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


..::OPIS::..

Jedyna duża płyta z 2002 roku holenderskiego CREMATION, w skład którego wchodzili muzycy THANATOS, ASPHYX, HAIL OF BULLETS. Materiał nagrano w Studio Excess przez Hansa Pietersa (GOREFEST, HAIL OF BULLETS).

Muzyka zespołu to staroszkolny death metal inspriowany klasycznymi zespołami z Florydy, a w szczególności DEATH. CD zawiera 8 bonusowych utworów, odświeżony booklet oraz liner notes!



..::TRACK-LIST::..

1. Vanished Into Oblivion 4:30
2. The Void 3:03
3. Sempiternal Hatred 4:28
4. Intangible Malignancy 3:16
5. Veil Of Secrecies 0:57
6. Futile Existence 4:44
7. Stain Of Purity 3:01
8. The Prohibition Of Light 3:35
9. Deceptive Felicity 3:53

Bonus Tracks :
10. Beyond The Edge Of Insanity 4:06
11. Suffer In Obedience 3:45
12. Waiting For The Sun 4:21
13. Unjustified Judgements 6:38
14. Echoes Of Mayhem 1:49
15. Valediction 4:22
16. Deceptive Felicity 3:51
17. Futile Existence 4:34



..::OBSADA::..

Vocals - Paul Baayens
Guitar - Joost de Boer, Paul Baayens
Bass - Michiel Stoop
Drums - Benito 'Bono' Grotenbreg



https://www.youtube.com/watch?v=VNQWxab7-fI


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

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


..::OPIS::..

Jedyna duża płyta z 2002 roku holenderskiego CREMATION, w skład którego wchodzili muzycy THANATOS, ASPHYX, HAIL OF BULLETS. Materiał nagrano w Studio Excess przez Hansa Pietersa (GOREFEST, HAIL OF BULLETS).

Muzyka zespołu to staroszkolny death metal inspriowany klasycznymi zespołami z Florydy, a w szczególności DEATH. CD zawiera 8 bonusowych utworów, odświeżony booklet oraz liner notes!



..::TRACK-LIST::..

1. Vanished Into Oblivion 4:30
2. The Void 3:03
3. Sempiternal Hatred 4:28
4. Intangible Malignancy 3:16
5. Veil Of Secrecies 0:57
6. Futile Existence 4:44
7. Stain Of Purity 3:01
8. The Prohibition Of Light 3:35
9. Deceptive Felicity 3:53

Bonus Tracks :
10. Beyond The Edge Of Insanity 4:06
11. Suffer In Obedience 3:45
12. Waiting For The Sun 4:21
13. Unjustified Judgements 6:38
14. Echoes Of Mayhem 1:49
15. Valediction 4:22
16. Deceptive Felicity 3:51
17. Futile Existence 4:34



..::OBSADA::..

Vocals - Paul Baayens
Guitar - Joost de Boer, Paul Baayens
Bass - Michiel Stoop
Drums - Benito 'Bono' Grotenbreg



https://www.youtube.com/watch?v=VNQWxab7-fI


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

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


..::OPIS::..

After having smashed prevailing standards for the style with their unique approach on their highly lauded previous release, Replicant take things further still with their new full length, finding ways to make their music even more convoluted and impactful while retaining their trademark dissonant and catchy sound. They've found ways to add new aspects to it without hampering the momentum, constantly changing things up with the listener's body still lashing uncontrollably. The songs veer off in their own unexpected, thrilling directions while upholding the inherent semblance of groove, only to reconnect later with greater force. Things seem to add up and make sense as the album progresses, an ostensibly innocuous mechanical contraption getting constant upgrades to become potentially world-ending. There's fire in the songwriting, the members refusing to succumb to the lull of complacency and working furiously, constantly on the songs to elevate them to a rarefied category. It sees the stature of the band rising, the sound evolving methodically and convincingly, the album giving more than what could be expected from them having already established their identity, and in turn setting new standards for others yet again.

For fans of: Gorguts, Norse, Demilich, Negativa, Diskord, Wormed, Resin Tomb, Ulcerate, Terra Builder



PRESS:
"This is one of the best metal albums of the year, possibly of the decade" - Lambgoat (US)
lambgoat.com/albums/3326/replicant-infinite-mortality/

"The simple truth is that Replicant have me head over heels for Infinite Mortality" - Angry Metal Guy (US) 4.5/5
www.angrymetalguy.com/replicant-infinite-mortality-review/

"a high-energy death metal din that is absolutely cathartic" - Stereogum (US)
www.stereogum.com/2257361/van-jams-the-songs-that-metal-bands-blast-behind-the-wheel/columns/the-black-market/

"Every song is a tightly knit collection of wild ideas that puts the listener in a blender " - Last Rites (US)
yourlastrites.com/2024/04/10/replicant-infinite-mortality-review

"a masterpiece in this sort of sound" - Brave Words (Canada) 9/10
bravewords.com/reviews/replicant-infinite-mortality

"a super technique that goes beyond the conventional paradigms of death metal" - Metal Addiction (Chile) 9.5/10
www.metal-addiction.cl/2024/02/15/replicant-infinite-mortality-album-review/

"a tremendous album" - Metallerium (Mexico) 9.2/10
www.metallerium.com/replicant-infinite-mortality-2024

"Few bands do it as well as Replicant" - Metal Temple (Greece) 9/10
metal-temple.com/review/replicant-infinite-mortality/

"Highly complex song structures, paired with force, brutality, darkness and groove" - Metal Only (Germany) 9/10
www.metal-only.de/info-center/reviews/show/136207-replicant-infinite-mortality.html

"Nobody out there sounds like Replicant, and Replicant is officially at the top of their game" - Noob Heavy (Australia)
noobheavy.com/album-review-replicant-infinite-mortality/

"an album that is demanding, idiosyncratic, exciting, technical, compact, dissonant and massive" - Zware Metalen (Netherlands) 90/100
zwaremetalen.com/albumrecensies/replicant-infinite-mortality

"Replicant, I apologize. I wasn’t familiar with your game" - Ghost Cult Magazine (UK) 9/10
ghostcultmag.com/album-review-replicant-infinite-mortality-transcending-obscurity-records/

Retumba (Spain) 8.9/10
www.youtube.com/watch?v=dhHCoeeh6Qc

"an absolute monster that deserves the accolades" - Man of Much Metal (UK) 86%
manofmuchmetal.net/replicant-infinite-mortality-album-review

"like plunging into a pool of dark sludge populated by deformed aggressive" - Acta Infernalis (France) 85/100
actainfernalis.com/2024/04/07/review-2158-replicant-infinite-mortality-english/

"unequivocally irresistible and impactful" - Nine Circles (US)
ninecircles.co/2024/04/11/album-review-replicant-infinite-mortality/

"You don't know what's coming next, but it is all good stuff" - Metal Crypt (Canada) 4/5
www.metalcrypt.com/pages/review.php?revid=15186

"carving out its own sound with more detail than ever before" - Metal Epidemic (UK) 4/5
www.metalepidemic.com/replicant-infinite-mortality/

"simply bewildering" - Head-Banger Reviews (US)
headbangerreviews.wordpress.com/2024/02/12/replicant-infinite-mortality/

"Replicant are back, stronger than ever" - Wonderbox Metal (UK)
wonderboxmetal.com/2024/04/07/replicant-infinite-mortality-review/

"an album astonishing in its intensity, technical expertise and impact" Metal Italia (Italy) 8/10
metalitalia.com/album/replicant-infinite-mortality/

"can’t help but hit home runs in the world of dissonant death metal" - Noizze Webzine (UK) 8/10
www.noizze.co.uk/replicant-infinite-mortality-album-review/

"changing panoply of dissonant, devastating, and demented fretwork" - No Clean Singing (US)
www.nocleansinging.com/2024/01/30/an-ncs-video-premiere-replicant-orgasm-of-bereavement/

"definitely worth the (mis)step into the labyrinth" - Metal.de (Germany) 8/10
www.metal.de/reviews/replicant-infinite-mortality-527179/

"they're constantly on fire" - Hard Rock Info (Sweden)
www.hardrockinfo.com/reviews/2024/april.html#rep-infi

"they've taken their formula and pushed it further into the diabolical abyss of one's imagination" - Extreme Metal Maniac (US)
extrememetalmaniacblog.blogspot.com/2024/01/replicant-infinite-mortality-review.html



..::TRACK-LIST::..

1. Acid Mirror 06:37
2. Shrine to the Incomprehensible 05:59
3. Orgasm of Bereavement 03:31
4. Reciprocal Abandonment 06:03
5. SCN9A 01:01
6. Pain Enduring 04:50
7. Nekrotunnel 04:07
8. Dwelling on the Threshold 02:48
9. Planet of Skin 09:11



..::OBSADA::..

Mike Gonçalves - Vocals, Bass, Guitars
Pete Lloyd - Guitars, Synths, High-Frequency Transmissions
Itay Keren - Guitars, Vocals, Void Channels

Drums performed by James Applegate




https://www.youtube.com/watch?v=9P9KZdw71ck



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

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


..::OPIS::..

After having smashed prevailing standards for the style with their unique approach on their highly lauded previous release, Replicant take things further still with their new full length, finding ways to make their music even more convoluted and impactful while retaining their trademark dissonant and catchy sound. They've found ways to add new aspects to it without hampering the momentum, constantly changing things up with the listener's body still lashing uncontrollably. The songs veer off in their own unexpected, thrilling directions while upholding the inherent semblance of groove, only to reconnect later with greater force. Things seem to add up and make sense as the album progresses, an ostensibly innocuous mechanical contraption getting constant upgrades to become potentially world-ending. There's fire in the songwriting, the members refusing to succumb to the lull of complacency and working furiously, constantly on the songs to elevate them to a rarefied category. It sees the stature of the band rising, the sound evolving methodically and convincingly, the album giving more than what could be expected from them having already established their identity, and in turn setting new standards for others yet again.

For fans of: Gorguts, Norse, Demilich, Negativa, Diskord, Wormed, Resin Tomb, Ulcerate, Terra Builder



PRESS:
"This is one of the best metal albums of the year, possibly of the decade" - Lambgoat (US)
lambgoat.com/albums/3326/replicant-infinite-mortality/

"The simple truth is that Replicant have me head over heels for Infinite Mortality" - Angry Metal Guy (US) 4.5/5
www.angrymetalguy.com/replicant-infinite-mortality-review/

"a high-energy death metal din that is absolutely cathartic" - Stereogum (US)
www.stereogum.com/2257361/van-jams-the-songs-that-metal-bands-blast-behind-the-wheel/columns/the-black-market/

"Every song is a tightly knit collection of wild ideas that puts the listener in a blender " - Last Rites (US)
yourlastrites.com/2024/04/10/replicant-infinite-mortality-review

"a masterpiece in this sort of sound" - Brave Words (Canada) 9/10
bravewords.com/reviews/replicant-infinite-mortality

"a super technique that goes beyond the conventional paradigms of death metal" - Metal Addiction (Chile) 9.5/10
www.metal-addiction.cl/2024/02/15/replicant-infinite-mortality-album-review/

"a tremendous album" - Metallerium (Mexico) 9.2/10
www.metallerium.com/replicant-infinite-mortality-2024

"Few bands do it as well as Replicant" - Metal Temple (Greece) 9/10
metal-temple.com/review/replicant-infinite-mortality/

"Highly complex song structures, paired with force, brutality, darkness and groove" - Metal Only (Germany) 9/10
www.metal-only.de/info-center/reviews/show/136207-replicant-infinite-mortality.html

"Nobody out there sounds like Replicant, and Replicant is officially at the top of their game" - Noob Heavy (Australia)
noobheavy.com/album-review-replicant-infinite-mortality/

"an album that is demanding, idiosyncratic, exciting, technical, compact, dissonant and massive" - Zware Metalen (Netherlands) 90/100
zwaremetalen.com/albumrecensies/replicant-infinite-mortality

"Replicant, I apologize. I wasn’t familiar with your game" - Ghost Cult Magazine (UK) 9/10
ghostcultmag.com/album-review-replicant-infinite-mortality-transcending-obscurity-records/

Retumba (Spain) 8.9/10
www.youtube.com/watch?v=dhHCoeeh6Qc

"an absolute monster that deserves the accolades" - Man of Much Metal (UK) 86%
manofmuchmetal.net/replicant-infinite-mortality-album-review

"like plunging into a pool of dark sludge populated by deformed aggressive" - Acta Infernalis (France) 85/100
actainfernalis.com/2024/04/07/review-2158-replicant-infinite-mortality-english/

"unequivocally irresistible and impactful" - Nine Circles (US)
ninecircles.co/2024/04/11/album-review-replicant-infinite-mortality/

"You don't know what's coming next, but it is all good stuff" - Metal Crypt (Canada) 4/5
www.metalcrypt.com/pages/review.php?revid=15186

"carving out its own sound with more detail than ever before" - Metal Epidemic (UK) 4/5
www.metalepidemic.com/replicant-infinite-mortality/

"simply bewildering" - Head-Banger Reviews (US)
headbangerreviews.wordpress.com/2024/02/12/replicant-infinite-mortality/

"Replicant are back, stronger than ever" - Wonderbox Metal (UK)
wonderboxmetal.com/2024/04/07/replicant-infinite-mortality-review/

"an album astonishing in its intensity, technical expertise and impact" Metal Italia (Italy) 8/10
metalitalia.com/album/replicant-infinite-mortality/

"can’t help but hit home runs in the world of dissonant death metal" - Noizze Webzine (UK) 8/10
www.noizze.co.uk/replicant-infinite-mortality-album-review/

"changing panoply of dissonant, devastating, and demented fretwork" - No Clean Singing (US)
www.nocleansinging.com/2024/01/30/an-ncs-video-premiere-replicant-orgasm-of-bereavement/

"definitely worth the (mis)step into the labyrinth" - Metal.de (Germany) 8/10
www.metal.de/reviews/replicant-infinite-mortality-527179/

"they're constantly on fire" - Hard Rock Info (Sweden)
www.hardrockinfo.com/reviews/2024/april.html#rep-infi

"they've taken their formula and pushed it further into the diabolical abyss of one's imagination" - Extreme Metal Maniac (US)
extrememetalmaniacblog.blogspot.com/2024/01/replicant-infinite-mortality-review.html



..::TRACK-LIST::..

1. Acid Mirror 06:37
2. Shrine to the Incomprehensible 05:59
3. Orgasm of Bereavement 03:31
4. Reciprocal Abandonment 06:03
5. SCN9A 01:01
6. Pain Enduring 04:50
7. Nekrotunnel 04:07
8. Dwelling on the Threshold 02:48
9. Planet of Skin 09:11



..::OBSADA::..

Mike Gonçalves - Vocals, Bass, Guitars
Pete Lloyd - Guitars, Synths, High-Frequency Transmissions
Itay Keren - Guitars, Vocals, Void Channels

Drums performed by James Applegate




https://www.youtube.com/watch?v=9P9KZdw71ck



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

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


..::OPIS::..

Coiling tightly around like a vindictive colossal snake, asphyxiating and temporarily blinding with its slithering motion, the music of Saevus Finis has a specific result on the listener. Their music is immediately overpowering; rhythmically throbbing with chest-bursting heaviness, the pounding parts are alternated with angular, incisive riffing. Militaristic blasts give way to slower, time-manipulating music, emphasizing nothing but even more heaviness, as dissonant tunes augment the perplexing situation. Saevus Finis have mastered the art of combining the best elements to create dark, hypnotic and suffocating death metal with a menacing blackened edge that keeps drawing in the listener. Always intriguing, the music almost feels ritualistic, methodical and immersive, and impossible to escape. It finds a way to get inside your consciousness and remain with you. Physically compelling with its sheer heaviness and mentally disarming with its beguiling tunes, Saevus Finis have come up with an astounding debut assimilating the best influences where dark, arcane music of this kind goes.

For fans of: Immolation, Burial Hordes, Incantation, Morbid Angel, Viande, Maere


PRESS:
"while it is far too early for AOTY chat, this will surely ride high on my list throughout the year" - The Killchain (UK)
thoseonceloyal.wordpress.com/2024/01/09/review-saevus-finis-facilis-descensus-averno/

"If you took Immolation at its most angular and Gorguts at their most unpredictable, you’d get something close to this" - Decibel Magazine (US)
www.decibelmagazine.com/2024/01/12/five-for-friday-january-12-2024/

"terrifying dissonant black/death metal of varying flavours" - Angry Metal Guy (US)
www.angrymetalguy.com/saevus-finis-facilis-descensus-averno-review/

"commands instant respect... a stunning debut album" - Metal Temple (Greece) 9/10
metal-temple.com/review/saevus-finis-facilis-descensus-averno/

“a new force in dissonant death metal” - MetalBite (US)
metalbite.com/news/18885/mb-premiere-saevus-finis-overrun-by-pests

"enjoyers of the dark side of death metal can’t help but embrace Saevus Finis" - Dead Rhetoric (US) 8.5/10
deadrhetoric.com/reviews/saevus-finis-facilis-descensus-averno-transcending-obscurity/

"death metal that draws from twisted black metal as it does from the broader world of brutish dissonance" - Toilet ov Hell (US)
toiletovhell.com/track-premiere-saevus-finis-corporeal-malfeasent

"punishingly heavy and unnerving in the extreme" - No Clean Singing (US)
www.nocleansinging.com/2023/12/07/an-ncs-premiere-saevus-finis-aeons-of-spiritual-starvation/

"ability to synthesize the heights touched by the masters of extreme metal" - Metal.it (Italy) 8/10
metal.it/album.aspx/48685/29248/saevus-finis-facilis-descensus-averno/

"work of such a high caliber that both Immolation and Portal fans must open their eyes" - Heavy Metal (Denmark) 8/10
heavymetal.dk/anmeldelse/saevus-finis-facilis-descensus-averno

"a veritable mass of darkness" - Acta Infernalis (France) 80/100
actainfernalis.com/2024/01/10/review-2042-saevus-finis-facilis-descensus-averno-english/

"sure to leave an impact on your psyche" - Head-Banger Reviews (US)
headbangerreviews.wordpress.com/2023/11/12/saevus-finis-facilis-descensus-averno/

"maintaining a continued world of darkness and destruction" - Ave Noctum (UK)
avenoctum.com/2024/01/09/saevus-finis-facilis-descensus-averno-transcending-obscurity/

"crafting an immersive musical experience that captivates listeners" - Moshville Times (UK)
www.moshville.co.uk/news/2023/10/discover-saevus-finis-a-unique-blend-of-heavy-dissonant-death-metal

"hugely potent and gripping atmosphere throughout" - Ghost Cult Magazine (UK)
ghostcultmag.com/album-review-saevus-finis-facilis-descensus-averno-transcending-obscurity-records

"a strong death metal release from a band that shows a lot of potential" Heavy Metal HQ (US)
heavymusichq.com/heavy-music-hq-reviews-week-of-january-12-2024/



..::TRACK-LIST::..

1. Scourge of Humanity 03:39
2. Aeons of Spiritual Starvation 04:05
3. Thou Hast Destroyed Thyself 03:35
4. Unfulfillment 04:15
5. Overrun by Pests 05:41
6. Corporeal Malfeasant 04:58
7. Those Who Aid and Abet 04:24
8. Corpse of Hope 03:36
9. Execration 00:42
10. Facilis Descensus Averno 04:57



..::OBSADA::..

Mortvorvm - Chants of torment and mortuary clamours
Sangvis Aestvs - Ripper of bones and flesh
MCMXII - Patterns of bodily destruction



https://www.youtube.com/watch?v=lXGzahFp-X8



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

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


..::OPIS::..

Coiling tightly around like a vindictive colossal snake, asphyxiating and temporarily blinding with its slithering motion, the music of Saevus Finis has a specific result on the listener. Their music is immediately overpowering; rhythmically throbbing with chest-bursting heaviness, the pounding parts are alternated with angular, incisive riffing. Militaristic blasts give way to slower, time-manipulating music, emphasizing nothing but even more heaviness, as dissonant tunes augment the perplexing situation. Saevus Finis have mastered the art of combining the best elements to create dark, hypnotic and suffocating death metal with a menacing blackened edge that keeps drawing in the listener. Always intriguing, the music almost feels ritualistic, methodical and immersive, and impossible to escape. It finds a way to get inside your consciousness and remain with you. Physically compelling with its sheer heaviness and mentally disarming with its beguiling tunes, Saevus Finis have come up with an astounding debut assimilating the best influences where dark, arcane music of this kind goes.

For fans of: Immolation, Burial Hordes, Incantation, Morbid Angel, Viande, Maere


PRESS:
"while it is far too early for AOTY chat, this will surely ride high on my list throughout the year" - The Killchain (UK)
thoseonceloyal.wordpress.com/2024/01/09/review-saevus-finis-facilis-descensus-averno/

"If you took Immolation at its most angular and Gorguts at their most unpredictable, you’d get something close to this" - Decibel Magazine (US)
www.decibelmagazine.com/2024/01/12/five-for-friday-january-12-2024/

"terrifying dissonant black/death metal of varying flavours" - Angry Metal Guy (US)
www.angrymetalguy.com/saevus-finis-facilis-descensus-averno-review/

"commands instant respect... a stunning debut album" - Metal Temple (Greece) 9/10
metal-temple.com/review/saevus-finis-facilis-descensus-averno/

“a new force in dissonant death metal” - MetalBite (US)
metalbite.com/news/18885/mb-premiere-saevus-finis-overrun-by-pests

"enjoyers of the dark side of death metal can’t help but embrace Saevus Finis" - Dead Rhetoric (US) 8.5/10
deadrhetoric.com/reviews/saevus-finis-facilis-descensus-averno-transcending-obscurity/

"death metal that draws from twisted black metal as it does from the broader world of brutish dissonance" - Toilet ov Hell (US)
toiletovhell.com/track-premiere-saevus-finis-corporeal-malfeasent

"punishingly heavy and unnerving in the extreme" - No Clean Singing (US)
www.nocleansinging.com/2023/12/07/an-ncs-premiere-saevus-finis-aeons-of-spiritual-starvation/

"ability to synthesize the heights touched by the masters of extreme metal" - Metal.it (Italy) 8/10
metal.it/album.aspx/48685/29248/saevus-finis-facilis-descensus-averno/

"work of such a high caliber that both Immolation and Portal fans must open their eyes" - Heavy Metal (Denmark) 8/10
heavymetal.dk/anmeldelse/saevus-finis-facilis-descensus-averno

"a veritable mass of darkness" - Acta Infernalis (France) 80/100
actainfernalis.com/2024/01/10/review-2042-saevus-finis-facilis-descensus-averno-english/

"sure to leave an impact on your psyche" - Head-Banger Reviews (US)
headbangerreviews.wordpress.com/2023/11/12/saevus-finis-facilis-descensus-averno/

"maintaining a continued world of darkness and destruction" - Ave Noctum (UK)
avenoctum.com/2024/01/09/saevus-finis-facilis-descensus-averno-transcending-obscurity/

"crafting an immersive musical experience that captivates listeners" - Moshville Times (UK)
www.moshville.co.uk/news/2023/10/discover-saevus-finis-a-unique-blend-of-heavy-dissonant-death-metal

"hugely potent and gripping atmosphere throughout" - Ghost Cult Magazine (UK)
ghostcultmag.com/album-review-saevus-finis-facilis-descensus-averno-transcending-obscurity-records

"a strong death metal release from a band that shows a lot of potential" Heavy Metal HQ (US)
heavymusichq.com/heavy-music-hq-reviews-week-of-january-12-2024/



..::TRACK-LIST::..

1. Scourge of Humanity 03:39
2. Aeons of Spiritual Starvation 04:05
3. Thou Hast Destroyed Thyself 03:35
4. Unfulfillment 04:15
5. Overrun by Pests 05:41
6. Corporeal Malfeasant 04:58
7. Those Who Aid and Abet 04:24
8. Corpse of Hope 03:36
9. Execration 00:42
10. Facilis Descensus Averno 04:57



..::OBSADA::..

Mortvorvm - Chants of torment and mortuary clamours
Sangvis Aestvs - Ripper of bones and flesh
MCMXII - Patterns of bodily destruction



https://www.youtube.com/watch?v=lXGzahFp-X8



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

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


..::OPIS::..

Miażdżący ultra szybki i brutalny super techniczny grinding death metal z Północnej Karoliny w klimatach wczesnego DEEDS OF FLESH, DYING FETUS, DISAVOWED, DISGORGE (USA).

Czym takim charakteryzuje się death metal za oceanu? A tym, że wciąga jak bagno hehe!!! Tak, właśnie to jest to czego pragnę! Mam przed sobą wyjątkowo ciekawą pozycje, cechującą się niczym innym jak tylko ultra szybkim death metalem znanym pod szyldem Debodified. Nie ukrywam, że Debodified nic nowego nie odkrywa, w rzeczy samej gra bez wątpienia mega brutalny death metal, powodujący pożądaną rozkosz ciała i umysłu. Więc co więcej jest w nim takiego ciekawego? Otóż mili państwo przede wszystkim niczym nie okiełznana zwierzęcość. Tak się teraz gra na amerykańskich ziemiach, brutalnie, ciężko, bez ograniczeń!

Na „Utopia In The Eyes Of A Beast” rządzi zwierzęca agresja, bogata szorstka stylistyka zmieniająca się jak w kalejdoskopie. W sumie to szczególny nacisk przeszywa szarżująca brutalność z gdzie niegdzie wyczuwalnymi momentami słabości, która cechuje się mało znaczącymi zwolnieniami. Jednak cały krążek to istny huragan, ciężki, do bólu masywny, rozrywający sond miażdżący, sieka i rozpruwa. Nawet momentami jest bardzo melodyjnie, ale to jednak zasłona dymana dla rozkręcających się za chwilę chropowatych, ultra szybkich dźwięków. Jeszcze ten wokal wgniatający w podłogę wylewający z siebie świńskie charczenia, okrzyki zwierzęcia prowadzonego na rzęź. Debodified to pozycja bezapelacyjnie dla wytrwałych maniaków lubiących ból i cierpienie.

Kultura Industrialna


Kick-ass death metal from the tobacco-infested lands of the Carolinas! Boy, oh boy, after hearing Lust of Decay, I thought they were the best that the Carolinas had to offer, but I was wrong, folks. Lust of Decay is a pretty similar band to in sound, especially when you look at the fact that the two bands share drummer Jordan Varela. And my goodness is he a beast behind the kit, with tons of excellent fills, and they don't get monotonous at times like they do on LoD's Infesting The Exhumed.

This band has some heavy-ass riffs, a nice slam here and there (at around 1:58 on "Instinct For Malevolence" = Intimidatingly heavy/brutal), but the riffs wouldn't sound nearly as good if it weren't for the fills. The band has an intro with Adolf Hitler speaking at the beginning of "Terminated With Extreme Prejudice", and while I normally would look down upon this, I suck it up and again the music in all of its aggressiveness.

All in all, this a kick-ass brutal DM album with fast brutal drumming, some good breakdowns, a few leads, and above average vox. Highly recommended!

KD



..::TRACK-LIST::..

1. Reprieves for My Enemies 05:47
2. Instinct for Malevolence 04:20
3. Mass Extinction Agenda 03:10
4. Emission of Adrenaline 03:33
5. Uncompromised Extinction 02:59
6. Terminated with Prejudice 03:17
7. Embludgeoned Between Crunches 04:52
8. On This Killing Field 05:34



..::OBSADA::..

Jordan Varela - Vocals, Drums
Jarrod Starnes - Bass, Vocals (backing)
Chris Braunstein - Guitars




https://www.youtube.com/watch?v=Fy7JMepGYDU



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

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


..::OPIS::..

Miażdżący ultra szybki i brutalny super techniczny grinding death metal z Północnej Karoliny w klimatach wczesnego DEEDS OF FLESH, DYING FETUS, DISAVOWED, DISGORGE (USA).

Czym takim charakteryzuje się death metal za oceanu? A tym, że wciąga jak bagno hehe!!! Tak, właśnie to jest to czego pragnę! Mam przed sobą wyjątkowo ciekawą pozycje, cechującą się niczym innym jak tylko ultra szybkim death metalem znanym pod szyldem Debodified. Nie ukrywam, że Debodified nic nowego nie odkrywa, w rzeczy samej gra bez wątpienia mega brutalny death metal, powodujący pożądaną rozkosz ciała i umysłu. Więc co więcej jest w nim takiego ciekawego? Otóż mili państwo przede wszystkim niczym nie okiełznana zwierzęcość. Tak się teraz gra na amerykańskich ziemiach, brutalnie, ciężko, bez ograniczeń!

Na „Utopia In The Eyes Of A Beast” rządzi zwierzęca agresja, bogata szorstka stylistyka zmieniająca się jak w kalejdoskopie. W sumie to szczególny nacisk przeszywa szarżująca brutalność z gdzie niegdzie wyczuwalnymi momentami słabości, która cechuje się mało znaczącymi zwolnieniami. Jednak cały krążek to istny huragan, ciężki, do bólu masywny, rozrywający sond miażdżący, sieka i rozpruwa. Nawet momentami jest bardzo melodyjnie, ale to jednak zasłona dymana dla rozkręcających się za chwilę chropowatych, ultra szybkich dźwięków. Jeszcze ten wokal wgniatający w podłogę wylewający z siebie świńskie charczenia, okrzyki zwierzęcia prowadzonego na rzęź. Debodified to pozycja bezapelacyjnie dla wytrwałych maniaków lubiących ból i cierpienie.

Kultura Industrialna


Kick-ass death metal from the tobacco-infested lands of the Carolinas! Boy, oh boy, after hearing Lust of Decay, I thought they were the best that the Carolinas had to offer, but I was wrong, folks. Lust of Decay is a pretty similar band to in sound, especially when you look at the fact that the two bands share drummer Jordan Varela. And my goodness is he a beast behind the kit, with tons of excellent fills, and they don't get monotonous at times like they do on LoD's Infesting The Exhumed.

This band has some heavy-ass riffs, a nice slam here and there (at around 1:58 on "Instinct For Malevolence" = Intimidatingly heavy/brutal), but the riffs wouldn't sound nearly as good if it weren't for the fills. The band has an intro with Adolf Hitler speaking at the beginning of "Terminated With Extreme Prejudice", and while I normally would look down upon this, I suck it up and again the music in all of its aggressiveness.

All in all, this a kick-ass brutal DM album with fast brutal drumming, some good breakdowns, a few leads, and above average vox. Highly recommended!

KD



..::TRACK-LIST::..

1. Reprieves for My Enemies 05:47
2. Instinct for Malevolence 04:20
3. Mass Extinction Agenda 03:10
4. Emission of Adrenaline 03:33
5. Uncompromised Extinction 02:59
6. Terminated with Prejudice 03:17
7. Embludgeoned Between Crunches 04:52
8. On This Killing Field 05:34



..::OBSADA::..

Jordan Varela - Vocals, Drums
Jarrod Starnes - Bass, Vocals (backing)
Chris Braunstein - Guitars




https://www.youtube.com/watch?v=Fy7JMepGYDU



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

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

..::OPIS::..


Nowe numery death/grindowego FAM oraz nowy deathmetalowy zespoł muzyków PARRICIDE!


This split CD is a true treat for fans of brutal riffs, uncompromising vocals, and destructive drumming. FAM and DEATH ENDORSER join forces to deliver an unforgettable musical experience that will obliterate your speakers.



..::TRACK-LIST::..

FAM:
1. Feral Assault Manifest
2. Faceless Army Of Murder
3. Behind The Scenes (Parricide cover)
4. Boneyard (Impetigo cover)
5. Fleeting Animose Malady (live)
6. Fractal Assymetric Motion (live)

DEATH ENDORSER:
7. Human
8. Historical Justice
9. Prophecy
10. Legal Terrorism



https://www.youtube.com/watch?v=dtg3FdkgMxI



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

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


..::OPIS::..

Nowe numery death/grindowego FAM oraz nowy deathmetalowy zespoł muzyków PARRICIDE!


This split CD is a true treat for fans of brutal riffs, uncompromising vocals, and destructive drumming. FAM and DEATH ENDORSER join forces to deliver an unforgettable musical experience that will obliterate your speakers.



..::TRACK-LIST::..

FAM:
1. Feral Assault Manifest
2. Faceless Army Of Murder
3. Behind The Scenes (Parricide cover)
4. Boneyard (Impetigo cover)
5. Fleeting Animose Malady (live)
6. Fractal Assymetric Motion (live)

DEATH ENDORSER:
7. Human
8. Historical Justice
9. Prophecy
10. Legal Terrorism



https://www.youtube.com/watch?v=dtg3FdkgMxI



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

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


..::OPIS::..

Prawdę mówiąc, tym, co przyciągnęło mnie do 'Kopár hant…az alvilág felé', była okładka z czterema wiktoriańskimi tragarzami niosącymi trumnę do oświetlonej od wewnątrz krypty pośród szarej (jak sobie wyobrażam), deszczowej nocy.
Nie ma tutaj niczego wybijającego się. Absolutnie niczego!
To dzieło zaprojektowane tak, by brzmieć spójnie i z klasą.

Jeśli lubisz death/doom metal grany w całkowicie złowieszczym, ciężkim i mrocznym stylu, ten album jest dla Ciebie.

FA


ROTHADÁS's highly anticipated debut album “Kopár hant... az alvilág felél”.

Hailing from Hungary and proudly performing in their mother tongue, ROTHADÁS made their public debut in 2019 with a self-titled demo tape for ME SACO UN OJO. A two-song work totaling 16 minutes, Rothadás suggested - and strongly - that the selfsame band had a staunchly ancient-minded vision of death metal but by no means were blinkered by the past. Perhaps this unique dichotomy is down to ROTHADÁS being a self-contained duo of vocalist/drummer Lambert Lédeczy and guitarist/bassist Tibor Hanyi - both men equally prolific veterans of the underground, and both concurrently playing in labelmates CRYPTWORM among others.

Now, at last do the duo unveil their debut album, Kopár hant... az alvilág felé. Here, ROTHADÁS erect an eerily shimmering monument of slimy, oft-doomy DEATH METAL: for maniacs, by maniacs, young and old and everyone in between. Armed with an absolutely crushing production, the band's first full-length betrays an eternal wisdom by maximizing the basics as well as nodding to various eras and locales of death metal but only subtly - immersion rather than extraction, and addition by subtraction, tastefully so in both regards. As each of these five lumbering/lunging hulks of dread-inducing sound effortlessly morph into myriad shapes, each one as ghastly and grotesque as the last, it slowly begins to dawn on the listener than Kopár hant... az alvilág felé retains a runtime of 44 minutes: truly, an experience that is EPIC - as ever, tastefully and subtly so - rather "epic" in shameless overstatement. Further, ROTHADÁS' native Hungarian helps lend another sublime layer of the unique to what is arguably the year's best dark-horse death metal recording...recognize or regret!



Wasting no time on a vapid introduction, the gloomy riffs and cavernous boom of drums drops us head-first into a dismal and dreary cacophony of doom-death metal magnificence. The malicious and spectral atmospherics are suffocating and certainly easy to become intoxicated by. The crestfallen sound of charnel guitars soon gives way to an onslaught of blast beat insanity and cascading riffs that launch into a venomous aggression that is equally as gratifying as the slower moments, it is in these early moments that a revelation occurs, this album will truly stand out among the crowd. Marching into oblivion with a glorious mix of transcendent eeriness and outright brutality, the blend here is perfect. Immediately bands like Spectral Voice and Krypts come to mind, but that is not to say Rothadás necessarily sound like either, for they have a darkness of their own that is equally intense and foreboding. Eldritch soundscapes are certainly coming out in full display on this wonderful opus, but what lies ahead is shrouded in mystique.

A swirling tide of murky and creepy guitars ebbs and flows atop crashing waves of cymbals to give us this sense of almost meditative reflection. These moments give the album a morbidly resplendent feeling before launching death metal artillery of epic proportions that destroys any feelings of tranquility with sheer savagery and expansive riffing that liquefies the brain without remorse. The reverberate vocals echo in a monstrous manner, rolling atop the instrumentals with unmistakable power and fantastic delivery that suits the extensive, sweeping production that comprehensively showcases all of the nuance and musical abilities of the duo while not relying on anything but high quality songwriting and atmospheric conjurations of abyssal unearthliness. With a development between the songs that works to grandiose effect over the course of the album, these 5 pieces make a whole, indeed one of cataclysmic scope while being very enjoyable in their segments. The entire piece is a monumental affair that must be examined and heard with tentative ears and an open mind to receive a transporting experience of death metal totality.

Daunting and malevolent, this album is a near-perfect example of death-doom metal that does not fall to their trappings of either genre, allowing the fusion to enhance their sound rather than becoming too reliant on repetition. Expansive riffing and diverse drums meet cavernously snarled vocals to deliver a crushing, monolithic and unrelenting storm of death metal with inarguably powerful atmospherics. A potent concoction of unforgettable and haunting music that brings spectral sorrow and warped visions into thunderous death metal without sacrificing any of the heaviness. Funereal, brutal and impactful in equal measure.

Nattskog7



..::TRACK-LIST::..

1. Utolsó kenet 07:15
2. Koporsószeg 06:46
3. Sírkő 08:22
4. Kripta 08:40
5. Temető 12:27



..::OBSADA::..

Tibor Hanyi - Bass, Guitars
Lambert Lédeczy - Drums, Vocals



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



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

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


..::OPIS::..

Prawdę mówiąc, tym, co przyciągnęło mnie do 'Kopár hant…az alvilág felé', była okładka z czterema wiktoriańskimi tragarzami niosącymi trumnę do oświetlonej od wewnątrz krypty pośród szarej (jak sobie wyobrażam), deszczowej nocy.
Nie ma tutaj niczego wybijającego się. Absolutnie niczego!
To dzieło zaprojektowane tak, by brzmieć spójnie i z klasą.

Jeśli lubisz death/doom metal grany w całkowicie złowieszczym, ciężkim i mrocznym stylu, ten album jest dla Ciebie.

FA


ROTHADÁS's highly anticipated debut album “Kopár hant... az alvilág felél”.

Hailing from Hungary and proudly performing in their mother tongue, ROTHADÁS made their public debut in 2019 with a self-titled demo tape for ME SACO UN OJO. A two-song work totaling 16 minutes, Rothadás suggested - and strongly - that the selfsame band had a staunchly ancient-minded vision of death metal but by no means were blinkered by the past. Perhaps this unique dichotomy is down to ROTHADÁS being a self-contained duo of vocalist/drummer Lambert Lédeczy and guitarist/bassist Tibor Hanyi - both men equally prolific veterans of the underground, and both concurrently playing in labelmates CRYPTWORM among others.

Now, at last do the duo unveil their debut album, Kopár hant... az alvilág felé. Here, ROTHADÁS erect an eerily shimmering monument of slimy, oft-doomy DEATH METAL: for maniacs, by maniacs, young and old and everyone in between. Armed with an absolutely crushing production, the band's first full-length betrays an eternal wisdom by maximizing the basics as well as nodding to various eras and locales of death metal but only subtly - immersion rather than extraction, and addition by subtraction, tastefully so in both regards. As each of these five lumbering/lunging hulks of dread-inducing sound effortlessly morph into myriad shapes, each one as ghastly and grotesque as the last, it slowly begins to dawn on the listener than Kopár hant... az alvilág felé retains a runtime of 44 minutes: truly, an experience that is EPIC - as ever, tastefully and subtly so - rather "epic" in shameless overstatement. Further, ROTHADÁS' native Hungarian helps lend another sublime layer of the unique to what is arguably the year's best dark-horse death metal recording...recognize or regret!



Wasting no time on a vapid introduction, the gloomy riffs and cavernous boom of drums drops us head-first into a dismal and dreary cacophony of doom-death metal magnificence. The malicious and spectral atmospherics are suffocating and certainly easy to become intoxicated by. The crestfallen sound of charnel guitars soon gives way to an onslaught of blast beat insanity and cascading riffs that launch into a venomous aggression that is equally as gratifying as the slower moments, it is in these early moments that a revelation occurs, this album will truly stand out among the crowd. Marching into oblivion with a glorious mix of transcendent eeriness and outright brutality, the blend here is perfect. Immediately bands like Spectral Voice and Krypts come to mind, but that is not to say Rothadás necessarily sound like either, for they have a darkness of their own that is equally intense and foreboding. Eldritch soundscapes are certainly coming out in full display on this wonderful opus, but what lies ahead is shrouded in mystique.

A swirling tide of murky and creepy guitars ebbs and flows atop crashing waves of cymbals to give us this sense of almost meditative reflection. These moments give the album a morbidly resplendent feeling before launching death metal artillery of epic proportions that destroys any feelings of tranquility with sheer savagery and expansive riffing that liquefies the brain without remorse. The reverberate vocals echo in a monstrous manner, rolling atop the instrumentals with unmistakable power and fantastic delivery that suits the extensive, sweeping production that comprehensively showcases all of the nuance and musical abilities of the duo while not relying on anything but high quality songwriting and atmospheric conjurations of abyssal unearthliness. With a development between the songs that works to grandiose effect over the course of the album, these 5 pieces make a whole, indeed one of cataclysmic scope while being very enjoyable in their segments. The entire piece is a monumental affair that must be examined and heard with tentative ears and an open mind to receive a transporting experience of death metal totality.

Daunting and malevolent, this album is a near-perfect example of death-doom metal that does not fall to their trappings of either genre, allowing the fusion to enhance their sound rather than becoming too reliant on repetition. Expansive riffing and diverse drums meet cavernously snarled vocals to deliver a crushing, monolithic and unrelenting storm of death metal with inarguably powerful atmospherics. A potent concoction of unforgettable and haunting music that brings spectral sorrow and warped visions into thunderous death metal without sacrificing any of the heaviness. Funereal, brutal and impactful in equal measure.

Nattskog7



..::TRACK-LIST::..

1. Utolsó kenet 07:15
2. Koporsószeg 06:46
3. Sírkő 08:22
4. Kripta 08:40
5. Temető 12:27



..::OBSADA::..

Tibor Hanyi - Bass, Guitars
Lambert Lédeczy - Drums, Vocals



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



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

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


..::OPIS::..

To bez wątpienia jedna z najlepszych undergroundowych płyt z 2010 roku.

To około 36 minut bezkompromisowego, miażdżącego uderzenia, bezmyślnego łomotu i porywających, trzaskających partii, ekstremalnego tempa, ekstremalnego spowolnienia, ekstremalnego 'wokalu', generalnie ekstremalnej muzyki - nie wspominając o ekstremalnych tekstach. Oczywiście nie jest to płyta dla elit!


Brutal Death Metal / Grincore feat. members and ex-members of ASPHYX, SINISTER, GOD DETHRONED, CLITEATER...Don’t expect anything else than more than 30 minutes of pure perdition!!!!

Inhume makes Brutal Death Metal in combination with Grind Core elements.
Deep, low grunting vocals over a hyperactive drum section with screaming vocals to keep it all in balance.
Guitars are there to sharpen and fasten it, but it is to say that in some points they disappear quite a bit. Mainly when vocals come to the foreground the rest of it seems to be gone.
The music that the band brings comes raw and cold, full of filth and a true listener of this band had not expected any difference.
Some tempo changes here and there bring some variation and this speaks for the band.
Inhume ain’t pussies and after all these years the band shows that it knows how to make a serious album and stick to what they do, not modernize it too much.
If you can stand the 14-track lasting brutality depends how much you can handle extremes.

Don’t expect anything else than more than 30 minutes of pure perdition.



..::TRACK-LIST::..

1. Deadbeat 02:09
2. Pandemic 02:14
3. Virus 02:44
4. Cure For Life 04:12
5. Compulsory Infected 03:51
6. Wretched Worm 03:01
7. Cadaverous Abortion 02:02
8. Zombie Grinder 02:42
9. Prophet 01:43
10. Moulding The Deformed 02:35
11. Phobia 01:41
12. Premeditated 02:52
13. Sea Of Limbs 01:57
14. Violent Overkill 02:49



..::OBSADA::..

Joost Silvrants - Vocals
Dorus van Ooij - Vocals
Ben Janssen - Guitars
Loek Peeters - Bass
Roel Sanders - Drums



https://www.youtube.com/watch?v=w63l41EV8fM



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

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


..::OPIS::..

To bez wątpienia jedna z najlepszych undergroundowych płyt z 2010 roku.

To około 36 minut bezkompromisowego, miażdżącego uderzenia, bezmyślnego łomotu i porywających, trzaskających partii, ekstremalnego tempa, ekstremalnego spowolnienia, ekstremalnego 'wokalu', generalnie ekstremalnej muzyki - nie wspominając o ekstremalnych tekstach. Oczywiście nie jest to płyta dla elit!


Brutal Death Metal / Grincore feat. members and ex-members of ASPHYX, SINISTER, GOD DETHRONED, CLITEATER...Don’t expect anything else than more than 30 minutes of pure perdition!!!!

Inhume makes Brutal Death Metal in combination with Grind Core elements.
Deep, low grunting vocals over a hyperactive drum section with screaming vocals to keep it all in balance.
Guitars are there to sharpen and fasten it, but it is to say that in some points they disappear quite a bit. Mainly when vocals come to the foreground the rest of it seems to be gone.
The music that the band brings comes raw and cold, full of filth and a true listener of this band had not expected any difference.
Some tempo changes here and there bring some variation and this speaks for the band.
Inhume ain’t pussies and after all these years the band shows that it knows how to make a serious album and stick to what they do, not modernize it too much.
If you can stand the 14-track lasting brutality depends how much you can handle extremes.

Don’t expect anything else than more than 30 minutes of pure perdition.



..::TRACK-LIST::..

1. Deadbeat 02:09
2. Pandemic 02:14
3. Virus 02:44
4. Cure For Life 04:12
5. Compulsory Infected 03:51
6. Wretched Worm 03:01
7. Cadaverous Abortion 02:02
8. Zombie Grinder 02:42
9. Prophet 01:43
10. Moulding The Deformed 02:35
11. Phobia 01:41
12. Premeditated 02:52
13. Sea Of Limbs 01:57
14. Violent Overkill 02:49



..::OBSADA::..

Joost Silvrants - Vocals
Dorus van Ooij - Vocals
Ben Janssen - Guitars
Loek Peeters - Bass
Roel Sanders - Drums



https://www.youtube.com/watch?v=w63l41EV8fM



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

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


..::OPIS::..

Myślałem, że ten twór z Pensylwanii już dawno poszedł w piach. Ritual Mass na przestrzeni ostatniej dekady dał się poznać deathmetalowemu undergroundowi kilkoma mniejszymi wydawnictwami, które odbiły się niemałym echem. Część tych nagrań ukazała się w formie kompilacji „It Ever Turns” wydanej przed trzema laty przez Memento Mori Records.

Teraz ekipa z Pittsburgha atakuje dość niespodziewanie debiutanckim pełniakiem w barwach 20 Buck Spin i od razu trzeba przyznać, że jest to wydawnictwo, z którym warto się poznać. „Cascading Misery” to krok naprzód w muzycznym rozwoju Ritual Mass, zwłaszcza pod kątem kompozytorskim. To już nie jest podziemna, jaskiniowa, kipiąca wściekłością masa dźwięku. Tutaj są riffy, są świetne zwolnienia, jadowite przyspieszenia i zwarte, acz szalone sola przywodzące na myśl braci Hoffman. W dalszym ciągu punktem wyjścia wydaje się tutaj być twórczość Incantation, ale ekipa z północnego wschodu USA wykazuje na swym premierowym długograju więcej niż dotychczas odwołań do bardziej klasycznego, deathmetalowego grania. Słuchając tego materiału kilkukrotnie miałem skojarzenia z Ingivomous, które także w prostej linii gdzieś inspiruje się ekipą Johna McEntee, ale z każdym kolejnym wydawnictwem odchodziło od gęstej smolistości wplatając coraz więcej morbidangelowych motywów. I tak też odbieram „Cascading Misery” od strony instrumentalnej – to kawał bardzo dobre zagranego i napisanego metalu śmierci, opakowanego w naprawdę mocne brzmienie. Schody z tym materiałem zaczynają się dla mnie w momencie, gdy pojawiają się wokale. W tej materii nie zmieniło się nic i mamy jaskinię z toną najebanego pogłosu. Nazywając rzecz po imieniu – kompletnie one nie pasują do wygrywanych tutaj dźwięków i najzwyczajniej w świecie nie podobają mi się. Ritual Mass w każdym innym aspekcie poszedł za mocno do przodu, aby zostawić partie wokale takie jakimi były. Traci na tym całe „Cascading Misery”, które z innymi wokalami mogłoby być jeszcze bardziej dynamiczne, szalone, miałoby w ręku kolejny atrybut podkreślający błysk, który niewątpliwie w tym zespole tkwi.

Wierzę, że póki co jest to etap przejściowy i na kolejnym wydawnictwie Ci kolesie pójdą na całego i dojebią do pieca na całego nie zostawiając jednej nogi w bagnie. Tak czy owak polecam.
Harlequin

The debut full length album from Pittsburgh’s Ritual Mass is more than a collection of songs, it’s a series of calculated assaults on the virtue of the holy. Evolving beyond earlier EP and demo releases, ‘Cascading Misery’, encapsulates the bludgeoning infliction of pain and the slow peel of skin by flame, rife with both sonic chaos and extinguished hope.

From the outset of album opener ‘Obsidian Mirror’ the atmosphere is oppressive, thick with a suffocating malaise. There is a sense of something ceremonial at work but not in a way that seeks communion. Rather it’s ordeal as sacrament. Riffs strangle and churn into convulsive submission, oscillating from slow agony to psychotic break, over which a guttural lament so savage it freezes the blood is wrenched through dungeon stone. Each track unfolds like time spent in isolation, bound by chains, the mind slowly unraveling and surrounded by memories of torment both real and imagined.

By the time the epic 14-minute album closer ‘Disquiet’ dissipates into a mass of formless static Ritual Mass have dragged you into a world where suffering is not an end but a condition of existence. ‘Cascading Misery’ is music for the dissolution of hope, the terror of being, and the long march toward death.



..::TRACK-LIST::..

1. Obsidian Mirror 6:40
2. Immeasurable Hell 4:15
3. Looming Shapeless Entity 5:23
4. Cascading Misery 3:41
5. Frozen Marrow 6:21
6. Disquiet 14:32



..::OBSADA::..

G. Austin - Drums
N. Dudash - Vocals, Bass, Synths
R. Mauck - Guitars
P. Trona - Guitars, Vocals (backing)




https://www.youtube.com/watch?v=10yhciDPwD0



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

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


..::OPIS::..

Myślałem, że ten twór z Pensylwanii już dawno poszedł w piach. Ritual Mass na przestrzeni ostatniej dekady dał się poznać deathmetalowemu undergroundowi kilkoma mniejszymi wydawnictwami, które odbiły się niemałym echem. Część tych nagrań ukazała się w formie kompilacji „It Ever Turns” wydanej przed trzema laty przez Memento Mori Records.

Teraz ekipa z Pittsburgha atakuje dość niespodziewanie debiutanckim pełniakiem w barwach 20 Buck Spin i od razu trzeba przyznać, że jest to wydawnictwo, z którym warto się poznać. „Cascading Misery” to krok naprzód w muzycznym rozwoju Ritual Mass, zwłaszcza pod kątem kompozytorskim. To już nie jest podziemna, jaskiniowa, kipiąca wściekłością masa dźwięku. Tutaj są riffy, są świetne zwolnienia, jadowite przyspieszenia i zwarte, acz szalone sola przywodzące na myśl braci Hoffman. W dalszym ciągu punktem wyjścia wydaje się tutaj być twórczość Incantation, ale ekipa z północnego wschodu USA wykazuje na swym premierowym długograju więcej niż dotychczas odwołań do bardziej klasycznego, deathmetalowego grania. Słuchając tego materiału kilkukrotnie miałem skojarzenia z Ingivomous, które także w prostej linii gdzieś inspiruje się ekipą Johna McEntee, ale z każdym kolejnym wydawnictwem odchodziło od gęstej smolistości wplatając coraz więcej morbidangelowych motywów. I tak też odbieram „Cascading Misery” od strony instrumentalnej – to kawał bardzo dobre zagranego i napisanego metalu śmierci, opakowanego w naprawdę mocne brzmienie. Schody z tym materiałem zaczynają się dla mnie w momencie, gdy pojawiają się wokale. W tej materii nie zmieniło się nic i mamy jaskinię z toną najebanego pogłosu. Nazywając rzecz po imieniu – kompletnie one nie pasują do wygrywanych tutaj dźwięków i najzwyczajniej w świecie nie podobają mi się. Ritual Mass w każdym innym aspekcie poszedł za mocno do przodu, aby zostawić partie wokale takie jakimi były. Traci na tym całe „Cascading Misery”, które z innymi wokalami mogłoby być jeszcze bardziej dynamiczne, szalone, miałoby w ręku kolejny atrybut podkreślający błysk, który niewątpliwie w tym zespole tkwi.

Wierzę, że póki co jest to etap przejściowy i na kolejnym wydawnictwie Ci kolesie pójdą na całego i dojebią do pieca na całego nie zostawiając jednej nogi w bagnie. Tak czy owak polecam.
Harlequin

The debut full length album from Pittsburgh’s Ritual Mass is more than a collection of songs, it’s a series of calculated assaults on the virtue of the holy. Evolving beyond earlier EP and demo releases, ‘Cascading Misery’, encapsulates the bludgeoning infliction of pain and the slow peel of skin by flame, rife with both sonic chaos and extinguished hope.

From the outset of album opener ‘Obsidian Mirror’ the atmosphere is oppressive, thick with a suffocating malaise. There is a sense of something ceremonial at work but not in a way that seeks communion. Rather it’s ordeal as sacrament. Riffs strangle and churn into convulsive submission, oscillating from slow agony to psychotic break, over which a guttural lament so savage it freezes the blood is wrenched through dungeon stone. Each track unfolds like time spent in isolation, bound by chains, the mind slowly unraveling and surrounded by memories of torment both real and imagined.

By the time the epic 14-minute album closer ‘Disquiet’ dissipates into a mass of formless static Ritual Mass have dragged you into a world where suffering is not an end but a condition of existence. ‘Cascading Misery’ is music for the dissolution of hope, the terror of being, and the long march toward death.



..::TRACK-LIST::..

1. Obsidian Mirror 6:40
2. Immeasurable Hell 4:15
3. Looming Shapeless Entity 5:23
4. Cascading Misery 3:41
5. Frozen Marrow 6:21
6. Disquiet 14:32



..::OBSADA::..

G. Austin - Drums
N. Dudash - Vocals, Bass, Synths
R. Mauck - Guitars
P. Trona - Guitars, Vocals (backing)




https://www.youtube.com/watch?v=10yhciDPwD0



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

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



Obrzydliwy, brutalny... idealny!!!


..::OPIS::..

Emanating as if from the foul-smelling, poisoned swamps, the music of debutants Viande will make you claw at your throat, enveloping you in suffocating darkness, and before you know it, it will have on your knees gasping for air, with a blood-stained bag on your head. Soon enough the clobbering begins in pitch black darkness and amidst the mind-numbing cacophony, with eerie sounds ringing about, one thing becomes clear - there are stranger, darker forces involved here. More than just another dark death metal band, Viande are conjuring up different sounds and atmospheric elements to create a truly terrifying form of death metal, one that doesn't wallow in misery for too long and is more content bashing skulls in. The full length remains an amorphous exercise in darkness, be it with the use of bestial-sounding primordial catharsis, harrowing doom-laden passages, or just their own kind of unsettling industrial ambience, they're on to something and it transcends mere Incantation-worship. L'abime dévore les âmes is an accomplished debut with soul-scarring qualities.

For fans of - Incantation, Cruciamentum, Portal, Dead Congregation, Vacivus, Teitanblood, Fossilization, Gateway




Many of us know, I guess, that moment of extreme disappointment when you unwrap a prime steak you’ve been looking forward to, only to be greeted by the putrid smell of gone-off meat. “It makes no sense, I only bought the fucking thing yesterday,” you mutter darkly to yourself. That steak should have been good for another couple of days at least. “How could this have happened? Why did it have to happen to me and why today?” I can’t answer any of those questions—quite frankly, I have my own problems—but that foul whiff of putrefaction reminds of the rancid filth that emanates from the debut record of French four-piece Viande. Is that whiff the reason these blackened, atmospheric death dealers all seem to delight in draping sacks over their heads?

It’s not for me to say. But their brand of heavily Incantation-influenced, doom-laden death metal practically oozes out the speakers, much as a sludgy sewage leak might. Nasty, distorted guitars, oozing oil-slick noise samples, pounding drums and guttural roars and growls straight from some hellish underworld make up Viande’s butcher’s kit. A pastiche of early Incantation and more recent Cruciamentum, L’abime dévore les âmes (The Abyss that Devours Souls) is no picnic. Insistent, urgent and brutal, Viande modulate the tempo across their debut but, whether it’s the frantic pace of opener “Les Dent du Gouffre” or the tortured tones of closer “Langues de Brume,” which gets dangerously close to drone, these Frenchmen are never less than intensely unsettling.

There’s more than a hint of sludge in the mix on L’abime dévore les âmes but also, in a somewhat unexpected addition to the mix, dollops of Portal’s Avow in the grimy riffage and eerie soundscapes of tracks like “La Tombe Avide” and “Le Souffle des Os.” Across the album, vocalist J is a man possessed, turning himself inside out as he screams completely unintelligible but no doubt portentous predictions of the world ending in a storm of blood and other bodily fluids. Probably. These grim tales are set to the apocalyptic samples and feedback-laden riffs of B, which oscillate between distended doom and static-laced technicality. It is drummer M, however, that is the glue holding together this unholy union. Sometimes metronomically ominous (“Lueurs de Cendres”), at others deftly progressive (“Traitre a la Vie”) but undoubtedly able to step up the intensity whenever needed (“Miroir Decharne” or “Le Souffle des Os”), M carries Viande along on a tide of blasts and pounding energy. This allows the other members extra leash to generate an atmosphere of bilious threat.

If there is an issue with L’abime dévore les âmes it’s that that atmosphere is all-consuming. Not in the way that people complain about atmoblack being driven by too many lengthy ambient passages—although these do surface briefly in a couple of places—but rather that the overall feel Viande generates somehow contrives to make the record a little one-note. This is curious because, in fact, the band plays delicately with tempos and modulates the black, death and doom edges of their sound with some skill. Yet, after many listens, I find myself unable to identify individual songs with any confidence or point to standout or really distinct moments on L’abime dévore les âmes, something heightened by the vocals in particular. These, as monstrous as they are, need a little more variation. Thus, while the album flows well, with everything seemingly in its rightful place, the sepulchral, primordial feel of Viande, which put me in mind of Arkhaaik, is a tiring sound after a while. This is amplified to a degree by the production, which is huge, rumbling, and cavernous but lacks subtlety.

Viande’s brand of death metal is drenched in exactly the sort of abyssal doomy atmosphere that an album entitled L’abime dévore les âmes ought to be. The more time I spent with the album, the more conflicted I became about how to score it, however. On the one hand, there is much to like about Viande’s brutal, deathly sound and the band are undoubtedly skilled. On the other, the songwriting holds them back slightly. That is not to say that Viande’s craft is poor, it is not and, doubtless mileage will vary. For me, however, L’abime dévore les âmes is a flawed but hugely promising debut that leaves Viande plenty of room to grow.

Carcharodon



..::TRACK-LIST::..

1. Les Dents Du Gouffre 06:36
2. Le Ventre Monde 03:35
3. La Tombe Avide 04:44
4. Miroir Decharne 04:33
5. Le Souffle Des Os 06:50
6. Traitre A La Vie 05:05
7. Lueurs De Cendres 06:44
8. Langues De Brume 04:12



..::OBSADA::..

J - vocals + visuals
B - guitars + noise
M - drums
G - live bass




https://www.youtube.com/watch?v=l6RMsXsHTLM



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

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



Obrzydliwy, brutalny... idealny!!!



..::OPIS::..

Emanating as if from the foul-smelling, poisoned swamps, the music of debutants Viande will make you claw at your throat, enveloping you in suffocating darkness, and before you know it, it will have on your knees gasping for air, with a blood-stained bag on your head. Soon enough the clobbering begins in pitch black darkness and amidst the mind-numbing cacophony, with eerie sounds ringing about, one thing becomes clear - there are stranger, darker forces involved here. More than just another dark death metal band, Viande are conjuring up different sounds and atmospheric elements to create a truly terrifying form of death metal, one that doesn't wallow in misery for too long and is more content bashing skulls in. The full length remains an amorphous exercise in darkness, be it with the use of bestial-sounding primordial catharsis, harrowing doom-laden passages, or just their own kind of unsettling industrial ambience, they're on to something and it transcends mere Incantation-worship. L'abime dévore les âmes is an accomplished debut with soul-scarring qualities.

For fans of - Incantation, Cruciamentum, Portal, Dead Congregation, Vacivus, Teitanblood, Fossilization, Gateway




Many of us know, I guess, that moment of extreme disappointment when you unwrap a prime steak you’ve been looking forward to, only to be greeted by the putrid smell of gone-off meat. “It makes no sense, I only bought the fucking thing yesterday,” you mutter darkly to yourself. That steak should have been good for another couple of days at least. “How could this have happened? Why did it have to happen to me and why today?” I can’t answer any of those questions—quite frankly, I have my own problems—but that foul whiff of putrefaction reminds of the rancid filth that emanates from the debut record of French four-piece Viande. Is that whiff the reason these blackened, atmospheric death dealers all seem to delight in draping sacks over their heads?

It’s not for me to say. But their brand of heavily Incantation-influenced, doom-laden death metal practically oozes out the speakers, much as a sludgy sewage leak might. Nasty, distorted guitars, oozing oil-slick noise samples, pounding drums and guttural roars and growls straight from some hellish underworld make up Viande’s butcher’s kit. A pastiche of early Incantation and more recent Cruciamentum, L’abime dévore les âmes (The Abyss that Devours Souls) is no picnic. Insistent, urgent and brutal, Viande modulate the tempo across their debut but, whether it’s the frantic pace of opener “Les Dent du Gouffre” or the tortured tones of closer “Langues de Brume,” which gets dangerously close to drone, these Frenchmen are never less than intensely unsettling.

There’s more than a hint of sludge in the mix on L’abime dévore les âmes but also, in a somewhat unexpected addition to the mix, dollops of Portal’s Avow in the grimy riffage and eerie soundscapes of tracks like “La Tombe Avide” and “Le Souffle des Os.” Across the album, vocalist J is a man possessed, turning himself inside out as he screams completely unintelligible but no doubt portentous predictions of the world ending in a storm of blood and other bodily fluids. Probably. These grim tales are set to the apocalyptic samples and feedback-laden riffs of B, which oscillate between distended doom and static-laced technicality. It is drummer M, however, that is the glue holding together this unholy union. Sometimes metronomically ominous (“Lueurs de Cendres”), at others deftly progressive (“Traitre a la Vie”) but undoubtedly able to step up the intensity whenever needed (“Miroir Decharne” or “Le Souffle des Os”), M carries Viande along on a tide of blasts and pounding energy. This allows the other members extra leash to generate an atmosphere of bilious threat.

If there is an issue with L’abime dévore les âmes it’s that that atmosphere is all-consuming. Not in the way that people complain about atmoblack being driven by too many lengthy ambient passages—although these do surface briefly in a couple of places—but rather that the overall feel Viande generates somehow contrives to make the record a little one-note. This is curious because, in fact, the band plays delicately with tempos and modulates the black, death and doom edges of their sound with some skill. Yet, after many listens, I find myself unable to identify individual songs with any confidence or point to standout or really distinct moments on L’abime dévore les âmes, something heightened by the vocals in particular. These, as monstrous as they are, need a little more variation. Thus, while the album flows well, with everything seemingly in its rightful place, the sepulchral, primordial feel of Viande, which put me in mind of Arkhaaik, is a tiring sound after a while. This is amplified to a degree by the production, which is huge, rumbling, and cavernous but lacks subtlety.

Viande’s brand of death metal is drenched in exactly the sort of abyssal doomy atmosphere that an album entitled L’abime dévore les âmes ought to be. The more time I spent with the album, the more conflicted I became about how to score it, however. On the one hand, there is much to like about Viande’s brutal, deathly sound and the band are undoubtedly skilled. On the other, the songwriting holds them back slightly. That is not to say that Viande’s craft is poor, it is not and, doubtless mileage will vary. For me, however, L’abime dévore les âmes is a flawed but hugely promising debut that leaves Viande plenty of room to grow.

Carcharodon



..::TRACK-LIST::..

1. Les Dents Du Gouffre 06:36
2. Le Ventre Monde 03:35
3. La Tombe Avide 04:44
4. Miroir Decharne 04:33
5. Le Souffle Des Os 06:50
6. Traitre A La Vie 05:05
7. Lueurs De Cendres 06:44
8. Langues De Brume 04:12



..::OBSADA::..

J - vocals + visuals
B - guitars + noise
M - drums
G - live bass




https://www.youtube.com/watch?v=l6RMsXsHTLM



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

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


..::OPIS::..

Wielowarstwowa mieszanka potężnego i imponującego blackened DM!

FA

Like their label and country mates Serpent of Old, Shrine of Denial are blending styles and forging their own sound, and channelling it through narrative, superbly thought out structures that despite the twists and turns remain memorable. Perhaps it is a Turkish trait to have the songs this meticulously written, and to achieve that Shrine of Denial have used elements of both death and black metal in varying degrees, often blurring the boundaries between the two in the process. The result is exhilarating, as the band effortlessly switches from fast, blasting parts to slow melodic hooks and then quickly accelerates back to their high-speed mode, using whatever stylistic liberties available. It is an engaging, intense and stirring album that doesn’t get carried away and goes beyond what is necessary or appropriate; despite the vagaries, it remains solid, cohesive and impactful throughout. For what it does, 'I, Moloch' is one of the strongest albums not only to come out of that region in recent times but also in the blackened death metal style as a whole.

For fans of - Serpent of Old, Dead Congregation, Emperor, Behemoth, Burial Invocation, The Chasm



PRESS:
"top-shelf blackened death that gets me very excited for the band’s future career" - Angry Metal Guy 3.5/5
www.angrymetalguy.com/shrine-of-denial-i-moloch-review/


"a rock-solid album that will break necks" - Acta Infernalis 90/100
actainfernalis.com/2025/03/10/review-2632-shrine-of-denial-i-moloch-english/


"This is the kind of splendor that black-death metal is always in need of" - Head-banger Reviews
headbangerreviews.com/2025/01/23/shrine-of-denial-i-moloch/


"A bright new star has emerged in the murky death metal firmament!" - Sentinel Daily
sentineldaily.com.au/shrine-of-denial-i-moloch-transcending-obscurity-records/


"as elaborate, as magnificent, as sinister and otherworldly, and as dreadfully frightening as the visual" - No Clean Singing
www.nocleansinging.com/2025/02/14/an-ncs-premiere-shrine-of-denial-i-moloch/


"an engaging slab of considerable ferocity, tempered by an esoteric edge" - Wonderbox Metal
wonderboxmetal.com/2025/03/06/shrine-of-denial-i-moloch-review/


"Solid blackened death with a touch of disso" - Toilet ov Hell
toiletovhell.com/tmp-floating-shrine-of-denial-shrieking-demons-and-more/


"fans of varied death metal with a blackened touch should definitely check out" - Wings of Death
www.wingsofdeath.net/89646-Shrine-Of-Denial-I-Moloch



I’m starting to think there might be something in the water over in Turkey. Not two full years after Serpent of Old and their phenomenal debut Ensemble Under the Dark Sun blew my tiny mind, Shrine of Denial threaten to do the same. Sharing a home country and a label and implying a similar sound to Serpent of Old in their one-sheet, it was easy to go in expecting a carbon-copy of the former. While certain quirks suggest the idea of a native style, Shrine of Denial have more than enough personality of their own, forming I, Moloch with blackened death metal channeled through a sound that feels as old and trve as it does fresh and unique.

I, Moloch is gritty, fast, and technical. Punchily-delivered vocals and fast, off-beat tempos that almost recall The Black Dahlia Murder, meet with menacing riffwork that mimics a faster Morbid Angel, and is most closely akin to last years’ Keres, and throaty growls barked or roared, often in unison. Lurking about the compositions are tones and some pretensions to atmospheric dissonance that sound—yes—a bit like Serpent of Old (“Climbing Through Nothingness,” “The Mesmer”). But Shrine of Denial eschew eerie ambiguity in favour of straightforward meanness, delivering their discordant harmonies through spidery fretwork and the occasional twisting, piercing line. The low-DR, new-school-old-school production that wraps guitar solos in delicious echo, pushes the percussion to the front and into the golden zone of satisfyingly crisp crashy-bangyness, and emphasises the roughness of the vocals is the perfect packaging. This sounds bloody fantastic.

Shrine of Denial excel at elevating the elements of their music in a way that injects new vitality and intrigue into old styles, but doesn’t denigrate their unvarnished heaviness. There is much that feels vaguely familiar on I, Moloch, but it is reinterpreted and reinvigorated through impressive performances and idiosyncratic habits that give Shrine of Denial instant individuality. Guitar lines threading through compositions are immediate and hooky (“Oneiros,” “Headless Idol”), but subtly they spin a more complex web that gives the songs depth, and take you almost by surprise as thematic reprise bursts into a thrilling solo (“I, Moloch,” “Pillars of Ice”). The drumwork is far more complex than it needed to be, but the effort pays off in spades, with the compositions becoming exhilaratingly energetic; my jaw was frequently on the floor in appreciation of the flicky precision and kicky fills (especially “A Sanctuary In The Depths Of The Realms,” “Pillars of Ice,” and “Oneiros”). Further, the way Shrine of Denial use syncopation between percussion, vocal delivery, and on-off riff patterns gives them that much more impact, where otherwise they might have shrunken under their technicality (“I, Moloch,” “Temple of the Corpse Misuser”). What few truly melodious passages there are shine when they do appear in the aforementioned solos, or in the hints of grace to certain quite OSDM-sounding refrains; the beauty of their high, cavernous resonance makes it that much more heartbreaking that they are so rare.

There is precious little wastage on I, Moloch. With a runtime this swift, but songs this compelling, it’s clear that Shrine of Denial are smart songwriters, knowing that to win over their listener, it’s better to leave them a little hungry. These 31 minutes are bursting with slick, thrilling, downright gnarly musicianship, and a presence that belies this brevity. Everything exudes a fresh and snappy approach to disso-death, and blackened death, and whatever subgenres they incorporate, that makes them more approachable, but keeps just enough conventionality, and more than enough brutality and technicality, to satisfy. The main problems, therefore, with I, Moloch are: a) I would like more, and b) I would like them to let their extreme tendencies play out a little further; that is to say—there aren’t any real problems. In seriousness, I, Moloch’s abbreviation and slight camouflage of seeming more straightforward than it is does let Shrine of Denial down a tad; but it’s early days, and I’m more than happy to wait for them to really let loose.

Really, I, Moloch does everything you could ask it to. It’s punchy and slick, with clear signs of powerful promise waiting to be capitalised upon once Shrine of Denial fully lock in. It’s a bite-sized helping of top-shelf blackened death that gets me very excited for the band’s future career, and it’s another impressive debut to come from a country with a growing reputation of fostering extreme metal talent.

Thus Spoke



..::TRACK-LIST::..

1. Climbing Through Nothingness 04:31
2. A Sanctuary In The Depths Of The Realms 04:15
3. I, Moloch 03:36
4. Pillars Of Ice 04:18
5. The Mesmer 03:58
6. Oneiros 03:41
7. Headless Idol 02:54
8. Temple of the Corpse Misuser 03:43



..::OBSADA::..

Eray Nabi - Vocals
Onur Uslu - Lead guitar
Denizkaan Aracı - Rhythm guitar
Ahmet Ünveren - Bass
Berk Köktürk - Drums




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



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

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


..::OPIS::..

Wielowarstwowa mieszanka potężnego i imponującego blackened DM!

FA

Like their label and country mates Serpent of Old, Shrine of Denial are blending styles and forging their own sound, and channelling it through narrative, superbly thought out structures that despite the twists and turns remain memorable. Perhaps it is a Turkish trait to have the songs this meticulously written, and to achieve that Shrine of Denial have used elements of both death and black metal in varying degrees, often blurring the boundaries between the two in the process. The result is exhilarating, as the band effortlessly switches from fast, blasting parts to slow melodic hooks and then quickly accelerates back to their high-speed mode, using whatever stylistic liberties available. It is an engaging, intense and stirring album that doesn’t get carried away and goes beyond what is necessary or appropriate; despite the vagaries, it remains solid, cohesive and impactful throughout. For what it does, 'I, Moloch' is one of the strongest albums not only to come out of that region in recent times but also in the blackened death metal style as a whole.

For fans of - Serpent of Old, Dead Congregation, Emperor, Behemoth, Burial Invocation, The Chasm



PRESS:
"top-shelf blackened death that gets me very excited for the band’s future career" - Angry Metal Guy 3.5/5
www.angrymetalguy.com/shrine-of-denial-i-moloch-review/


"a rock-solid album that will break necks" - Acta Infernalis 90/100
actainfernalis.com/2025/03/10/review-2632-shrine-of-denial-i-moloch-english/


"This is the kind of splendor that black-death metal is always in need of" - Head-banger Reviews
headbangerreviews.com/2025/01/23/shrine-of-denial-i-moloch/


"A bright new star has emerged in the murky death metal firmament!" - Sentinel Daily
sentineldaily.com.au/shrine-of-denial-i-moloch-transcending-obscurity-records/


"as elaborate, as magnificent, as sinister and otherworldly, and as dreadfully frightening as the visual" - No Clean Singing
www.nocleansinging.com/2025/02/14/an-ncs-premiere-shrine-of-denial-i-moloch/


"an engaging slab of considerable ferocity, tempered by an esoteric edge" - Wonderbox Metal
wonderboxmetal.com/2025/03/06/shrine-of-denial-i-moloch-review/


"Solid blackened death with a touch of disso" - Toilet ov Hell
toiletovhell.com/tmp-floating-shrine-of-denial-shrieking-demons-and-more/


"fans of varied death metal with a blackened touch should definitely check out" - Wings of Death
www.wingsofdeath.net/89646-Shrine-Of-Denial-I-Moloch



I’m starting to think there might be something in the water over in Turkey. Not two full years after Serpent of Old and their phenomenal debut Ensemble Under the Dark Sun blew my tiny mind, Shrine of Denial threaten to do the same. Sharing a home country and a label and implying a similar sound to Serpent of Old in their one-sheet, it was easy to go in expecting a carbon-copy of the former. While certain quirks suggest the idea of a native style, Shrine of Denial have more than enough personality of their own, forming I, Moloch with blackened death metal channeled through a sound that feels as old and trve as it does fresh and unique.

I, Moloch is gritty, fast, and technical. Punchily-delivered vocals and fast, off-beat tempos that almost recall The Black Dahlia Murder, meet with menacing riffwork that mimics a faster Morbid Angel, and is most closely akin to last years’ Keres, and throaty growls barked or roared, often in unison. Lurking about the compositions are tones and some pretensions to atmospheric dissonance that sound—yes—a bit like Serpent of Old (“Climbing Through Nothingness,” “The Mesmer”). But Shrine of Denial eschew eerie ambiguity in favour of straightforward meanness, delivering their discordant harmonies through spidery fretwork and the occasional twisting, piercing line. The low-DR, new-school-old-school production that wraps guitar solos in delicious echo, pushes the percussion to the front and into the golden zone of satisfyingly crisp crashy-bangyness, and emphasises the roughness of the vocals is the perfect packaging. This sounds bloody fantastic.

Shrine of Denial excel at elevating the elements of their music in a way that injects new vitality and intrigue into old styles, but doesn’t denigrate their unvarnished heaviness. There is much that feels vaguely familiar on I, Moloch, but it is reinterpreted and reinvigorated through impressive performances and idiosyncratic habits that give Shrine of Denial instant individuality. Guitar lines threading through compositions are immediate and hooky (“Oneiros,” “Headless Idol”), but subtly they spin a more complex web that gives the songs depth, and take you almost by surprise as thematic reprise bursts into a thrilling solo (“I, Moloch,” “Pillars of Ice”). The drumwork is far more complex than it needed to be, but the effort pays off in spades, with the compositions becoming exhilaratingly energetic; my jaw was frequently on the floor in appreciation of the flicky precision and kicky fills (especially “A Sanctuary In The Depths Of The Realms,” “Pillars of Ice,” and “Oneiros”). Further, the way Shrine of Denial use syncopation between percussion, vocal delivery, and on-off riff patterns gives them that much more impact, where otherwise they might have shrunken under their technicality (“I, Moloch,” “Temple of the Corpse Misuser”). What few truly melodious passages there are shine when they do appear in the aforementioned solos, or in the hints of grace to certain quite OSDM-sounding refrains; the beauty of their high, cavernous resonance makes it that much more heartbreaking that they are so rare.

There is precious little wastage on I, Moloch. With a runtime this swift, but songs this compelling, it’s clear that Shrine of Denial are smart songwriters, knowing that to win over their listener, it’s better to leave them a little hungry. These 31 minutes are bursting with slick, thrilling, downright gnarly musicianship, and a presence that belies this brevity. Everything exudes a fresh and snappy approach to disso-death, and blackened death, and whatever subgenres they incorporate, that makes them more approachable, but keeps just enough conventionality, and more than enough brutality and technicality, to satisfy. The main problems, therefore, with I, Moloch are: a) I would like more, and b) I would like them to let their extreme tendencies play out a little further; that is to say—there aren’t any real problems. In seriousness, I, Moloch’s abbreviation and slight camouflage of seeming more straightforward than it is does let Shrine of Denial down a tad; but it’s early days, and I’m more than happy to wait for them to really let loose.

Really, I, Moloch does everything you could ask it to. It’s punchy and slick, with clear signs of powerful promise waiting to be capitalised upon once Shrine of Denial fully lock in. It’s a bite-sized helping of top-shelf blackened death that gets me very excited for the band’s future career, and it’s another impressive debut to come from a country with a growing reputation of fostering extreme metal talent.

Thus Spoke



..::TRACK-LIST::..

1. Climbing Through Nothingness 04:31
2. A Sanctuary In The Depths Of The Realms 04:15
3. I, Moloch 03:36
4. Pillars Of Ice 04:18
5. The Mesmer 03:58
6. Oneiros 03:41
7. Headless Idol 02:54
8. Temple of the Corpse Misuser 03:43



..::OBSADA::..

Eray Nabi - Vocals
Onur Uslu - Lead guitar
Denizkaan Aracı - Rhythm guitar
Ahmet Ünveren - Bass
Berk Köktürk - Drums




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



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

Po sześciu latah działalności Blackcircle wreszcie prezetuje swój debiutancki album. Sporo udziwnień, dużo progresji, dość inteligentna muzyka dla poszukujących.
Płyta 'duszna i ponura' ale nie stwarzająca wrażenia monotonnej.



..::TRACK-LIST::..

1. Ascension 08:19
2. Flowers 07:24
3. Echoes 08:57
4. In the Eye of Chaos 07:13
5. The Ghost Garden 07:42
6. Timeline 09:29
7. Mirrorhouse 04:44
8. Requiem in Silence 06:30



..::OBSADA::..

Bass - Jorge Drolett
Drum Programming - Raúl Drolett
Guitar - Raúl Drolett
Keyboards - Jorge Drolett
Synth - Raúl Drolett
Vocals - Jorge Drolett, Raúl Drolett




https://www.youtube.com/watch?v=cPw5fiVeXTQ



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

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


..::OPIS::..

Po sześciu latah działalności Blackcircle wreszcie prezetuje swój debiutancki album. Sporo udziwnień, dużo progresji, dość inteligentna muzyka dla poszukujących.
Płyta 'duszna i ponura' ale nie stwarzająca wrażenia monotonnej.



..::TRACK-LIST::..

1. Ascension 08:19
2. Flowers 07:24
3. Echoes 08:57
4. In the Eye of Chaos 07:13
5. The Ghost Garden 07:42
6. Timeline 09:29
7. Mirrorhouse 04:44
8. Requiem in Silence 06:30



..::OBSADA::..

Bass - Jorge Drolett
Drum Programming - Raúl Drolett
Guitar - Raúl Drolett
Keyboards - Jorge Drolett
Synth - Raúl Drolett
Vocals - Jorge Drolett, Raúl Drolett




https://www.youtube.com/watch?v=cPw5fiVeXTQ



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

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


..::OPIS::..

Jestem naprawdę szczęśliwy, że poznałem włoski zespół, wyprodukowany przez włoską wytwórnię (bardzo aktywną Punishment 18 ), który śpiewa po włosku opowiadając kawał włoskiej historii.
Generalnie nie jestem zagorzałym obrońcą włoskiej sceny, często prowincjonalnej i amatorskiej, i właśnie dlatego jestem naprawdę dumny, gdy pojawia się dzieło tego kalibru.
Fajnie jest rozmawiać o fiordach czy obskurnych ulicach South Central Los Angeles, ale w końcu każdy z nas może być gangsterem albo niedzielnym Wikingiem... więc raz jeszcze wielkie brawa dla zespołu, który postanowił nie iść na łatwiznę i nie podążać za trendami.



..::TRACK-LIST::..

1. I Was
2. Teveròn, The Sleeping Giant
3. The Legend Of Càzha Selvàrega
4. Artiglieria Alpina
5. The Guardian
6. 33 Days Of Pontificate (Vatican Inc.)
7. An Old Dusty Dream (Vajont 9 Ottobre 1963)
8. Life Before Nothing
9. Scream Of 2000 Screams
10. The Memory



..::OBSADA::..

Med - Guitars
Thomas - Drums
Ciardo - Guitars, Flute, Vocals
Pondro - Bass



https://www.youtube.com/watch?v=1QW_wq81kS4



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

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


..::OPIS::..

Jestem naprawdę szczęśliwy, że poznałem włoski zespół, wyprodukowany przez włoską wytwórnię (bardzo aktywną Punishment 18 ), który śpiewa po włosku opowiadając kawał włoskiej historii.
Generalnie nie jestem zagorzałym obrońcą włoskiej sceny, często prowincjonalnej i amatorskiej, i właśnie dlatego jestem naprawdę dumny, gdy pojawia się dzieło tego kalibru.
Fajnie jest rozmawiać o fiordach czy obskurnych ulicach South Central Los Angeles, ale w końcu każdy z nas może być gangsterem albo niedzielnym Wikingiem... więc raz jeszcze wielkie brawa dla zespołu, który postanowił nie iść na łatwiznę i nie podążać za trendami.



..::TRACK-LIST::..

1. I Was
2. Teveròn, The Sleeping Giant
3. The Legend Of Càzha Selvàrega
4. Artiglieria Alpina
5. The Guardian
6. 33 Days Of Pontificate (Vatican Inc.)
7. An Old Dusty Dream (Vajont 9 Ottobre 1963)
8. Life Before Nothing
9. Scream Of 2000 Screams
10. The Memory



..::OBSADA::..

Med - Guitars
Thomas - Drums
Ciardo - Guitars, Flute, Vocals
Pondro - Bass



https://www.youtube.com/watch?v=1QW_wq81kS4



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

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



Poślady zerżnięte na maxa!


..::OPIS::..

Lelahell to bestia z Algierii, być może zespół jest znany części fanów z europejskich wojaży (Polskę też odwiedzili swego czasu). Zapewne część czytających to osób będzie zdziwiona, że w Algierii bawią się w granie metalu. Bawią się i to jak!

Słowacka Metal Age Productions wzięła pod swoje skrzydła tego potwora i oto trzymam w ręku drugi pełnowymiarowy krążek Lelahell. Kilka faktów… Płyta zmiksowana i zremasterowana w Hertz Studio, na bębnach rozpierdol (dosłownie) sieje niejaki Hannes Grossmann (m.in. Hate Eternal, a wcześniej Necrophagist, Obscura) a wśród kilku gości, którzy pojawili się na płycie jest m.in. sam Patrizio Marco Giovanni Mameli z Pestilence.
Głównym sprawcą całego zamieszania jest Redouane Aouameur, który pociąga za sznurki w Lelahell. Wspomniany muzyk od wielu już lat działa na scenie i to słychać w jego muzyce. Dziesięć utworów składających się na „Alif” to miażdżąca porcja piekielnie szybkiego i technicznego death metalu z pojawiającymi się od czasu do czasu elementami folku. Można rzec, że Amerykanie mają Nile, Algieria ma Lelahell. Co ciekawe, w chwili obecnej Lelahell przejeżdża niczym czołg po konkurencji i nie bierze jeńców. Ile tutaj się dzieje! Potężne, klarowne brzmienie, niesamowite partie bębnów i gitarowe „palcóweczki wywijańce” ze szczyptą arabskiego folku tworzą piekielną mieszankę. Co ważne całość brzmi niesamowicie świeżo, chyba nie bez znaczenia jest pochodzenie mózgu Lelahell. Jeżeli tak w Algierii gra się death metal, to czapki z głów proszę państwa.

Odnośnie technicznego grania, żeby była jasność. Termin techniczny death metal może być mylący, nie jestem zwolennikiem muzy, w której mamy zlepek przypadkowych dźwięków, gdzie nic do siebie nie pasuje i jest to niestrawne w słuchaniu. Na „Alif” jest dokładnie odwrotnie. Jest miażdżący ciężar (death metal to nie cukiereczki), nieziemskie partie bębnów, chore wokale (niesamowite i obłąkane „screamy”), kapitalne solówki gitarowe i umiejętne (kładę nacisk na to słowo!) pokazanie jak można bawić się grą na instrumentach. Dzięki temu materiał nic nie traci na brutalności, nie została przekroczona niebezpieczna granica oddzielająca death metal od popisów nie mających z nim nic wspólnego. Weźmy taki siódmy na płycie „Insiraf/Martyr” (pisząc te słowa po raz któryś z rzędu słucham „Alif” i akurat właśnie przytłacza mnie ten utwór ). Arabski język w death metalu sprawdza się doskonale, brzmi świeżo i złowieszczo. Arabski motyw na gitarze przechodzi we wściekły death metal z tekstem wyryczanym w trzech językach (arabski, francuski i angielski).
Obcując z Lelahell po raz kolejny potwierdza się teoria o bandach z egzotycznych dla metalu krajów.

Ta egzotyka jest niesamowitym atutem, w połączeniu z, że tak to ujmę, regionalnymi „motywami” i czystą głową (czego często brakuje muzykom z krajów gdzie ikony death metalu wymienia się przez wszystkie przypadki, a to powoduje zabieranie się za kopiowanie kopii, w efekcie czego otrzymujemy, przykładowo, tysięczną wersję którejś z ikon death metalu). Pochodzenie idące w parze z pomysłem na muzykę, daje utalentowanym muzykom, a do takich zdecydowanie należy Redouane Aouameur (kuźwa, jak to się wymawia? ;)) możliwość zaprezentowania szerszej publice swoich nieco innych pomysłów i innego spojrzenia na ekstremalny metal. Mówiąc wprost, dawno nie spotkałem się z tak druzgocącym materiałem w brutalnym death metalu, swoją drogą określenie brutalny death metal jest głupkowate, bo przecież death metal z założenia ma być muzyką brutalną.

Jeśli lubisz kiedy tynk sypie się ze ścian, jeśli jesteś w stanie stanąć do walki na ringu z przeciwnikiem, który dysponuje nieziemską siłą i z góry wiesz, że poniesiesz klęskę, jeśli lubisz kiedy muza Cię katuje i nie da spokoju do ostatniej kropli krwi to algierski Lelahell jest dla Ciebie. Warto poszukać tego albumu, Lelahell dokonał aktu zniszczenia totalnego! Nie ma innej opcji jak maksymalna nota. Długo jeszcze ta płyta nie opuści mojego odtwarzacza.

Robert Serpent


Wiedzieliście, że istnieje coś takiego, jak algierski metal? Dopóki Lelahell nie wysłał swojej promki na naszą skrzynkę, sam nie miałem o tym pojęcia. Zainteresowałem się tą płytą głównie z ciekawości, nie zaprzeczam. Przekonajmy się, czy arabski death metal jest halal, czy może raczej haram.

Alif to czterdzieści minut podzielone na dziesięć kawałków i wydane przez Metal Age Productions. Notka wspominała o śmierć metalu, jednak samo to jest niedomówieniem. Poza śmiertelnym łomotem, ekipa używa dużo motywów z ich lokalnej kultury. Nie na tyle, by dodawać im do gatunku słowo folk, raczej na poziomie Nile albo Melechesh. Do tego znajduje się tu mnóstwo groove’u przypominającego mi Dies Irae albo Vaderowe Litany. Suma sumarum, wychodzi płyta całkiem przyjemna, choć niespecjalnie wybijająca się ponad resztę. Clou programu są bujające motywy, bardziej do rytmicznego tańca niż zwierzęcych konwulsji, oraz spora ilość arabskich melodii. Przepis całkiem niezły, choć trochę zbyt ubogi: często brakowało mi w utworach dodatkowych motywów, które przebiłyby pojawiającą się w późniejszych częściach monotonię. Wyznaczmy tutaj The Fifth, które praktycznie składa się z dwóch motywów na krzyż, do tego wyjątkowo miernych. Czasami zespół chce rozwinąć formułę i tworzy bardziej rozbudowane kompozycje, ale na Adam the First ciągnie się to bez celu. Dla kontrastu, utrzymane w podobnym duchu Impunity of the Mutants jest już dużo przyjemniejsze, a Litham (The Reach of Kal Asuf)-naprawdę dobre.

Nie, żebym przyganiał chęć rozwoju i zaawansowanych utworów, niemniej Lelahell najlepiej sobie radzi w prostych, niespecjalnie melodycznych strzałach z początku płyty. Paramnesia i Ribat Essalem to w sumie też dwa-trzy motywy na krzyż, niemniej miast stawiać na arabeskowe wybiegi, koncentrują się na chwytliwych, breakdownowych riffach, udoskonalając je wcale technicznymi wybiegami i nieokazyjnymi blastami. W ogóle, muzycy często pokazują, że grać potrafią i się nie wstydzą. Czepiać się będę tylko do wokalisty: na moje ucho brzmi jakoś tak wątle, brakuje mu mocy i charyzmy. Natomiast brzmienie powstało w Hertz Studio, jak się pewnie domyślacie, nie ma się na co skarżyć.

Alif jest całkiem niezłym krążkiem. W swojej ignorancji stwierdzę, że pewnie jednym z najlepszych z ich lokalnej sceny. Czapki z głowy mi nie urwało, ale jeżeli ktoś lubi groove i Arabię, powinien być zadowolony.

Kapitan Bajeczny


LELAHELL are one of Algerian newer extreme metal groups. In 2010, Redouane Aouameur who is no stranger to the Algerian metal scene as he has already been in other bands including (Neanderthalia, Litham, Carnavage and Devast) founded it. In August 2012, “Goressimo Records” officially released the band’s debut EP.

The album Alif features one of the most admired players in the world of technical death metal - Hannes Grossmann (ex Necrophagist, ex Obscura, Alkaloid, Blotted Science, Hate Eternal) on drums. Recorded at Fermata Studio (Algiers), mixed and mastered at the famous Hertz Recording Studio (Bialystock, Poland) by Sławek and Wojtek Wieslawski (Behemoth, Vader,
Decapitated, Hate).

Each Lelahell release is conceptually linked to the character of Abderrahmane yet focusing on another evolutionary step—another chapter in his own book. The new album "Alif" is now focusing on Abderrahmane's first steps in his new life, just like a child learning to speak, walk, learning about the world around him. Yet this is full of foes and fears, that's why Abderrahmane needs to save himself from those dangers.

The album contains 10 tracks of intensive death metal riffs with an Algerian folklore accent, combined with fast blast beats and technical rhythms. Highly recommended for fans of Melechesch, Nile, Absu, Behemoth or Decapitated.



Active as a musician and tireless supporter of Arabic extreme metal worldwide since the mid-90’s Algerian guitarist, vocalist and composer Lelahel aka Redouane Aouameur (Litham, Neanderthalia) was there for many of the country’s earliest metal milestones be it concerts or extreme metal album releases. As he moved on from death metal project Litham, Aouameur chose the path of self-direction and built his own ideas in the shape of the brutal and distinct death metal style of Lelahell. The project’s second full-length is a point of readiness, a mark that sets out onto a more capable and serious beginning. ‘Alif’ is not only a ripping technical death metal album but also a grand survey providing a blueprint for things more philosophical, technical and violent to come.

Written, performed, and recorded entirely by Aouameur alone the band’s first EP ‘Al Intihar’ (2012) was brutal death metal not far from 2000’s era Vader but with it’s own groove. The incorporation of arabesque scales persist through Lelahell‘s discography but the influence of Arabic melody wouldn’t fully light aflame until ‘Al Insane… The (Re​)​birth of Abderrahmane’ (2014) where comparisons were more aptly made with Melechesh, Beheaded and Nile. A brutal and straightforward debut full-length in appearance, as it plays ‘Al Insane… The (Re​)​birth of Abderrahmane’ reveals depth beneath it’s loudly chugging brutality but now it is easily outmoded by the skillful crafting of ‘Alif’.

Elements of thrash, black metal, and a healthy dose of technical death metal skill meld into the body of ‘Alif’ creating a patiently rhythmic experience thanks to Aouameur‘s sharp guitar work and session drums from Hannes Grossman (Alkaloid, Hate Eternal) who is best known for his time in Necrophagist and Obscura. A glut of guest artists contribute guitar and bass spots including Tom Geldschläger (ex-Obscura), Yacine M. (Litham), Patrick Mameli (Pestilence), bassist Hafid Saidi and their contributions help give the album some exotic variety and some considerable progressive flair. Because the heart of Aouameur‘s riffs are a mix of old school/brutal death and blackened death metal ‘Alif’ manages a warm and technique driven feeling throughout thanks to a mix/master from the Wiesławski brothers at Hertz Studio (Azarath, Decapitated, Vader).

‘Alif’ provides some great promise for the future of Lelahell as the intentioned ‘standard bearer’ for future releases. As overused as Arabic folk melody and certain guitar scales may seem in extreme metal this implementation is rarely done with any authenticity, Arallu and AlNamrood have done great justice with these influences, and the same skillful weaving of personal and cultural importance is felt on ‘Alif’ as well. This also includes lyrical themes covering numerous topics, with the open wounds of post-occupational Algeria occasionally on display. There is a spirit of rebellion alongside a certain aging wisdom to discover within the thoughtful content of ‘Alif’ and this makes me even more excited to hear where the project will go next.

No doubt that a lot of listeners will show up looking for something hyper progressive and technical due to Grossman‘s inclusion but I would temper that with the more reasonable expectation of tight musicianship with songwriting that isn’t self-indulgent or focused on flair above feeling. The delivery is precise and brutal in every case but I was left carrying the intricate melody and rhythms of ‘Alif’ in my mind after many listens. I’d highly recommend this to folks who have some great love for groups like Melechesh and Arallu but also the brutality of post-millennium era death metal (Polish and USDM, especially) with touches of modern technical and progressive death metal.

terraasymmetry



..::TRACK-LIST::..

1. Paramnesia 04:33
2. Ignis Fatuus 03:04
3. Thou Shalt Not Kill 00:30
4. Ribat Essalem 04:27
5. Adam the First 04:26
6. The Fifth 04:01
7. Insiraf / Martyr 05:37
8. Litham (The Reach of Kal asuf) 05:54
9. Parasits 02:44
10. Impunity of the Mutants 05:16




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



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

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



Poślady zerżnięte na maxa!


..::OPIS::..

Lelahell to bestia z Algierii, być może zespół jest znany części fanów z europejskich wojaży (Polskę też odwiedzili swego czasu). Zapewne część czytających to osób będzie zdziwiona, że w Algierii bawią się w granie metalu. Bawią się i to jak!

Słowacka Metal Age Productions wzięła pod swoje skrzydła tego potwora i oto trzymam w ręku drugi pełnowymiarowy krążek Lelahell. Kilka faktów… Płyta zmiksowana i zremasterowana w Hertz Studio, na bębnach rozpierdol (dosłownie) sieje niejaki Hannes Grossmann (m.in. Hate Eternal, a wcześniej Necrophagist, Obscura) a wśród kilku gości, którzy pojawili się na płycie jest m.in. sam Patrizio Marco Giovanni Mameli z Pestilence.
Głównym sprawcą całego zamieszania jest Redouane Aouameur, który pociąga za sznurki w Lelahell. Wspomniany muzyk od wielu już lat działa na scenie i to słychać w jego muzyce. Dziesięć utworów składających się na „Alif” to miażdżąca porcja piekielnie szybkiego i technicznego death metalu z pojawiającymi się od czasu do czasu elementami folku. Można rzec, że Amerykanie mają Nile, Algieria ma Lelahell. Co ciekawe, w chwili obecnej Lelahell przejeżdża niczym czołg po konkurencji i nie bierze jeńców. Ile tutaj się dzieje! Potężne, klarowne brzmienie, niesamowite partie bębnów i gitarowe „palcóweczki wywijańce” ze szczyptą arabskiego folku tworzą piekielną mieszankę. Co ważne całość brzmi niesamowicie świeżo, chyba nie bez znaczenia jest pochodzenie mózgu Lelahell. Jeżeli tak w Algierii gra się death metal, to czapki z głów proszę państwa.

Odnośnie technicznego grania, żeby była jasność. Termin techniczny death metal może być mylący, nie jestem zwolennikiem muzy, w której mamy zlepek przypadkowych dźwięków, gdzie nic do siebie nie pasuje i jest to niestrawne w słuchaniu. Na „Alif” jest dokładnie odwrotnie. Jest miażdżący ciężar (death metal to nie cukiereczki), nieziemskie partie bębnów, chore wokale (niesamowite i obłąkane „screamy”), kapitalne solówki gitarowe i umiejętne (kładę nacisk na to słowo!) pokazanie jak można bawić się grą na instrumentach. Dzięki temu materiał nic nie traci na brutalności, nie została przekroczona niebezpieczna granica oddzielająca death metal od popisów nie mających z nim nic wspólnego. Weźmy taki siódmy na płycie „Insiraf/Martyr” (pisząc te słowa po raz któryś z rzędu słucham „Alif” i akurat właśnie przytłacza mnie ten utwór ). Arabski język w death metalu sprawdza się doskonale, brzmi świeżo i złowieszczo. Arabski motyw na gitarze przechodzi we wściekły death metal z tekstem wyryczanym w trzech językach (arabski, francuski i angielski).
Obcując z Lelahell po raz kolejny potwierdza się teoria o bandach z egzotycznych dla metalu krajów.

Ta egzotyka jest niesamowitym atutem, w połączeniu z, że tak to ujmę, regionalnymi „motywami” i czystą głową (czego często brakuje muzykom z krajów gdzie ikony death metalu wymienia się przez wszystkie przypadki, a to powoduje zabieranie się za kopiowanie kopii, w efekcie czego otrzymujemy, przykładowo, tysięczną wersję którejś z ikon death metalu). Pochodzenie idące w parze z pomysłem na muzykę, daje utalentowanym muzykom, a do takich zdecydowanie należy Redouane Aouameur (kuźwa, jak to się wymawia? ;)) możliwość zaprezentowania szerszej publice swoich nieco innych pomysłów i innego spojrzenia na ekstremalny metal. Mówiąc wprost, dawno nie spotkałem się z tak druzgocącym materiałem w brutalnym death metalu, swoją drogą określenie brutalny death metal jest głupkowate, bo przecież death metal z założenia ma być muzyką brutalną.

Jeśli lubisz kiedy tynk sypie się ze ścian, jeśli jesteś w stanie stanąć do walki na ringu z przeciwnikiem, który dysponuje nieziemską siłą i z góry wiesz, że poniesiesz klęskę, jeśli lubisz kiedy muza Cię katuje i nie da spokoju do ostatniej kropli krwi to algierski Lelahell jest dla Ciebie. Warto poszukać tego albumu, Lelahell dokonał aktu zniszczenia totalnego! Nie ma innej opcji jak maksymalna nota. Długo jeszcze ta płyta nie opuści mojego odtwarzacza.

Robert Serpent


Wiedzieliście, że istnieje coś takiego, jak algierski metal? Dopóki Lelahell nie wysłał swojej promki na naszą skrzynkę, sam nie miałem o tym pojęcia. Zainteresowałem się tą płytą głównie z ciekawości, nie zaprzeczam. Przekonajmy się, czy arabski death metal jest halal, czy może raczej haram.

Alif to czterdzieści minut podzielone na dziesięć kawałków i wydane przez Metal Age Productions. Notka wspominała o śmierć metalu, jednak samo to jest niedomówieniem. Poza śmiertelnym łomotem, ekipa używa dużo motywów z ich lokalnej kultury. Nie na tyle, by dodawać im do gatunku słowo folk, raczej na poziomie Nile albo Melechesh. Do tego znajduje się tu mnóstwo groove’u przypominającego mi Dies Irae albo Vaderowe Litany. Suma sumarum, wychodzi płyta całkiem przyjemna, choć niespecjalnie wybijająca się ponad resztę. Clou programu są bujające motywy, bardziej do rytmicznego tańca niż zwierzęcych konwulsji, oraz spora ilość arabskich melodii. Przepis całkiem niezły, choć trochę zbyt ubogi: często brakowało mi w utworach dodatkowych motywów, które przebiłyby pojawiającą się w późniejszych częściach monotonię. Wyznaczmy tutaj The Fifth, które praktycznie składa się z dwóch motywów na krzyż, do tego wyjątkowo miernych. Czasami zespół chce rozwinąć formułę i tworzy bardziej rozbudowane kompozycje, ale na Adam the First ciągnie się to bez celu. Dla kontrastu, utrzymane w podobnym duchu Impunity of the Mutants jest już dużo przyjemniejsze, a Litham (The Reach of Kal Asuf)-naprawdę dobre.

Nie, żebym przyganiał chęć rozwoju i zaawansowanych utworów, niemniej Lelahell najlepiej sobie radzi w prostych, niespecjalnie melodycznych strzałach z początku płyty. Paramnesia i Ribat Essalem to w sumie też dwa-trzy motywy na krzyż, niemniej miast stawiać na arabeskowe wybiegi, koncentrują się na chwytliwych, breakdownowych riffach, udoskonalając je wcale technicznymi wybiegami i nieokazyjnymi blastami. W ogóle, muzycy często pokazują, że grać potrafią i się nie wstydzą. Czepiać się będę tylko do wokalisty: na moje ucho brzmi jakoś tak wątle, brakuje mu mocy i charyzmy. Natomiast brzmienie powstało w Hertz Studio, jak się pewnie domyślacie, nie ma się na co skarżyć.

Alif jest całkiem niezłym krążkiem. W swojej ignorancji stwierdzę, że pewnie jednym z najlepszych z ich lokalnej sceny. Czapki z głowy mi nie urwało, ale jeżeli ktoś lubi groove i Arabię, powinien być zadowolony.

Kapitan Bajeczny


LELAHELL are one of Algerian newer extreme metal groups. In 2010, Redouane Aouameur who is no stranger to the Algerian metal scene as he has already been in other bands including (Neanderthalia, Litham, Carnavage and Devast) founded it. In August 2012, “Goressimo Records” officially released the band’s debut EP.

The album Alif features one of the most admired players in the world of technical death metal - Hannes Grossmann (ex Necrophagist, ex Obscura, Alkaloid, Blotted Science, Hate Eternal) on drums. Recorded at Fermata Studio (Algiers), mixed and mastered at the famous Hertz Recording Studio (Bialystock, Poland) by Sławek and Wojtek Wieslawski (Behemoth, Vader,
Decapitated, Hate).

Each Lelahell release is conceptually linked to the character of Abderrahmane yet focusing on another evolutionary step—another chapter in his own book. The new album "Alif" is now focusing on Abderrahmane's first steps in his new life, just like a child learning to speak, walk, learning about the world around him. Yet this is full of foes and fears, that's why Abderrahmane needs to save himself from those dangers.

The album contains 10 tracks of intensive death metal riffs with an Algerian folklore accent, combined with fast blast beats and technical rhythms. Highly recommended for fans of Melechesch, Nile, Absu, Behemoth or Decapitated.



Active as a musician and tireless supporter of Arabic extreme metal worldwide since the mid-90’s Algerian guitarist, vocalist and composer Lelahel aka Redouane Aouameur (Litham, Neanderthalia) was there for many of the country’s earliest metal milestones be it concerts or extreme metal album releases. As he moved on from death metal project Litham, Aouameur chose the path of self-direction and built his own ideas in the shape of the brutal and distinct death metal style of Lelahell. The project’s second full-length is a point of readiness, a mark that sets out onto a more capable and serious beginning. ‘Alif’ is not only a ripping technical death metal album but also a grand survey providing a blueprint for things more philosophical, technical and violent to come.

Written, performed, and recorded entirely by Aouameur alone the band’s first EP ‘Al Intihar’ (2012) was brutal death metal not far from 2000’s era Vader but with it’s own groove. The incorporation of arabesque scales persist through Lelahell‘s discography but the influence of Arabic melody wouldn’t fully light aflame until ‘Al Insane… The (Re​)​birth of Abderrahmane’ (2014) where comparisons were more aptly made with Melechesh, Beheaded and Nile. A brutal and straightforward debut full-length in appearance, as it plays ‘Al Insane… The (Re​)​birth of Abderrahmane’ reveals depth beneath it’s loudly chugging brutality but now it is easily outmoded by the skillful crafting of ‘Alif’.

Elements of thrash, black metal, and a healthy dose of technical death metal skill meld into the body of ‘Alif’ creating a patiently rhythmic experience thanks to Aouameur‘s sharp guitar work and session drums from Hannes Grossman (Alkaloid, Hate Eternal) who is best known for his time in Necrophagist and Obscura. A glut of guest artists contribute guitar and bass spots including Tom Geldschläger (ex-Obscura), Yacine M. (Litham), Patrick Mameli (Pestilence), bassist Hafid Saidi and their contributions help give the album some exotic variety and some considerable progressive flair. Because the heart of Aouameur‘s riffs are a mix of old school/brutal death and blackened death metal ‘Alif’ manages a warm and technique driven feeling throughout thanks to a mix/master from the Wiesławski brothers at Hertz Studio (Azarath, Decapitated, Vader).

‘Alif’ provides some great promise for the future of Lelahell as the intentioned ‘standard bearer’ for future releases. As overused as Arabic folk melody and certain guitar scales may seem in extreme metal this implementation is rarely done with any authenticity, Arallu and AlNamrood have done great justice with these influences, and the same skillful weaving of personal and cultural importance is felt on ‘Alif’ as well. This also includes lyrical themes covering numerous topics, with the open wounds of post-occupational Algeria occasionally on display. There is a spirit of rebellion alongside a certain aging wisdom to discover within the thoughtful content of ‘Alif’ and this makes me even more excited to hear where the project will go next.

No doubt that a lot of listeners will show up looking for something hyper progressive and technical due to Grossman‘s inclusion but I would temper that with the more reasonable expectation of tight musicianship with songwriting that isn’t self-indulgent or focused on flair above feeling. The delivery is precise and brutal in every case but I was left carrying the intricate melody and rhythms of ‘Alif’ in my mind after many listens. I’d highly recommend this to folks who have some great love for groups like Melechesh and Arallu but also the brutality of post-millennium era death metal (Polish and USDM, especially) with touches of modern technical and progressive death metal.

terraasymmetry



..::TRACK-LIST::..

1. Paramnesia 04:33
2. Ignis Fatuus 03:04
3. Thou Shalt Not Kill 00:30
4. Ribat Essalem 04:27
5. Adam the First 04:26
6. The Fifth 04:01
7. Insiraf / Martyr 05:37
8. Litham (The Reach of Kal asuf) 05:54
9. Parasits 02:44
10. Impunity of the Mutants 05:16




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



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

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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


..::OPIS::..

Nie wiem jak wam, ale mnie Obituary już do śmierci — nieważne ich, czy mojej — kojarzyć się będzie z kolorem zielonym. Zgniło zielonym, gwoli ścisłości. A wszystkiemu winien jest rewelacyjny wprost debiut Amerykanów, który klimatem i otoczką sprowadza na słuchacza tak jednoznaczne konotacje. Wszystko obraca się wokół śmierci, rozkładu, agonii, pustki i niebytu… Nie oczekujcie jednak po tekstach jakichś głębszych przemyśleń. Nie ma także sensu doszukiwać się w nich drugiego dna, bo nawet to pierwsze właściwie nie istnieje. Tak czy inaczej tematyka poruszana w tytułach jest dla gatunku typowa. Co ważniejsze, daje to jakieś podstawy do tego, aby John mógł zaprezentować swoje niesamowite możliwości wokalne. A zaprawdę jest się czym pochwalić!

Rzekłbym, że wymioty starszego z braci Tardy można porównać do ostatniego rozpaczliwego wrzasku pogrzebanego żywcem nieszczęśnika. I mniejsza już z tym, iż nie mam pojęcia, jak coś takiego w ogóle miałoby zabrzmieć. Mniemam jednak, że zestawienie jest wystarczająco obrazowe i przemawiające do wyobraźni? Schodząc na ziemię (czy raczej pod nią), już normalnie wam komunikuję, iż Jonhn w wyjątkowo młodym wieku doprowadził swój głos do ostateczności. Dość powiedzieć, że do dziś nikt nie osiągnął takiego efektu, choć garstka wytrwałych nieco się do niego zbliżyła. Napierducha na Slowly We Rot jest stosunkowo szybka (mając na uwadze ówczesne standardy), a przy tym prosta, dzika (czy nawet momentami chaotyczna), niezaprzeczalnie brutalna i przede wszystkim odarta z wszelkich upiększeń. Obok bezkompromisowej sieczki mamy jeszcze mocarne, okrutnie ciężarne zwolnienia, do grania których inni w tamtym czasie niezbyt się palili. W wykonaniu Obituary takie zabiegi zabijają, wystarczy wspomnieć o potwornie zdołowanym utworze tytułowym. Syf i brud zawarty w muzyce przełożył się również na brzmienie, które jest cholernie szorstkie i surowe, choć z czytelności wiele nie straciło. Wszystkie te składniki zebrane do kupy dają 35 minut pierwszorzędnego death’owego wyziewu prosto z otchłani Florydy. Musicie to mieć, choćby na przyszłość - tak się akurat składa, że debiut Nekrologu to idealny podkład do gnicia. Bo chyba nie wierzycie w życie wieczne?

demo

I was a fan, back in those days. Bought their stuff, went to their gigs, got the stuff autographed. You get the picture. Not a huge fan though. Obituary were one of the death metal bands I was really into but not in my top 10 of favourite acts. Music-wise Obituary weren’t even close to Death, Morbid Angel, Carcass, Bolt Thrower, Pestilence and such bands in ’89-’90.

But John Tardy was unique! Eyes wide open when I first heard ‘Slowly We Rot’. Damn this boy was sick! That guitar tone, so dirty. Evil leads and solo’s making Kerry King sound like a choirboy. The whole concept of ‘Slowly We Rot’ overwhelmed me.

To be honest it was mostly the impact this album made back in ’89 which did and still does the trick. A unique sound and new level of dirtiness yet totally incomparable to Autopsy and such.

Take the riffing of Celtic Frost, let Scott Burns have a go at smudging the sound, thrust it through a meat grinder with a big load of Possessed madness and there your have Obituary’s music. Including the meat grinder that it. Give a youngster a microphone tell him to imagine he’s being eaten alive while eating a fellow man himself simultaneously and John Tardy even becomes more than the icing on the cake but almost the cake itself.

12 songs in 35 minutes, Unequalled by the band themselves to this day. Relentless!

morbert

Obituary is definitely one of my least favorite death metal bands ever, as well as one of the most overrated bands ever, but their crushing debut "Slowly We Rot" is most definitely exempt of that. Their debut couldn't have been better, it's a great album to start with, especially since it's an OSDM album, this is one of the best.

For a debut album, Obituary sure does make a name for themselves, already having their own style and sound. The music on this album makes me think of a rotting body with green pus slowly oozing out of it. Pure sickening repugnant death. Truly a disgusting and menacing sound that matches the artwork. Honestly, the artwork was MADE for the music, the cover is insanely appropriate considering how the music sounds.

The guitar sounds magnificent. To me, it sounds like TV static, but made into music, as if it were an instrument that could play musical notes, it's amazing. I love this guitar sound. There's no better or exact way else I could describe it, but the guitars on this album are awesome as hell! It gives the album a nastier sound than it already has; gives it the aesthetic of death, gore, and doom; which is what most OSDM is all about. The drumming is just as great, Donald Tardy is good with balance in his work here. He slows down or speeds up when necessary, not leaving any part underdone nor overdone. The drums themself are perfect too. The snare is great, it has a softer "poppy" sound that's solid and satisfying at the same time, same goes for the kick drum, they're great. They fit with the sound of the guitars as well. Same thing applies to Malevolent Creation's "In Cold Blood", the drums sound the same as on this album, and they also fit with the guitar on that album as well as it does with the drums on here. Instrumentally, everything fits together and works well! I seriously cannot express enough how great everything sounds, from the tone of the guitars, and to the drums and the drumming, great instrumentation.

John Tardy I'm not really a fan of, his vocals can be extremely annoying and overdone at times. But this is the band's debut album, the starting point. So it's not as annoying/bad as when it is. Here, he's pretty much perfect. Nothing overdone or cringey. On the faster parts he manages to keep up with the music, and on the slower parts he focuses more and lays down a solid foundation and direction. This is what every vocalist should do, sing along with the music and seek to follow it's path, and not let the vocals wander off on their own too much. On top of all that, the vocals go great with the music, so bonus! J. Tardy's work on the debut is his BEST, and isn't annoying and excruciating like on other records. Props to him here.

The songwriting is good. There's no identity crisis, no screw ups, no boringness or anything like that here. I wish this was the case with every OSDM album, to maintain solid songwriting throughout an entire album. Luckily, Obituary does this percfectly here. There's slower songs, faster songs; slower parts, faster parts. There's also solos, mini solos, good riffs, consistent drums,,,, this album is THE PACKAGE. Slowly We Rot is PERFECT OSDM. The production helps with it's nasty sound too, great job on that. Another good example of balance on Slowly We Rot. It's slightly raw but it doesn't overdo it. THIS is how it should be. Perfect with a hint of unfiltered rawness. Everything flows together with no "bad" or "less good" parts, everything has WORTH and is fucking kickass!

So many great songs here, let's start with Internal Bleeding. Starts off with a drum fill, then begins the mid-paced riffing, it's catchy and John comes in with his bloody wet vocals that even further pushes the theme of an unavoidable, doomy, certain death. Internal Bleeding is a sweet introduction to the album. Godly Beings shows the album's faster side, a more "DEATH METAL" vibe song, it has a catchy riff and the fast riffing/drumming is great! One of my top 5 Obituary songs for sure. The title track, what a smacker! It shows the album's more slower, groovier, doomier side. The riff is very easy to remember and spot out as well, one of the BEST Obituary riffs ever. Gates to Hell is similar to Godly Beings, except this time the riff is twice as awesome! The fast consistency is still there too. All the other songs are more riff-orientated and chiller, the best songs are Internal Bleeding, Godly Beings, Slowly We Rot, and Gates to Hell. All the songs are great reguardless of the album having best tracks. Some songs are definitely better than others, but at the end of the day every song is great and nothing is bad.

This has always been my favorite Obituary album, no doubt. This destroys all their other work, including Cause of Death. THIS is Obituary. THIS is their trademark sound. It's perfect and there's nothing to complain about, nor anything missing. Zero bad songs, catchy riffs, good songwriting, fits the theme of gore, death, and doom, this album undoubtedly has everything; and also everything an OSDM fan could ask for! Compared to this album, every single other Obituary release ain't shit. Take your focus away from Cause of Death, and give it all to Slowly We Rot, which truly deserves the most attention.

deathmetal69


Ah yes, slowly we all march towards the inevitability of death.....and no one reminds us of this fact more readily than the mighty Obituary. In addition to its all too acutely gory titles, this particular release's artwork is topped off with a seemingly dead, presumably-drunkard-in-life, poor sap lying on the street, graphically rendered in the style of a cheesy 80s beat 'em up style video game. This only serves to accentuate and compliment Obituary's already over-the-top, sensational nature, as exemplified by John Tardy's unmistakable long-winded growls and simple, to-the-point lyrical content dealing with nihilism and the inevitability of our own demise. Everything about Obituary is catchy and easily retained after only a few listens, a rare gift indeed, as I've not ever heard any other band in death metal that is so easily comprehensible and yet has such endless replay value as does Obituary. Obituary has not changed hardly at all stylistically in the 25 years of their existence, and you can kind of compare them to the ancient creatures that have seen little to no evolutionary change, with their phenotypes being essentially the same for millions and millions of years, dubbed "living fossils," and such is the same for Obituary, a living fossil of death metal--resisting change--not needing it. And this is what makes Obituary so special, their consistency and uncompromising nature; they are what they are, and if you don't like it, they don't care (as a later song title would declare). Perhaps one of the remotely few comparable bands in this regard that comes to mind would be Jungle Rot in all their simple stupid splendor, but they don't have the magic of John Tardy on the mic or the riff construction skills of Obituary.

Each Obituary album has its own identity with subtle differences, yet still being unmistakably Obituary. Slowly We Rot has the driest, bone-crunchingest (I think I just made that word up), most cacophonous guitar tone they've ever utilized throughout their long career, with a touch more of their thrash roots showing through. I would say the most obvious comparison to Slowly We Rot in terms of guitar tone and riffing would be another Florida band with an album out this very same year: Morbid Angel. Altars of Madness reminds me a bit of Slowly We Rot mostly due to the dry crunchy thrashy guitar tone and riff onslaught that both albums erupt forth. However, the comparisons mostly end there between these two albums (and bands too, really). I don't know who is predominately responsible for coming up with Obituary's riffs, but I do know that the period when they had Allen West was when most of their best albums were made. His soloing is definitely the best of the guitarists they had, blending into their riffing style best and most naturally. I've never been too keen on guitar solos, often ignoring them, more or less, to focus on the rhythm and riffing (since that's what I love so much about death metal), but Allen West's soloing really meshes well with the riffs and enhances each song in Slowly We Rot (since the soloing is kept to reasonable amounts), as in the opening song "Internal Bleeding", which gets a lot of its character from his efforts.

In addition to some excellent soloing, there is also some excellent riffing, what a surprise--aye! As I said in my opening paragraph, Obituary possesses a rare ability to construct fantastic death metal that is easily comprehensible, and their riffing is the foundation of this ability--catchy, yet morbid as all hell riffing that sticks with the listener from the very first listen. Their riffing tends to be straight-forward, with simple sickly melodies surrounded by the grotesque rhythms of Trevor Peres and John Tardy. As mentioned in the introduction; Obituary is a living fossil, and so too has their songwriting changed little in those 25 years, being very formulaic, but that's not necessarily a bad thing and Obituary has made it work so well. They often start with a slow to mid-paced groove riff, followed by a pummeling double bass section, then transition quickly into an up-tempo punky section, utilizing tremolo riffs and skank beats to increase the intensity, and finally coming full circle back to the slow/mid-paced groove of the beginning. There are so many obvious examples of this, but one example of a highlight that sticks out far above and beyond would be during the middle of "'Till Death," when the song transitions into that slow, ultra-doomy riff that could come straight from a funeral procession for Satan himself, unholy shit! That is the highlight of this entire album, so unbelievably amazing....And to top it all off, this doomy mood carries over into the beginning of the title track; "Slowly We Rot," before it breaks out into a faster punkier section guilty of inducing the most wild moshing I've ever seen. I was there, during MDF 2010 (so old school), right in the pit! And I saw what this did to the people....it made them go so crazy, I feared for my life! And I haven't even gotten to the highlight of the album yet--John Tardy! I say this because the riffing here on Slowly We Rot is actually not the best the band has ever come up with. Regardless, all the classic Obituary ingredients are here, but now we're all just waiting for the (ironically) immortal riffing to come in on a release like Cause of Death, to make something truly and horrifically unforgettable.

"BLAAAAHHHHUUUURRRRRRR!" Tardy exclaims with gut-busting power on "Internal Bleeding," as it repeats until it fades out briefly--only to enter back in a few seconds later. And here you have what makes this album so god damn good: John Tardy's beyond sick and morbid vocal performance, which puts all these shitty new school pig-squealing bands to shame. If there is one aspect of Obituary that has always been consistently good it's John Tardy's vocals. Sometimes the riffing has been lackluster; sometimes the production and guitar tone have been flat; but John Tardy has always been there, spewing forth his over-the-top and instantly recognizable take on death metal vocals. His distinct style has a tendency to transition suddenly from low gutturals into piercing screams rather often--sometimes even on the same syllable, creating a sort of rhythmic progression--which adds lots of extra dramatic effect, and enhances the horrific nature Obituary is attempting to construct in their music. And Tardy is a master at creating these brutal rhythms under (and in the case of this album, OVER) the classic Obituary riffing. His performance here on Slowly We Rot is loud and totally in-your-god-damn-face, utilizing short and sweet lyrical bursts, ala his profuse growls of "Rotting, beneath, below!" at the opening of the song "Suffocation"--his catchiest vocals lines on the album. And yet, the entire album is chock-full of ghastly, brutal-as-fuck, yet catchy vocal moments like this, elevating the album to new levels of excellence not often heard in death metal at the time--indeed, Tardy's work here would play a big part in the development of early death metal vocal styles.

And there you have it--Obituary's early classic masterpiece Slowly We Rot in a nutshell. While similar in approach to and possessing the replayability of other notable classics of its day, such as Altars of Madness and Leprosy, Slowly We Rot ups the ante on morbidity and sick nihilism--just the way I like it. I've never been all that impressed with Death personally, and Morbid Angel took a rapid dive into mediocrity after their masterpiece Altars of Madness. Both of these bands are notable for changing up their style and approach with each successive album, and while I can understand their desire to try new things and experiment, their varying directions didn't work all that well, and I'm glad Obituary decided not to follow such trends, retaining their basic style throughout their career--forever remaining a living fossil. All I can tell you now, my dear reader, is this: If you happen to be one of the lucky few enlightened death metal enthusiasts in this world, but have not yet explored the grisly wonders of Obituary, do so now and waste not another minute of your decaying, rotting existence on this Earth and go buy ALL of their albums.... NOW!

kybernetic



..::TRACK-LIST::..

1. Internal Bleeding
2. Godly Beings
3. ‘Til Death
4. Slowly We Rot
5. Immortal Visions
6. Gates To Hell
7. Words of Evil
8. Suffocation
9. Intoxicated
10. Deadly Intentions
11. Bloodsoaked
12. Stinkpuss

Bonus Tracks:
13. Find The Arise (demo version)
14. Like The Dead (demo version)



..::OBSADA::..

John Tardy - vocals
Allen West - lead guitar
Trevor Peres - rhythm guitar
Daniel Tucker - bass
Donald Tardy - drums, percussion

JP Chartier - lead guitar on tracks 13 and 14
Jerome Grable - bass on tracks 13 and 14




https://www.youtube.com/watch?v=2HqLvNlN3Rc



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

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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

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


..::OPIS::..

Fenomenalna muzykalność jak na coś tak agresywnie dysonansowego!

FA


Kilka słów o albumie:
Tworząc brutalny, techniczny i dysonansowy death metal, Dischordia stworzyła triumwirat rozwiniętego i skomplikowanego death metalu, który będzie wymagał rozwinięcia mózgów, aby go w pełni rozszyfrować. Być może trzeba go namoczyć przez noc lub poświęcić mu tyle czasu, aby wchłonąć tak imponującą masę muzyki, wielokrotne odsłuchiwanie, szczególnie za pomocą słuchawek, aby pomóc w jej analizie, jest obowiązkowe. Każda piosenka na albumie oferuje coś wyjątkowego; osobliwe są wszelkiego rodzaju niekonwencjonalne przerywniki dające słuchaczowi dziwną formę wytchnienia, aby mózg nie eksplodował, co jest jednocześnie uspokajające i niepokojące, zawsze przygotowując Cię na niezmienny punkt kulminacyjny. Każda piosenka to triumf. Każdy oferuje własną nagrodę. Przez cały czas dzieje się tak wiele, że prawdopodobnie byłoby to zbyt klaustrofobiczne, gdyby nie genialne miksowanie i mastering wykonane przez Colina Marstona (Gorguts, Replicant), zapewniające przejrzystość bez poświęcania ciężkości Dishordii, która upłynnia mózg. Nieprzewidywalna, niemal narracyjna struktura, wydobywa najlepsze występy członków, z których każdy stara się osiągnąć zupełnie nowy poziom. I nawet przy przerywnikach i różnych unikalnych instrumentach, dźwięk pozostaje w dużej mierze spójny i efektowny. W sumie to arcydzieło, do którego trafia tego typu muzyka. Dzięki odważnemu, przemyślanemu zastosowaniu i okrutnemu wykonaniu ustanawia nowe standardy w skrajnych sytuacjach.

Transcending Obscurity Records



Forging the brutal, technical and dissonant death metal styles, Dischordia have created a triumvirate of evolved and complicated death metal which will require the unspooling of brains to fully decipher it. It may have to be soaked overnight or given as much time with it too, for indeed, to absorb such an imposing mass of music, multiple listens particularly with the aid of headphones to help dissect it are mandatory. Every song on the album offers something unique; what’s peculiar are the unconventional interludes of all kinds giving the listener some strange form of respite, lest the brains explode, which are both calming and unsettling, always preparing you for the invariable climax. Every song is a triumph. Each offers its own reward. There’s so much happening at all times, it would probably feel too claustrophobic if it weren’t for the brilliant mixing and mastering work done by Colin Marston (Gorguts, Replicant), ensuring clarity without sacrificing Dischordia's brain-liquefying heaviness. Unpredictable, almost narrative structuring, brings out the best performances from the members, each of whom is trying to attain a whole new level. And even with the interludes and various unique instruments being brought into play, the sound remains largely cohesive and impactful. All in all, this is a masterwork where music of this kind goes. It sets new standards in extremity with bold, thoughtful application and ferocious execution.



..::TRACK-LIST::..

1. Minds of Dust 05:00
2. Bodies of Ash 06:51
3. Spirits of Dirt 06:55
4. The Wheel 06:45
5. The Whip 04:11
6. The Carriage 08:29
7. Panopticon 05:42
8. Purifying Flame 05:30
9. Le Petite Mort 06:54



..::OBSADA::..

Bass, Flute, Vox, Percussion, & Wrenches - Josh Turner
Guitars, Vox, & Slam Ball - Keeno
Drums, Guitar, Piano, & Filing Cabinet - Josh Fallin



https://www.youtube.com/watch?v=Iz5rz8QbmZE


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