...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grób, gruz i śmierć!


For a band that seems fairly well known in the underground, Teitanblood don't have very many releases to their name: one full-length album and six short releases, two of them splits with other bands. The most recent recording "Woven Black Arteries" turns out to be something of a short album featuring just two tracks "Sanctified Dysecdysis" and "Purging Tongues". These guys play a very filthy blackened death metal with sick-as-fuck gurgly vomit vocals and a deranged attitude that pushes the music to an extreme bordering on the hysterical. Bands very like these guys include Antaeus and Otargos from France though Teitanblood have a much wilder and more out-there style.

The term dysecdysis refers to an abnormal shedding of the skin in snakes and lizards so it's appropriate that "Sanctified Dysecdysis" is as reptilian-evil as your local friendly neighbourhood pedo-priest or his equivalent in some other religion, depending on where you live. The general sound of the track is creepy as hell, like the noise of deep-frying live prawns in boiling oil turned up to the point where it turns to static. Guitar chord sequences don't so much as form recognisable riffs or melodies as burn and scorch their way into the brain. Any lead guitar licks that happen here are like demented sparks of a primitive and near-psychotic consciousness in an otherwise instinctive brain. Percussion goes hell for leather while slime monster voices growl and groan and fight for dominance with the occasional scream amongst all that guttural gurning. The song gets more chaotic and wilder as it progresses with more delirious vocals and the boiling guitar noises more insane than ever. Spoken voice recordings are buried deep in the dense music. The wild storm passes leaving rhythm guitars, drums and a hysterical ambience to careen blindly towards what might the edge of a cliff.

"Purging Tongues" starts off theatrically with a sonorous spoken Satanic-priest vocal that might have come straight from the days of the Holy Inquisition: an excuse for the guys to go straight for the jugular again with madly racing drumbeats and a cacophony of reverberating demon voices that might be coming from between your ears. The guitars sound rather more like guitars but that's where the similarity between Teitanblood and most other guitar bands ends: the musicians must be playing their instruments by hitting them with barbed whips instead of the usual metal plectrums. Gabbling in strange tongues as though they're starring in some God-forsaken campy 1970s lesbian-vampire-cannibal-nudity-sex orgy art flick set in a medieval nunnery where all characters are nuns and priests, the band plough through a dense hurricane of black death guitar noise, choppy rhythms and roiling Satanic atmosphere.

You don't love these guys for their musicianship though to do what they do and still hold you spellbound all the way through implies a good grasp of music craft - you love them for their gung-ho take-no-prisoners style of death metal butchery, slaughtering their way through the music and leaving listeners dumbstruck, thunder-struck or just struck dead. The music is dense and chaotic yet not quite all over the shop and most instruments and the vocals are very clear. There's a definite sense of direction, the music is very free-flowing and the demon singing strikes just the right balance between fiendish and deranged on the one hand and camp and theatrical on the other. The guitar noise textures are unlike anything else I've heard, very much like an evil swarm of locusts and wasps from the bottom corners of Hell.

There is some wonderful atmosphere as well suggesting inversions of Roman Catholic Church ritual and it may be that Teitanblood, like some other underground Spanish acts I've heard (Orthodox, Like Drone Razors For Flesh Sphere), are critical of that denomination's historical baleful hold on their country's society.

NausikaDalazBlindaz


Spanish Satanic sadists Teitanblood offer up another delicious treat to be sacrificed upon the altar.

For all you Teitanblood fanboys out there that didn’t have a chance to get ahold of the Purging Tongues E.P. on vinyl, Norma Evangelium and Teitanblood have answered your cries to the dark lord and have packaged Purging Tongues along with another completely new track. I know, I know, I can hear your palms moisten and pulse increase from here, and as if you needed me to tell you otherwise, it’s absolutely fucking epic.

Despite these boys having only released one album thus far (2009’s ‘Seven Chalices’), there is still a healthy amount of material about for you to get your filthy hands on. Teitanblood play black metal or is it death metal? It’s both and neither, it’s Teitanblood, end of discussion. They are one of those rare bands that come along every now and then that manages to draw influence from many different realms and package it into their own brand of nightmarish, visceral sound. Each Teitanblood release is suffocating and dense, as demonstrated perfectly on this compilation.

Compositions for Teitanblood are complex; the drums are maniacal, guitars all over the place, interspersed with random soloing whilst NSK’s vocals howl over the music. Very often it is chaotic and comparisons to Antaeus and Katharsis can be drawn in this respect, an additional parallel can be drawn in the mixing and production, as mentioned before it is dense, it can be hard to differentiate exactly what is happening at times, all that can be sensed is the relentless juggernaut as it rapes your ears. ‘Purging Tongues’ for a long period has NSK just speaking in a ritualistic fashion that makes the music truly unnerving as the sermon being given is a symphony of hellish beauty; you know those horror movies when you hear the devil speak and there’s fucked up music going on in the background? Imagine that except fill it with the most hate and vitriol that you can summon and you’re halfway there. The compilation is a rather long affair in the stakes that there are only 2 songs and the CD clocks in at just under 30minutes. Each song is long, progressive, elaborate and unstoppably barbaric in its onslaught.

Teitanblood seem to be getting lumped in with the ‘War/Bestial’ metal crowd a lot at the moment and whilst yes, the music is extremely ‘brutal’ and harsh I see more in association between a band like this and the other bands on Norma Evangelium Diaboli (there is a reason they’re signed to them, NoEvDia are notoriously picky about acts that they will sign), Teitanblood have a strong aesthetic and their lyrical approach is introspective as opposed to the endless torrent of bestial metal bands singing about War, Goats, Nuclear Weapons, etc. Teitanblood may have the thick chaotic sound that some of these bands do but they execute it with a finesse that for me, none of these bestial bands can match and as I mentioned before it’s possible to hear the influence of bands such as Ofermod (NSK’s also part of them), Antaeus, Katharsis, and Malign.

Even if you’re one of the lucky bastards to own a copy of ‘Purging Tongues’, I highly recommend Woven Black Arteries on two points: You can play Purging Tongues on a CD player now e.g. in the car on your merry jaunts to bury the bodies and secondly ‘Sanctified Dysecdysis’ the new track is worth every penny of the CD itself and undoubtedly this release would sell just as well if that’s all that was being offered.

filthgrinding scum



..::TRACK-LIST::..

1. Sanctified Dysecdysis 11:48
2. Purging Tongues 15:39



..::OBSADA::..

J - Drums
NSK - Vocals, Bass, Guitars, Lyrics




https://www.youtube.com/watch?v=hP3pEvnJWIQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grób, gruz i śmierć!


For a band that seems fairly well known in the underground, Teitanblood don't have very many releases to their name: one full-length album and six short releases, two of them splits with other bands. The most recent recording "Woven Black Arteries" turns out to be something of a short album featuring just two tracks "Sanctified Dysecdysis" and "Purging Tongues". These guys play a very filthy blackened death metal with sick-as-fuck gurgly vomit vocals and a deranged attitude that pushes the music to an extreme bordering on the hysterical. Bands very like these guys include Antaeus and Otargos from France though Teitanblood have a much wilder and more out-there style.

The term dysecdysis refers to an abnormal shedding of the skin in snakes and lizards so it's appropriate that "Sanctified Dysecdysis" is as reptilian-evil as your local friendly neighbourhood pedo-priest or his equivalent in some other religion, depending on where you live. The general sound of the track is creepy as hell, like the noise of deep-frying live prawns in boiling oil turned up to the point where it turns to static. Guitar chord sequences don't so much as form recognisable riffs or melodies as burn and scorch their way into the brain. Any lead guitar licks that happen here are like demented sparks of a primitive and near-psychotic consciousness in an otherwise instinctive brain. Percussion goes hell for leather while slime monster voices growl and groan and fight for dominance with the occasional scream amongst all that guttural gurning. The song gets more chaotic and wilder as it progresses with more delirious vocals and the boiling guitar noises more insane than ever. Spoken voice recordings are buried deep in the dense music. The wild storm passes leaving rhythm guitars, drums and a hysterical ambience to careen blindly towards what might the edge of a cliff.

"Purging Tongues" starts off theatrically with a sonorous spoken Satanic-priest vocal that might have come straight from the days of the Holy Inquisition: an excuse for the guys to go straight for the jugular again with madly racing drumbeats and a cacophony of reverberating demon voices that might be coming from between your ears. The guitars sound rather more like guitars but that's where the similarity between Teitanblood and most other guitar bands ends: the musicians must be playing their instruments by hitting them with barbed whips instead of the usual metal plectrums. Gabbling in strange tongues as though they're starring in some God-forsaken campy 1970s lesbian-vampire-cannibal-nudity-sex orgy art flick set in a medieval nunnery where all characters are nuns and priests, the band plough through a dense hurricane of black death guitar noise, choppy rhythms and roiling Satanic atmosphere.

You don't love these guys for their musicianship though to do what they do and still hold you spellbound all the way through implies a good grasp of music craft - you love them for their gung-ho take-no-prisoners style of death metal butchery, slaughtering their way through the music and leaving listeners dumbstruck, thunder-struck or just struck dead. The music is dense and chaotic yet not quite all over the shop and most instruments and the vocals are very clear. There's a definite sense of direction, the music is very free-flowing and the demon singing strikes just the right balance between fiendish and deranged on the one hand and camp and theatrical on the other. The guitar noise textures are unlike anything else I've heard, very much like an evil swarm of locusts and wasps from the bottom corners of Hell.

There is some wonderful atmosphere as well suggesting inversions of Roman Catholic Church ritual and it may be that Teitanblood, like some other underground Spanish acts I've heard (Orthodox, Like Drone Razors For Flesh Sphere), are critical of that denomination's historical baleful hold on their country's society.

NausikaDalazBlindaz


Spanish Satanic sadists Teitanblood offer up another delicious treat to be sacrificed upon the altar.

For all you Teitanblood fanboys out there that didn’t have a chance to get ahold of the Purging Tongues E.P. on vinyl, Norma Evangelium and Teitanblood have answered your cries to the dark lord and have packaged Purging Tongues along with another completely new track. I know, I know, I can hear your palms moisten and pulse increase from here, and as if you needed me to tell you otherwise, it’s absolutely fucking epic.

Despite these boys having only released one album thus far (2009’s ‘Seven Chalices’), there is still a healthy amount of material about for you to get your filthy hands on. Teitanblood play black metal or is it death metal? It’s both and neither, it’s Teitanblood, end of discussion. They are one of those rare bands that come along every now and then that manages to draw influence from many different realms and package it into their own brand of nightmarish, visceral sound. Each Teitanblood release is suffocating and dense, as demonstrated perfectly on this compilation.

Compositions for Teitanblood are complex; the drums are maniacal, guitars all over the place, interspersed with random soloing whilst NSK’s vocals howl over the music. Very often it is chaotic and comparisons to Antaeus and Katharsis can be drawn in this respect, an additional parallel can be drawn in the mixing and production, as mentioned before it is dense, it can be hard to differentiate exactly what is happening at times, all that can be sensed is the relentless juggernaut as it rapes your ears. ‘Purging Tongues’ for a long period has NSK just speaking in a ritualistic fashion that makes the music truly unnerving as the sermon being given is a symphony of hellish beauty; you know those horror movies when you hear the devil speak and there’s fucked up music going on in the background? Imagine that except fill it with the most hate and vitriol that you can summon and you’re halfway there. The compilation is a rather long affair in the stakes that there are only 2 songs and the CD clocks in at just under 30minutes. Each song is long, progressive, elaborate and unstoppably barbaric in its onslaught.

Teitanblood seem to be getting lumped in with the ‘War/Bestial’ metal crowd a lot at the moment and whilst yes, the music is extremely ‘brutal’ and harsh I see more in association between a band like this and the other bands on Norma Evangelium Diaboli (there is a reason they’re signed to them, NoEvDia are notoriously picky about acts that they will sign), Teitanblood have a strong aesthetic and their lyrical approach is introspective as opposed to the endless torrent of bestial metal bands singing about War, Goats, Nuclear Weapons, etc. Teitanblood may have the thick chaotic sound that some of these bands do but they execute it with a finesse that for me, none of these bestial bands can match and as I mentioned before it’s possible to hear the influence of bands such as Ofermod (NSK’s also part of them), Antaeus, Katharsis, and Malign.

Even if you’re one of the lucky bastards to own a copy of ‘Purging Tongues’, I highly recommend Woven Black Arteries on two points: You can play Purging Tongues on a CD player now e.g. in the car on your merry jaunts to bury the bodies and secondly ‘Sanctified Dysecdysis’ the new track is worth every penny of the CD itself and undoubtedly this release would sell just as well if that’s all that was being offered.

filthgrinding scum



..::TRACK-LIST::..

1. Sanctified Dysecdysis 11:48
2. Purging Tongues 15:39



..::OBSADA::..

J - Drums
NSK - Vocals, Bass, Guitars, Lyrics




https://www.youtube.com/watch?v=hP3pEvnJWIQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ceramika w moich ustach dzwoniła, moje bębenki w uszach pulsowały, i za każdym kolejnym odsłuchem miałem ogromną ochotę na dobre piwo!!!

FA


I'll go on record saying I think one of the better Swedish death metal albums back in “my day” was Sorcery's debut full-length, Bloodchilling Tales way, way back in 1991. It was absolutely rife with that “textbook” Swedish sound made famous by Grave, Unleashed and Desultory, to name a sparse few. While severely unpolished, it remains one I grab when I'm feeling that need for cold, unmitigated death metal.

That said, it's been, oh, two decades-plus since we've seen a full-length from these Swedish boys bent on bringing death to the lulled masses. Arrival at Six takes no easy way in and literally smashes into your ears with “We Who Walk Among the Dead”, a classic Swedish sounding foray into the horror that was that beautiful sound. Infinitely more polished with modern devices and tools, the primitive and thin sound of old is thicker and bolder, lending total credence to the notion that 20-years between albums hasn't dulled the senses of these guys. That sickening guitar tone, part and parcel with the era and region, is ever-present and as potent today as it was during that brutal period.

A band like Sorcery, one might opine, is riding the recent resurgence of that antiquated sound, and one might be correct. However, bear in mind that these guys once held rank in that esteemed club, and the time between hasn't exactly seen total dormancy. With a couple of demos and a compilation Sorcery has picked up where it left off and found a home once more in the dank and dismal recesses of death metal greatness.

The vocals are that familiar gruff bellowing, and it truly wouldn't resound well any other way. Ola Malmstrom sounds even more volatile and angry on tracks like “Master of the Chains” or “Warbringer” as he did on “Legacy of Blood” or “Death” back in the day. There is something so drawing about this sound, especially when done by masters of the genre like Dismember or early Entombed. Sorcery, however, claims its own spot in the pantheon of putrid perfection with Arrival at Six; this album, for all of its polish and tweaking, stands among the best of the modern day genre because, quite honestly, it's brutally effective at charging the blood in a mad rush through the body when hearing it. There isn't one weak track on here, and, surprisingly, not one track meshes into another with typical affinity towards repetitiveness. The signature sound remains throughout, but the tone of each song is different and equally heavy. “United Satanic Alliance” is just Swedish brilliance all over, reading like a post-Cronos Venom on a speedball diet. This familiarity is most welcome, particularly when it comes from one of the bands from the early movement that spread over Europe like a wonderful cancer, infecting and destroying healthy cells and decimating lives along the way. For once, such a metaphoric illusion works well.

I was ecstatic to hear that Sorcery was releasing the long-awaited second record; even with slight reservations and even fears in mind, I held out hope that the Swedes would know exactly what not to do when reclaiming a spot in the coveted history of that country's brilliant death metal underground. I was not only happily surprised, but doubly impressed and made subservient to a sound that I find most agreeable today with my old-world preferences.

This is a must-hear for '13 so far.

Pratl1971



..::TRACK-LIST::..

1. We Who Walk Among the Dead 05:09
2. Created From Darkness and Rage 05:10
3. Master of the Chains 05:43
4. United Satanic Alliance 05:16
5. Arrival at Six 04:51
6. Warbringer 03:34
7. Maculated Life 03:48
8. Beyond the Wall 03:29
9. Reborn Through Hate 05:07



..::OBSADA::..

Vocals - Ola Malmström
Drums - John Falk
Guitar - Paul Johansson
Bass - Mikael Carlsson




https://www.youtube.com/watch?v=BERJHf3ZauI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ceramika w moich ustach dzwoniła, moje bębenki w uszach pulsowały, i za każdym kolejnym odsłuchem miałem ogromną ochotę na dobre piwo!!!

FA


I'll go on record saying I think one of the better Swedish death metal albums back in “my day” was Sorcery's debut full-length, Bloodchilling Tales way, way back in 1991. It was absolutely rife with that “textbook” Swedish sound made famous by Grave, Unleashed and Desultory, to name a sparse few. While severely unpolished, it remains one I grab when I'm feeling that need for cold, unmitigated death metal.

That said, it's been, oh, two decades-plus since we've seen a full-length from these Swedish boys bent on bringing death to the lulled masses. Arrival at Six takes no easy way in and literally smashes into your ears with “We Who Walk Among the Dead”, a classic Swedish sounding foray into the horror that was that beautiful sound. Infinitely more polished with modern devices and tools, the primitive and thin sound of old is thicker and bolder, lending total credence to the notion that 20-years between albums hasn't dulled the senses of these guys. That sickening guitar tone, part and parcel with the era and region, is ever-present and as potent today as it was during that brutal period.

A band like Sorcery, one might opine, is riding the recent resurgence of that antiquated sound, and one might be correct. However, bear in mind that these guys once held rank in that esteemed club, and the time between hasn't exactly seen total dormancy. With a couple of demos and a compilation Sorcery has picked up where it left off and found a home once more in the dank and dismal recesses of death metal greatness.

The vocals are that familiar gruff bellowing, and it truly wouldn't resound well any other way. Ola Malmstrom sounds even more volatile and angry on tracks like “Master of the Chains” or “Warbringer” as he did on “Legacy of Blood” or “Death” back in the day. There is something so drawing about this sound, especially when done by masters of the genre like Dismember or early Entombed. Sorcery, however, claims its own spot in the pantheon of putrid perfection with Arrival at Six; this album, for all of its polish and tweaking, stands among the best of the modern day genre because, quite honestly, it's brutally effective at charging the blood in a mad rush through the body when hearing it. There isn't one weak track on here, and, surprisingly, not one track meshes into another with typical affinity towards repetitiveness. The signature sound remains throughout, but the tone of each song is different and equally heavy. “United Satanic Alliance” is just Swedish brilliance all over, reading like a post-Cronos Venom on a speedball diet. This familiarity is most welcome, particularly when it comes from one of the bands from the early movement that spread over Europe like a wonderful cancer, infecting and destroying healthy cells and decimating lives along the way. For once, such a metaphoric illusion works well.

I was ecstatic to hear that Sorcery was releasing the long-awaited second record; even with slight reservations and even fears in mind, I held out hope that the Swedes would know exactly what not to do when reclaiming a spot in the coveted history of that country's brilliant death metal underground. I was not only happily surprised, but doubly impressed and made subservient to a sound that I find most agreeable today with my old-world preferences.

This is a must-hear for '13 so far.

Pratl1971



..::TRACK-LIST::..

1. We Who Walk Among the Dead 05:09
2. Created From Darkness and Rage 05:10
3. Master of the Chains 05:43
4. United Satanic Alliance 05:16
5. Arrival at Six 04:51
6. Warbringer 03:34
7. Maculated Life 03:48
8. Beyond the Wall 03:29
9. Reborn Through Hate 05:07



..::OBSADA::..

Vocals - Ola Malmström
Drums - John Falk
Guitar - Paul Johansson
Bass - Mikael Carlsson




https://www.youtube.com/watch?v=BERJHf3ZauI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Fantastyczna płyta!!!


Chicago's WOUNDS finally deliver their long awaited full length after a thunderous Ep that made heads turn! Mixing the best of the 2000' tech death tradition with some more recent nuances, "Ruin" will nail you to the chair from start to finish!

Wounds originally formed as “Wounds of Ruin’ on the outskirts of Chicago in 2006 when friends Rick Mora and Nate Burgard started writing material that would eventually evolve into the iteration of what Wounds is today. Shortly after beginning their journey playing shows as an instrumental band, Norman Hale joined on Vocals. Throughout the years the band has transformed and refined their sound through countless hours of honing their craft aiming to maintain a balance of complex melodies, gigantic grooves, and skull splattering riffs, an amalgamation of influences coming together to form a bone crushing and intricate sound. Wounds was on a long hiatus but returned to writing and playing in late 2016 adding Franco Caballero on Bass and finally releaseing their first EP “Light Eater” with Everlasting Spew Records on February 14th 2019.
After their debut release and fierce live appearances, Wounds started working on their first full length album, soon to be released with the title "Ruin" by Everlasting Spew Records on March 15th 2024.

For fans of Psycroptic, late Deeds Of Flesh, Revocation, Spawn Of Possession



..::TRACK-LIST::..

1. Of Ruin 01:53
2. The Archfiend's Apothecary 04:13
3. Doom Incarnate 03:57
4. In The Maw Of The Beast 04:09
5. Birth Of A New Light 04:18
6. Dismember And Devour 05:42
7. Zoophagist 04:37
8. Ready Your Mind For The Grind 04:24
9. Bent On Disaster 04:49



..::OBSADA::..

Norman Hale - Vocals
Nate Burgard - Drums
Franco Caballero - Bass
Rick Mora - Guitar




https://www.youtube.com/watch?v=9RW_hKAiUM8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Fantastyczna płyta!!!


Chicago's WOUNDS finally deliver their long awaited full length after a thunderous Ep that made heads turn! Mixing the best of the 2000' tech death tradition with some more recent nuances, "Ruin" will nail you to the chair from start to finish!

Wounds originally formed as “Wounds of Ruin’ on the outskirts of Chicago in 2006 when friends Rick Mora and Nate Burgard started writing material that would eventually evolve into the iteration of what Wounds is today. Shortly after beginning their journey playing shows as an instrumental band, Norman Hale joined on Vocals. Throughout the years the band has transformed and refined their sound through countless hours of honing their craft aiming to maintain a balance of complex melodies, gigantic grooves, and skull splattering riffs, an amalgamation of influences coming together to form a bone crushing and intricate sound. Wounds was on a long hiatus but returned to writing and playing in late 2016 adding Franco Caballero on Bass and finally releaseing their first EP “Light Eater” with Everlasting Spew Records on February 14th 2019.
After their debut release and fierce live appearances, Wounds started working on their first full length album, soon to be released with the title "Ruin" by Everlasting Spew Records on March 15th 2024.

For fans of Psycroptic, late Deeds Of Flesh, Revocation, Spawn Of Possession



..::TRACK-LIST::..

1. Of Ruin 01:53
2. The Archfiend's Apothecary 04:13
3. Doom Incarnate 03:57
4. In The Maw Of The Beast 04:09
5. Birth Of A New Light 04:18
6. Dismember And Devour 05:42
7. Zoophagist 04:37
8. Ready Your Mind For The Grind 04:24
9. Bent On Disaster 04:49



..::OBSADA::..

Norman Hale - Vocals
Nate Burgard - Drums
Franco Caballero - Bass
Rick Mora - Guitar




https://www.youtube.com/watch?v=9RW_hKAiUM8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Bufihimat ma potencjał, aby zwalić cię z nóg!!!



..::TRACK-LIST::..

1. Splited 02:18
2. Qualia 02:23
3. Decline of the Fading Suns 03:40
4. Human Hive 03:00
5. Digging the Hole 03:36
6. Thy Flesh Consumed 04:41
7. Last Journey Through Pain 03:57
8. He Saw Himself 04:12



..::OBSADA::..

Ivan Voitov - vocals
Maxim Gorbunov - guitars
Sergey Nikolaev - drums




https://www.youtube.com/watch?v=OnnbJ1d9dlY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Bufihimat ma potencjał, aby zwalić cię z nóg!!!



..::TRACK-LIST::..

1. Splited 02:18
2. Qualia 02:23
3. Decline of the Fading Suns 03:40
4. Human Hive 03:00
5. Digging the Hole 03:36
6. Thy Flesh Consumed 04:41
7. Last Journey Through Pain 03:57
8. He Saw Himself 04:12



..::OBSADA::..

Ivan Voitov - vocals
Maxim Gorbunov - guitars
Sergey Nikolaev - drums




https://www.youtube.com/watch?v=OnnbJ1d9dlY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Krążek sprowadził mnie do parteru swoja oryginalna formą, znakomitymi solówkami i złowieszczym klimatem.

Pacjent

Zbryzgany wymiocinami, obrzydliwy i makabryczny death metal!
'Repulsie Post-Mortem' przyjąłem z radością!

FA

Despite having released several demos and splits (which I am busily collecting), Putred is a rather new band which formed only three years ago in 2020. The template they laid down on their first release, the “Necroza” demo, has remained their foundation. This is mid-paced, old-school, sewer death metal. One of the elements of Putred’s sound that makes them unique, however, is that they manage not just to have an old-school sound and sick image, but they also capture a rather dank and compelling atmosphere in their music. This is not done with horror movie samples (not that I mind those) or the use of uncommon instruments. This four-piece simply knows how to compose songs where every member is contributing to bringing the sewer monster to life. On their debut album, “Repulsie Post-Mortem,” Putred has spectacularly re-enacted that, well, putrid album cover.

The foundation of Putred’s sound is slow to mid-paced grooving riffs, eerie leads, slimy, wandering bass, rhythmic drumming, and powerfully guttural vocals. There are some people who are not impressed with a death metal release unless it’s super technical, fast, or progressive and they might consider a release like this too simplistic or samey. My advice to such a person would be to slow down, pay attention, turn out the lights, and let this one take you for a ride. As a tremendous fan of mid-paced, groovy, sewer death metal, I can say that this is top of the line. Putred doesn’t need or desire that kind of flashiness to impress. In music of this style, every piece needs to be in place to engage the listener and draw them in to the atmosphere and Putred has mastered the craft. Guitarist Uriel Aguillon’s riffs rise from the deep to shake the earth like a quake only for his leads to soothe like the calm in its wake. The lead guitar work on “Repulsie Post-Mortem” is special and one of the primary contributing factors to the dank atmosphere that I mentioned. I was hooked on this album when I heard the lead that brings the first true song on the record, “Peste Umbra Densă,” to its climax. After a brutal pummeling through the first three and a half minutes of the song, the lead escalates the track to an ethereal conclusion akin to a specter dancing over its grave.

I must also mention the performance of vocalist Filip Garlonta. Garlonta’s vocal work is the perfect combination of guttural sound and enunciation. His vocals are incredibly deep and forceful without sounding gurgly and that is my preference. There’s no need here to experiment with a bunch of highs or other techniques because these gutturals are a perfect fit for Putred’s sound and some of my favorites that I’ve heard in a long time. The rhythm section propels each song forward with tasteful drumming by Dante Valladares and a bass guitar courtesy of Corina that isn’t afraid to rear its head like a sewer alligator dipping in and out of Putred’s murky waters. The bass is audible throughout and lends to the fullness and richness of sound that Putred achieved on this exquisitely produced album. This is incredibly heavy, dark, grooving, and yet atmospheric and ethereal. It is exactly how old-school death metal should sound in 2023.

If you couldn’t tell, this album is right in my wheelhouse. With “Repulsie Post-Mortem,” Putred have managed to take a long-standing style, place their unique twist on it, and hammer out an album that is powered by excellent song-writing and strong from beginning to end. In my eyes, Putred has produced a modern classic here and, as this is only their debut album, there is no reason why Putred shouldn’t go on to become a powerhouse in the death metal scene releasing great album after great album.

Son of Nun



..::TRACK-LIST::..

1. Fantasmagorie (intro) 00:59
2. Peste Umbra Densă 04:38
3. Îngropat de Viu 04:40
4. Bântuit de Groază 05:53
5. Mutilare Spirituală 03:19
6. Exsicat... Mumificat 03:40
7. Duhoare de Moarte 04:34
8. Cavou Curgător 04:14
9. Marșul Morților 04:02
10. Rite of Shades (Asphyx cover) 03:14



..::OBSADA::..

Dante - Drums, Percussion
Uriel - Guitars (lead), Vocals (additional)
Filip - Vocals
Corina - Bass




https://www.youtube.com/watch?v=5yNRg8JqtL8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Krążek sprowadził mnie do parteru swoja oryginalna formą, znakomitymi solówkami i złowieszczym klimatem.

Pacjent

Zbryzgany wymiocinami, obrzydliwy i makabryczny death metal!
'Repulsie Post-Mortem' przyjąłem z radością!

FA

Despite having released several demos and splits (which I am busily collecting), Putred is a rather new band which formed only three years ago in 2020. The template they laid down on their first release, the “Necroza” demo, has remained their foundation. This is mid-paced, old-school, sewer death metal. One of the elements of Putred’s sound that makes them unique, however, is that they manage not just to have an old-school sound and sick image, but they also capture a rather dank and compelling atmosphere in their music. This is not done with horror movie samples (not that I mind those) or the use of uncommon instruments. This four-piece simply knows how to compose songs where every member is contributing to bringing the sewer monster to life. On their debut album, “Repulsie Post-Mortem,” Putred has spectacularly re-enacted that, well, putrid album cover.

The foundation of Putred’s sound is slow to mid-paced grooving riffs, eerie leads, slimy, wandering bass, rhythmic drumming, and powerfully guttural vocals. There are some people who are not impressed with a death metal release unless it’s super technical, fast, or progressive and they might consider a release like this too simplistic or samey. My advice to such a person would be to slow down, pay attention, turn out the lights, and let this one take you for a ride. As a tremendous fan of mid-paced, groovy, sewer death metal, I can say that this is top of the line. Putred doesn’t need or desire that kind of flashiness to impress. In music of this style, every piece needs to be in place to engage the listener and draw them in to the atmosphere and Putred has mastered the craft. Guitarist Uriel Aguillon’s riffs rise from the deep to shake the earth like a quake only for his leads to soothe like the calm in its wake. The lead guitar work on “Repulsie Post-Mortem” is special and one of the primary contributing factors to the dank atmosphere that I mentioned. I was hooked on this album when I heard the lead that brings the first true song on the record, “Peste Umbra Densă,” to its climax. After a brutal pummeling through the first three and a half minutes of the song, the lead escalates the track to an ethereal conclusion akin to a specter dancing over its grave.

I must also mention the performance of vocalist Filip Garlonta. Garlonta’s vocal work is the perfect combination of guttural sound and enunciation. His vocals are incredibly deep and forceful without sounding gurgly and that is my preference. There’s no need here to experiment with a bunch of highs or other techniques because these gutturals are a perfect fit for Putred’s sound and some of my favorites that I’ve heard in a long time. The rhythm section propels each song forward with tasteful drumming by Dante Valladares and a bass guitar courtesy of Corina that isn’t afraid to rear its head like a sewer alligator dipping in and out of Putred’s murky waters. The bass is audible throughout and lends to the fullness and richness of sound that Putred achieved on this exquisitely produced album. This is incredibly heavy, dark, grooving, and yet atmospheric and ethereal. It is exactly how old-school death metal should sound in 2023.

If you couldn’t tell, this album is right in my wheelhouse. With “Repulsie Post-Mortem,” Putred have managed to take a long-standing style, place their unique twist on it, and hammer out an album that is powered by excellent song-writing and strong from beginning to end. In my eyes, Putred has produced a modern classic here and, as this is only their debut album, there is no reason why Putred shouldn’t go on to become a powerhouse in the death metal scene releasing great album after great album.

Son of Nun



..::TRACK-LIST::..

1. Fantasmagorie (intro) 00:59
2. Peste Umbra Densă 04:38
3. Îngropat de Viu 04:40
4. Bântuit de Groază 05:53
5. Mutilare Spirituală 03:19
6. Exsicat... Mumificat 03:40
7. Duhoare de Moarte 04:34
8. Cavou Curgător 04:14
9. Marșul Morților 04:02
10. Rite of Shades (Asphyx cover) 03:14



..::OBSADA::..

Dante - Drums, Percussion
Uriel - Guitars (lead), Vocals (additional)
Filip - Vocals
Corina - Bass




https://www.youtube.com/watch?v=5yNRg8JqtL8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niesamowita płyta, przez to, że taka inna długo chodzi po odsłuchu za człowiekiem niczym widmo globalnego konfliktu zbrojnego. Niestety zespół niedoceniony a ten album już w ogóle traktowany jest jako ciekawostka, przynajmniej takie odnoszę wrażenie.

Ignatius


W 1993 roku niemiecki Morgoth wydał płytę, która narobiła sporo zamieszania. Muzyka jest wyraźna i wcale nie bardzo brutalna i intensywna. Brzmienie zarówno gitar jak i wokalu jest raczej przystępne, a kwintesencją "Odium" są wspaniałe kompozycje, świetne riffy i bogate, rozbudowane utwory.

W tej płycie lubię właściwie wszystko. Są fragmenty wściekłe i agresywne, ale tu wcale nie o to chodzi żeby pędzić na łeb na szyję. Tutaj jest bardzo wiele emocji i takich inteligentnych zagrań. Mimo, że wcale się nie odczuwa żeby gitarzyści byli jakimiś wybitnymi wirtuozami, to ich pomysły są po prostu bardzo fajne i idealnie spełniają się jako kompozytorzy. Słuchając "Odium" cały czas ma się wrażenie, że dzieje się coś ciekawego, że jest to wyrafinowana muzyka.

Klimat jest paranoiczny, jakiś taki katastrofalny. Czuć tą czającą się złowrogą, nienawistną siłę pragnącą spalić świat i pogrążyć go w martwocie zgodnie z okładką jak i wewnętrzną grafiką. Ważną rolę spełnia w tym wokal, który jest takim zdartym wrzaskiem, jednak co warto podkreślić bardzo wyraźnym. To właściwie nie jest growling tylko coś pomiędzy krzykiem, a jakąś namiastką śpiewu. Marc zmienia głos, kombinuje, dopasowuje go do muzyki. Ma dużo doskonałych wokaliz zarówno w rozpoznawalnych refrenach, pędzących zwrotkach i innych krzykliwych fragmentach. Gitary z jednej strony prezentują odpowiedni ciężar, jednak dużo w nich melodyjności i wręcz rockowych zagrań. Chociaż nieraz robi się i ciężko i przygniatająco, to znowu wszystko przyspiesza i atakuje ze zdwojoną mocą.

W najdłuższym, siódmym "Golden Age" jest cały częściowo akustyczny, instrumentalny fragment, podczas którego wcale nie można się uspokoić, a wręcz przeciwnie, dręczą jakieś jęki, a potem urzekają gitarowe pasaże, by wreszcie powrócić do właściwego mocnego grania i wokaliz. Ostatni "Odium" to w ogóle jest utwór instrumentalny, który jest po prostu wyśmienity. Zaczyna się spokojnie i pięknie rozkręca, by móc urzec całą masą burzliwych zawirowań, to szybkich, to znowu wolniejszych. Tak więc koniec płyty jest totalny, ale wszystko co było wcześniej wcale nie odstaje, bo "Odium" to po prostu kawał doskonałej próby oldschoolowego death metalu.

Wujas


Obecnie, gdy masa zespołów pręży zwieracze w pogoni za nie wiadomo jaką awangardą i nowatorstwem, kurz zapomnienia zdaje się przykrywać bardzo ciekawą płytę Odium niemieckiego Morgoth. A tak się właśnie składa, że to oni byli jednymi z prekursorów śmiałego wykorzystywania sampli, itp. dziwactw w metalu. Ot po prostu, panowie kiedyś stwierdzili, że nie chce im się grać w kółko tego samego, więc tu i ówdzie dorzucili odrobinę industrialnego hałasu i włala. Powstał dzięki temu krążek bardzo odważny i oryginalny jak na swoje czasy, a tym bardziej pochodzenie zespołu. Pod pewnymi względami można Odium porównać do „Spheres”. Nie jest co prawda tak techniczny i pokręcony jak dzieło Pestilence, ale atmosfera dziwności i mechaniczny sound wyróżnia oba te albumy. Podobnie jak zdecydowane wykraczanie poza granice death metalu.

Żeby nie zamącić, tudzież zniechęcić, muszę nadmienić, że wszystko jednak opiera się na metalu, i to takim w średnich tempach (sporo tu rytmicznego ładowania – np. świetne „Resistance” czy „Under The Surface”), tylko od czasu do czasu zespół wyskoczy z bardziej walcowatym fragmentem (początek/środek „Drowning Sun” miażdży!). Ale to nie wszystko, bowiem Morgoth upchnęli w muzyce zaskakująco dużo wyciszeń i akustycznych wstawek, które… są jednym z większych atutów Odium. Dobrze widzicie – to właśnie spokojne momenty odpowiadają w dużym stopniu za klimat albumu — który swoją drogą musi przypaść do gustu wielbicielom sajensfikszyn i horrorów — tchnący chłodem, przygnębiający i poniekąd przerażający. Mnie szczególnie powala ciche wejście przesterowanej gitary w 4:53 „Golden Age” – coś pięknego i ciary na plecach! A co się dzieje w numerze tytułowym… sprawdźcie sami, hehehe. Bardzo dobrze prezentują się histeryczne wokale Marc’a Grewe, są jeszcze mocniejsze i wyraźniejsze niż na poprzednich produkcjach, no i też dokładają się do klimatu. Świetny krążek, chyba najlepszy w karierze Morgoth, choć ortodoksom raczej nie podejdzie.

demo



..::TRACK-LIST::..

1. Resistance 4:49
2. The Art Of Sinking 3:33
3. Submission 5:13
4. Under The Surface 5:22
5. Drowning Sun 5:13
6. War Inside 4:40
7. Golden Age 7:13
8. Odium 6:16

Bonus Tracks:
9. Resistance (Live June 11th, 2011 at Rock Hard Festival, Gelsenkirchen, Germany) 4:43
Bass – Sotirios Kelekidis
Drums – Marc Reign
Lead Guitar, Rhythm Guitar - Harry Busse
Mixed By, Mastered By - Dan Swanö
Recorded By - Holger Stratmann, Marc Schettler
Rhythm Guitar - Sebastian Swart
Vocals - Marc Grewe

10. Under The Surface (Live, August 5th, 2011 at Wacken Open Air Festival, Wacken, Germany) 5:10
Bass - Sotirios Kelekidis
Drums - Marc Reign
Lead Guitar, Rhythm Guitar - Harry Busse
Mixed By, Mastered By - Dan Swanö
Recorded By - Jacky Lehmann, Marc Schettler
Rhythm Guitar - Sebastian Swart
Vocals - Marc Grewe



..::OBSADA::..

Marc Grewe - vocals
Harold Busse - guitars
Carsten Otterbach - guitars
Sebastian Swart - bass
Rüdiger Hennecke - drums, keyboards




https://www.youtube.com/watch?v=0Er7KL_1axU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niesamowita płyta, przez to, że taka inna długo chodzi po odsłuchu za człowiekiem niczym widmo globalnego konfliktu zbrojnego. Niestety zespół niedoceniony a ten album już w ogóle traktowany jest jako ciekawostka, przynajmniej takie odnoszę wrażenie.

Ignatius


W 1993 roku niemiecki Morgoth wydał płytę, która narobiła sporo zamieszania. Muzyka jest wyraźna i wcale nie bardzo brutalna i intensywna. Brzmienie zarówno gitar jak i wokalu jest raczej przystępne, a kwintesencją "Odium" są wspaniałe kompozycje, świetne riffy i bogate, rozbudowane utwory.

W tej płycie lubię właściwie wszystko. Są fragmenty wściekłe i agresywne, ale tu wcale nie o to chodzi żeby pędzić na łeb na szyję. Tutaj jest bardzo wiele emocji i takich inteligentnych zagrań. Mimo, że wcale się nie odczuwa żeby gitarzyści byli jakimiś wybitnymi wirtuozami, to ich pomysły są po prostu bardzo fajne i idealnie spełniają się jako kompozytorzy. Słuchając "Odium" cały czas ma się wrażenie, że dzieje się coś ciekawego, że jest to wyrafinowana muzyka.

Klimat jest paranoiczny, jakiś taki katastrofalny. Czuć tą czającą się złowrogą, nienawistną siłę pragnącą spalić świat i pogrążyć go w martwocie zgodnie z okładką jak i wewnętrzną grafiką. Ważną rolę spełnia w tym wokal, który jest takim zdartym wrzaskiem, jednak co warto podkreślić bardzo wyraźnym. To właściwie nie jest growling tylko coś pomiędzy krzykiem, a jakąś namiastką śpiewu. Marc zmienia głos, kombinuje, dopasowuje go do muzyki. Ma dużo doskonałych wokaliz zarówno w rozpoznawalnych refrenach, pędzących zwrotkach i innych krzykliwych fragmentach. Gitary z jednej strony prezentują odpowiedni ciężar, jednak dużo w nich melodyjności i wręcz rockowych zagrań. Chociaż nieraz robi się i ciężko i przygniatająco, to znowu wszystko przyspiesza i atakuje ze zdwojoną mocą.

W najdłuższym, siódmym "Golden Age" jest cały częściowo akustyczny, instrumentalny fragment, podczas którego wcale nie można się uspokoić, a wręcz przeciwnie, dręczą jakieś jęki, a potem urzekają gitarowe pasaże, by wreszcie powrócić do właściwego mocnego grania i wokaliz. Ostatni "Odium" to w ogóle jest utwór instrumentalny, który jest po prostu wyśmienity. Zaczyna się spokojnie i pięknie rozkręca, by móc urzec całą masą burzliwych zawirowań, to szybkich, to znowu wolniejszych. Tak więc koniec płyty jest totalny, ale wszystko co było wcześniej wcale nie odstaje, bo "Odium" to po prostu kawał doskonałej próby oldschoolowego death metalu.

Wujas


Obecnie, gdy masa zespołów pręży zwieracze w pogoni za nie wiadomo jaką awangardą i nowatorstwem, kurz zapomnienia zdaje się przykrywać bardzo ciekawą płytę Odium niemieckiego Morgoth. A tak się właśnie składa, że to oni byli jednymi z prekursorów śmiałego wykorzystywania sampli, itp. dziwactw w metalu. Ot po prostu, panowie kiedyś stwierdzili, że nie chce im się grać w kółko tego samego, więc tu i ówdzie dorzucili odrobinę industrialnego hałasu i włala. Powstał dzięki temu krążek bardzo odważny i oryginalny jak na swoje czasy, a tym bardziej pochodzenie zespołu. Pod pewnymi względami można Odium porównać do „Spheres”. Nie jest co prawda tak techniczny i pokręcony jak dzieło Pestilence, ale atmosfera dziwności i mechaniczny sound wyróżnia oba te albumy. Podobnie jak zdecydowane wykraczanie poza granice death metalu.

Żeby nie zamącić, tudzież zniechęcić, muszę nadmienić, że wszystko jednak opiera się na metalu, i to takim w średnich tempach (sporo tu rytmicznego ładowania – np. świetne „Resistance” czy „Under The Surface”), tylko od czasu do czasu zespół wyskoczy z bardziej walcowatym fragmentem (początek/środek „Drowning Sun” miażdży!). Ale to nie wszystko, bowiem Morgoth upchnęli w muzyce zaskakująco dużo wyciszeń i akustycznych wstawek, które… są jednym z większych atutów Odium. Dobrze widzicie – to właśnie spokojne momenty odpowiadają w dużym stopniu za klimat albumu — który swoją drogą musi przypaść do gustu wielbicielom sajensfikszyn i horrorów — tchnący chłodem, przygnębiający i poniekąd przerażający. Mnie szczególnie powala ciche wejście przesterowanej gitary w 4:53 „Golden Age” – coś pięknego i ciary na plecach! A co się dzieje w numerze tytułowym… sprawdźcie sami, hehehe. Bardzo dobrze prezentują się histeryczne wokale Marc’a Grewe, są jeszcze mocniejsze i wyraźniejsze niż na poprzednich produkcjach, no i też dokładają się do klimatu. Świetny krążek, chyba najlepszy w karierze Morgoth, choć ortodoksom raczej nie podejdzie.

demo



..::TRACK-LIST::..

1. Resistance 4:49
2. The Art Of Sinking 3:33
3. Submission 5:13
4. Under The Surface 5:22
5. Drowning Sun 5:13
6. War Inside 4:40
7. Golden Age 7:13
8. Odium 6:16

Bonus Tracks:
9. Resistance (Live June 11th, 2011 at Rock Hard Festival, Gelsenkirchen, Germany) 4:43
Bass – Sotirios Kelekidis
Drums – Marc Reign
Lead Guitar, Rhythm Guitar - Harry Busse
Mixed By, Mastered By - Dan Swanö
Recorded By - Holger Stratmann, Marc Schettler
Rhythm Guitar - Sebastian Swart
Vocals - Marc Grewe

10. Under The Surface (Live, August 5th, 2011 at Wacken Open Air Festival, Wacken, Germany) 5:10
Bass - Sotirios Kelekidis
Drums - Marc Reign
Lead Guitar, Rhythm Guitar - Harry Busse
Mixed By, Mastered By - Dan Swanö
Recorded By - Jacky Lehmann, Marc Schettler
Rhythm Guitar - Sebastian Swart
Vocals - Marc Grewe



..::OBSADA::..

Marc Grewe - vocals
Harold Busse - guitars
Carsten Otterbach - guitars
Sebastian Swart - bass
Rüdiger Hennecke - drums, keyboards




https://www.youtube.com/watch?v=0Er7KL_1axU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Nie ma lekko...
Miażdżący debiut!!!


..::OPIS::..

Dark Descent heralds the first coming of Aberrator - a yet unknown entity devoted to the ancient arts of death metal mastery. Founded in 2022 between G.P and N.H from New Zealand - with P.F from Canada on session drums, Aberrator pull no punches, unleashing Beckoning Tribulation, a devastating full-length, straight out of the gate. Influenced by the darkest of death metal and death/doom - particularly of US and Finnish origins - the band fit the Dark Descent roster like a key to a crypt.

“Beckoning Tribulation is a lens into the human condition, the inevitable decline due to the innate zealotry and hypocrisy within our species,” states N.H. “The triumphant proclamation of the death of god and the impending doom of mankind as it struggles within the vacuum this creates.”

The album comes clad in a masterful gravure/woodcut-style piece from the inimitable mind of Alex Shadrin from Nether Temple Design: “The artwork represents the above concepts. Betrayal hidden with the guise of civility; blades plunged into another's backs to complete the ouroboros. Murder, cunning and cowardice act in unison as tools of victory and ultimately defeat.”



..::TRACK-LIST::..

1. Plague Monarch Ascendant 6:27
2. Flagellation Crusade 3:21
3. Doomed Quintessence 5:12
4. Beckoning Tribulation 6:22
5. Spiritual Attrition 6:00
6. Emissary Of Suffering 4:13
7. ...Of The Crucibile 5:40



..::OBSADA::..

N.H. - Vocals
G.P. - Guitars, Bass
P.F. - Drums


https://www.youtube.com/watch?v=i736qbCGBL8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Nie ma lekko...
Miażdżący debiut!!!


..::OPIS::..

Dark Descent heralds the first coming of Aberrator - a yet unknown entity devoted to the ancient arts of death metal mastery. Founded in 2022 between G.P and N.H from New Zealand - with P.F from Canada on session drums, Aberrator pull no punches, unleashing Beckoning Tribulation, a devastating full-length, straight out of the gate. Influenced by the darkest of death metal and death/doom - particularly of US and Finnish origins - the band fit the Dark Descent roster like a key to a crypt.

“Beckoning Tribulation is a lens into the human condition, the inevitable decline due to the innate zealotry and hypocrisy within our species,” states N.H. “The triumphant proclamation of the death of god and the impending doom of mankind as it struggles within the vacuum this creates.”

The album comes clad in a masterful gravure/woodcut-style piece from the inimitable mind of Alex Shadrin from Nether Temple Design: “The artwork represents the above concepts. Betrayal hidden with the guise of civility; blades plunged into another's backs to complete the ouroboros. Murder, cunning and cowardice act in unison as tools of victory and ultimately defeat.”



..::TRACK-LIST::..

1. Plague Monarch Ascendant 6:27
2. Flagellation Crusade 3:21
3. Doomed Quintessence 5:12
4. Beckoning Tribulation 6:22
5. Spiritual Attrition 6:00
6. Emissary Of Suffering 4:13
7. ...Of The Crucibile 5:40



..::OBSADA::..

N.H. - Vocals
G.P. - Guitars, Bass
P.F. - Drums



https://www.youtube.com/watch?v=i736qbCGBL8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Lividity są jednym z najbardziej chorych zespołów, jakie kiedykolwiek zaszczyciły gatunek death metalu. Mając historię sięgającą 1995 roku, Lividity gwałciło uszy i zniekształcało umysły od początku swojego istnienia, a za swoją determinację i każdą nutę dewastacji należy im się wielki szacunek!



Perverseverance is the 7th full length album after nine years of active life and playing. It finds LIVIDITY on a quest for world domination. It´s a music with deep impact on human mind. The stories are shocking, majestic and disturbing compositions from the first note to the last one. This will be the ultimate shock album for the masses.
"This is the album we have been striving to create our whole lives! Every riff, beat and pattern has meaning! A little slice from each album within each song! The perfect combination of grooves, grinds and breakdowns that will melt faces complimented with great studio production... We are very proud of this album!"
Cover artwork was made by: Daemorph Art, graphic layout by Dodo Datel (Galadriel). Special vocal appearances by Dan Klein (Fin), Anthony Voight (Gorgasm, Sarcophagy). Recorded, mixed and mastered at Iron Hand Audio-Chicago. Engineered by Dan Klein, produced by Dan Klein and Lividity.



..::TRACK-LIST::..

1. Kill Then Fuck 03:23
2. The Pussy Horde 01:33
3. Meat For The Beast 03:01
4. Cumming With Labial Pulp 02:04
5. Whore Destroyer 04:33
6. Bitch Cunt Fuck 01:47
7. Violated In The Vatican 02:19
8. Parasitic Infestation 01:28
9. Something´s Dead 03:22
10. Tampered Flesh 01:47
11. Pussy Lover-Salvation 05:33
12. Perverseverance 05:04

Track 10 originally written Summer 1995 during the Rejoice In Morbidity sessions



..::OBSADA::..

Guitar, Vocals - Dave Kibler
Artwork, Vocals, Guitar - Von Young
Bass, Vocals - Jake Lahniers
Drums, Percussion - Garrett Scanlan



https://www.youtube.com/watch?v=T0SfUWtLPNE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Lividity są jednym z najbardziej chorych zespołów, jakie kiedykolwiek zaszczyciły gatunek death metalu. Mając historię sięgającą 1995 roku, Lividity gwałciło uszy i zniekształcało umysły od początku swojego istnienia, a za swoją determinację i każdą nutę dewastacji należy im się wielki szacunek!



Perverseverance is the 7th full length album after nine years of active life and playing. It finds LIVIDITY on a quest for world domination. It´s a music with deep impact on human mind. The stories are shocking, majestic and disturbing compositions from the first note to the last one. This will be the ultimate shock album for the masses.
"This is the album we have been striving to create our whole lives! Every riff, beat and pattern has meaning! A little slice from each album within each song! The perfect combination of grooves, grinds and breakdowns that will melt faces complimented with great studio production... We are very proud of this album!"
Cover artwork was made by: Daemorph Art, graphic layout by Dodo Datel (Galadriel). Special vocal appearances by Dan Klein (Fin), Anthony Voight (Gorgasm, Sarcophagy). Recorded, mixed and mastered at Iron Hand Audio-Chicago. Engineered by Dan Klein, produced by Dan Klein and Lividity.



..::TRACK-LIST::..

1. Kill Then Fuck 03:23
2. The Pussy Horde 01:33
3. Meat For The Beast 03:01
4. Cumming With Labial Pulp 02:04
5. Whore Destroyer 04:33
6. Bitch Cunt Fuck 01:47
7. Violated In The Vatican 02:19
8. Parasitic Infestation 01:28
9. Something´s Dead 03:22
10. Tampered Flesh 01:47
11. Pussy Lover-Salvation 05:33
12. Perverseverance 05:04

Track 10 originally written Summer 1995 during the Rejoice In Morbidity sessions



..::OBSADA::..

Guitar, Vocals - Dave Kibler
Artwork, Vocals, Guitar - Von Young
Bass, Vocals - Jake Lahniers
Drums, Percussion - Garrett Scanlan



https://www.youtube.com/watch?v=T0SfUWtLPNE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Frightful swoim debiutem otworzyli przed sobą z kopa drzwi do elity współczesnego krajowego death metalu. Jako iż zdecydowali się wydać „Spectral Creator” dla skośnookiego, nie wszyscy mieli okazję zapoznać się z nim na czas, przez co tamten materiał nie zyskał, moim zdaniem, atencji, na jaką zasługiwał. Cieszę się zatem, że młodzi poszli po rozum do głowy, i oddali swoje nowe nagrania w ręce człowieka, który wie, co robi. Nie jest to jednak jedyna rzecz, która sprawia mi radość. Drugą, i najważniejszą, jest fakt, iż Frightful na drugim albumie poczynili zauważalny postęp. A biorąc pod uwagę, jak udanym materiałem był wspomniany debiut, nie jest to bez znaczenia.

Stylistycznie niewiele się zmieniło. Gdańszczanie nadal nie wychodzą zbyt wyraźnie poza ramy melodyjnego death metalu. I od razu zaznaczam, żebyśmy się dobrze zrozumieli, nie chodzi mi o In Flames, tylko o Dissection. Tego zespołu na „What Lies Ahead” jest chyba najwięcej, a na pewno więcej niż na debiucie. Tylko trzeba wziąć pod uwagę jedną, zasadniczą różnicę. Frightful absolutnie nie kopiują mistrzów. Z pełną premedytacją i świadomością czerpią inspiracje z „The Somberlain” czy „Storm of the Light’s Bane”, jednocześnie przerabiając tematyczne melodie na swój własny styl. Gdybym miał mówić o podobieństwach, to musiałbym wspomnieć o barwie i manierze wokalnej, oraz wspomnianej melodyce. Czym się Frightful od Szwedów różni? Ciężarem. Zdaje mnie się, że ich kompozycje są bardziej deathmetalowe, bardziej przygniatające (tylko pamiętajcie, że nie mówimy o wadze ciężkiej), z elementami do rytmicznego moshu. Żeby nie być gołosłownym, polecam na przykład „Into the Phantom Hearts”. No i do tego te wspaniałe, krótkie solówki, przy których można odpłynąć.

Sposób w jaki chłopaki sobie poukładali, potem poprzeplatali i urozmaicili po swojemu klasyczne melodie, dodając do nich kapkę thrashowej klasyki (ale tak tyci-tyci), to jest dla mnie najwyższa półka. Ten album ma w sobie wszystko, całą gamę staroszkolnego grania z lat dziewięćdziesiątych. I do tego brzmi fantastycznie. Nie ma na tym krążku słabej piosenki. Nie ma uzupełniaczy. „What Lies Ahead” od początku do końca dostarcza muzykę na światowym poziomie. Tak, doskonale zdaję sobie sprawę z tego, co piszę, bo według mnie kolesie wskoczyli przynajmniej o poziom wyżej. Kurwa, a biorąc pod uwagę, że album ten z każdym kolejnym odsłuchem wgryza się w łeb jeszcze głębiej, i coraz bardziej absorbuje, boję się, że może mi spierdolić pożycie małżeńskie. Totalny sztos!

jesusatan


With their towers of silence so padded with flesh that no footsteps can be heard beyond the writhe of carrion beetles, maggots and crows Gdańsk, Poland-based thrashing melodic blackened death metal quartet FRIGHTFUL issue an eight-part omen, a sophomore full-length album at massive capacity for death. In following up a lightning strike of a debut LP ‘What Lies Ahead‘ reeks of morbid vitality, a flail taken to the high standards of earliest Scandinavian black/death metal melodicism entwined with late 80’s thrashing death as its off-hand weaponry. In capturing both the vibrancy of emergent melodic death ideals, the uncertain rise of black metal riffcraft, and the gasping rip of peak extreme thrash these folks draw a clear and concise line connecting a brilliant lineage of dramatic riffcraft and thoughtfully designed dark melodicism.

Frightful formed circa 2016 as a death/thrash and grindcore influenced group featuring musicians involved with local bands Pandemic Outbreak, Deafness, and Dreadnought and spent about three years and four minor releases honing in on their own novel sound. When I placed the band’s debut LP (‘Spectral Creator‘, 2021) on my best of October 2021 list after a positive review I’d summed up my thoughts on the band, suggesting the album “[‘Spectral Creator‘] picks up on the connections between ‘Extreme Aggression’, ‘The Awakening’ and ‘The Somberlain’ via melodic death metal as it was developing prior to 1993’s breakthrough. It is a tough hybridization to describe but fans of classic death/thrash metal and pre-‘Terminal Spirit Disease’ melodic death will get it within a song or two.” and those observations still generally hold true today as Frightful have continued this tradition without hesitation, doing more than dabbling with mid-90’s Dissection-esque Swedish melodic black/death metal territory and its kindred connection with the greats (i.e. Kreator by way of Merciless).

There isn’t a shit song among the eight that Frightful present here on ‘What Lies Ahead‘, the guitar layers hum with the melting ice of the mid-90’s and the double-bass kicks have an appropriately dry rattle, and while those choices read as authentic to the main source(s) of inspiration in mind it is the songcraft here that’ll transport listeners towards any nostalgic placeholders most readily. While I wouldn’t consider opener “Cloaked in Nothingness” an all-out bombastic assault it does capture the band starting the engines and getting to the riffs without any lead-driven muse or atmospheric ideal explored. By the time you hit ~2:39 minutes into the song all is lain clear enough, this album will continue on directly in the style of the previous album having cinched up their command of (early) melodic death inspired riffcraft. Check out the elastic snapped Swedeath groove on “Discarnate Sower” for confirmation, a song which’d have sounded entirely fitting on Merciless‘ self-titled record back in 2003 with a bit more rage applied to the vocal.

Between the balls-out, eye popping video for the title track (“What Lies Ahead“) and the rip through its heart racing boost of speed the first true high-point of the full listen is achieved, a song which launches the wraiths and casts every last spell in its arsenal in mounting its attack. Keep in mind I’m not yet suggesting Frightful have acquiesced to Dissection worship entirely but rather that the earliest days of melodic death in Scandinavia had similar interest in death/thrash metal and especially the second and third Kreator albums, both of which are certainly a part of the attack on this song and especially “No Fear”. For my own taste this is the threshold remaining open rather than fully crossed-over into blackened death metal, exactly my kind of shit in every sense. This is of course arguable down to the finest points but overall Side A shows a crazed, possessed side of the band that’d only just begun to stab through the walls on their debut.

Side B opener and major highlight “Into the Phantom Hearts” almost feels like a blend of A Canorous Quintet and Inquisition in gradually traded stance, a piece which eventually welcomes a ‘Far Away From the Sun‘ riff variant to salvage the violent temperament of the band within the final third of the song… narrowly avoiding the muscle-bound shotgunned chunking of late 90’s/early 2000’s melodeath-thrash fuel. The important thing here isn’t the specific references made so much as the two guitarists/main songwriters’ obsession with various types of riffs. These were inspired sessions wherein each of the eight songs on ‘What Lies Ahead‘ has clearly been worked over to a certain high standard which persists brilliantly and with some imaginative, dexterous results; If you are an ‘old school’ (as in pre-1998) melodic death metal fan pay close attention to this second half of the album because “Farewell” and especially closer “Inexplicable” have some of the most potent “real” melodic death metal attrition in this sense, a focus on both At the Gates and ‘The Somberlain‘ in terms of the riffcraft’s phrasing and technique.

Amidst the cyclonic thrashing melodeath on feature “Cathedrals of Creation” throws in some sleeker chord changes and amps the speed of Frightful‘s attack as they bridge the final moments of the album with both brutality and brooding introspection. While I was more thrilled by the melodic death aggression that’d surrounded this song every piece here generally adds to the flow of the full listen, narrowly avoiding a record that feels stuck on one idea or sound beyond their most obviate enthusiasm. The full listen is balanced enough with much more interest left to the second half than expected; The lyrics appear to speak to the blight at the end of humanity, an accost upon those that are unfit to transcend by ignorance or animal nature, and a promise that what lies ahead is doom and the unknown aftermath. Frightful‘s lyricist charges into this whole heartedly with at least some Romanticist inspired vernacular in hand and a mind for how vocalist/bassist Oskar Wańka‘s cadence fits into these elaborate ~4-5 minute death metal songs. To add to this theme they’ve gone with vexing cover art by N. Zuki & Belial NecroArts which depicts the monster behind the mask, weeping. I don’t understand this image (something about it looks AI generated) and I do not enjoy the contrasting color choices made per the logo and title but it was evocative enough to prove memorable.

For those who didn’t hear the storm coming on ‘Spectral Creator‘ it’ll have fully arrived just a few songs deep into ‘What Lies Ahead‘, a natural step taken beyond those grinding death/thrash ideals toward something more melodic but no less feral. Frightful have made an admirable effort here even if we can concede the heavy inspiration taken from albums like ‘The Somberlain‘ this is in no way a point of detraction as their work stands out well within (and beside) said niche. Though I’d felt like their overall presentation/aesthetic could’ve used more thought there is a fantastic record here lying in wait. A high recommendation.

terraasymmetry


The album begins with a guitar riff with a heroic feel in a low range. In contrast, a high-pitched guitar plays a trill or a mordent, giving the riff a dissonance. In the intro, the drums break away from the cliché of blast beats, creating tension, making the listeners wait for a breakdown or something similar. The drums start with tertinaries, typical of Obituary's drummer (Donald Tardy). The rhythm guitar plays sensational tremolo pickings. The song has everything that makes me like and appreciate good metal. The guitar solo from minute 3:40 of the track Cloaked by Nothingness presents well-executed legato, going from high to low notes and resting in a somber way. I really like the vomited vocals. It's not exactly a monster's voice, but it conveys the vocalist's feeling.

The title track "What Lies Ahead" begins with a clean guitar playing arpeggios in sweep picking. I particularly like this guitar style (kind of mystical and mysterious). At the end, a modal borrowing or an outside melody is noticeable, expressing a darker emotion for the intro. At minute 2:50 there is a very good guitar solo, but there are some scattered and poor ornaments during some phrases. For example, the use of the lever seems very disjointed. But I really liked the video and the track. I really like these videos that simply show the band playing without any narrative or concept, because it gives off a very underground image. It is definitely clear that they are just headbangers wanting to make a heavy sound, unlike all the mainstream garbage with millions of dollars and a team using the artist exposed only as the product packaging.

The track "No Fear" is a mix of Slayer and Sepultura for me. I really liked the riffs and the groove. This song could definitely be part of Soulfly's (Max Cavalera's band) repertoire. It's ideal for headbanging. To be honest, this is one of my favorite tracks because of the syncopated rhythm. Without using technical terms, this song is very danceable. It's as if it has always existed inside me since the first beats of my heart and the two kind of accompany and complement each other. I really loved this track. I'll definitely add it to my playlist. If all the songs were like this, I would give it 100%.

I definitely enjoyed the album a lot, although the ones mentioned above caught my attention the most. I'll give it 80%, because the songs are good, but not sensational to the point of being as memorable as the bands that marked my life.

Astaroson



..::TRACK-LIST::..

1. Cloaked by Nothingness 05:45
2. Disincarnate Sower 04:46
3. What Lies Ahead 04:57
4. No Fear 04:27
5. Into the Phantom Hearts 06:01
6. Farewell 03:37
7. Cathedrals of Creation 04:38
8. Inexplicable 05:42



..::OBSADA::..

Oskar Wańka - Vocals, Bass
Paweł Snarski - Guitars
Eryk Jakubczyk - Guitars
Krzysztof Pochranowicz - Drums



https://www.youtube.com/watch?v=hmMjmzwDu7U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Frightful swoim debiutem otworzyli przed sobą z kopa drzwi do elity współczesnego krajowego death metalu. Jako iż zdecydowali się wydać „Spectral Creator” dla skośnookiego, nie wszyscy mieli okazję zapoznać się z nim na czas, przez co tamten materiał nie zyskał, moim zdaniem, atencji, na jaką zasługiwał. Cieszę się zatem, że młodzi poszli po rozum do głowy, i oddali swoje nowe nagrania w ręce człowieka, który wie, co robi. Nie jest to jednak jedyna rzecz, która sprawia mi radość. Drugą, i najważniejszą, jest fakt, iż Frightful na drugim albumie poczynili zauważalny postęp. A biorąc pod uwagę, jak udanym materiałem był wspomniany debiut, nie jest to bez znaczenia.

Stylistycznie niewiele się zmieniło. Gdańszczanie nadal nie wychodzą zbyt wyraźnie poza ramy melodyjnego death metalu. I od razu zaznaczam, żebyśmy się dobrze zrozumieli, nie chodzi mi o In Flames, tylko o Dissection. Tego zespołu na „What Lies Ahead” jest chyba najwięcej, a na pewno więcej niż na debiucie. Tylko trzeba wziąć pod uwagę jedną, zasadniczą różnicę. Frightful absolutnie nie kopiują mistrzów. Z pełną premedytacją i świadomością czerpią inspiracje z „The Somberlain” czy „Storm of the Light’s Bane”, jednocześnie przerabiając tematyczne melodie na swój własny styl. Gdybym miał mówić o podobieństwach, to musiałbym wspomnieć o barwie i manierze wokalnej, oraz wspomnianej melodyce. Czym się Frightful od Szwedów różni? Ciężarem. Zdaje mnie się, że ich kompozycje są bardziej deathmetalowe, bardziej przygniatające (tylko pamiętajcie, że nie mówimy o wadze ciężkiej), z elementami do rytmicznego moshu. Żeby nie być gołosłownym, polecam na przykład „Into the Phantom Hearts”. No i do tego te wspaniałe, krótkie solówki, przy których można odpłynąć.

Sposób w jaki chłopaki sobie poukładali, potem poprzeplatali i urozmaicili po swojemu klasyczne melodie, dodając do nich kapkę thrashowej klasyki (ale tak tyci-tyci), to jest dla mnie najwyższa półka. Ten album ma w sobie wszystko, całą gamę staroszkolnego grania z lat dziewięćdziesiątych. I do tego brzmi fantastycznie. Nie ma na tym krążku słabej piosenki. Nie ma uzupełniaczy. „What Lies Ahead” od początku do końca dostarcza muzykę na światowym poziomie. Tak, doskonale zdaję sobie sprawę z tego, co piszę, bo według mnie kolesie wskoczyli przynajmniej o poziom wyżej. Kurwa, a biorąc pod uwagę, że album ten z każdym kolejnym odsłuchem wgryza się w łeb jeszcze głębiej, i coraz bardziej absorbuje, boję się, że może mi spierdolić pożycie małżeńskie. Totalny sztos!

jesusatan


With their towers of silence so padded with flesh that no footsteps can be heard beyond the writhe of carrion beetles, maggots and crows Gdańsk, Poland-based thrashing melodic blackened death metal quartet FRIGHTFUL issue an eight-part omen, a sophomore full-length album at massive capacity for death. In following up a lightning strike of a debut LP ‘What Lies Ahead‘ reeks of morbid vitality, a flail taken to the high standards of earliest Scandinavian black/death metal melodicism entwined with late 80’s thrashing death as its off-hand weaponry. In capturing both the vibrancy of emergent melodic death ideals, the uncertain rise of black metal riffcraft, and the gasping rip of peak extreme thrash these folks draw a clear and concise line connecting a brilliant lineage of dramatic riffcraft and thoughtfully designed dark melodicism.

Frightful formed circa 2016 as a death/thrash and grindcore influenced group featuring musicians involved with local bands Pandemic Outbreak, Deafness, and Dreadnought and spent about three years and four minor releases honing in on their own novel sound. When I placed the band’s debut LP (‘Spectral Creator‘, 2021) on my best of October 2021 list after a positive review I’d summed up my thoughts on the band, suggesting the album “[‘Spectral Creator‘] picks up on the connections between ‘Extreme Aggression’, ‘The Awakening’ and ‘The Somberlain’ via melodic death metal as it was developing prior to 1993’s breakthrough. It is a tough hybridization to describe but fans of classic death/thrash metal and pre-‘Terminal Spirit Disease’ melodic death will get it within a song or two.” and those observations still generally hold true today as Frightful have continued this tradition without hesitation, doing more than dabbling with mid-90’s Dissection-esque Swedish melodic black/death metal territory and its kindred connection with the greats (i.e. Kreator by way of Merciless).

There isn’t a shit song among the eight that Frightful present here on ‘What Lies Ahead‘, the guitar layers hum with the melting ice of the mid-90’s and the double-bass kicks have an appropriately dry rattle, and while those choices read as authentic to the main source(s) of inspiration in mind it is the songcraft here that’ll transport listeners towards any nostalgic placeholders most readily. While I wouldn’t consider opener “Cloaked in Nothingness” an all-out bombastic assault it does capture the band starting the engines and getting to the riffs without any lead-driven muse or atmospheric ideal explored. By the time you hit ~2:39 minutes into the song all is lain clear enough, this album will continue on directly in the style of the previous album having cinched up their command of (early) melodic death inspired riffcraft. Check out the elastic snapped Swedeath groove on “Discarnate Sower” for confirmation, a song which’d have sounded entirely fitting on Merciless‘ self-titled record back in 2003 with a bit more rage applied to the vocal.

Between the balls-out, eye popping video for the title track (“What Lies Ahead“) and the rip through its heart racing boost of speed the first true high-point of the full listen is achieved, a song which launches the wraiths and casts every last spell in its arsenal in mounting its attack. Keep in mind I’m not yet suggesting Frightful have acquiesced to Dissection worship entirely but rather that the earliest days of melodic death in Scandinavia had similar interest in death/thrash metal and especially the second and third Kreator albums, both of which are certainly a part of the attack on this song and especially “No Fear”. For my own taste this is the threshold remaining open rather than fully crossed-over into blackened death metal, exactly my kind of shit in every sense. This is of course arguable down to the finest points but overall Side A shows a crazed, possessed side of the band that’d only just begun to stab through the walls on their debut.

Side B opener and major highlight “Into the Phantom Hearts” almost feels like a blend of A Canorous Quintet and Inquisition in gradually traded stance, a piece which eventually welcomes a ‘Far Away From the Sun‘ riff variant to salvage the violent temperament of the band within the final third of the song… narrowly avoiding the muscle-bound shotgunned chunking of late 90’s/early 2000’s melodeath-thrash fuel. The important thing here isn’t the specific references made so much as the two guitarists/main songwriters’ obsession with various types of riffs. These were inspired sessions wherein each of the eight songs on ‘What Lies Ahead‘ has clearly been worked over to a certain high standard which persists brilliantly and with some imaginative, dexterous results; If you are an ‘old school’ (as in pre-1998) melodic death metal fan pay close attention to this second half of the album because “Farewell” and especially closer “Inexplicable” have some of the most potent “real” melodic death metal attrition in this sense, a focus on both At the Gates and ‘The Somberlain‘ in terms of the riffcraft’s phrasing and technique.

Amidst the cyclonic thrashing melodeath on feature “Cathedrals of Creation” throws in some sleeker chord changes and amps the speed of Frightful‘s attack as they bridge the final moments of the album with both brutality and brooding introspection. While I was more thrilled by the melodic death aggression that’d surrounded this song every piece here generally adds to the flow of the full listen, narrowly avoiding a record that feels stuck on one idea or sound beyond their most obviate enthusiasm. The full listen is balanced enough with much more interest left to the second half than expected; The lyrics appear to speak to the blight at the end of humanity, an accost upon those that are unfit to transcend by ignorance or animal nature, and a promise that what lies ahead is doom and the unknown aftermath. Frightful‘s lyricist charges into this whole heartedly with at least some Romanticist inspired vernacular in hand and a mind for how vocalist/bassist Oskar Wańka‘s cadence fits into these elaborate ~4-5 minute death metal songs. To add to this theme they’ve gone with vexing cover art by N. Zuki & Belial NecroArts which depicts the monster behind the mask, weeping. I don’t understand this image (something about it looks AI generated) and I do not enjoy the contrasting color choices made per the logo and title but it was evocative enough to prove memorable.

For those who didn’t hear the storm coming on ‘Spectral Creator‘ it’ll have fully arrived just a few songs deep into ‘What Lies Ahead‘, a natural step taken beyond those grinding death/thrash ideals toward something more melodic but no less feral. Frightful have made an admirable effort here even if we can concede the heavy inspiration taken from albums like ‘The Somberlain‘ this is in no way a point of detraction as their work stands out well within (and beside) said niche. Though I’d felt like their overall presentation/aesthetic could’ve used more thought there is a fantastic record here lying in wait. A high recommendation.

terraasymmetry


The album begins with a guitar riff with a heroic feel in a low range. In contrast, a high-pitched guitar plays a trill or a mordent, giving the riff a dissonance. In the intro, the drums break away from the cliché of blast beats, creating tension, making the listeners wait for a breakdown or something similar. The drums start with tertinaries, typical of Obituary's drummer (Donald Tardy). The rhythm guitar plays sensational tremolo pickings. The song has everything that makes me like and appreciate good metal. The guitar solo from minute 3:40 of the track Cloaked by Nothingness presents well-executed legato, going from high to low notes and resting in a somber way. I really like the vomited vocals. It's not exactly a monster's voice, but it conveys the vocalist's feeling.

The title track "What Lies Ahead" begins with a clean guitar playing arpeggios in sweep picking. I particularly like this guitar style (kind of mystical and mysterious). At the end, a modal borrowing or an outside melody is noticeable, expressing a darker emotion for the intro. At minute 2:50 there is a very good guitar solo, but there are some scattered and poor ornaments during some phrases. For example, the use of the lever seems very disjointed. But I really liked the video and the track. I really like these videos that simply show the band playing without any narrative or concept, because it gives off a very underground image. It is definitely clear that they are just headbangers wanting to make a heavy sound, unlike all the mainstream garbage with millions of dollars and a team using the artist exposed only as the product packaging.

The track "No Fear" is a mix of Slayer and Sepultura for me. I really liked the riffs and the groove. This song could definitely be part of Soulfly's (Max Cavalera's band) repertoire. It's ideal for headbanging. To be honest, this is one of my favorite tracks because of the syncopated rhythm. Without using technical terms, this song is very danceable. It's as if it has always existed inside me since the first beats of my heart and the two kind of accompany and complement each other. I really loved this track. I'll definitely add it to my playlist. If all the songs were like this, I would give it 100%.

I definitely enjoyed the album a lot, although the ones mentioned above caught my attention the most. I'll give it 80%, because the songs are good, but not sensational to the point of being as memorable as the bands that marked my life.

Astaroson



..::TRACK-LIST::..

1. Cloaked by Nothingness 05:45
2. Disincarnate Sower 04:46
3. What Lies Ahead 04:57
4. No Fear 04:27
5. Into the Phantom Hearts 06:01
6. Farewell 03:37
7. Cathedrals of Creation 04:38
8. Inexplicable 05:42



..::OBSADA::..

Oskar Wańka - Vocals, Bass
Paweł Snarski - Guitars
Eryk Jakubczyk - Guitars
Krzysztof Pochranowicz - Drums



https://www.youtube.com/watch?v=hmMjmzwDu7U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Transcending The Self' jest koncept albumem, który mówi o psychicznym upadku człowieka. Każdy kolejny utwór opowiada o pogłębiających się stanach mentalnych, które w ostateczności prowadzą do nicości.
Dziewięć utworów utrzymanych w stylistyce brutalnego, technicznego, a zarazem mrocznego death metalu po linii The Faceless, Deeds of Flesh, Suffocation, Origin, The Zenith Passage czy Archspire.
Mix i mastering płyty został wykonany przez Filipa Kłobukowskiego z Shapethesound.



Po świetnym albumie projektu Pincer Consortium wbijam z rozbiegu w kolejną z dwóch premier ufundowanych przez Deformeathing Production. Jest nią debiutancka płyta młodego stażem i wiekiem Vitur zatytułowana Transcending the Self. Wydawnictwo będzie miało swą premierę już w piątek, 13 (!) września w klasycznym formacie jewelcase CD.

Przed podejściem do odsłuchu tej płyty nic o zespole nie wiedziałem. Wpłynęło to bez wątpienia na ogromne zaskoczenie, jakie mi album zafundował, bo Transcending the Self naprawdę w najmniejszym stopniu nie brzmi jak płyta początkujących muzyków. Ba! Jej poziom jest wręcz zawstydzający. Długo nie natrafiłem na muzykę graną przez ludzi młodych z takim profesjonalizmem i dojrzałością. Death metal proponowany przez kwartet to mieszanka technicznej, gęstej młóckarni z niewielką ilością ciężkich, nisko granych zwolnień. Poziom techniczny chłopaków można uznać jako bardzo wysoki, nie ma tu też przesadyzmu i przegiętego wirtuozowania. Technika jest celem, ale całość stawia na groove, kompozycje niszczą, mordują, drą na strzępy, ale nie są pozbawione człowieczeństwa, dzięki czemu dobrze się tego słucha, bez zmęczenia. Soniczne gęstwiny są czytelne, dobrze poukładane, wyważone i zjadliwe bez popijania. Muzykę tę na pewno można polecić fanom Hate Eternal, Ulcerate, Cryptopsy, Gorguts i może nawet Necrophagist, bo gitarzyści potrafią czasami rzucić również bardzo fajnymi, szybko granymi melodiami.

Jeśli jeszcze nie do końca przekonałem Was swoimi słowami, dodam, że za garami zasiada Ignacy Zieliński znany z chóru sakralnaego zwanego Hostia, który pokazuje tu naprawdę szeroki wachlarz nowych umiejętności.

Przyznaję, że ostatnimi czasy nie łykałem za dużo nowoczesnej nawałki, kierując się w stronę mniej skomasowanych odmian death metalu, tych bliższych jego korzeniom. Przerwa ta mogła w jakiś sposób wpłynąć na odbiór nowości od Vitur, ale jednak zespół się broni i kąsa, obiecując początek potężnej dyskografii. Tak się gra, proszę państwa, metal, bez kompleksów, bez przymilania i oglądania na trendy. Zatem nawiązując do wstępu – dwie premiery od Deformeathing, dwie dyszki ode mnie i szczere gratulacje świetnego wyboru wydawniczego.

Brzeźnicki


Vitur is a new band (drummer Hostia in the line-up) from Warsaw. Despite his short experience on the scene, Vitur is confident in himself and the path he has chosen.

“Transcending The Self is a concept album that tells the story of a man’s mental decline. Each subsequent song tells the story of deepening mental states that ultimately lead to nothingness.

Nine songs in the style of brutal, technical, and at the same time dark death metal along the lines of The Faceless, Deeds of Flesh, Suffocation, Origin, The Zenith Passage and Archspire.

The mix and mastering of the album was done by Filip Kłobukowski from Shapethesound.



..::TRACK-LIST::..

1. Overwhelming The Soul 00:49
2. The Entity 04:47
3. The Empty Mind 05:11
4. Hunger 01:19
5. Absorbing Liquid 03:58
6. Dual Consciousness 05:45
7. Into Nothingness 01:16
8. Only Vacuum Remains 04:33
9. For Ages 06:03



..::OBSADA::..

Kamil Stefański - vocals, guitars
Mateusz Prusak - guitars
Michał Kotwas - bass
Ignacy Zieliński - drums



https://www.youtube.com/watch?v=-ghEjnvu49E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Transcending The Self' jest koncept albumem, który mówi o psychicznym upadku człowieka. Każdy kolejny utwór opowiada o pogłębiających się stanach mentalnych, które w ostateczności prowadzą do nicości.
Dziewięć utworów utrzymanych w stylistyce brutalnego, technicznego, a zarazem mrocznego death metalu po linii The Faceless, Deeds of Flesh, Suffocation, Origin, The Zenith Passage czy Archspire.
Mix i mastering płyty został wykonany przez Filipa Kłobukowskiego z Shapethesound.



Po świetnym albumie projektu Pincer Consortium wbijam z rozbiegu w kolejną z dwóch premier ufundowanych przez Deformeathing Production. Jest nią debiutancka płyta młodego stażem i wiekiem Vitur zatytułowana Transcending the Self. Wydawnictwo będzie miało swą premierę już w piątek, 13 (!) września w klasycznym formacie jewelcase CD.

Przed podejściem do odsłuchu tej płyty nic o zespole nie wiedziałem. Wpłynęło to bez wątpienia na ogromne zaskoczenie, jakie mi album zafundował, bo Transcending the Self naprawdę w najmniejszym stopniu nie brzmi jak płyta początkujących muzyków. Ba! Jej poziom jest wręcz zawstydzający. Długo nie natrafiłem na muzykę graną przez ludzi młodych z takim profesjonalizmem i dojrzałością. Death metal proponowany przez kwartet to mieszanka technicznej, gęstej młóckarni z niewielką ilością ciężkich, nisko granych zwolnień. Poziom techniczny chłopaków można uznać jako bardzo wysoki, nie ma tu też przesadyzmu i przegiętego wirtuozowania. Technika jest celem, ale całość stawia na groove, kompozycje niszczą, mordują, drą na strzępy, ale nie są pozbawione człowieczeństwa, dzięki czemu dobrze się tego słucha, bez zmęczenia. Soniczne gęstwiny są czytelne, dobrze poukładane, wyważone i zjadliwe bez popijania. Muzykę tę na pewno można polecić fanom Hate Eternal, Ulcerate, Cryptopsy, Gorguts i może nawet Necrophagist, bo gitarzyści potrafią czasami rzucić również bardzo fajnymi, szybko granymi melodiami.

Jeśli jeszcze nie do końca przekonałem Was swoimi słowami, dodam, że za garami zasiada Ignacy Zieliński znany z chóru sakralnaego zwanego Hostia, który pokazuje tu naprawdę szeroki wachlarz nowych umiejętności.

Przyznaję, że ostatnimi czasy nie łykałem za dużo nowoczesnej nawałki, kierując się w stronę mniej skomasowanych odmian death metalu, tych bliższych jego korzeniom. Przerwa ta mogła w jakiś sposób wpłynąć na odbiór nowości od Vitur, ale jednak zespół się broni i kąsa, obiecując początek potężnej dyskografii. Tak się gra, proszę państwa, metal, bez kompleksów, bez przymilania i oglądania na trendy. Zatem nawiązując do wstępu – dwie premiery od Deformeathing, dwie dyszki ode mnie i szczere gratulacje świetnego wyboru wydawniczego.

Brzeźnicki


Vitur is a new band (drummer Hostia in the line-up) from Warsaw. Despite his short experience on the scene, Vitur is confident in himself and the path he has chosen.

“Transcending The Self is a concept album that tells the story of a man’s mental decline. Each subsequent song tells the story of deepening mental states that ultimately lead to nothingness.

Nine songs in the style of brutal, technical, and at the same time dark death metal along the lines of The Faceless, Deeds of Flesh, Suffocation, Origin, The Zenith Passage and Archspire.

The mix and mastering of the album was done by Filip Kłobukowski from Shapethesound.



..::TRACK-LIST::..

1. Overwhelming The Soul 00:49
2. The Entity 04:47
3. The Empty Mind 05:11
4. Hunger 01:19
5. Absorbing Liquid 03:58
6. Dual Consciousness 05:45
7. Into Nothingness 01:16
8. Only Vacuum Remains 04:33
9. For Ages 06:03



..::OBSADA::..

Kamil Stefański - vocals, guitars
Mateusz Prusak - guitars
Michał Kotwas - bass
Ignacy Zieliński - drums



https://www.youtube.com/watch?v=-ghEjnvu49E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Finlandia to wspaniały kraj, albowiem te ich gatunkowe sceny są specyficzne i mocno charakterystyczne. Z niekłamaną więc radością rzuciłem się na nowy album Morbific – trzeci już w ich nie najdłuższej karierze.

Młode to i płodne, nie trzeba ich zachęcać żadnym pięćset czy osiemset plus. Wystarczy szpadel, taczka i napierdalają gruz jak się patrzy. Na „Bloom of the Abnormal Flesh” dostajemy jedenaście takich właśnie taczek, gdzie gruz przemieszany jest z wnętrznościami. I w przeciwieństwie do tego co napisałem we wstępie, Morbific swobodnie miesza ze sobą właśnie fiński death metal z początku lat dziewięćdziesiątych, dodając do niego elementy death/gore czy nawet death/grinda w stylu Mortician (niektóre fragmenty brzmią żywcem, jakby je napisał Rahmer, choćby w takim „Menagerie of Grotesque Trophies”) czy Carcass, względnie Dead Infection („Hydraulic Slaughter”). Oczywiście znajdzie się też odrobina amerykańskiego klasyka, jakim jest Autopsy. Siedzi mi bardzo miszmasz tego typu, dlatego też „Bloom of the Abnormal Flesh” kręci się bardzo regularnie w odtwarzaczu.

Wszystko mi na tym albumie pasuje – od głębokiego growlu Jusy, dudniący bas tego samego muzyka, wtórującej mu perki Onni i mielącej wszystko gitary Olli. Trzech muzyków osiąga przy tym niesamowity groove, a ten czynnik jest moim zdaniem ważny jeśli mówimy o death metalu tego typu. Chwilami zwalniają, nawet bardzo, ocierając się niemalże o doom/death metalowe tempo („Womb of Deathless Detorioration” czy następny „Crusading Necrotization” na ten przykład), jednakże mi najbardziej podchodzą właśnie te kawałki z wpływami morticianowsko – carcassowymi. Przez to może chwilami ta płyta wydaje mi się nierówna, ale nie aż tak, żeby rzutowało to jakoś nad wyraz na moim odbiorze jej jako całości. A ten jest jak najbardziej pozytywny. Zresztą jak zdecydowanej większości materiałów wydanych przez Me Saco Un Ojo Records, gdyż to właśnie ta wytwórnia stoi za Na „Bloom of the Abnormal Flesh”, zresztą w kooperacji z Headsplit Records i Memento Mori Records. Czyli ścisła czołówka labeli, jeśli o takie granie chodzi.

No, więc jak najbardziej polecam Wam nowe dokonanie Morbific. W momencie gdy piszę te słowa (ostatni dzień marca) jeszcze nie jestem pewien, czy uda mi się zobaczyć ich na żywo w Polsce za kilka dni. Pewnie nie, natomiast najwyżej wynagrodzę sobie odtwarzaniem ich trójki tak często jak się da.

Oracle


Mówią, że trzecia płyta taka chwila prawdy dla zespołu, moment, w którym powinni się muzycznie określić i pokazać pełnię drzemiącego potencjału. Taki właśnie moment nadszedł dla młodziaków z Morbific, których trzeci album „Bloom Of The Abnormal Flesh” ujrzy światło dzienne wiosną w barwach hiszpańskiego labelu Memento Mori. Finowie pod dużym znakiem zapytania postawili swoje rzeczywiste możliwości, gdyż poprzedni album „Squirm Beyond The Mortal Realm” choć muzycznie był bez zarzutu to realizacja nagrania mogłaby kandydować do miana tych najgorszych w ostatnich latach. Tym razem Skandynawowie uniknęli tego błędu i „Bloom...” nie powinna wywoływać grymasu na twarzy z tego powodu. Może go niestety wywołać z innego powodu – jest to co najwyżej solidny album. Mocowałem się z nim, próbowałem znaleźć argumenty, które na etapie debiutanckiej płyty wywindowały Morbific do grona tych zespołów, o których trochę się mówiło w deathmetalowych kręgach, ale niestety nic takiego tu nie znalazłem. Tutaj nie ma nic z naturszczykowej naiwności „Ominous Seep Of Putridity”, nie ma młodzieńczego autentyzmu, nie ma szczerej nieporadności początkującej kapeli. Jest tu po prostu klasyczny death metal nagrany przez w miarę okrzepnięty zespół – solidny, odtwórczy, trochę wyprany z emocji, ale też skromnie, acz wyraźnie poszukujący. „Bloom Of The Abnormal Flesh” zdradza bowiem wyraźny potencjał koncertowy, Finowie częściej niż dotychczas zwalniają bądź operują w średnich tempach lubując się w prostych, mięsistych riffach niosących za sobą groove. W wielu momentach wyraźnie da się odczuć, że grupa skręca w bardziej melodyjne rewiry, pokrewne Dismember czy At The Gates, co w zasadzie należy uznać za wartość dodaną, tym bardziej, że w żaden sposób nie jest to w złym guście. Jestem natomiast bardzo skłonny uwierzyć, że muzycy Morbific nie są wytrawnymi instrumentalistami, gdyż w kilku miejscach miałem wrażenie, że te granie Finom się rozjeżdża, perkusista gubi rytm, a muzyka się rwie. I o ile na debiucie było to urocze i naturalne, tak tutaj trochę to razi. Nie kojarzę na ten moment zespołu o podobnym statusie jak Morbific, który by tak bardzo nieumiejętnie maskował niedostatki (pomijając te jaskiniowe zespoły, które wszelkie mankamenty zakopują w tonie pogłosu) i epatował pewną siermiężnością i pierdołowatością. Wydaje mi się, że na rynku jest tyle dobrej muzyki, że poświęcanie większej uwagi temu wydawnictwu nie ma sensu. Nie mam poczucia, że Morbific dowiózł mi to czego od nich oczekiwałem i pomimo kilku pozytywnych aspektów jest to jednak płyta (jak i zespół), przeciętny, w którym może i drzemie pewien potencjał, ale chyba sami muzycy nie wiedzą jak go uzewnętrznić ponownie.
Harlequin


The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band's Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that's malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling "highwater" mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns' third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it's a raw-yet-robust show of strength, "classic" Death Metal production in a most late 80's fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific's best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland's filthiest and Death Metal's untrendiest weirdoes. Vividly captured by Chase Slaker's cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!



..::TRACK-LIST::..

1. Smut Club (For the Chosen Scum) 03:48
2. Panspermic Blight 03:51
3. Menagerie of Grotesque Trophies 04:34
4. Promethean Mutilation 03:28
5. Womb of Deathless Deterioration (Trapped in the Essence of Putrescence)
05:04
6. Stifling Stagnant Reek 01:24
7. Crusading Necrotization 04:15
8. Hydraulic Slaughter 03:52
9. From Inanimate Dormancy 05:57
10. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) 06:00
11. Slithering Decay 02:04



..::OBSADA::..

Jusa Janhonen - Bass, Vocals (lead)
Onni Väkeväinen - Drums
Olli Väkeväinen - Guitars, Vocals



https://www.youtube.com/watch?v=LfriY_ER6r8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Finlandia to wspaniały kraj, albowiem te ich gatunkowe sceny są specyficzne i mocno charakterystyczne. Z niekłamaną więc radością rzuciłem się na nowy album Morbific – trzeci już w ich nie najdłuższej karierze.

Młode to i płodne, nie trzeba ich zachęcać żadnym pięćset czy osiemset plus. Wystarczy szpadel, taczka i napierdalają gruz jak się patrzy. Na „Bloom of the Abnormal Flesh” dostajemy jedenaście takich właśnie taczek, gdzie gruz przemieszany jest z wnętrznościami. I w przeciwieństwie do tego co napisałem we wstępie, Morbific swobodnie miesza ze sobą właśnie fiński death metal z początku lat dziewięćdziesiątych, dodając do niego elementy death/gore czy nawet death/grinda w stylu Mortician (niektóre fragmenty brzmią żywcem, jakby je napisał Rahmer, choćby w takim „Menagerie of Grotesque Trophies”) czy Carcass, względnie Dead Infection („Hydraulic Slaughter”). Oczywiście znajdzie się też odrobina amerykańskiego klasyka, jakim jest Autopsy. Siedzi mi bardzo miszmasz tego typu, dlatego też „Bloom of the Abnormal Flesh” kręci się bardzo regularnie w odtwarzaczu.

Wszystko mi na tym albumie pasuje – od głębokiego growlu Jusy, dudniący bas tego samego muzyka, wtórującej mu perki Onni i mielącej wszystko gitary Olli. Trzech muzyków osiąga przy tym niesamowity groove, a ten czynnik jest moim zdaniem ważny jeśli mówimy o death metalu tego typu. Chwilami zwalniają, nawet bardzo, ocierając się niemalże o doom/death metalowe tempo („Womb of Deathless Detorioration” czy następny „Crusading Necrotization” na ten przykład), jednakże mi najbardziej podchodzą właśnie te kawałki z wpływami morticianowsko – carcassowymi. Przez to może chwilami ta płyta wydaje mi się nierówna, ale nie aż tak, żeby rzutowało to jakoś nad wyraz na moim odbiorze jej jako całości. A ten jest jak najbardziej pozytywny. Zresztą jak zdecydowanej większości materiałów wydanych przez Me Saco Un Ojo Records, gdyż to właśnie ta wytwórnia stoi za Na „Bloom of the Abnormal Flesh”, zresztą w kooperacji z Headsplit Records i Memento Mori Records. Czyli ścisła czołówka labeli, jeśli o takie granie chodzi.

No, więc jak najbardziej polecam Wam nowe dokonanie Morbific. W momencie gdy piszę te słowa (ostatni dzień marca) jeszcze nie jestem pewien, czy uda mi się zobaczyć ich na żywo w Polsce za kilka dni. Pewnie nie, natomiast najwyżej wynagrodzę sobie odtwarzaniem ich trójki tak często jak się da.

Oracle


Mówią, że trzecia płyta taka chwila prawdy dla zespołu, moment, w którym powinni się muzycznie określić i pokazać pełnię drzemiącego potencjału. Taki właśnie moment nadszedł dla młodziaków z Morbific, których trzeci album „Bloom Of The Abnormal Flesh” ujrzy światło dzienne wiosną w barwach hiszpańskiego labelu Memento Mori. Finowie pod dużym znakiem zapytania postawili swoje rzeczywiste możliwości, gdyż poprzedni album „Squirm Beyond The Mortal Realm” choć muzycznie był bez zarzutu to realizacja nagrania mogłaby kandydować do miana tych najgorszych w ostatnich latach. Tym razem Skandynawowie uniknęli tego błędu i „Bloom...” nie powinna wywoływać grymasu na twarzy z tego powodu. Może go niestety wywołać z innego powodu – jest to co najwyżej solidny album. Mocowałem się z nim, próbowałem znaleźć argumenty, które na etapie debiutanckiej płyty wywindowały Morbific do grona tych zespołów, o których trochę się mówiło w deathmetalowych kręgach, ale niestety nic takiego tu nie znalazłem. Tutaj nie ma nic z naturszczykowej naiwności „Ominous Seep Of Putridity”, nie ma młodzieńczego autentyzmu, nie ma szczerej nieporadności początkującej kapeli. Jest tu po prostu klasyczny death metal nagrany przez w miarę okrzepnięty zespół – solidny, odtwórczy, trochę wyprany z emocji, ale też skromnie, acz wyraźnie poszukujący. „Bloom Of The Abnormal Flesh” zdradza bowiem wyraźny potencjał koncertowy, Finowie częściej niż dotychczas zwalniają bądź operują w średnich tempach lubując się w prostych, mięsistych riffach niosących za sobą groove. W wielu momentach wyraźnie da się odczuć, że grupa skręca w bardziej melodyjne rewiry, pokrewne Dismember czy At The Gates, co w zasadzie należy uznać za wartość dodaną, tym bardziej, że w żaden sposób nie jest to w złym guście. Jestem natomiast bardzo skłonny uwierzyć, że muzycy Morbific nie są wytrawnymi instrumentalistami, gdyż w kilku miejscach miałem wrażenie, że te granie Finom się rozjeżdża, perkusista gubi rytm, a muzyka się rwie. I o ile na debiucie było to urocze i naturalne, tak tutaj trochę to razi. Nie kojarzę na ten moment zespołu o podobnym statusie jak Morbific, który by tak bardzo nieumiejętnie maskował niedostatki (pomijając te jaskiniowe zespoły, które wszelkie mankamenty zakopują w tonie pogłosu) i epatował pewną siermiężnością i pierdołowatością. Wydaje mi się, że na rynku jest tyle dobrej muzyki, że poświęcanie większej uwagi temu wydawnictwu nie ma sensu. Nie mam poczucia, że Morbific dowiózł mi to czego od nich oczekiwałem i pomimo kilku pozytywnych aspektów jest to jednak płyta (jak i zespół), przeciętny, w którym może i drzemie pewien potencjał, ale chyba sami muzycy nie wiedzą jak go uzewnętrznić ponownie.
Harlequin


The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band's Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that's malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling "highwater" mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns' third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it's a raw-yet-robust show of strength, "classic" Death Metal production in a most late 80's fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific's best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland's filthiest and Death Metal's untrendiest weirdoes. Vividly captured by Chase Slaker's cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!



..::TRACK-LIST::..

1. Smut Club (For the Chosen Scum) 03:48
2. Panspermic Blight 03:51
3. Menagerie of Grotesque Trophies 04:34
4. Promethean Mutilation 03:28
5. Womb of Deathless Deterioration (Trapped in the Essence of Putrescence)
05:04
6. Stifling Stagnant Reek 01:24
7. Crusading Necrotization 04:15
8. Hydraulic Slaughter 03:52
9. From Inanimate Dormancy 05:57
10. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) 06:00
11. Slithering Decay 02:04



..::OBSADA::..

Jusa Janhonen - Bass, Vocals (lead)
Onni Väkeväinen - Drums
Olli Väkeväinen - Guitars, Vocals



https://www.youtube.com/watch?v=LfriY_ER6r8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



'The Sinister Supremacy' to pełen pewności siebie i agresji, ale także pięknych melodii, thrahs/death metal. Okraszony doskonałą produkcją Daniela Bergstranda.



..::TRACK-LIST::..

1. Sounds Of Pre-Existence 1:45
2. The Sinister Supremacy 4:22
3. Mechanically Divine 4:25
4. Ostracized 3:49
5. The Decline 4:42
6. Insurrection Is Imminent 5:28
7. In The Absence Of Pain 4:20
8. Humanity Defined 4:05
9. Hate Repentance State 2:32
10. Collapse Of Illusions 4:38
11. By Darkness Designed 3:56
12. Existence Is Just A State Of Mind 4:54

13. Malicious Strain (Bonus Track) 4:24
14. I, Author Of Despair (Bonus Track) 4:06



..::OBSADA::..

Jörgen Löfberg - Bass
Peter Wildoer - Drums
Klas Ideberg - Guitars
Christofer Malmström - Guitars
Lawrence Mackrory - Vocals




https://www.youtube.com/watch?v=xTSw2PfJx_s



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



'The Sinister Supremacy' to pełen pewności siebie i agresji, ale także pięknych melodii, thrahs/death metal. Okraszony doskonałą produkcją Daniela Bergstranda.



..::TRACK-LIST::..

1. Sounds Of Pre-Existence 1:45
2. The Sinister Supremacy 4:22
3. Mechanically Divine 4:25
4. Ostracized 3:49
5. The Decline 4:42
6. Insurrection Is Imminent 5:28
7. In The Absence Of Pain 4:20
8. Humanity Defined 4:05
9. Hate Repentance State 2:32
10. Collapse Of Illusions 4:38
11. By Darkness Designed 3:56
12. Existence Is Just A State Of Mind 4:54

13. Malicious Strain (Bonus Track) 4:24
14. I, Author Of Despair (Bonus Track) 4:06



..::OBSADA::..

Jörgen Löfberg - Bass
Peter Wildoer - Drums
Klas Ideberg - Guitars
Christofer Malmström - Guitars
Lawrence Mackrory - Vocals




https://www.youtube.com/watch?v=xTSw2PfJx_s



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Sciomancy, Malediction & Rites Abominable' to ten rodzaj albumu, który uderza od samego początku, ponieważ jego muzyka jest niezwykle uzależniająca i stosunkowo prosta, bez żadnych sztuczek ani zbędnych elementów. 9 utworów ma swoją własną historię, ale razem tworzą całość, jak wiecznie głodny smok pożerający swój własny łuskowaty ogon, raz po raz.
Ten ciągły akt samokanibalizmu jest podkreślony przez 2 utwory, które otwierają i zamykają płytę, instrumentalny utwór 'Caput Draconis' (Głowa smoka) i 'Necrmomancess / Cauda Draconis' (Ogon smoka). Nadaje to albumowi głębokie poczucie nieustannego ruchu, niekończącego się przepływu, który, pomimo przerażającej natury muzyki, sprawia, że ​​słuchanie jest bardzo 'przyjemne'.



Amidst the London underground some bands stand above others as supreme. Necromaniac is one such example. Having seen them open for bands like Black Witchery and Sadistic Intent over the years and played the hell out of the demo tape and 7″, I am ecstatic to see a debut LP is finally coming. Set for release via Invictus Productions and The Ajna Offensive on January 13th.

Within seconds a foreboding and sepulchral atmosphere is formed by haunting guitars and drums. The funerary instrumentals are broken only by the first of a trinity of guests and his unique voice. I am speaking about A.A. Nemtheanga. This beginning to the album certainly permeates the air with a sinister energy, one that I do not doubt shall persist. Bulldozing riffs storm into a brazen cacophony of thrashing madness. The archaic metallic spirits swarm around the blackened fret-fury as hammering drums malign all that is holy. With demonic prowess, the vocals provide no respite, contorting atop cascades of stringed savagery. Instantly those clear intentions of sadism and ecstatic brilliance we heard on the demo and 7″ unfurl their tendrils, reaching further into the abyss than ever before. Necromaniac’s long awaited debut begins with volatility, blasphemy and possession in abundance. It seems this record will be steeped in the traditions and unbreakable foundations of real extreme metal but the band will never conform to another’s ideals either. Let us venture on…

From tempests of blasting skull molestations to the groove-laden and melodious; there is no rest for the wicked. Progressing constantly through memorable passages and scornful lore, each idea on this record sticks out as something worth hearing. Words like melody, or progression may scare people off due to the ruination of such concepts in the modern age. But I speak more of those groundbreaking ideas from bands like Tormentor, Root, Rotting Christ, Mortuary Drape, Samael and most of all Master’s Hammer. Similarly the melodies inject a sorrowful angle to perfectly counterbalance the bestial maliciousness that prevails throughout. Showing a truly masterful ability with songwriting, the foursome and their fiendish guests wonder through charnel realms with their expansive sounds. Intricate bass lines always accompany those venomous guitar riffs while the drums never lose energy. Similarly, the vocals never lose that feral edge to them that ensures they are not lost to the instrumental furore. Occasionally placed synths, bells and other sounds of doom and morbidity add flavour to the album in careful quantity, never detracting from the experience at hand. Those who feel kinship with darkness shall be rewarded by this album, while the rest may find themselves estranged or harmed by its arcane brilliance.

The ghoulish atmosphere and lurking senses of dread and anguish are paired perfectly with an onslaught of pure extremism. From every angle, this LP improves on the already extreme strengths of the bands prior body of work. It proves that improving your craft and obsessively delving further into your insanity to create an album that covers every element you sought out to is an infinitely superior use of time than churning out several albums with no substance behind them. Necromaniac is one of those bands that simply decimates most around them with something inarguable special and magnificent. Up until its climax, this restless, ever-evolving and inhuman opus of destruction will hold you by the jugular until your nightmares spew forth into reality or you are consumed by your own anxiety. Either way, it is an experience you will never forget; be it from trauma or desire to revisit this spectre of grave-opening majesty. This music rips us back in time to a moment when metal was less defined and more about playing evil and powerful music that built on your sonic ancestors while never fearing to stride forth into darkness. Truly a feat of epic proportions that cannot be ignored.

The oath remains unbroken. Necromaniac’s sinister and powerful new opus is a relentless and dynamic listen of rabid blackened death thrashing metal that invokes the old masters without merely copying them. Howling with the abyssal graven winds from beyond, this record is a foully vengeful one that breaks through to the spirits on the other side, inviting them to violate your very being. I already knew when this album came around it would be something special that I adored, and yet it excelled even my high expectations thousandfold. Morbid Metal to the death!

Nattskog7



..::TRACK-LIST::..

1. Caput Draconis 03:03
2. Daemonomantia 05:15
3. Grave Mound Oath 07:20
4. Calling Forth the Shade 06:06
5. Great is the Thirst of the Restless Dead 03:01
6. Teraphim (Skull Sorcery) 05:32
7. Conjuration of St. Cyprian 01:35
8. Swedenborg's Skull 06:24
9. Necromancess / Cauda Draconis 10:23



..::OBSADA::..

The One - Bass, French Horn, Trombone, Trumpet, Choir
Sadistik Fornicator - Guitars, Synthesisers, Effects, Samples, Choir
V. Pestilencia - Drums, Synthesizers
C. Howler - Vocals, Tibetan Singing Bowl




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Sciomancy, Malediction & Rites Abominable' to ten rodzaj albumu, który uderza od samego początku, ponieważ jego muzyka jest niezwykle uzależniająca i stosunkowo prosta, bez żadnych sztuczek ani zbędnych elementów. 9 utworów ma swoją własną historię, ale razem tworzą całość, jak wiecznie głodny smok pożerający swój własny łuskowaty ogon, raz po raz.
Ten ciągły akt samokanibalizmu jest podkreślony przez 2 utwory, które otwierają i zamykają płytę, instrumentalny utwór 'Caput Draconis' (Głowa smoka) i 'Necrmomancess / Cauda Draconis' (Ogon smoka). Nadaje to albumowi głębokie poczucie nieustannego ruchu, niekończącego się przepływu, który, pomimo przerażającej natury muzyki, sprawia, że ​​słuchanie jest bardzo 'przyjemne'.



Amidst the London underground some bands stand above others as supreme. Necromaniac is one such example. Having seen them open for bands like Black Witchery and Sadistic Intent over the years and played the hell out of the demo tape and 7″, I am ecstatic to see a debut LP is finally coming. Set for release via Invictus Productions and The Ajna Offensive on January 13th.

Within seconds a foreboding and sepulchral atmosphere is formed by haunting guitars and drums. The funerary instrumentals are broken only by the first of a trinity of guests and his unique voice. I am speaking about A.A. Nemtheanga. This beginning to the album certainly permeates the air with a sinister energy, one that I do not doubt shall persist. Bulldozing riffs storm into a brazen cacophony of thrashing madness. The archaic metallic spirits swarm around the blackened fret-fury as hammering drums malign all that is holy. With demonic prowess, the vocals provide no respite, contorting atop cascades of stringed savagery. Instantly those clear intentions of sadism and ecstatic brilliance we heard on the demo and 7″ unfurl their tendrils, reaching further into the abyss than ever before. Necromaniac’s long awaited debut begins with volatility, blasphemy and possession in abundance. It seems this record will be steeped in the traditions and unbreakable foundations of real extreme metal but the band will never conform to another’s ideals either. Let us venture on…

From tempests of blasting skull molestations to the groove-laden and melodious; there is no rest for the wicked. Progressing constantly through memorable passages and scornful lore, each idea on this record sticks out as something worth hearing. Words like melody, or progression may scare people off due to the ruination of such concepts in the modern age. But I speak more of those groundbreaking ideas from bands like Tormentor, Root, Rotting Christ, Mortuary Drape, Samael and most of all Master’s Hammer. Similarly the melodies inject a sorrowful angle to perfectly counterbalance the bestial maliciousness that prevails throughout. Showing a truly masterful ability with songwriting, the foursome and their fiendish guests wonder through charnel realms with their expansive sounds. Intricate bass lines always accompany those venomous guitar riffs while the drums never lose energy. Similarly, the vocals never lose that feral edge to them that ensures they are not lost to the instrumental furore. Occasionally placed synths, bells and other sounds of doom and morbidity add flavour to the album in careful quantity, never detracting from the experience at hand. Those who feel kinship with darkness shall be rewarded by this album, while the rest may find themselves estranged or harmed by its arcane brilliance.

The ghoulish atmosphere and lurking senses of dread and anguish are paired perfectly with an onslaught of pure extremism. From every angle, this LP improves on the already extreme strengths of the bands prior body of work. It proves that improving your craft and obsessively delving further into your insanity to create an album that covers every element you sought out to is an infinitely superior use of time than churning out several albums with no substance behind them. Necromaniac is one of those bands that simply decimates most around them with something inarguable special and magnificent. Up until its climax, this restless, ever-evolving and inhuman opus of destruction will hold you by the jugular until your nightmares spew forth into reality or you are consumed by your own anxiety. Either way, it is an experience you will never forget; be it from trauma or desire to revisit this spectre of grave-opening majesty. This music rips us back in time to a moment when metal was less defined and more about playing evil and powerful music that built on your sonic ancestors while never fearing to stride forth into darkness. Truly a feat of epic proportions that cannot be ignored.

The oath remains unbroken. Necromaniac’s sinister and powerful new opus is a relentless and dynamic listen of rabid blackened death thrashing metal that invokes the old masters without merely copying them. Howling with the abyssal graven winds from beyond, this record is a foully vengeful one that breaks through to the spirits on the other side, inviting them to violate your very being. I already knew when this album came around it would be something special that I adored, and yet it excelled even my high expectations thousandfold. Morbid Metal to the death!

Nattskog7



..::TRACK-LIST::..

1. Caput Draconis 03:03
2. Daemonomantia 05:15
3. Grave Mound Oath 07:20
4. Calling Forth the Shade 06:06
5. Great is the Thirst of the Restless Dead 03:01
6. Teraphim (Skull Sorcery) 05:32
7. Conjuration of St. Cyprian 01:35
8. Swedenborg's Skull 06:24
9. Necromancess / Cauda Draconis 10:23



..::OBSADA::..

The One - Bass, French Horn, Trombone, Trumpet, Choir
Sadistik Fornicator - Guitars, Synthesisers, Effects, Samples, Choir
V. Pestilencia - Drums, Synthesizers
C. Howler - Vocals, Tibetan Singing Bowl




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ci, którzy się odważą, zostaną nagrodzeni albumem pełnym prawdziwej wspaniałości!!!



Canadian blackened death metal mob Ceremonial Bloodbath unleashed a full length album to follow their two demos.

Haunting ambience starts out the record with chilling and despairing tension that truly feels foreboding without any remorse. Bestial riffs and tornados of blastbeats fire us into oblivion with a staunch and scathing instrumental storm topped by visceral vocals that snarl amongst the murky onslaught. The ravenous rampage of death-worshipping violence hits hard with an impactful slab of war metal style barbarity and blasphemy, dealing demonic and unhinged energies without respite. There are some clunkier bass-drive lines akin to Mylingar and Abyssal that add such void-opening sparseness to the fearsome record, this is truly an astonishingly unpleasant listen with such claustrophobia from the doomy creeping sections to the blistering cascades of brutality. Conqueror style grooves complete with pick slides further delve into the chasm of extremity as the contorting bass lines and relentless drums add dystopian atmospherics to the bellowed cacophony of torment. An impeccable first impression.

Swirling in the ethereal realms of monolithic guitar and bass work, stampeding drums and totally hateful vocals, this disdaining record has all the Canadian / Finnish style war metal viscera while adding an expansive and otherworldly touch to the music which is more spectral than one would expect. Distorting and warping their ideas into convulsive territories, one cannot predict what will occur next on this inarguably unique opus, defining volatility as they storm forth. The pure scornful malice of this music should be enough to win over any extreme metal fans with the guts to meditate in the abyss with the lurking monstrosities these guys conjure to fruition. This is certainly one of the most violent and psychotic releases of recent memory with a formidably memorable and destructive approach to extreme metal that is as eerily atmospheric as it is bestial and feral, a ferocious combination executed gloriously. The seething dissonance only becomes more tense, so be prepared to falter before these mighty strikes and bathe in the magnificent radiance of the smouldering scourge.

With a running time of 47 minutes, this is rather long for its style. Thankfully it does not become remotely monotonous due to a sparse, dizzying array of pulverising instrumental abuse. Culminating in a dense and multi-faceted slice of occultist excellence, the revamped and unforgiving Black-Death malignancy of Ceremonial Bloodbath blends the classic war metal we know and love with modern death-doom and plenty of their own deranged ideas to add an impeccable characteristic to the album that will not be found elsewhere quite like this. The instrumental skill on these pieces is fearsome while never feeling obnoxious or showy, choosing to utilise these skills for only the most macabre and intensely disturbing soundscapes. I do not doubt this is only the first major step in total annihilation but it is a flawlessly driven and utterly monstrous first step which I believe is a staple of Canada’s current scene and should certainly be allowed to dominate with its full force.

This is one of the strongest debut albums I have heard in many years. Offering bestial black-death malice with warped and rather experimental ideas to unleash a beastly firestorm of pure morbid ecstasy. While still retaining the primitive savagery one would expect from war metal, the bass-focussed progressions that warp through the riffs open a whole new set of abyssal horrors to the genre that must be treated with caution. Those whom dare will be rewarded with an album of true magnificence.

Nattskog7



..::TRACK-LIST::..

1. Command Sacrifice 01:00
2. Primitive 05:11
3. Book of Black Blessings 05:13
4. The Throat of Belial 03:37
5. Hordes of Demons Feeding 05:59
6. The Void Staring Back 00:22
7. Hammer Throne 07:28
8. Seven Wells 08:08
9. Ceremonial Bloodbath 08:25
10. In the Depths 01:14



..::OBSADA::..

The Noctural Black - Bass, Vocals
Abysmal Berzerker - Guitars (lead)
Faceless Infinity - Guitars (rhythm), Vocals (lead)
Nuclear Hammer Throne - Drums




https://www.youtube.com/watch?v=OIgLQArkI5E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ci, którzy się odważą, zostaną nagrodzeni albumem pełnym prawdziwej wspaniałości!!!



Canadian blackened death metal mob Ceremonial Bloodbath unleashed a full length album to follow their two demos.

Haunting ambience starts out the record with chilling and despairing tension that truly feels foreboding without any remorse. Bestial riffs and tornados of blastbeats fire us into oblivion with a staunch and scathing instrumental storm topped by visceral vocals that snarl amongst the murky onslaught. The ravenous rampage of death-worshipping violence hits hard with an impactful slab of war metal style barbarity and blasphemy, dealing demonic and unhinged energies without respite. There are some clunkier bass-drive lines akin to Mylingar and Abyssal that add such void-opening sparseness to the fearsome record, this is truly an astonishingly unpleasant listen with such claustrophobia from the doomy creeping sections to the blistering cascades of brutality. Conqueror style grooves complete with pick slides further delve into the chasm of extremity as the contorting bass lines and relentless drums add dystopian atmospherics to the bellowed cacophony of torment. An impeccable first impression.

Swirling in the ethereal realms of monolithic guitar and bass work, stampeding drums and totally hateful vocals, this disdaining record has all the Canadian / Finnish style war metal viscera while adding an expansive and otherworldly touch to the music which is more spectral than one would expect. Distorting and warping their ideas into convulsive territories, one cannot predict what will occur next on this inarguably unique opus, defining volatility as they storm forth. The pure scornful malice of this music should be enough to win over any extreme metal fans with the guts to meditate in the abyss with the lurking monstrosities these guys conjure to fruition. This is certainly one of the most violent and psychotic releases of recent memory with a formidably memorable and destructive approach to extreme metal that is as eerily atmospheric as it is bestial and feral, a ferocious combination executed gloriously. The seething dissonance only becomes more tense, so be prepared to falter before these mighty strikes and bathe in the magnificent radiance of the smouldering scourge.

With a running time of 47 minutes, this is rather long for its style. Thankfully it does not become remotely monotonous due to a sparse, dizzying array of pulverising instrumental abuse. Culminating in a dense and multi-faceted slice of occultist excellence, the revamped and unforgiving Black-Death malignancy of Ceremonial Bloodbath blends the classic war metal we know and love with modern death-doom and plenty of their own deranged ideas to add an impeccable characteristic to the album that will not be found elsewhere quite like this. The instrumental skill on these pieces is fearsome while never feeling obnoxious or showy, choosing to utilise these skills for only the most macabre and intensely disturbing soundscapes. I do not doubt this is only the first major step in total annihilation but it is a flawlessly driven and utterly monstrous first step which I believe is a staple of Canada’s current scene and should certainly be allowed to dominate with its full force.

This is one of the strongest debut albums I have heard in many years. Offering bestial black-death malice with warped and rather experimental ideas to unleash a beastly firestorm of pure morbid ecstasy. While still retaining the primitive savagery one would expect from war metal, the bass-focussed progressions that warp through the riffs open a whole new set of abyssal horrors to the genre that must be treated with caution. Those whom dare will be rewarded with an album of true magnificence.

Nattskog7



..::TRACK-LIST::..

1. Command Sacrifice 01:00
2. Primitive 05:11
3. Book of Black Blessings 05:13
4. The Throat of Belial 03:37
5. Hordes of Demons Feeding 05:59
6. The Void Staring Back 00:22
7. Hammer Throne 07:28
8. Seven Wells 08:08
9. Ceremonial Bloodbath 08:25
10. In the Depths 01:14



..::OBSADA::..

The Noctural Black - Bass, Vocals
Abysmal Berzerker - Guitars (lead)
Faceless Infinity - Guitars (rhythm), Vocals (lead)
Nuclear Hammer Throne - Drums




https://www.youtube.com/watch?v=OIgLQArkI5E



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Reedycja czwartej dużej płyty z 1998 roku legendy szwedzkiego death metalu!!!



..::TRACK-LIST::..

1. Embraced by Moonlight 06:11
2. Resurrected 04:28
3. Summon the Golden Twilight 05:44
4. The Beauty of Malice 04:18
5. Under the Guillotine (Kreator cover) 04:29
6. Through Celestial Gates 05:21
7. Molested 03:57
8. In the Arch of Serenity 05:46



..::OBSADA::..

Martin Schulman - Bass, Drum programming
Andreas Evaldsson - Guitars (lead, rhythm)
Mattias Lamppu - Vocals
Kenneth Wiklund Guitars - (lead, rhythm, acoustic)
Kalimaa - Drums




https://www.youtube.com/watch?v=fb0oPGZwpQM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Reedycja czwartej dużej płyty z 1998 roku legendy szwedzkiego death metalu!!!



..::TRACK-LIST::..

1. Embraced by Moonlight 06:11
2. Resurrected 04:28
3. Summon the Golden Twilight 05:44
4. The Beauty of Malice 04:18
5. Under the Guillotine (Kreator cover) 04:29
6. Through Celestial Gates 05:21
7. Molested 03:57
8. In the Arch of Serenity 05:46



..::OBSADA::..

Martin Schulman - Bass, Drum programming
Andreas Evaldsson - Guitars (lead, rhythm)
Mattias Lamppu - Vocals
Kenneth Wiklund Guitars - (lead, rhythm, acoustic)
Kalimaa - Drums




https://www.youtube.com/watch?v=fb0oPGZwpQM



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