...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Miażdżacy debiutancki album szwedzkiego kwartetu grającego ekstremalny death/grind!!!

W składzie muzycy SPAWN OF POSSESSION, TORCHBEARER, SCAR SYMMETRY, VOMITOUS!


Quest of Aidance is one of several Swedish 'supergroups' involving the ubiquitous Christian Älvestam, who might best be known for fronting the earlier Scar Symmetry albums, but has kept quite busy in a number of high grade projects like Miseration and The Few Against Many. His partners in Propaganda include Miseration stringer Christian Lundgren and Daniel 'Daaz', a vocalist from a number of underground acts, with Älvestam handling most of the rhythm section and, frankly, bewildering us with the level of finesse and power he exhibits. It wouldn't be a stretch to claim that Misanthropic Propaganda, along with The Few Against Many's debut Sot, is one of the best things he's been involved with, and its fragile balance of concussive aggression and ear-clinging melodies are sure to place it on the shopping lists of forward-thinking metallers who won't shy away from its hybrid ideas.

Possibly the best way to describe this is as a mix of melodic, modernist death/grind with progressive metal elements that largely shine through the lead sequences and the placement of synthesizers. Very much based on propulsive, choppy and varied riff sets that spread themselves equally across mutated, hyper d-beats, blasting and grooves that will leave you broken in their wake. Initially I felt like comparing this to Czech cult heroes Lykathea Aflame, but this isn't so much that level of mystical miasma, but finds its roots in a lot of the project's Swedish forebears. The sense of rampant melody here is not restrained to simply death metal worship, but you'll also hear a lot of battering ram tremolo progressions redolent of groups like Dissection or Lord Belial. In fact, I might ultimately dub this an evolutionary median between Dissection and the post-Nasum outfit Coldworker, only Quest of Aidance are far, far riffier than the latter, and bring a greater degree of variation to their writing. Few paces are retread, and there's almost no sense of guessing what will happen next over the 14 tracks, which seem to follow an apocalyptic, science fiction concept with bludgeoning enthusiasm.

If you hate all things polished, then the production of this record is unlikely to change that perception, with a high level of clarity running through the intense and tight drumming, guitar phrases and vocals. But I will promise that the grooves are delivered with all the bounce and nuance you'd expect out of any comparable post-nu sort of sound, and some of the shorter thrashing notes are emphasized by a great deal of punch in the rhythm guitar. Occasionally, they'll unleash a pretty typical passage, especially over the D-beat drums, but there simply isn't one of the cuts among these that doesn't have something going for it, and just the raw musicianship alone makes it worth hearing. Bass lines take a nose dive through most of the album, simply unable to stand out past the considerable dynamics of the guitars, but the drumming is an impeccable blend of everything you might enjoy in modern extremity. Vocals are not a forte; a fairly average sampling of gutturals and higher pitched snarls that rebound across the music's dystopian ceiling, but they're spat out with enough certainty and vitriol that they blend in seamlessly with what the Swedes have set out to achieve.

For me, though, the highlights have to be the brilliant lead and melodies, like the intro to "Section 34", that instantly raise Misanthropic Propaganda above the din of most modern death/grind I've listened to. Keys can come off slightly cheesy, or simply atmospheric (like the build of the intro "A New Storm Rising"), but even at their most glaring, I never found them too intrusive. Just 'proggy', if that makes sense. This is not a band afraid to enchant you one moment, and then pulverize you the next, and all without the annoyance of clean and whiny emo-vocal choruses like you'd expect from some trending deathcore/metalcore band, who might also test the waters with such a vast array of influences. This commitment to accessibility, at no expense to the inherent hostility of the genres in which they toil, is very likely to impress a broad berth of fans who follow any number of styles, and let's be honest...not a lot of bands can do that without seeming as if they've bitten off more than they chew. Quest of Aidance naturalize all of this cross-pollenization to the point that, without my background of listening to extreme metal for so long, I would never have known the difference. Misanthropic Propaganda does have a few surface flaws, but ultimately it's an exciting record with enough character and versatility to take the band anywhere it chooses to journey.

Autothrall



..::TRACK-LIST::..

1. A New Storm Rising 02:25
2. Seething Voids 02:08
3. Deadly Viral Strain 03:42
4. To No Avail 02:39
5. Section 34 04:11
6. Anyx 00:43
7. Dimout 03:13
8. Sothis Allegro 02:46
9. Red Dust 03:51
10. Spawnlayer 01:58
11. Sirian Breed 04:03
12. Like Shadowing Suns 04:29
13. The 5th Column 04:24
14. Doom Reactor 03:24



..::OBSADA::..

Christian Älvestam - Vocals, Bass, Guitars (rhythm)
Christian Lundgren - Guitars (lead)
Daniel "Daaz" Valström - Vocals

Oscar Nilsson - Drums
Johan Randen - Guitar (lead) on all songs, but 'Sothis Allegro'




https://www.youtube.com/watch?v=2dOcK9RuDMw



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Miażdżacy debiutancki album szwedzkiego kwartetu grającego ekstremalny death/grind!!!

W składzie muzycy SPAWN OF POSSESSION, TORCHBEARER, SCAR SYMMETRY, VOMITOUS!


Quest of Aidance is one of several Swedish 'supergroups' involving the ubiquitous Christian Älvestam, who might best be known for fronting the earlier Scar Symmetry albums, but has kept quite busy in a number of high grade projects like Miseration and The Few Against Many. His partners in Propaganda include Miseration stringer Christian Lundgren and Daniel 'Daaz', a vocalist from a number of underground acts, with Älvestam handling most of the rhythm section and, frankly, bewildering us with the level of finesse and power he exhibits. It wouldn't be a stretch to claim that Misanthropic Propaganda, along with The Few Against Many's debut Sot, is one of the best things he's been involved with, and its fragile balance of concussive aggression and ear-clinging melodies are sure to place it on the shopping lists of forward-thinking metallers who won't shy away from its hybrid ideas.

Possibly the best way to describe this is as a mix of melodic, modernist death/grind with progressive metal elements that largely shine through the lead sequences and the placement of synthesizers. Very much based on propulsive, choppy and varied riff sets that spread themselves equally across mutated, hyper d-beats, blasting and grooves that will leave you broken in their wake. Initially I felt like comparing this to Czech cult heroes Lykathea Aflame, but this isn't so much that level of mystical miasma, but finds its roots in a lot of the project's Swedish forebears. The sense of rampant melody here is not restrained to simply death metal worship, but you'll also hear a lot of battering ram tremolo progressions redolent of groups like Dissection or Lord Belial. In fact, I might ultimately dub this an evolutionary median between Dissection and the post-Nasum outfit Coldworker, only Quest of Aidance are far, far riffier than the latter, and bring a greater degree of variation to their writing. Few paces are retread, and there's almost no sense of guessing what will happen next over the 14 tracks, which seem to follow an apocalyptic, science fiction concept with bludgeoning enthusiasm.

If you hate all things polished, then the production of this record is unlikely to change that perception, with a high level of clarity running through the intense and tight drumming, guitar phrases and vocals. But I will promise that the grooves are delivered with all the bounce and nuance you'd expect out of any comparable post-nu sort of sound, and some of the shorter thrashing notes are emphasized by a great deal of punch in the rhythm guitar. Occasionally, they'll unleash a pretty typical passage, especially over the D-beat drums, but there simply isn't one of the cuts among these that doesn't have something going for it, and just the raw musicianship alone makes it worth hearing. Bass lines take a nose dive through most of the album, simply unable to stand out past the considerable dynamics of the guitars, but the drumming is an impeccable blend of everything you might enjoy in modern extremity. Vocals are not a forte; a fairly average sampling of gutturals and higher pitched snarls that rebound across the music's dystopian ceiling, but they're spat out with enough certainty and vitriol that they blend in seamlessly with what the Swedes have set out to achieve.

For me, though, the highlights have to be the brilliant lead and melodies, like the intro to "Section 34", that instantly raise Misanthropic Propaganda above the din of most modern death/grind I've listened to. Keys can come off slightly cheesy, or simply atmospheric (like the build of the intro "A New Storm Rising"), but even at their most glaring, I never found them too intrusive. Just 'proggy', if that makes sense. This is not a band afraid to enchant you one moment, and then pulverize you the next, and all without the annoyance of clean and whiny emo-vocal choruses like you'd expect from some trending deathcore/metalcore band, who might also test the waters with such a vast array of influences. This commitment to accessibility, at no expense to the inherent hostility of the genres in which they toil, is very likely to impress a broad berth of fans who follow any number of styles, and let's be honest...not a lot of bands can do that without seeming as if they've bitten off more than they chew. Quest of Aidance naturalize all of this cross-pollenization to the point that, without my background of listening to extreme metal for so long, I would never have known the difference. Misanthropic Propaganda does have a few surface flaws, but ultimately it's an exciting record with enough character and versatility to take the band anywhere it chooses to journey.

Autothrall



..::TRACK-LIST::..

1. A New Storm Rising 02:25
2. Seething Voids 02:08
3. Deadly Viral Strain 03:42
4. To No Avail 02:39
5. Section 34 04:11
6. Anyx 00:43
7. Dimout 03:13
8. Sothis Allegro 02:46
9. Red Dust 03:51
10. Spawnlayer 01:58
11. Sirian Breed 04:03
12. Like Shadowing Suns 04:29
13. The 5th Column 04:24
14. Doom Reactor 03:24



..::OBSADA::..

Christian Älvestam - Vocals, Bass, Guitars (rhythm)
Christian Lundgren - Guitars (lead)
Daniel "Daaz" Valström - Vocals

Oscar Nilsson - Drums
Johan Randen - Guitar (lead) on all songs, but 'Sothis Allegro'




https://www.youtube.com/watch?v=2dOcK9RuDMw



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwsza, klasyczna duża płyta z 1992 roku weteranów z Chicago. Cholernie ciężki, niskostrojony amerykański death/doom.


"Criminally underrated" is probably the first thing to come to mind when I think of the band Cianide. The next thing I think of is this album, and how it's a really crushing death metal record. Cianide took most of the main ingredients to death metal, leaving out the factor of speed for most of the album. This gave birth to a gem of a death metal album that stands out amongst the crowd of a time, rich in great death metal. It's a damn shame that no one is talking about this band anymore, because this album really does something unique with death metal.

So, much like Autopsy, Cianide does the whole "death metal meets Sabbath" idea. This immediately brings up some lesser done ideas, as now blast beats are no longer the beat of choice here. Instead, tempos are kept in a relaxed yet solid groove. Double bass thumps through appropriate sections, while the bass rides along with it, and the guitars open up. Many of the riffs change from open strums to tremolo in progression, and end up opening more options in terms of song arrangement. In other words, when Cianide wants to play slow, they really make it feel slow.

Everything in this band fits together well. The production is completely appropriate as it focuses more on the low side of things, allowing for true heaviness to occur. The bass drums have a great thump as stated, the bass is thick and pulsating, and the vocals are low and evil sounding. Not to mention a deadly guitar tone. It just literally sounds like these guys were made to play slow.

The phrasing in the riffs are relatively simple but sound daunting and perhaps even abysmal. Power chord progressions with different textures and strum patterns come up, or sometimes just simple droning of chords allows for various moods to be expressed.

The best part about this album is that every song is full of parts that stand out, so there's always something that grabs you for every song. For example, "Minscrape" features a good snare pattern in a beat. "Second Life" features some well thought out vocal patterns that stick out well. The title track contains the fastest section on the whole album, and it isn't even a blast beat (but still has some velocity). Little things like that appear all over the album, and are unique to each song, which helps it define itself.

This album is a classic, and anyone who considers themselves a fan of good death metal should hunt it down one way or another. I personally think it's a gem and established a very distinct style of death metal that's done just right. This is the best Cianide disc without question. Cianide is still a great band today (and consistent), but, this manages to stand above the rest.

Orphy



..::TRACK-LIST::..

The Dying Truth CD 1992
1. Scourging At The Pillar 5:12
2. The Dying Truth 5:22
3. Funeral 5:50
4. The Suffering 4:12
5. Human Cesspool 3:27
6. Mindscrape 5:30
7. Crawling Chaos 6:02
8. Second Life 6:37

Bonus Tracks:
Funeral Demo 1990
9. Morbid Restitution 3:47
10. Funeral 4:10
11. Choose Your Death 2:27

Second Life Demo 1991
12. The Dying Truth 5:45
13. Mindscrape 5:31
14. Human Cesspool 3:31
15. The Suffering 4:00
16. Second Life 5:46



..::OBSADA::..

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



https://www.youtube.com/watch?v=5LlEmpKKY50


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwsza, klasyczna duża płyta z 1992 roku weteranów z Chicago. Cholernie ciężki, niskostrojony amerykański death/doom.


"Criminally underrated" is probably the first thing to come to mind when I think of the band Cianide. The next thing I think of is this album, and how it's a really crushing death metal record. Cianide took most of the main ingredients to death metal, leaving out the factor of speed for most of the album. This gave birth to a gem of a death metal album that stands out amongst the crowd of a time, rich in great death metal. It's a damn shame that no one is talking about this band anymore, because this album really does something unique with death metal.

So, much like Autopsy, Cianide does the whole "death metal meets Sabbath" idea. This immediately brings up some lesser done ideas, as now blast beats are no longer the beat of choice here. Instead, tempos are kept in a relaxed yet solid groove. Double bass thumps through appropriate sections, while the bass rides along with it, and the guitars open up. Many of the riffs change from open strums to tremolo in progression, and end up opening more options in terms of song arrangement. In other words, when Cianide wants to play slow, they really make it feel slow.

Everything in this band fits together well. The production is completely appropriate as it focuses more on the low side of things, allowing for true heaviness to occur. The bass drums have a great thump as stated, the bass is thick and pulsating, and the vocals are low and evil sounding. Not to mention a deadly guitar tone. It just literally sounds like these guys were made to play slow.

The phrasing in the riffs are relatively simple but sound daunting and perhaps even abysmal. Power chord progressions with different textures and strum patterns come up, or sometimes just simple droning of chords allows for various moods to be expressed.

The best part about this album is that every song is full of parts that stand out, so there's always something that grabs you for every song. For example, "Minscrape" features a good snare pattern in a beat. "Second Life" features some well thought out vocal patterns that stick out well. The title track contains the fastest section on the whole album, and it isn't even a blast beat (but still has some velocity). Little things like that appear all over the album, and are unique to each song, which helps it define itself.

This album is a classic, and anyone who considers themselves a fan of good death metal should hunt it down one way or another. I personally think it's a gem and established a very distinct style of death metal that's done just right. This is the best Cianide disc without question. Cianide is still a great band today (and consistent), but, this manages to stand above the rest.

Orphy



..::TRACK-LIST::..

The Dying Truth CD 1992
1. Scourging At The Pillar 5:12
2. The Dying Truth 5:22
3. Funeral 5:50
4. The Suffering 4:12
5. Human Cesspool 3:27
6. Mindscrape 5:30
7. Crawling Chaos 6:02
8. Second Life 6:37

Bonus Tracks:
Funeral Demo 1990
9. Morbid Restitution 3:47
10. Funeral 4:10
11. Choose Your Death 2:27

Second Life Demo 1991
12. The Dying Truth 5:45
13. Mindscrape 5:31
14. Human Cesspool 3:31
15. The Suffering 4:00
16. Second Life 5:46



..::OBSADA::..

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



https://www.youtube.com/watch?v=5LlEmpKKY50


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Płyta okrutna, miażdżąca swą intensywnością!
Okładka płyty Abomination, stanowi ważną wskazówkę dotyczącą tego, czego możecie się spodziewać po odpaleniu krążka.
No i Krzysiu na bębenku...



..::TRACK-LIST::..

1. Brooding Fear 01:49
2. Odium Generis Humani 03:33
3. Scorn 03:04
4. Baal-Zebul 04:24
5. Holy Poison 04:45
6. The Killing Fields of Judah 05:03
7. Damnation 04:31
8. Blood Dawn 04:51



..::OBSADA::..

Tamas Csiszar - Guitars
Set Vox Inferni - Vocals
Lorenzo Mulsch - Bass
Krzysztof Klingbein - Session Drums



https://www.youtube.com/watch?v=HCX5BBFLldM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Płyta okrutna, miażdżąca swą intensywnością!
Okładka płyty Abomination, stanowi ważną wskazówkę dotyczącą tego, czego możecie się spodziewać po odpaleniu krążka.
No i Krzysiu na bębenku...



..::TRACK-LIST::..

1. Brooding Fear 01:49
2. Odium Generis Humani 03:33
3. Scorn 03:04
4. Baal-Zebul 04:24
5. Holy Poison 04:45
6. The Killing Fields of Judah 05:03
7. Damnation 04:31
8. Blood Dawn 04:51



..::OBSADA::..

Tamas Csiszar - Guitars
Set Vox Inferni - Vocals
Lorenzo Mulsch - Bass
Krzysztof Klingbein - Session Drums



https://www.youtube.com/watch?v=HCX5BBFLldM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Absolutny KULT!


GUTWRENCH was of one of the early Dutch death metal bands. The band recorded two demos in 1993 and ’94. Gutwrench members also played in Goddess of Desire, Consolation and Pentacle. Their debut demo ‘Wither Without You’ was recorded at Beaufort Studios (Sear Bliss, The Gathering, Delirium). Second demo ‘Beneath Skin’ from 1994 was recorded with Paul van Rijswijk (Destroyer 666, Severe Torture). All tracks are remastered by Pieter Bas Borger. Besides the two demos this release also contains a compilation album track and four studio outtakes, 15 tracks in total. Interview and liner notes by Pim Blankenstein (Lords of Metal journalist), additional liner notes by Arjan van Exter (Inside The Coffin death metal ‘zine). Booklet design by Arjan Janssen (Dead End, Infernal Majesty, Sinister).



..::TRACK-LIST::..

Demo 1 Wither Without You 1993
1. Meatlocker 4:59
2. Necrosis 4:19
3. Crawl 3:28
4. Wither Without You 4:38
5. The Art Of Mutilation 4:36

Displeased Compilation 'Antichrist Superstar' 1994
6. Asphyxia 3:56

Demo 2 Beneath Skin 1994
7. Beneath Skin 4:00
8. Pest Controller 4:24
9. The God Complex 3:36
10. Scarred & Hollow 3:12
11. The Seedling 3:54
12. Cain 5:02

Outtakes Demo 2 Beneath Skin 1994
13. Deadlock Policy 4:10
14. Sixth Sense Visuals 4:44
15. Frostbite 3:44



..::OBSADA::..

Vocals, Guitar - Robert Van Der Mijle (tracks: 1 to 15)
Keyboards - Robert Van Der Mijle (tracks: 7 to 15)
Guitar - Edwin Fölsche (tracks: 1 to 15)
Bass - Harm Noort (tracks: 7 to 15), Olaf Hijne (tracks: 1 to 5)
Drums - Niels Kloosterman (tracks: 1 to 15)



https://www.youtube.com/watch?v=_MrzrhaJ45o



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Absolutny KULT!


GUTWRENCH was of one of the early Dutch death metal bands. The band recorded two demos in 1993 and ’94. Gutwrench members also played in Goddess of Desire, Consolation and Pentacle. Their debut demo ‘Wither Without You’ was recorded at Beaufort Studios (Sear Bliss, The Gathering, Delirium). Second demo ‘Beneath Skin’ from 1994 was recorded with Paul van Rijswijk (Destroyer 666, Severe Torture). All tracks are remastered by Pieter Bas Borger. Besides the two demos this release also contains a compilation album track and four studio outtakes, 15 tracks in total. Interview and liner notes by Pim Blankenstein (Lords of Metal journalist), additional liner notes by Arjan van Exter (Inside The Coffin death metal ‘zine). Booklet design by Arjan Janssen (Dead End, Infernal Majesty, Sinister).



..::TRACK-LIST::..

Demo 1 Wither Without You 1993
1. Meatlocker 4:59
2. Necrosis 4:19
3. Crawl 3:28
4. Wither Without You 4:38
5. The Art Of Mutilation 4:36

Displeased Compilation 'Antichrist Superstar' 1994
6. Asphyxia 3:56

Demo 2 Beneath Skin 1994
7. Beneath Skin 4:00
8. Pest Controller 4:24
9. The God Complex 3:36
10. Scarred & Hollow 3:12
11. The Seedling 3:54
12. Cain 5:02

Outtakes Demo 2 Beneath Skin 1994
13. Deadlock Policy 4:10
14. Sixth Sense Visuals 4:44
15. Frostbite 3:44



..::OBSADA::..

Vocals, Guitar - Robert Van Der Mijle (tracks: 1 to 15)
Keyboards - Robert Van Der Mijle (tracks: 7 to 15)
Guitar - Edwin Fölsche (tracks: 1 to 15)
Bass - Harm Noort (tracks: 7 to 15), Olaf Hijne (tracks: 1 to 5)
Drums - Niels Kloosterman (tracks: 1 to 15)



https://www.youtube.com/watch?v=_MrzrhaJ45o



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Produkt najwyższej jakości!
Miażdżące riffy przeplatane wspaniałymi melodiami, a całość opakowana technicznym kunsztem!
Jeden z najlepszych w 2021 roku!

FA


Six years is a long time to wait. When a band takes this long in between records, sometimes they spend it slowly honing their sound and improving everything they can. Sometimes they simply lose interest and are never the same. Based on last year’s EP, Alustrium still have plenty of interest in their music. The six year wait paid off, and now I have the task of putting how good their new release sounds into words.

Alustrium are a US-based technical death metal band currently signed to Unique Leader Records. Of major technical death metal influences, their sound leans towards the clean virtuosic end of the genre, similar to The Faceless or Obscura. Alustrium’s specific brand of technical death metal involves stuffing everything they can into a record, and then cramming two more full tracks complete with excessive solos on top. Even though this description raises every red flag of “soulless technical death metal” that can be found, Alustrium cram emotional earnestness and breathing room in their records along with everything else, so concerned potential listeners should safely proceed without anxiety.

A Monument To Silence improves on A Tunnel To Eden (The band’s excellent 2015 release) in two large ways. First, A Monument To Silence flows as well as any technical death metal album I’ve ever heard. A Tunnel To Eden didn’t exactly fail in this regard, but Alustrium obviously used the six years between albums to great benefit. Everything feels completely natural. Verses and solos transition seamlessly to rather insane choruses and to each other, and I found it easy to lose myself in the ambience of this record.

Let’s talk about those choruses more. Another improvement from A Tunnel To Eden that Alustrium offer the listener is simple, pure catchiness. I have now had one moment from “The Hollow Ache” stuck in my head for over a month now. Again, A Tunnel To Eden was a great record and did extremely well in this regard. With A Monument To Silence, Alustrium have only improved.

Against the rest of the technical death metal field, Alustrium don’t challenge the genre’s greats by creating an enticing atmosphere (although they do that as well), or by drowning the listener in dissonance, or by pushing the boundaries of what people conceive as death metal. Instead, they simply write and perform death metal as well as anyone. This is evident in the amazing choruses and flow of A Monument To Silence, but also in the little things. In the slight pauses before the chorus hits in “Join the Dead.” In the wavering tone of some of the slower guitar solos. A Monument To Silence does nothing new or unique, instead Alustrium crafted every moment to near perfection.

My issues with this record feel like they could be someone else’s favorite part. The production feels overly harsh at times, but that only highlights Alustrium’s heaviness and technicality. This record is over an hour long, but I would miss any song that got cut and appreciate how much of a good thing Alustrium are giving their audience here. There is a bizarre drum solo moment at the end of “Join the Dead” that almost went very poorly, but instead creates a nice diversion. “Dreamless Sleep” is an unnecessary interlude, but I find it quite pleasant and a good leadup to the next track. Nothing I could throw at A Monument To Silence lessens how good this record sounds.

I haven’t even mentioned how well this works as a concept album, or the return of previous moments in the amazing final track. I could go on for a long time, but words can’t do this album justice. With A Monument To Silence, Alustrium are no longer in the realm of bands like Beyond Creation or Inferi (both of whom I highly recommend as well). Their new peers are bands like Necrophagist and Death. A Monument To Silence is the best album of the year so far, and the best new release I’ve ever reviewed. I hope to listen to it for a long time.

Nathan


Philadelphia’s progressive tech death architects Alustrium smashed out an album for the ages with their 2015 opus A Tunnel to Eden. The sophomore LP presented a kaleidoscopic, grand in scale masterwork of progressive and technical death metal, featuring serious instrumental and compositional chops, while possessing tons of heart and style. Despite being a little too bloated and ambitious for its own good, the pros far outweighed the miniscule cons to deliver a knockout punch. Punctuated by 2020’s strong Insurmountable EP, it has been a long time between drinks on the full-length recording front. Curiously slipping under the radar, Alustrium’s third album, A Monument to Silence is now upon us.

“The Hollow Ache” sets the bar high from the get-go, mutating from gently hypnotic beginnings and whispered vocals into a beastly tune, immediately showcasing Alustrium’s firm grasp of smart songwriting dynamics and brain melting technicality, underpinned by dexterous melodic currents, insidious hooks, and proggy twists. All the trademark Alustrium ingredients are in place, yet A Monument to Silence shows a band not content to coast or create a half-baked sequel to a blockbuster original. A Monument to Silence maintains the band’s ambitious streak, while carving out its own chunk of character. It has a notably darker, edgier tone than its predecessor, almost blackened at times, while the relentless barrage of scattershot percussion, lightning fretwork, jacked speed, and dueling vocals, leaning heavily on the high and low trade-off variants, courses energy, fury, and aggression into the album’s veins.

Deft arrangements and progressive tints do not detract from the fact these cats bring the heaviness tenfold. The album has serious fucking teeth, counteracting the complexity and prog foundations. Take the frenetic tradeoffs and rugged grooves at the midpoint of “Hunted,” or the damaging breakdown rearing up on “Join the Dead” for examples of Alustrium’s heavier capabilities. Alustrium balance each component expertly into a cohesive whole. The proggified tech is never used as a crutch, while creating memorable songs full of unpredictable twists, character and emotional pull is the band’s bread and butter. Cranking the momentum beyond the high quality early throes, back to back bangers, “The Accuser” and “The Plea,” are like two sinister peas conspiring in a pod, flexing Alustrium’s progressive muscle and multifaceted dynamics; tinkering with tricky rhythmic patterns, experimental vocal interplay, and complex structures, while dispensing power packed riffs, flashy solos, and seething grooves. The former even sets off some Tool vibes during its early passages.

“Deliverance of the Damned” recalls flashes of Necrophagist and a beefed up The Black Dahlia Murder during its thrashy, tech-death passages. Album pacing is solid, culminating in the epic title track, containing nifty links to the album opener. I often bitch about metal albums that drag past their welcome, or marble otherwise strong material with unnecessary fat and gristle. However A Monument to Silence does not fall into the category of overcooked ideas stuffed into a too small casing. Yeah if I was being a bastard I could scrape the barrel for reasons and shave a couple of minutes, but it would be like separating layers of skin with a scalpel. Alustrium’s willingness to push the envelope and incorporate surprising turns maintains intrigue. Performances are expectedly outstanding, especially from livewire guitar combo of Mike DeMaria and Chris Kelly (also on shared vocals). The axe wielding duo’s playing is at once adventurous, intricate, extravagant, and still metal as fuck, while Kevin Corkran is phenomenal on the skins, propelling each song with his flowing style and creative, high energy chops. The material screams for a richer, more dynamic master, while the second half of the album ever so slightly dips in quality, but these are relatively minor gripes in the big scheme of things

Alustrium is a class act and A Monument to Silence consolidates their position at the forefront of the modern prog and tech death scenes. A Tunnel to Eden took a while to fully absorb and appreciate, growing in stature over time, so I can see A Monument to Silence following a similar path. Some may miss the overly hyperactive, playful qualities and flair of its predecessor, but I can not imagine most fans of Alustrium’s prior works being disappointed with what they have served up here. Intelligent, regal, blistering, brutal, and superbly composed, A Monument to Silence is must listen stuff for fans of prog and tech infused death.

Saunders



..::TRACK-LIST::..

1. This Hollow Ache 06:42
2. Join the Dead 06:09
3. Hunted 03:58
4. The Accuser 08:47
5. The Plea 07:26
6. Dreamless Sleep 01:05
7. Blood for Blood 04:32
8. Deliverance for the Damned 06:25
9. Worthless Offers 06:53
10. A Monument to Silence 10:39



..::OBSADA::..

Mike DeMaria - Guitars, Songwriting
Kevin Corkran - Drums
Kevin Penny - Bass, Songwriting (track 8)
Jerry Martin - Vocals (lead), Lyrics
Chris Kelly - Vocals, Songwriting (tracks 1-5, 7-10), Guitars



https://www.youtube.com/watch?v=A1rnM5zqEwY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Produkt najwyższej jakości!
Miażdżące riffy przeplatane wspaniałymi melodiami, a całość opakowana technicznym kunsztem!
Jeden z najlepszych w 2021 roku!

FA


Six years is a long time to wait. When a band takes this long in between records, sometimes they spend it slowly honing their sound and improving everything they can. Sometimes they simply lose interest and are never the same. Based on last year’s EP, Alustrium still have plenty of interest in their music. The six year wait paid off, and now I have the task of putting how good their new release sounds into words.

Alustrium are a US-based technical death metal band currently signed to Unique Leader Records. Of major technical death metal influences, their sound leans towards the clean virtuosic end of the genre, similar to The Faceless or Obscura. Alustrium’s specific brand of technical death metal involves stuffing everything they can into a record, and then cramming two more full tracks complete with excessive solos on top. Even though this description raises every red flag of “soulless technical death metal” that can be found, Alustrium cram emotional earnestness and breathing room in their records along with everything else, so concerned potential listeners should safely proceed without anxiety.

A Monument To Silence improves on A Tunnel To Eden (The band’s excellent 2015 release) in two large ways. First, A Monument To Silence flows as well as any technical death metal album I’ve ever heard. A Tunnel To Eden didn’t exactly fail in this regard, but Alustrium obviously used the six years between albums to great benefit. Everything feels completely natural. Verses and solos transition seamlessly to rather insane choruses and to each other, and I found it easy to lose myself in the ambience of this record.

Let’s talk about those choruses more. Another improvement from A Tunnel To Eden that Alustrium offer the listener is simple, pure catchiness. I have now had one moment from “The Hollow Ache” stuck in my head for over a month now. Again, A Tunnel To Eden was a great record and did extremely well in this regard. With A Monument To Silence, Alustrium have only improved.

Against the rest of the technical death metal field, Alustrium don’t challenge the genre’s greats by creating an enticing atmosphere (although they do that as well), or by drowning the listener in dissonance, or by pushing the boundaries of what people conceive as death metal. Instead, they simply write and perform death metal as well as anyone. This is evident in the amazing choruses and flow of A Monument To Silence, but also in the little things. In the slight pauses before the chorus hits in “Join the Dead.” In the wavering tone of some of the slower guitar solos. A Monument To Silence does nothing new or unique, instead Alustrium crafted every moment to near perfection.

My issues with this record feel like they could be someone else’s favorite part. The production feels overly harsh at times, but that only highlights Alustrium’s heaviness and technicality. This record is over an hour long, but I would miss any song that got cut and appreciate how much of a good thing Alustrium are giving their audience here. There is a bizarre drum solo moment at the end of “Join the Dead” that almost went very poorly, but instead creates a nice diversion. “Dreamless Sleep” is an unnecessary interlude, but I find it quite pleasant and a good leadup to the next track. Nothing I could throw at A Monument To Silence lessens how good this record sounds.

I haven’t even mentioned how well this works as a concept album, or the return of previous moments in the amazing final track. I could go on for a long time, but words can’t do this album justice. With A Monument To Silence, Alustrium are no longer in the realm of bands like Beyond Creation or Inferi (both of whom I highly recommend as well). Their new peers are bands like Necrophagist and Death. A Monument To Silence is the best album of the year so far, and the best new release I’ve ever reviewed. I hope to listen to it for a long time.

Nathan


Philadelphia’s progressive tech death architects Alustrium smashed out an album for the ages with their 2015 opus A Tunnel to Eden. The sophomore LP presented a kaleidoscopic, grand in scale masterwork of progressive and technical death metal, featuring serious instrumental and compositional chops, while possessing tons of heart and style. Despite being a little too bloated and ambitious for its own good, the pros far outweighed the miniscule cons to deliver a knockout punch. Punctuated by 2020’s strong Insurmountable EP, it has been a long time between drinks on the full-length recording front. Curiously slipping under the radar, Alustrium’s third album, A Monument to Silence is now upon us.

“The Hollow Ache” sets the bar high from the get-go, mutating from gently hypnotic beginnings and whispered vocals into a beastly tune, immediately showcasing Alustrium’s firm grasp of smart songwriting dynamics and brain melting technicality, underpinned by dexterous melodic currents, insidious hooks, and proggy twists. All the trademark Alustrium ingredients are in place, yet A Monument to Silence shows a band not content to coast or create a half-baked sequel to a blockbuster original. A Monument to Silence maintains the band’s ambitious streak, while carving out its own chunk of character. It has a notably darker, edgier tone than its predecessor, almost blackened at times, while the relentless barrage of scattershot percussion, lightning fretwork, jacked speed, and dueling vocals, leaning heavily on the high and low trade-off variants, courses energy, fury, and aggression into the album’s veins.

Deft arrangements and progressive tints do not detract from the fact these cats bring the heaviness tenfold. The album has serious fucking teeth, counteracting the complexity and prog foundations. Take the frenetic tradeoffs and rugged grooves at the midpoint of “Hunted,” or the damaging breakdown rearing up on “Join the Dead” for examples of Alustrium’s heavier capabilities. Alustrium balance each component expertly into a cohesive whole. The proggified tech is never used as a crutch, while creating memorable songs full of unpredictable twists, character and emotional pull is the band’s bread and butter. Cranking the momentum beyond the high quality early throes, back to back bangers, “The Accuser” and “The Plea,” are like two sinister peas conspiring in a pod, flexing Alustrium’s progressive muscle and multifaceted dynamics; tinkering with tricky rhythmic patterns, experimental vocal interplay, and complex structures, while dispensing power packed riffs, flashy solos, and seething grooves. The former even sets off some Tool vibes during its early passages.

“Deliverance of the Damned” recalls flashes of Necrophagist and a beefed up The Black Dahlia Murder during its thrashy, tech-death passages. Album pacing is solid, culminating in the epic title track, containing nifty links to the album opener. I often bitch about metal albums that drag past their welcome, or marble otherwise strong material with unnecessary fat and gristle. However A Monument to Silence does not fall into the category of overcooked ideas stuffed into a too small casing. Yeah if I was being a bastard I could scrape the barrel for reasons and shave a couple of minutes, but it would be like separating layers of skin with a scalpel. Alustrium’s willingness to push the envelope and incorporate surprising turns maintains intrigue. Performances are expectedly outstanding, especially from livewire guitar combo of Mike DeMaria and Chris Kelly (also on shared vocals). The axe wielding duo’s playing is at once adventurous, intricate, extravagant, and still metal as fuck, while Kevin Corkran is phenomenal on the skins, propelling each song with his flowing style and creative, high energy chops. The material screams for a richer, more dynamic master, while the second half of the album ever so slightly dips in quality, but these are relatively minor gripes in the big scheme of things

Alustrium is a class act and A Monument to Silence consolidates their position at the forefront of the modern prog and tech death scenes. A Tunnel to Eden took a while to fully absorb and appreciate, growing in stature over time, so I can see A Monument to Silence following a similar path. Some may miss the overly hyperactive, playful qualities and flair of its predecessor, but I can not imagine most fans of Alustrium’s prior works being disappointed with what they have served up here. Intelligent, regal, blistering, brutal, and superbly composed, A Monument to Silence is must listen stuff for fans of prog and tech infused death.

Saunders



..::TRACK-LIST::..

1. This Hollow Ache 06:42
2. Join the Dead 06:09
3. Hunted 03:58
4. The Accuser 08:47
5. The Plea 07:26
6. Dreamless Sleep 01:05
7. Blood for Blood 04:32
8. Deliverance for the Damned 06:25
9. Worthless Offers 06:53
10. A Monument to Silence 10:39



..::OBSADA::..

Mike DeMaria - Guitars, Songwriting
Kevin Corkran - Drums
Kevin Penny - Bass, Songwriting (track 8)
Jerry Martin - Vocals (lead), Lyrics
Chris Kelly - Vocals, Songwriting (tracks 1-5, 7-10), Guitars



https://www.youtube.com/watch?v=A1rnM5zqEwY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ten album to kolejka górska zbudowana w czasach, gdy prosta linia była najszybszym sposobem łączenia dwóch punktów podczas komponowania utworu death metalowego.
To awangarda w wykonaniu pioniera, nie było czegoś takiego w tamtym czasie i ten album do dziś pozostaje niezrównany! Moim skromnym zdaniem.

FA


For the first time in almost 20 years after the audaciously innovative “World Of Myths” was released, the old Swedish Prog-Death Metallers CRYPT OF KERBEROS will celebrate the band's glorious return with this piece of criminally underrated 1993 re-issue masterwork!

Defying all odds and intently oblivious to any form of musical trend, “World Of Myths” focuses on powerful passages that are so cleverly interweaved with avant-garde arrangements, but never for a moment losing the core aspects of Death Metal integrity. Two decades have almost passed since the debut release of “World Of Myths” and the formidable mind-boggling musicanship on this album still sounds fresh and exciting even today!

Packaged in an exclusive Digipak CD format with a brand new artwork and layout, the CD booklet also includes live and studio images from the band's active years and with a special liner note recollecting the events that took place during the “World Of Myths” sessions written by CRYPT OF KERBEROS drummer Mattias Borgh. Digitally re-mastered by Peter Bjärgö at Erebus Odora Studio, Sweden (Interment, Regurgitate, Arcana, etc), this re-issue edition also includes never-before-released rehearsal demos of the entire “World Of Myths” session recorded in 1992.



..::TRACK-LIST::..

1. The Canticle 04:59
2. Cyclone Of Insanity 04:48
3. Dream... 03:36
4. Stormbringer 03:12
5. Ancient War 03:15
6. Nocturnal Grasp 03:55
7. Sleeping God 05:17
8. World Of Myths 03:47

Bonus Tracks:
9. The Canticle (Rehearsal) 05:37
10. World Of Myths (Rehearsal) 04:17
11. Nocturnal Grasp (Rehearsal) 04:06
12. Stormbringer (Rehearsal) 03:06
13. Cyclone Of Insanity (Rehearsal) 05:06
14. Ancient War (Rehearsal) 03:37
15. Dream... (Rehearsal) 04:18



..::OBSADA::..

Stefan Källarsson - Bass
Mattias Borgh - Drums
Jonas Strandell - Guitars
Peter Pettersson - Guitars
Christian Eriksson - Vocals
Jessica Strandell - Keyboards



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ten album to kolejka górska zbudowana w czasach, gdy prosta linia była najszybszym sposobem łączenia dwóch punktów podczas komponowania utworu death metalowego.
To awangarda w wykonaniu pioniera, nie było czegoś takiego w tamtym czasie i ten album do dziś pozostaje niezrównany! Moim skromnym zdaniem.

FA


For the first time in almost 20 years after the audaciously innovative “World Of Myths” was released, the old Swedish Prog-Death Metallers CRYPT OF KERBEROS will celebrate the band's glorious return with this piece of criminally underrated 1993 re-issue masterwork!

Defying all odds and intently oblivious to any form of musical trend, “World Of Myths” focuses on powerful passages that are so cleverly interweaved with avant-garde arrangements, but never for a moment losing the core aspects of Death Metal integrity. Two decades have almost passed since the debut release of “World Of Myths” and the formidable mind-boggling musicanship on this album still sounds fresh and exciting even today!

Packaged in an exclusive Digipak CD format with a brand new artwork and layout, the CD booklet also includes live and studio images from the band's active years and with a special liner note recollecting the events that took place during the “World Of Myths” sessions written by CRYPT OF KERBEROS drummer Mattias Borgh. Digitally re-mastered by Peter Bjärgö at Erebus Odora Studio, Sweden (Interment, Regurgitate, Arcana, etc), this re-issue edition also includes never-before-released rehearsal demos of the entire “World Of Myths” session recorded in 1992.



..::TRACK-LIST::..

1. The Canticle 04:59
2. Cyclone Of Insanity 04:48
3. Dream... 03:36
4. Stormbringer 03:12
5. Ancient War 03:15
6. Nocturnal Grasp 03:55
7. Sleeping God 05:17
8. World Of Myths 03:47

Bonus Tracks:
9. The Canticle (Rehearsal) 05:37
10. World Of Myths (Rehearsal) 04:17
11. Nocturnal Grasp (Rehearsal) 04:06
12. Stormbringer (Rehearsal) 03:06
13. Cyclone Of Insanity (Rehearsal) 05:06
14. Ancient War (Rehearsal) 03:37
15. Dream... (Rehearsal) 04:18



..::OBSADA::..

Stefan Källarsson - Bass
Mattias Borgh - Drums
Jonas Strandell - Guitars
Peter Pettersson - Guitars
Christian Eriksson - Vocals
Jessica Strandell - Keyboards



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Prawdziwi mistrzowie demonicznego thrash/death metalu!
Pierwsze dwa dema to undergroundowe klasyki!

FA


Official re-issue through Xtreem Music with 2 bonus, of the CD that was originally released in 2011 which includes the two legendary demos "Descent Into Chaos" ('88) & "Immortality's End" ('89), the 7"EP "Fade From Reality" ('91) and 2 compilation tracks from '94 by this mythic US band of true Death Metal somewhat in the vein of very early MORBID ANGEL, SADISTIC INTENT, MERCILESS, POSSESSED... but way more intense and aggressive. An essential masterpiece!!!



I just love such compilation releases, which gather old demo or EP recordings from a band, which not necessarily is well remembered nowadays. Recent years has brought few such releases and it seems like the nowadays resurgence of old school death metal is the best time ever to remind us some of those old cult bands. Necroharmonic belongs to the labels, which specializes in it and I think they’re actually doing one of the best jobs and are responsible for exhuming the old materials from such bands as Derketa, Goreaphobia, Wombbath, Interment, Crematory and Rottrevore. Their greatest strength not only lies in the quality of death metal and awesomeness of those bands, whose recordings they’ve compiled, but it’s also the way they’ve been releasing those CDs. I love those fat, detailed booklets, with dozens of old photos, bios, lyrics and other extras. It always looks very impressive and so anytime I see that Necroharmonic is about to release another compilation I just know I need to buy it, because it is certain that it’s going to be worth the money.

And so I did with “Darkened Path Revealed”. It’s a CD, which gathers the old recordings from Frederick, Maryland, US based band called Exmortis. Well, I must be honest with and tell that although I’ve known this moniker for years, I only had listened to maybe two or three songs of theirs earlier, so it was a good opportunity to buy “Darkened Path Revealed” and listen to all the stuff that was released by the band. Well, it turned out that it actually doesn’t include everything, but as I’ve found out when digging the history of Exmortis, there was one demo from 1994 (“Butchers of the Urban Frontier”), which isn’t really considered to be an Exmortis release, as it was composed and recorded without Brian Werking, the mainman behind the band. There were some problems in 1994 that led to split up between Werking and the other guys and Chris Weiser took the name and did a demo with some new members, but this demo is far from the sound and style of original Exmortis, whose songs were always composed by Werking. And this is why this demo 1994 is not included on the compilation. But don’t worry, there’s enough material anyway. It compiles the following materials: “Descent Into Chaos” demo 1988, “Immortality’s End” demo 1989, “Fade From Reality” EP 1991, “History of Things to Come” compilation 1994 plus several extra, unreleased recordings (some of which are only intros though), what gives almost an hour of death metal music in total. Fuck yeah, this is what I like!

Of all those recordings, I think I like “Immortality’s End” most, it’s damn fuckin killer archaic death metal with a huge thrashing influence, but in general every bit of this compilation deserves your praise. Exmortis have been slashing with merciless thrashing death metal, which brings some resemblances to bands like early Sepultura, Possessed, Massacra, Kreator, Nocturnus and few more, but even if these are just the demos, the quality of those recordings isn’t far worse from what the bands I mentioned have been doing on their full length albums. Really, this is razor sharp, neckbreaking, blasting metal (which may sound slightly archaic nowadays, but it has such a charm and feeling that I personally cannot resist it), with many splendid riffs and parts, with great vocals and what’s more, it was also pretty well produced. The quality of each recording is just awesome and it would even fit the full length, if Exmortis ever had a chance to record one. Unfortunately, they didn’t and the future wasn’t as bright for them as they would wish, but that’s even more rewarding for Werking and his band to have this compilation released, I think. Besides, the band has reformed recently and recorded new material, titled “Resurrection ... Book of the Dead”, which I haven’t heard yet, but I’m hoping it’s going to be a smasher and will be as good as say the comeback recording from Divine Eve for instance.

But for now, I enjoy “Darkened Path Revealed” compilation. This is just splendid release and I must say that Necroharmonic did yet another great job. Did I mention how fat is the booklet here? A lot of photos, some words from people like Chris Reifert, James Murphy, Killjoy, Jeff Becerra and the guys from Unleashed, there are also details about each of the old demos, all the lyrics, etc. All those details plus the fantastic music of course make me feel absolutely happy and enthusiastic about Exmortis, so I definitely recommend this compilation to all fans of old school death metal. Get it asap and bang your head! You must know also that there’s one more compilation of old Exmortis recordings, titled “Unhallowed Grave”, but I think this one will not be as great as “Darkened Path Revealed”, as it includes just some rehearsal and live recordings, so nothing as exciting, besides I’m afraid that the sound quality on it may not be as good as here, so… “Darkened Path Revealed” is the choice for everyone, if you want to get to know Exmortis. And trust me; it is yet another great band from the distant past, which is worth selling your soul to the devil. And they do deserve to be called legend-fuckin-dary!

dismember marcin



..::TRACK-LIST::..

1. Winds of Hell (Descent Into Chaos - demo 1988) 00:52
2. Lords of Abomination (Descent Into Chaos - demo 1988) 03:43
3. Exmortis (Descent Into Chaos - demo 1988) 03:01
4. Pathogenic Silence (Descent Into Chaos - demo 1988) 04:44
5. Immortality's End (Immortality's End - demo 1989) 04:01
6. The Resurrection (Immortality's End - demo 1989) 02:44
7. Beyond the Realms of Madness (Immortality's End - demo 1989) 03:22
8. Casual Killing (Immortality's End - demo 1989) 02:45
9. Immortal Outro (Immortality's End - demo 1989) 00:46
10. Dreams of the Dead (Fade From Reality - 7”EP 1991) 06:32
11. The Unforbidden [Unreleased Track 1991] (Fade From Reality - 7”EP 1991)
04:25
12. Fade From Reality (Fade From Reality - 7”EP 1991) 06:13
13. Necrotic Visions (History of Things to Come - Compilation CD 1994) 03:40
14. Silence of Darkness (History of Things to Come - Compilation CD 1994)
03:54

Bonus Tracks:
15. Life (Unreleased Demo 1992) 04:21
16. The Resurrection (Live 1989) 02:53




https://www.youtube.com/watch?v=2CMB8GaZKT0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Prawdziwi mistrzowie demonicznego thrash/death metalu!
Pierwsze dwa dema to undergroundowe klasyki!

FA


Official re-issue through Xtreem Music with 2 bonus, of the CD that was originally released in 2011 which includes the two legendary demos "Descent Into Chaos" ('88) & "Immortality's End" ('89), the 7"EP "Fade From Reality" ('91) and 2 compilation tracks from '94 by this mythic US band of true Death Metal somewhat in the vein of very early MORBID ANGEL, SADISTIC INTENT, MERCILESS, POSSESSED... but way more intense and aggressive. An essential masterpiece!!!



I just love such compilation releases, which gather old demo or EP recordings from a band, which not necessarily is well remembered nowadays. Recent years has brought few such releases and it seems like the nowadays resurgence of old school death metal is the best time ever to remind us some of those old cult bands. Necroharmonic belongs to the labels, which specializes in it and I think they’re actually doing one of the best jobs and are responsible for exhuming the old materials from such bands as Derketa, Goreaphobia, Wombbath, Interment, Crematory and Rottrevore. Their greatest strength not only lies in the quality of death metal and awesomeness of those bands, whose recordings they’ve compiled, but it’s also the way they’ve been releasing those CDs. I love those fat, detailed booklets, with dozens of old photos, bios, lyrics and other extras. It always looks very impressive and so anytime I see that Necroharmonic is about to release another compilation I just know I need to buy it, because it is certain that it’s going to be worth the money.

And so I did with “Darkened Path Revealed”. It’s a CD, which gathers the old recordings from Frederick, Maryland, US based band called Exmortis. Well, I must be honest with and tell that although I’ve known this moniker for years, I only had listened to maybe two or three songs of theirs earlier, so it was a good opportunity to buy “Darkened Path Revealed” and listen to all the stuff that was released by the band. Well, it turned out that it actually doesn’t include everything, but as I’ve found out when digging the history of Exmortis, there was one demo from 1994 (“Butchers of the Urban Frontier”), which isn’t really considered to be an Exmortis release, as it was composed and recorded without Brian Werking, the mainman behind the band. There were some problems in 1994 that led to split up between Werking and the other guys and Chris Weiser took the name and did a demo with some new members, but this demo is far from the sound and style of original Exmortis, whose songs were always composed by Werking. And this is why this demo 1994 is not included on the compilation. But don’t worry, there’s enough material anyway. It compiles the following materials: “Descent Into Chaos” demo 1988, “Immortality’s End” demo 1989, “Fade From Reality” EP 1991, “History of Things to Come” compilation 1994 plus several extra, unreleased recordings (some of which are only intros though), what gives almost an hour of death metal music in total. Fuck yeah, this is what I like!

Of all those recordings, I think I like “Immortality’s End” most, it’s damn fuckin killer archaic death metal with a huge thrashing influence, but in general every bit of this compilation deserves your praise. Exmortis have been slashing with merciless thrashing death metal, which brings some resemblances to bands like early Sepultura, Possessed, Massacra, Kreator, Nocturnus and few more, but even if these are just the demos, the quality of those recordings isn’t far worse from what the bands I mentioned have been doing on their full length albums. Really, this is razor sharp, neckbreaking, blasting metal (which may sound slightly archaic nowadays, but it has such a charm and feeling that I personally cannot resist it), with many splendid riffs and parts, with great vocals and what’s more, it was also pretty well produced. The quality of each recording is just awesome and it would even fit the full length, if Exmortis ever had a chance to record one. Unfortunately, they didn’t and the future wasn’t as bright for them as they would wish, but that’s even more rewarding for Werking and his band to have this compilation released, I think. Besides, the band has reformed recently and recorded new material, titled “Resurrection ... Book of the Dead”, which I haven’t heard yet, but I’m hoping it’s going to be a smasher and will be as good as say the comeback recording from Divine Eve for instance.

But for now, I enjoy “Darkened Path Revealed” compilation. This is just splendid release and I must say that Necroharmonic did yet another great job. Did I mention how fat is the booklet here? A lot of photos, some words from people like Chris Reifert, James Murphy, Killjoy, Jeff Becerra and the guys from Unleashed, there are also details about each of the old demos, all the lyrics, etc. All those details plus the fantastic music of course make me feel absolutely happy and enthusiastic about Exmortis, so I definitely recommend this compilation to all fans of old school death metal. Get it asap and bang your head! You must know also that there’s one more compilation of old Exmortis recordings, titled “Unhallowed Grave”, but I think this one will not be as great as “Darkened Path Revealed”, as it includes just some rehearsal and live recordings, so nothing as exciting, besides I’m afraid that the sound quality on it may not be as good as here, so… “Darkened Path Revealed” is the choice for everyone, if you want to get to know Exmortis. And trust me; it is yet another great band from the distant past, which is worth selling your soul to the devil. And they do deserve to be called legend-fuckin-dary!

dismember marcin



..::TRACK-LIST::..

1. Winds of Hell (Descent Into Chaos - demo 1988) 00:52
2. Lords of Abomination (Descent Into Chaos - demo 1988) 03:43
3. Exmortis (Descent Into Chaos - demo 1988) 03:01
4. Pathogenic Silence (Descent Into Chaos - demo 1988) 04:44
5. Immortality's End (Immortality's End - demo 1989) 04:01
6. The Resurrection (Immortality's End - demo 1989) 02:44
7. Beyond the Realms of Madness (Immortality's End - demo 1989) 03:22
8. Casual Killing (Immortality's End - demo 1989) 02:45
9. Immortal Outro (Immortality's End - demo 1989) 00:46
10. Dreams of the Dead (Fade From Reality - 7”EP 1991) 06:32
11. The Unforbidden [Unreleased Track 1991] (Fade From Reality - 7”EP 1991)
04:25
12. Fade From Reality (Fade From Reality - 7”EP 1991) 06:13
13. Necrotic Visions (History of Things to Come - Compilation CD 1994) 03:40
14. Silence of Darkness (History of Things to Come - Compilation CD 1994)
03:54

Bonus Tracks:
15. Life (Unreleased Demo 1992) 04:21
16. The Resurrection (Live 1989) 02:53




https://www.youtube.com/watch?v=2CMB8GaZKT0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Czwarta duża płyta Turków zdecydowanie przewyższająca poprzednie produkcje. Potężny, brutalny death metal!




1. Horrific Realm of Gorecstasy 03:17
2. Vomiting Psycho Intent 03:49
3. Third Page 02:16
4. Unsaturated Cunt 02:39
5. Bowel Eviscerated Nympho 02:48
6. Inner Mass Decay 03:03
7. Human Flesh Wax 03:44
8. Necrocannibal Tribes 04:09

No distortional vocal effects have been used.




Vocals - Batu Çetin
Bass - Coşkun Kaplan
Drums - Semih Ornek
Guitar - Başar Çetin, Cihan Akun



https://www.youtube.com/watch?v=2IOyJUl0iUo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Czwarta duża płyta Turków zdecydowanie przewyższająca poprzednie produkcje. Potężny, brutalny death metal!



..::TRACK-LIST::..

1. Horrific Realm of Gorecstasy 03:17
2. Vomiting Psycho Intent 03:49
3. Third Page 02:16
4. Unsaturated Cunt 02:39
5. Bowel Eviscerated Nympho 02:48
6. Inner Mass Decay 03:03
7. Human Flesh Wax 03:44
8. Necrocannibal Tribes 04:09

No distortional vocal effects have been used.



..::OBSADA::..

Vocals - Batu Çetin
Bass - Coşkun Kaplan
Drums - Semih Ornek
Guitar - Başar Çetin, Cihan Akun



https://www.youtube.com/watch?v=2IOyJUl0iUo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mutagenic Host to nowa, ale już zdeformowana twarz na scenie death metalowej. Stwierdziłem, że dam im szansę i sprawdzę, co takiego kryje się na „The Diseased Machine”, bowiem już sama okładka podsuwała mi myśl, iż może mnie się to spodobać.

Londyński kwintet istnieje od kilku lat, pierwsze oznaki aktywności przypadają na 2023 rok, więc można by rzec, że mamy do czynienia ze świeżynką. Ale jak włączycie sobie ich debiut, to niczego świeżego tu nie znajdziecie. Raczej rozpad i zgniliznę, charakterystyczną dla nagrań takiego Autopsy. Zresztą odór kapeli Reiferta unosi się nad muzyką Mutagenic Host. Te numery nie są jakoś przesadnie szybkie, chwilami wręcz przeciwnie – ma się wrażenie, że ciągną się jak bebechy rozjechanego zwierzęcia na asfalcie. Ponadto samo brzmienie „The Diseased Machine” też niejako może kojarzyć się z twórcami „Mental Funeral”. Czyli jak dla mnie jest to wystarczająca rekomendacja, by przynajmniej dać tej płycie szansę. A dla Was?

Jeśli to mało, powiem Wam jeszcze, że oczywiście pomimo braku oryginalności, dobrze słucha się tego materiału. Ponadto wspomniane Autopsy to nie jedyna inspiracja, jaką możemy usłyszeć u Mutagenic Host – niemało też tutaj Szwecji, z naciskiem na Dismember na przykład. Rzec by można, że Brytole chcą złapać dwie death metalowe sroczki za ogon i całkiem spoko im to wychodzi. Z jednej strony jest tutaj całkiem gruzowato, z drugiej te numery bardzo dobrze bujają – dla mnie taka synteza jest jak najbardziej do przyjęcia.

Będę więc zapewne obserwował rozwój sytuacji, bowiem „The Diseased Machine” daje rękojmię porządnej death metalowej hordy z perspektywami.

Oracle

Mutagenic Host dive into a technological apocalypse, examining a world overshadowed by hypocritical, insidious, and murderous global powers. The band is deeply disillusioned with the traditional themes of death metal and hardcore, feeling that these subjects no longer capture the urgency of the present. Instead, Mutagenic Host tackle the modern-day spectres of complacency, apathy, and the looming threat of AI. Their work is an allegory for the systematic industrialisation of humanity’s eradication—whether by human hands or by the machines we create to snuff out life. In this narrative, the instruments of state use AI to monitor, control, and suppress the population, sounding a warning of impending doom through a fresh, intense lens in the death metal genre.



..::TRACK-LIST::..

1. Neurological Necrosis 04:39
2. Genestealer 03:30
3. The Twisted Helix 04:42
4. Artificial Harvest of the Obscene 05:14
5. Organometallic Assimilation 03:45
6. DIRECTIVE:: [kill_on_sight] 02:02
7. Incomprehensible Methods of Slaughter 03:35
8. S.W.A.R.M. (Systematic War Against Restless Machines) 03:34
9. Promethean Dusk 04:35
10. Rivers of Grief 05:30



..::OBSADA::..

Vocals - Ash Moore
Guitar - Jack Thompson
Guitar - Sami Tuohino
Guitar, Bass - Dan Bulford
Drums - George Kinsella-Pearn




https://www.youtube.com/watch?v=jwlTDgwh3i4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mutagenic Host to nowa, ale już zdeformowana twarz na scenie death metalowej. Stwierdziłem, że dam im szansę i sprawdzę, co takiego kryje się na „The Diseased Machine”, bowiem już sama okładka podsuwała mi myśl, iż może mnie się to spodobać.

Londyński kwintet istnieje od kilku lat, pierwsze oznaki aktywności przypadają na 2023 rok, więc można by rzec, że mamy do czynienia ze świeżynką. Ale jak włączycie sobie ich debiut, to niczego świeżego tu nie znajdziecie. Raczej rozpad i zgniliznę, charakterystyczną dla nagrań takiego Autopsy. Zresztą odór kapeli Reiferta unosi się nad muzyką Mutagenic Host. Te numery nie są jakoś przesadnie szybkie, chwilami wręcz przeciwnie – ma się wrażenie, że ciągną się jak bebechy rozjechanego zwierzęcia na asfalcie. Ponadto samo brzmienie „The Diseased Machine” też niejako może kojarzyć się z twórcami „Mental Funeral”. Czyli jak dla mnie jest to wystarczająca rekomendacja, by przynajmniej dać tej płycie szansę. A dla Was?

Jeśli to mało, powiem Wam jeszcze, że oczywiście pomimo braku oryginalności, dobrze słucha się tego materiału. Ponadto wspomniane Autopsy to nie jedyna inspiracja, jaką możemy usłyszeć u Mutagenic Host – niemało też tutaj Szwecji, z naciskiem na Dismember na przykład. Rzec by można, że Brytole chcą złapać dwie death metalowe sroczki za ogon i całkiem spoko im to wychodzi. Z jednej strony jest tutaj całkiem gruzowato, z drugiej te numery bardzo dobrze bujają – dla mnie taka synteza jest jak najbardziej do przyjęcia.

Będę więc zapewne obserwował rozwój sytuacji, bowiem „The Diseased Machine” daje rękojmię porządnej death metalowej hordy z perspektywami.

Oracle

Mutagenic Host dive into a technological apocalypse, examining a world overshadowed by hypocritical, insidious, and murderous global powers. The band is deeply disillusioned with the traditional themes of death metal and hardcore, feeling that these subjects no longer capture the urgency of the present. Instead, Mutagenic Host tackle the modern-day spectres of complacency, apathy, and the looming threat of AI. Their work is an allegory for the systematic industrialisation of humanity’s eradication—whether by human hands or by the machines we create to snuff out life. In this narrative, the instruments of state use AI to monitor, control, and suppress the population, sounding a warning of impending doom through a fresh, intense lens in the death metal genre.



..::TRACK-LIST::..

1. Neurological Necrosis 04:39
2. Genestealer 03:30
3. The Twisted Helix 04:42
4. Artificial Harvest of the Obscene 05:14
5. Organometallic Assimilation 03:45
6. DIRECTIVE:: [kill_on_sight] 02:02
7. Incomprehensible Methods of Slaughter 03:35
8. S.W.A.R.M. (Systematic War Against Restless Machines) 03:34
9. Promethean Dusk 04:35
10. Rivers of Grief 05:30



..::OBSADA::..

Vocals - Ash Moore
Guitar - Jack Thompson
Guitar - Sami Tuohino
Guitar, Bass - Dan Bulford
Drums - George Kinsella-Pearn




https://www.youtube.com/watch?v=jwlTDgwh3i4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To czysty, brutalny, kopiący tyłek szwedzki death metal.


3rd album, another masterpiece by one of Sweden's oldest Death Metal bands!! No immitations here, this is the real deal!! SORCERY have their own sound, which is evil, heavy and catchy as hell!!!



..::TRACK-LIST::..

1. Holy Ground 05:16
2. The New Armageddon 05:13
3. Insanity Arise 03:59
4. Dark Waves 05:29
5. Hellstorm 05:16
6. Cleansed by Fire 06:21
7. Mass Murder 03:47
8. The Creator 04:50
9. Black Wings 03:30
10. Garden of Bones 07:27



..::OBSADA::..

Johan Vikholm - Guitars (lead)
Jacob Wiberg - Bass
Paul Johansson - Guitars
Emil Berglin - Drums
Ola Malmström - Vocals



https://www.youtube.com/watch?v=WhN6L8XyCoE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To czysty, brutalny, kopiący tyłek szwedzki death metal.



3rd album, another masterpiece by one of Sweden's oldest Death Metal bands!! No immitations here, this is the real deal!! SORCERY have their own sound, which is evil, heavy and catchy as hell!!!



..::TRACK-LIST::..

1. Holy Ground 05:16
2. The New Armageddon 05:13
3. Insanity Arise 03:59
4. Dark Waves 05:29
5. Hellstorm 05:16
6. Cleansed by Fire 06:21
7. Mass Murder 03:47
8. The Creator 04:50
9. Black Wings 03:30
10. Garden of Bones 07:27



..::OBSADA::..

Johan Vikholm - Guitars (lead)
Jacob Wiberg - Bass
Paul Johansson - Guitars
Emil Berglin - Drums
Ola Malmström - Vocals



https://www.youtube.com/watch?v=WhN6L8XyCoE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Siadasz, zapinasz pasy i przyjmujesz pieprzone bicie po mordzie jak prawdziwy facet!
Wypluwasz zęby, wycierasz usta, wstajesz i idziesz dalej...



..::TRACK-LIST::..

1. Upon the Altar 04:05
2. Doorways in Crimson Red 03:38
3. Blemish 03:02
4. Sacrificial Blood 03:24
5. Disobedience 03:58
6. Towards Complete Darkness 03:39
7. Sulphurous Fire 03:15
8. Death in Communion 03:33
9. Speculative Fall of the Human Race 04:30



..::OBSADA::..

M. Lobier - Vocals, Guitars, Drums
J. Blandino - Bass



https://www.youtube.com/watch?v=LkWBRN6sD8I



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Siadasz, zapinasz pasy i przyjmujesz pieprzone bicie po mordzie jak prawdziwy facet!
Wypluwasz zęby, wycierasz usta, wstajesz i idziesz dalej...



..::TRACK-LIST::..

1. Upon the Altar 04:05
2. Doorways in Crimson Red 03:38
3. Blemish 03:02
4. Sacrificial Blood 03:24
5. Disobedience 03:58
6. Towards Complete Darkness 03:39
7. Sulphurous Fire 03:15
8. Death in Communion 03:33
9. Speculative Fall of the Human Race 04:30



..::OBSADA::..

M. Lobier - Vocals, Guitars, Drums
J. Blandino - Bass



https://www.youtube.com/watch?v=LkWBRN6sD8I



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Długo oczekiwany trzeci album GUTSLIT to esencja brutalnego death metalu prosto z Indii. Członkowie zespołu GUTSLIT dostarczają mocne brzmienie, które rozpala zmysły swoją intensywnością. Album "Carnal" to doskonałe połączenie technicznych umiejętności, mrocznych melodii i bezlitosnych tekstów. Rozgość się w świecie bezkompromisowego death metalu z albumem "Carnal".


Najnowsza płyta Gutslit, Carnal, to wybuchowa kontynuacja albumu Amputheatre z 2017 roku. Z ośmioma miażdżącymi numerami album pokazuje ewolucję brzmienia zespołu, tlącą się i falującą gwałtowną energią. Album został zmiksowany i zmasterowany przez Marka Lewisa (The Black Dahlia Murder, Whitechapel) i wyprodukowany przez Prateeka Rajagopala (The Book of Boba Fett, Creed 3), z grafiką autorstwa Kidsquidy. Warto zauważyć, że Carnal oznacza powrót Adityi Barve (Skewered in the Sewer) na wokalu i zawiera gościnny wokal Juliena Truchana (Benighted) w utworze „Bind Torture Kill”.



India’s own Brutal Death Metal and Grindcore warriors are back with their incendiary third full-length album, a masterful exploration of the intricate struggles of the human psyche.

In their over 15-year journey, Mumbai-based Brutal Death Metal/Grindcore masters Gutslit have transcended their status as a mere household name in the Indian metal scene to a global force to be reckoned with, showcasing their technical prowess and brutal riffs on two critically acclaimed full-length albums, Skewered in the Sewer, released in 2013, and Amputheatre, from 2017. Now in 2023, the band formed of vocalist Aditya Barve, guitarist Prateek Rajagopal, bassist Gurdip Singh Narang and drummer Aaron Pinto unleash hell once again with their third full-length opus, titled Carnal, showcasing the band’s evolution in sound, smoldering and surging with violent energy. Mixed and mastered by Mark Lewis at Audio Hammer Studios, produced by the band’s own Prateek Rajagopal, and displaying a stylish artwork by Kidsquidy (aka the band’s own Aaron Pinto), the album offers our avid ears eight crushing compositions which together represent a captivating exploration of the many facades that we all wear and the numerous personas that we all adopt to navigate the challenges of life.

As soon as you hit play, brutality and rage flow from all instruments in the pulverizing opening track Son of Sam, with Aditya roaring like a beast supported by the Death Metal blast beats by Aaron. The album couldn’t have started in a more demolishing way, I might say, and things get even heavier in Matriarch, another infernal Death Metal attack by those talented musicians with Gurdip’s rumbling bass bringing sheer groove to the music while Prateek will pierce your skin deep with his sick riffage. Then we have the heavy-as-hell Bind Torture Kill, featuring guest vocalist Julien Truchan of Benighted, and his pig-like screeches add an even higher level of insanity to the overall result, resulting in a lecture in Brutal Death Metal and Grindcore where the guitar by Prateek sounds utterly caustic. There’s no time to breath as the quartet will kick us hard in the head in The Killing Joke, bringing forward their trademark aggressiveness spearheaded by the deep, inhumane growls by Aditya.

The second half of the album begins with the infuriated Insidious, with the band’s stringed duo sounding incendiary during the song’s intense 41 seconds, followed by Body Snatcher, a much darker, more introspective creation by Gutslit, hammering our heads with their wicked bass lines and incendiary riffs, not to mention another flawless performance by Aaron on drums. In Altar of Putridity we face lyrics that are as acid as their music (“I walk past the lines of grim depression / A fantasy to behold / A morbid compassion to withhold / Sliver of remorse, flowing through my veins / Easing up to that moment / One step closer to creating”), although the song is not as exciting as the rest of the album; whereas closing the album on a high, melodic and visceral note we have Primeval, presenting an amazing job by all band members, in special Aaron with his demented drums, being therefore perfect for slamming into the circle pit like a true metalmaniac while Aditya continues to scream nonstop before all fades out to a sinister outro.

“Carnal is a masterful exploration of the intricate struggles of the human psyche. With a keen eye for detail and a remarkable understanding of the complexity of the human mind, we delve deep into the age-old conflict between good and evil. The tracks on this album depict the various phases of the human experience, from the deepest pits of despair to the highest peaks of euphoria,” commented the band about their flammable new album.

Gustavo Scuderi



..::TRACK-LIST::..

1. Son of Sam 04:04
2. Matriarch 03:31
3. Bind Torture Kill 03:23
4. The Killing Joke 03:05
5. Insidious 00:41
6. Body Snatcher 04:54
7. Altar of Putridity 04:13
8. Primeval 06:05



..::OBSADA::..

Gurdip Singh Narang - Bass
Aaron Pinto - Drums
Aditya Barve - Vocals
Prateek Rajagopal - Guitars

Guest musician:
Julien Truchan - vocals on 'Bind Torture Kill'




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Długo oczekiwany trzeci album GUTSLIT to esencja brutalnego death metalu prosto z Indii. Członkowie zespołu GUTSLIT dostarczają mocne brzmienie, które rozpala zmysły swoją intensywnością. Album "Carnal" to doskonałe połączenie technicznych umiejętności, mrocznych melodii i bezlitosnych tekstów. Rozgość się w świecie bezkompromisowego death metalu z albumem "Carnal".


Najnowsza płyta Gutslit, Carnal, to wybuchowa kontynuacja albumu Amputheatre z 2017 roku. Z ośmioma miażdżącymi numerami album pokazuje ewolucję brzmienia zespołu, tlącą się i falującą gwałtowną energią. Album został zmiksowany i zmasterowany przez Marka Lewisa (The Black Dahlia Murder, Whitechapel) i wyprodukowany przez Prateeka Rajagopala (The Book of Boba Fett, Creed 3), z grafiką autorstwa Kidsquidy. Warto zauważyć, że Carnal oznacza powrót Adityi Barve (Skewered in the Sewer) na wokalu i zawiera gościnny wokal Juliena Truchana (Benighted) w utworze „Bind Torture Kill”.



India’s own Brutal Death Metal and Grindcore warriors are back with their incendiary third full-length album, a masterful exploration of the intricate struggles of the human psyche.

In their over 15-year journey, Mumbai-based Brutal Death Metal/Grindcore masters Gutslit have transcended their status as a mere household name in the Indian metal scene to a global force to be reckoned with, showcasing their technical prowess and brutal riffs on two critically acclaimed full-length albums, Skewered in the Sewer, released in 2013, and Amputheatre, from 2017. Now in 2023, the band formed of vocalist Aditya Barve, guitarist Prateek Rajagopal, bassist Gurdip Singh Narang and drummer Aaron Pinto unleash hell once again with their third full-length opus, titled Carnal, showcasing the band’s evolution in sound, smoldering and surging with violent energy. Mixed and mastered by Mark Lewis at Audio Hammer Studios, produced by the band’s own Prateek Rajagopal, and displaying a stylish artwork by Kidsquidy (aka the band’s own Aaron Pinto), the album offers our avid ears eight crushing compositions which together represent a captivating exploration of the many facades that we all wear and the numerous personas that we all adopt to navigate the challenges of life.

As soon as you hit play, brutality and rage flow from all instruments in the pulverizing opening track Son of Sam, with Aditya roaring like a beast supported by the Death Metal blast beats by Aaron. The album couldn’t have started in a more demolishing way, I might say, and things get even heavier in Matriarch, another infernal Death Metal attack by those talented musicians with Gurdip’s rumbling bass bringing sheer groove to the music while Prateek will pierce your skin deep with his sick riffage. Then we have the heavy-as-hell Bind Torture Kill, featuring guest vocalist Julien Truchan of Benighted, and his pig-like screeches add an even higher level of insanity to the overall result, resulting in a lecture in Brutal Death Metal and Grindcore where the guitar by Prateek sounds utterly caustic. There’s no time to breath as the quartet will kick us hard in the head in The Killing Joke, bringing forward their trademark aggressiveness spearheaded by the deep, inhumane growls by Aditya.

The second half of the album begins with the infuriated Insidious, with the band’s stringed duo sounding incendiary during the song’s intense 41 seconds, followed by Body Snatcher, a much darker, more introspective creation by Gutslit, hammering our heads with their wicked bass lines and incendiary riffs, not to mention another flawless performance by Aaron on drums. In Altar of Putridity we face lyrics that are as acid as their music (“I walk past the lines of grim depression / A fantasy to behold / A morbid compassion to withhold / Sliver of remorse, flowing through my veins / Easing up to that moment / One step closer to creating”), although the song is not as exciting as the rest of the album; whereas closing the album on a high, melodic and visceral note we have Primeval, presenting an amazing job by all band members, in special Aaron with his demented drums, being therefore perfect for slamming into the circle pit like a true metalmaniac while Aditya continues to scream nonstop before all fades out to a sinister outro.

“Carnal is a masterful exploration of the intricate struggles of the human psyche. With a keen eye for detail and a remarkable understanding of the complexity of the human mind, we delve deep into the age-old conflict between good and evil. The tracks on this album depict the various phases of the human experience, from the deepest pits of despair to the highest peaks of euphoria,” commented the band about their flammable new album.

Gustavo Scuderi



..::TRACK-LIST::..

1. Son of Sam 04:04
2. Matriarch 03:31
3. Bind Torture Kill 03:23
4. The Killing Joke 03:05
5. Insidious 00:41
6. Body Snatcher 04:54
7. Altar of Putridity 04:13
8. Primeval 06:05



..::OBSADA::..

Gurdip Singh Narang - Bass
Aaron Pinto - Drums
Aditya Barve - Vocals
Prateek Rajagopal - Guitars

Guest musician:
Julien Truchan - vocals on 'Bind Torture Kill'




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Infiltrated Mankind is a crushing technical death outfit originally hailing from the heart of Baikal Lake, Eastern Siberia reinforced by the amazing Florent Duployer (Kakothanasy, Anachronism) on drums, mighty bass power of Anton Zhikharev (Neurogenic, Fleshbomb) and Zlatoyar (Endocranial). Their debut album "Inside The Apelike" is a new reading of apocalypse through the bleak lens of misanthropic loathing. 10 tracks of intense and organic sounding tech-death for fans of Decrepit Birth, Spawn Of Possession, Archspire decarated with a variety high speed bombardments, bewitching and atmospheric melodies, severe grooves and stunning brutal vocals.



..::TRACK-LIST::..

1. Inside the Apelike 03:05
2. Up on the Downside 03:02
3. Atomized Lives 03:41
4. Paltriness as the Holiness 03:08
5. World Wide Deicide 03:16
6. Poisoned Sky 04:17
7. Lives Remain the Same 03:29
8. Infiltrated Mankind 04:47
9. Black Waves 03:53
10. Son of the Lucid Dawn 04:48



..::OBSADA::..

Pale - Guitars
Pest - Vocals
Flo Duployer - Drums
Anton Zhikharev - Bass (tracks 2, 3, 4, 6, 7)
Zlatoyar - Bass (tracks 1, 4, 5, 8, 9, 10)



https://www.youtube.com/watch?v=UGiByQW6sDM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Infiltrated Mankind is a crushing technical death outfit originally hailing from the heart of Baikal Lake, Eastern Siberia reinforced by the amazing Florent Duployer (Kakothanasy, Anachronism) on drums, mighty bass power of Anton Zhikharev (Neurogenic, Fleshbomb) and Zlatoyar (Endocranial). Their debut album "Inside The Apelike" is a new reading of apocalypse through the bleak lens of misanthropic loathing. 10 tracks of intense and organic sounding tech-death for fans of Decrepit Birth, Spawn Of Possession, Archspire decarated with a variety high speed bombardments, bewitching and atmospheric melodies, severe grooves and stunning brutal vocals.



..::TRACK-LIST::..

1. Inside the Apelike 03:05
2. Up on the Downside 03:02
3. Atomized Lives 03:41
4. Paltriness as the Holiness 03:08
5. World Wide Deicide 03:16
6. Poisoned Sky 04:17
7. Lives Remain the Same 03:29
8. Infiltrated Mankind 04:47
9. Black Waves 03:53
10. Son of the Lucid Dawn 04:48



..::OBSADA::..

Pale - Guitars
Pest - Vocals
Flo Duployer - Drums
Anton Zhikharev - Bass (tracks 2, 3, 4, 6, 7)
Zlatoyar - Bass (tracks 1, 4, 5, 8, 9, 10)



https://www.youtube.com/watch?v=UGiByQW6sDM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

DEPESEBLO to solowy projekt Dennisa Blomberga znanego z takich zespołów jak DOWN AMONG THE DEAD MEN, PAGANIZER, THOSE WHO BRING THE TORTURE. 'Nightmare Desolation' przynosi 8 utworów ciężkiego, intensywnego death metalu ze sporą dawką melodii inspirowanego przez HYPOCRISY, DISSECTION, wczesny IN FLAMES czy nawet AMON AMARTH. Materiał zmasterował Dennis 'DerClint' Israel w Clintworks Studio (MISERY INDEX, 3 INCHES OF BLOOD, AMON AMARTH). Artwork to dzieło Roberto Toderico (SINISTER, ASPHYX, PAGANIZER).


„Nightmare Desolation” to album, który muzycznie ma sporo cech wspólnych z opisywanym przeze mnie całkiem niedawno innym materiałem, mianowicie chodzi mi o THOSE WHO BRING THE TORTURE i ich „Necromancer”. Podobieństwa? Otóż oprócz, iż łączy oba zespoły ten sam wydawca, to w obu zespołach udziela się Dennis Blomberg, przy czym DEPESEBLO to jego solowy projekt w którym rządzi niepodzielnie, odpowiadając na „Nightmare Desolation” za całe instrumentarium, wizję muzyki, jej brzmienie i ogólny koncept zespołu. Ale i to nie wszystko, bo oba band’y łączy jeszcze coś – szwedzki old school’owy death metal. I na tym kończę porównania obu załóg, bo jakby nie patrzeć, to zupełnie dwa odrębnie działające metalowe twory. „Nightmare Desolation” to przede wszystkim staromodny decior, a zamysłem autora tego materiału było skomponowanie tej dość, a nawet bardzo melodyjnej jego formy. Co zresztą Dennis wcielił w życie, właśnie w takim oto stylu komponując osiem piosenek. Oczywiście, do głównego rdzenia muzyki DEPESEBLO dostało się też w kilku momentach trochę przeszczepów z innych niw „hałasu”. I tak oto znajdują się tu zarówno black metalowe wtręty jak i zalatujące zgniłym grind’em zakończone ostrymi nożami baty. Jest też tu jakaś forma dziwnej przestrzeni, choć ja do końca wzbraniałbym się przed określeniem tego albumu mianem „klimatyczny”. Całkiem solidnie to wszystko wypada. Są momenty gdzie DEPESEBLO lutuje podbródkowym, są chwile gdzie melodie wwiercają się w ucho, nie brakuje intensywnych napadów, fajnych rozwiązań i przyzwoitych pomysłów. Same utwory oblane zostały całkiem przyzwoitym brzmieniem etc. Słucha się tego całkiem dobrze, choć w ogólnym rozrachunku czuję jakiś niedosyt. Jak na debiut jest przyzwoicie, ale uważam, iż brakuje mimo wszystko „Nightmare Desolation” takiego, rasowego bujania. Niekiedy to wszystko jest zbyt zachowawcze, a powinno częściej przyjebać po jajach, wbić głodne kły drapieżnika w tętnicę ofiary w oczekiwaniu, aż spłynie ostatnia kropla krwi z otwartych ran. Przy całej solidności tej płytki, mimo wszystko życzyłbym sobie większego pazura. Jak ktoś lubi klimaty w stylu HYPOCRISY, wczesnego IN FLAMES czy AMON AMARTH, może próbować swoich sił z „Nightmare Desolation”.

Skowron



..::TRACK-LIST::..

1. Odious And Obscene 03:49
2. On The Edge Of Insanity 03:49
3. That Time Will Come 04:03
4. From Ancient Times To Present Lies 05:50
5. Nightmare Desolation 05:27
6. Deep Below 04:04
7. Born In Flames 03:42
8. From Present To Destruction 05:10



..::OBSADA::..

Dennis Blomberg - Guitars, Vocals, Bass, drums




https://www.youtube.com/watch?v=a5Zb929BTMM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

DEPESEBLO to solowy projekt Dennisa Blomberga znanego z takich zespołów jak DOWN AMONG THE DEAD MEN, PAGANIZER, THOSE WHO BRING THE TORTURE. 'Nightmare Desolation' przynosi 8 utworów ciężkiego, intensywnego death metalu ze sporą dawką melodii inspirowanego przez HYPOCRISY, DISSECTION, wczesny IN FLAMES czy nawet AMON AMARTH. Materiał zmasterował Dennis 'DerClint' Israel w Clintworks Studio (MISERY INDEX, 3 INCHES OF BLOOD, AMON AMARTH). Artwork to dzieło Roberto Toderico (SINISTER, ASPHYX, PAGANIZER).


„Nightmare Desolation” to album, który muzycznie ma sporo cech wspólnych z opisywanym przeze mnie całkiem niedawno innym materiałem, mianowicie chodzi mi o THOSE WHO BRING THE TORTURE i ich „Necromancer”. Podobieństwa? Otóż oprócz, iż łączy oba zespoły ten sam wydawca, to w obu zespołach udziela się Dennis Blomberg, przy czym DEPESEBLO to jego solowy projekt w którym rządzi niepodzielnie, odpowiadając na „Nightmare Desolation” za całe instrumentarium, wizję muzyki, jej brzmienie i ogólny koncept zespołu. Ale i to nie wszystko, bo oba band’y łączy jeszcze coś – szwedzki old school’owy death metal. I na tym kończę porównania obu załóg, bo jakby nie patrzeć, to zupełnie dwa odrębnie działające metalowe twory. „Nightmare Desolation” to przede wszystkim staromodny decior, a zamysłem autora tego materiału było skomponowanie tej dość, a nawet bardzo melodyjnej jego formy. Co zresztą Dennis wcielił w życie, właśnie w takim oto stylu komponując osiem piosenek. Oczywiście, do głównego rdzenia muzyki DEPESEBLO dostało się też w kilku momentach trochę przeszczepów z innych niw „hałasu”. I tak oto znajdują się tu zarówno black metalowe wtręty jak i zalatujące zgniłym grind’em zakończone ostrymi nożami baty. Jest też tu jakaś forma dziwnej przestrzeni, choć ja do końca wzbraniałbym się przed określeniem tego albumu mianem „klimatyczny”. Całkiem solidnie to wszystko wypada. Są momenty gdzie DEPESEBLO lutuje podbródkowym, są chwile gdzie melodie wwiercają się w ucho, nie brakuje intensywnych napadów, fajnych rozwiązań i przyzwoitych pomysłów. Same utwory oblane zostały całkiem przyzwoitym brzmieniem etc. Słucha się tego całkiem dobrze, choć w ogólnym rozrachunku czuję jakiś niedosyt. Jak na debiut jest przyzwoicie, ale uważam, iż brakuje mimo wszystko „Nightmare Desolation” takiego, rasowego bujania. Niekiedy to wszystko jest zbyt zachowawcze, a powinno częściej przyjebać po jajach, wbić głodne kły drapieżnika w tętnicę ofiary w oczekiwaniu, aż spłynie ostatnia kropla krwi z otwartych ran. Przy całej solidności tej płytki, mimo wszystko życzyłbym sobie większego pazura. Jak ktoś lubi klimaty w stylu HYPOCRISY, wczesnego IN FLAMES czy AMON AMARTH, może próbować swoich sił z „Nightmare Desolation”.

Skowron



..::TRACK-LIST::..

1. Odious And Obscene 03:49
2. On The Edge Of Insanity 03:49
3. That Time Will Come 04:03
4. From Ancient Times To Present Lies 05:50
5. Nightmare Desolation 05:27
6. Deep Below 04:04
7. Born In Flames 03:42
8. From Present To Destruction 05:10



..::OBSADA::..

Dennis Blomberg - Guitars, Vocals, Bass, drums




https://www.youtube.com/watch?v=a5Zb929BTMM



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Linia (r)ewolucyjna holenderskiego Pestilence do 1993 roku mogła robić naprawdę olbrzymie wrażenie jak genialny był to zespół, począwszy od thrash/deathu skończywszy na technicznym death metalu. W każdej z tych stylistyk powstawały im dzieła znakomite, kapitalnie skomponowane i wyróżniające się sporą oryginalnością. Na tle omawianego "Spheres"...poprzednie trzy płyty jednak jawią się jako raptem wierzchołek możliwości Holendrów! Czwarty longplay Pestilence przeniósł muzykę Patricka Mameli i reszty zgrai bowiem w tak nietypowe i pomysłowe rejony, że album z miejsca spotkał się z totalnym niezrozumieniem i olaniem zewsząd, ale też ze zwątpieniem ze strony muzyków w dalszą działalność zespołu.
Sensu (i racjonalnych odpowiedzi) nie zamierzam się w tym na siłę doszukiwać, ale jedno jest pewne, po dziś dzień to mój ulubiony album od Pestilence, absolutnie niesłusznie niedoceniony i pokazujący sporą zaściankowość wydawcy/słuchaczy w tamtym czasie! Owszem, muzyka Holendrów stała się tu cholernie wymagająca, nietuzinkowa i niełatwa w odbiorze, toteż rozczarowani "Testimony Of The Ancients" zupełnie nie zrozumieją głównej idei "Spheres", to jednak jest na tej płycie to coś co niemal natychmiast przykuwa uwagę i sprawia, że ma się do czynienia z czymś unikalnym, przez co chce się katować swój słuch bardziej i bardziej. Holendrom udało się po prostu wnieść do swojej muzyki sporo ryzykownych i intrygujących nowości, a przy tym nie zapomnieć, gdzie tkwi sedno ich stylu.

Pierwsze co się rzuca w słuch dotyczy brzmienia. Te stało się klaustrofobiczne, (pozornie) nieprzyjazne, wyalienowane - wprost idealnie wstrzelone w koncept okładki. Odnosi się wrażenie jakby zespół zupełnie na serio zamknął się w jakiejś kapsule i tam nagrywał całość materiału. Druga rzecz - syntezatory gitarowe. Doskonale imitują klawisze (o czym wyraźnie nakreśla dla niedowiarków notka w książeczce: there are no keyboards on this album) i świetnie wykorzystano je także w formie solówek (!). Efekt jest powalający. Kolejne - pojawienie się basisty Jeroena Paula Thesselinga. Jego partie wyszły znacznie ciekawiej od Choya, dużo wyraźniej towarzyszą one pozostałym instrumentom i jeszcze fajniej ozdabiają muzykę jazzowymi patentami. Idąc dalej, geniusz "Spheres" objawia się od strony większej ilości pomysłów oraz klimatu z progresywnego metalu (cuś jakby nawiązując do Voivod), bardziej histerycznych wokali Mameliego, dających kosmiczne wytchnienie interludiów (w takim "Personal Energy" jednak też coś podobnego występuje), zakręconych solówek gitarowych obu Patricków i nieco bardziej "mechanicznego" bębnienia Marco Foddisa. No a wszystko to bez wyparcia death metalowego oblicza muzyki Pestilence (podobnie jak u Nocturnus), czego przykładem chociażby "Soul Search", "Changing Persepctives", "The Level Of Perception" czy "Demise Of Time".

Na "Spheres", Holendrzy po raz ostatni objawili się jako zespół zjawiskowy i tak odważnie modyfikujący swój styl. Mimo ogólnego pominięcia i rzekomych zarzutów o przekombinowanie, "Spheres" to - podobnie jak "Focus" czy "Elements" - dzieło genialne, świetnie łączące kosmos z deathem i przy tym mocno wyprzedzające swój czas. Aż szkoda, że tak wyjątkowy krążek położył działalność zespołu na długie lata.

Trochę Subiektywizmu


The (r)evolution line of Dutch Pestilence until 1993 could make a really huge impression how brilliant the band was, ranging from thrash/death to technical death metal. In each of these styles, they created brilliant cds, perfectly composed and distinguished by considerable originality. Against the background of the discussed "Spheres"...the previous three albums, seem to be like the substitute of the Dutch possibilities! The fourth Pestilence lp brought the music of Patrick Mameli and the rest of the band in such unusual and imaginative regions, that the album was immediately met with a total incomprehension and disapproval from everywhere, but also with doubts on the part of the musicians in the further activity of the band.

I am not going to try to find the meaning (and rational answers) in it, but one thing is certain, to this day it's my favorite album from Pestilence, absolutely underestimated and showing a lot of parochialism of the publisher/listeners at that time! Yes, the music of the Dutch has become very demanding, extraordinary and not easy to listen to, so disappointed listeners by "Testimony Of The Ancients" will not understand the main idea of ​​"Spheres" at all, but there is "something" on this album that almost immediately attracts attention and makes that you are dealing with something unique, which makes you want to torture your hearing more and more. The Dutch simply managed to bring a lot of risky and intriguing novelties to their music, and at the same time, not to forget where the essence of their style was.

The first thing that catches the ears is the sound. These became claustrophobic, (seemingly) unfriendly, alienated - perfectly shot into the concept of the cover. One has the impression that the band seriously closed themselves in a capsule and recorded all the material there. Second thing - guitar synthesizers. They perfectly imitate keyboards (which is clearly indicated for doubters in the note in the booklet: there are no keyboards on this album) and they were also perfectly used in the form of solos (!). The effect is amazing. Another - the appearance of bassist Jeroen Paul Thesseling. His parts are much more interesting than Choy, accompanies other instruments much more clearly and decorate the music with jazz patents even more nicely. Going further, the genius of "Spheres" manifests itself from the more hysterical Mameli vocals, more ideas and the atmosphere of progressive metal (something as if referring to Voivod), giving a cosmic respite to interludes (in such "Personal Energy" something similar also occurs), twisted guitar solos by both Patrick's and a slightly more "mechanical" drumming by Marco Foddis. And all this without displacing the death metal face of Pestilence's music (similar to Nocturnus), such as "Soul Search", "Changing Persepctives", "The Level Of Perception" or "Demise Of Time" show.

On "Spheres", the Dutch revealed for the last time as a phenomenal band and so boldly modifying their style. Despite the general omission and alleged accusations of over-combining, "Spheres" is - similarly to "Focus" or "Elements" - a brilliant cd, perfectly combining space with death metal sound, and at the same time well ahead of its time. It's a pity that such a unique album put out the band's activity for many years.

Trochę Subiektywizmu



..::TRACK-LIST::..

CD 1:
1. Mind Reflections 3:21
2. Multiple Beings 4:05
3. The Level Of Perception 3:49
4. Aurian Eyes [with the Roland midi guitar synthesizer] - P. Mameli
1:32
5. Soul Search 3:19
6. Personal Energy 4:09
7. Voices From Within [with the Roland midi guitar synthesizer] - P. Uterwijk 1:12
8. Spheres 3:29
9. Changing Perspectives 3:24
10. Phileas [Performer] - J. P. Thesseling 1:17
11. Demise Of Time 3:41

Live
12. Mind Reflections 3:35
13. Multiple Beings 4:09

Remixes
14. Demise Of Time 3:41
15. Soul Search 3:18


CD 2:
Demo
1. Reflections Of The Mind 3:12
2. Searching The Soul 3:18
3. Times Demise 3:30

Rehearsals
4. Changing Perspectives 3:07
5. Level Of Perception 3:31
6. Multiple Beings 4:03
7. Spheres 3:26
8. Land Of Tears 4:29
9. Stigmatized 5:17
10. Presence Of The Dead 6:18
11. Prophetic Revelation 5:27
12. Twisted Truth 4:12
13. Pat & Pat 4:05
14. Echoes Of Death 4:11
15. Secrecies Of Horror 3:15
16. Testimony 3:44
17. Omens Of Revelations 5:45
18. Testimonial Ideas 2:16



..::OBSADA::..

Vocals, Guitar, Guitar Synthesizer - Patrick Mameli
Bass, 6-String Bass - Jeroen Paul Thesseling
Drums - Marco Foddis
Guitar, Guitar Synthesizer - Patrick Uterwijk




https://www.youtube.com/watch?v=zmUEu6C9568



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Linia (r)ewolucyjna holenderskiego Pestilence do 1993 roku mogła robić naprawdę olbrzymie wrażenie jak genialny był to zespół, począwszy od thrash/deathu skończywszy na technicznym death metalu. W każdej z tych stylistyk powstawały im dzieła znakomite, kapitalnie skomponowane i wyróżniające się sporą oryginalnością. Na tle omawianego "Spheres"...poprzednie trzy płyty jednak jawią się jako raptem wierzchołek możliwości Holendrów! Czwarty longplay Pestilence przeniósł muzykę Patricka Mameli i reszty zgrai bowiem w tak nietypowe i pomysłowe rejony, że album z miejsca spotkał się z totalnym niezrozumieniem i olaniem zewsząd, ale też ze zwątpieniem ze strony muzyków w dalszą działalność zespołu.
Sensu (i racjonalnych odpowiedzi) nie zamierzam się w tym na siłę doszukiwać, ale jedno jest pewne, po dziś dzień to mój ulubiony album od Pestilence, absolutnie niesłusznie niedoceniony i pokazujący sporą zaściankowość wydawcy/słuchaczy w tamtym czasie! Owszem, muzyka Holendrów stała się tu cholernie wymagająca, nietuzinkowa i niełatwa w odbiorze, toteż rozczarowani "Testimony Of The Ancients" zupełnie nie zrozumieją głównej idei "Spheres", to jednak jest na tej płycie to coś co niemal natychmiast przykuwa uwagę i sprawia, że ma się do czynienia z czymś unikalnym, przez co chce się katować swój słuch bardziej i bardziej. Holendrom udało się po prostu wnieść do swojej muzyki sporo ryzykownych i intrygujących nowości, a przy tym nie zapomnieć, gdzie tkwi sedno ich stylu.

Pierwsze co się rzuca w słuch dotyczy brzmienia. Te stało się klaustrofobiczne, (pozornie) nieprzyjazne, wyalienowane - wprost idealnie wstrzelone w koncept okładki. Odnosi się wrażenie jakby zespół zupełnie na serio zamknął się w jakiejś kapsule i tam nagrywał całość materiału. Druga rzecz - syntezatory gitarowe. Doskonale imitują klawisze (o czym wyraźnie nakreśla dla niedowiarków notka w książeczce: there are no keyboards on this album) i świetnie wykorzystano je także w formie solówek (!). Efekt jest powalający. Kolejne - pojawienie się basisty Jeroena Paula Thesselinga. Jego partie wyszły znacznie ciekawiej od Choya, dużo wyraźniej towarzyszą one pozostałym instrumentom i jeszcze fajniej ozdabiają muzykę jazzowymi patentami. Idąc dalej, geniusz "Spheres" objawia się od strony większej ilości pomysłów oraz klimatu z progresywnego metalu (cuś jakby nawiązując do Voivod), bardziej histerycznych wokali Mameliego, dających kosmiczne wytchnienie interludiów (w takim "Personal Energy" jednak też coś podobnego występuje), zakręconych solówek gitarowych obu Patricków i nieco bardziej "mechanicznego" bębnienia Marco Foddisa. No a wszystko to bez wyparcia death metalowego oblicza muzyki Pestilence (podobnie jak u Nocturnus), czego przykładem chociażby "Soul Search", "Changing Persepctives", "The Level Of Perception" czy "Demise Of Time".

Na "Spheres", Holendrzy po raz ostatni objawili się jako zespół zjawiskowy i tak odważnie modyfikujący swój styl. Mimo ogólnego pominięcia i rzekomych zarzutów o przekombinowanie, "Spheres" to - podobnie jak "Focus" czy "Elements" - dzieło genialne, świetnie łączące kosmos z deathem i przy tym mocno wyprzedzające swój czas. Aż szkoda, że tak wyjątkowy krążek położył działalność zespołu na długie lata.

Trochę Subiektywizmu


The (r)evolution line of Dutch Pestilence until 1993 could make a really huge impression how brilliant the band was, ranging from thrash/death to technical death metal. In each of these styles, they created brilliant cds, perfectly composed and distinguished by considerable originality. Against the background of the discussed "Spheres"...the previous three albums, seem to be like the substitute of the Dutch possibilities! The fourth Pestilence lp brought the music of Patrick Mameli and the rest of the band in such unusual and imaginative regions, that the album was immediately met with a total incomprehension and disapproval from everywhere, but also with doubts on the part of the musicians in the further activity of the band.

I am not going to try to find the meaning (and rational answers) in it, but one thing is certain, to this day it's my favorite album from Pestilence, absolutely underestimated and showing a lot of parochialism of the publisher/listeners at that time! Yes, the music of the Dutch has become very demanding, extraordinary and not easy to listen to, so disappointed listeners by "Testimony Of The Ancients" will not understand the main idea of ​​"Spheres" at all, but there is "something" on this album that almost immediately attracts attention and makes that you are dealing with something unique, which makes you want to torture your hearing more and more. The Dutch simply managed to bring a lot of risky and intriguing novelties to their music, and at the same time, not to forget where the essence of their style was.

The first thing that catches the ears is the sound. These became claustrophobic, (seemingly) unfriendly, alienated - perfectly shot into the concept of the cover. One has the impression that the band seriously closed themselves in a capsule and recorded all the material there. Second thing - guitar synthesizers. They perfectly imitate keyboards (which is clearly indicated for doubters in the note in the booklet: there are no keyboards on this album) and they were also perfectly used in the form of solos (!). The effect is amazing. Another - the appearance of bassist Jeroen Paul Thesseling. His parts are much more interesting than Choy, accompanies other instruments much more clearly and decorate the music with jazz patents even more nicely. Going further, the genius of "Spheres" manifests itself from the more hysterical Mameli vocals, more ideas and the atmosphere of progressive metal (something as if referring to Voivod), giving a cosmic respite to interludes (in such "Personal Energy" something similar also occurs), twisted guitar solos by both Patrick's and a slightly more "mechanical" drumming by Marco Foddis. And all this without displacing the death metal face of Pestilence's music (similar to Nocturnus), such as "Soul Search", "Changing Persepctives", "The Level Of Perception" or "Demise Of Time" show.

On "Spheres", the Dutch revealed for the last time as a phenomenal band and so boldly modifying their style. Despite the general omission and alleged accusations of over-combining, "Spheres" is - similarly to "Focus" or "Elements" - a brilliant cd, perfectly combining space with death metal sound, and at the same time well ahead of its time. It's a pity that such a unique album put out the band's activity for many years.

Trochę Subiektywizmu



..::TRACK-LIST::..

CD 1:
1. Mind Reflections 3:21
2. Multiple Beings 4:05
3. The Level Of Perception 3:49
4. Aurian Eyes [with the Roland midi guitar synthesizer] - P. Mameli
1:32
5. Soul Search 3:19
6. Personal Energy 4:09
7. Voices From Within [with the Roland midi guitar synthesizer] - P. Uterwijk 1:12
8. Spheres 3:29
9. Changing Perspectives 3:24
10. Phileas [Performer] - J. P. Thesseling 1:17
11. Demise Of Time 3:41

Live
12. Mind Reflections 3:35
13. Multiple Beings 4:09

Remixes
14. Demise Of Time 3:41
15. Soul Search 3:18


CD 2:
Demo
1. Reflections Of The Mind 3:12
2. Searching The Soul 3:18
3. Times Demise 3:30

Rehearsals
4. Changing Perspectives 3:07
5. Level Of Perception 3:31
6. Multiple Beings 4:03
7. Spheres 3:26
8. Land Of Tears 4:29
9. Stigmatized 5:17
10. Presence Of The Dead 6:18
11. Prophetic Revelation 5:27
12. Twisted Truth 4:12
13. Pat & Pat 4:05
14. Echoes Of Death 4:11
15. Secrecies Of Horror 3:15
16. Testimony 3:44
17. Omens Of Revelations 5:45
18. Testimonial Ideas 2:16



..::OBSADA::..

Vocals, Guitar, Guitar Synthesizer - Patrick Mameli
Bass, 6-String Bass - Jeroen Paul Thesseling
Drums - Marco Foddis
Guitar, Guitar Synthesizer - Patrick Uterwijk




https://www.youtube.com/watch?v=zmUEu6C9568



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