:46
9. Destitute 05:46
10. Of a Hastened Extinction 03:27



..::OBSADA::..

Vocals - Shane Jost
Bass - Tyler Capone-Vitale
Drums - AJ Viana
Guitar - Harry Lannon, Rob Wharton




https://www.youtube.com/watch?v=tq46M7-tTTE


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

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


..::OPIS::..

Czwarty album, który zdefiniował karierę deathmetalowców z New Jersey!

Łączy w sobie wszystkie najlepsze elementy death metalu - groove, szybkość, brutalność, kunszt techniczny i nowatorskie podejście do kompozycji.
To krążek, który jedną nogą mocno osadzony jest w przyszłości, a drugą w old-schoolowych klimatach.

FA

Techdeath has long been my favorite of the death metal subgenres. There’s something about the in-your-face aggression combined with the finesse of rhythmic trickery and masterful technique that just hits my ears the right way. The problem, though, is that the space is distinctly oversaturated in the grand scheme of metal. You can’t throw a guitar pick without hitting a new technical outfit square in the chops. There are whole labels (*glances sideways at The Artisan Era*) that seem to be dedicated to cranking out tech act after tech act. It’s a hard scene to stand out in, is my point.

Enter Cognitive, a New Jersey-based five-piece that’s doing everything it can to make a splash in a sea of similar and—quite frankly—mediocre bands. Malevolent Thoughts of a Hastened Extinction is their fourth full-length effort and third with Unique Leader Records, who are another one of those labels that produces a ton of techdeath acts. So does the album deliver? I’m happy to report that it very much does, and some of its tracks are impressive for different reasons than you might think.

The musical hallmarks of techdeath are all here, and they’re performed extremely well. Harry Lannon and Rob Wharton are the guitarists, with Lannon handling leads, and their playing features plenty of fretboard acrobatics, rhythmic shifts, and on-a-dime directional changes. The cool thing, though, is that nothing feels extraneous, and it doesn’t sound like the parts are tricky just for difficulty’s sake. I’m particularly impressed by Lannon’s solos and his sense for writing passages that have a soul—it’s not just empty technique on display. Bass duty is covered by Tyler Capone-Vitale, and he’s superb, handling a lot of speedy, complicated stuff. The occasions where he doubles the guitars to up the heavy factor of brutal passages are fabulous. Shane Jost’s vocals are seething and intense, and he uses an impressive range of effects; again I feel like his performance shows real heart, not the hollow violence that you often hear. Finally, AJ Viana, also of the mighty Hath, puts on a clinic behind the drumset. He’s extremely precise, his sound is weighty but doesn’t weight the band down, and he has an exceptional feel for when to keep things relatively straightforward and when to get a little crazy.

So what is it that Cognitive does that sets them apart? For one, they blend a whole slew of stylistic influences into their songs. Make no mistake, Malevolent Thoughts is a techdeath record through and through, but there are little flashes and touches of all sorts of things that keep the tracks interesting and fresh. For example, there’s a nasty slam a little over two minutes into “The Maw” that absolutely crushes, and it’s not the only one on this record. “From the Depths” is an excellent showcase of some of the band’s blackened touches, with Jost’s high screams on fully display several times. “Arterial Red” features some riffwork that’s reminiscent of—and I swear this is a compliment—djent. “Oroborous” alternates between intense tech riffing complete with dissonant twisting guitar lines and heavy as hell deathcore-esque passages. Looking for something brutal with a straight up beat in 4 that you can mosh to? The second half of “To Feed the Worms” has got you covered, after the groovy, whiplash-inducing opening section gets you prepped. Lannon and Wharton aren’t afraid to step away from the technical badassery and scratch your itch for chug, and when they do it’s highly effective.

Cognitive also periodically backs the aggression down a notch or two (not too far, don’t worry) and writes a song or two that gets a bit more emotional than you might expect. “Malevolent Thoughts” is one of these, speaking and generally looking in an inward direction, with Jost’s scream of “I don’t want to feel like this anymore” providing a highlight that segues into an excellent expressive guitar solo. But it’s the slow-paced “Destitute” that drops the aggression a couple more notches, its transparently personal examination of genuinely trying and having nothing to show for it landing in an unexpectedly emotional way. It reminds me a little of last year’s concept-based Mordrake by Xenobiotic, or maybe a better comparison is the song “Forsaken” by Necropia—an introspective interval that makes a huge impression in an album of mostly hostile, vicious tracks. There’s another emotive solo, and it’s not like it’s a ballad or anything, but there are even some smartly executed clean vocals!

Recording and mixing, which began with a few already written tracks pre-pandemic and went through a lengthy pause before being finished this year, was handled by the band’s drummer, AJ Viana. If you’ve heard Of Rot and Ruin, the amazing 2019 effort from his other band Hath, then you’re already familiar with his work on the recording/mixing front, and you’ll know it’s outstanding. (As a sidebar, Viana has a done several streams on Hath’s Twitch channel where he walked through his mixing processes, and it’s great stuff that you should watch.) Malevolent Thoughts is another example of his impressive abilities behind the board and at the computer, because it sounds fantastic—the balance is great and all elements sound authentic with a sense of presence. Mastering was by Alan Douches of West West Side Music, whose consistently great work you’ve heard on about a billion other albums (including, again, Of Rot and Ruin).

Don’t miss this effort from Cognitive when it drops on July 16 via Unique Leader Records. Malevolent Thoughts of a Hastened Extinction is a massive, exceptional tower of sonic power that shows what technical death metal can be in the hands of not just great musicians, but great songwriters.

Kep



..::TRACK-LIST::..

1. Eniac 04:47
2. The Maw 03:18
3. Arterial Red 03:41
4. From the Depths 03:39
5. Oroborous 02:55
6. To Feed the Worms 04:03
7. Malevolent Thoughts 03:57
8. Tearing Tendon from Bone 03:46
9. Destitute 05:46
10. Of a Hastened Extinction 03:27



..::OBSADA::..

Vocals - Shane Jost
Bass - Tyler Capone-Vitale
Drums - AJ Viana
Guitar - Harry Lannon, Rob Wharton




https://www.youtube.com/watch?v=tq46M7-tTTE


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

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



Killer and classic US death metal featuring Aantar from Diabolic! Much soungh-after secodn album from 1996.



..::TRACK-LIST::..

1. Gone 03:33
2. Blood Of The Suspicious 02:13
3. Bliss 02:38
4. Shackles 04:53
5. Tragic 03:03
6. Fangs 02:28
7. Throne Of Horns 03:04
8. Breaking The Skin 02:18
9. Breaking The Skin 02:18
10. Old Burnt Church Road 02:30



..::OBSADA::..

Buddy Buellb - Bass, Vocals
Aantar Cobra - Drums
Chewka - Guitars
H.M. Lopez - Guitars



https://www.youtube.com/watch?v=y-5W-TYAeS4



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

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



Killer and classic US death metal featuring Aantar from Diabolic! Much soungh-after secodn album from 1996.



..::TRACK-LIST::..

1. Gone 03:33
2. Blood Of The Suspicious 02:13
3. Bliss 02:38
4. Shackles 04:53
5. Tragic 03:03
6. Fangs 02:28
7. Throne Of Horns 03:04
8. Breaking The Skin 02:18
9. Breaking The Skin 02:18
10. Old Burnt Church Road 02:30



..::OBSADA::..

Buddy Buellb - Bass, Vocals
Aantar Cobra - Drums
Chewka - Guitars
H.M. Lopez - Guitars



https://www.youtube.com/watch?v=y-5W-TYAeS4



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

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


..::OPIS::..

Azarath atakuje po raz trzeci!!!! I po raz trzeci roznosi wszystko w cztery dupy!!!!!!!!!!!!

Zespół konsekwentnie podąża ścieżką brutalnego,ohydnego,zdeprawowanego do granic satanic death metalu.

Elementy składowe układanki cały czas te same,jednak z płyty na płytę widoczne są postępy.

Muzyka nadal jest pierwotnie brutalna i szalenie intensywna,jednak tym razem znacznie bardziej techniczna. Album wydaje się dobrze przemyślany,riffy są ciekawsze,aranżacje bardziej skomplikowane. Słychać także,że w stosunku do dwóch poprzednich płyt cofnięto nieco perkusję mocniej eksponując gitary. Zmiany te nie powodują jednak w żadnym wypadku zmiękczenia muzyki,ta cały czas jest wulgarna, brutalna, bezlitosna i krańcowo wściekła. Niewiele jest na świecie zespołów mogących dorównać Azarath pod względem zajadłości i blużnierczości oraz ilości jadu zawartego w tworzonej muzyce.

Wszyscy,którzy moczyli się słuchając „Demon Seed” i „Infernal Blasting” przy „D.I.E.” będą szczytować raz za razem,natomiast fani miętkiego pitolenia i damskich wokali lepiej niech sie nie zbliżają do tej płyty,gdyż rozpierdoli ich ona jak gnój po polu w 3 sekundy po nacisnięciu przycisku „Play”.

Hatzamoth


The third assault of the most extreme Polish TRUE Death Metal force. Honest and brutal manifesto of sonic wildness and unbelievable power. Brutal and sinister guitar riffs sets the pace for the double bass blasting intensity chaos by Inferno from Behemoth fame himself! The essence of Satanic Death Metal. Listen or die!!!



Here is your impiety, for sure. Azarath’s “Diabolic Impious Evil” is so neatly woven together with its sharpness, its brutal clarity, which is to speak nothing of the basically perfect mixing of the record, that one feels almost drawn inescapably to innumerable hells, each bickering to conform your lousy body into its own particular and malicious subject. “Whip the Whore” starts us off, a splurge of unremitting blasting and bestiality, urging Mary to “eat my cum,” as behind the vocals a network of haunting atmospherics travails: there is little mercy here.

The guitars do their fiendish fireworks of snappy tremolos, articulating between frantic passages of hard-faced death metal a la Morbid Angel, Behemoth, etc., as the drums roil on. A few breakdowns here and there are graciously introduced, but not enough to offset the gunfire extremities of the overall packaged sound. In every song, one cannot help to be preyed on by the murder this band has invented (expertly so).

While many other acts of this blackened-death nature seem to wear out three/four songs through, or the listener wears out, these songs presented herein are arranged intelligently enough so that there is little boredom to experience. It is a record to be played in its entirety and on repeat to a group of your closest friends. Or your most distant friends. It is bleak, dark, and, of course…diabolic, evil, and impious. I have not heard any other records prior to this one, so I will not claim that the band has blessed the genre with a sort of refreshment, but I won’t hesitate to say that at least on this record, you will not be left disappointed; left in the broadest axioms of darkness, for sure.

dosig edderkopp


I rarely write reviews, except when I deem it extremely important. In most cases, it's because a band that deserves attention isn't getting enough. That seems to be the life story of Azarath so far... at least in the States.

Everyone is familiar with drummer Inferno's insanely stylistic and brutal assault from his black drum throne. He almost single handedly helped usher in Behemoth's new technial death metal era when he join for Pandaemonic Incantations back at the turn of the new century. Since that time Behemoth has enjoyed immense popularity and fanfare as a result of their signing with Century Media and their extensive touring with major acts across the US and Canada.

All the while, however, drummer Inferno has been busy at work on another project. Something even more diabolical, more raw, more hateful. A band whose vociferous bile spews forth from their sound so readily as to make one believe that, in a former life, these guys may have been involved in the black metal scene.

With the demise of Decapitated (even before the bus accident- Organic Hallucinosis was closer to a Machine Head or Meshuggah release than it was to their previous work) and Yattering (whose former guitarist is now a member of Azarath) and Nergal's constant touring and whoring for the media, Azarath stand victorious at the top of the remaining true Brutal Death Metal acts in Poland.

Their previous releases, Demon Seed and Infernal Blasting, were both excercises in the fiercest brutality. Their new release, Diabolic Impious Evil is an step even further ahead and to the left, with the pure satanic rage taking control early in the album.

Tracks like Anti-Human, Anti-God remind listeners why Azarath is such a powerful act- fierce riffs, though catchy, grind your face into the pavement while Inferno's drumming has the power and precision of a guided missile, but even more fun. It's so fierce and fast, in fact, that at first listen one might mistake Azarath for a hypergrind band if you ignore the more complicated riffing and chord progressions.

For Satan My Blood, another of the stand out tracks on this album, clocks in at just under two minutes. These are some of the most intense two minutes in death metal, incredibly blast beats, face shredding riffs and an evil goat chant in the background that sounds like hell itself has been forced taint first through your speakers.

All in all, this is an absolutely soul crushing release, by far Azarath's most evil and impowering to date. Long live the new Kings of Polish Death.

He_Ra_Hu_Ra



..::TRACK-LIST::..

1. whip the whore 03:51
2. baptized in sperm of Antichrist 03:00
3. Devil's stigmata 02:29
4. anti-human anti-god 04:46
5. for Satan my blood 01:45
6. screamin' legions death metal 03:24
7. intoxicated by Goat vomit 02:28
8. angels' assassins 03:17
9. beast inside 02:44
10. Goathorned's revenge 05:01



..::OBSADA::..

Bruno - Vocals, Bass
Thrufel - Guitars
Inferno - Drums
Bart - Guitars



https://www.youtube.com/watch?v=zmgDc3_2Ukc



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

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


..::OPIS::..

Azarath atakuje po raz trzeci!!!! I po raz trzeci roznosi wszystko w cztery dupy!!!!!!!!!!!!

Zespół konsekwentnie podąża ścieżką brutalnego,ohydnego,zdeprawowanego do granic satanic death metalu.

Elementy składowe układanki cały czas te same,jednak z płyty na płytę widoczne są postępy.

Muzyka nadal jest pierwotnie brutalna i szalenie intensywna,jednak tym razem znacznie bardziej techniczna. Album wydaje się dobrze przemyślany,riffy są ciekawsze,aranżacje bardziej skomplikowane. Słychać także,że w stosunku do dwóch poprzednich płyt cofnięto nieco perkusję mocniej eksponując gitary. Zmiany te nie powodują jednak w żadnym wypadku zmiękczenia muzyki,ta cały czas jest wulgarna, brutalna, bezlitosna i krańcowo wściekła. Niewiele jest na świecie zespołów mogących dorównać Azarath pod względem zajadłości i blużnierczości oraz ilości jadu zawartego w tworzonej muzyce.

Wszyscy,którzy moczyli się słuchając „Demon Seed” i „Infernal Blasting” przy „D.I.E.” będą szczytować raz za razem,natomiast fani miętkiego pitolenia i damskich wokali lepiej niech sie nie zbliżają do tej płyty,gdyż rozpierdoli ich ona jak gnój po polu w 3 sekundy po nacisnięciu przycisku „Play”.

Hatzamoth


The third assault of the most extreme Polish TRUE Death Metal force. Honest and brutal manifesto of sonic wildness and unbelievable power. Brutal and sinister guitar riffs sets the pace for the double bass blasting intensity chaos by Inferno from Behemoth fame himself! The essence of Satanic Death Metal. Listen or die!!!



Here is your impiety, for sure. Azarath’s “Diabolic Impious Evil” is so neatly woven together with its sharpness, its brutal clarity, which is to speak nothing of the basically perfect mixing of the record, that one feels almost drawn inescapably to innumerable hells, each bickering to conform your lousy body into its own particular and malicious subject. “Whip the Whore” starts us off, a splurge of unremitting blasting and bestiality, urging Mary to “eat my cum,” as behind the vocals a network of haunting atmospherics travails: there is little mercy here.

The guitars do their fiendish fireworks of snappy tremolos, articulating between frantic passages of hard-faced death metal a la Morbid Angel, Behemoth, etc., as the drums roil on. A few breakdowns here and there are graciously introduced, but not enough to offset the gunfire extremities of the overall packaged sound. In every song, one cannot help to be preyed on by the murder this band has invented (expertly so).

While many other acts of this blackened-death nature seem to wear out three/four songs through, or the listener wears out, these songs presented herein are arranged intelligently enough so that there is little boredom to experience. It is a record to be played in its entirety and on repeat to a group of your closest friends. Or your most distant friends. It is bleak, dark, and, of course…diabolic, evil, and impious. I have not heard any other records prior to this one, so I will not claim that the band has blessed the genre with a sort of refreshment, but I won’t hesitate to say that at least on this record, you will not be left disappointed; left in the broadest axioms of darkness, for sure.

dosig edderkopp


I rarely write reviews, except when I deem it extremely important. In most cases, it's because a band that deserves attention isn't getting enough. That seems to be the life story of Azarath so far... at least in the States.

Everyone is familiar with drummer Inferno's insanely stylistic and brutal assault from his black drum throne. He almost single handedly helped usher in Behemoth's new technial death metal era when he join for Pandaemonic Incantations back at the turn of the new century. Since that time Behemoth has enjoyed immense popularity and fanfare as a result of their signing with Century Media and their extensive touring with major acts across the US and Canada.

All the while, however, drummer Inferno has been busy at work on another project. Something even more diabolical, more raw, more hateful. A band whose vociferous bile spews forth from their sound so readily as to make one believe that, in a former life, these guys may have been involved in the black metal scene.

With the demise of Decapitated (even before the bus accident- Organic Hallucinosis was closer to a Machine Head or Meshuggah release than it was to their previous work) and Yattering (whose former guitarist is now a member of Azarath) and Nergal's constant touring and whoring for the media, Azarath stand victorious at the top of the remaining true Brutal Death Metal acts in Poland.

Their previous releases, Demon Seed and Infernal Blasting, were both excercises in the fiercest brutality. Their new release, Diabolic Impious Evil is an step even further ahead and to the left, with the pure satanic rage taking control early in the album.

Tracks like Anti-Human, Anti-God remind listeners why Azarath is such a powerful act- fierce riffs, though catchy, grind your face into the pavement while Inferno's drumming has the power and precision of a guided missile, but even more fun. It's so fierce and fast, in fact, that at first listen one might mistake Azarath for a hypergrind band if you ignore the more complicated riffing and chord progressions.

For Satan My Blood, another of the stand out tracks on this album, clocks in at just under two minutes. These are some of the most intense two minutes in death metal, incredibly blast beats, face shredding riffs and an evil goat chant in the background that sounds like hell itself has been forced taint first through your speakers.

All in all, this is an absolutely soul crushing release, by far Azarath's most evil and impowering to date. Long live the new Kings of Polish Death.

He_Ra_Hu_Ra



..::TRACK-LIST::..

1. whip the whore 03:51
2. baptized in sperm of Antichrist 03:00
3. Devil's stigmata 02:29
4. anti-human anti-god 04:46
5. for Satan my blood 01:45
6. screamin' legions death metal 03:24
7. intoxicated by Goat vomit 02:28
8. angels' assassins 03:17
9. beast inside 02:44
10. Goathorned's revenge 05:01



..::OBSADA::..

Bruno - Vocals, Bass
Thrufel - Guitars
Inferno - Drums
Bart - Guitars



https://www.youtube.com/watch?v=zmgDc3_2Ukc



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

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


..::OPIS::..

Debiutancki mini-album hiszpańskiego zespołu złożonego z muzyków ONIROPHAGUS, FAMISHGOD & ELDERDAWN. Ciężki, mroczny i brutalny death metal, który przypadnie do gustu fanom fińskiego grania (ADRAMELECH, CARTILAGE, DEMIGOD, DEMILICH...) oraz twórczości takich zespołów jak ANASARCA, INTESTINE BAALISM, AVULSED, GRAVE...


Debut mini CD by this spanish band featuring members from ONIROPHAGUS, FAMISHGOD & ELDERDAWN, that plays a dark, heavy and brutal Death Metal taking influences from the finnish scene (ADRAMELECH, CARTILAGE, DEMIGOD, DEMILICH...) as well as other varied inspirations like ANASARCA, INTESTINE BAALISM, AVULSED, GRAVE...



..::TRACK-LIST::..

1. Dying Existence (intro) 01:01
2. Damp Earth 03:20
3. Asphyxiating Dark Memories 03:33
4. Moldy and Decomposed 04:30
5. Fleshless 04:38
6. Inner Necropolis 04:26



..::OBSADA::..

Funedëim - Bass, Vocals
Uretra - Drums
Evilead - Guitars
Obszen - Guitars



https://www.youtube.com/watch?v=t4BiN2cXffQ


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

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


..::OPIS::..

Debiutancki mini-album hiszpańskiego zespołu złożonego z muzyków ONIROPHAGUS, FAMISHGOD & ELDERDAWN. Ciężki, mroczny i brutalny death metal, który przypadnie do gustu fanom fińskiego grania (ADRAMELECH, CARTILAGE, DEMIGOD, DEMILICH...) oraz twórczości takich zespołów jak ANASARCA, INTESTINE BAALISM, AVULSED, GRAVE...


Debut mini CD by this spanish band featuring members from ONIROPHAGUS, FAMISHGOD & ELDERDAWN, that plays a dark, heavy and brutal Death Metal taking influences from the finnish scene (ADRAMELECH, CARTILAGE, DEMIGOD, DEMILICH...) as well as other varied inspirations like ANASARCA, INTESTINE BAALISM, AVULSED, GRAVE...



..::TRACK-LIST::..

1. Dying Existence (intro) 01:01
2. Damp Earth 03:20
3. Asphyxiating Dark Memories 03:33
4. Moldy and Decomposed 04:30
5. Fleshless 04:38
6. Inner Necropolis 04:26



..::OBSADA::..

Funedëim - Bass, Vocals
Uretra - Drums
Evilead - Guitars
Obszen - Guitars



https://www.youtube.com/watch?v=t4BiN2cXffQ


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

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


..::OPIS::..

Warszawski zespół FEROSITY powraca z piątą dużą płytą. Miażdżący kawał brutalnego death metalu w klimacie takich zespołów jak CANNIBAL CORPSE, DEICIDE, MALEVOLENT CREATION, MONSTROSITY.



..::TRACK-LIST::..

1. Last Breath 03:51
2. Demyelination 03:04
3. Inflict the Pain 04:30
4. Chimera 04:04
5. Abyss of Irrationality 04:33
6. United with the Archetype 03:39
7. Tribal Crime 03:47
8. Loudless Scream 04:32
9. De-Evolution 05:03
10. Slave of Mine 05:28



..::OBSADA::..

Milczy.slav - vocals, bass
Marek Wróbel - guitars
Piotr Pyrzanowski - guitars
Sebastian Kubajek - drums




https://www.youtube.com/watch?v=_3RUu7fyQnc



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

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


..::OPIS::..

Warszawski zespół FEROSITY powraca z piątą dużą płytą. Miażdżący kawał brutalnego death metalu w klimacie takich zespołów jak CANNIBAL CORPSE, DEICIDE, MALEVOLENT CREATION, MONSTROSITY.



..::TRACK-LIST::..

1. Last Breath 03:51
2. Demyelination 03:04
3. Inflict the Pain 04:30
4. Chimera 04:04
5. Abyss of Irrationality 04:33
6. United with the Archetype 03:39
7. Tribal Crime 03:47
8. Loudless Scream 04:32
9. De-Evolution 05:03
10. Slave of Mine 05:28



..::OBSADA::..

Milczy.slav - vocals, bass
Marek Wróbel - guitars
Piotr Pyrzanowski - guitars
Sebastian Kubajek - drums




https://www.youtube.com/watch?v=_3RUu7fyQnc



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