...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Druga duża płyta hiszpaskiego zespołu grind/deathmetalowego w stylu NAPALM DEATH, MASTIC SCUM, wczesnego PUNGENT STENCH.
Na perkusji gość z LOOKING FOR AN ANSWER!



..::TRACK-LIST::..

1. Intro
2. Spittle
3. El Nihilista
4. Rebirth
5. Celebrating Failures
6. Sweet Death
7. Unearthing
8. Wake Up The Decapitated
9. Endocrinic Philosophy
10. Satan Korps
11. One Minute Of Noise
12. Suffer The Children (Napalm Death cover)



..::OBSADA::..

Ernesto - voc, g
Alfredo - g
Felipe - voc
Gon - bg
Makoko - dr



https://www.youtube.com/watch?v=-3lw5XB8GZQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Druga duża płyta hiszpaskiego zespołu grind/deathmetalowego w stylu NAPALM DEATH, MASTIC SCUM, wczesnego PUNGENT STENCH.
Na perkusji gość z LOOKING FOR AN ANSWER!



..::TRACK-LIST::..

1. Intro
2. Spittle
3. El Nihilista
4. Rebirth
5. Celebrating Failures
6. Sweet Death
7. Unearthing
8. Wake Up The Decapitated
9. Endocrinic Philosophy
10. Satan Korps
11. One Minute Of Noise
12. Suffer The Children (Napalm Death cover)



..::OBSADA::..

Ernesto - voc, g
Alfredo - g
Felipe - voc
Gon - bg
Makoko - dr



https://www.youtube.com/watch?v=-3lw5XB8GZQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Drugi album legendarnej ekipy z Teksasu! Powrót po dwunastu długich latach z 10 nowymi utworami! Brutalny Texas Death Metal!!!



..::TRACK-LIST::..

1. Human Disposal Syndicate 03:23
2. Searching Through The Carcass Of A Hooker 03:53
3. A Hopeless Concentration Of Carnal Misery 03:51
4. The Evil That Men Do 03:40
5. Children Of The Abyss 03:24
6. Prosthetic 03:05
7. Mongolian Death Worm 03:09
8. A Beast In The Field 03:40
9. Torn Apart By Wolves 03:36
10. Goats Go To Hell 04:15



..::OBSADA::..

Vocals - Chase Nunn
Bass - John Trammell
Drums - Anthony Walker
Guitar - Bob Vanover III
Lead Guitar - Carlos Casillas




https://www.youtube.com/watch?v=FJQEurj1Mew



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Drugi album legendarnej ekipy z Teksasu! Powrót po dwunastu długich latach z 10 nowymi utworami! Brutalny Texas Death Metal!!!



..::TRACK-LIST::..

1. Human Disposal Syndicate 03:23
2. Searching Through The Carcass Of A Hooker 03:53
3. A Hopeless Concentration Of Carnal Misery 03:51
4. The Evil That Men Do 03:40
5. Children Of The Abyss 03:24
6. Prosthetic 03:05
7. Mongolian Death Worm 03:09
8. A Beast In The Field 03:40
9. Torn Apart By Wolves 03:36
10. Goats Go To Hell 04:15



..::OBSADA::..

Vocals - Chase Nunn
Bass - John Trammell
Drums - Anthony Walker
Guitar - Bob Vanover III
Lead Guitar - Carlos Casillas




https://www.youtube.com/watch?v=FJQEurj1Mew



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grindcore z Archangielska w Rosji. „Graves of Ice” to koncept-album, który nawiązuje do powieści Dana Simmonsa „Terror”. Zabójcza mieszanka grindcore i death metalu dla fanów NAPALM DEATH i NASUM!



Tuunbaq isn't only a grindcore trio hailing from Arkhangelsk in Russia but also a monstrous spirit bear in Inuit mythology. Album title Graves of Ice and the cover artwork depicting private marine William Braine from HMS Erebus are obvious allusions to the ill-fated Franklin expedition to find the legendary Northwest Passage in the mid-nineteenth century. American author Dan Simmons wrote a novel of epic proportions entitled The Terror about what might have happened to the two ships twelve years ago. The novel was transformed into a stunning television series that was released in ten gripping episodes last year. A second season followed this year but is unrelated to the novel and its settings. This subject has also been quite popular over the past few years since HMS Erebus was finally found in Queen Maud Golf five years ago while HMS Terror was found in Terror Bay three years ago. Numerous exhibitions about the expedition can be found in numerous Canadian cities. I have seen information about it at the Museum of Vancouver, the Manitoba Museum in Winnipeg, the Canadian Museum of History in Gatineau and Maritime Museum of the Atlantic in Halifax. I'm glad to see that the complex story of the ill-fated expedition continues to inspire people around the world and Tuunbaq's Graves of Ice is a wonderful example for this.

This record is much more than a grindcore record since it includes brutal death elements but also funeral doom moments and a few atmospheric ambient transitions. The record's vibe is menacing, mysterious and oppressive which suits the grim topic particularly well. The songs convince with gripping riffs, variable rhythm section and raw, haunted and desperate harsh vocals. This style brings the horrors experienced in the Great White North to life in an almost cinematic fashion. The tracks never overstay their welcome and clock in at just above two minutes on average.

''Terror Takes Shapes'' convinces with brutal eruptions followed by gloomy breakdowns that visualize the horrors the crews of the two ships faced one and a half centuries ago.

''White Man'' however is on the atmospheric side with slow and plodding riffs evoking bleak uneasiness before the song erupts into a pitiless grindcore tune.

''Carnival Blood'' is so slow and discordant that it sends shivers down the spine and the stoic drum play and thunderous bass sounds stand out in particular.

The closing ''Last Letter'' clocks in at an impressive five and a half minutes and summarizes the previous ten songs and their unique stylistics cleverly. If you only want to listen to one single track to make up your mind about the quality of this release, this outstanding highlight should be your first choice. This song is one of the most atmospheric, creative and detailed grindcore tracks ever performed.

The story of the ill-fated Franklin Expedition has intrigued people for nearly two hundred years and many conclusion will still unfold, many mysteries shall be uncovered and numerous questions still need to be answered. I'm eager to discover more documentaries, exhibits or works of fiction regarding this fascinating topic. Tuunbaq's Graves of Ice is a highlight in the latter category and convinces with atmosphere, grit and inspiration. It's certainly one of the most creative grindcore records I have ever listened to and you should give it a chance.

kluseba



..::TRACK-LIST::..

1. Captain 01:53
2. Terror Takes Shapes 01:46
3. Crew 01:51
4. White Man 02:06
5. Tuunbaq 01:31
6. Blind 01:35
7. Carnival In Blood 02:16
8. Lady Silent 00:36
9. Traitor 01:58
10. Heart Of The Northern Darkness 02:28
11. Last Letter 05:28

Bonus Tracks:
12. Souleaters 02:00
13. In Drink We Grind 00:55
14. Mommy, Can I Go Out And Kill Tonight (Misfits cover) 01:42



..::OBSADA::..

Andrey Borau - Bass
Andrey Jurgen - Guitars
Andrey Rusty - Vocals



https://www.youtube.com/watch?v=V3TYtweiF-w


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Grindcore z Archangielska w Rosji. „Graves of Ice” to koncept-album, który nawiązuje do powieści Dana Simmonsa „Terror”. Zabójcza mieszanka grindcore i death metalu dla fanów NAPALM DEATH i NASUM!



Tuunbaq isn't only a grindcore trio hailing from Arkhangelsk in Russia but also a monstrous spirit bear in Inuit mythology. Album title Graves of Ice and the cover artwork depicting private marine William Braine from HMS Erebus are obvious allusions to the ill-fated Franklin expedition to find the legendary Northwest Passage in the mid-nineteenth century. American author Dan Simmons wrote a novel of epic proportions entitled The Terror about what might have happened to the two ships twelve years ago. The novel was transformed into a stunning television series that was released in ten gripping episodes last year. A second season followed this year but is unrelated to the novel and its settings. This subject has also been quite popular over the past few years since HMS Erebus was finally found in Queen Maud Golf five years ago while HMS Terror was found in Terror Bay three years ago. Numerous exhibitions about the expedition can be found in numerous Canadian cities. I have seen information about it at the Museum of Vancouver, the Manitoba Museum in Winnipeg, the Canadian Museum of History in Gatineau and Maritime Museum of the Atlantic in Halifax. I'm glad to see that the complex story of the ill-fated expedition continues to inspire people around the world and Tuunbaq's Graves of Ice is a wonderful example for this.

This record is much more than a grindcore record since it includes brutal death elements but also funeral doom moments and a few atmospheric ambient transitions. The record's vibe is menacing, mysterious and oppressive which suits the grim topic particularly well. The songs convince with gripping riffs, variable rhythm section and raw, haunted and desperate harsh vocals. This style brings the horrors experienced in the Great White North to life in an almost cinematic fashion. The tracks never overstay their welcome and clock in at just above two minutes on average.

''Terror Takes Shapes'' convinces with brutal eruptions followed by gloomy breakdowns that visualize the horrors the crews of the two ships faced one and a half centuries ago.

''White Man'' however is on the atmospheric side with slow and plodding riffs evoking bleak uneasiness before the song erupts into a pitiless grindcore tune.

''Carnival Blood'' is so slow and discordant that it sends shivers down the spine and the stoic drum play and thunderous bass sounds stand out in particular.

The closing ''Last Letter'' clocks in at an impressive five and a half minutes and summarizes the previous ten songs and their unique stylistics cleverly. If you only want to listen to one single track to make up your mind about the quality of this release, this outstanding highlight should be your first choice. This song is one of the most atmospheric, creative and detailed grindcore tracks ever performed.

The story of the ill-fated Franklin Expedition has intrigued people for nearly two hundred years and many conclusion will still unfold, many mysteries shall be uncovered and numerous questions still need to be answered. I'm eager to discover more documentaries, exhibits or works of fiction regarding this fascinating topic. Tuunbaq's Graves of Ice is a highlight in the latter category and convinces with atmosphere, grit and inspiration. It's certainly one of the most creative grindcore records I have ever listened to and you should give it a chance.

kluseba



..::TRACK-LIST::..

1. Captain 01:53
2. Terror Takes Shapes 01:46
3. Crew 01:51
4. White Man 02:06
5. Tuunbaq 01:31
6. Blind 01:35
7. Carnival In Blood 02:16
8. Lady Silent 00:36
9. Traitor 01:58
10. Heart Of The Northern Darkness 02:28
11. Last Letter 05:28

Bonus Tracks:
12. Souleaters 02:00
13. In Drink We Grind 00:55
14. Mommy, Can I Go Out And Kill Tonight (Misfits cover) 01:42



..::OBSADA::..

Andrey Borau - Bass
Andrey Jurgen - Guitars
Andrey Rusty - Vocals



https://www.youtube.com/watch?v=V3TYtweiF-w


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyny materiał brutalnej death-metalowej załogi z Puerto Rico w końcu doczekał się reedycji.

Cóż, określenie 'perełka' może być nieco na wyrost, ale 'Drifting To The Impaled' to EP-ka, która powinna zadowolić każdego miłośnika dobrego, staromodnego death metalu ze słabością do wczesnego MORBID ANGEL.

ENCRYPTED zdecydowanie nie jest kopią. Mieszają w sobie elementy grindu (ktoś słyszał TERRORIZER?), ogólne wpływy amerykańskiej sceny death-metalowej, a nawet odrobinę klasycznego metalu. Tak podane piwo smakuje wyśmienicie i ma też urocze, undergroundowe brzmienie.



..::TRACK-LIST::..

1. Anguish Of The Crucified 03:59
2. Drifting To The Impaled 02:13
3. Dawn Of Grief 04:30
4. Lair Of Damnation 04:16
5. Slowly They Gather (Instrumental) 03:12
6. Sin My Soul 02:39



..::OBSADA::..

Anthony Nieves - Bass
Jay Collazo - Vocals
Robert Santos - Drums
Freddy Figueroa - Guitars




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyny materiał brutalnej death-metalowej załogi z Puerto Rico w końcu doczekał się reedycji.

Cóż, określenie 'perełka' może być nieco na wyrost, ale 'Drifting To The Impaled' to EP-ka, która powinna zadowolić każdego miłośnika dobrego, staromodnego death metalu ze słabością do wczesnego MORBID ANGEL.

ENCRYPTED zdecydowanie nie jest kopią. Mieszają w sobie elementy grindu (ktoś słyszał TERRORIZER?), ogólne wpływy amerykańskiej sceny death-metalowej, a nawet odrobinę klasycznego metalu. Tak podane piwo smakuje wyśmienicie i ma też urocze, undergroundowe brzmienie.



..::TRACK-LIST::..

1. Anguish Of The Crucified 03:59
2. Drifting To The Impaled 02:13
3. Dawn Of Grief 04:30
4. Lair Of Damnation 04:16
5. Slowly They Gather (Instrumental) 03:12
6. Sin My Soul 02:39



..::OBSADA::..

Anthony Nieves - Bass
Jay Collazo - Vocals
Robert Santos - Drums
Freddy Figueroa - Guitars




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI




Zanurz się w otchłani ludzkiej degradacji.
Powrót do okrutnych, zwierzęcych, prymitywnych korzeni cywilizacji...



..::TRACK-LIST::..

1. Killer Resting Vehemently 02:02
2. Millennial Massacre Of Thoughts 03:27
3. Resounding Сollapse 03:14
4. Supremacy Of Cannibal Victims 03:34
5. Propagation Of Hallucinogen Tumors 01:33
6. Silent Control Breathing It 01:48
7. The Deception Conspiring 03:03
8. Pussy Grinder 01:25
9. Bad Taste 01:55
10. Nervous Implosion Of The Sick 02:07
11. Sentenciado A La Pudricion (Pudricion Vil cover) 02:59
12. Drowned In Agony 03:19



..::OBSADA::..

Mario - Guitars
Damian Coronel - Vocals
Kanamith - Drums
Christian Vierling - Bass



https://www.youtube.com/watch?v=9XLanW8KM2Y



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI




Zanurz się w otchłani ludzkiej degradacji.
Powrót do okrutnych, zwierzęcych, prymitywnych korzeni cywilizacji...



..::TRACK-LIST::..

1. Killer Resting Vehemently 02:02
2. Millennial Massacre Of Thoughts 03:27
3. Resounding Сollapse 03:14
4. Supremacy Of Cannibal Victims 03:34
5. Propagation Of Hallucinogen Tumors 01:33
6. Silent Control Breathing It 01:48
7. The Deception Conspiring 03:03
8. Pussy Grinder 01:25
9. Bad Taste 01:55
10. Nervous Implosion Of The Sick 02:07
11. Sentenciado A La Pudricion (Pudricion Vil cover) 02:59
12. Drowned In Agony 03:19



..::OBSADA::..

Mario - Guitars
Damian Coronel - Vocals
Kanamith - Drums
Christian Vierling - Bass



https://www.youtube.com/watch?v=9XLanW8KM2Y



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem pozytywnie zaskoczony kierunkiem, jaki Cryptopsy obrało na 'An Insatiable Violence'. Powrót do korzeni zdecydowanie im się opłacił, mianowicie już dawno nie słyszałem w ich wykonaniu tak gorącej rzezi. Masa ciekawych patentów, subtelne smaczki muzyczne, potencjał bangerowy i długość sprawiają, że najnowszego rzemiosła Kanadyjczyków słucha się z przyjemnością. Jest to sygnał, że w przyszłości Cryptopsy zacznie wydawać kolejne płyty, którym nie narobi sobie wstydu, czego im właściwie życzę.



I bought the new Cryptopsy blindly, since both their previous album and the EPs that preceded it showed that the guys were in above-average form. But what I got on An Insatiable Violence exceeded my wildest expectations. Cryptopsy has created a death metal monster — an album that’s brutal, furious, and overwhelming; technically dazzling, compositionally breathtaking, and sonically stunning.

And just to be clear — this isn’t even my favorite kind of death metal. I’m most in love with old-school stuff: raw playing with a punky feel, Swedish melodies, Finnish darkness, crumbling rubble, the stench of rotting corpses wafting from decaying graves, and the crunch of shifting bones. The kind of music Cryptopsy plays is polished, mechanical, and insanely precise. But I’d have to be deaf not to appreciate An Insatiable Violence. The Canadians have delivered arguably the most jaw-dropping death metal record of the year — and one of the best in their entire discography.

The riffs crush, the rhythms enslave, and the technique and precision of each track inspire silent awe. The production is incredible — merciless and brutal, yet at the same time so clear, so selective, and so perfectly balanced that even in the most intense moments, it doesn’t dissolve into chaos. Instead, it throbs, pulses, and breathes like a living creature. Like Godzilla trampling a city — and as its ominous shadow falls over us, we hear its breath, its pounding heart, and the sweat dripping down its scaly skin. And when a solo tears into that merciless onslaught, the hairs stand up not only on my head but on my legs too.

Vocally, it’s also excellent. I was never much of a fan of Matt McGachy and secretly prayed to the Holy Virgin for Lord Worm’s return, but this time I have to bow my head and admit — Matt has never sounded this convincing. At times, when he spits out his lines fast, intensely, and mercilessly, I can’t help but think of George "Corpsegrinder" Fisher himself — a man with a throat wider than my shoulders.

I expected another solid Cryptopsy album — something that would entertain me for a few evenings before ending up on a shelf for an indefinite period. Instead, the Canadians return with a work that could give even the genre’s biggest giants an inferiority complex. They're throwing down a gauntlet so bold that, honestly, I don’t see anyone daring to pick it up. And the most wonderful thing is that I’m listening to this record for the sixth or seventh time now, and I still feel like I’m just at the threshold of this world. With every listen, with every hour I devote to it, this album continues to reveal more secrets, boundless riches, and sonic delights.

Maria Konopnicka


Let’s face it: Whether we like it or not, most metal bands that are past their prime tend towards a downward trajectory of songwriting skills, and, after about four or five albums, settle into empty shells of their eroded, former talents. Not so with Cryptopsy (and Immolation and a few other old masters). This is the band’s ninth full-length (or tenth, if you combine the two Book of Suffering EP’s into a single full-length), and they are as spirited, potent, and in-your-face aggressive as they have been since their debut. They refuse to be the beaten old dog of death metal and effortlessly bite the heads off of most young pups in the scene.

That’s not to say that An Insatiable Violence is effortless gunk, however. Au contraire, each member of the band has invested every inch and ounce of his hard-and-long-earned talent into writing, recording, mixing, and producing this masterpiece. The album wastes no time with vacuous, non-metal mood-setters and digs its rabid claws straight into the meat with The Nimis Adoration, which previews the aural assault your eardrums are about to be at the receiving end of for the next half-hour. Every riff, every strike of the snare drum, every melody, and every growl that follows is crafted with mathematical precision to create the maximum emotional pay-off for the Cryptopsy fan. There is both the classic Cryptopsy you are familiar with, and some experimental stuff they have gradually incorporated into their style in the last 20 years. What makes Cryptopsy special, at least to me, is that while several bands can match Cryptopsy on the technical front—no thanks to the flood of guitar nerds ruining the scene lately—not many can also pack the emotional density into each of the multiple layers of guitars, drums, and bass synergies as these artists do in this album. (I am barely done unpacking all of those layers for As Gomorrah Burns, and they drop another one?) And what’s more, in an era of metal bands eschewing guitar solos altogether, there are actually twin guitar solos in a few songs.

Despite being a brutal death metal band, Cryptopsy has shied away from writing overly violent or gory lyrics for much of their career, notwithstanding the decapitated head in one of their coverarts. The pattern isn’t broken here. An Insatiable Violence has lyrics that are both dark and highly relevant to the modern digital society: Nearly every song paints the tragic portrait of someone consumed by the need for external validation, pushing themselves to unsustainable extremes—physically, emotionally, existentially—to achieve a fleeting sense of momentary immortality (oxymoron much?) through exhibitionism. Take the Art of Emptiness, for example. This song is about someone who is already on the precipice of physical frailty, but still craves the high he/she gets from exhibiting himself/herself to the pack of peeking onlookers, until: “I cut back even further, the results were quite shocking; A little bit more each and every day; Which to my surprise only motivated their gawking.” The lyrics of other songs revolve around similar themes of social media voyeurism that borders on sadism, both from the perspectives of the addicted audience and the yet-more-addicted exhibitionists. (I read somewhere that the lyrics to one song was inspired by a dream vocalist Matt McGachy’s had one night.) The “violence” in the title of the album refers more to this type of psychological violence than a physical one: it’s self-destructive, compulsive, addictive…and insatiable.

A word about the production. Christian Donaldson, the multi-talented guitarist of Cryptopsy and the producer of this record, has been producing music since he was 15—what!—which gives him an experience of over 30 years in the production craft. He is familiar with every nook and cranny of Pro Tools, and leverages it to extract the best-sounding texture for each instrument that matches the mood and tone of the album. The end result, in my opinion, is the most well-produced death metal album I’ve heard this year. Seriously, a pair of good earphones and the volume knob dialed up—but not all the way up—gave me a kind of musical pleasure I never knew was possible!

In summary, I strongly recommend An Insatiable Violence to any long-time Cryptopsy fan. I’m utterly in awe that a band of this vintage can not only outperform other TBDM bands of recent times, but to a debatable extent outperform many of their own past records. In my ledger, this is the best death metal album of 2025 (although I am still curious about what Inferi, Demon King, and Psycroptic will churn out later in the year). I know it will keep me busy for some time ahead. I hope their upward trajectory continues into the future, and I wish Flo, Chris, Matt, and Olivier the very best for upcoming records.

Nuclear5641



..::TRACK-LIST::..

1. The Nimis Adoration 04:10
2. Until There's Nothing Left 03:58
3. Dead Eyes Replete 03:57
4. Fools Last Acclaim 03:25
5. The Art of Emptiness 04:15
6. Our Great Deception 04:20
7. Embrace the Nihility 03:50
8. Malicious Needs 05:51



..::OBSADA::..

Christian Donaldson - Guitars
Flo Mounier - Drums & Backing Vocals
Matt McGachy - Vocals
Oli Pinard - Bass

Guest Musicians:
Mike DiSalvo on the song 'Embrace the Nihility'




https://www.youtube.com/watch?v=wFWOsXUM2JE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem pozytywnie zaskoczony kierunkiem, jaki Cryptopsy obrało na 'An Insatiable Violence'. Powrót do korzeni zdecydowanie im się opłacił, mianowicie już dawno nie słyszałem w ich wykonaniu tak gorącej rzezi. Masa ciekawych patentów, subtelne smaczki muzyczne, potencjał bangerowy i długość sprawiają, że najnowszego rzemiosła Kanadyjczyków słucha się z przyjemnością. Jest to sygnał, że w przyszłości Cryptopsy zacznie wydawać kolejne płyty, którym nie narobi sobie wstydu, czego im właściwie życzę.



I bought the new Cryptopsy blindly, since both their previous album and the EPs that preceded it showed that the guys were in above-average form. But what I got on An Insatiable Violence exceeded my wildest expectations. Cryptopsy has created a death metal monster — an album that’s brutal, furious, and overwhelming; technically dazzling, compositionally breathtaking, and sonically stunning.

And just to be clear — this isn’t even my favorite kind of death metal. I’m most in love with old-school stuff: raw playing with a punky feel, Swedish melodies, Finnish darkness, crumbling rubble, the stench of rotting corpses wafting from decaying graves, and the crunch of shifting bones. The kind of music Cryptopsy plays is polished, mechanical, and insanely precise. But I’d have to be deaf not to appreciate An Insatiable Violence. The Canadians have delivered arguably the most jaw-dropping death metal record of the year — and one of the best in their entire discography.

The riffs crush, the rhythms enslave, and the technique and precision of each track inspire silent awe. The production is incredible — merciless and brutal, yet at the same time so clear, so selective, and so perfectly balanced that even in the most intense moments, it doesn’t dissolve into chaos. Instead, it throbs, pulses, and breathes like a living creature. Like Godzilla trampling a city — and as its ominous shadow falls over us, we hear its breath, its pounding heart, and the sweat dripping down its scaly skin. And when a solo tears into that merciless onslaught, the hairs stand up not only on my head but on my legs too.

Vocally, it’s also excellent. I was never much of a fan of Matt McGachy and secretly prayed to the Holy Virgin for Lord Worm’s return, but this time I have to bow my head and admit — Matt has never sounded this convincing. At times, when he spits out his lines fast, intensely, and mercilessly, I can’t help but think of George "Corpsegrinder" Fisher himself — a man with a throat wider than my shoulders.

I expected another solid Cryptopsy album — something that would entertain me for a few evenings before ending up on a shelf for an indefinite period. Instead, the Canadians return with a work that could give even the genre’s biggest giants an inferiority complex. They're throwing down a gauntlet so bold that, honestly, I don’t see anyone daring to pick it up. And the most wonderful thing is that I’m listening to this record for the sixth or seventh time now, and I still feel like I’m just at the threshold of this world. With every listen, with every hour I devote to it, this album continues to reveal more secrets, boundless riches, and sonic delights.

Maria Konopnicka


Let’s face it: Whether we like it or not, most metal bands that are past their prime tend towards a downward trajectory of songwriting skills, and, after about four or five albums, settle into empty shells of their eroded, former talents. Not so with Cryptopsy (and Immolation and a few other old masters). This is the band’s ninth full-length (or tenth, if you combine the two Book of Suffering EP’s into a single full-length), and they are as spirited, potent, and in-your-face aggressive as they have been since their debut. They refuse to be the beaten old dog of death metal and effortlessly bite the heads off of most young pups in the scene.

That’s not to say that An Insatiable Violence is effortless gunk, however. Au contraire, each member of the band has invested every inch and ounce of his hard-and-long-earned talent into writing, recording, mixing, and producing this masterpiece. The album wastes no time with vacuous, non-metal mood-setters and digs its rabid claws straight into the meat with The Nimis Adoration, which previews the aural assault your eardrums are about to be at the receiving end of for the next half-hour. Every riff, every strike of the snare drum, every melody, and every growl that follows is crafted with mathematical precision to create the maximum emotional pay-off for the Cryptopsy fan. There is both the classic Cryptopsy you are familiar with, and some experimental stuff they have gradually incorporated into their style in the last 20 years. What makes Cryptopsy special, at least to me, is that while several bands can match Cryptopsy on the technical front—no thanks to the flood of guitar nerds ruining the scene lately—not many can also pack the emotional density into each of the multiple layers of guitars, drums, and bass synergies as these artists do in this album. (I am barely done unpacking all of those layers for As Gomorrah Burns, and they drop another one?) And what’s more, in an era of metal bands eschewing guitar solos altogether, there are actually twin guitar solos in a few songs.

Despite being a brutal death metal band, Cryptopsy has shied away from writing overly violent or gory lyrics for much of their career, notwithstanding the decapitated head in one of their coverarts. The pattern isn’t broken here. An Insatiable Violence has lyrics that are both dark and highly relevant to the modern digital society: Nearly every song paints the tragic portrait of someone consumed by the need for external validation, pushing themselves to unsustainable extremes—physically, emotionally, existentially—to achieve a fleeting sense of momentary immortality (oxymoron much?) through exhibitionism. Take the Art of Emptiness, for example. This song is about someone who is already on the precipice of physical frailty, but still craves the high he/she gets from exhibiting himself/herself to the pack of peeking onlookers, until: “I cut back even further, the results were quite shocking; A little bit more each and every day; Which to my surprise only motivated their gawking.” The lyrics of other songs revolve around similar themes of social media voyeurism that borders on sadism, both from the perspectives of the addicted audience and the yet-more-addicted exhibitionists. (I read somewhere that the lyrics to one song was inspired by a dream vocalist Matt McGachy’s had one night.) The “violence” in the title of the album refers more to this type of psychological violence than a physical one: it’s self-destructive, compulsive, addictive…and insatiable.

A word about the production. Christian Donaldson, the multi-talented guitarist of Cryptopsy and the producer of this record, has been producing music since he was 15—what!—which gives him an experience of over 30 years in the production craft. He is familiar with every nook and cranny of Pro Tools, and leverages it to extract the best-sounding texture for each instrument that matches the mood and tone of the album. The end result, in my opinion, is the most well-produced death metal album I’ve heard this year. Seriously, a pair of good earphones and the volume knob dialed up—but not all the way up—gave me a kind of musical pleasure I never knew was possible!

In summary, I strongly recommend An Insatiable Violence to any long-time Cryptopsy fan. I’m utterly in awe that a band of this vintage can not only outperform other TBDM bands of recent times, but to a debatable extent outperform many of their own past records. In my ledger, this is the best death metal album of 2025 (although I am still curious about what Inferi, Demon King, and Psycroptic will churn out later in the year). I know it will keep me busy for some time ahead. I hope their upward trajectory continues into the future, and I wish Flo, Chris, Matt, and Olivier the very best for upcoming records.

Nuclear5641



..::TRACK-LIST::..

1. The Nimis Adoration 04:10
2. Until There's Nothing Left 03:58
3. Dead Eyes Replete 03:57
4. Fools Last Acclaim 03:25
5. The Art of Emptiness 04:15
6. Our Great Deception 04:20
7. Embrace the Nihility 03:50
8. Malicious Needs 05:51



..::OBSADA::..

Christian Donaldson - Guitars
Flo Mounier - Drums & Backing Vocals
Matt McGachy - Vocals
Oli Pinard - Bass

Guest Musicians:
Mike DiSalvo on the song 'Embrace the Nihility'




https://www.youtube.com/watch?v=wFWOsXUM2JE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album, który łączy w sobie melodyjność i atmosferę, progresywność i technikę. Słychać progresywne riffy The Faceless, marzycielskie brzmienie gitary prowadzącej w najbardziej eterycznych fragmentach Fallujah i techniczną brutalność Archspire, bez popadania w ich złożoność ani szaleńczy styl.
Ale można też usłyszeć bardziej jazzowe instrumentalne wyrafinowanie à la Cynic, dyskretne, ale efektowne syntezatory à la Equipoise i kilka ukrytych nut, przeważnie nastrojowego, a zarazem kosmicznego BM... Chyba Strigae, ale szczerze mówiąc, nie wiem dlaczego...

Potencjał w ich twórczości jest absolutny, wystarczy znaleźć sposób, by przekształcić ją w coś bardzo wyjątkowego...



French technical death metal band The Scalar Process have put together a sublime full length album imbibing everything great about the style and keeping a human element to not render it too mechanical. This is a highly flamboyant excursion into the realm, brought about with gusto and fervour, exploring various sinuous pathways and atmospheric passages, and leaving a lasting impression at the end of it all. Few albums can pull off this kind of poise and execution, straddling myriad moods and also not meandering long enough to lose momentum; the album remains suitably aggressive without losing the emotive value. This is for fans of bands such as Coexistence on the label, along with genre stalwarts such as The Zenith Passage, Beyond Creation, Archspire and more, upholding the standards and bringing their own to the table. The future is bright for this promising young band whose debut should go down as one of the finest in the genre in recent times.



..::TRACK-LIST::..

1. Elevation 02:03
2. Cosmic Flow 04:21
3. Ink Shadow 04:28
4. Celestial Existence 05:37
5. Mirror Cognition 03:43
6. Poisoned Fruit 05:11
7. Azimuth 04:15
8. Beyond The Veil Of Consciousness 05:09
9. Ouroboros 01:36
10. Coagulative Matter 11:05
11. Somnambulation 02:24



..::OBSADA::..

Eloi Nicod - Guitars, Composition
Mathieu Lefevre - Vocals
Clement Denys - Drums

Guest:
Clement Denys (FRACTAL UNIVERSE) - Session drums for the album
Scott Carstairs (FALLUJAH) - Guest Solo on Ink Shadow
Mark Garrett (KARDASHEV, VIRAEMIA) - Guest vocals on Mirror Cognition
Enlia - Female choirs on Azimuth
Tommy Bonnevialle (VIRULENT DEPRAVITY, DEATHAWAITS) - Guest piano solo on Coagulative Matter




https://www.youtube.com/watch?v=p74KMX9ccp4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Album, który łączy w sobie melodyjność i atmosferę, progresywność i technikę. Słychać progresywne riffy The Faceless, marzycielskie brzmienie gitary prowadzącej w najbardziej eterycznych fragmentach Fallujah i techniczną brutalność Archspire, bez popadania w ich złożoność ani szaleńczy styl.
Ale można też usłyszeć bardziej jazzowe instrumentalne wyrafinowanie à la Cynic, dyskretne, ale efektowne syntezatory à la Equipoise i kilka ukrytych nut, przeważnie nastrojowego, a zarazem kosmicznego BM... Chyba Strigae, ale szczerze mówiąc, nie wiem dlaczego...

Potencjał w ich twórczości jest absolutny, wystarczy znaleźć sposób, by przekształcić ją w coś bardzo wyjątkowego...



French technical death metal band The Scalar Process have put together a sublime full length album imbibing everything great about the style and keeping a human element to not render it too mechanical. This is a highly flamboyant excursion into the realm, brought about with gusto and fervour, exploring various sinuous pathways and atmospheric passages, and leaving a lasting impression at the end of it all. Few albums can pull off this kind of poise and execution, straddling myriad moods and also not meandering long enough to lose momentum; the album remains suitably aggressive without losing the emotive value. This is for fans of bands such as Coexistence on the label, along with genre stalwarts such as The Zenith Passage, Beyond Creation, Archspire and more, upholding the standards and bringing their own to the table. The future is bright for this promising young band whose debut should go down as one of the finest in the genre in recent times.



..::TRACK-LIST::..

1. Elevation 02:03
2. Cosmic Flow 04:21
3. Ink Shadow 04:28
4. Celestial Existence 05:37
5. Mirror Cognition 03:43
6. Poisoned Fruit 05:11
7. Azimuth 04:15
8. Beyond The Veil Of Consciousness 05:09
9. Ouroboros 01:36
10. Coagulative Matter 11:05
11. Somnambulation 02:24



..::OBSADA::..

Eloi Nicod - Guitars, Composition
Mathieu Lefevre - Vocals
Clement Denys - Drums

Guest:
Clement Denys (FRACTAL UNIVERSE) - Session drums for the album
Scott Carstairs (FALLUJAH) - Guest Solo on Ink Shadow
Mark Garrett (KARDASHEV, VIRAEMIA) - Guest vocals on Mirror Cognition
Enlia - Female choirs on Azimuth
Tommy Bonnevialle (VIRULENT DEPRAVITY, DEATHAWAITS) - Guest piano solo on Coagulative Matter




https://www.youtube.com/watch?v=p74KMX9ccp4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Meksykański gęsty i mroczny death metal...
Bardzo uczciwy debiut!



..::TRACK-LIST::..

1. Flies Upon Your Skin
2. Serenade in Laments
3. Spectral Procession
4. Bitter Soil
5. Through The Embalming
6. A Disfigurement Tale
7. Sulphur Rises
8. The 7th Casket
9. Human Veil



..::OBSADA::..

Akbal Alx - Bass
Vick Crusher - Drums
Horacio Sánchez - Guitars
Antonio Nolasco - Guitars, Vocals




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Meksykański gęsty i mroczny death metal...
Bardzo uczciwy debiut!



..::TRACK-LIST::..

1. Flies Upon Your Skin
2. Serenade in Laments
3. Spectral Procession
4. Bitter Soil
5. Through The Embalming
6. A Disfigurement Tale
7. Sulphur Rises
8. The 7th Casket
9. Human Veil



..::OBSADA::..

Akbal Alx - Bass
Vick Crusher - Drums
Horacio Sánchez - Guitars
Antonio Nolasco - Guitars, Vocals




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja jedynej dużej płyty kultowego zespołu z Rosji grającego techniczny death metal!



Back in the early-90’s, unlike nowadays when every fifth worthy death metal outfit hails from Russia, the Russian metal scene didn’t seem very welcoming to the up-and-coming death metal fraternity. Korrozia Metalla and D.I.V. had their ventures into the more brutal, proto-deathy side of the genre at some stage, but it wasn’t until Graveside’s monumental “Sinful Accession” (1993) that Russia recognized the power of death. Death Vomit were next with their twisted, but utterly compelling, self-titled opus, closely followed by Necrocannibal with the excellent cavernous saga “Somnambulifornic Possession” (1994), before a trio of highly accomplished technical death metal outfits graced the field a year later, and completed the cycle: Hieronymus Bosch, Sieged Mind, and Succubus. Of those three it was only the latter who remained a one-album-wonder leaving the work reviewed here a milestone in the development of the genre on Russian ground.

Succubus can rightfully be considered one of the first death metal formations in Russia their first demo “Eternal Mutation” dating back from 1991. However, their beginnings were pretty humble containing some really sloppy, unrehearsed, noisy stuff high on brutality and very low on musicianship. However, the band acquired two prominent representatives of the metal arena later: the guitar player Vladimir Blesnov from the thrashers Zhelezny Potok, and above all the drummer Vasiliy Kazurov, a recognized authority on the Russian metal horizon with participations in a fair number of big Russian metal bands like the previously mentioned D.I.V. and Korrozia Metalla, but also Manic Depression, Empire Rising, etc.

With a line-up like this there was no delaying the release of their only full-length which hit the stores at roughly the same time as the debuts of the other two auteurs. The guys show a penchant for infectious, memorable melodies from the very beginning with the opening “Dark Ages” which is a dark atmospheric creeper with intricate arrangements and great melodic leads. The darkness becomes even deeper on “Shadows of the Past” which shreds with an inordinate amount of technicality before more dramatic accumulations settle in the middle bringing memories of Nocturnus’ glorious debut “The Key”; more stupendous technical passages follow suit in the second half as well as the obligatory lead sections. Time for meditation with the quiet ambient instrumental “Epitaph” before the title-track enters with another vortex of superb technical riffage and dark foreboding dramatism recalling the future exploits of acts like Theory in Practice and Misanthrope; watch out for the gorgeous lead-driven melodies later and more spiral-like intricacy as a finishing touch. A short, piano-driven instrumental (“Ambez Castle”) closes the first chapter from this addictive, dark gothic fairy tale.

More tales coming with “Tales”, a schizoid, super-technical deathster which unleashes the superb leads earlier this time with more prominent participation of the bass and really scary vocal performance, the regular deathy shouter now turning to some hellish black-ish screeches pitching it a bit higher. Expect quite a few stars to fall down on “Stars are Falling Down”, another nice orchestral instrumental; but things get back on track on “Liar” which unleashes the next in line pleiad of psychotic rifforamas keeping the proceedings within the stomping mid-tempo. “Secret Face... sorry, Name” speeds up admirably recalling mid-period Death with virtuoso leads floating around amidst jarring rhythmic patterns and soaring melodic tunes; a more than worthy epitaph to this exquisite saga which is actually wrapped on by the quiet atmospheric instrumentalism “Winter Saga”, the guys obviously enamored with these mellow interludes which are actually fairly effective in establishing the requisite cold dark atmosphere.

An overall marvellous recording we have here, putting all that’s outstanding technical death metal on the table. Even after all these years, with Russia supplying some of the finest death metal in the new millennium, it’s hard to name a better entry into the death metal catalogue. One may argue that Hieronymus Bosch’s labyrinthine, more elaborate excursions deserve bigger attention as well as the ones composed by more serious, progressive-inclined, outfits like Grace Disgraced, Funeral Speech, and Beheaded Zombie, to give a few notable examples; but having in mind a concise, digested outburst of genius contained within slightly above half an hour, summing up all that immaculately executed technical death metal stands for, this effort simply has no rivals, and not only in Russia. Some may complain about the frequent quiet breaks inserted at will, but it would be hard to imagine them isolated from the interconnected tapestry that this album represents, and in the long run they do create a peaceful symbiosis with the metallic parts, even enhancing their impact, if you like, by providing the desirable calm before the storm: how can you feel the storm’s real rage if there’s no calm before it.

Like the father of death metal Mr. Chuck Schuldiner (R.I.P.) said so well “Destiny is what we all seek”… Well, we have found it here, and the whole genre’s destiny has been quite bright with this album as a guiding light all these years. And, as a finale, here is a secret revealed, at least to those who haven’t already done their own research into the band’s history: the frontman turns to be a frontwoman, operating under the alias Succubus (of course!), the real name Svetlana Karlikova-Shigal. The succubus within her has been lying dormant for quite some time… rest assured that another rise of the demon is inevitable (according to various myths and legends, it can’t be put to sleep for good), and another chapter of Russian folklore is about to be assembled sooner or later, traditionally wrapped in a lustrous cover of technical death metal wizardry.

Bayern



..::TRACK-LIST::..

1. Only Emptiness... / Dark Ages 4:50
2. Shadows Of Past 4:10
3. Epitaph 2:42
4. Destiny 5:49
5. Amber Castle 1:45
6. Tales (Black Chroniecles) 3:31
7. The Stars Are Falling Down (A Vision From The Cristal Void) 2:34
8. Liar 3:20
9. Secret Name / Winter Saga 7:55

Bonus Tracks:
10. Epitaph 2:43
11. Winter Saga 2:35



..::OBSADA::..

Vasily Kazurov - drums
Svetlana Karlikova - guitars, songwriting
Boris Tsarev - bass
Volodia Blesnov - guitars
Eddi Erikson - vocals, lyrics




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Reedycja jedynej dużej płyty kultowego zespołu z Rosji grającego techniczny death metal!



Back in the early-90’s, unlike nowadays when every fifth worthy death metal outfit hails from Russia, the Russian metal scene didn’t seem very welcoming to the up-and-coming death metal fraternity. Korrozia Metalla and D.I.V. had their ventures into the more brutal, proto-deathy side of the genre at some stage, but it wasn’t until Graveside’s monumental “Sinful Accession” (1993) that Russia recognized the power of death. Death Vomit were next with their twisted, but utterly compelling, self-titled opus, closely followed by Necrocannibal with the excellent cavernous saga “Somnambulifornic Possession” (1994), before a trio of highly accomplished technical death metal outfits graced the field a year later, and completed the cycle: Hieronymus Bosch, Sieged Mind, and Succubus. Of those three it was only the latter who remained a one-album-wonder leaving the work reviewed here a milestone in the development of the genre on Russian ground.

Succubus can rightfully be considered one of the first death metal formations in Russia their first demo “Eternal Mutation” dating back from 1991. However, their beginnings were pretty humble containing some really sloppy, unrehearsed, noisy stuff high on brutality and very low on musicianship. However, the band acquired two prominent representatives of the metal arena later: the guitar player Vladimir Blesnov from the thrashers Zhelezny Potok, and above all the drummer Vasiliy Kazurov, a recognized authority on the Russian metal horizon with participations in a fair number of big Russian metal bands like the previously mentioned D.I.V. and Korrozia Metalla, but also Manic Depression, Empire Rising, etc.

With a line-up like this there was no delaying the release of their only full-length which hit the stores at roughly the same time as the debuts of the other two auteurs. The guys show a penchant for infectious, memorable melodies from the very beginning with the opening “Dark Ages” which is a dark atmospheric creeper with intricate arrangements and great melodic leads. The darkness becomes even deeper on “Shadows of the Past” which shreds with an inordinate amount of technicality before more dramatic accumulations settle in the middle bringing memories of Nocturnus’ glorious debut “The Key”; more stupendous technical passages follow suit in the second half as well as the obligatory lead sections. Time for meditation with the quiet ambient instrumental “Epitaph” before the title-track enters with another vortex of superb technical riffage and dark foreboding dramatism recalling the future exploits of acts like Theory in Practice and Misanthrope; watch out for the gorgeous lead-driven melodies later and more spiral-like intricacy as a finishing touch. A short, piano-driven instrumental (“Ambez Castle”) closes the first chapter from this addictive, dark gothic fairy tale.

More tales coming with “Tales”, a schizoid, super-technical deathster which unleashes the superb leads earlier this time with more prominent participation of the bass and really scary vocal performance, the regular deathy shouter now turning to some hellish black-ish screeches pitching it a bit higher. Expect quite a few stars to fall down on “Stars are Falling Down”, another nice orchestral instrumental; but things get back on track on “Liar” which unleashes the next in line pleiad of psychotic rifforamas keeping the proceedings within the stomping mid-tempo. “Secret Face... sorry, Name” speeds up admirably recalling mid-period Death with virtuoso leads floating around amidst jarring rhythmic patterns and soaring melodic tunes; a more than worthy epitaph to this exquisite saga which is actually wrapped on by the quiet atmospheric instrumentalism “Winter Saga”, the guys obviously enamored with these mellow interludes which are actually fairly effective in establishing the requisite cold dark atmosphere.

An overall marvellous recording we have here, putting all that’s outstanding technical death metal on the table. Even after all these years, with Russia supplying some of the finest death metal in the new millennium, it’s hard to name a better entry into the death metal catalogue. One may argue that Hieronymus Bosch’s labyrinthine, more elaborate excursions deserve bigger attention as well as the ones composed by more serious, progressive-inclined, outfits like Grace Disgraced, Funeral Speech, and Beheaded Zombie, to give a few notable examples; but having in mind a concise, digested outburst of genius contained within slightly above half an hour, summing up all that immaculately executed technical death metal stands for, this effort simply has no rivals, and not only in Russia. Some may complain about the frequent quiet breaks inserted at will, but it would be hard to imagine them isolated from the interconnected tapestry that this album represents, and in the long run they do create a peaceful symbiosis with the metallic parts, even enhancing their impact, if you like, by providing the desirable calm before the storm: how can you feel the storm’s real rage if there’s no calm before it.

Like the father of death metal Mr. Chuck Schuldiner (R.I.P.) said so well “Destiny is what we all seek”… Well, we have found it here, and the whole genre’s destiny has been quite bright with this album as a guiding light all these years. And, as a finale, here is a secret revealed, at least to those who haven’t already done their own research into the band’s history: the frontman turns to be a frontwoman, operating under the alias Succubus (of course!), the real name Svetlana Karlikova-Shigal. The succubus within her has been lying dormant for quite some time… rest assured that another rise of the demon is inevitable (according to various myths and legends, it can’t be put to sleep for good), and another chapter of Russian folklore is about to be assembled sooner or later, traditionally wrapped in a lustrous cover of technical death metal wizardry.

Bayern



..::TRACK-LIST::..

1. Only Emptiness... / Dark Ages 4:50
2. Shadows Of Past 4:10
3. Epitaph 2:42
4. Destiny 5:49
5. Amber Castle 1:45
6. Tales (Black Chroniecles) 3:31
7. The Stars Are Falling Down (A Vision From The Cristal Void) 2:34
8. Liar 3:20
9. Secret Name / Winter Saga 7:55

Bonus Tracks:
10. Epitaph 2:43
11. Winter Saga 2:35



..::OBSADA::..

Vasily Kazurov - drums
Svetlana Karlikova - guitars, songwriting
Boris Tsarev - bass
Volodia Blesnov - guitars
Eddi Erikson - vocals, lyrics




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Jedyny duży album z 1997 roku, deathmetalowej załogi z Kentucky. Jako bonus dodana została epka 'Among the Dead' z 2013 roku.



..::TRACK-LIST::..

1. Left To Die 03:49
2. Regret 02:34
3. Diversions 03:46
4. Deceived 03:04
5. In Doubt 05:25
6. Black Death 02:52
7. So Called Unity 03:55
8. Faith 03:21
9. The Will 02:54
10. Dwell In 03:51
11. One Living God 04:25
12. Elimination 03:02
13. Get Behind Me 01:17

Bonus Tracks: 'Among The Dead' 2013, EP
14. Intro 01:02
15. King Of Tyre 03:19
16. Among The Dead 02:51
17. Chilling Fear 03:47
18. Open Mind, Straight To Hell 03:11



..::OBSADA::..

Jeff Hoskins - Drums
Joe Cox - Guitars
Kirk Jones - Guitars
Michael Maddox - Vocals



https://www.youtube.com/watch?v=7z35i3OmGNs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja 2025. Druga duża płyta z 1994 roku weteranów z Chicago. Cholernie ciężki, nisko-strojony amerykański death/doom metal. Reedycja zawiera dwa niepublikowane wcześniej utwory oraz '93 demo 'Kills'.

Bez wątpienia mistrzowie, walcowanego na zimno metalu śmierci. Dwie pierwsze płyty Amerykańców, to dzieła niemalże absolutne...



Cianide are cool as shit. Though their career could be described as having an overall trend toward faster, more death metallish material and away from the crawling death/doom of their earlier career, the change is pretty damn subtle and all of their material is clearly identifiable as work by the Chicago masters of all that is heavy. I've also really gotta hand it to these guys: they've trucked on for 25 years now without ever really getting the praise they deserve. Hell, I even remember reading some forum-goer a few years back say that he loved The Dying Truth but assumed Cianide were one of those one-and-done bands who released one classic album then disappeared into the nether. He was shocked to find out that they've been slowly but steadily pumping out bone-crunching death metal goodness this whole time. Mike and Scott seem like really cool dudes, which I suppose you'd have to be to stick around for this long playing this sort of stuff without as much appreciation as you deserve.

A Descent into Hell serves as the logical followup to their massive debut. Things are even heavier than before this time around, with a gigantic, bassy as fuck guitar tone. It's almost comically heavy; check out the intro to “The Luciferian Twilight”. Most death/doom bands would kill for a mix as heavy as that, and then the actual bass comes in and takes things to whole new extremes of thunderous. The riffs, as always, are about as simple as you get. They're all extremely basic, primitive powerchord affairs, without the flashy technicality of things as advanced as “tremolo riffs” of their later career. Seriously, this band makes Asphyx sound like Origin. At the same time, the riffs still have a whole lot more going on than the even-slower material by contemporaries Winter, who were even more basic and funereal in their approach.

The band's knack for writing absolutely killer dead-simple death/doom riffs is made even more apparent the few times they deviate from their formula. The opening riff to “Beyond the Fallen Horizon” has more notes than I've got fingers, and that's just too damn many for Cianide. I suppose it was an attempt at being a little more “progressive” than their usual material, but the riff just sort of meanders and isn't exactly one of their better compositions. All's not lost, though, because the rest of the song is pretty good. Songs like “Darkness” are so effortlessly cool that they probably single-handedly spawned Coffins' entire career. The most tech song here is the brief “Death Dealer”, which features actual blastbeats! Album closing monstrosity “Mountains in Thunder” couldn't have been more aptly named, closing with some rad Godzilla samples after one of the album's better tracks.

Speaking of whom, Uchino clearly took a few notes (well, maybe THE note) from the Mike Perun vocal playbook. He uses a deep, rasping, roaring growl that sometimes receives more blackened support from guitarist Scott Carroll, although not as frequently or prominently as on some other Cianide albums. I can't really imagine any other vocal approach working for this, though, as Perun's measured pace and guttural bellows are pretty much the exact vocal equivalent of the band's chugging, pounding guitar riffs.

Drummer Jeff Kabela might be the only weak link on A Descent into Hell. He pretty much uses the exact same plodding style he used throughout The Dying Truth, but his inability (or unwillingness) to do much deviation from the basic beats leaves something to be desired in this slightly faster (on average) material. The switch to the more capable Andy Kuizin for Death, Doom and Destruction was a wise move on the band's part. He's still holding down the throne in Cianide to this day, so the band must've been happy with their choice.

If you liked The Dying Truth, there's pretty much zero possibility that A Descent into Hell will let you down. The guitar tone is a hell of a lot heavier, and the production, while certainly not flashy, adds a lot of low end that does these songs more justice. The songwriting is about on par, too, with riff after riff of crushing madness with only a few that don't really work so well. The slightly quickened pace also serves as a nice segue into the band's masterwork Death, Doom and Destruction which would come out three years later. Folks vaguely familiar with Cianide are doing themselves a huge disservice by not adding this excellent sophomore album to their collections, and fans of mega-heavy death/doom who haven't heard this band at all could just as well start here as anywhere else.

iamntbatman



..::TRACK-LIST::..

A Descent Into Hell
1. Gates Of Slumber 3:35
2. Eulogy 6:07
3. The Undead March 3:13
4. The Luciferian Twilight 5:46
5. Beyond The Fallen Horizon 5:59
6. Darkness 6:03
7. Death Dealer (Slaughter cover) 2:03
8. Mountains In Thunder 7:48

Bonus Tracks:
9. Scourging At The Pillar 4:34
10. The Luciferian Twilight (Demo) 5:43
11. Beyond The Fallen Horizon (Demo) 5:47

'Kills!' Demo (1993):
12. Gates Of Slumber 3:32
13. Eulogy 6:12
14. The Undead March 3:04
15. Darkness 5:42



..::OBSADA::..

Bass, Vocals - Mike Perun
Drums - Jeff Kabella
Guitar - Scott Carroll




https://www.youtube.com/watch?v=W9uuug7X1PQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ta muzyka jest ścieżką dźwiękową do eposu, którego Lovecraft nigdy nie napisał...


Mitochondrion's 2006 demo available on vinyl for the first time ever and re-issued on CD!


Mitochondrion is another Canadian group who could not possibly be from any other country. The style of technical death metal they play is completely Vinlandic in nature; there's no way at all to mistake it for anywhere else. The influences here are completely clear: Kataklysm, Martyr, Gorguts, and other legendary Canadian death metal bands. And best of all, this is really good, and even, though I hate to use the word, quite unique.

This is a band entirely based around atmosphere via performance. Mitochondrion appears to be going for the sort of feel that bands like Internal Suffering and Origin strive for: a sort of abstract, pummeling chaos. The cover art is a fantastic depiction of what's going on in this EP: ordinary humans gazing into the gaping maw of some Lovecraftian abyss, completely beyond the comprehension of mere mortals. The music embodies a spirit of true, inexorable entropy that you would hear in a band like Internal Suffering. Riffing is primarily chainsaw tremolo, playing surreal, atonal melodies in long, black metal derived streams of notes. The riffs seem almost to be composed like 'From Wisdom To Hate'-era Gorguts, with a combination of normal songwriting and a sort of experimental, abstract edge. Drumming is death metal based, but has, like many Canadian artists, a militaristic edge, along with some strange cymbal play reminding one of Cryptopsy. Vocals are actually the closest to Sylvain Houde that I've heard outside of early Kataklysm: the same seemingly multitracked roars and screams are used to great effect.

The title track expresses the band's aim perfectly. Packed with epic, swirling tremolo riffing and thundering drum performance under guttural vocals, it's positively vicious. I like the production a lot: the vocals have a good deal of reverb-induced acoustic space, heightening the otherworldliness of the music here. Really, just listen to the riffs: they sound like they were teleported from the Xen world of computer game 'Half-Life'. It combines the crooked, sinister construction of early Morbid Angel with the spaciness and atonality of Martyr to create a set of unbelievably dark and inherently demented riffs. This music is the soundtrack to the epic that Lovecraft never wrote, only replacing the slow buildup and elaborate descriptions with pure, unbridled chaos. And yet the music itself is not very chaotic, at least not in the Internal Suffering way: despite how strange and deformed it all is, it's unfailingly coherent and surprisingly easy to grasp on the first listen. It's not catchy: far from it. But it does make sense and stay memorable due to all the twists and turns in each song.

I consider this to be Wormed covering Kataklysm, minus some of the more ridiculous elements of brutality. This exchanges quantum physics for a sort of time-traveling shamanism. It's mystical music: not in the black metal way of nature and dark forces, but in the very entropy and unbelievably chaotic yet real nature of the universe itself. If music is measured by how well it transports you to another world, this would certainly be nearing the level of finest death metal release ever made. With other considerations taken into account, it's merely very, very good.

Noktorn



..::TRACK-LIST::..

1. Ever Scornful Acquiescence 02:54
2. Through Cosmic Gaze 07:56
3. Pestilent Rebirth 05:23
4. Venomous Foresight 03:46
5. Eternal Contempt of Man 06:14
6. In the Reign of Tusk 05:50



..::OBSADA::..

Shawn Haché - Vocals
Nick Yanchuk - Vocals, Guitars
Nick Gibas - Bass
Karl Godard - Drums



https://www.youtube.com/watch?v=L5VkOrFzEVk


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ta muzyka jest ścieżką dźwiękową do eposu, którego Lovecraft nigdy nie napisał...


Mitochondrion's 2006 demo available on vinyl for the first time ever and re-issued on CD!


Mitochondrion is another Canadian group who could not possibly be from any other country. The style of technical death metal they play is completely Vinlandic in nature; there's no way at all to mistake it for anywhere else. The influences here are completely clear: Kataklysm, Martyr, Gorguts, and other legendary Canadian death metal bands. And best of all, this is really good, and even, though I hate to use the word, quite unique.

This is a band entirely based around atmosphere via performance. Mitochondrion appears to be going for the sort of feel that bands like Internal Suffering and Origin strive for: a sort of abstract, pummeling chaos. The cover art is a fantastic depiction of what's going on in this EP: ordinary humans gazing into the gaping maw of some Lovecraftian abyss, completely beyond the comprehension of mere mortals. The music embodies a spirit of true, inexorable entropy that you would hear in a band like Internal Suffering. Riffing is primarily chainsaw tremolo, playing surreal, atonal melodies in long, black metal derived streams of notes. The riffs seem almost to be composed like 'From Wisdom To Hate'-era Gorguts, with a combination of normal songwriting and a sort of experimental, abstract edge. Drumming is death metal based, but has, like many Canadian artists, a militaristic edge, along with some strange cymbal play reminding one of Cryptopsy. Vocals are actually the closest to Sylvain Houde that I've heard outside of early Kataklysm: the same seemingly multitracked roars and screams are used to great effect.

The title track expresses the band's aim perfectly. Packed with epic, swirling tremolo riffing and thundering drum performance under guttural vocals, it's positively vicious. I like the production a lot: the vocals have a good deal of reverb-induced acoustic space, heightening the otherworldliness of the music here. Really, just listen to the riffs: they sound like they were teleported from the Xen world of computer game 'Half-Life'. It combines the crooked, sinister construction of early Morbid Angel with the spaciness and atonality of Martyr to create a set of unbelievably dark and inherently demented riffs. This music is the soundtrack to the epic that Lovecraft never wrote, only replacing the slow buildup and elaborate descriptions with pure, unbridled chaos. And yet the music itself is not very chaotic, at least not in the Internal Suffering way: despite how strange and deformed it all is, it's unfailingly coherent and surprisingly easy to grasp on the first listen. It's not catchy: far from it. But it does make sense and stay memorable due to all the twists and turns in each song.

I consider this to be Wormed covering Kataklysm, minus some of the more ridiculous elements of brutality. This exchanges quantum physics for a sort of time-traveling shamanism. It's mystical music: not in the black metal way of nature and dark forces, but in the very entropy and unbelievably chaotic yet real nature of the universe itself. If music is measured by how well it transports you to another world, this would certainly be nearing the level of finest death metal release ever made. With other considerations taken into account, it's merely very, very good.

Noktorn



..::TRACK-LIST::..

1. Ever Scornful Acquiescence 02:54
2. Through Cosmic Gaze 07:56
3. Pestilent Rebirth 05:23
4. Venomous Foresight 03:46
5. Eternal Contempt of Man 06:14
6. In the Reign of Tusk 05:50



..::OBSADA::..

Shawn Haché - Vocals
Nick Yanchuk - Vocals, Guitars
Nick Gibas - Bass
Karl Godard - Drums



https://www.youtube.com/watch?v=L5VkOrFzEVk


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Część z was zapewne pamięta ten niemiecki zespół, który w swoim czasie był mocnym punktem tamtejszej death metalowej sceny. Niestety niedługo po wydaniu „Dying” i paru koncertach o Anasarca słuch zaginął. Kapela zawisła w próżni i trwała w tym stanie do 2011 roku, kiedy to głównodowodzący Michael Dormann przystąpił do prac nad nowym materiałem i powoli zaczął się rozglądać za kolegami do składu. Na rezultaty w postaci demówki trzeba było poczekać aż do 2015, jednak później poszło już chyba z górki, bo niedawno Survival Mode trafił pod strzechy. Zespół powrócił w pełnej krasie, choć tak naprawdę po nowym krążku w ogóle nie słychać, żeby kiedykolwiek gdzieś odchodził, a już zwłaszcza na kilkanaście lat. Na czwartym albumie Anasarca mamy do czynienia z bezpośrednią i jakże logiczną kontynuacją tematów z „Dying” – muzyka jest zatem szybka, gwałtowna i stosunkowo nieskomplikowana.
Powiewu nowoczesności nie odnotowałem. Krokiem naprzód, a przynajmniej najbardziej odczuwalną różnicą między Survival Mode a poprzednikiem jest ogólny stopień chwytliwości. Wcześniej twórczość Niemców była nieco jednowymiarowa i nastawiona przede wszystkim na atak. Obecnie grają odrobinę mniej ekstremalnie, ale za to z większym wyczuciem; nie boją się już zwolnić tempa ani wpleść tu i ówdzie jakiegoś melodyjnego riffu. Wyszło im to zdecydowanie na dobre, bo w utworach jest teraz więcej punktów zaczepienia, wybijających się fraz (także refrenów) i przede wszystkim przestrzeni, dzięki czemu mamy tu dziewięć osobnych kawałków, nie zaś 35-minutowy festiwal blastów. Zaznaczam przy tym, że zespół wcale nie stracił na brutalności tyle, ile może wynikać z mojego opisu – Anasarca wciąż prezentuje tradycyjnie jebiący metal śmierci, tyle że bardziej urozmaicony niż w przeszłości. I bardziej cannibalistyczny, bo nie da się ukryć, że spoooro świdrujących riffów (zwłaszcza tych w wolniejszych partiach) mocno zalatuje twórczością Alexa Webstera i spółki. Mnie to nie przeszkadza, bo Niemcy umiejętnie wymieszali je z typowym dla siebie napieprzaniem na wysokich obrotach, a sam materiał zyskał w ten sposób na świeżości. Wobec powyższego powrót Anasarca odbieram bardzo pozytywnie – panowie potrafili zaskoczyć, a ja na Survival Mode dostałem więcej, niż oczekiwałem. Na koniec warto wspomnieć, że premierowy materiał uzupełniono aż pięcioma bonusami, wśród których znajdują się covery Obituary i Vomiting Corpses.

demo



..::TRACK-LIST::..

1. Drinking Blood 3:38
2. Survival Mode (Guest Vocals-Kam Lee) 5:13
3. Cannibal 3:36
4. Blue John 3:31
5. Touching The Void 4:26
6. 571 3:33
7. Pacific Dread 3:21
8. The Donner Party 3:36
9. Endurance 4:41

Bonus:
10. The Weird Ways 3:35
11. Scorn 3:36
12. Godly Beings (Obituary cover) 2:27
13. Paralyzed 3:16
14. Dogmas Ignored (Vomiting Corpses cover) 3:17

Tracks 10 and 11 are re-recorded versions from the 'Godmachine' album.



..::OBSADA::..

Drums - Dirk Janssen
Guitars - Carsten Geerlings, Steffen Parth
Bass, Vocals - Mike



https://www.youtube.com/watch?v=jzK4iTf6QvA


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Część z was zapewne pamięta ten niemiecki zespół, który w swoim czasie był mocnym punktem tamtejszej death metalowej sceny. Niestety niedługo po wydaniu „Dying” i paru koncertach o Anasarca słuch zaginął. Kapela zawisła w próżni i trwała w tym stanie do 2011 roku, kiedy to głównodowodzący Michael Dormann przystąpił do prac nad nowym materiałem i powoli zaczął się rozglądać za kolegami do składu. Na rezultaty w postaci demówki trzeba było poczekać aż do 2015, jednak później poszło już chyba z górki, bo niedawno Survival Mode trafił pod strzechy. Zespół powrócił w pełnej krasie, choć tak naprawdę po nowym krążku w ogóle nie słychać, żeby kiedykolwiek gdzieś odchodził, a już zwłaszcza na kilkanaście lat. Na czwartym albumie Anasarca mamy do czynienia z bezpośrednią i jakże logiczną kontynuacją tematów z „Dying” – muzyka jest zatem szybka, gwałtowna i stosunkowo nieskomplikowana.
Powiewu nowoczesności nie odnotowałem. Krokiem naprzód, a przynajmniej najbardziej odczuwalną różnicą między Survival Mode a poprzednikiem jest ogólny stopień chwytliwości. Wcześniej twórczość Niemców była nieco jednowymiarowa i nastawiona przede wszystkim na atak. Obecnie grają odrobinę mniej ekstremalnie, ale za to z większym wyczuciem; nie boją się już zwolnić tempa ani wpleść tu i ówdzie jakiegoś melodyjnego riffu. Wyszło im to zdecydowanie na dobre, bo w utworach jest teraz więcej punktów zaczepienia, wybijających się fraz (także refrenów) i przede wszystkim przestrzeni, dzięki czemu mamy tu dziewięć osobnych kawałków, nie zaś 35-minutowy festiwal blastów. Zaznaczam przy tym, że zespół wcale nie stracił na brutalności tyle, ile może wynikać z mojego opisu – Anasarca wciąż prezentuje tradycyjnie jebiący metal śmierci, tyle że bardziej urozmaicony niż w przeszłości. I bardziej cannibalistyczny, bo nie da się ukryć, że spoooro świdrujących riffów (zwłaszcza tych w wolniejszych partiach) mocno zalatuje twórczością Alexa Webstera i spółki. Mnie to nie przeszkadza, bo Niemcy umiejętnie wymieszali je z typowym dla siebie napieprzaniem na wysokich obrotach, a sam materiał zyskał w ten sposób na świeżości. Wobec powyższego powrót Anasarca odbieram bardzo pozytywnie – panowie potrafili zaskoczyć, a ja na Survival Mode dostałem więcej, niż oczekiwałem. Na koniec warto wspomnieć, że premierowy materiał uzupełniono aż pięcioma bonusami, wśród których znajdują się covery Obituary i Vomiting Corpses.

demo



..::TRACK-LIST::..

1. Drinking Blood 3:38
2. Survival Mode (Guest Vocals-Kam Lee) 5:13
3. Cannibal 3:36
4. Blue John 3:31
5. Touching The Void 4:26
6. 571 3:33
7. Pacific Dread 3:21
8. The Donner Party 3:36
9. Endurance 4:41

Bonus:
10. The Weird Ways 3:35
11. Scorn 3:36
12. Godly Beings (Obituary cover) 2:27
13. Paralyzed 3:16
14. Dogmas Ignored (Vomiting Corpses cover) 3:17

Tracks 10 and 11 are re-recorded versions from the 'Godmachine' album.



..::OBSADA::..

Drums - Dirk Janssen
Guitars - Carsten Geerlings, Steffen Parth
Bass, Vocals - Mike



https://www.youtube.com/watch?v=jzK4iTf6QvA


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Akt szaleństwa, piątki nastolatków z Northern Beaches w Sydney!


..::OPIS::..

Sometime around 1993, in the halls of Cromer High-school on Sydney’s Northern beaches, Neuropath was conceived. Between 1995 and 1996 Neuropath documented two demo cassettes; firstly, “Nefarious Vivisection” followed by “Desert of Excruciation”. “Nefarious Vivisection” acted as a purging of their earlier material but epitomized the uncompromisingly raw and brutal edge of mid 90’s Death Metal. “Desert of Excruciation” originally released by Australia's Warhead Records saw Neuropath traversing towards a tighter and more technical style of Death Metal. Remarkably both demos where released unmastered.

“At Damnation’s Core” compiles both demos together, mastered for the first time by Dredged Oblivion.

The “At Damnation’s Core” CD package will include an 8-page booklet comprising band photos, lyrics and detailed linear notes of Neuropath’s history authored by guitarist and founding member Daniel Stubbs.

Twisted notes of agony, a burning death for infinity....Neuropath!



..::TRACK-LIST::..

1. Incantations of Decrepit Nihilism 04:23
2. My Bleeding Mortality 03:39
3. Copulation of Insanity 03:25
4. Nefarious Vivisection 04:13
5. Masticated Cadaver 03:14
6. Vulgar Rebirth 04:28
7. Rectal Pulpation 04:57

Tracks 1 - 3 taken from the 'Desert of Excruciation' EP. Originally released by Warhead Records. Originally recorded 05/03/95 at The Jungle Recording Studio and Engineered by Shaun Looker.

Tracks 4-7 taken from the 'Nefarious Vivisection' self-released demo. Originally recorded 23-27/12/95 at The Jungle Recording Studio and Engineered by Shaun Looker.



..::OBSADA::..

Mark WANGMANN - Vocals
Daniel STUBBS - Lead, Rhythm Guitar
Luke BURNS - Drums, Backing Vocals
Anthony WATSON - Rhythm Guitar
Ali CHAMAS - Bass (Tracks 1 - 3)
Carl 'Barney' HAUPTSTEIN - Bass (Tracks 4-7)



https://www.youtube.com/watch?v=DdWk9qp7v1g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Akt szaleństwa, piątki nastolatków z Northern Beaches w Sydney!


..::OPIS::..

Sometime around 1993, in the halls of Cromer High-school on Sydney’s Northern beaches, Neuropath was conceived. Between 1995 and 1996 Neuropath documented two demo cassettes; firstly, “Nefarious Vivisection” followed by “Desert of Excruciation”. “Nefarious Vivisection” acted as a purging of their earlier material but epitomized the uncompromisingly raw and brutal edge of mid 90’s Death Metal. “Desert of Excruciation” originally released by Australia's Warhead Records saw Neuropath traversing towards a tighter and more technical style of Death Metal. Remarkably both demos where released unmastered.

“At Damnation’s Core” compiles both demos together, mastered for the first time by Dredged Oblivion.

The “At Damnation’s Core” CD package will include an 8-page booklet comprising band photos, lyrics and detailed linear notes of Neuropath’s history authored by guitarist and founding member Daniel Stubbs.

Twisted notes of agony, a burning death for infinity....Neuropath!



..::TRACK-LIST::..

1. Incantations of Decrepit Nihilism 04:23
2. My Bleeding Mortality 03:39
3. Copulation of Insanity 03:25
4. Nefarious Vivisection 04:13
5. Masticated Cadaver 03:14
6. Vulgar Rebirth 04:28
7. Rectal Pulpation 04:57

Tracks 1 - 3 taken from the 'Desert of Excruciation' EP. Originally released by Warhead Records. Originally recorded 05/03/95 at The Jungle Recording Studio and Engineered by Shaun Looker.

Tracks 4-7 taken from the 'Nefarious Vivisection' self-released demo. Originally recorded 23-27/12/95 at The Jungle Recording Studio and Engineered by Shaun Looker.



..::OBSADA::..

Mark WANGMANN - Vocals
Daniel STUBBS - Lead, Rhythm Guitar
Luke BURNS - Drums, Backing Vocals
Anthony WATSON - Rhythm Guitar
Ali CHAMAS - Bass (Tracks 1 - 3)
Carl 'Barney' HAUPTSTEIN - Bass (Tracks 4-7)



https://www.youtube.com/watch?v=DdWk9qp7v1g


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Miłego słuchania...



..::TRACK-LIST::..

1992 - Imperial Doom:
1. Imperial Doom
2. Definitive Inquisition
3. Ceremonial Void
4. Immense Malignancy
5. Vicious Mental Thirst
6. Burden of Evil
7. Horror Infinity
8. Final Cremation
9. Darkest Dream

1996 - Millennium:
1. Fatal millennium
2. Devious instinct
3. Manic
4. Dream Messiah
5. Fragments of resolution
6. Manipulation strain
7. Slaves and masters
8. Mirrors of reason
9. Stormwinds
10. Seize of change

1999 - In Dark Purity (Japanese Edition):
1. The Hunt
2. Destroying Divinity
3. Shapeless Domination
4. The Angels Venom
5. All Souls Consumed
6. Dust to Dust
7. Suffering to the Conquered
8. The Eye of Judgement
9. Perpetual War
10. Embraced by Apathy
11. Hymns of Tragedy
12. In Dark Purity
13. The Pillars of Drear
14. Angel of Death
15. Total Destruction

2001 - Enslaving the Masses (Compilation):
CD 1 - Crave The Blood:
1. Imperial Doom
2. Ceremonial Void
3. Darkest Dream
4. Vicious Mental Thirst
5. Final Cremation
6. Definitive Inquisition
7. Immense Malignancy
8. Horror Infinity
9. The Burden of Evil
10. Manic
11. Stormwinds
12. Slaves and Masters

CD 2 - Stages of Decay:
1. The Eternal Hunt (Live)
2. Destroying Divinity (Live)
3. Hymns of Tragedy (Live)
4. Fatal Millenium (Live)
5. Final Cremation (Live)
6. The Angels Venom (Live)
7. Perpetual War (Live)
8. The Burden of Evil (Live)
9. Deadlock (Live)
10. Horror Infinity (Live)
11. Imperial Doom (Live)
12. Angel of Death (Slayer cover) (Live)

2003 - Rise to Power:
1. The Exordium
2. Awaiting Armageddon
3. Wave of Annihilation
4. The Fall of Eden
5. Chemical Reaction
6. A Casket for the Soul
7. Rise to Power
8. Visions of Violence
9. From Wrath to Ruin
10. Abysmal Gods
11. Shadow of Obliteration

2007 - Spiritual Apocalypse:
1. Spiritual Apocalypse
2. Firestorm
3. Apostles of the Endless Night
4. Within Divisions of Darkness
5. The Inhuman Race
6. Remnants of Divination
7. Illumination
8. Sacred Oblivion
9. The Bloodline Horror
10. Triumph in Black

2007 (2018) - Spiritual Apocalypse (Remastered):
1. Spiritual Apocalypse
2. Firestorm
3. Apostles of the Endless Night
4. Within Divisions of Darkness
5. The Inhuman Race
6. Remnants of Divination
7. Illumination
8. Sacred Oblivion
9. The Bloodline Horror
10. Triumph in Black
11. Firestorm (Bonus Track)
12. Within Divisions Of Darkness (Bonus Track)
13. Spiritual Apocalypse (Bonus Track)

2018 - The Passage of Existence:
1. Cosmic Pandemia
2. Kingdom Of Fire
3. Radiated
4. Solar Vacuum
5. The Proselygeist
6. Maelstrom
7. Eyes Upon The Abyss
8. Dark Matter Invocation
9. The Hive
10. Eternal Void
11. Century
12. Slaves To The Evermore

2023 - Monstrosity & Malevolent Creation (Split):
1. Monstrosity - Definitive Inquisition
2. Monstrosity - Immense Malignancy
3. Monstrosity - Horror Infinity
4. Monstrosity - The Burdenn of Evil
5. Malevolent Creation - Remnants of Withered Decay
6. Malevolent Creation - Decadence Within
7. Malevolent Creation - Impaled Existence



https://www.youtube.com/watch?v=af1SbjylsfI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Oczekiwanie nagrodzone katharsis w postaci nowatorskiego, znakomitego, atmosferycznego death metalu.
To jak okno na zupełnie inny świat, świat tak szczegółowy i kompletny, że nie da się go objąć w całości na raz bez ryzyka popadnięcia w szaleństwo.
To prawdziwe 'błogosławieństwo'!

FA

Finnish dissonant/atmospheric death metal band Devenial Verdict return after nonchalantly dropping a staggering debut out of nowhere in 'Ash Blind'. Stunning everyone with its sheer magnificence and power, it was always going to be interesting to see where they go from there. And they've released a new full length that's not only a worthy follow-up but it's far more nuanced than anything they've done in the past. They've nurtured a sound that is inherently pensive and adopted an approach that's laden with suspense and intrigue; the sharp, ringing, dissonant tunes linger in the air like inverted scythes. The atmosphere remains emotionally charged which is already rare for this style, with the music being a lot more expressive and colourful in its shades of gloom over here. The songs, undulating gracefully in their intensity, showcase interesting and comparatively diverse variations without straying from their core sound which sees dissonance and atmosphere working in tandem. There's a sense of dark melancholia permeating their music which adds meaning and depth to this kind of music that can too easily be rendered soulless. Devenial Verdict have once again crafted a masterful, passionate album that pushes the sound in its own way while firmly establishing a distinct identity for the band.

For fans of: Ulcerate, Morbid Angel, Dysgnostic, Saevus Finis, Crown of Madness, Mithras



Devenial Verdict have managed to produce a heavy-hitting yet beautiful, funereal brand of death metal on their sophomore album. They blend chuggy, headbanging melodic sections with aggressive blast beat runs, progressive dirges, and cerebral changeups, all the while maintaining a dissonance that keeps the listener slightly uncomfortable despite the beauty of what they are experiencing. The title track is a perfect template of this dissonant approach, while heavy-AF tracks like Garden of Eyes are tailor made for moshing to live; tracks like Solus and Counting Silence are slower and more progressive; the closing track is decidedly doomy. The sheer variety of this music is impressive and speaks to the talent of the musicians behind this record.

Guitar leads are tastefully laid over intros/interludes, with excellent tone appropriate for the feel of the song. Take Moon-Starved, for example, with its Steve-Vai-ballad reminiscent guitar melody and tone, in contrast to I Have Become The Sun, whose interlude features a more prog-influenced phrasing and tone. Guitar solos are excellent. Where they engage in a changeup or clean intro, the music is epic and cerebral. The most memorable riffs, like those on Solus, remind of early Opeth's innovative approach to rhythm guitar.

Overall, I praise DV for producing a varied collection of songs with very little filler and lots of beauty. Finally, we can't talk about this album without mentioning the late Mariusz Lewandowski, whose captivating painting "Absolute Authority" provides the cover art for this record. All together, a masterpiece of avant-garde death metal that I am excited to listen to over and over again.

Dr J



..::TRACK-LIST::..

1. I Have Become the Sun 06:44
2. Garden of Eyes 04:34
3. Moon-Starved 06:32
4. Blessing of Despair 06:17
5. Shunned Wander 01:19
6. The Quietus 03:50
7. Solus 05:31
8. Counting Silence 06:21
9. Cold Lantern 04:39
10. A Curse Made Flesh 05:35



..::OBSADA::..

Okko Tolvanen - Drums
Riku Saressalo - Vocals
Sebastian Frigren - Guitars
Antti Poutanen - Bass




https://www.youtube.com/watch?v=zVwELX0ZyCg



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