...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To świetny krążek i doskonały przykład obiecującego talentu, młodzieńczej energii i całkowitego braku sztuczności, które sprawiają, że ludzie wracają do zespołów NWOBHM.
Nawet jeśli nie jest to pozycja z najwyższej półki w gatunku, to niewiele jej brakuje.
Dla mnie PETARDA!


For those who haven’t heard of holocaust, try and envision a young Metallica playing melodic rock songs. For this is one of the many influences Lars and James grew up on, if you listen carefully to this album you can hear many little licks and riffs that sound similar to future Metallica albums.
Also after listening to Gary Lettice, you’ll almost swear its James Hetfield.

I must admit this album is not very catchy nor will it grab your attention at first, but that’s where your anticipation is rewarded. Personally I found myself quite disappointed after the first or second listen, but after several listens I was genuinely hooked.
“Smokin’ Valves” is the first track that sounds like a Johnny be good 50’s rock number sung with balls and aggression. Quite raw and bluesy, I quite liked it but there is so much to come.
“Death of Glory” has a common opening chord that I cant put my finger on, I’ve heard it somewhere before. But then again its so easy and common to play it can be mistaken for anything. I really liked this particular track for its raw and simplistic lyrics, if you really want to be picky like me you can start singing the first verse to “seek and destroy” and see where Lars and James ripped them off…. but we wont go there.
(I was joking by the way…haha)

“Come on back” is an attempt to be a love song somewhat, but don’t mistake this for a weak stereotypic song. The chorus really catches up with you and solo is mellow and doomsy.

Speaking of doom, “Mavrock” is no exception, even when it picks up its still quite doomy. You can really hear the Sabbath influence in this one, fans will defiantly love this one for its gloomy feel and vocals.

Once you hear “It don’t matter to me” you start to feel a sense of dejavou (the French word, however its spelt). All the songs kind of sound the same, but surprising not in a bad way. Also you start to get the idea that the word Rock was regarded highly in a lot of early 80s songs.

“Cryin’ Shame” is a turnaround song to the others, this is slightly more upbeat and is probably the only song you will hear the bass thump over the guitar.

At last we get to the best song by far, “Heavy Metal Mania”. I must have listened to this track 20 times more than the rest of the songs. In my opinion this is the “rock and roll all night” of metal…or at least should be. This anthem has some intense, classical and mind-blowing guitar work. The intro alone is enough to get me worked up, lyrically the first verse isn’t anything special but the chorus almost brings a tear to my eye (figure of speech) and makes the hair stand on the back of my neck. Also Gamma Ray does a great version of this track.

“Push it around” is the anticlimax of the album even though it sounds similar to the first 6 tracks. Still a strong track however a slight let down after “Heavy Metal Mania”.

Last but defiantly not least is “The Nightcomers” probably my second favourite. The opening riff can only be described as unique, original, dark and gloomy. When drums and bass enter through the track it picks up and is very catchy, I could hear the intro played repetitively for some time if it were up to me.

If you’re a fan of doom or NWOBHM this album wont disappoint you. Particularly if you’re a metallica fan who wants to discover something else. If I were ever going to recommend any Holocaust album it would be this one. Unfortunately the later albums were quite poor and lacked the enthusiasm of “Nightcomers”. Gary Lettice’s absence may be a factor but the magic isn’t quite there. Enjoy this one folks, as it’s the debut and undeniably the best Holocaust album to date.

AussieReaper


I can remember thumbing through the record racks at a flea market down the shore in New Jersey at about 14 years of age and being surrounded by denim and leather clad biker head-bangers at my side doing the same. I was totally intimidated by these dudes but they took me under their smelly wings in their way, pointing out records that, if didn’t have ‘em already, I really oughta consider getting. And when a dude smells that like whiskey and motor oil and looks like Dog The Bounty Hunter after about a month of not bathing recommends you do something, I highly advise doing it. And so I went home with Holocaust, so to speak. And I’m glad I did, cause the band were one of the more roughshod exponents of the NWOBHM, less clever than Tygers Of Pan Tang though more clean than Venom. What they did have was plenty of was energy, which they forced into their sublimely simple riffs until it poured out all over them. The Nightcomers is their debut album and really the only release from back in their day that matters. “Smokin Valves” kicks things open with it’s hard charge, kind of like a slightly laid back Motorhead, whilst “Heavy Metal Mania” possesses one of the band’s trademark hemlock dipped molten riffs, and remains a poverty metal anthem to the very day I pen this. “Cryin’ Shame” functions in similar fashion, the bass-lines setting off the staccato guitar riff perfectly, inviting involuntary head banging or at least bobbing. And what can one say of “Death Or Glory,” which is simply of the best, most sublimely evil sounding metal cuts ever. So much so that death metal slackers Six Feet Under gave it a whirl a few years back. The rest, while calling the band’s amateur spirit into question, remain classic in their own merry manner. And all these years later, in writing this book, I hope I can give something back to sort of guys who laid out advice to this budding metal addict all those years ago. Hell, if I thought they were still alive, I’d send ‘em all a copy.

brocashelm



..::TRACK-LIST::..

1. Smokin' Valves 3:43
2. Death Or Glory 3:36
3. Come On Back 3:36
4. Mavrock 5:24
5. It Don't Matter To Me 3:15
6. Cryin' Shame 3:11
7. Heavy Metal Mania 4:51
8. Push It Around 4:01
9. The Nightcomers 6:12


Bonus Tracks:
10. Heavy Metal Mania 4:06
11. Love's Power 3:10
12. Only As Young As You Feel 4:06
13. Smokin Valves 3:44
14. Friend Or Foe 2:55
15. Out Of My Book 3:42
16. Coming Through 3:41
17. Good Thing Going 4:11
18. Don't Wanna Be A Loser 3:34


10 to 12 'Heavy Metal Mania' 1980
13 to 15 'Smokin' Valves' 1980
16 to 18 'Coming Through' 1982



..::OBSADA::..

Gary Lettice - vocals
John Mortimer - guitars
Ed Dudley - guitars
Robin Begg - bass
Paul Collins - drums



https://www.youtube.com/watch?v=FDE18d56MKI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To świetny krążek i doskonały przykład obiecującego talentu, młodzieńczej energii i całkowitego braku sztuczności, które sprawiają, że ludzie wracają do zespołów NWOBHM.
Nawet jeśli nie jest to pozycja z najwyższej półki w gatunku, to niewiele jej brakuje.
Dla mnie PETARDA!


For those who haven’t heard of holocaust, try and envision a young Metallica playing melodic rock songs. For this is one of the many influences Lars and James grew up on, if you listen carefully to this album you can hear many little licks and riffs that sound similar to future Metallica albums.
Also after listening to Gary Lettice, you’ll almost swear its James Hetfield.

I must admit this album is not very catchy nor will it grab your attention at first, but that’s where your anticipation is rewarded. Personally I found myself quite disappointed after the first or second listen, but after several listens I was genuinely hooked.
“Smokin’ Valves” is the first track that sounds like a Johnny be good 50’s rock number sung with balls and aggression. Quite raw and bluesy, I quite liked it but there is so much to come.
“Death of Glory” has a common opening chord that I cant put my finger on, I’ve heard it somewhere before. But then again its so easy and common to play it can be mistaken for anything. I really liked this particular track for its raw and simplistic lyrics, if you really want to be picky like me you can start singing the first verse to “seek and destroy” and see where Lars and James ripped them off…. but we wont go there.
(I was joking by the way…haha)

“Come on back” is an attempt to be a love song somewhat, but don’t mistake this for a weak stereotypic song. The chorus really catches up with you and solo is mellow and doomsy.

Speaking of doom, “Mavrock” is no exception, even when it picks up its still quite doomy. You can really hear the Sabbath influence in this one, fans will defiantly love this one for its gloomy feel and vocals.

Once you hear “It don’t matter to me” you start to feel a sense of dejavou (the French word, however its spelt). All the songs kind of sound the same, but surprising not in a bad way. Also you start to get the idea that the word Rock was regarded highly in a lot of early 80s songs.

“Cryin’ Shame” is a turnaround song to the others, this is slightly more upbeat and is probably the only song you will hear the bass thump over the guitar.

At last we get to the best song by far, “Heavy Metal Mania”. I must have listened to this track 20 times more than the rest of the songs. In my opinion this is the “rock and roll all night” of metal…or at least should be. This anthem has some intense, classical and mind-blowing guitar work. The intro alone is enough to get me worked up, lyrically the first verse isn’t anything special but the chorus almost brings a tear to my eye (figure of speech) and makes the hair stand on the back of my neck. Also Gamma Ray does a great version of this track.

“Push it around” is the anticlimax of the album even though it sounds similar to the first 6 tracks. Still a strong track however a slight let down after “Heavy Metal Mania”.

Last but defiantly not least is “The Nightcomers” probably my second favourite. The opening riff can only be described as unique, original, dark and gloomy. When drums and bass enter through the track it picks up and is very catchy, I could hear the intro played repetitively for some time if it were up to me.

If you’re a fan of doom or NWOBHM this album wont disappoint you. Particularly if you’re a metallica fan who wants to discover something else. If I were ever going to recommend any Holocaust album it would be this one. Unfortunately the later albums were quite poor and lacked the enthusiasm of “Nightcomers”. Gary Lettice’s absence may be a factor but the magic isn’t quite there. Enjoy this one folks, as it’s the debut and undeniably the best Holocaust album to date.

AussieReaper


I can remember thumbing through the record racks at a flea market down the shore in New Jersey at about 14 years of age and being surrounded by denim and leather clad biker head-bangers at my side doing the same. I was totally intimidated by these dudes but they took me under their smelly wings in their way, pointing out records that, if didn’t have ‘em already, I really oughta consider getting. And when a dude smells that like whiskey and motor oil and looks like Dog The Bounty Hunter after about a month of not bathing recommends you do something, I highly advise doing it. And so I went home with Holocaust, so to speak. And I’m glad I did, cause the band were one of the more roughshod exponents of the NWOBHM, less clever than Tygers Of Pan Tang though more clean than Venom. What they did have was plenty of was energy, which they forced into their sublimely simple riffs until it poured out all over them. The Nightcomers is their debut album and really the only release from back in their day that matters. “Smokin Valves” kicks things open with it’s hard charge, kind of like a slightly laid back Motorhead, whilst “Heavy Metal Mania” possesses one of the band’s trademark hemlock dipped molten riffs, and remains a poverty metal anthem to the very day I pen this. “Cryin’ Shame” functions in similar fashion, the bass-lines setting off the staccato guitar riff perfectly, inviting involuntary head banging or at least bobbing. And what can one say of “Death Or Glory,” which is simply of the best, most sublimely evil sounding metal cuts ever. So much so that death metal slackers Six Feet Under gave it a whirl a few years back. The rest, while calling the band’s amateur spirit into question, remain classic in their own merry manner. And all these years later, in writing this book, I hope I can give something back to sort of guys who laid out advice to this budding metal addict all those years ago. Hell, if I thought they were still alive, I’d send ‘em all a copy.

brocashelm



..::TRACK-LIST::..

1. Smokin' Valves 3:43
2. Death Or Glory 3:36
3. Come On Back 3:36
4. Mavrock 5:24
5. It Don't Matter To Me 3:15
6. Cryin' Shame 3:11
7. Heavy Metal Mania 4:51
8. Push It Around 4:01
9. The Nightcomers 6:12


Bonus Tracks:
10. Heavy Metal Mania 4:06
11. Love's Power 3:10
12. Only As Young As You Feel 4:06
13. Smokin Valves 3:44
14. Friend Or Foe 2:55
15. Out Of My Book 3:42
16. Coming Through 3:41
17. Good Thing Going 4:11
18. Don't Wanna Be A Loser 3:34


10 to 12 'Heavy Metal Mania' 1980
13 to 15 'Smokin' Valves' 1980
16 to 18 'Coming Through' 1982



..::OBSADA::..

Gary Lettice - vocals
John Mortimer - guitars
Ed Dudley - guitars
Robin Begg - bass
Paul Collins - drums



https://www.youtube.com/watch?v=FDE18d56MKI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pewnie nie brakowało osób, które zwątpiły, w pewnym momencie, że Turbo wyda kolejny album. Zwłaszcza, że trzeba było na niego czekać ponad dziesięć lat. Na szczęście, zespół nie powiedział ostatniego słowa. "Blizny" to dowód, że poznańska formacja jest w znakomitej formie. I nie chce się zatrzymać, oj nie chce.

Rok 2025, na ten moment, na polskim rynku stoi pod znakiem powrotów płytowych. Od końca stycznia fani Armii mogą cieszyć się z albumu Wojna i pokój, wydanego po niecałych dziesięciu latach przerwy. Zespół Turbo jeszcze mocniej wystawił na próbę cierpliwość swoich słuchaczy. W listopadzie 2013 formacja gitarzysty Wojciecha Hoffmanna wypuściła Piąty żywioł, a później... nastąpiła dość długa cisza wydawnicza. Zresztą przy okazji tegorocznych Blizn nie obyło się bez opóźnień związanych z datą premiery. 14 marca w końcu licznik, który wskazywał już ponad cztery tysiące dni, oficjalnie się zatrzymał.

Materiał dość długo dojrzewał, ale co jest najistotniejsze: warto było na Blizny czekać. Czuć, że muzycy dość starannie podeszli do procesu kompozycyjnego, dzięki czemu album wciąga bez reszty. Zresztą, Hoffmann – w wywiadzie dla miesięcznika Teraz Rock – wspominał, że nie był do końca zadowolony z zawartości Piątego żywiołu, teraz takich wątpliwości mieć nie powinien, gdyż efekt końcowy naprawdę zwala z nóg. Szczerze mówiąc, nie spodziewałem się, że Turbo jeszcze tak pozytywnie mnie zaskoczy.

Z jednej strony, od samego początku wiadomo z kim mamy do czynienia. Ale grupa nie stoi w miejscu. Blizny brzmią nowocześnie. Idealnie udało się zachować proporcje między agresywnością a przebojowością. Na wszystko jest miejsce. Muzycy Turbo chętnie też miejscami rezygnują z tradycyjnego schematu zwrotka-refren-zwrotka. Nie brakuje więc progresywnych zapędów, które najlepiej słychać w W.W.W.W. ze świetnym dialogiem wokalnym Tomasz Struszczyk-Piotr Cugowski, czy Zwyczajnie nie z chóralnym refrenem idealnie nadającym się na koncerty i tekstem zadedykowanym... polskim politykom. Przede wszystkim jest jednak czad, czad i jeszcze raz czad. Blizn należy słuchać, jak najgłośniej ku uciesze sąsiadów (sprawdziłem to osobiście).

Nowy rozdział, pierwszy utwór, który został przez zespół udostępniony przed premierą, był pewnego rodzaju dobrym drogowskazem, czego możemy się po Bliznach spodziewać. Jest thrashmetalowa jazda bez trzymanki (wita nas potężna perkusja Mariusza Bobkowskiego), podniosły refren, a Struszczyk udowadnia, że jest naprawdę wyróżniającym się wokalistą na rodzimym rynku. Nie po raz pierwszy zresztą. Tempo jeszcze mocniej podkręcone zostało w Zawrocie głowy, którego początek jest "sabbathowy", ale refren mógłby zaśpiewać już Rob Halford z Judas Priest. Uwielbiam, jak panowie gnają na złamanie karku. To zdecydowanie mój ulubiony numer z całego albumu.

Wspomniałem o wielowątkowości, więc warto przysłuchać się Łotrowi, który aż kipi od muzycznego i tekstowego (nietrudno się domyślić, kto jest tytułową postacią) gniewu. Są szybkie tempa, ale w okolicach 2:36 robi się np. bardzo lirycznie, choć tylko na chwilę, jest basowy popis, aktorskie środki wyrazu w wokalu i delikatna końcówka z gitarą akustyczną na pierwszym planie.

Niespodzianką na pewno jest zamykający album Spokojny, który – zgodnie z tytułem – sprawia, że możemy trochę ochłonąć po takim metalowym rollercoasterze. To trwająca nieco ponad dwie minuty balladowa (i eksperymentalna) miniatura, w której rządzi i dzieli Struszczyk. Zaskoczył mnie również Do domu. Oczywiście, jest to typowy metalowy numer, ale został przełamany przez partie wokalne Wojtka Cugowskiego. Nawiasem mówiąc, jego gitarowe solo usłyszymy z kolei w Przyjdź do mnie.

Na koniec wypadałoby wspomnieć o oprawie graficznej Blizn. Mogłoby się wydawać, że to niepokojące dzieło, w klimacie prac Zdzisława Beksińskiego, zostało wygenerowane przez sztuczną inteligencję. Nic bardziej mylnego. Za okładkę odpowiada Michał Loranc. I trzeba przyznać, że bardzo dobrze komponuje się ona z zawartością albumu.

Jeśli tylko jednym słowem miałbym opisać najnowsze studyjne wydawnictwo Turbo, to odpowiedziałbym: dopracowane. Na Bliznach nie ma zbędnych dźwięków. A sam materiał jest niesamowicie równy, co – jak powszechnie wiadomo – nie jest czymś prostym do osiągnięcia. Może i trzeba było czekać ponad dekadę na pełnowymiarowy album ale nie zamierzam tego wypominać muzykom grupy. Sprawili tak fantastyczny prezent, że grzechem byłoby mieć do nich, w tym momencie, jakiekolwiek pretensje...

Szymon Bijak


Jedenaście lat. Tyle trzeba było czekać na najnowszy, premierowy materiał od grupy Turbo, legendy polskiej sceny metalowej. Album „Piąty Żywioł” i jego anglojęzyczna wersja „The Fifth Element” były poprawnymi propozycjami, ale nikomu chyba nie przyszło do głowy, że tyle wody w rzece upłynie zanim Wojciech Hoffmann z kolegami dadzą słuchaczom coś nowego. Końcem 2024 roku ukazał się premierowy singiel „Nowy Rozdział” i oficjalnie ogłoszono, że nadchodzą „Blizny”.
Ostatnie miesiące bez wątpienia upływają pod znakiem powrotów zespołów pochodzących z Wielkopolski. Najpierw w połowie grudnia 2024 muzycy Acid Drinkers potwierdzili, że wracają w kultowym składzie, a chwile później formacja Turbo zapowiedziała premierę krążka „Blizny”. Początek 2025 roku to także powrót stołecznej Armii z nowym albumem „Wojna i Pokój”, który miałem przyjemność również zrecenzować tutaj. Wróćmy jednak do Turbo. Pierwotnie najnowsza propozycja zespołu miała ukazać się na rynku 1 lutego, jednak ostatecznie premierę przesunięto o ponad miesiąc, na 14 marca. Płytę jednak można było zakupić na lutowych koncertach, więc wielu słuchaczy zapoznało się z całością jeszcze przed oficjalnym wydaniem.

Wojciech Hoffmann, w rozmowie na łamach miesięcznika „Teraz Rock”, wspominał, że materiał, który składa się na „Blizny”, dojrzewał latami. Dlaczego? Jak mówi, nie był do końca zadowolony z „Piątego Żywiołu”, ponieważ było w nim coś z kompromisu. Nawet jeśli rzeczywiście tak było, to najnowszy album zdecydowanie jest bezkompromisowy i prze do przodu niczym dobrze naoliwiona maszyna. Mało tu charakterystycznych riffów w stylu równie kultowego Iron Maiden, bo jak stwierdził sam Hoffmann: „Ironów już u nas nie będzie. Ja się galopad nagrałem”. Zdecydowanie „Bliznom” bliżej do Judas Priest. Wystarczy posłuchać singlowego „Nowego rozdziału”. Bez dwóch zdań: ten numer mógłby się znaleźć na którejś z ostatnich płyt ekipy dowodzonej przez Roba Halforda. I nie jest to w żadnym wypadku zarzut.

Od początku słychać, że Turbo – wbrew zapowiedzi Hoffmanna – nie straciło swojej muzycznej rozpoznawalności. Pierwsze dźwięki intra sprawiają, że wiemy dokładnie z kim mamy do czynienia. Jest melodyjność, czyli element, który jest główną składową muzyki Turbo, jednak z solidnym gitarowym dołożeniem do pieca. Wydaje mi się, że brzmieniowo jest to najmocniejsza propozycja Turbo w XXI wieku. I pomyśleć, że pierwsza wersja materiału nawiązywała stylem do „Smaku ciszy”, albumu znacznie lżejszego, który w tym roku skończył czterdzieści lat.

Na „Bliznach” nie brakuje thrashowych rytmów. Dobrym przykładem „Przyjdź do mnie”, kolejna propozycja, która jest bliska Judas Priest. Na przykładzie tej kompozycji można zaobserwować, jak bardzo zmieniła się koncepcja całości. Bo to numer pochodzący jeszcze z pierwszej wersji materiału. W refrenie to słychać, ale zwrotki to już po prostu czysty ogień. Swoją drogą kapitalnymi solówkami popisują się tutaj Wojtek Cugowski oraz Krzysztof Śniadecki. Skoro już wywołałem temat gości, to na „Bliznach” obecny jest także drugi z braci Cugowskich – Piotr. Jego duet wokalny z Tomkiem Struszczykiem w „W.W.W.W.” jest po prostu genialny. Sama kompozycja zaczynająca się niemal identycznym riffem jak „Immigrant Song” Led Zeppelin granym na basie, przeradza się w epicką opowieść.

Kolejne propozycje pędzą na złamanie karku. A Turbo na pełnej prędkości to najlepsza odsłona zespołu. Chociaż nie brakuje momentów, kiedy ciężar nie opada, ale tempo zwalnia. Sabbathowe intro „Zawrotu głowy” toczy się niczym walec, by po około czterdziestu sekundach przerodzić się w klasyczne heavymetalowe łojenie. „Łotr” to chyba najbardziej wielowątkowa propozycja na płycie, zresztą pełna emocji i gniewu. Nie trudno domyślić się, kto ze współczesnego świata jest tytułową postacią. I to mimo faktu, że są obozy, które nadal mu pomagają. Nie ulega wątpliwości, że Turbo w latach osiemdziesiątych, poza wpływem muzycznym, było zaangażowane społecznie i politycznie za sprawą m.in. kultowych „Dorosłych dzieci”. Dlatego nie dziwi „Zwyczajnie nie”. Utwór jest adresowany do polityków, a wokalnie udziela się tutaj dodatkowo brat Tomasza Struszczyka, Bartosz. „Blizny” zamyka kompozycja zatytułowana „Spokojny”. To króciutka ballada z bardzo emocjonalnym wokalem i poruszającym tekstem. Idealny moment wytchnienia po ostrej jeździe i puenta albumu.

Wojciech Hoffmann mówiąc o „Bliznach” wspominał, że pokazuje tą płytą całemu światu środkowy palec, robiąc płytę taką jaką chciał – bez kompromisów, bez „maidenowych” galopad. I choć normalnie po takim geście człowiek mógłby się obrazić, to ja mogę wyłącznie kiwam głową z aprobatą. „Blizny” to album dopracowany od A do Z. Teraz pozostaje wyłącznie wierzyć, że kolejny album Turbo nie powstanie za dziesięć lat, tylko znacznie szybciej.

Szymon Pęczalski


By now, it’s over forty years ago that Turbo released one of the best debut heavy metal albums of the early eighties in the shape of 'Dorosłe Dzieci'. Their most recent albums ‘Strażnik Światła’ and ‘Piąty Żywioł’, both over a decade old at this point, were textbook examples of an old heavy metal band aging gracefully: expertly crafted hard rock and heavy metal songs, though without the youthful fire of their early work. Imagine my surprise when the intro of ‘Nowy Rozdział’ came blasting out of my speakers. While ‘Blizny’ is clearly the work of the same Turbo, something has re-energized the band.

Throughout their career, Turbo has found itself swaying back and forth between traditional heavy metal and thrash metal. Although ‘Blizny’ sounds notably more aggressive than its three predecessors, the aggression isn’t necessarily that of a thrash metal band. Instead, the most intense moments on ‘Blizny’ have more in common with the less polished end of the power metal spectrum. Also, the latter half of the album in particular contains a few songs that easily could have fit on ‘Strażnik Światła’ and ‘Piąty Żywioł’, if the production was a bit more old school. And that is exactly where ‘Blizny’ is one of Turbo’s best albums.

Unlike previous albums which went all in on the modernity (2001’s ‘Awatar’) or thrashing intensity (1987’s ‘Ostatni Wojownik’), multiple extremes of Turbo’s sound are present on ‘Blizny’, and they enhance each other nicely. Sometimes even within the same song; ‘Zawrót Głowy’ combines the melodic elegance of traditional heavy metal with more contemporary, propulsive rhythms in a very effective manner. But the occasional bite that ‘Blizny’ has also helps songs like the classy ‘Magnetczny Sen’ or the somewhat melancholic ‘Na Dno’ stand out more than they would have otherwise. In lesser hands, that could make the album end up sounding disjointed, but it works wonders here.

Aside from the aforementioned opening track ‘Nowy Rozdział’, which bulldozes through everything in its path even though it has a more open chorus, ‘Łotr’ is another highlight. It largely is one of the more aggressive songs on the album, but is made all the more dynamic through some quieter sections. Having a strong, versatile singer like Tomasz Struszczyk is quite helpful in creating such a song. Closing track ‘Zwyczajnie Nie’ is another highly dynamic song which culminates in a supremely melodic finale. On the lighter side of the album, ‘Przyjdź do Mnie’ is a fantastic hardrocker that gives Struszczyk all the space he needs to excel.

‘Blizny’ is easily Turbo’s best album since 2006’s ‘Tożsamość’, possibly even since ‘Ostatni Wojownik’. Guitarist Wojciech Hoffmann and his men have really gathered all their strengths and poured them into a bunch of great songs, which – partly due to the modern, yet surprisingly natural production – demand a little more attention than usual. Struszczyk’s highly versatile voice really helps bring out all the dynamics ‘Blizny’ aims for, and he is truly a worthy successor to the legendary Grzegorz Kupczyk. All of this makes ‘Blizny’ a must-hear if you like heavy metal, and adventurous hardrockers may just find something to enjoy here as well.

Agonymph



..::TRACK-LIST::..

1. Intro 02:16
2. Nowy rozdział 04:05
3. Wszystko wszędzie woła więcej 06:27
4. Łotr 06:36
5. Przyjdź do mnie 04:52
6. Magnetyczny sen 04:34
7. Zawrót głowy 04:31
8. Na dno 04:36
9. Do domu 05:11
10. Zwyczajnie nie 06:35
11. Spokojny 02:19



..::OBSADA::..

Wojciech Hoffmann - Guitars
Bogusz Rutkiewicz - Bass
Mario 'Bobiś' Bobkowski - Drums
Tomek Struszczyk - Vocals, Guitars (acoustic) (track 4)
Przemek Niezgódzki - Guitars




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pewnie nie brakowało osób, które zwątpiły, w pewnym momencie, że Turbo wyda kolejny album. Zwłaszcza, że trzeba było na niego czekać ponad dziesięć lat. Na szczęście, zespół nie powiedział ostatniego słowa. "Blizny" to dowód, że poznańska formacja jest w znakomitej formie. I nie chce się zatrzymać, oj nie chce.

Rok 2025, na ten moment, na polskim rynku stoi pod znakiem powrotów płytowych. Od końca stycznia fani Armii mogą cieszyć się z albumu Wojna i pokój, wydanego po niecałych dziesięciu latach przerwy. Zespół Turbo jeszcze mocniej wystawił na próbę cierpliwość swoich słuchaczy. W listopadzie 2013 formacja gitarzysty Wojciecha Hoffmanna wypuściła Piąty żywioł, a później... nastąpiła dość długa cisza wydawnicza. Zresztą przy okazji tegorocznych Blizn nie obyło się bez opóźnień związanych z datą premiery. 14 marca w końcu licznik, który wskazywał już ponad cztery tysiące dni, oficjalnie się zatrzymał.

Materiał dość długo dojrzewał, ale co jest najistotniejsze: warto było na Blizny czekać. Czuć, że muzycy dość starannie podeszli do procesu kompozycyjnego, dzięki czemu album wciąga bez reszty. Zresztą, Hoffmann – w wywiadzie dla miesięcznika Teraz Rock – wspominał, że nie był do końca zadowolony z zawartości Piątego żywiołu, teraz takich wątpliwości mieć nie powinien, gdyż efekt końcowy naprawdę zwala z nóg. Szczerze mówiąc, nie spodziewałem się, że Turbo jeszcze tak pozytywnie mnie zaskoczy.

Z jednej strony, od samego początku wiadomo z kim mamy do czynienia. Ale grupa nie stoi w miejscu. Blizny brzmią nowocześnie. Idealnie udało się zachować proporcje między agresywnością a przebojowością. Na wszystko jest miejsce. Muzycy Turbo chętnie też miejscami rezygnują z tradycyjnego schematu zwrotka-refren-zwrotka. Nie brakuje więc progresywnych zapędów, które najlepiej słychać w W.W.W.W. ze świetnym dialogiem wokalnym Tomasz Struszczyk-Piotr Cugowski, czy Zwyczajnie nie z chóralnym refrenem idealnie nadającym się na koncerty i tekstem zadedykowanym... polskim politykom. Przede wszystkim jest jednak czad, czad i jeszcze raz czad. Blizn należy słuchać, jak najgłośniej ku uciesze sąsiadów (sprawdziłem to osobiście).

Nowy rozdział, pierwszy utwór, który został przez zespół udostępniony przed premierą, był pewnego rodzaju dobrym drogowskazem, czego możemy się po Bliznach spodziewać. Jest thrashmetalowa jazda bez trzymanki (wita nas potężna perkusja Mariusza Bobkowskiego), podniosły refren, a Struszczyk udowadnia, że jest naprawdę wyróżniającym się wokalistą na rodzimym rynku. Nie po raz pierwszy zresztą. Tempo jeszcze mocniej podkręcone zostało w Zawrocie głowy, którego początek jest "sabbathowy", ale refren mógłby zaśpiewać już Rob Halford z Judas Priest. Uwielbiam, jak panowie gnają na złamanie karku. To zdecydowanie mój ulubiony numer z całego albumu.

Wspomniałem o wielowątkowości, więc warto przysłuchać się Łotrowi, który aż kipi od muzycznego i tekstowego (nietrudno się domyślić, kto jest tytułową postacią) gniewu. Są szybkie tempa, ale w okolicach 2:36 robi się np. bardzo lirycznie, choć tylko na chwilę, jest basowy popis, aktorskie środki wyrazu w wokalu i delikatna końcówka z gitarą akustyczną na pierwszym planie.

Niespodzianką na pewno jest zamykający album Spokojny, który – zgodnie z tytułem – sprawia, że możemy trochę ochłonąć po takim metalowym rollercoasterze. To trwająca nieco ponad dwie minuty balladowa (i eksperymentalna) miniatura, w której rządzi i dzieli Struszczyk. Zaskoczył mnie również Do domu. Oczywiście, jest to typowy metalowy numer, ale został przełamany przez partie wokalne Wojtka Cugowskiego. Nawiasem mówiąc, jego gitarowe solo usłyszymy z kolei w Przyjdź do mnie.

Na koniec wypadałoby wspomnieć o oprawie graficznej Blizn. Mogłoby się wydawać, że to niepokojące dzieło, w klimacie prac Zdzisława Beksińskiego, zostało wygenerowane przez sztuczną inteligencję. Nic bardziej mylnego. Za okładkę odpowiada Michał Loranc. I trzeba przyznać, że bardzo dobrze komponuje się ona z zawartością albumu.

Jeśli tylko jednym słowem miałbym opisać najnowsze studyjne wydawnictwo Turbo, to odpowiedziałbym: dopracowane. Na Bliznach nie ma zbędnych dźwięków. A sam materiał jest niesamowicie równy, co – jak powszechnie wiadomo – nie jest czymś prostym do osiągnięcia. Może i trzeba było czekać ponad dekadę na pełnowymiarowy album ale nie zamierzam tego wypominać muzykom grupy. Sprawili tak fantastyczny prezent, że grzechem byłoby mieć do nich, w tym momencie, jakiekolwiek pretensje...

Szymon Bijak


Jedenaście lat. Tyle trzeba było czekać na najnowszy, premierowy materiał od grupy Turbo, legendy polskiej sceny metalowej. Album „Piąty Żywioł” i jego anglojęzyczna wersja „The Fifth Element” były poprawnymi propozycjami, ale nikomu chyba nie przyszło do głowy, że tyle wody w rzece upłynie zanim Wojciech Hoffmann z kolegami dadzą słuchaczom coś nowego. Końcem 2024 roku ukazał się premierowy singiel „Nowy Rozdział” i oficjalnie ogłoszono, że nadchodzą „Blizny”.
Ostatnie miesiące bez wątpienia upływają pod znakiem powrotów zespołów pochodzących z Wielkopolski. Najpierw w połowie grudnia 2024 muzycy Acid Drinkers potwierdzili, że wracają w kultowym składzie, a chwile później formacja Turbo zapowiedziała premierę krążka „Blizny”. Początek 2025 roku to także powrót stołecznej Armii z nowym albumem „Wojna i Pokój”, który miałem przyjemność również zrecenzować tutaj. Wróćmy jednak do Turbo. Pierwotnie najnowsza propozycja zespołu miała ukazać się na rynku 1 lutego, jednak ostatecznie premierę przesunięto o ponad miesiąc, na 14 marca. Płytę jednak można było zakupić na lutowych koncertach, więc wielu słuchaczy zapoznało się z całością jeszcze przed oficjalnym wydaniem.

Wojciech Hoffmann, w rozmowie na łamach miesięcznika „Teraz Rock”, wspominał, że materiał, który składa się na „Blizny”, dojrzewał latami. Dlaczego? Jak mówi, nie był do końca zadowolony z „Piątego Żywiołu”, ponieważ było w nim coś z kompromisu. Nawet jeśli rzeczywiście tak było, to najnowszy album zdecydowanie jest bezkompromisowy i prze do przodu niczym dobrze naoliwiona maszyna. Mało tu charakterystycznych riffów w stylu równie kultowego Iron Maiden, bo jak stwierdził sam Hoffmann: „Ironów już u nas nie będzie. Ja się galopad nagrałem”. Zdecydowanie „Bliznom” bliżej do Judas Priest. Wystarczy posłuchać singlowego „Nowego rozdziału”. Bez dwóch zdań: ten numer mógłby się znaleźć na którejś z ostatnich płyt ekipy dowodzonej przez Roba Halforda. I nie jest to w żadnym wypadku zarzut.

Od początku słychać, że Turbo – wbrew zapowiedzi Hoffmanna – nie straciło swojej muzycznej rozpoznawalności. Pierwsze dźwięki intra sprawiają, że wiemy dokładnie z kim mamy do czynienia. Jest melodyjność, czyli element, który jest główną składową muzyki Turbo, jednak z solidnym gitarowym dołożeniem do pieca. Wydaje mi się, że brzmieniowo jest to najmocniejsza propozycja Turbo w XXI wieku. I pomyśleć, że pierwsza wersja materiału nawiązywała stylem do „Smaku ciszy”, albumu znacznie lżejszego, który w tym roku skończył czterdzieści lat.

Na „Bliznach” nie brakuje thrashowych rytmów. Dobrym przykładem „Przyjdź do mnie”, kolejna propozycja, która jest bliska Judas Priest. Na przykładzie tej kompozycji można zaobserwować, jak bardzo zmieniła się koncepcja całości. Bo to numer pochodzący jeszcze z pierwszej wersji materiału. W refrenie to słychać, ale zwrotki to już po prostu czysty ogień. Swoją drogą kapitalnymi solówkami popisują się tutaj Wojtek Cugowski oraz Krzysztof Śniadecki. Skoro już wywołałem temat gości, to na „Bliznach” obecny jest także drugi z braci Cugowskich – Piotr. Jego duet wokalny z Tomkiem Struszczykiem w „W.W.W.W.” jest po prostu genialny. Sama kompozycja zaczynająca się niemal identycznym riffem jak „Immigrant Song” Led Zeppelin granym na basie, przeradza się w epicką opowieść.

Kolejne propozycje pędzą na złamanie karku. A Turbo na pełnej prędkości to najlepsza odsłona zespołu. Chociaż nie brakuje momentów, kiedy ciężar nie opada, ale tempo zwalnia. Sabbathowe intro „Zawrotu głowy” toczy się niczym walec, by po około czterdziestu sekundach przerodzić się w klasyczne heavymetalowe łojenie. „Łotr” to chyba najbardziej wielowątkowa propozycja na płycie, zresztą pełna emocji i gniewu. Nie trudno domyślić się, kto ze współczesnego świata jest tytułową postacią. I to mimo faktu, że są obozy, które nadal mu pomagają. Nie ulega wątpliwości, że Turbo w latach osiemdziesiątych, poza wpływem muzycznym, było zaangażowane społecznie i politycznie za sprawą m.in. kultowych „Dorosłych dzieci”. Dlatego nie dziwi „Zwyczajnie nie”. Utwór jest adresowany do polityków, a wokalnie udziela się tutaj dodatkowo brat Tomasza Struszczyka, Bartosz. „Blizny” zamyka kompozycja zatytułowana „Spokojny”. To króciutka ballada z bardzo emocjonalnym wokalem i poruszającym tekstem. Idealny moment wytchnienia po ostrej jeździe i puenta albumu.

Wojciech Hoffmann mówiąc o „Bliznach” wspominał, że pokazuje tą płytą całemu światu środkowy palec, robiąc płytę taką jaką chciał – bez kompromisów, bez „maidenowych” galopad. I choć normalnie po takim geście człowiek mógłby się obrazić, to ja mogę wyłącznie kiwam głową z aprobatą. „Blizny” to album dopracowany od A do Z. Teraz pozostaje wyłącznie wierzyć, że kolejny album Turbo nie powstanie za dziesięć lat, tylko znacznie szybciej.

Szymon Pęczalski


By now, it’s over forty years ago that Turbo released one of the best debut heavy metal albums of the early eighties in the shape of 'Dorosłe Dzieci'. Their most recent albums ‘Strażnik Światła’ and ‘Piąty Żywioł’, both over a decade old at this point, were textbook examples of an old heavy metal band aging gracefully: expertly crafted hard rock and heavy metal songs, though without the youthful fire of their early work. Imagine my surprise when the intro of ‘Nowy Rozdział’ came blasting out of my speakers. While ‘Blizny’ is clearly the work of the same Turbo, something has re-energized the band.

Throughout their career, Turbo has found itself swaying back and forth between traditional heavy metal and thrash metal. Although ‘Blizny’ sounds notably more aggressive than its three predecessors, the aggression isn’t necessarily that of a thrash metal band. Instead, the most intense moments on ‘Blizny’ have more in common with the less polished end of the power metal spectrum. Also, the latter half of the album in particular contains a few songs that easily could have fit on ‘Strażnik Światła’ and ‘Piąty Żywioł’, if the production was a bit more old school. And that is exactly where ‘Blizny’ is one of Turbo’s best albums.

Unlike previous albums which went all in on the modernity (2001’s ‘Awatar’) or thrashing intensity (1987’s ‘Ostatni Wojownik’), multiple extremes of Turbo’s sound are present on ‘Blizny’, and they enhance each other nicely. Sometimes even within the same song; ‘Zawrót Głowy’ combines the melodic elegance of traditional heavy metal with more contemporary, propulsive rhythms in a very effective manner. But the occasional bite that ‘Blizny’ has also helps songs like the classy ‘Magnetczny Sen’ or the somewhat melancholic ‘Na Dno’ stand out more than they would have otherwise. In lesser hands, that could make the album end up sounding disjointed, but it works wonders here.

Aside from the aforementioned opening track ‘Nowy Rozdział’, which bulldozes through everything in its path even though it has a more open chorus, ‘Łotr’ is another highlight. It largely is one of the more aggressive songs on the album, but is made all the more dynamic through some quieter sections. Having a strong, versatile singer like Tomasz Struszczyk is quite helpful in creating such a song. Closing track ‘Zwyczajnie Nie’ is another highly dynamic song which culminates in a supremely melodic finale. On the lighter side of the album, ‘Przyjdź do Mnie’ is a fantastic hardrocker that gives Struszczyk all the space he needs to excel.

‘Blizny’ is easily Turbo’s best album since 2006’s ‘Tożsamość’, possibly even since ‘Ostatni Wojownik’. Guitarist Wojciech Hoffmann and his men have really gathered all their strengths and poured them into a bunch of great songs, which – partly due to the modern, yet surprisingly natural production – demand a little more attention than usual. Struszczyk’s highly versatile voice really helps bring out all the dynamics ‘Blizny’ aims for, and he is truly a worthy successor to the legendary Grzegorz Kupczyk. All of this makes ‘Blizny’ a must-hear if you like heavy metal, and adventurous hardrockers may just find something to enjoy here as well.

Agonymph



..::TRACK-LIST::..

1. Intro 02:16
2. Nowy rozdział 04:05
3. Wszystko wszędzie woła więcej 06:27
4. Łotr 06:36
5. Przyjdź do mnie 04:52
6. Magnetyczny sen 04:34
7. Zawrót głowy 04:31
8. Na dno 04:36
9. Do domu 05:11
10. Zwyczajnie nie 06:35
11. Spokojny 02:19



..::OBSADA::..

Wojciech Hoffmann - Guitars
Bogusz Rutkiewicz - Bass
Mario 'Bobiś' Bobkowski - Drums
Tomek Struszczyk - Vocals, Guitars (acoustic) (track 4)
Przemek Niezgódzki - Guitars




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



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

...( Info )...

Artist: Turbo
Album: Blizny
Country: PL
Genre: Heavy Metal
Release: 2025
Duration: 00:52:09
Quality: Mp3, CBR 320 kbps
Size: 123 mb

...( Opis )...

Ekipa pod dowództwem Wojciecha Hoffmanna wraca po jedenastu latach milczenia. "Blizny" zapowiadał w ubiegłym roku singiel pt. "Nowy rozdział". Od lutego 2025 płyta dostępna jest na koncertach zespołu. W marcu wreszcie przyszedł czas na ogólnopolską premierę. Za mikrofonem tradycyjnie stanął Tomasz Struszczyk i to właśnie jego niesamowite partie wokalne są jednym z najjaśniejszych punktów płyty. Na płycie nie zabrakło gości specjalnych, między innymi Piotrka i Wojtka Cugowskich.

Całość to najczystszy heavy metal najwyższej próby! 


...( TrackList )...

1. Intro
2. Nowy rozdział
3. w.w.w.w
4. Łotr
5. Przyjdź do mnie
6. Magnetyczny sen
7. Zawrót głowy
8. Na dno
9. Do domu
10. Zwyczajnie nie
11. Spokojny

..::INFO::..

---------------------------------------------------------------------
Turbo - Greatest Hits (2 CD)
40th Anniversary Greatest Hits: The Best Of
---------------------------------------------------------------------

Artist...............: Turbo
Album................: Greatest Hits
Genre................: Heavy Metal
Source...............: CD
Year.................: 2020
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20070917
Quality..............: Lossless, (avg. compression: 66 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: 40th Anniversary Greatest Hits

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting CD 1
---------------------------------------------------------------------

1. Turbo - Fabryka Keksów [11:17]
2. Turbo - Dorosłe Dzieci [07:26]
3. Turbo - Pozorne Życie [03:13]
4. Turbo - W Sobie [05:03]
5. Turbo - Coraz Mniej [04:55]
6. Turbo - Smak Ciszy [04:08]
7. Turbo - Cały Czas Uczą Nas [03:33]
8. Turbo - Jaki Był Ten Dzień [05:27]
9. Turbo - Wszystko Będzie OK [04:33]
10. Turbo - Słowa Pełne Słów [04:22]
11. Turbo - Lęk [04:41]
12. Turbo - Człowiek i Bóg [07:06]
13. Turbo - Na Skrzydłach Nut [06:39]
14. Turbo - Epilog [03:25]

Playing Time.........: 01:15:54
Total Size...........: 501,74 MB


---------------------------------------------------------------------
Tracklisting CD 2
---------------------------------------------------------------------

1. Turbo - Szalony Ikar [03:40]
2. Turbo - Już Nie z Tobą [02:54]
3. Turbo - Kawaleria Szatana I [03:57]
4. Turbo - Kawaleria Szatana II [03:38]
5. Turbo - Żołnierz Fortuny [03:54]
6. Turbo - Wybacz Wszystkim Wrogom [06:45]
7. Turbo - Bramy Galaktyk [03:45]
8. Turbo - Ostatni Wojownik [06:42]
9. Turbo - Strażnik Światła [08:23]
10. Turbo - Na Progu Życia [05:27]
11. Turbo - Noc Już Woła [08:09]
12. Turbo - This War Machine [05:42]
13. Turbo - Może Tylko Płynie Czas [07:56]

Playing Time.........: 01:10:59
Total Size...........: 488,40 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Fantastyczny heavy metal z mnóstwem riffów, świetnymi solówkami i znakomitym wokalem!



Achelous has always been a pretty solid power metal band but something about their third full-length just seems more striking than their previous efforts. The mix of grandiose leads, furious rhythms, and soaring choruses evokes contemporaries like Sacred Outcry and Seven Sisters, but it also taps into an early aughts power metal mindset that feels hard to come by nowadays. I listen to Tower Of High Sorcery and it hits that nostalgic part of my brain occupied by the likes of Kamelot, Blind Guardian, Theocracy, and Jag Panzer (more on them later) among others.

As much as the instrumentation shines on this album, the vocals are majorly elevated compared to their earlier efforts with a couple guest singers getting to make their mark. “Into The Shadows” is an especially notable instance of this in action, featuring none other than The Tyrant providing those soaring highs and extra grit alongside that persistent gallop. The more sporadic vocals provided by Anastasia Megalokonomou also greatly shape the atmosphere on a couple songs, giving life to the folk interludes like “Pagan Fire” and some backing grandeur on the already colossal closing nine minutes of “When The Angels Bleed,.”

But even when the core band is left to their own devices, they manage to get some pretty incredible songs out of it. “The Oath” is another fast-paced number that puts in the album’s most pounding chorus. The title track and “Fortress of Shadow” also stand out as epic mid-tempo numbers whose determined trudges and evocative choruses nearly dip into power-doom territory.

Overall, Achelous’s already solid power metal reaches some serious new heights with Tower of High Sorcery. There’s a bit of underdog appeal in knowing the band still has its limitations to sort out, but they’ve never sounded this commanding between the more potent atmosphere and some of the best hooks I’ve heard from this side of things in a good while. I’ve never even read the Dragonlance series and this does a pretty good job of making it sound pretty badass.

Twisted Psychology



..::TRACK-LIST::..

1. Whispering Forest (Introduction) 01:39
2. Dragon Wings 03:57
3. Istar (Blood Red Sea) 06:09
4. The Oath 04:43
5. Tower of high sorcery 06:26
6. Fortress of sorrow 04:10
7. Into the shadows 04:40
8. Pagan Fire 03:52
9. When the angels bleed 09:13



..::OBSADA::..

Chris Kappas - Vocals
Chris Achelous - Bass
George Mavrommatis - Guitars, Keyboards
Haris Dinos - Guitars
Giannis Roussis - Drums

Special guests:
Harry 'The Tyrant' Conklin (vocals on 'Into the Shadows'), Anastasia Megalokonomou (vocals on 'Whispering Forest' and 'Pagan Fire').





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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Fantastyczny heavy metal z mnóstwem riffów, świetnymi solówkami i znakomitym wokalem!



Achelous has always been a pretty solid power metal band but something about their third full-length just seems more striking than their previous efforts. The mix of grandiose leads, furious rhythms, and soaring choruses evokes contemporaries like Sacred Outcry and Seven Sisters, but it also taps into an early aughts power metal mindset that feels hard to come by nowadays. I listen to Tower Of High Sorcery and it hits that nostalgic part of my brain occupied by the likes of Kamelot, Blind Guardian, Theocracy, and Jag Panzer (more on them later) among others.

As much as the instrumentation shines on this album, the vocals are majorly elevated compared to their earlier efforts with a couple guest singers getting to make their mark. “Into The Shadows” is an especially notable instance of this in action, featuring none other than The Tyrant providing those soaring highs and extra grit alongside that persistent gallop. The more sporadic vocals provided by Anastasia Megalokonomou also greatly shape the atmosphere on a couple songs, giving life to the folk interludes like “Pagan Fire” and some backing grandeur on the already colossal closing nine minutes of “When The Angels Bleed,.”

But even when the core band is left to their own devices, they manage to get some pretty incredible songs out of it. “The Oath” is another fast-paced number that puts in the album’s most pounding chorus. The title track and “Fortress of Shadow” also stand out as epic mid-tempo numbers whose determined trudges and evocative choruses nearly dip into power-doom territory.

Overall, Achelous’s already solid power metal reaches some serious new heights with Tower of High Sorcery. There’s a bit of underdog appeal in knowing the band still has its limitations to sort out, but they’ve never sounded this commanding between the more potent atmosphere and some of the best hooks I’ve heard from this side of things in a good while. I’ve never even read the Dragonlance series and this does a pretty good job of making it sound pretty badass.

Twisted Psychology



..::TRACK-LIST::..

1. Whispering Forest (Introduction) 01:39
2. Dragon Wings 03:57
3. Istar (Blood Red Sea) 06:09
4. The Oath 04:43
5. Tower of high sorcery 06:26
6. Fortress of sorrow 04:10
7. Into the shadows 04:40
8. Pagan Fire 03:52
9. When the angels bleed 09:13



..::OBSADA::..

Chris Kappas - Vocals
Chris Achelous - Bass
George Mavrommatis - Guitars, Keyboards
Haris Dinos - Guitars
Giannis Roussis - Drums

Special guests:
Harry 'The Tyrant' Conklin (vocals on 'Into the Shadows'), Anastasia Megalokonomou (vocals on 'Whispering Forest' and 'Pagan Fire').





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



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

..::INFO::..

---------------------------------------------------------------------
TSA - The Best Of TSA
---------------------------------------------------------------------

Artist...............: TSA
Album................: The Best Of TSA
Genre................: Heavy Metal
Source...............: CD
Year.................: 1997
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Quality..............: Lossless, (avg. compression: 73 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting
---------------------------------------------------------------------

1. TSA - Chodzą ludzie [05:25]
2. TSA - Mass media [03:36]
3. TSA - Wpadka [03:30]
4. TSA - Trzy zapałki [05:11]
5. TSA - Biała śmierć [03:57]
6. TSA - 51 [05:15]
7. TSA - Maratończyk [04:15]
8. TSA - Kocica [05:00]
9. TSA - Jestem głodny [04:03]
10. TSA - Heavy metal world [04:51]
11. TSA - Alien [05:19]
12. TSA - Francuskie ciasteczka [02:53]
13. TSA - Wielka fiesta [03:44]
14. TSA - Roller coaster [03:02]
15. TSA - Plan życia [02:50]
16. TSA - TSA rock [05:13]
17. TSA - Bez podtekstów [04:57]
18. TSA - Wyciągam swoją dłon [04:40]

Playing Time.........: 01:17:49
Total Size...........: 567,22 MB

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

While being something of an interlude immediately following Mercyful Fate’s triumphant return in “In The Shadows”, just before the departure of original bassist Timi “Grabber” Hansen, “The Bell Witch” offers a fairly rare insight into a band whose theatrical aesthetics are the stuff of legends. It is not an altogether common thing to be able to come into possession of a live performance by this band in audio form, let alone video form, unless the name of the game is bootlegs. In this respect, one might be tempted to look at this as a shameless cash grab by Metal Blade, but the contents of this speaks for itself.

One of the things that always separated the archaic tendencies of Mercyful Fate from King Diamond’s more cinema-like solo offerings is the duality of nobility and humility in its presentation. Overindulgence in complex vocal choirs and overdubbed guitar harmonies are not to be found, even in the times of greater technology that were the 90s. King and company have no need for an overblown sound, and it shows through in spite of the band’s inherent grandeur in both “The Bell Witch” and “Is That You, Melissa”, displaying a plain heavy metal aesthetic alongside heartfelt melodies and a poetic (as opposed to storyteller narration) operatic performance from the King.

In keeping with the fact that the 2 studio songs are also found in reunion studio offering “In The Shadows”, the live offerings performed by 4/5s of the original beast that put Denmark on the map are a much greater point of interest. Though I did not have the pleasure of beholding the earliest performances of this band (and what 5 year old wouldn’t want to be scared half to death by Melissa’s skull), and no official recordings of them have been released, I would venture to guess that the near flawless and crystal clear renderings of “Curse Of The Pharaohs” and “Come To The Sabbath” do this band’s early 80s stage legacy justice. Likewise, the colossal speed metal fury that is “Egypt” rivals its studio incarnation in energy and drama.

While only a smattering of live songs are a tough sell for throwing green at an EP, this is one of those cases where any self-respecting fan of classy early 80s metal needs to make an exception. With no other official live material to brag of, this band’s 1994 interlude before “Time” which could almost be considered a promo for “In The Shadows” after the fact, is obligatory. Though it will likely not warrant the same amount of ritual hearings as the first two studio albums, or even the third one, this is very fit for adorning any collection containing any or all of those releases.

hells unicorn



..::TRACK-LIST::..

1. The Bell Witch 4:34
2. Is That You, Melissa 4:38
3. Curse Of The Pharaohs 4:24
4. Egypt 4:53
5. Come To The Sabbath 6:48
6. Black Funeral 3:40

Tracks 1 and 2 taken from the album 'In The Shadows'
Tracks 3 to 6 recorded Live Mobile Recording by Westwood One Network, October 8, 1993 at The Palace, Los Angeles, CA



..::OBSADA::..

King Diamond - vocals
Hank Shermann - guitars
Michael Denner - guitars
Timi 'Grabber' Hansen - bass
Snowy Shaw - drums (on live tracks only, studio tracks feature Morten Nielsen)
Sharlee D'Angelo - bass (on live tracks)




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

While being something of an interlude immediately following Mercyful Fate’s triumphant return in “In The Shadows”, just before the departure of original bassist Timi “Grabber” Hansen, “The Bell Witch” offers a fairly rare insight into a band whose theatrical aesthetics are the stuff of legends. It is not an altogether common thing to be able to come into possession of a live performance by this band in audio form, let alone video form, unless the name of the game is bootlegs. In this respect, one might be tempted to look at this as a shameless cash grab by Metal Blade, but the contents of this speaks for itself.

One of the things that always separated the archaic tendencies of Mercyful Fate from King Diamond’s more cinema-like solo offerings is the duality of nobility and humility in its presentation. Overindulgence in complex vocal choirs and overdubbed guitar harmonies are not to be found, even in the times of greater technology that were the 90s. King and company have no need for an overblown sound, and it shows through in spite of the band’s inherent grandeur in both “The Bell Witch” and “Is That You, Melissa”, displaying a plain heavy metal aesthetic alongside heartfelt melodies and a poetic (as opposed to storyteller narration) operatic performance from the King.

In keeping with the fact that the 2 studio songs are also found in reunion studio offering “In The Shadows”, the live offerings performed by 4/5s of the original beast that put Denmark on the map are a much greater point of interest. Though I did not have the pleasure of beholding the earliest performances of this band (and what 5 year old wouldn’t want to be scared half to death by Melissa’s skull), and no official recordings of them have been released, I would venture to guess that the near flawless and crystal clear renderings of “Curse Of The Pharaohs” and “Come To The Sabbath” do this band’s early 80s stage legacy justice. Likewise, the colossal speed metal fury that is “Egypt” rivals its studio incarnation in energy and drama.

While only a smattering of live songs are a tough sell for throwing green at an EP, this is one of those cases where any self-respecting fan of classy early 80s metal needs to make an exception. With no other official live material to brag of, this band’s 1994 interlude before “Time” which could almost be considered a promo for “In The Shadows” after the fact, is obligatory. Though it will likely not warrant the same amount of ritual hearings as the first two studio albums, or even the third one, this is very fit for adorning any collection containing any or all of those releases.

hells unicorn



..::TRACK-LIST::..

1. The Bell Witch 4:34
2. Is That You, Melissa 4:38
3. Curse Of The Pharaohs 4:24
4. Egypt 4:53
5. Come To The Sabbath 6:48
6. Black Funeral 3:40

Tracks 1 and 2 taken from the album 'In The Shadows'
Tracks 3 to 6 recorded Live Mobile Recording by Westwood One Network, October 8, 1993 at The Palace, Los Angeles, CA



..::OBSADA::..

King Diamond - vocals
Hank Shermann - guitars
Michael Denner - guitars
Timi 'Grabber' Hansen - bass
Snowy Shaw - drums (on live tracks only, studio tracks feature Morten Nielsen)
Sharlee D'Angelo - bass (on live tracks)




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mastering wykonany przez Patricka W. Engela w TEMPLE OF DISHARMONY w lipcu 2024 r. Materiał źródłowy dostarczony przez samych artystów.

Ten koncert nie został nagrany w sposób profesjonalny.
SORTILEGE nigdy nie wydało prawdziwego albumu koncertowego, ale te rzadkie nagrania oddają energię typowego koncertu z lat 80., więc mają bardzo wysoką wartość historyczną.

Jeśli oczekujesz wysokiej jakości nagrania, to nie jest dla Ciebie!!!

Jeśli jesteś maniakiem SORTILEGE i chcesz posłuchać fantastycznego koncertu, musisz go mieć.
To duch starych nagrań bootlegowych, które wszyscy kochamy.



..::TRACK-LIST::..

CD 1:
1. La montagne qui saigne 05:36
2. Amazone 03:28
3. Gladiateur 04:04
4. Messager 04:06
5. Délire d'un fou 05:37
6. La hargne des tordus 05:00
7. Nuit des limbes 03:16
8. Progéniture + Guitar Solo 06:19
9. Chasse le dragon + Drum Solo 07:13

CD 2:
1. Le cyclope de l'étang 04:08
2. Quand un aveugle rêve 07:26
3. Le dernier des travaux d'Hercule 03:37
4. Métamorphose 07:50
5. Majesté 05:14
6. Marchand d'hommes 07:26
7. Mourir pour une princesse 05:24
8. Sortilège 05:01





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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mastering wykonany przez Patricka W. Engela w TEMPLE OF DISHARMONY w lipcu 2024 r. Materiał źródłowy dostarczony przez samych artystów.

Ten koncert nie został nagrany w sposób profesjonalny.
SORTILEGE nigdy nie wydało prawdziwego albumu koncertowego, ale te rzadkie nagrania oddają energię typowego koncertu z lat 80., więc mają bardzo wysoką wartość historyczną.

Jeśli oczekujesz wysokiej jakości nagrania, to nie jest dla Ciebie!!!

Jeśli jesteś maniakiem SORTILEGE i chcesz posłuchać fantastycznego koncertu, musisz go mieć.
To duch starych nagrań bootlegowych, które wszyscy kochamy.



..::TRACK-LIST::..

CD 1:
1. La montagne qui saigne 05:36
2. Amazone 03:28
3. Gladiateur 04:04
4. Messager 04:06
5. Délire d'un fou 05:37
6. La hargne des tordus 05:00
7. Nuit des limbes 03:16
8. Progéniture + Guitar Solo 06:19
9. Chasse le dragon + Drum Solo 07:13

CD 2:
1. Le cyclope de l'étang 04:08
2. Quand un aveugle rêve 07:26
3. Le dernier des travaux d'Hercule 03:37
4. Métamorphose 07:50
5. Majesté 05:14
6. Marchand d'hommes 07:26
7. Mourir pour une princesse 05:24
8. Sortilège 05:01





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

Artist: Accept
Album: Metal Heart
Year: 1985
Genre: Heavy Metal
Format: Flac


01. Accept - Metal Heart (05:24)
02. Accept - Midnight Mover (03:06)
03. Accept - Up To The Limit (03:47)
04. Accept - Wrong Is Right (03:09)
05. Accept - Screaming For A Love-Bite (04:05)
06. Accept - Too High To Get It Right (03:47)
07. Accept - Dogs On Leads (04:24)
08. Accept - Teach Us To Survive (03:33)
09. Accept - Living For Tonite (03:34)
10. Accept - Bound To Fail (05:06)
11. Accept - Love Child (Live) (Bonus track) (04:49)
12. Accept - Living For Tonite (Live) (Bonus track) (03:50)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



ABSOLUTNA PETARDA!!!


..::OPIS::..

What’s the nerdiest influence on a metal band you’ve ever heard of? I always thought that Slough Feg had got the winner there, what with their album based on the classic pen and paper RPG, “Traveller”. Achelous have ripped the throne from their trad-metal hands with this album, based on the Icewind Dale trilogy by R.A.Salvatore, a (fantastic) set of fantasy novels based on the pen and paper RPG Dungeons and Dragons.

Achelous are a Greek band, having released one previous album and a couple of Eps before. I have to say, upon listening to record opener “Northern Winds” (which is not actually a song about waking up the morning after a curry in Bradford), I was really pleased and surprised with what I had heard. I was expecting some more like the power metal that tends to be en vogue when fantasy metal is produced, but actually what I heard was much more like the slightly doomy traditional metal like that heard from classic act Doomsword.

Chris Kappas (vocals) has a fine clean singing voice, which has plenty of power and clean diction. While he may sound a little more Blaze Bailey than Bruce Dickinson, there’s a fair amount of range in his voice. Second song on the album, “Flames of War” has an infectious gallop to it, with some nifty axe duelling, while the powerful production and aggressive approach of the band perhaps make this a little closer to the more muscular moments of Iced Earth than to many power metal bands. “Savage King” is a jaunty stomper, with some effective chugging moments.

For me though, highlight of the album is the almost absurdly enjoyable sonic adventure that is “Halfling’s Gem”. Is it cheesy? Yeah, it is. Is it great? Yeah, it is. You must make a saving throw against Axe, Bass and Drum on D20 or else this track is going to bury itself deep into your skull. I can imagine this being played with lots of dry ice and one-foot-on-the-monitor gurning bass work.

In terms of criticisms, I don’t have that many. I’d like the synth to be a little lower in the mix from time to time but overall the production is mostly spot on. At just eight tracks long, it doesn’t outweigh its welcome either. The final track “Outcast” is the longest, weighing over 7 minutes in length, but even then it feels epic rather than merely long. If you fancy a tasty melding of orcs, elves, halflings and pure nerd metal, then this is one for your collection.

Chris Davison



..::TRACK-LIST::..

1. Northern Winds 06:06
2. Flames Of War 04:07
3. Savage King 04:52
4. Mithril Hall 04:19
5. The Crystal Shard 05:18
6. Halfling's Gem 04:12
7. Face The Storm 04:17
8. Outcast 07:32



..::OBSADA::..

Chris Kappas - Vocals
George Mavrommatis - Guitars
Vicky Demertzi - Guitars, Piano
Chris Achelous - Bass
Giannis Roussis - Drums

Guest vocals by Christina Petrogianni
Guest bass by Johnny Litinakis
Guest guitars by Haris Dinos



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


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



ABSOLUTNA PETARDA!!!


..::OPIS::..

What’s the nerdiest influence on a metal band you’ve ever heard of? I always thought that Slough Feg had got the winner there, what with their album based on the classic pen and paper RPG, “Traveller”. Achelous have ripped the throne from their trad-metal hands with this album, based on the Icewind Dale trilogy by R.A.Salvatore, a (fantastic) set of fantasy novels based on the pen and paper RPG Dungeons and Dragons.

Achelous are a Greek band, having released one previous album and a couple of Eps before. I have to say, upon listening to record opener “Northern Winds” (which is not actually a song about waking up the morning after a curry in Bradford), I was really pleased and surprised with what I had heard. I was expecting some more like the power metal that tends to be en vogue when fantasy metal is produced, but actually what I heard was much more like the slightly doomy traditional metal like that heard from classic act Doomsword.

Chris Kappas (vocals) has a fine clean singing voice, which has plenty of power and clean diction. While he may sound a little more Blaze Bailey than Bruce Dickinson, there’s a fair amount of range in his voice. Second song on the album, “Flames of War” has an infectious gallop to it, with some nifty axe duelling, while the powerful production and aggressive approach of the band perhaps make this a little closer to the more muscular moments of Iced Earth than to many power metal bands. “Savage King” is a jaunty stomper, with some effective chugging moments.

For me though, highlight of the album is the almost absurdly enjoyable sonic adventure that is “Halfling’s Gem”. Is it cheesy? Yeah, it is. Is it great? Yeah, it is. You must make a saving throw against Axe, Bass and Drum on D20 or else this track is going to bury itself deep into your skull. I can imagine this being played with lots of dry ice and one-foot-on-the-monitor gurning bass work.

In terms of criticisms, I don’t have that many. I’d like the synth to be a little lower in the mix from time to time but overall the production is mostly spot on. At just eight tracks long, it doesn’t outweigh its welcome either. The final track “Outcast” is the longest, weighing over 7 minutes in length, but even then it feels epic rather than merely long. If you fancy a tasty melding of orcs, elves, halflings and pure nerd metal, then this is one for your collection.

Chris Davison



..::TRACK-LIST::..

1. Northern Winds 06:06
2. Flames Of War 04:07
3. Savage King 04:52
4. Mithril Hall 04:19
5. The Crystal Shard 05:18
6. Halfling's Gem 04:12
7. Face The Storm 04:17
8. Outcast 07:32



..::OBSADA::..

Chris Kappas - Vocals
George Mavrommatis - Guitars
Vicky Demertzi - Guitars, Piano
Chris Achelous - Bass
Giannis Roussis - Drums

Guest vocals by Christina Petrogianni
Guest bass by Johnny Litinakis
Guest guitars by Haris Dinos



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


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Krótka, szybka i wściekła dawka tradycyjnego heavy metalu, która trzyma w napięciu od początku do końca.



The Swedes have never been strangers to heavy metal. And even though many of their heavy metal releases from the eighties ended up buried in obscurity, anybody who has taken any time at all to plough through a cursory sampling of albums from that scene will tell you how exceptional it truly was. Pound-for-pound, Sweden could arguably be the most consistent exporter of quality heavy metal in the world. So it should come as no surprise to see that Lethal Steel is continuing the tradition with their latest release, a feisty four-track EP that encapsulates what so many of us love about Swedish heavy metal.

Running from the Dawn is a natural follow up from their last release. At its most basic level, it's just a continuation the paths opened up in Legion of the Night, albeit with a bit more speed and some interesting change-ups along the way. Taken as a whole, this EP plays like a miniature tribute to Iron Maiden. The first track opens up with a slow acoustic intro that ultimately breaks out into the fast galloping riffs that characterise the remainder of the album. The bass playing is inventive and flashy, and the guitar solos are melodic and captivating. But that isn't all. "Weekday Refugee" builds suspense throughout the song only to deliver a couple absolutely splendid tempo changes that are strongly reminiscent of Iron Maiden's Seventh Son. And though the vocalist doesn't really sound much like the epic Dickinson, his delivery is still charged with all the oomph and grandiose vibrato you need.

I've never been a rabid collector of EPs as I generally prefer the listening time of a full-length album, but I'll always take an EP with no filler over a half-baked LP. And Lethal Steel have delivered exactly that with this release: four well-balanced songs with a few obvious hat-tips to one of the greatest heavy metal bands of all time. It may not be the best EP you've ever heard, but it's good enough to warrant a listen from any true heavy metal fan.

raoulduke25



..::TRACK-LIST::..

1. Weekday Refugee 4:50
2. Stay Away 5:38
3. Ge Allt 3:07
4. City Of Sin 4:48



..::OBSADA::..

Lead Guitar - Isak Koskinen Rosemarin
Lead Vocals - Viktor Gustafsson
Rhythm Guitar - Valentin Papp
Bass - Totte Thyrhaug
Drums - Leo Ekström




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Krótka, szybka i wściekła dawka tradycyjnego heavy metalu, która trzyma w napięciu od początku do końca.



The Swedes have never been strangers to heavy metal. And even though many of their heavy metal releases from the eighties ended up buried in obscurity, anybody who has taken any time at all to plough through a cursory sampling of albums from that scene will tell you how exceptional it truly was. Pound-for-pound, Sweden could arguably be the most consistent exporter of quality heavy metal in the world. So it should come as no surprise to see that Lethal Steel is continuing the tradition with their latest release, a feisty four-track EP that encapsulates what so many of us love about Swedish heavy metal.

Running from the Dawn is a natural follow up from their last release. At its most basic level, it's just a continuation the paths opened up in Legion of the Night, albeit with a bit more speed and some interesting change-ups along the way. Taken as a whole, this EP plays like a miniature tribute to Iron Maiden. The first track opens up with a slow acoustic intro that ultimately breaks out into the fast galloping riffs that characterise the remainder of the album. The bass playing is inventive and flashy, and the guitar solos are melodic and captivating. But that isn't all. "Weekday Refugee" builds suspense throughout the song only to deliver a couple absolutely splendid tempo changes that are strongly reminiscent of Iron Maiden's Seventh Son. And though the vocalist doesn't really sound much like the epic Dickinson, his delivery is still charged with all the oomph and grandiose vibrato you need.

I've never been a rabid collector of EPs as I generally prefer the listening time of a full-length album, but I'll always take an EP with no filler over a half-baked LP. And Lethal Steel have delivered exactly that with this release: four well-balanced songs with a few obvious hat-tips to one of the greatest heavy metal bands of all time. It may not be the best EP you've ever heard, but it's good enough to warrant a listen from any true heavy metal fan.

raoulduke25



..::TRACK-LIST::..

1. Weekday Refugee 4:50
2. Stay Away 5:38
3. Ge Allt 3:07
4. City Of Sin 4:48



..::OBSADA::..

Lead Guitar - Isak Koskinen Rosemarin
Lead Vocals - Viktor Gustafsson
Rhythm Guitar - Valentin Papp
Bass - Totte Thyrhaug
Drums - Leo Ekström




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Militia was insanity locked away in a cage. They were pretty hard to classify, it was just over the top crazy fast metal. With Assalant here we have a more structured 'cleaner' band that's probably safe to call straight up power/thrash, though they're certainly not fancy and don't really have an 'epic' influence here or anything (Deadly Blessing as an example). Well if you want you could probably ditch the power tag and say they're just really melodic. Mike Soliz on vocals whom kicked ass on Militia (though I wonder how his lungs didn't explode from the nonstop shrieking), gives off an incredible and more varied performance here, quite possibly his finest. Certainly better than his clean melodic approach with the next obscure band he'd join, Oblivion Knight. Here he's pretty aggressive with some well timed screams and shrieks, at times he sounds comparable to James Rivera (though both sound different with the shrieks). That's an excellent comparison to bring up because I believe this material here reminds me quite a bit of Helstar's thrashier effort, Nosferatu. The rhythms and guitar work here are definitely not quite as "odd" as Helstar's always been known for, but there's definitely a ton of variety here, multiple solo's on each track, music seems to keep progressing and is for the most part rather unpredictable.

All in all this is truly another lost gem. If you somehow know about Militia and enjoyed their stuff, definitely check this demo out if possible. Obviously the production here is very limited being a demo and all, but the mix is really good, you just gotta blast that volume. If you enjoy stuff like Helstar's Nosferatu, Liege Lord's Master Control, Attacker's The Second Coming, Deadly Blessing's Ascend from the Cauldron, Tyrant Reign's EP, and so forth - you're really going to enjoy this.

Xeogred



Sensationeller Texas Thrash!

In den letzten Jahren erscheinen wöchentlich Demos aus den 80ern, die angeblich damals Kult waren. Während man als Freund dieser Klänge oft froh ist, endlich eine klangtechnisch vernünftige Version der längst ausgenudelten Magnetbänder in Händen halten zu dürfen, muss man doch gerade in letzter Zeit immer wieder schmunzeln, was denn angeblich alles Kult gewesen sein soll. Völlig außer Zweifel steht dieses Attribut bei der hier vorliegenden Veröffentlichung aus dem Hause FHM Records, die uns erst kürzlich mit feinem Stoff aus dem Hause SIREN erfreuen konnten. Die Rede ist von einem der "wichtigsten" Demos aus dem Segment "Texas Thrash". Eingeweihte schnalzen hier bereits mit der Zunge, denn in diesem Staat wurde damals der heißeste Scheiß gebrutzelt, wenn es um technisch anspruchsvollen Thrash ging. Ich sage nur WATCH TOWER. Aber diese Band ist ja nur die Spitze dieses Eisberges, denn mit S.A. SLAYER, HELSTAR, PREMONITION, ACRIDITY, OBLVION KNIGHT, ELDRITCH RITE, JUGGERNAUT oder SYRUS kamen und kommen noch etliche Bands aus dieser Region, die fantastisches Material veröffentlichen konnten. Ein ganz heißes Eisen hörte damals auf den Namen ASSALANT und hat tatsächlich nur ein 3-Song-Demo veröffentlicht. Dieses allerdings in zwei verschiedenen Versionen.

Wieso denn das? Nun, die ganz einfach Antwort lautet: Man hatte lange Zeit keinen festen Sänger. So bot sich Hans-Master-In-Allen-Gassen Jason von WATCHTOWER an, für sie die drei Songs ihres Demos einzusingen. Allerdings stand von Beginn an fest, dass er kein festes Mitglied der Band werden würde. Glücklicherweise schleppte er zu den Aufnahmen seinen Kumpel Mike Soliz mit, der kurz zuvor seinen Sängerposten bei MILITIA hingeschmissen hatte. Er wollte eventuell ein paar backing vocals beisteuern. Das Ergebnis dieser Kollaboration war, dass Mike die Songs so gut gefielen, dass er danach bei ASSALANT einstieg und man einfach die Songs mit seinem Gesang noch einmal neu aufnahm.

Da das Tape mit Jasons' Gesang nur sehr spärlich in Umlauf geriet, ist es eine doppelte Freude auf diesem Silberling beide Versionen genießen zu dürfen. Vor allem, weil sich die Songs durch die sehr unterschiedlichen Klangfarben der beiden Sänger deutlich voneinander unterscheiden.

Sicher, ungeübte Ohren hören hier zwei Vokalakrobaten, die in relativ hohen Höhen herumschrillen, aber der erprobte Schrillings-Liebhaber erkennt die Unterschiede. Das Organ von Jason ist insgesamt deutlich kratziger, während Mike insgesamt schriller klingt. Als alter WATCHTOWER-Fanatic stehe ich minimal mehr auf das etwas chaotischer klingende Tape mit Jason, aber auch die Version mit Mister Soliz ist absolute Spitzenklasse.

Musikalisch bietet man natürlich genau den Stoff, den man hier erwarten darf. Abgehackte, verschachtelte Rhythmen, prominente Bass-Attacken und Gitarren-Kapriolen. Um mal eine bekanntere Band als Parallele zu nennen: Frühe HELSTAR zu "Remnants Of War"-Zeiten bieten eine etwas zugänglichere Variante dieser Spielart. Das ist natürlich kein Material, zu welchem man sofort Zugang findet, aber wenn man auf solche Musik steht und auf einen harschen, leicht höhenlastigen Klang steht, ist man hier an der richtigen Adresse. Hat man das Material erst einmal in einer anständigen Dosierung inhaliert, wird man irgendwann völlig begeistert sein. Das ist Stoff mit Langzeitwirkung!

Pflicht!



..::TRACK-LIST::..

Included two demos (same songs but two different singer).

1. Dragon Of Peace
2. The Damage Is Done
3. Insane Illusion

4. Dragon Of Peace
5. The Damage Is Done
6. Insane Illusion



..::OBSADA::..

Lead Vocals - Michael Soliz (tracks: 1 to 3), Jason McMaster (tracks: 4 to 6)
Guitar - J. B. Slimp, Louie Beltran
Bass - Darren Keeling
Drums - Mike Botello




https://www.youtube.com/watch?v=Y9xpxq8gdQ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Militia was insanity locked away in a cage. They were pretty hard to classify, it was just over the top crazy fast metal. With Assalant here we have a more structured 'cleaner' band that's probably safe to call straight up power/thrash, though they're certainly not fancy and don't really have an 'epic' influence here or anything (Deadly Blessing as an example). Well if you want you could probably ditch the power tag and say they're just really melodic. Mike Soliz on vocals whom kicked ass on Militia (though I wonder how his lungs didn't explode from the nonstop shrieking), gives off an incredible and more varied performance here, quite possibly his finest. Certainly better than his clean melodic approach with the next obscure band he'd join, Oblivion Knight. Here he's pretty aggressive with some well timed screams and shrieks, at times he sounds comparable to James Rivera (though both sound different with the shrieks). That's an excellent comparison to bring up because I believe this material here reminds me quite a bit of Helstar's thrashier effort, Nosferatu. The rhythms and guitar work here are definitely not quite as "odd" as Helstar's always been known for, but there's definitely a ton of variety here, multiple solo's on each track, music seems to keep progressing and is for the most part rather unpredictable.

All in all this is truly another lost gem. If you somehow know about Militia and enjoyed their stuff, definitely check this demo out if possible. Obviously the production here is very limited being a demo and all, but the mix is really good, you just gotta blast that volume. If you enjoy stuff like Helstar's Nosferatu, Liege Lord's Master Control, Attacker's The Second Coming, Deadly Blessing's Ascend from the Cauldron, Tyrant Reign's EP, and so forth - you're really going to enjoy this.

Xeogred



Sensationeller Texas Thrash!

In den letzten Jahren erscheinen wöchentlich Demos aus den 80ern, die angeblich damals Kult waren. Während man als Freund dieser Klänge oft froh ist, endlich eine klangtechnisch vernünftige Version der längst ausgenudelten Magnetbänder in Händen halten zu dürfen, muss man doch gerade in letzter Zeit immer wieder schmunzeln, was denn angeblich alles Kult gewesen sein soll. Völlig außer Zweifel steht dieses Attribut bei der hier vorliegenden Veröffentlichung aus dem Hause FHM Records, die uns erst kürzlich mit feinem Stoff aus dem Hause SIREN erfreuen konnten. Die Rede ist von einem der "wichtigsten" Demos aus dem Segment "Texas Thrash". Eingeweihte schnalzen hier bereits mit der Zunge, denn in diesem Staat wurde damals der heißeste Scheiß gebrutzelt, wenn es um technisch anspruchsvollen Thrash ging. Ich sage nur WATCH TOWER. Aber diese Band ist ja nur die Spitze dieses Eisberges, denn mit S.A. SLAYER, HELSTAR, PREMONITION, ACRIDITY, OBLVION KNIGHT, ELDRITCH RITE, JUGGERNAUT oder SYRUS kamen und kommen noch etliche Bands aus dieser Region, die fantastisches Material veröffentlichen konnten. Ein ganz heißes Eisen hörte damals auf den Namen ASSALANT und hat tatsächlich nur ein 3-Song-Demo veröffentlicht. Dieses allerdings in zwei verschiedenen Versionen.

Wieso denn das? Nun, die ganz einfach Antwort lautet: Man hatte lange Zeit keinen festen Sänger. So bot sich Hans-Master-In-Allen-Gassen Jason von WATCHTOWER an, für sie die drei Songs ihres Demos einzusingen. Allerdings stand von Beginn an fest, dass er kein festes Mitglied der Band werden würde. Glücklicherweise schleppte er zu den Aufnahmen seinen Kumpel Mike Soliz mit, der kurz zuvor seinen Sängerposten bei MILITIA hingeschmissen hatte. Er wollte eventuell ein paar backing vocals beisteuern. Das Ergebnis dieser Kollaboration war, dass Mike die Songs so gut gefielen, dass er danach bei ASSALANT einstieg und man einfach die Songs mit seinem Gesang noch einmal neu aufnahm.

Da das Tape mit Jasons' Gesang nur sehr spärlich in Umlauf geriet, ist es eine doppelte Freude auf diesem Silberling beide Versionen genießen zu dürfen. Vor allem, weil sich die Songs durch die sehr unterschiedlichen Klangfarben der beiden Sänger deutlich voneinander unterscheiden.

Sicher, ungeübte Ohren hören hier zwei Vokalakrobaten, die in relativ hohen Höhen herumschrillen, aber der erprobte Schrillings-Liebhaber erkennt die Unterschiede. Das Organ von Jason ist insgesamt deutlich kratziger, während Mike insgesamt schriller klingt. Als alter WATCHTOWER-Fanatic stehe ich minimal mehr auf das etwas chaotischer klingende Tape mit Jason, aber auch die Version mit Mister Soliz ist absolute Spitzenklasse.

Musikalisch bietet man natürlich genau den Stoff, den man hier erwarten darf. Abgehackte, verschachtelte Rhythmen, prominente Bass-Attacken und Gitarren-Kapriolen. Um mal eine bekanntere Band als Parallele zu nennen: Frühe HELSTAR zu "Remnants Of War"-Zeiten bieten eine etwas zugänglichere Variante dieser Spielart. Das ist natürlich kein Material, zu welchem man sofort Zugang findet, aber wenn man auf solche Musik steht und auf einen harschen, leicht höhenlastigen Klang steht, ist man hier an der richtigen Adresse. Hat man das Material erst einmal in einer anständigen Dosierung inhaliert, wird man irgendwann völlig begeistert sein. Das ist Stoff mit Langzeitwirkung!

Pflicht!



..::TRACK-LIST::..

Included two demos (same songs but two different singer).

1. Dragon Of Peace
2. The Damage Is Done
3. Insane Illusion

4. Dragon Of Peace
5. The Damage Is Done
6. Insane Illusion



..::OBSADA::..

Lead Vocals - Michael Soliz (tracks: 1 to 3), Jason McMaster (tracks: 4 to 6)
Guitar - J. B. Slimp, Louie Beltran
Bass - Darren Keeling
Drums - Mike Botello




https://www.youtube.com/watch?v=Y9xpxq8gdQ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cudowne lata...


With debut albums you can never be too certain about what to expect. Some bands are at their best while starting out and go downhill from there. Others still need some time to refine their craft and at last, some are still searching for their sound and just ape their musical heroes instead. In Satan’s case, we’re talking about a band that created magic with their debut and while Court in the Act required some time to warm up to, I nowadays love every aspect of it.

While plenty of NWOBHM albums resemble a certain period in metal history with often specific musical elements that come with it, there’s something extremely futuristic about Court in the Act. With guitars often pushed to their limits, you can almost hear the early incantation of Metallica through a variety of near-thrashing songs, but there’s even more to behold. I can’t be the only one who’s convinced that ‘Into the Fire’ sounds like the prototype of Artillery’s ‘Khomaniac’ with those exotic, yet forceful guitar textures. On a related note, the instrumental speed metal assault of ‘The Ritual’ gets awfully close to the earlier instrumental powerhouse of Blind Guardian’s ‘Beyond the Ice’; you can bet that André Olbrich paid attention to this stuff while writing the aforementioned tune.

But regardless of the associations that one could make with Court in the Act, we’re speaking of an album that obviously stands on its own. Still, like I had mentioned, it took me some time to get used to and it shouldn’t be a surprise why. Just like plenty of NWOBHM vocalists, Brian Ross sounds bit out there; he doesn't attempt to sing melodic vocal lines and regardless of an occasional high note, he sticks to his mid-register for most of the time. Perhaps it's best to think of him as a stoic who accidentally ended up as Satan's singer and yet, I couldn't imagine the band without him.

Otherwise, Court in the Act should be easy to digest. The rhythm guitars sound extremely tight; launching riffs of different tempos and moods after another as if they were coded instead of regularly written, while leads find the ideal balance between soulful shredding and clever melodic phrasing. ‘Blades of Steel’ conjures a bunch of musical ideas and thematically ranges from proto-thrashing noise that cuts through the sung sections and an unexpected break of serene beauty with a smooth guitar solo in between. ‘The Ritual’ shows what the guitarists are capable of when Brian Ross isn’t around and while I'm in general not too enthusiastic about instrumental songs, this one's absolutely fantastic. Not only do the riffs build momentum here, the leads also sing an adventurous story that you surely won't forget. If you’re one of those guitar nerds that loves guitar solos more than their own mother, then you won’t be disappointed; but even ordinary folks like you and me will be carried away by this musical journey.

Obviously this doesn't just count for 'The Ritual'. With plenty of variation between these tunes, clever arrangements and riffs that scream metal as much as Brian Ross occasionally does, Court in the Act is one of those albums that features the most optimal pacing that I could think of. Kicking off with 'Trial by Fire' is a great idea and what's a better way to start the track with those guitars that come crashing down with fury? With a multitude of high flying riffs following up with another, you couldn't ask for a better opener and while most bands would end up sounding pretentious once they’d write something with a foreign twist, Satan's approach feels fresh and exciting. While a band like Blind Guardian (them again; probably no coincidence) would cover this track many years later with a more dominant vocal approach, I’m convinced that Brian Ross’ collected vocal approach makes a great contrast with these tense and busy guitars. Moving on, ‘Break Free’ is easily the most threatening offering that represents the album's intense peak. Like a rollercoaster of marvelous riffs thrashing in the wild with no signs of commercial barriers in sight, it’s hard to think of something this intense, fast and furious for 1983. It's extremely remarkable, absolutely and yet even when Court in the Act refrains from blowing the roofs off, the results remain superb. ‘Alone in the Dock’ is an atmospheric closer of evocative beauty that has it all. From the main riff sequence that keeps resurrecting, to the haunting and foggy verses, to the sinister chorus, it’s a wonderful track that works as an excellent album closer.

If you haven’t noticed already, Court in the Act is a personal favorite of mine. Coincidentally enough, it’s a favorite of many other people, too, so it can’t be just me who has a thing for it. I love this album and so do plenty of others; you will too, soon enough.

colin040


This is one of the very few albums that will receive a 100% score review from me. Back in 1983, most of the albums coming from Britain were either great or excellent, Ebony records released “Chained and desperate“, “Loose and lethal”, and “See you in hell” by such artists as Chateaux, Savage and Grim reaper respectively, and Neat did the same with great offerings from Raven, Jaguar and most notably, Satan.

After Blitzkrieg’s break up, singers were swapped between the newly formed Avenger and Satan, resulting in the arrival of Brian Ross as lead vocalist for the recording of what would become my favourite record of 80’s metal, “Court in the act”.

The association between Ross and Satan would be very short lived but gave us a flawless gem of an album that is perfect from start to finish. After an atmospheric intro that sets up the mood in eerie fashion, we are hit full frontal by what would be the trademark of “Court in the act”, fast paced, powerful, but incredibly melodic songs such as “Trial by fire”, a song about nuclear warfare, a topic often used by bands in those days as we were still with both feet firmly planted in the cold war between the Soviets and the Americans.
The twin guitar attack is reminiscent of Iron maiden of course but it is faster and somewhat heavier than that of Harry’s boys.

The production is rather raw and unpolished like all Neat releases, but in this case, this is what gives “Court in the act” it’s charm, and a cleaner production would have certainly taken away a lot of the energy and magic of this record. It’s underground feel is what attracts me the most towards listening and listening again to this album as much now as I was doing more than twenty years ago.

What stands out the most from that first song is the voice of their lead singer Brian Ross, mid range yet powerful and rather soothing in the tone, that guy has the most beautiful voice in metal, never strained, the guy respects his range and stays inside it giving us the most beautiful vocal melodies with maybe the ones from old Fates warning albums.

We are then treated to two very energetic songs, “Blades of steel”, a song about Vikings conquering the lands and “No turning back”, your usual song about sticking to your guns and believing in yourself, again with great vocal melodies, and very well written lyrics. “Blades of steel” has great beat changes and “No turning back” features an insane guitar solo that is probably the best on the album even though the soloing is awesome throughout the record.

Side one closes with the song about the mistreating of the american Indians in “Broken treaties” starting slowly with an Indian dance beat followed by the guitar melody, another intense song that is the most progressive with the last song on the album “Alone in the docks”.

Side two starts off the same way that side one started, with a fast paced stormer called “Break free” where the drumming and bass work are particularly prevalent as it is in the instrumental “The ritual”, a crazy wordless adventure that takes you through different moods, speeds and where your attention is not divided between the incredible musicianship of guitarists Steve Ramsey and Russ Tippins, bass man Graeme English and drummer Sean Taylor and the magical voice from Ross which we now have a break from in that song.

“Hunt you down” doesn’t leave out the energy and has a very original almost weird riff in the chorus.

After all is said and done none more than myself can recommend this perfect piece of metal art to the unsuspecting treasure hunter, unfortunately this record is hard to find and I was lucky enough to have it in vinyl but it cost me a bundle to have on cd.

Satan would later change it’s name to Blind fury because they didn’t want to be associated with the growing number of satanic bands coming mostly from the newly emerging thrash metal movement, they released an excellent album titled “Out of reach” featuring the same flawless musicianship and strong numbers but without the great Brian Ross and with a cleaner production than on “Court in the act” the magic seemed to have disappeared though “Out of reach” is still recommended.

Hail to that great year 1983 that gave us “Kill ‘em all”, “Show no mercy”, “All for one”, “Melissa”, “Sirens” and countless marvellous albums but most notably “Court in the act” by the great Satan.

metalpesant



..::TRACK-LIST::..

1. Into the Fire 01:46
2. Trial by Fire 04:18
3. Blades of Steel 05:16
4. No Turning Back 04:01
5. Broken Treaties 04:43
6. Hunt You Down 03:30
7. The Ritual 04:40
8. Dark Side of Innocence 00:56
9. Alone in the Dock 06:27
10. Break Free 05:24



..::OBSADA::..

Guitar - Russ Tippins, Steve Ramsey
Lead Vocals - Brian Ross
Bass, Classical Guitar - Graeme English
Drums - Sean Taylor




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cudowne lata...


With debut albums you can never be too certain about what to expect. Some bands are at their best while starting out and go downhill from there. Others still need some time to refine their craft and at last, some are still searching for their sound and just ape their musical heroes instead. In Satan’s case, we’re talking about a band that created magic with their debut and while Court in the Act required some time to warm up to, I nowadays love every aspect of it.

While plenty of NWOBHM albums resemble a certain period in metal history with often specific musical elements that come with it, there’s something extremely futuristic about Court in the Act. With guitars often pushed to their limits, you can almost hear the early incantation of Metallica through a variety of near-thrashing songs, but there’s even more to behold. I can’t be the only one who’s convinced that ‘Into the Fire’ sounds like the prototype of Artillery’s ‘Khomaniac’ with those exotic, yet forceful guitar textures. On a related note, the instrumental speed metal assault of ‘The Ritual’ gets awfully close to the earlier instrumental powerhouse of Blind Guardian’s ‘Beyond the Ice’; you can bet that André Olbrich paid attention to this stuff while writing the aforementioned tune.

But regardless of the associations that one could make with Court in the Act, we’re speaking of an album that obviously stands on its own. Still, like I had mentioned, it took me some time to get used to and it shouldn’t be a surprise why. Just like plenty of NWOBHM vocalists, Brian Ross sounds bit out there; he doesn't attempt to sing melodic vocal lines and regardless of an occasional high note, he sticks to his mid-register for most of the time. Perhaps it's best to think of him as a stoic who accidentally ended up as Satan's singer and yet, I couldn't imagine the band without him.

Otherwise, Court in the Act should be easy to digest. The rhythm guitars sound extremely tight; launching riffs of different tempos and moods after another as if they were coded instead of regularly written, while leads find the ideal balance between soulful shredding and clever melodic phrasing. ‘Blades of Steel’ conjures a bunch of musical ideas and thematically ranges from proto-thrashing noise that cuts through the sung sections and an unexpected break of serene beauty with a smooth guitar solo in between. ‘The Ritual’ shows what the guitarists are capable of when Brian Ross isn’t around and while I'm in general not too enthusiastic about instrumental songs, this one's absolutely fantastic. Not only do the riffs build momentum here, the leads also sing an adventurous story that you surely won't forget. If you’re one of those guitar nerds that loves guitar solos more than their own mother, then you won’t be disappointed; but even ordinary folks like you and me will be carried away by this musical journey.

Obviously this doesn't just count for 'The Ritual'. With plenty of variation between these tunes, clever arrangements and riffs that scream metal as much as Brian Ross occasionally does, Court in the Act is one of those albums that features the most optimal pacing that I could think of. Kicking off with 'Trial by Fire' is a great idea and what's a better way to start the track with those guitars that come crashing down with fury? With a multitude of high flying riffs following up with another, you couldn't ask for a better opener and while most bands would end up sounding pretentious once they’d write something with a foreign twist, Satan's approach feels fresh and exciting. While a band like Blind Guardian (them again; probably no coincidence) would cover this track many years later with a more dominant vocal approach, I’m convinced that Brian Ross’ collected vocal approach makes a great contrast with these tense and busy guitars. Moving on, ‘Break Free’ is easily the most threatening offering that represents the album's intense peak. Like a rollercoaster of marvelous riffs thrashing in the wild with no signs of commercial barriers in sight, it’s hard to think of something this intense, fast and furious for 1983. It's extremely remarkable, absolutely and yet even when Court in the Act refrains from blowing the roofs off, the results remain superb. ‘Alone in the Dock’ is an atmospheric closer of evocative beauty that has it all. From the main riff sequence that keeps resurrecting, to the haunting and foggy verses, to the sinister chorus, it’s a wonderful track that works as an excellent album closer.

If you haven’t noticed already, Court in the Act is a personal favorite of mine. Coincidentally enough, it’s a favorite of many other people, too, so it can’t be just me who has a thing for it. I love this album and so do plenty of others; you will too, soon enough.

colin040


This is one of the very few albums that will receive a 100% score review from me. Back in 1983, most of the albums coming from Britain were either great or excellent, Ebony records released “Chained and desperate“, “Loose and lethal”, and “See you in hell” by such artists as Chateaux, Savage and Grim reaper respectively, and Neat did the same with great offerings from Raven, Jaguar and most notably, Satan.

After Blitzkrieg’s break up, singers were swapped between the newly formed Avenger and Satan, resulting in the arrival of Brian Ross as lead vocalist for the recording of what would become my favourite record of 80’s metal, “Court in the act”.

The association between Ross and Satan would be very short lived but gave us a flawless gem of an album that is perfect from start to finish. After an atmospheric intro that sets up the mood in eerie fashion, we are hit full frontal by what would be the trademark of “Court in the act”, fast paced, powerful, but incredibly melodic songs such as “Trial by fire”, a song about nuclear warfare, a topic often used by bands in those days as we were still with both feet firmly planted in the cold war between the Soviets and the Americans.
The twin guitar attack is reminiscent of Iron maiden of course but it is faster and somewhat heavier than that of Harry’s boys.

The production is rather raw and unpolished like all Neat releases, but in this case, this is what gives “Court in the act” it’s charm, and a cleaner production would have certainly taken away a lot of the energy and magic of this record. It’s underground feel is what attracts me the most towards listening and listening again to this album as much now as I was doing more than twenty years ago.

What stands out the most from that first song is the voice of their lead singer Brian Ross, mid range yet powerful and rather soothing in the tone, that guy has the most beautiful voice in metal, never strained, the guy respects his range and stays inside it giving us the most beautiful vocal melodies with maybe the ones from old Fates warning albums.

We are then treated to two very energetic songs, “Blades of steel”, a song about Vikings conquering the lands and “No turning back”, your usual song about sticking to your guns and believing in yourself, again with great vocal melodies, and very well written lyrics. “Blades of steel” has great beat changes and “No turning back” features an insane guitar solo that is probably the best on the album even though the soloing is awesome throughout the record.

Side one closes with the song about the mistreating of the american Indians in “Broken treaties” starting slowly with an Indian dance beat followed by the guitar melody, another intense song that is the most progressive with the last song on the album “Alone in the docks”.

Side two starts off the same way that side one started, with a fast paced stormer called “Break free” where the drumming and bass work are particularly prevalent as it is in the instrumental “The ritual”, a crazy wordless adventure that takes you through different moods, speeds and where your attention is not divided between the incredible musicianship of guitarists Steve Ramsey and Russ Tippins, bass man Graeme English and drummer Sean Taylor and the magical voice from Ross which we now have a break from in that song.

“Hunt you down” doesn’t leave out the energy and has a very original almost weird riff in the chorus.

After all is said and done none more than myself can recommend this perfect piece of metal art to the unsuspecting treasure hunter, unfortunately this record is hard to find and I was lucky enough to have it in vinyl but it cost me a bundle to have on cd.

Satan would later change it’s name to Blind fury because they didn’t want to be associated with the growing number of satanic bands coming mostly from the newly emerging thrash metal movement, they released an excellent album titled “Out of reach” featuring the same flawless musicianship and strong numbers but without the great Brian Ross and with a cleaner production than on “Court in the act” the magic seemed to have disappeared though “Out of reach” is still recommended.

Hail to that great year 1983 that gave us “Kill ‘em all”, “Show no mercy”, “All for one”, “Melissa”, “Sirens” and countless marvellous albums but most notably “Court in the act” by the great Satan.

metalpesant



..::TRACK-LIST::..

1. Into the Fire 01:46
2. Trial by Fire 04:18
3. Blades of Steel 05:16
4. No Turning Back 04:01
5. Broken Treaties 04:43
6. Hunt You Down 03:30
7. The Ritual 04:40
8. Dark Side of Innocence 00:56
9. Alone in the Dock 06:27
10. Break Free 05:24



..::OBSADA::..

Guitar - Russ Tippins, Steve Ramsey
Lead Vocals - Brian Ross
Bass, Classical Guitar - Graeme English
Drums - Sean Taylor




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Całkiem niedawno, przy okazji recenzji albumu Eupnea, pisałem na naszych łamach o spektakularnym powrocie formacji Pure Reason Revolution. Okazuje się jednak, że 2020 rok przyniósł jeszcze jeden równie efektowny powrót. No bo jak nazwać pierwszą po 24 latach płytę kalifornijskiej legendy Psychotic Waltz?

Przypomnę, że ten amerykański zespół powstał w 1986 roku, między 1990 a 1996 rokiem wydał cztery płyty (czyniące z nich na swój sposób jednego z klasyków progresywnego metalu) i w 1997 roku zakończył działalność. Po trzynastu latach grupa się reaktywowała i na przełomie 2011 i 2012 roku zagrała trochę koncertów. Wtedy też podjęto decyzję o nagraniu nowego albumu, na który – jak się okazało – przyszło czekać jeszcze osiem lat.

Jak widać łatwo nie było. Najważniejsze jednak, że muzycy wracają i to z dużym przytupem. Bo piąty krążek zarejestrowano pod czujnym okiem inżyniera dźwięku Ulricha Wilda, zaś miksem i masteringiem zajął się w szwedzkim studiu Fascination Street sam Jens Bogren (Fates Warning, Katatonia, Opeth, Devin Townsend). Do tego okładkę zaprojektował słynny amerykański artysta (także pochodzący z Kalifornii) Travis Smith. No i co najważniejsze, nowy materiał powstał w oryginalnym składzie: Devon Graves (Buddy Lackey), Dan Rock, Ward Evans, Norman Leggio i Brian McAlpin.

Czy na takich filarach mogło powstać coś przeciętnego? Nie. I faktycznie mamy do czynienia z iście królewskim wskrzeszeniem. Jedenaście kompozycji wpisanych w niespełna godzinę muzyki przywołuje stare dobre Psychotic Waltz, choć oczywiście to już inne, bardziej nowoczesne i przestrzenne brzmienie, inaczej też rozłożone są muzyczne akcenty. Mamy jedyny w swoim rodzaju, jakże charakterystyczny wokal (i przy okazji udane harmonie) Davona Gravesa i jego obowiązkowe partie fletu dodające całości pewnej zwiewności ale i tajemniczości. Są ciężkie progmetalowe riffy skontrastowane niekiedy z akustycznymi formami. No i jest wreszcie jakże specyficzny mrok, podszyty pewną złowieszczością i niepokojem, okraszony ponadto lekką muzyczną psychodelią. Wszystko dobrze współgra z posępną warstwą liryczną dotykającą zagłady, śmierci i zniszczenia.

To już mocno wyświechtany recenzencki frazes, ale trudno tu cokolwiek wyróżniać. Album jest niezwykle spójną całością. I tak należy go słuchać. Kompozycje utrzymane w średnich tempach, mimo ciężaru gitar, nie epatują nadmierną agresją, przynoszą oddech choćby poprzez bardzo udane i melodyjne refreny. Przykładami niech będą otwierający płytę Devils and Angels, czy następujący po nim Stranded, nie wspominając już o balladowym The Fallen.

Cóż, wyszedł Amerykanom prawdziwie progmetalowy klasyk, jedno z ich najbardziej udanych dokonań. Rzecz powinna przypaść do gustu miłośnikom równie wielkich składów z czasów kształtowania się progresywnego metalu, takich jak Fates Warning, czy Queensrÿche. Z drugiej strony równie ciepło powinni nań spojrzeć wielbiciele innego wcielenia Davona Gravesa, austriackiego Deadsoul Tribe. Bardzo dobra płyta.

Mariusz Danielak


Aż chciałoby się zacząć klasykiem spod znaku George'a Lucasa: „Dawno temu, w odległej galaktyce…”. Wszak w zamierzchłym 1997 roku o kalifornijskim zespole Psychotic Waltz słuch zaginął. Minęły przeszło dwie dekady, świat uległ drastycznym zmianom, powstało wiele znakomitych progmetalowych albumów i nagle z tego czasowego bezkresu muzycy Psychotic Waltz zdołali się wydostać. Co prawda w 2010 roku zagrali serię koncertów w Europie u boku Nevermore i Symphony X, ale ich prawdziwy powrót nastąpił właśnie teraz w 2020 roku, o czym najlepiej świadczy album zatytułowany „The God-Shaped Void”.

Formalnie rzecz biorąc to piąty duży krążek w dyskografii kapeli, będący następcą wydanego w 1996 roku albumu „Bleeding”. Od tego materiału zmienił się skład Psychotic Waltz, bo na basie grał wówczas Phil Cuttino, a na „The God-Shaped Void” na tej pozycji usłyszymy już Warda Evansa. Powrót jest więc bardziej esencjonalny, niż się wydaje, bo nowy album Psychotic Waltz został nagrany w oryginalnym, pierwszym składzie. Skoro już więc powrót kapeli do samych korzeni stał się faktem, to wypadałoby postawić odpowiedź na pytanie, które niekiedy nie potrzebuje odpowiedzi: czy warto było? Warto. Nowy album formacji z pewnością zadowoli wszystkich fanów rocka i metalu progresywnego, którzy od czasu do czasu lubią nurkować do oceanu psychodelicznych muzycznych wizji. To powrót godny dziedzictwa zespołu.

W świecie mrocznych symboli muzycy Psychotic Waltz nawołują do boskich praw natury, tych odwiecznych i niezniszczalnych, szczególnie gdy przychodzi im mierzyć się z destrukcyjnym człowiekiem. Tak oto kapela w tonie oskarżycielskim poddaje pod wątpliwość kondycję współczesnego człowieka – krytykuje fałsz i cynizm zarówno na poziomie mediów, jak również organizacji. Krytykuje człowieka odłączonego od relacji międzyludzkich, zniewolonego przez systemy (polityczne, religijne, społeczne) i obojętnego na wspomniane prawa natury, w zasadzie: na samego siebie. Przesłanie „The God-Shaped Void” jest smutne i ponure. Tytułowa pustka w kształcie Boga jest tym, co człowiek zrobił sam ze sobą, odrzucając boskość praw natury. Z przesłaniem koresponduje sama muzyka. Intensywna, gęsta, niekiedy przytłaczająca, wpisująca się w dobre standardy twórczości grupy.

Instrumentaliści Psychotic Waltz nigdzie specjalnie się nie spieszą, celebrując akcenty na instrumentach i tworząc coś w rodzaju narkotycznego rytuału wokół wielobarwnych wokali Devona Gravesa. Muzyce, pomimo dużej gęstości na poziomie gitar i perkusji, nie brakuje przestrzeni, a także pięknych solówek („Devils and Angels”, „Back To Black”, „The Fallen”, „Sisters Of The Dawn”, „In The Silence”). Trzeba przyznać, że sekcja gitarowa w osobach Dana Rocka i Briana McAlpina zaprezentowała wszechstronny wachlarz możliwości. Równocześnie w utworach zawartych na „The God-Shaped Void” kapela często żongluje tempem, balansując na krawędziach hard rocka i metalu, a także dodając dużo nieoczywistości do swoich utworów („Stranded”, „All The Bad Men”, „Pull The String”). Muzycy Psychotic Waltz sięgają też do wspomnianego mrocznego, nieco przytłaczającego klimatu, który dobrze oddaje ducha lat dziewięćdziesiątych ubiegłego wieku („Sisters Of The Dawn”). Na dystansie albumu do mocnego, intensywnego instrumentarium wkradają się również elementy psychodelii („Devils and Angels”, „While The Spiders Spin”).

W ten sposób w objęciach pięknych partii gitarowych, w nieregularnym tempie i w żywiołowych zwrotach akcji, pod dyktando charyzmatycznego wokalisty, otrzymujemy sentymentalną podróż, w której przewodnikami są muzycy Psychotic Waltz. Oczywiście w zawartości „The God-Shaped Void” znalazło się także sporo konkretów. Album bywa drapieżny w heavymetalowym stylu („Back To Black”, „In The Silence”), bywa uwikłany w rockową melancholię, która w obecności słuchaczy przeistacza się w nieco histeryczny lament („The Fallen”) lub w mocny rockowy manifest („Demystified”).

Całość dobrze świadczy o kondycji Psychotic Waltz. Album jest wielobarwny, ale oparty na charakterystycznym brzmieniu. Każdy utwór na „The God-Shaped Void” to fragment tożsamości Psychotic Waltz. Nie chodzi tu tylko sentymenty na temat twórczości kalifornijskiej kapeli, ale też o muzykę, która współcześnie znajdzie pokaźne grono odbiorców. To dobry powrót do świata muzyki.

Konrad Sebastian Morawski


In the last couple years, we have seen several progressive bands come surging back with wonderful results. It always feels satisfying when a band can do that. The latest classic band to return is Psychotic Waltz. Their new album “The God-Shaped Void” releases on February 14th through Inside Out music.

The story of Psychotic Waltz is long and complex. In some ways, I feel like they would have become one of the biggest names in progressive metal if their path had been a bit easier. Originally called Aslan, they released their first album as Psychotic Waltz in 1990. They released four albums in the 1990s before becoming embroiled in a lawsuit and overall just losing steam. They did tour with Nevermore and Symphony X about 10 years ago, but this new album is their first actual studio album in over 20 years. The current lineup includes: Devon Graves on vocals and flute; Dan Rock on guitars and keys; Brian McAlpin on lead guitar; Ward Evans on bass; and Norman Leggio on drums. So far as I can tell, this is the complete original lineup from the late 80s.

Psychotic Waltz plays progressive metal, and while it can be technical, it never feels as overtly complex as other bands of that era, like Dream Theater or Symphony X. No, Psychotic Waltz makes music that is more about evoking dark moods, eerie textures, and hushed emotions, much of which is created by harnessing Dan’s chilling keys and Devon’s darkly whimsical flute. Devon himself created the band Deadsoul Tribe in the 2000s, and you will hear some of the same haunting vocals, darkened thoughts, and abstract concepts here. In that way, Psychotic Waltz almost feels more ritualistic than bombastic.

Being open and honest here, I am a huge fan of Devon Graves. His voice is unique, though I would point to Warrel Dane (RIP) of Nevermore as a possible touchstone for Devon’s style. Of course, Devon is able to alter his tone to match the emotions he is conveying, so his voice passes through various shades and styles. As a big fan of Devon’s voice, this album was always going to connect with me on some level. And he does not disappoint at all. His vocals are as powerful and unsettling as ever.

I am very impressed with the overall performances on this album, too. While Devon’s voice is the highlight for me, Dan and Brian lay down some incredibly heavy riffs that stick in my memory. Dan’s keys might even be more striking, though, and I think one of the greatest parts of the album overall. His keys are haunting and surging, lingering on my mind even in the midst of a wall of riffs, and the way they interact with Devon’s flute is just so lush and life-giving. They add a character to the music that is vital. I should also mention, though, that Ward and Norman’s rhythm section is rock solid, and I especially love the sound of the drums as they feel imminent and immediate.

With “The God-Shaped Void”, the band has created an album that emanates darkness and spine-tingling moments. The lyrics discuss the human condition, especially in relation to religion and progress. These concepts are conveyed through hair-raising atmospheres, hauntingly magnificent vocals, and hefty moments of metallic brilliance. The album really does possess a wonderful balance between disturbing auras and mechanical genius.

Being open and honest once more, when I first heard the single “All the Bad Men”, I was instantly disappointed. The music sounded somewhat hammy, especially the lyrics. However, when I heard the second single “Devils and Angels”, I fell in love immediately. The former feels more like straightforward metal, and the phrase “bad men” is uttered incessantly. After listening to it a dozen times, though, I realized that I actually really like it, especially the pealing, gravy guitar work. Now, “Devils and Angels” is amazing from start to finish. It is evocative and dark, and the chorus has a keen melody that I love.

I realized that my favorites on the album were all more like “Devils and Angels”, then. Songs like “Stranded” and “The Fallen” are more like “All the Bad Men” in their metallic glory, and they are great songs, for sure. But songs like “While the Spiders Spin” and “Sisters of the Dawn” are more abstract, poignant, and chilling, and I cannot get enough of them. “Sisters of the Dawn”, specifically, is my favorite song on the album. It feels massive in scale, but in an unnerving sense. The second half is quite atmospheric with piercing keys that churn and surge, pushing the song into a soaring climax.

Psychotic Waltz are back, and let’s hope for good. They haven’t missed a step, and that is evident in the quality of their song-writing. “The God-Shaped Void” is ethereal and heavy, not to mention thoughtful, and Devon’s signature unnerving style is on full display. I really couldn’t ask for more than the band has given here.

The Prog Mind



..::TRACK-LIST::..

1. Devils And Angels 06:29
2. Stranded 04:49
3. Back To Black 03:52
4. All The Bad Men 03:58
5. The Fallen 05:49
6. While The Spiders Spin 05:49
7. Pull The String 04:54
8. Demystified 05:12
9. Season Of The Swarm 05:57
10. Sisters Of The Dawn 06:41
11. In The Silence 05:16



..::OBSADA::..

Devon Graves - vocals
Dan Rock - guitars & keys
Brian McAlpin - guitars
Ward Evans - bass
Norman Leggio - drums




https://www.youtube.com/watch?v=JqPQVz7FeMc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Całkiem niedawno, przy okazji recenzji albumu Eupnea, pisałem na naszych łamach o spektakularnym powrocie formacji Pure Reason Revolution. Okazuje się jednak, że 2020 rok przyniósł jeszcze jeden równie efektowny powrót. No bo jak nazwać pierwszą po 24 latach płytę kalifornijskiej legendy Psychotic Waltz?

Przypomnę, że ten amerykański zespół powstał w 1986 roku, między 1990 a 1996 rokiem wydał cztery płyty (czyniące z nich na swój sposób jednego z klasyków progresywnego metalu) i w 1997 roku zakończył działalność. Po trzynastu latach grupa się reaktywowała i na przełomie 2011 i 2012 roku zagrała trochę koncertów. Wtedy też podjęto decyzję o nagraniu nowego albumu, na który – jak się okazało – przyszło czekać jeszcze osiem lat.

Jak widać łatwo nie było. Najważniejsze jednak, że muzycy wracają i to z dużym przytupem. Bo piąty krążek zarejestrowano pod czujnym okiem inżyniera dźwięku Ulricha Wilda, zaś miksem i masteringiem zajął się w szwedzkim studiu Fascination Street sam Jens Bogren (Fates Warning, Katatonia, Opeth, Devin Townsend). Do tego okładkę zaprojektował słynny amerykański artysta (także pochodzący z Kalifornii) Travis Smith. No i co najważniejsze, nowy materiał powstał w oryginalnym składzie: Devon Graves (Buddy Lackey), Dan Rock, Ward Evans, Norman Leggio i Brian McAlpin.

Czy na takich filarach mogło powstać coś przeciętnego? Nie. I faktycznie mamy do czynienia z iście królewskim wskrzeszeniem. Jedenaście kompozycji wpisanych w niespełna godzinę muzyki przywołuje stare dobre Psychotic Waltz, choć oczywiście to już inne, bardziej nowoczesne i przestrzenne brzmienie, inaczej też rozłożone są muzyczne akcenty. Mamy jedyny w swoim rodzaju, jakże charakterystyczny wokal (i przy okazji udane harmonie) Davona Gravesa i jego obowiązkowe partie fletu dodające całości pewnej zwiewności ale i tajemniczości. Są ciężkie progmetalowe riffy skontrastowane niekiedy z akustycznymi formami. No i jest wreszcie jakże specyficzny mrok, podszyty pewną złowieszczością i niepokojem, okraszony ponadto lekką muzyczną psychodelią. Wszystko dobrze współgra z posępną warstwą liryczną dotykającą zagłady, śmierci i zniszczenia.

To już mocno wyświechtany recenzencki frazes, ale trudno tu cokolwiek wyróżniać. Album jest niezwykle spójną całością. I tak należy go słuchać. Kompozycje utrzymane w średnich tempach, mimo ciężaru gitar, nie epatują nadmierną agresją, przynoszą oddech choćby poprzez bardzo udane i melodyjne refreny. Przykładami niech będą otwierający płytę Devils and Angels, czy następujący po nim Stranded, nie wspominając już o balladowym The Fallen.

Cóż, wyszedł Amerykanom prawdziwie progmetalowy klasyk, jedno z ich najbardziej udanych dokonań. Rzecz powinna przypaść do gustu miłośnikom równie wielkich składów z czasów kształtowania się progresywnego metalu, takich jak Fates Warning, czy Queensrÿche. Z drugiej strony równie ciepło powinni nań spojrzeć wielbiciele innego wcielenia Davona Gravesa, austriackiego Deadsoul Tribe. Bardzo dobra płyta.

Mariusz Danielak


Aż chciałoby się zacząć klasykiem spod znaku George'a Lucasa: „Dawno temu, w odległej galaktyce…”. Wszak w zamierzchłym 1997 roku o kalifornijskim zespole Psychotic Waltz słuch zaginął. Minęły przeszło dwie dekady, świat uległ drastycznym zmianom, powstało wiele znakomitych progmetalowych albumów i nagle z tego czasowego bezkresu muzycy Psychotic Waltz zdołali się wydostać. Co prawda w 2010 roku zagrali serię koncertów w Europie u boku Nevermore i Symphony X, ale ich prawdziwy powrót nastąpił właśnie teraz w 2020 roku, o czym najlepiej świadczy album zatytułowany „The God-Shaped Void”.

Formalnie rzecz biorąc to piąty duży krążek w dyskografii kapeli, będący następcą wydanego w 1996 roku albumu „Bleeding”. Od tego materiału zmienił się skład Psychotic Waltz, bo na basie grał wówczas Phil Cuttino, a na „The God-Shaped Void” na tej pozycji usłyszymy już Warda Evansa. Powrót jest więc bardziej esencjonalny, niż się wydaje, bo nowy album Psychotic Waltz został nagrany w oryginalnym, pierwszym składzie. Skoro już więc powrót kapeli do samych korzeni stał się faktem, to wypadałoby postawić odpowiedź na pytanie, które niekiedy nie potrzebuje odpowiedzi: czy warto było? Warto. Nowy album formacji z pewnością zadowoli wszystkich fanów rocka i metalu progresywnego, którzy od czasu do czasu lubią nurkować do oceanu psychodelicznych muzycznych wizji. To powrót godny dziedzictwa zespołu.

W świecie mrocznych symboli muzycy Psychotic Waltz nawołują do boskich praw natury, tych odwiecznych i niezniszczalnych, szczególnie gdy przychodzi im mierzyć się z destrukcyjnym człowiekiem. Tak oto kapela w tonie oskarżycielskim poddaje pod wątpliwość kondycję współczesnego człowieka – krytykuje fałsz i cynizm zarówno na poziomie mediów, jak również organizacji. Krytykuje człowieka odłączonego od relacji międzyludzkich, zniewolonego przez systemy (polityczne, religijne, społeczne) i obojętnego na wspomniane prawa natury, w zasadzie: na samego siebie. Przesłanie „The God-Shaped Void” jest smutne i ponure. Tytułowa pustka w kształcie Boga jest tym, co człowiek zrobił sam ze sobą, odrzucając boskość praw natury. Z przesłaniem koresponduje sama muzyka. Intensywna, gęsta, niekiedy przytłaczająca, wpisująca się w dobre standardy twórczości grupy.

Instrumentaliści Psychotic Waltz nigdzie specjalnie się nie spieszą, celebrując akcenty na instrumentach i tworząc coś w rodzaju narkotycznego rytuału wokół wielobarwnych wokali Devona Gravesa. Muzyce, pomimo dużej gęstości na poziomie gitar i perkusji, nie brakuje przestrzeni, a także pięknych solówek („Devils and Angels”, „Back To Black”, „The Fallen”, „Sisters Of The Dawn”, „In The Silence”). Trzeba przyznać, że sekcja gitarowa w osobach Dana Rocka i Briana McAlpina zaprezentowała wszechstronny wachlarz możliwości. Równocześnie w utworach zawartych na „The God-Shaped Void” kapela często żongluje tempem, balansując na krawędziach hard rocka i metalu, a także dodając dużo nieoczywistości do swoich utworów („Stranded”, „All The Bad Men”, „Pull The String”). Muzycy Psychotic Waltz sięgają też do wspomnianego mrocznego, nieco przytłaczającego klimatu, który dobrze oddaje ducha lat dziewięćdziesiątych ubiegłego wieku („Sisters Of The Dawn”). Na dystansie albumu do mocnego, intensywnego instrumentarium wkradają się również elementy psychodelii („Devils and Angels”, „While The Spiders Spin”).

W ten sposób w objęciach pięknych partii gitarowych, w nieregularnym tempie i w żywiołowych zwrotach akcji, pod dyktando charyzmatycznego wokalisty, otrzymujemy sentymentalną podróż, w której przewodnikami są muzycy Psychotic Waltz. Oczywiście w zawartości „The God-Shaped Void” znalazło się także sporo konkretów. Album bywa drapieżny w heavymetalowym stylu („Back To Black”, „In The Silence”), bywa uwikłany w rockową melancholię, która w obecności słuchaczy przeistacza się w nieco histeryczny lament („The Fallen”) lub w mocny rockowy manifest („Demystified”).

Całość dobrze świadczy o kondycji Psychotic Waltz. Album jest wielobarwny, ale oparty na charakterystycznym brzmieniu. Każdy utwór na „The God-Shaped Void” to fragment tożsamości Psychotic Waltz. Nie chodzi tu tylko sentymenty na temat twórczości kalifornijskiej kapeli, ale też o muzykę, która współcześnie znajdzie pokaźne grono odbiorców. To dobry powrót do świata muzyki.

Konrad Sebastian Morawski


In the last couple years, we have seen several progressive bands come surging back with wonderful results. It always feels satisfying when a band can do that. The latest classic band to return is Psychotic Waltz. Their new album “The God-Shaped Void” releases on February 14th through Inside Out music.

The story of Psychotic Waltz is long and complex. In some ways, I feel like they would have become one of the biggest names in progressive metal if their path had been a bit easier. Originally called Aslan, they released their first album as Psychotic Waltz in 1990. They released four albums in the 1990s before becoming embroiled in a lawsuit and overall just losing steam. They did tour with Nevermore and Symphony X about 10 years ago, but this new album is their first actual studio album in over 20 years. The current lineup includes: Devon Graves on vocals and flute; Dan Rock on guitars and keys; Brian McAlpin on lead guitar; Ward Evans on bass; and Norman Leggio on drums. So far as I can tell, this is the complete original lineup from the late 80s.

Psychotic Waltz plays progressive metal, and while it can be technical, it never feels as overtly complex as other bands of that era, like Dream Theater or Symphony X. No, Psychotic Waltz makes music that is more about evoking dark moods, eerie textures, and hushed emotions, much of which is created by harnessing Dan’s chilling keys and Devon’s darkly whimsical flute. Devon himself created the band Deadsoul Tribe in the 2000s, and you will hear some of the same haunting vocals, darkened thoughts, and abstract concepts here. In that way, Psychotic Waltz almost feels more ritualistic than bombastic.

Being open and honest here, I am a huge fan of Devon Graves. His voice is unique, though I would point to Warrel Dane (RIP) of Nevermore as a possible touchstone for Devon’s style. Of course, Devon is able to alter his tone to match the emotions he is conveying, so his voice passes through various shades and styles. As a big fan of Devon’s voice, this album was always going to connect with me on some level. And he does not disappoint at all. His vocals are as powerful and unsettling as ever.

I am very impressed with the overall performances on this album, too. While Devon’s voice is the highlight for me, Dan and Brian lay down some incredibly heavy riffs that stick in my memory. Dan’s keys might even be more striking, though, and I think one of the greatest parts of the album overall. His keys are haunting and surging, lingering on my mind even in the midst of a wall of riffs, and the way they interact with Devon’s flute is just so lush and life-giving. They add a character to the music that is vital. I should also mention, though, that Ward and Norman’s rhythm section is rock solid, and I especially love the sound of the drums as they feel imminent and immediate.

With “The God-Shaped Void”, the band has created an album that emanates darkness and spine-tingling moments. The lyrics discuss the human condition, especially in relation to religion and progress. These concepts are conveyed through hair-raising atmospheres, hauntingly magnificent vocals, and hefty moments of metallic brilliance. The album really does possess a wonderful balance between disturbing auras and mechanical genius.

Being open and honest once more, when I first heard the single “All the Bad Men”, I was instantly disappointed. The music sounded somewhat hammy, especially the lyrics. However, when I heard the second single “Devils and Angels”, I fell in love immediately. The former feels more like straightforward metal, and the phrase “bad men” is uttered incessantly. After listening to it a dozen times, though, I realized that I actually really like it, especially the pealing, gravy guitar work. Now, “Devils and Angels” is amazing from start to finish. It is evocative and dark, and the chorus has a keen melody that I love.

I realized that my favorites on the album were all more like “Devils and Angels”, then. Songs like “Stranded” and “The Fallen” are more like “All the Bad Men” in their metallic glory, and they are great songs, for sure. But songs like “While the Spiders Spin” and “Sisters of the Dawn” are more abstract, poignant, and chilling, and I cannot get enough of them. “Sisters of the Dawn”, specifically, is my favorite song on the album. It feels massive in scale, but in an unnerving sense. The second half is quite atmospheric with piercing keys that churn and surge, pushing the song into a soaring climax.

Psychotic Waltz are back, and let’s hope for good. They haven’t missed a step, and that is evident in the quality of their song-writing. “The God-Shaped Void” is ethereal and heavy, not to mention thoughtful, and Devon’s signature unnerving style is on full display. I really couldn’t ask for more than the band has given here.

The Prog Mind



..::TRACK-LIST::..

1. Devils And Angels 06:29
2. Stranded 04:49
3. Back To Black 03:52
4. All The Bad Men 03:58
5. The Fallen 05:49
6. While The Spiders Spin 05:49
7. Pull The String 04:54
8. Demystified 05:12
9. Season Of The Swarm 05:57
10. Sisters Of The Dawn 06:41
11. In The Silence 05:16



..::OBSADA::..

Devon Graves - vocals
Dan Rock - guitars & keys
Brian McAlpin - guitars
Ward Evans - bass
Norman Leggio - drums




https://www.youtube.com/watch?v=JqPQVz7FeMc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This shit is like fucking candy. Exxplorer's unknown classic "Symphonies Of Steel" is filled to the brim with metal goodness. Perhaps maybe a little bit "too full". This album is like those beakers in high school that you filled with water and then tossed a little weight in and watched as the water over flowed. This beaker must be filled with a bizarre liquid, because if my facial expression was the meniscus, I would be frowning at one moment and smiling the next. I go from loving every note that comes from Ed Lavolpe's twittering fingers to hanging my head in shame at other moments as Exxplorer try too hard, make amateur mistakes and/or mock the very song they are so intimately involved with.

While Ed Lavolpe's guitar playing is nothing to frown at, his tone could use a small kick in its bony ass. Fellow axeman Kevin Kennedy is in tow with talent and a general lack of heaviness. The guitars have a vintage sound to them that anyone could enjoy but a slight tonal adjustment would leave one to face a slightly angrier bear. Both rip through a scattering of dual leads and solos across the album. Lenny Rizzo's vocals are decent though varied throughout the album. His vocals in "Going To Hell" are prepubescent. He could be singing this song while having his braces adhered to his front teeth. He makes up for this in the "Objection Overruled" duo where he sounds like Paul DiAnno on the mellow songs on Iron Maiden's self titled. Rizzo's vocals have a natural reverb to them that fills in some of the space they lack. He has the range but the power isn't there at times. Jimmy Gardner's bass playing is fantastic throughout the album and really helps the album matter. He has that 80's bass style down pat. He has a really good tone and is tight throughout the album. Mike Moyer's drums are typical and nothing special but he lays a strong foundation and pounds out some noticeable fills.

The album's songs are generally awesome. Opener "City Streets" is a memorable and standard metal tune with a great solo and those old school riffs that no one can live without. It's got plenty of headbanging moments and will make you want to romp around your room while being careful not to make the phonograph skip. "Run For Tomorrow" is, for me, the album's highlight with a great flow after the intro, which, as far as I'm concerned, is a few measures too long, and a powerful essence which leaves me wishing the song was just slightly longer. The band's namesake track chugs and gallops though never amounts to much - a let down because the opportunities were there. Cool solo though. "Metal Detectors" is stuck in my mind as the finest example of metal's acknowledgment of its own image. It's a song we've all heard before, talking about all those things metal talks about. You know...metal, steel... With lines like these, Manowar can sit proudly and smile at their disciples. "I'm hungry for metal, I'm searchin' for steel" or "The power of metal, is driving you near" and "Our numbers are growing, like a metal storm" And my favorite... "Don't let them tell you that metal is dead, they listen to Springsteen, it's gone to their head." Eric Adams would be enthralled with this track.

The two tracks / segments which form the "Objection Overruled" section of the album are no lackluster pieces of crap. The the first part is mainly slow, raunchy and doomy until the last two minutes. Basically, I would compare this entire track to "Strange World" or "Remember Tomorrow." I also get a hint of Geddy Lee in the vocals along with DiAnno. Rizzo's vocals are on full display here and they are wearing a fucking full patch covered tuxedo (damn I want one of those!). While the track picks up pace in the second half, It still maintains a general mid paced tempo and has the albums best solo section as well. This is as good as any of Fates Warning's B-sides. It ain't "Fata Morgana" or "Guardian" but I like it just as much as "Giant's Lore" or "Orphan Gypsy."

The field has some stumps though. The only-piano second track "Prelusion" is placed terribly and really doesn't prelude anything. It shares a theme that returns at the end of "Run For Tomorrow" though I'm left wondering who had the idea that a four minute piano piece as the second track on the album would help pacing and move the album along. Granted, the piano piece is really good, it just doesn't belong there. Fourth track "World War III" is a ballad. Yeah, they were all the rage at the time and the lyrics really aren't entirely about people dying, machine guns and German bombers dropping their payload on England's Anderson shelters but the song just drags. "Going to Hell" is the album's weakest track by more than a longshot. Rizzo's vocals sound stolen from Jane's Addiction. The song's lacks much drive and though a generally good riff appears once or twice, it is lost amidst awkward chord choices. A skipper if I ever heard one.

Still, of all the traditional metal that came out of New Jersey or the USA in general, for 1985, this was out there and tried to stand apart from the pack of NWOBHM imitators. If you're still skeptical that this is really that good, take note that this was originally released by the same label putting out the classic Manilla Road albums. That should be word enough that this is a worthy forged piece of metal. And Exxplorer is still fucking exxploring! Check these guys out if you get a chance, I have a feeling you will feel like it was 1986 again. Don't forget your denim and leather though, or you won't be allowed to enter.

... or raise your fists in the air and shout "The metal detectors are losing control!!!!"

Orionmetalhead



..::TRACK-LIST::..

CD X - Album Remastered By Achim Koehler:
1. City Streets 3:45
Vocals - Lenny Rizzo

2. Prelusion 1:54
Piano - Jennifer Sakowski

3. Run For Tomorrow 4:55
Vocals - Lenny Rizzo

4. Exxplorer 4:19
Vocals - Armondo Diaz

5. World War III 4:26
Vocals - Armondo Diaz

6. Going To Hell 5:13
Vocals - Armondo Diaz

7. Objection Overruled : A) Guilty As Charged 7:11
Vocals - Lenny Rizzo

8. Objection Overruled : B) Phantasmagoria 4:50
Vocals - Lenny Rizzo

9. Metal Detectors 4:33
Vocals - Lenny Rizzo

10. X-Termination 3:33
Vocals - Armondo Diaz



CD XX - Symphonies Of Steel Bonus Tracks (2000) + The Flying Dutchman Demo (1985):
1. The Magic Hills (Demo 2000) 5:47
Vocals - Jim Abbiati

2. Man From Nowhere (Demo 2000) 5:49
Vocals - Jim Abbiati

3. The Cycle (Demo 2000) 4:59
Vocals - Jim Abbiati

4. You Made Me Live (Demo 2000) 6:11
Vocals - Jim Abbiati

5. The Flying Dutchman (The Flying Dutchman Demo) 6:05
Vocals - Lenny Rizzo

6. Forgotten Warrior (The Flying Dutchman Demo) 6:20
Vocals - Lenny Rizzo

7. One (The Flying Dutchman Demo) 3:32
Vocals - Lenny Rizzo



..::OBSADA::..

Mike Moyer - Drums
Ed LaVolpe - Guitars, Guitars (classical)
Kevin 'Koncrete' Kennedy - Guitars (12-string), Guitars
Jimmy G. - Vocals (additional), Bass
Lennie 'Big Daddy' Rizzo - Vocals




https://www.youtube.com/watch?v=lgg2FXe5ZQE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This shit is like fucking candy. Exxplorer's unknown classic "Symphonies Of Steel" is filled to the brim with metal goodness. Perhaps maybe a little bit "too full". This album is like those beakers in high school that you filled with water and then tossed a little weight in and watched as the water over flowed. This beaker must be filled with a bizarre liquid, because if my facial expression was the meniscus, I would be frowning at one moment and smiling the next. I go from loving every note that comes from Ed Lavolpe's twittering fingers to hanging my head in shame at other moments as Exxplorer try too hard, make amateur mistakes and/or mock the very song they are so intimately involved with.

While Ed Lavolpe's guitar playing is nothing to frown at, his tone could use a small kick in its bony ass. Fellow axeman Kevin Kennedy is in tow with talent and a general lack of heaviness. The guitars have a vintage sound to them that anyone could enjoy but a slight tonal adjustment would leave one to face a slightly angrier bear. Both rip through a scattering of dual leads and solos across the album. Lenny Rizzo's vocals are decent though varied throughout the album. His vocals in "Going To Hell" are prepubescent. He could be singing this song while having his braces adhered to his front teeth. He makes up for this in the "Objection Overruled" duo where he sounds like Paul DiAnno on the mellow songs on Iron Maiden's self titled. Rizzo's vocals have a natural reverb to them that fills in some of the space they lack. He has the range but the power isn't there at times. Jimmy Gardner's bass playing is fantastic throughout the album and really helps the album matter. He has that 80's bass style down pat. He has a really good tone and is tight throughout the album. Mike Moyer's drums are typical and nothing special but he lays a strong foundation and pounds out some noticeable fills.

The album's songs are generally awesome. Opener "City Streets" is a memorable and standard metal tune with a great solo and those old school riffs that no one can live without. It's got plenty of headbanging moments and will make you want to romp around your room while being careful not to make the phonograph skip. "Run For Tomorrow" is, for me, the album's highlight with a great flow after the intro, which, as far as I'm concerned, is a few measures too long, and a powerful essence which leaves me wishing the song was just slightly longer. The band's namesake track chugs and gallops though never amounts to much - a let down because the opportunities were there. Cool solo though. "Metal Detectors" is stuck in my mind as the finest example of metal's acknowledgment of its own image. It's a song we've all heard before, talking about all those things metal talks about. You know...metal, steel... With lines like these, Manowar can sit proudly and smile at their disciples. "I'm hungry for metal, I'm searchin' for steel" or "The power of metal, is driving you near" and "Our numbers are growing, like a metal storm" And my favorite... "Don't let them tell you that metal is dead, they listen to Springsteen, it's gone to their head." Eric Adams would be enthralled with this track.

The two tracks / segments which form the "Objection Overruled" section of the album are no lackluster pieces of crap. The the first part is mainly slow, raunchy and doomy until the last two minutes. Basically, I would compare this entire track to "Strange World" or "Remember Tomorrow." I also get a hint of Geddy Lee in the vocals along with DiAnno. Rizzo's vocals are on full display here and they are wearing a fucking full patch covered tuxedo (damn I want one of those!). While the track picks up pace in the second half, It still maintains a general mid paced tempo and has the albums best solo section as well. This is as good as any of Fates Warning's B-sides. It ain't "Fata Morgana" or "Guardian" but I like it just as much as "Giant's Lore" or "Orphan Gypsy."

The field has some stumps though. The only-piano second track "Prelusion" is placed terribly and really doesn't prelude anything. It shares a theme that returns at the end of "Run For Tomorrow" though I'm left wondering who had the idea that a four minute piano piece as the second track on the album would help pacing and move the album along. Granted, the piano piece is really good, it just doesn't belong there. Fourth track "World War III" is a ballad. Yeah, they were all the rage at the time and the lyrics really aren't entirely about people dying, machine guns and German bombers dropping their payload on England's Anderson shelters but the song just drags. "Going to Hell" is the album's weakest track by more than a longshot. Rizzo's vocals sound stolen from Jane's Addiction. The song's lacks much drive and though a generally good riff appears once or twice, it is lost amidst awkward chord choices. A skipper if I ever heard one.

Still, of all the traditional metal that came out of New Jersey or the USA in general, for 1985, this was out there and tried to stand apart from the pack of NWOBHM imitators. If you're still skeptical that this is really that good, take note that this was originally released by the same label putting out the classic Manilla Road albums. That should be word enough that this is a worthy forged piece of metal. And Exxplorer is still fucking exxploring! Check these guys out if you get a chance, I have a feeling you will feel like it was 1986 again. Don't forget your denim and leather though, or you won't be allowed to enter.

... or raise your fists in the air and shout "The metal detectors are losing control!!!!"

Orionmetalhead



..::TRACK-LIST::..

CD X - Album Remastered By Achim Koehler:
1. City Streets 3:45
Vocals - Lenny Rizzo

2. Prelusion 1:54
Piano - Jennifer Sakowski

3. Run For Tomorrow 4:55
Vocals - Lenny Rizzo

4. Exxplorer 4:19
Vocals - Armondo Diaz

5. World War III 4:26
Vocals - Armondo Diaz

6. Going To Hell 5:13
Vocals - Armondo Diaz

7. Objection Overruled : A) Guilty As Charged 7:11
Vocals - Lenny Rizzo

8. Objection Overruled : B) Phantasmagoria 4:50
Vocals - Lenny Rizzo

9. Metal Detectors 4:33
Vocals - Lenny Rizzo

10. X-Termination 3:33
Vocals - Armondo Diaz



CD XX - Symphonies Of Steel Bonus Tracks (2000) + The Flying Dutchman Demo (1985):
1. The Magic Hills (Demo 2000) 5:47
Vocals - Jim Abbiati

2. Man From Nowhere (Demo 2000) 5:49
Vocals - Jim Abbiati

3. The Cycle (Demo 2000) 4:59
Vocals - Jim Abbiati

4. You Made Me Live (Demo 2000) 6:11
Vocals - Jim Abbiati

5. The Flying Dutchman (The Flying Dutchman Demo) 6:05
Vocals - Lenny Rizzo

6. Forgotten Warrior (The Flying Dutchman Demo) 6:20
Vocals - Lenny Rizzo

7. One (The Flying Dutchman Demo) 3:32
Vocals - Lenny Rizzo



..::OBSADA::..

Mike Moyer - Drums
Ed LaVolpe - Guitars, Guitars (classical)
Kevin 'Koncrete' Kennedy - Guitars (12-string), Guitars
Jimmy G. - Vocals (additional), Bass
Lennie 'Big Daddy' Rizzo - Vocals




https://www.youtube.com/watch?v=lgg2FXe5ZQE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This was Virgin Steele’s debut album, the self titled release which is so far away from their current sound. Virgin Steele sees the band in their most basic of forms, far from the mighty warrior they would become over their career. Here the band is like an adolescent squire, with nothing but the vest and briefs. It would take years for the band to amass their armour, put manly hairs on their collective chests, and manage to unleash the great sword of fire from its sheathe. Before pressing too deep, I must clear up that, in the interest of the rewind, I’m going to be reviewing the original ten tracks, though from the re-issue of the album (good luck finding an original). Now that that’s out of the way, let me unlock the door to the past and take a look at Virgin Steele.

The album opens up with the double track “Minuet in G Minor/ Danger Zone”, which was a quite common practice in the early eighties in particular, and basically it’s an intro and a song in one track. The intro part is something of a prelude to the bombast that would continually worm its way into the bands sound. After this long part, the band kicks into some traditional eighties heavy metal riffing, and David DeFeis begins cooing all over. His youthful voice is quite different to the more rip-roaring style he would develop and hone over the band’s nineties releases. He shrills and shrieks all over Virgin Steele, which is what the eighties were all about, and if I had to draw any comparison I could only really mention Crimson Glory’s late, great Midnight.

Vying for the spotlight we have Jack Starr, who would go on to play one more album with Virgin Steele. Jack Starr’s playing is good, and particularly virtuosic, almost neoclassical in places. He spews leads forth as often as he can, and the album feels largely like Jack and David are pushing each other out of the way to show the world what they can do. It works though, and gives the album its main charm, which is the youthful energy. The music contained is quite far from the heavy/ power metal Virgin Steele would later become renowned for. Here their sound is pure vintage eighties metal, and early eighties metal at that.

For all its charm, Virgin Steele is a very uneven album, and possibly the band’s most uneven release. Between standard heavy metal numbers, hair metal style cringers, and a ballad which would have even your mother rearing; Virgin Steele is that embarrassing first year at school, or first day at work where you confuse the bathrooms and end up in the ladies room (anyone?) The closest we get to glory here is “Children Of The Storm”, which shows the band taking their first, shaky steps into more epic territory, or in the band’s namesake track, which has some of the heavier riffs on the album. However, taking the album as it is, and discounting everything they would later do; the first three songs are actually pretty cool early eighties style metal. Jack Starr’s guitar work is definitely the highpoint of the album, and even when they’re squeezing out the shocking ballad “Still In Love With You”, he always nails a sweet lick to keep from cheese poisoning.

Despite its shortcomings, for a debut early-eighties album it definitely has some merit in some of the riffs and arrangement, particularly “Virgin Steele” and “Children Of The Storm”. Jack Starr’s guitar work also helps in spades keeping interest. I’d say this one would appeal to those curious of the early metal scene, as well as eighties metal fans in general; provided they can stomach their fair share of cheese. As for Virgin Steele fans, you should probably leave this one until late in your exploration of the band, if at all. Pitted against the rest of their discography, it isn’t a great representation of what the band is about. Plus David DeFeis’ vocals are almost too much here, and that’s saying something.

Andromeda Unchained


Virgin Steele's first effort is no "Ample Destruction" or "Burning Star". It is neither a USPM classic nor a grand glorious affair like many a Virgin Steele album. In fact, it has aged rather horribly and sounds all the more bashfully archaic for it. Thankfully, it knows its place. It may have no standing in the wider spectrum of things, but boy, does it rock with all its might. It doesn't pretend anything and it perfectly depicts the sound of a band operating on purely primal thrills.

Most people know Virgin Steele for their fiery front man David DeFeis at the helm of things but on their first album, underground guitar hero Jack Starr was the center that held everything together. His riffs sound layered and admirably dynamic-never lazy! He uses up a lot of licks in every song that you imagine he won't have any left but he surprises with these constantly chiming blues-based solos delivered so effortlessly and with such finesse. The only downside is that after a while you realize there isn't much variation and they all sound a bit similar.

DeFeis, by comparison, is the ultimate picture of variation. If the monotony of Joey Ayvazian's drumming was designed to drive you away then David DeFeis was intended to make you stay awhile. He'll charm his way through the most ridiculous of statements yet come out with his sheen of sophistication all intact. Even when he plays the part of pleading romantic as on "Still In Love With You" he still maintains a leery note in his voice. The Robert Plant influences really run deep. On the best cuts of the album-the title track and "Children Of The Storm"-he really comes through like a champ. On the other "party-over-here" 80's crap slabs, he dose tend to nag.

This was their first album of course, and he had yet to master the higher end of his voice. As a consequence, meant to be powerful falsettos came out in a rapid shrillness and the lack of a more manly lower end that he exhibits on later works gave us silly baby-talking vocals instead. Remember Percy's studio cooked shrill delivery on "The Song Remains The Same"? That's pretty much how Dave sang on half this record. The teasing lyric on "Pictures On You" that goes; "stop that nagging noise" sums up my feelings just right. "Danger Zone" on the other hand sounds like it was stolen from Savatage's "Sirens" but rocks awesomely nonetheless.

By "Guardians Of The Flame", Virgin Steele were beginning to show some epic skin and no influences from their debut carried on to any later albums making it all the more forgettable. A good thing, perhaps? Surely even purists regard it as only a relic if they feel so desperate as to treasure every Steele album. For me it is simply a sign that better days were coming.

VirginSteele-Helstar



..::TRACK-LIST::..

1. Minuet in G Minor
2. Danger Zone
3. American Girl
4. Dead Ends Kids
5. Drive On Thru
6. Still In Love With You
7. Children Of The Storm
8. Pictures On You
9. Pulverizer
10. Living In Sin
11. Virgin Steele

12. The Lesson (Demo - Bonus Track)
13. Life of Crime (Demo - Bonus Track)
14. Burn The Sun (Demo - Bonus Track)
15. American Girl (Re-Mastered Original Mix - Bonus Track)
16. Dead End Kids (Remixed - Bonus Track)
17. Drive On Through (Re-Mastered Original Mix - Bonus Track)
18. Living In Sin (Re-Mastered Original Mix - Bonus Track)
19. A Token Of My Hatred (Live - Bonus Track)

VIRGIN STEELE 'I' CD includes the debut album (originally released in 1982) re-mastered and selected tracks with new mix. 2018 CD version comes with 24-pages booklet including lyrics, photos, liner notes by David DeFeis and 8 bonus tracks.



..::OBSADA::..

David DeFeis - vocals, keyboards, producer
Jack Starr - all guitars
Joe O'Reilly - bass
Joey Ayvazian - drums




https://www.youtube.com/watch?v=XwVoSj2ChZM&list=PLBV4zVUrI5diGU0v0mWwnISCySTCikrsJ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This was Virgin Steele’s debut album, the self titled release which is so far away from their current sound. Virgin Steele sees the band in their most basic of forms, far from the mighty warrior they would become over their career. Here the band is like an adolescent squire, with nothing but the vest and briefs. It would take years for the band to amass their armour, put manly hairs on their collective chests, and manage to unleash the great sword of fire from its sheathe. Before pressing too deep, I must clear up that, in the interest of the rewind, I’m going to be reviewing the original ten tracks, though from the re-issue of the album (good luck finding an original). Now that that’s out of the way, let me unlock the door to the past and take a look at Virgin Steele.

The album opens up with the double track “Minuet in G Minor/ Danger Zone”, which was a quite common practice in the early eighties in particular, and basically it’s an intro and a song in one track. The intro part is something of a prelude to the bombast that would continually worm its way into the bands sound. After this long part, the band kicks into some traditional eighties heavy metal riffing, and David DeFeis begins cooing all over. His youthful voice is quite different to the more rip-roaring style he would develop and hone over the band’s nineties releases. He shrills and shrieks all over Virgin Steele, which is what the eighties were all about, and if I had to draw any comparison I could only really mention Crimson Glory’s late, great Midnight.

Vying for the spotlight we have Jack Starr, who would go on to play one more album with Virgin Steele. Jack Starr’s playing is good, and particularly virtuosic, almost neoclassical in places. He spews leads forth as often as he can, and the album feels largely like Jack and David are pushing each other out of the way to show the world what they can do. It works though, and gives the album its main charm, which is the youthful energy. The music contained is quite far from the heavy/ power metal Virgin Steele would later become renowned for. Here their sound is pure vintage eighties metal, and early eighties metal at that.

For all its charm, Virgin Steele is a very uneven album, and possibly the band’s most uneven release. Between standard heavy metal numbers, hair metal style cringers, and a ballad which would have even your mother rearing; Virgin Steele is that embarrassing first year at school, or first day at work where you confuse the bathrooms and end up in the ladies room (anyone?) The closest we get to glory here is “Children Of The Storm”, which shows the band taking their first, shaky steps into more epic territory, or in the band’s namesake track, which has some of the heavier riffs on the album. However, taking the album as it is, and discounting everything they would later do; the first three songs are actually pretty cool early eighties style metal. Jack Starr’s guitar work is definitely the highpoint of the album, and even when they’re squeezing out the shocking ballad “Still In Love With You”, he always nails a sweet lick to keep from cheese poisoning.

Despite its shortcomings, for a debut early-eighties album it definitely has some merit in some of the riffs and arrangement, particularly “Virgin Steele” and “Children Of The Storm”. Jack Starr’s guitar work also helps in spades keeping interest. I’d say this one would appeal to those curious of the early metal scene, as well as eighties metal fans in general; provided they can stomach their fair share of cheese. As for Virgin Steele fans, you should probably leave this one until late in your exploration of the band, if at all. Pitted against the rest of their discography, it isn’t a great representation of what the band is about. Plus David DeFeis’ vocals are almost too much here, and that’s saying something.

Andromeda Unchained


Virgin Steele's first effort is no "Ample Destruction" or "Burning Star". It is neither a USPM classic nor a grand glorious affair like many a Virgin Steele album. In fact, it has aged rather horribly and sounds all the more bashfully archaic for it. Thankfully, it knows its place. It may have no standing in the wider spectrum of things, but boy, does it rock with all its might. It doesn't pretend anything and it perfectly depicts the sound of a band operating on purely primal thrills.

Most people know Virgin Steele for their fiery front man David DeFeis at the helm of things but on their first album, underground guitar hero Jack Starr was the center that held everything together. His riffs sound layered and admirably dynamic-never lazy! He uses up a lot of licks in every song that you imagine he won't have any left but he surprises with these constantly chiming blues-based solos delivered so effortlessly and with such finesse. The only downside is that after a while you realize there isn't much variation and they all sound a bit similar.

DeFeis, by comparison, is the ultimate picture of variation. If the monotony of Joey Ayvazian's drumming was designed to drive you away then David DeFeis was intended to make you stay awhile. He'll charm his way through the most ridiculous of statements yet come out with his sheen of sophistication all intact. Even when he plays the part of pleading romantic as on "Still In Love With You" he still maintains a leery note in his voice. The Robert Plant influences really run deep. On the best cuts of the album-the title track and "Children Of The Storm"-he really comes through like a champ. On the other "party-over-here" 80's crap slabs, he dose tend to nag.

This was their first album of course, and he had yet to master the higher end of his voice. As a consequence, meant to be powerful falsettos came out in a rapid shrillness and the lack of a more manly lower end that he exhibits on later works gave us silly baby-talking vocals instead. Remember Percy's studio cooked shrill delivery on "The Song Remains The Same"? That's pretty much how Dave sang on half this record. The teasing lyric on "Pictures On You" that goes; "stop that nagging noise" sums up my feelings just right. "Danger Zone" on the other hand sounds like it was stolen from Savatage's "Sirens" but rocks awesomely nonetheless.

By "Guardians Of The Flame", Virgin Steele were beginning to show some epic skin and no influences from their debut carried on to any later albums making it all the more forgettable. A good thing, perhaps? Surely even purists regard it as only a relic if they feel so desperate as to treasure every Steele album. For me it is simply a sign that better days were coming.

VirginSteele-Helstar



..::TRACK-LIST::..

1. Minuet in G Minor
2. Danger Zone
3. American Girl
4. Dead Ends Kids
5. Drive On Thru
6. Still In Love With You
7. Children Of The Storm
8. Pictures On You
9. Pulverizer
10. Living In Sin
11. Virgin Steele

12. The Lesson (Demo - Bonus Track)
13. Life of Crime (Demo - Bonus Track)
14. Burn The Sun (Demo - Bonus Track)
15. American Girl (Re-Mastered Original Mix - Bonus Track)
16. Dead End Kids (Remixed - Bonus Track)
17. Drive On Through (Re-Mastered Original Mix - Bonus Track)
18. Living In Sin (Re-Mastered Original Mix - Bonus Track)
19. A Token Of My Hatred (Live - Bonus Track)

VIRGIN STEELE 'I' CD includes the debut album (originally released in 1982) re-mastered and selected tracks with new mix. 2018 CD version comes with 24-pages booklet including lyrics, photos, liner notes by David DeFeis and 8 bonus tracks.



..::OBSADA::..

David DeFeis - vocals, keyboards, producer
Jack Starr - all guitars
Joe O'Reilly - bass
Joey Ayvazian - drums




https://www.youtube.com/watch?v=XwVoSj2ChZM&list=PLBV4zVUrI5diGU0v0mWwnISCySTCikrsJ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Zdecydowanie pozycja obowiązkowa dla wszystkich zagorzałych fanów Accept!!!
Świadectwo tego wspaniałego zespołu i szczytowy moment w historii ich osi czasu!



..::TRACK-LIST::..

CD 1:
1. Metal Heart 5:25
2. Breaker 3:40
3. Screaming For A Love-Bite 4:22
4. Up To The Limit 4:45
5. Living For Tonight 3:35
6. Princess Of The Dawn 7:49
7. Neon Nights 8:17
8. Burning 7:29

CD 2:
1. Head Over Heels 5:48
2. Guitar Solo Wolf 4:27
3. Restless And Wild 2:34
4. Son Of A Bitch 2:35
5. London Leatherboys 3:54
6. Love Child 5:01
7. Flash Rockin' Man 5:08
8. Dogs On Leads 5:52
9. Fast As A Shark 4:09
10. Balls To The Wall 10:19
11. Outro (Bound To Fail) 1:09



..::OBSADA::..

Udo Dirkschneider - vocals
Wolf Hoffmann - guitars
Jörg Fischer - guitars
Peter Baltes - bass guitar
Stefan Kaufmann - drums, producer



https://www.youtube.com/watch?v=k8QWSKgf2pQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Zdecydowanie pozycja obowiązkowa dla wszystkich zagorzałych fanów Accept!!!
Świadectwo tego wspaniałego zespołu i szczytowy moment w historii ich osi czasu!



..::TRACK-LIST::..

CD 1:
1. Metal Heart 5:25
2. Breaker 3:40
3. Screaming For A Love-Bite 4:22
4. Up To The Limit 4:45
5. Living For Tonight 3:35
6. Princess Of The Dawn 7:49
7. Neon Nights 8:17
8. Burning 7:29

CD 2:
1. Head Over Heels 5:48
2. Guitar Solo Wolf 4:27
3. Restless And Wild 2:34
4. Son Of A Bitch 2:35
5. London Leatherboys 3:54
6. Love Child 5:01
7. Flash Rockin' Man 5:08
8. Dogs On Leads 5:52
9. Fast As A Shark 4:09
10. Balls To The Wall 10:19
11. Outro (Bound To Fail) 1:09



..::OBSADA::..

Udo Dirkschneider - vocals
Wolf Hoffmann - guitars
Jörg Fischer - guitars
Peter Baltes - bass guitar
Stefan Kaufmann - drums, producer



https://www.youtube.com/watch?v=k8QWSKgf2pQ



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