...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.
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::..

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


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

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


..::OPIS::..

Barnes powiedział, że inspiracją do tego albumu były Hate Eternal, Suffocation, Dark Funeral i Belphegor, a także zawsze obecne wpływy Morbid Angel i Angelcorpse.
Słyszę wpływy wszystkich... szczególnie Hate Eternal i Belphegor, ale album nie jest kopią żadnego z nich. Z DNA tych starszych potworów narodziło się nowe stworzenie i nic go nie powstrzyma!



In a stagnant death metal era, Throne reign supreme. Their latest record, That Who Sits Upon Him, Was Death, offers a refreshing take on the subgenre. From the 2010’s onward, death metal faced a fierce conund(ouble bass)rum. Everything began to sound the same; everyone used the same riffs, tones, and kick drums. Thankfully, Throne deviate away from this phenomenon. They have found their way of doing things and will certainly find success because of it. This record showcases technical prowess, definitely—but its strengths lie within its creative risks.

Of course, heavy screams take the forefront of each mix. However, the vocal tone is different from what audiences have been hearing as of late. It’s truly a breath of fresh air, especially in a subgenre that’s already difficult to defend. Most people won’t expect to hear lyrics very clearly on a death metal record. You can, though, with Throne. The mix is on-point, allowing each element to have its moment. Things get expectedly chaotic, like in the breakdown of “Blasphemous Perversion.” Still, I still managed to focus on the layer I was supposed to be paying attention to.

That’s equally due to the musicians’ technical skill and production efforts. These mixes are clean, even as guitars screech to insanely high decibels. I’m sure the producer’s workflow is helped by a tight performance, but kudos to the production team. Perhaps the state of politics is responsible for the death metal renaissance. Regardless, Throne have positioned themselves to take the crown when the time comes, backed by the perfect lineup and equally impressive behind-the-scenes efforts. The record is engaging all the way through, even as guitars chug down picking patterns while the drums roar on for five minutes. That wouldn’t be possible without knowledgeable producers who understand the fine art of balance.

Not to sound like a total hater, but many death metal records from the past 10-ish years have sounded very similar. This one, though, is genuinely impressive, offering captivating dynamics and daring creative choices in each song. There is never a dull moment, with unique storylines and tight-knit instrumentals kicking ass all the way through. Throne are a truly notable group; their resilience and dedication will get them extremely far.

That Who Sits Upon Him, Was Death is just as vicious as you want it to be. Brutal, relentless drums and ear-splitting guitars may be overwhelming to some, but a comfort to others. The LP is concise, a creative vision brought to life with patience and practice. Every blast beat hits you right in the gut, a cathartic experience for anyone plagued by the curse of overthinking. This razor-sharp LP has the power to transform Throne’s already-acclaimed status into a household name, despite the obscurity of the genre still remaining a potential obstacle.

Hopefully, death metal is SO back.

Kayla Moreno



..::TRACK-LIST::..

1. Disentombed 04:02
2. To Breathe the Unknown 03:37
3. Blasphemous Perversion 02:53
4. Realm of Immolation 03:43
5. Human Frailty 03:19
6. Upon Deathless Winds 04:21
7. Behold Impurity 04:33
8. Where Angels Cower in Fear 03:37



..::OBSADA::..

Nathan Barnes - Rhythm Guitar, Vocals
Kollin Perpignani - Drums
Leslie Drake - Bass
Tim Kenefic - Lead Guitars




https://www.youtube.com/watch?v=OAdg2_CdE_Y



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

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


..::OPIS::..

Barnes powiedział, że inspiracją do tego albumu były Hate Eternal, Suffocation, Dark Funeral i Belphegor, a także zawsze obecne wpływy Morbid Angel i Angelcorpse.
Słyszę wpływy wszystkich... szczególnie Hate Eternal i Belphegor, ale album nie jest kopią żadnego z nich. Z DNA tych starszych potworów narodziło się nowe stworzenie i nic go nie powstrzyma!



In a stagnant death metal era, Throne reign supreme. Their latest record, That Who Sits Upon Him, Was Death, offers a refreshing take on the subgenre. From the 2010’s onward, death metal faced a fierce conund(ouble bass)rum. Everything began to sound the same; everyone used the same riffs, tones, and kick drums. Thankfully, Throne deviate away from this phenomenon. They have found their way of doing things and will certainly find success because of it. This record showcases technical prowess, definitely—but its strengths lie within its creative risks.

Of course, heavy screams take the forefront of each mix. However, the vocal tone is different from what audiences have been hearing as of late. It’s truly a breath of fresh air, especially in a subgenre that’s already difficult to defend. Most people won’t expect to hear lyrics very clearly on a death metal record. You can, though, with Throne. The mix is on-point, allowing each element to have its moment. Things get expectedly chaotic, like in the breakdown of “Blasphemous Perversion.” Still, I still managed to focus on the layer I was supposed to be paying attention to.

That’s equally due to the musicians’ technical skill and production efforts. These mixes are clean, even as guitars screech to insanely high decibels. I’m sure the producer’s workflow is helped by a tight performance, but kudos to the production team. Perhaps the state of politics is responsible for the death metal renaissance. Regardless, Throne have positioned themselves to take the crown when the time comes, backed by the perfect lineup and equally impressive behind-the-scenes efforts. The record is engaging all the way through, even as guitars chug down picking patterns while the drums roar on for five minutes. That wouldn’t be possible without knowledgeable producers who understand the fine art of balance.

Not to sound like a total hater, but many death metal records from the past 10-ish years have sounded very similar. This one, though, is genuinely impressive, offering captivating dynamics and daring creative choices in each song. There is never a dull moment, with unique storylines and tight-knit instrumentals kicking ass all the way through. Throne are a truly notable group; their resilience and dedication will get them extremely far.

That Who Sits Upon Him, Was Death is just as vicious as you want it to be. Brutal, relentless drums and ear-splitting guitars may be overwhelming to some, but a comfort to others. The LP is concise, a creative vision brought to life with patience and practice. Every blast beat hits you right in the gut, a cathartic experience for anyone plagued by the curse of overthinking. This razor-sharp LP has the power to transform Throne’s already-acclaimed status into a household name, despite the obscurity of the genre still remaining a potential obstacle.

Hopefully, death metal is SO back.

Kayla Moreno



..::TRACK-LIST::..

1. Disentombed 04:02
2. To Breathe the Unknown 03:37
3. Blasphemous Perversion 02:53
4. Realm of Immolation 03:43
5. Human Frailty 03:19
6. Upon Deathless Winds 04:21
7. Behold Impurity 04:33
8. Where Angels Cower in Fear 03:37



..::OBSADA::..

Nathan Barnes - Rhythm Guitar, Vocals
Kollin Perpignani - Drums
Leslie Drake - Bass
Tim Kenefic - Lead Guitars




https://www.youtube.com/watch?v=OAdg2_CdE_Y



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

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


..::OPIS::..

W przypadku wielu jednoosobowych zespołów bardzo łatwo stwierdzić, że muzykę napisała i nagrała tylko jedna osoba. Ha, ha!

W black metalu i death metalu, szczególnie, jest ich kilkaset, może tysiące, przy czym tylko kilka zespołów wyróżnia się nie tylko solidnością, ale także wyjątkowością w tym, co robią.

Zrodzony z umysłu Andresa Karlssona , szwedzki FEBRUUS jest jednym z tych niewielu zespołów, które nie tylko tworzą świetną muzykę, w tym przypadku odmianę technicznego death metalu z hojną dawką progresywnych akcentów, ale także dostarczają prawdopodobnie jeden z najbardziej wybitnych przykładów tego stylu w ostatnich latach.

Dowodem na to jest debiutancki album zespołu, 'Surveillance Orgy' , płyta czerpiąca z szerokiej gamy wpływów, aby rozwinąć to, co jest z pewnością jednym z najlepszych albumów tech-death ostatnich kilku lat, jednocześnie pozostawiając dużo miejsca na potężny klasyczny death i thrash metal.



As if the recent onslaught by progressive death metal bands Diskord, Atvm, Swelling Repulsion and Defect Designer on the label wasn't enough, Februus join the raiding party and bring the fireworks with their unheralded gem of a release in 'Surveillance Orgy'. Originally self-released by the sole band member, it blew away every unsuspecting listener who chanced upon it. There are only five songs on the album, the shortest one being three minutes and the longest one touching almost 15 minutes, and it's clear that their expression can't be confined by anything trivial of that sort. They seem to warp through time, nay, dimensions in the multiverse going by how often the music takes sudden, unexpected detours within each of the songs. The experience is unparalleled; the progressions are highly unpredictable and the manner in which they hurtle through them is both dizzying and exhilarating, all the while maintaining a sufficient heaviness worthy of the death metal tag. This is an album that transports the listener not to a particular place but all fucking over. And those adventurous enough will only strap in tighter, for albums like these are as rare as a cosmic event occurring only once every few decades.

For fans of - Edge of Sanity, Pan-Thy-Monium, Carbonized, Morbus Chron, Disharmonic Orchestra, Afflicted, Swelling Repulsion, Floating



PRESS:
"There is no album out there like Surveillance Orgy" - Nine Circles (US)
ninecircles.co/2024/07/19/album-review-februus-surveillance-orgy/


"nothing short of excellent" - All Around Metal (Italy) 4.5/5
allaroundmetal.com/component/content/article/26-releases/11410-februus-un-armonico-caos-tra-blast-beat-ferali-e-tecnica-sopraffina


"Brave, technical and yet wildly accessible, brutally heavy and yet gloriously ethereal" - The Killchain (UK)
thoseonceloyal.wordpress.com/2024/10/02/review-februus-surveillance-orgy/


"If you’re an adventurous sort, this album is for you" - Moshpit Nation (US)
www.moshpitnation.com/track-stream-februus-gentrification-of-the-soul/


"as wild as unpredictable, but it’s still incredibly powerful!" - Acta Infernalis (France) 85/100
actainfernalis.com/2024/07/15/review-2301-februus-surveillance-orgy-english/


"takes you on an eventful, adventurous expedition" - Zware Metalen (Netherlands) 82/100
zwaremetalen.com/albumrecensies/februus-surveillance-orgy


"something simultaneously alien and terrestrial, familiar yet fresh" - Lambgoat (US)
lambgoat.com/albums/3343/februus-surveillance-orgy/


"an interesting and well-executed prog death album" - Heavy Music HQ (US)
heavymusichq.com/heavy-music-hq-reviews-week-of-july-19-2024/



..::TRACK-LIST::..

1. Gentrification of the Soul 07:06
2. Morning Star over Deathlehem 08:25
3. The Price of Enterprise 03:13
4. Surveillance Orgy 08:01
5. Resignation Syndrome 14:25



..::OBSADA::..

Andreas Karlsson - All vocals, guitar, bass, electronic sounds and drum programming



https://www.youtube.com/watch?v=ZMKxMbFVRG4



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

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


..::OPIS::..

W przypadku wielu jednoosobowych zespołów bardzo łatwo stwierdzić, że muzykę napisała i nagrała tylko jedna osoba. Ha, ha!

W black metalu i death metalu, szczególnie, jest ich kilkaset, może tysiące, przy czym tylko kilka zespołów wyróżnia się nie tylko solidnością, ale także wyjątkowością w tym, co robią.

Zrodzony z umysłu Andresa Karlssona , szwedzki FEBRUUS jest jednym z tych niewielu zespołów, które nie tylko tworzą świetną muzykę, w tym przypadku odmianę technicznego death metalu z hojną dawką progresywnych akcentów, ale także dostarczają prawdopodobnie jeden z najbardziej wybitnych przykładów tego stylu w ostatnich latach.

Dowodem na to jest debiutancki album zespołu, 'Surveillance Orgy' , płyta czerpiąca z szerokiej gamy wpływów, aby rozwinąć to, co jest z pewnością jednym z najlepszych albumów tech-death ostatnich kilku lat, jednocześnie pozostawiając dużo miejsca na potężny klasyczny death i thrash metal.



As if the recent onslaught by progressive death metal bands Diskord, Atvm, Swelling Repulsion and Defect Designer on the label wasn't enough, Februus join the raiding party and bring the fireworks with their unheralded gem of a release in 'Surveillance Orgy'. Originally self-released by the sole band member, it blew away every unsuspecting listener who chanced upon it. There are only five songs on the album, the shortest one being three minutes and the longest one touching almost 15 minutes, and it's clear that their expression can't be confined by anything trivial of that sort. They seem to warp through time, nay, dimensions in the multiverse going by how often the music takes sudden, unexpected detours within each of the songs. The experience is unparalleled; the progressions are highly unpredictable and the manner in which they hurtle through them is both dizzying and exhilarating, all the while maintaining a sufficient heaviness worthy of the death metal tag. This is an album that transports the listener not to a particular place but all fucking over. And those adventurous enough will only strap in tighter, for albums like these are as rare as a cosmic event occurring only once every few decades.

For fans of - Edge of Sanity, Pan-Thy-Monium, Carbonized, Morbus Chron, Disharmonic Orchestra, Afflicted, Swelling Repulsion, Floating



PRESS:
"There is no album out there like Surveillance Orgy" - Nine Circles (US)
ninecircles.co/2024/07/19/album-review-februus-surveillance-orgy/


"nothing short of excellent" - All Around Metal (Italy) 4.5/5
allaroundmetal.com/component/content/article/26-releases/11410-februus-un-armonico-caos-tra-blast-beat-ferali-e-tecnica-sopraffina


"Brave, technical and yet wildly accessible, brutally heavy and yet gloriously ethereal" - The Killchain (UK)
thoseonceloyal.wordpress.com/2024/10/02/review-februus-surveillance-orgy/


"If you’re an adventurous sort, this album is for you" - Moshpit Nation (US)
www.moshpitnation.com/track-stream-februus-gentrification-of-the-soul/


"as wild as unpredictable, but it’s still incredibly powerful!" - Acta Infernalis (France) 85/100
actainfernalis.com/2024/07/15/review-2301-februus-surveillance-orgy-english/


"takes you on an eventful, adventurous expedition" - Zware Metalen (Netherlands) 82/100
zwaremetalen.com/albumrecensies/februus-surveillance-orgy


"something simultaneously alien and terrestrial, familiar yet fresh" - Lambgoat (US)
lambgoat.com/albums/3343/februus-surveillance-orgy/


"an interesting and well-executed prog death album" - Heavy Music HQ (US)
heavymusichq.com/heavy-music-hq-reviews-week-of-july-19-2024/



..::TRACK-LIST::..

1. Gentrification of the Soul 07:06
2. Morning Star over Deathlehem 08:25
3. The Price of Enterprise 03:13
4. Surveillance Orgy 08:01
5. Resignation Syndrome 14:25



..::OBSADA::..

Andreas Karlsson - All vocals, guitar, bass, electronic sounds and drum programming



https://www.youtube.com/watch?v=ZMKxMbFVRG4



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

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


..::OPIS::..

Schizofreniczny projekt Johna Walkera założyciela legendy brytyjskiego Death Metalu - Cancer.



Former member and frontman in legendary British Death Metal band CANCER, John Walker, is the mind behind this schizophrenic project. Groovy melodies extremely varied in texture and feel, with a huge rhythm section and with a vocalist that shifts between stunning soprano highs and semi-spoken tones, and a full of menace growl, is what LIQUID GRAVEYARD proposes, spanning from Progressive territories to a much darker place, taking up the challenge of dark, Death Metal where bands like Dominion, Opera IX and Atrox left off.
Recorded & Mixed in Sadmad Studios/Madrid & Mastered In Finnvox Studios/Finland.
For friends of original Metal with an open-minded vision of music, Liquid Graveyard are definitely a band to keep an eye on.



..::TRACK-LIST::..

1. Rumours Are Black Like Machine Guns 04:01
2. Criministers 04:43
3. On Evil Days 05:26
4. Them Greeds 05:02
5. Their Words Grow Thin 06:09
6. From The Tower 05:19
7. 1760 05:04
8. The Blood Inside 03:58
9. We Live Dangerously 04:53
10. Anthead Grotesque 06:11



..::OBSADA::..

John Walker - guitars
Raquel Walker - vocals
Adrian de Buitléar - bass
Acaymo D - drums



https://www.youtube.com/watch?v=733KjFzzwFI



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Schizofreniczny projekt Johna Walkera założyciela legendy brytyjskiego Death Metalu - Cancer.



Former member and frontman in legendary British Death Metal band CANCER, John Walker, is the mind behind this schizophrenic project. Groovy melodies extremely varied in texture and feel, with a huge rhythm section and with a vocalist that shifts between stunning soprano highs and semi-spoken tones, and a full of menace growl, is what LIQUID GRAVEYARD proposes, spanning from Progressive territories to a much darker place, taking up the challenge of dark, Death Metal where bands like Dominion, Opera IX and Atrox left off.
Recorded & Mixed in Sadmad Studios/Madrid & Mastered In Finnvox Studios/Finland.
For friends of original Metal with an open-minded vision of music, Liquid Graveyard are definitely a band to keep an eye on.



..::TRACK-LIST::..

1. Rumours Are Black Like Machine Guns 04:01
2. Criministers 04:43
3. On Evil Days 05:26
4. Them Greeds 05:02
5. Their Words Grow Thin 06:09
6. From The Tower 05:19
7. 1760 05:04
8. The Blood Inside 03:58
9. We Live Dangerously 04:53
10. Anthead Grotesque 06:11



..::OBSADA::..

John Walker - guitars
Raquel Walker - vocals
Adrian de Buitléar - bass
Acaymo D - drums



https://www.youtube.com/watch?v=733KjFzzwFI



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Debiutancki krążek ukazał się nakładem PRC MUSIC.
Kill With Hate oferuje miażdżący death metal z połowy lat 90., inspirowany Ameryką, z zadziwiającą, krystalicznie czystą produkcją. Szybki, groove'owy i bardzo ciężki, muzycznie przypomina stare Cannibal Corpse, Dying Fetus, a czasem Aborted...
Nie ma tu milionów nut na minutę i oryginalność jest tu dyskusyjnie skąpa ale death'owe pierdolnięcie, grane przez świetnych muzyków, którzy świetnie się bawią i dostarczają czadu w zupełności wystarcza!!!



..::TRACK-LIST::..

1. Intro 0:47
2. Submersion 3:28
3. The Beast Within 3:21
4. Servant Of God. 5:46
5. Epistle Of Fire 3:04
6. Pray For War 3:44
7. Doubt 4:48
8. Imprisoned 4:33
9. Speech Of The Defendant 6:25
10. Internal (Extreme Deformity cover) 3:00



..::OBSADA::..

Bence Turcsák - Drums
Ákos Olt - Guitars
Márton Harvig - Guitars, Didgeridoo
Krisztián Gyémánt - Vocals
Patrik Pornói - Bass, Vocals (backing




https://www.youtube.com/watch?v=bh02y53O_0Y



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Debiutancki krążek ukazał się nakładem PRC MUSIC.
Kill With Hate oferuje miażdżący death metal z połowy lat 90., inspirowany Ameryką, z zadziwiającą, krystalicznie czystą produkcją. Szybki, groove'owy i bardzo ciężki, muzycznie przypomina stare Cannibal Corpse, Dying Fetus, a czasem Aborted...
Nie ma tu milionów nut na minutę i oryginalność jest tu dyskusyjnie skąpa ale death'owe pierdolnięcie, grane przez świetnych muzyków, którzy świetnie się bawią i dostarczają czadu w zupełności wystarcza!!!



..::TRACK-LIST::..

1. Intro 0:47
2. Submersion 3:28
3. The Beast Within 3:21
4. Servant Of God. 5:46
5. Epistle Of Fire 3:04
6. Pray For War 3:44
7. Doubt 4:48
8. Imprisoned 4:33
9. Speech Of The Defendant 6:25
10. Internal (Extreme Deformity cover) 3:00



..::OBSADA::..

Bence Turcsák - Drums
Ákos Olt - Guitars
Márton Harvig - Guitars, Didgeridoo
Krisztián Gyémánt - Vocals
Patrik Pornói - Bass, Vocals (backing




https://www.youtube.com/watch?v=bh02y53O_0Y



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Rok 1993. Ostatni moment, żeby zaistnieć na deathmetalowej mapie świata i zostać zauważonym przez fanów, którym nadmiar tej muzyki za chwilę może wyjść bokiem oraz żeby załapać się do jakiejś znaczącej wytwórni z szansą na choćby minimalną promocję. Morta Skuld się udało, dzięki czemu przetrwali w branży, a ich debiut do dziś jest ciepło wspominany jako pomniejszy klasyk gatunku. Jest to o tyle istotne, że w momencie wydania ta muzyka była już trochę przestarzała, a nowopowstałe zespoły miały inne ambicje…

Dying Remains to aż 48 minut utrzymanego w średnich tempach surowego death metalu, w którym można się doszukać wpływów Obituary (obstawiam, że to była dla nich inspiracja numero uno), Cancer, Autopsy czy Viogression – a zatem grania ciężkiego, szorstkiego i bezpośredniego. Zespół tylko z rzadka urozmaica rytmiczną mielonkę żwawszym napieprzaniem, zaś od blastów i wszelkich bardziej wymagających rozwiązań formalnych trzyma się z daleka. Materiał jest oparty na prostych, podbitych wyraźnym basem riffach, a same struktury utworów nie należą do przesadnie skomplikowanych, stąd też całość może wydawać się z lekka toporna i jednowymiarowa, jeeendak została naprawdę zgrabnie poskładana, odznacza się wysoką czytelnością i fajnym feelingiem. To właśnie przemyślana konstrukcja utworów oraz odrobina polotu, z jakim zostały zagrane sprawiają, że tej długiej jak na standardy death metalu płyty słucha się od początku do końca bez utraty zainteresowania.

No i ten klimat! Dying Remains poprzedza krótkie intro, jakby żywcem wyjęte z horroru klasy C – z jednej strony dość tandetne, z drugiej zaś odpowiednio sugestywne. Po czymś takim wręcz nie wypada startować z blastami, toteż „Without Sin” muzycy Morta Skuld rozpoczynają grobowo – od nawiedzonych melodii, które powoli rozkręcają się w surowe i grubo ciosane, acz chwytliwe riffy. Ten specyficzny klimat podkreślają ponadto solówki (zaskakująco liczne, jak u Autopsy) z charakterystycznym pogłosem oraz wymiotny wokal, który często wpada w manierę Tardy’ego ze „Slowly We Rot”. Produkcja Dying Remains dobrze oddaje pierwotny styl zespołu, a brzmienie nie ustępuje jakością innym nie-topowym kapelom, co jest o tyle ciekawe, że producent płyty nie miał wcześniej styczności z brutalnym graniem.

Dying Remains to materiał, który obowiązkowo musi się znaleźć w kolekcji każdego wielbiciela klasycznego death metalu z Ameryki. I choć w muzyce Morta Skuld nie ma niczego, czego byśmy nie znali z dorobku starszych i bardziej znanych kapel pierwszej fali, to ich kreacja wygląda na w pełni przemyślaną i konsekwentnie zrealizowaną. Styl sam w sobie, wokal, brzmienie, okładka, teksty – wszystko jest spójne i tworzy nierozerwalną całość. No chyba, że to dzieło przypadku...

demo


THE CLASSIC 1993 DEBUT OF BRUTAL US DEATH/DOOM METAL, NOW FULLY REMASTERED

Morta Skuld formed in Milwaukee in 1990, going on to release three albums on Peaceville Records (initially via legendary sub-label Deaf Records) in the early-mid 90's.

'Dying Remains' was the band's debut, released in 1993 and recorded at Cornerstone Studios. Morta Skuld brought a refreshing blend of heavy and brutal death and doom along with more atmospheric and melodic elements instead of many straight forward high-octane death metal releases prevalent in the US scene at the time. This was an element which helped to distinguish them from many of their peers. Morta Skuld were highly acclaimed and played with such bands Obituary, Death, Deicide, Napalm Death, Fear Factory, and Cannibal Corpse.



Though not a particularly well-known purveyor of classic death metal, Morta Skuld are easily one of the most powerful bands on the scene, as evidenced by the band's 1993 masterpiece, "Dying Remains". This record draws upon the Obituary school of death metal...that is, focused largely on slow or mid-tempo riffs over speed and blast beats, as well as containing (be it accidental or intentional) a very dark and grim atmosphere, conjuring up images of graveyards and tombstones and other shit. Having said that, after listening to this record, it's clear that Morta Skuld have managed to create their own unique style. Unlike the vast majority of bands (good and bad), Morta Skuld play a familiar style of music while managing to avoid writing riffs that play too deeply into any other band's signature style.

The riffs will occasionally reference a band like Autopsy, and some of the faster riffs give off a strong "Leprosy" influence, but even in these moments, it's clear that you're not listening to a tribute band...you're listening to Morta Skuld. For example, the opening riff to "Devoured Fears" has always given off a very eerie atmosphere to me, no doubt due to the slow-paced riff and harmonization which is one of Autopsy's many signatures. However, this doesn't really sound like Autopsy to me. It sounds like a band being inspired by one of the most innovative bands on the scene, and rather than simply ripping them off, taking this inspiration and using it to create something new (well, technically old...but you probably get what I mean!).

This is also apparent in Dave Gregor's vocal delivery, a man who could easily fend off a small army with simply his diaphragm. The majority of his vocals lean towards an extremely deep, guttural grunt that would reduce Chris Barnes to a terrified little girl. However, Gregor's real crowning jewel are his higher-ranged growls, which are sharp as a knife, and powerful as a tank. Even after years and years of listening to death metal, some of Gregor's vocals on this album give me cold chills ("Now it's time for you to die - ALIVE!!!!!" - not sure what the fuck that is supposed to mean, but holy fuck is it brutal!!!).

Another thing that cannot be understated is the sheer power of this album's production. Generally, one would assume that an underground band from a state with a relatively obscure scene, would be relegated to lo-fi recording qualities from people who have no idea what they are doing. Each instrument sounds fantastic...the bass sits loud and proud in the mix, the drums pound on with incredible snare & bass tones (this is particularly apparent in the faster sections with the thrash beat - I can only describe this sound as "sexy"), and the guitar tone is exceptional (save for the "whop-whop-whop-whop" sound it gives off during the opening riff to "Hatred Creation").

I'd also like to point out how awesome the album cover is. A man with a (presumably?) giant forehead being blissfully ripped apart as he's lowered into a lake of boiling flesh & blood, as a graveyard dots the horizon? That's what death metal is all about (especially the giant forehead), and not a giant island-face being stabbed by a bobblehead skeleton (Benediction - "Subconscious Terror"), or a fucking rose (Atrocity - "Todessehnsucht"). Anyway, go buy this album right now. Don't even think about it. Don't be scared off by the ridiculous price that the original fetches on Amazon...the 2013 re-issue available for mail-order through Peaceville revamps the booklet with rare (high quality) photos, clippings from newspapers and magazines about show reviews, album reviews, etc., and the band were kind enough to restore the original album cover, to great effect. The sound quality is also top notch!!

Anyway, this album is a must for anyone who loves old-school death metal!! Hopefully the band will manage to re-issue their other albums, so we can hear them too!!

Cause of Death



..::TRACK-LIST::..

CD 1 - Dying Remains:
1. Lifeless (Instrumental) 0:32
2. Without Sin 4:00
3. Devoured Fears 6:11
4. Dying Remains 5:12
5. Useless To Mankind 5:11
6. Rotting Ways 4:01
7. Withering Seclusion 5:59
8. Hatred Creation 4:09
9. Scarred 3:57
10. Consuming Existence 3:49
11. Presumed Dead 4:36


CD 2 - Gory Departure - Prolong The Agony - Rehersals '91:

Gory Departure demo 1990
1. Intro 0:29
2. Sacrificial Rite 3:24
3. Gory Departure 3:44
4. Preacher Of Lies 3:22
5. Senseless Killing 2:19

Prolong The Agony demo 1990
6. Through Eyes Of Death 0:59
7. Feast From Within 4:13
8. Prolong The Agony (Crucifix) 4:14
9. Of Evil 4:03

Rehearsal Recordings 1991
10. Devoured Fears 6:13
11. Eternal Suffering 4:00
12. Prolong The Agony 4:03
13. Untitled 5:12



..::OBSADA::..

Vocals, Guitar - Dave Gregor
Guitar - Jason O'Connell
Drums - Kent Truckenbrod
Bass - Jason Hellman

Keyboards - Paul Kneevers (tracks: 1)
Backing Vocals - Ed Jackson (tracks: 8)




https://www.youtube.com/watch?v=Lu1KjFaSqpg



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Rok 1993. Ostatni moment, żeby zaistnieć na deathmetalowej mapie świata i zostać zauważonym przez fanów, którym nadmiar tej muzyki za chwilę może wyjść bokiem oraz żeby załapać się do jakiejś znaczącej wytwórni z szansą na choćby minimalną promocję. Morta Skuld się udało, dzięki czemu przetrwali w branży, a ich debiut do dziś jest ciepło wspominany jako pomniejszy klasyk gatunku. Jest to o tyle istotne, że w momencie wydania ta muzyka była już trochę przestarzała, a nowopowstałe zespoły miały inne ambicje…

Dying Remains to aż 48 minut utrzymanego w średnich tempach surowego death metalu, w którym można się doszukać wpływów Obituary (obstawiam, że to była dla nich inspiracja numero uno), Cancer, Autopsy czy Viogression – a zatem grania ciężkiego, szorstkiego i bezpośredniego. Zespół tylko z rzadka urozmaica rytmiczną mielonkę żwawszym napieprzaniem, zaś od blastów i wszelkich bardziej wymagających rozwiązań formalnych trzyma się z daleka. Materiał jest oparty na prostych, podbitych wyraźnym basem riffach, a same struktury utworów nie należą do przesadnie skomplikowanych, stąd też całość może wydawać się z lekka toporna i jednowymiarowa, jeeendak została naprawdę zgrabnie poskładana, odznacza się wysoką czytelnością i fajnym feelingiem. To właśnie przemyślana konstrukcja utworów oraz odrobina polotu, z jakim zostały zagrane sprawiają, że tej długiej jak na standardy death metalu płyty słucha się od początku do końca bez utraty zainteresowania.

No i ten klimat! Dying Remains poprzedza krótkie intro, jakby żywcem wyjęte z horroru klasy C – z jednej strony dość tandetne, z drugiej zaś odpowiednio sugestywne. Po czymś takim wręcz nie wypada startować z blastami, toteż „Without Sin” muzycy Morta Skuld rozpoczynają grobowo – od nawiedzonych melodii, które powoli rozkręcają się w surowe i grubo ciosane, acz chwytliwe riffy. Ten specyficzny klimat podkreślają ponadto solówki (zaskakująco liczne, jak u Autopsy) z charakterystycznym pogłosem oraz wymiotny wokal, który często wpada w manierę Tardy’ego ze „Slowly We Rot”. Produkcja Dying Remains dobrze oddaje pierwotny styl zespołu, a brzmienie nie ustępuje jakością innym nie-topowym kapelom, co jest o tyle ciekawe, że producent płyty nie miał wcześniej styczności z brutalnym graniem.

Dying Remains to materiał, który obowiązkowo musi się znaleźć w kolekcji każdego wielbiciela klasycznego death metalu z Ameryki. I choć w muzyce Morta Skuld nie ma niczego, czego byśmy nie znali z dorobku starszych i bardziej znanych kapel pierwszej fali, to ich kreacja wygląda na w pełni przemyślaną i konsekwentnie zrealizowaną. Styl sam w sobie, wokal, brzmienie, okładka, teksty – wszystko jest spójne i tworzy nierozerwalną całość. No chyba, że to dzieło przypadku...

demo


THE CLASSIC 1993 DEBUT OF BRUTAL US DEATH/DOOM METAL, NOW FULLY REMASTERED

Morta Skuld formed in Milwaukee in 1990, going on to release three albums on Peaceville Records (initially via legendary sub-label Deaf Records) in the early-mid 90's.

'Dying Remains' was the band's debut, released in 1993 and recorded at Cornerstone Studios. Morta Skuld brought a refreshing blend of heavy and brutal death and doom along with more atmospheric and melodic elements instead of many straight forward high-octane death metal releases prevalent in the US scene at the time. This was an element which helped to distinguish them from many of their peers. Morta Skuld were highly acclaimed and played with such bands Obituary, Death, Deicide, Napalm Death, Fear Factory, and Cannibal Corpse.



Though not a particularly well-known purveyor of classic death metal, Morta Skuld are easily one of the most powerful bands on the scene, as evidenced by the band's 1993 masterpiece, "Dying Remains". This record draws upon the Obituary school of death metal...that is, focused largely on slow or mid-tempo riffs over speed and blast beats, as well as containing (be it accidental or intentional) a very dark and grim atmosphere, conjuring up images of graveyards and tombstones and other shit. Having said that, after listening to this record, it's clear that Morta Skuld have managed to create their own unique style. Unlike the vast majority of bands (good and bad), Morta Skuld play a familiar style of music while managing to avoid writing riffs that play too deeply into any other band's signature style.

The riffs will occasionally reference a band like Autopsy, and some of the faster riffs give off a strong "Leprosy" influence, but even in these moments, it's clear that you're not listening to a tribute band...you're listening to Morta Skuld. For example, the opening riff to "Devoured Fears" has always given off a very eerie atmosphere to me, no doubt due to the slow-paced riff and harmonization which is one of Autopsy's many signatures. However, this doesn't really sound like Autopsy to me. It sounds like a band being inspired by one of the most innovative bands on the scene, and rather than simply ripping them off, taking this inspiration and using it to create something new (well, technically old...but you probably get what I mean!).

This is also apparent in Dave Gregor's vocal delivery, a man who could easily fend off a small army with simply his diaphragm. The majority of his vocals lean towards an extremely deep, guttural grunt that would reduce Chris Barnes to a terrified little girl. However, Gregor's real crowning jewel are his higher-ranged growls, which are sharp as a knife, and powerful as a tank. Even after years and years of listening to death metal, some of Gregor's vocals on this album give me cold chills ("Now it's time for you to die - ALIVE!!!!!" - not sure what the fuck that is supposed to mean, but holy fuck is it brutal!!!).

Another thing that cannot be understated is the sheer power of this album's production. Generally, one would assume that an underground band from a state with a relatively obscure scene, would be relegated to lo-fi recording qualities from people who have no idea what they are doing. Each instrument sounds fantastic...the bass sits loud and proud in the mix, the drums pound on with incredible snare & bass tones (this is particularly apparent in the faster sections with the thrash beat - I can only describe this sound as "sexy"), and the guitar tone is exceptional (save for the "whop-whop-whop-whop" sound it gives off during the opening riff to "Hatred Creation").

I'd also like to point out how awesome the album cover is. A man with a (presumably?) giant forehead being blissfully ripped apart as he's lowered into a lake of boiling flesh & blood, as a graveyard dots the horizon? That's what death metal is all about (especially the giant forehead), and not a giant island-face being stabbed by a bobblehead skeleton (Benediction - "Subconscious Terror"), or a fucking rose (Atrocity - "Todessehnsucht"). Anyway, go buy this album right now. Don't even think about it. Don't be scared off by the ridiculous price that the original fetches on Amazon...the 2013 re-issue available for mail-order through Peaceville revamps the booklet with rare (high quality) photos, clippings from newspapers and magazines about show reviews, album reviews, etc., and the band were kind enough to restore the original album cover, to great effect. The sound quality is also top notch!!

Anyway, this album is a must for anyone who loves old-school death metal!! Hopefully the band will manage to re-issue their other albums, so we can hear them too!!

Cause of Death



..::TRACK-LIST::..

CD 1 - Dying Remains:
1. Lifeless (Instrumental) 0:32
2. Without Sin 4:00
3. Devoured Fears 6:11
4. Dying Remains 5:12
5. Useless To Mankind 5:11
6. Rotting Ways 4:01
7. Withering Seclusion 5:59
8. Hatred Creation 4:09
9. Scarred 3:57
10. Consuming Existence 3:49
11. Presumed Dead 4:36


CD 2 - Gory Departure - Prolong The Agony - Rehersals '91:

Gory Departure demo 1990
1. Intro 0:29
2. Sacrificial Rite 3:24
3. Gory Departure 3:44
4. Preacher Of Lies 3:22
5. Senseless Killing 2:19

Prolong The Agony demo 1990
6. Through Eyes Of Death 0:59
7. Feast From Within 4:13
8. Prolong The Agony (Crucifix) 4:14
9. Of Evil 4:03

Rehearsal Recordings 1991
10. Devoured Fears 6:13
11. Eternal Suffering 4:00
12. Prolong The Agony 4:03
13. Untitled 5:12



..::OBSADA::..

Vocals, Guitar - Dave Gregor
Guitar - Jason O'Connell
Drums - Kent Truckenbrod
Bass - Jason Hellman

Keyboards - Paul Kneevers (tracks: 1)
Backing Vocals - Ed Jackson (tracks: 8)




https://www.youtube.com/watch?v=Lu1KjFaSqpg



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

To ten typ albumu, który wielu zagorzałych fanów metalu będzie chwalić przez lata, ale równie wielu będzie mówić: 'Co ja, kurwa, właśnie usłyszałem?'.
To nie jest coś, co cieszy się popularnością komercyjną, a jednak jest coś dziwnie kuszącego w tym obrzydliwym albumie, co zapewniło Chaos Motion status rzadko osiągalny w świecie muzyki ekstremalnej, niezwykle trudny do zdobycia.
Tyle... Miłych wrażeń...


CHAOS MOTION are turning the technical death metal genre inside out. There's little conformity to the style as we know it and it's all for the better. There needed to be something actually challenging that made us sit up and take notice, and this is it. There's nothing immediately catchy or memorable here. You will have to take effort to try and decipher the mind-boggling riffs and myriad patterns that this strange, otherworldly album is packed with. At just over 40 minutes, this will seem like an eternity to get through - and that can only be a compliment because there's just so much happening at all times. This album won't get old fast. This is one ugly, mysterious, gut-wrenching album that will befuddle listeners time and again, and they will keep coming back to it to learn some more. Each listen will reward them with something new, something hitherto unnoticed. Mastered by Colin Marston of GORGUTS, this debut full length by CHAOS MOTION is reminiscent of their infamous 'Obscura' album and other notorious ones by bands like PORTAL, ORIGIN, WORMED, (early) CEPHALIC CARNAGE and even WICKED INNOCENCE (circa 'Omnipotence').



BEST ALBUMS OF THE YEAR LIST -

#2 RANK - METAL INJECTION (US)
metalinjection.net/av/tech-death-tuesday/retrospective-look-at-the-best-technical-death-metal-of-2019

- "undoubtedly one of the best things I’ve heard all year" - Metal Injection (US)
metalinjection.net/av/full-album-stream/enjoy-an-early-stream-of-chaos-motions-absurdist-nightmare-psychological-spasms-cacophony

- "this band makes a textbook statement, so to speak, about how to ditch the textbook altogether" - Invisible Oranges (US)
www.invisibleoranges.com/chaos-motion-vital-vision-void-premiere/

- "fucking nuts" - The Metal Wanderlust (US) 4.5/5
themetalwanderlust.com/2019/07/31/album-review-psychological-spasms-cacophony-chaos-motion/

- "a display of technique and harmonic madness" - Broken Tomb (Spain) 9/10
www.brokentombmagazine.com/2019/09/02/critica-chaos-motion-psychological-spasms-cacophony-2019/

- "will stun listeners again and again" - RTMB (Spain)
www.rtmbmusic.com/reviews/3418/chaos-motion-anuncia-psychological-spasms-cacophony

- "completely unpredictable" - Heavy Blog Is Heavy (US)
www.heavyblogisheavy.com/2019/08/07/exclusive-premiere-chaos-motion-unleash-insanity-with-the-sound-of-specter/

- "excellent" - Dioses Del Metal (Spain)
diosesdelmetal.org/chaos-motion-psychological-spasms-cacophony-2019/

- "a set of stripes that’s rarely achieved in the music world" - Head-banger Reviews (US)
headbangerreviews.wordpress.com/2019/08/18/chaos-motion-psychological-spasms-cacophony/

- "enthralling" - The Sound Not The Word (UK)
thesoundnottheword.wordpress.com/2019/08/27/review-chaos-motion-psychological-spasms-cacophony/

- "definitely unique" - Metal Temple (Greece)
www.metal-temple.com/site/catalogues/entry/reviews/cd_3/c_2/chaos-motion.htm

Official YouTube Channel - bit.ly/2Fr49KH
Official Band Facebook - facebook.com/chaosmotionband

2019 Transcending Obscurity Records
tometal.com
facebook.com/transcendingobscurityrecords

Europe Store - transcendingobscurity.aisamerch.de
US Store - transcendingobscurity.aisamerch.com



..::TRACK-LIST::..

1. Intro 02:37
2. The Sound of Specter 04:51
3. Perturbation of a Spin 04:47
4. Unscrupulousness Resolution 04:00
5. Vital Vision Void 05:05
6. Inner Chaos 03:44
7. Psychotic Spasm 04:52
8. Absorption Disastrous 04:48
9. Sempiternal Self-Dissolution 04:51
10. Outro 03:15



..::OBSADA::..

Juan Pablo Munoz - Drums
Guillermo Gonzalez - Guitar, vocals
Alexis Tedde - Guitars



https://www.youtube.com/watch?v=TkDaW70q2tk



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

To ten typ albumu, który wielu zagorzałych fanów metalu będzie chwalić przez lata, ale równie wielu będzie mówić: 'Co ja, kurwa, właśnie usłyszałem?'.
To nie jest coś, co cieszy się popularnością komercyjną, a jednak jest coś dziwnie kuszącego w tym obrzydliwym albumie, co zapewniło Chaos Motion status rzadko osiągalny w świecie muzyki ekstremalnej, niezwykle trudny do zdobycia.
Tyle... Miłych wrażeń...


CHAOS MOTION are turning the technical death metal genre inside out. There's little conformity to the style as we know it and it's all for the better. There needed to be something actually challenging that made us sit up and take notice, and this is it. There's nothing immediately catchy or memorable here. You will have to take effort to try and decipher the mind-boggling riffs and myriad patterns that this strange, otherworldly album is packed with. At just over 40 minutes, this will seem like an eternity to get through - and that can only be a compliment because there's just so much happening at all times. This album won't get old fast. This is one ugly, mysterious, gut-wrenching album that will befuddle listeners time and again, and they will keep coming back to it to learn some more. Each listen will reward them with something new, something hitherto unnoticed. Mastered by Colin Marston of GORGUTS, this debut full length by CHAOS MOTION is reminiscent of their infamous 'Obscura' album and other notorious ones by bands like PORTAL, ORIGIN, WORMED, (early) CEPHALIC CARNAGE and even WICKED INNOCENCE (circa 'Omnipotence').



BEST ALBUMS OF THE YEAR LIST -

#2 RANK - METAL INJECTION (US)
metalinjection.net/av/tech-death-tuesday/retrospective-look-at-the-best-technical-death-metal-of-2019

- "undoubtedly one of the best things I’ve heard all year" - Metal Injection (US)
metalinjection.net/av/full-album-stream/enjoy-an-early-stream-of-chaos-motions-absurdist-nightmare-psychological-spasms-cacophony

- "this band makes a textbook statement, so to speak, about how to ditch the textbook altogether" - Invisible Oranges (US)
www.invisibleoranges.com/chaos-motion-vital-vision-void-premiere/

- "fucking nuts" - The Metal Wanderlust (US) 4.5/5
themetalwanderlust.com/2019/07/31/album-review-psychological-spasms-cacophony-chaos-motion/

- "a display of technique and harmonic madness" - Broken Tomb (Spain) 9/10
www.brokentombmagazine.com/2019/09/02/critica-chaos-motion-psychological-spasms-cacophony-2019/

- "will stun listeners again and again" - RTMB (Spain)
www.rtmbmusic.com/reviews/3418/chaos-motion-anuncia-psychological-spasms-cacophony

- "completely unpredictable" - Heavy Blog Is Heavy (US)
www.heavyblogisheavy.com/2019/08/07/exclusive-premiere-chaos-motion-unleash-insanity-with-the-sound-of-specter/

- "excellent" - Dioses Del Metal (Spain)
diosesdelmetal.org/chaos-motion-psychological-spasms-cacophony-2019/

- "a set of stripes that’s rarely achieved in the music world" - Head-banger Reviews (US)
headbangerreviews.wordpress.com/2019/08/18/chaos-motion-psychological-spasms-cacophony/

- "enthralling" - The Sound Not The Word (UK)
thesoundnottheword.wordpress.com/2019/08/27/review-chaos-motion-psychological-spasms-cacophony/

- "definitely unique" - Metal Temple (Greece)
www.metal-temple.com/site/catalogues/entry/reviews/cd_3/c_2/chaos-motion.htm

Official YouTube Channel - bit.ly/2Fr49KH
Official Band Facebook - facebook.com/chaosmotionband

2019 Transcending Obscurity Records
tometal.com
facebook.com/transcendingobscurityrecords

Europe Store - transcendingobscurity.aisamerch.de
US Store - transcendingobscurity.aisamerch.com



..::TRACK-LIST::..

1. Intro 02:37
2. The Sound of Specter 04:51
3. Perturbation of a Spin 04:47
4. Unscrupulousness Resolution 04:00
5. Vital Vision Void 05:05
6. Inner Chaos 03:44
7. Psychotic Spasm 04:52
8. Absorption Disastrous 04:48
9. Sempiternal Self-Dissolution 04:51
10. Outro 03:15



..::OBSADA::..

Juan Pablo Munoz - Drums
Guillermo Gonzalez - Guitar, vocals
Alexis Tedde - Guitars



https://www.youtube.com/watch?v=TkDaW70q2tk



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
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Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Try to imagine walking across a swamp full of pestilent mud and slimy worms biting your skin while the dirt enters the flesh. Suddenly those motherfuckers get to arrive to your brain and the pain becomes so immense that you start to scream in absolute hysteria. Maybe it’s a little bit exagerated to explain what Rothadás offer over these two songs demo… or not? Seriously, this is some motherfuckingly obscure swampy old school Death Metal with a lot of early influences and heavy brutality. Not in vain, this Hungarian project is formed by known musicians involved in such ‘delies’ as CRYPTWORM, and that’s a guarantee of sickness and demented Metal of Death.



..::TRACK-LIST::..

1. Hömpölygő kór 07:55
2. Hantolt méreg 08:06



..::OBSADA::..

Tibor Hanyi - Bass, Guitars Coffinborn, Cryptworm, Mörbid Carnage, Tyrant Goatgaldrakona, ex-Buried Remains, ex-Necrosodomy, ex-Goblin Gore, ex-Gravecrusher, ex-Flood Has Come
Lambert Lédeczy - Drums, Vocals Ahriman, Coffinborn, Fagyhamu, Gravecrusher, Hexenwood, Militia, Mörbid Carnage, Tyrant Goatgaldrakona, ex-Masqim Xul



https://www.youtube.com/watch?v=BR2gYgnNalw



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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

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


..::OPIS::..

Produkcja dopracowana z wielką starannością, wyjątkowe, ostre i gryzące brzmienie o niemal mineralnej jakości, podkreślające synkopowane rytmy wszechobecne na albumie.
'Nihility' ewidentnie skupia się na rytmach o charakterze niemal abstrakcyjnym, śmiem twierdzić, lodowato zimnym.

FA

Jeden z najpopularniejszych polskich zespołów zagranicą, u nas chyba nie aż tak bardzo. Moim zdaniem zachwyt nad tym bandem jest trochę wywołany kampanią promocyjną ze strony ich wydawcy. Mimo ciekawych pomysłów i dobrego wyszkolenia technicznego muzyków album ten podoba mi się dużo mniej niż wydawnictwo "Winds of Creation", któremu zarzucano podobieństwo do Vadera. Cóż…na "Nihility" podobieństw do Olsztynian nie jest za dużo, a w przypadku młodych zespołów drobne zrzynki nie są niczym dziwnym i haniebnym.
"Nihility" jest kawałkiem, przemyślanego, brutalnego, technicznego Death Metalu. Mnie się ona nie podoba. Szanuję umiejętności muzyków i ich pracę, ale nie mogę się pozbyć uczucia sztuczności tego materiału. Podobne uczucia miałem, co do "Thelemy.6" Behemotha, ale się z niego wyleczyłem. Nie wiem jak będzie to w tym przypadku. Może to przez zbyt dopieszczoną produkcję i niezbyt dobrze dopieszczoną perkusję, która została słabo nagłośniona, prawie nie słychać przejść, tylko werbel, talerze i stopy(jak z prostego automatu perk. na kompie).Cała perka brzmi jakby była zrobiona na kompie i tyle. Część jest z automatu na 100%, zresztą jak ostatnio w wielu produkcjach Death Metalowych. Ale czy stopy muszą iść całkowicie równo? Pewnie niedociągnięcia czasami dają muzyce efekt większej prawdziwości. Ciekawe natomiast są gitary nagrane przez Vogga – rwane riffy, z bardzo ciekawą melodyką. Za to basu wogle nie ma! Nie wiem czy Martin coś ukrywa, ale człowiek po szkole muzycznej chyba umie grać na swym instrumencie. Wokale Saurona jak zwykle nie są zbyt urozmaicone, choć brutalne i wyraźne.
Myślę, że chłopaki za bardzo chcieli uzyskać klimat nihilizmu, dostosowując się do tytułu, przez co zabrakło im środków na szczerość przekazu i żywiołowość. Wszystko jest tu hmm…równe, dopasowane, idealnie połączone. Na ich obronę napiszę, iż kawałki są bardzo zróżnicowane, odmienne od innych death metalowych produkcji i na w pewien sposób przebojowe. Swoją drogą te kawałki na koncertach wypadają znakomicie!

Metanol


Nihility was one of the first death metal albums I picked up, and I am very grateful for that. Decapitated for me, is a band that will alwyas view how I see death metal. This albums is an intense, fast, furious, ride that only takes about a half hour to listen to. The first time listening to it, it does not really seem to stop at all, but after listening for awhile, things start to make more sense.

The technical aspect of this album is one that can surely not be overlooked. I know it is not the most flashy or astounding tech death albums out there, but it definately has the power to wow you at some points. The guitar parts are very cleanly played and leave little to be desired in tone and clarity. The drums are also a huge part of this album, Vitek shapes the enitre sound of the album with his ferocious drumming and unrelenting blast beats and double bass drum. The vocals on the album are not the greatest, but they definately are not the worst. They are mixed relatively low anyway so if they really get on your nerves, they are not the focal point of the album. The harmonies on some of the guitar parts are also fantastic, they give the album a much richer, more evil sound than if it had just been one guitar. The almost sickening amount of minor thirds also helps to add to how evil and bitter the guitar riffs sound.

The songwriting on this album is also something that I believe must be given credit. Most death metal bands are accused of sounding the same, and I'm not going to lie, this album has its share of similar riffs, but the songs are distinguishable in some parts, which I think is a very important thing for a death metal album to have.

Now this may sound completely cheesey and lame, but my favorite song on this album by far is Spheres of Madness. It is just completely unrelentingly brutal. It is hard to listen to that opening riff and not headbang or nod your head, its almost makes you think of a groovey riff. It is one of the catchiest riffs in death metal I've heard, and the rythm pattern is always stuck in my head.

Some not-so-great things about this album is the length of the songs. Many of them could be trimmed down to a more listenable size. Also, the vocals add to the fact that the songs sound similar, like I said before, the vocals aren't the worst, but they can detract from some of the more appealing aspects of the album

Overall, there are very few songs on this album that I would reccomend staying away from. If you are looking for a brutal album that will get you pumped up to go fight someone, I would highly suggest giving Nihility a quick listen through, you will not be dissapointed.

TheMorticiansFlame



..::TRACK-LIST::..

1. Perfect Dehumanisation (The Answer?)
2. Eternity Too Short
3. Mother War
4. Nihility (Anti-Human Manifesto)
5. Names
6. Spheres Of Madness
7. Babylon's Pride
8. Symmetry Of Zero

Bonus Track:
9. Suffer The Children (Napalm Death cover)



..::OBSADA::..

Wojciech 'Sauron' Wąsowicz - vocals
Wacław 'Vogg' Kiełtyka - guitars
Marcin 'Martin' Rygiel - bass
Witold 'Vitek' Kiełtyka - drums




https://www.youtube.com/watch?v=KZHSoHLMmI0



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



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