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


..::OPIS::..

Po wysłuchaniu 'Shadow Of A Fallen Star Pt.I' nie martwię się już o sukcesję naszych dawnych bohaterów. Jeśli Judas Priest, Iron Maiden odłożą instrumenty i dadzą sobie spokój, to zespoły takie jak Seven Sisters będą nieść pochodnię i bronić wiary...

FA

Tak Seven Sisters powraca po 3 latach ciszy z nowym albumem. "Shadow of a fallen star pt 1" to album, po który można śmiało sięgnąć, nawet w ciemno. Czy Seven Sisters kiedyś zawiódł? Otóż nie. To doświadczony brytyjski band, który działa sukcesywnie od 2013r i już są efekty. Panowie mają swój styl i nie boją się wychodzić poza standardy brytyjskiego metalu i nwobhm. Tak też jest w przypadku nowego dzieła, które jest kontynuacją poprzednich płyt, a jednocześnie powiewem świeżości w muzyce Seven Sisters. Na pewno jest to płyta, która trzeba mieć w kolekcji.

Mcneil i Farmer to dwóch gitarzystów, którzy czarują swoimi zagrywkami i słuchacz od razu przenoszony jest do świata Seven Sisters. Klimat science fiction jest wyczuwalny przez cały album, a okładka idealnie to obrazuje. Mcneil to też lider w zespole i w roli wokalisty sprawdza się idealnie. To za jego sprawą album brzmi jakby powstał w latach 80. No brzmi to bardzo klasycznie, co mnie bardzo cieszy. Jednak to nie jest też jakoś retro muzyka, czy kolejna kopia żelaznej dziewicy.

Ach te piękne popisy gitarowe w dynamicznym "beyond the black stars". Jest klimat i duża dawka przebojowości, a to są właśnie atuty tej kapeli. Mroczniejszy klimat i bardziej złożona formę dostajemy w "the artifice". Niby klasycznie, a zarazem bardzo współcześnie to brzmi. Szybko moje serce skradł nieco maidenów "whispers in the dark". Panowie dają tutaj czadu i to jest prawdziwa perełka na płycie. Podobne emocje wzbudza "horizons eye". Choć tutaj band stara się grać nieco progresywnej.
Hard rockowo i nieco oldschoolowy wypada na pewno tytułowy utwór. Na sam koniec stonowany i rozbudowany "thruths burden". Band znów czaruje pięknymi melodiami i wciągającym refrenem.

Seven Sisters to bardzo ważny band na scenie brytyjskiej. Band tworzy dojrzały i bardzo klimatyczny heavy metal. Brzmi to klasycznie, a jednocześnie bardzo świeżo. Band jest na fali i ta płyta to tylko potwierdza.

PMW

Sometimes, when you're sifting through the seemingly endless amounts of music being put out nowadays, you stumble upon something so fresh, mesmerizing and moving that you can't help but recommend it to everyone in sight, apart from listening to it non-stop for the first couple of months after its release. Such is the case with Shadow of a Fallen Star Pt.1, the third full-length by Seven Sisters, a young English band formed barely ten years ago. From the moment I set eyes on the artwork, I knew I was in for something special. I mean, just look at those beautiful green/blue/turquoise/violet colors depicting an ethereal and interstellar city surrounded by shining stars and spaceships and tell me you're not immediately thrown into epic space voyages and the discovery of ancient planets and civilizations. At least that's the impression I got: this goes to show just how important the artwork is for a newly released record.

Fortunately, I am pleased to report that the music lived up to the expectations set by that alluring and mystic picture. The album starts off with a haunting intro track that sets the mood perfectly for what's to come: beautiful acoustic passages merge with electric guitars and drums that eventually segues into the first track. Intros are not easy to pull off: sometimes they feel self-indulgent or meandering, but this one immediately lures us in, summoning a sense of wonder and awe that will persist throughout the album. It evokes things long forgotten or memories of distant places that we once had but are now lost forever. Then, the first proper track, "Beyond the Black Stars," blazes forth like a solar flare, with beautiful riffing, powerful drums and a tremendously audible bass that set us off on our adventure. Then we get some of the most soulful and nostalgic vocals I've heard in a long time, courtesy of frontman Kyle McNeil (who, by the way, also recorded, produced and mixed the album). In the first part of the record, his vocals are urgent and almost angry, denoting the sense of purpose and determination that the protagonist has on his quest. The next track, "The Artifice," is my personal favorite, with beautifully melodic guitar work that never ceases to be inventive and never becomes idle, coupled with weeping solos and soaring vocals. The choruses are a true highlight of the album, at times sounding epic and uplifting, but always with undertones of sorrow, conflict and loss. We can feel a sense of expectancy and of wonders to come once this song reaches its conclusion, after a deeply emotional slow passage and a reprise of the chorus.

I could do this for every single track, but that would turn this review into an essay, so I'll try to summarize the rest. Listening to this record is like listening to a story (which was definitely intended, since this is a concept album that advances the narrative with each song, and is meant to be experienced on a single listening session). Through the first half of the album, we feel the determination and purpose of the adventurers, fully committed to their cause and ready to tackle any obstacle that might block their path. The galloping riff of the third track fills us with energy and leaves us breathless once we reach the halfway point of the record. At this moment, things begin to change: Kyle's vocals become more sorrowful, and the lyrics get darker. Fear, doubt and hesitation start to creep into the heart of the protagonist. Brooding guitars, ominous drums and bass and wailing vocals fill us with what the adventurer is experiencing. This reaches its nadir in the sixth track, which is a semi-ballad. This is the critical moment of the journey, where our hero must decide whether to give up and be consumed by loneliness and exhaustion or to press on, despite the adversities. You can almost feel the weight of life bearing down on him. At the end of this track and all through the next one, everything explodes and we feel a renewed sense of purpose. The adventurer has found one last reserve of strength and realizes he has no more to lose: he was destroyed and now he is born anew. There is a sense of anticipation that suggests a final battle or test coming. Finally, we reach the mammoth final track, "Truth's Burden," the longest one of the album, clocking in at seven minutes. Everything here comes together: the instruments, working as narrative elements, slow down or pick up the pace when the story needs them to. They strike fear or instill courage: there's no going back, it's do-or-die. Finally, we reach the climax and our hero makes a terrible finding and realizes the truth. Understanding dawns on him: he must now flee from the ones that protected him and continue his search for knowledge, alone and persecuted. It all comes full circle: even the musical themes presented on the intro track are recalled in this epic conclusion. It gives us release, but leaves us hungry for more: now what? What will he do with this terrible truth? Will he emerge victorious or will he go into exile, forgotten and shunned? I guess we now must wait for Pt.2 to find out the answers to these questions.

Well, in case you didn't notice from my failed attempts at summarizing this album, I think it's truly fantastic. At 40 minutes, it never overstays its welcome, and it manages to round out the epic story it tells, despite the fact we haven't reached its end. Every element is carefully thought out and placed; every note, passage and verse is there to give life and meaning to the story. The infinitely creative instrumentation and the beautiful vocals create a perfect harmony that never lets up. I must also mention the lyrics: they are intelligent, poignant, evocative and always exciting, making it seem as if we're listening to a literary piece. Case in point:

"I look out and wonder on this long and lonely night.
For all the power that knowledge can bring. Whom does it serve if not I?
Far are the horizons I can see beyond these skies,
Follow the footsteps my ancestors laid,
Free me from this life."

If you're still not convinced after reading this, I don't know what more to tell you. Do yourself a favor and go listen to this beauty.

Dr. Robert



..::TRACK-LIST::..

1. Andromeda Rising 02:42
2. Beyond The Black Stars 03:55
3. The Artifice 04:52
4. Whispers In The Dark 04:42
5. Horizon's Eye 06:46
6. Wounds Of Design 05:55
7. Shadow Of A Fallen Star 04:11
8. Truth's Burden 06:58



..::OBSADA::..

Kyle McNeill - Guitar, Vocals
Graeme Farmer - Guitar
Gaz Martin - Bass
Sam Christou - Drums




https://www.youtube.com/watch?v=UpEIfa2ycis


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

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


..::OPIS::..

Po wysłuchaniu 'Shadow Of A Fallen Star Pt.I' nie martwię się już o sukcesję naszych dawnych bohaterów. Jeśli Judas Priest, Iron Maiden odłożą instrumenty i dadzą sobie spokój, to zespoły takie jak Seven Sisters będą nieść pochodnię i bronić wiary...

FA

Tak Seven Sisters powraca po 3 latach ciszy z nowym albumem. "Shadow of a fallen star pt 1" to album, po który można śmiało sięgnąć, nawet w ciemno. Czy Seven Sisters kiedyś zawiódł? Otóż nie. To doświadczony brytyjski band, który działa sukcesywnie od 2013r i już są efekty. Panowie mają swój styl i nie boją się wychodzić poza standardy brytyjskiego metalu i nwobhm. Tak też jest w przypadku nowego dzieła, które jest kontynuacją poprzednich płyt, a jednocześnie powiewem świeżości w muzyce Seven Sisters. Na pewno jest to płyta, która trzeba mieć w kolekcji.

Mcneil i Farmer to dwóch gitarzystów, którzy czarują swoimi zagrywkami i słuchacz od razu przenoszony jest do świata Seven Sisters. Klimat science fiction jest wyczuwalny przez cały album, a okładka idealnie to obrazuje. Mcneil to też lider w zespole i w roli wokalisty sprawdza się idealnie. To za jego sprawą album brzmi jakby powstał w latach 80. No brzmi to bardzo klasycznie, co mnie bardzo cieszy. Jednak to nie jest też jakoś retro muzyka, czy kolejna kopia żelaznej dziewicy.

Ach te piękne popisy gitarowe w dynamicznym "beyond the black stars". Jest klimat i duża dawka przebojowości, a to są właśnie atuty tej kapeli. Mroczniejszy klimat i bardziej złożona formę dostajemy w "the artifice". Niby klasycznie, a zarazem bardzo współcześnie to brzmi. Szybko moje serce skradł nieco maidenów "whispers in the dark". Panowie dają tutaj czadu i to jest prawdziwa perełka na płycie. Podobne emocje wzbudza "horizons eye". Choć tutaj band stara się grać nieco progresywnej.
Hard rockowo i nieco oldschoolowy wypada na pewno tytułowy utwór. Na sam koniec stonowany i rozbudowany "thruths burden". Band znów czaruje pięknymi melodiami i wciągającym refrenem.

Seven Sisters to bardzo ważny band na scenie brytyjskiej. Band tworzy dojrzały i bardzo klimatyczny heavy metal. Brzmi to klasycznie, a jednocześnie bardzo świeżo. Band jest na fali i ta płyta to tylko potwierdza.

PMW

Sometimes, when you're sifting through the seemingly endless amounts of music being put out nowadays, you stumble upon something so fresh, mesmerizing and moving that you can't help but recommend it to everyone in sight, apart from listening to it non-stop for the first couple of months after its release. Such is the case with Shadow of a Fallen Star Pt.1, the third full-length by Seven Sisters, a young English band formed barely ten years ago. From the moment I set eyes on the artwork, I knew I was in for something special. I mean, just look at those beautiful green/blue/turquoise/violet colors depicting an ethereal and interstellar city surrounded by shining stars and spaceships and tell me you're not immediately thrown into epic space voyages and the discovery of ancient planets and civilizations. At least that's the impression I got: this goes to show just how important the artwork is for a newly released record.

Fortunately, I am pleased to report that the music lived up to the expectations set by that alluring and mystic picture. The album starts off with a haunting intro track that sets the mood perfectly for what's to come: beautiful acoustic passages merge with electric guitars and drums that eventually segues into the first track. Intros are not easy to pull off: sometimes they feel self-indulgent or meandering, but this one immediately lures us in, summoning a sense of wonder and awe that will persist throughout the album. It evokes things long forgotten or memories of distant places that we once had but are now lost forever. Then, the first proper track, "Beyond the Black Stars," blazes forth like a solar flare, with beautiful riffing, powerful drums and a tremendously audible bass that set us off on our adventure. Then we get some of the most soulful and nostalgic vocals I've heard in a long time, courtesy of frontman Kyle McNeil (who, by the way, also recorded, produced and mixed the album). In the first part of the record, his vocals are urgent and almost angry, denoting the sense of purpose and determination that the protagonist has on his quest. The next track, "The Artifice," is my personal favorite, with beautifully melodic guitar work that never ceases to be inventive and never becomes idle, coupled with weeping solos and soaring vocals. The choruses are a true highlight of the album, at times sounding epic and uplifting, but always with undertones of sorrow, conflict and loss. We can feel a sense of expectancy and of wonders to come once this song reaches its conclusion, after a deeply emotional slow passage and a reprise of the chorus.

I could do this for every single track, but that would turn this review into an essay, so I'll try to summarize the rest. Listening to this record is like listening to a story (which was definitely intended, since this is a concept album that advances the narrative with each song, and is meant to be experienced on a single listening session). Through the first half of the album, we feel the determination and purpose of the adventurers, fully committed to their cause and ready to tackle any obstacle that might block their path. The galloping riff of the third track fills us with energy and leaves us breathless once we reach the halfway point of the record. At this moment, things begin to change: Kyle's vocals become more sorrowful, and the lyrics get darker. Fear, doubt and hesitation start to creep into the heart of the protagonist. Brooding guitars, ominous drums and bass and wailing vocals fill us with what the adventurer is experiencing. This reaches its nadir in the sixth track, which is a semi-ballad. This is the critical moment of the journey, where our hero must decide whether to give up and be consumed by loneliness and exhaustion or to press on, despite the adversities. You can almost feel the weight of life bearing down on him. At the end of this track and all through the next one, everything explodes and we feel a renewed sense of purpose. The adventurer has found one last reserve of strength and realizes he has no more to lose: he was destroyed and now he is born anew. There is a sense of anticipation that suggests a final battle or test coming. Finally, we reach the mammoth final track, "Truth's Burden," the longest one of the album, clocking in at seven minutes. Everything here comes together: the instruments, working as narrative elements, slow down or pick up the pace when the story needs them to. They strike fear or instill courage: there's no going back, it's do-or-die. Finally, we reach the climax and our hero makes a terrible finding and realizes the truth. Understanding dawns on him: he must now flee from the ones that protected him and continue his search for knowledge, alone and persecuted. It all comes full circle: even the musical themes presented on the intro track are recalled in this epic conclusion. It gives us release, but leaves us hungry for more: now what? What will he do with this terrible truth? Will he emerge victorious or will he go into exile, forgotten and shunned? I guess we now must wait for Pt.2 to find out the answers to these questions.

Well, in case you didn't notice from my failed attempts at summarizing this album, I think it's truly fantastic. At 40 minutes, it never overstays its welcome, and it manages to round out the epic story it tells, despite the fact we haven't reached its end. Every element is carefully thought out and placed; every note, passage and verse is there to give life and meaning to the story. The infinitely creative instrumentation and the beautiful vocals create a perfect harmony that never lets up. I must also mention the lyrics: they are intelligent, poignant, evocative and always exciting, making it seem as if we're listening to a literary piece. Case in point:

"I look out and wonder on this long and lonely night.
For all the power that knowledge can bring. Whom does it serve if not I?
Far are the horizons I can see beyond these skies,
Follow the footsteps my ancestors laid,
Free me from this life."

If you're still not convinced after reading this, I don't know what more to tell you. Do yourself a favor and go listen to this beauty.

Dr. Robert



..::TRACK-LIST::..

1. Andromeda Rising 02:42
2. Beyond The Black Stars 03:55
3. The Artifice 04:52
4. Whispers In The Dark 04:42
5. Horizon's Eye 06:46
6. Wounds Of Design 05:55
7. Shadow Of A Fallen Star 04:11
8. Truth's Burden 06:58



..::OBSADA::..

Kyle McNeill - Guitar, Vocals
Graeme Farmer - Guitar
Gaz Martin - Bass
Sam Christou - Drums




https://www.youtube.com/watch?v=UpEIfa2ycis


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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

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


..::OPIS::..

Słucham z rozdziawioną gębą... jak niegdyś 'Live After Death'
Wyśmienity krążek!!!


A raucous 90-minute set of Night Demon captured in their prime, recorded live in Cleveland, Ohio at the Beachland Ballroom on December 2nd, 2017.



..::TRACK-LIST::..

CD 1:
1. Welcome To The Night
2. Full Speed Ahead
3. Ritual
4. Curse Of The Damned
5. Dawn Rider
6. Save Me Now
7. Hallowed Ground
8. Maiden Hell
9. Mastermind
10. On Your Own
11. Life On The Run

CD 2:
1. The Howling Man
2. Black Widow
3. Ancient Evil
4. Satan
5. Evil Like A Knife
6. Stranger In The Room
7. Screams In The Night
8. Flight Of The Manticore
9. The Chalice
10. Darkness Remains
11. Heavy Metal Heat
12. Night Demon



..::OBSADA::..

Dusty Squires - Drums, Vocals (backing)
Armand John Anthony - Guitars, Vocals (backing)
Jarvis Leatherby - Vocals, Bass



https://www.youtube.com/watch?v=AXzo1IrdBTc



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

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


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'The Reborn' to jeden z najbardziej niezależnych i najlepszych albumów heavy/power metalowych, jakie kiedykolwiek przekroczyły granice naszych zachodnich sąsiadów i wciąż uważam go za absolutny hit tego gatunku!

FA


The German metal scene was a really happy-go-lucky place in the late-80’s/early-90’s; myriads of bands were rushing to secure for themselves a place under the metal sun, be it with just one isolated effort. Many of them never managed to leave their motherland, maybe not even their hometown, but they did take part in a movement which at some stage was probably bigger than the one in The States even. Risk were one of the lucky ones who managed to carve a longer career, and although they never became a premier league outfit, quite a few are those who fondly remember these lads who once upon a time were spreading “the daily horror news” on a more or less regular basis.

The band’s history starts way back in time, actually, the early 1970’s to be precise, and they can officially be considered the second heavy metal outfit on German ground after Scorpions. Now that’s something to be proud of! However, unlike The Scorps who quickly found the way to more aggressive musical dimensions, our risk takers, who were operating under the name Faithful Breath at that time, spent too much time roaming around the radio-friendly hard rock arena, and it took them wholesome ten years before they decided to step on the pedal harder. The result from this decision were two decent classic heavy metal albums (“Gold’n Glory” (1984) & “Skol” (1985)). Another however, the tastes in the mid-80’s were changing towards heavier, more brutal horizons and the guys didn’t think twice before embracing the speed/thrash metal idea, first by changing their name to Risk, and second with their excellent debut, “The Daily Horror News” (1988), under this new moniker. The style initially was more speed metal-based, but by the time the band reached their third opus “Dirty Surfaces” (1990), the transition into an accomplished thrash metal outfit was pretty much complete.

The guys had managed to establish a fairly individual face backed up by very memorable song-writing (“Russian Nights” from their sophomore effort remains one of the perennial metal hymns on the scene) and the excellent dramatic clean vocals of Heinz Mikus. The man had made some adjustments to his performance behind the mike from the Faithful Breath days to suit the more aggressive music, but his attached melodic vocal lines could always be recognized unerringly. Back to “Dirty Surfaces”: so the emphasis on speed from the early Risk days has given way to more serious, more thought-out music characterized by several imposing stompers. Those who liked this tendency into the band’s delivery were heading towards their dream album…

the introductory “Arise” goes straight into last year’s Sepultura’s magnum opus… kidding of course!, is a great melodic lead-driven piece which energetic aura is like a precursor to another speed/thrash metal storm. Yes, but no; starts “Last Warning” with those infectious morose Oriental hooks, and the listener has to adjust his/her senses to this surprisingly ambitious progressive composition which marches for over 9-min not forgetting about the staple memorable chorus. 9-min are more than enough for one to reconsider his/her music conceptions, and those who have opened their hearts (and ears) for the established steam-roller hegemony, will have the time of their lives on the following “Be No More”, a creepy minimalistic shredder without any fast-paced temptations. More surprises later with ”Lullaby” which deserves its title being a great heavy ballad.

All illusions are inevitably cast aside after this compelling sleeper, but the only way is up from now on, and the guys serve “Turn back to Ecstasy”, a much more dynamic number with intriguing semi-technical guitar work, a brilliant main motif introduced from the get-go, and another nice catchy chorus. Further we go up the speed scale with the nighty... sorry, mighty “Night Will Fall”, a dark razor-sharp mid-pacer which may even make some more vigorous fans headbang for a bit. Our favourite speed is implacably killed on the doomy depresser “Phantasmagoria”, and for the band to stop the wave of suicides which would inadvertently follow after such a piece, they have to provide a more dynamic track which in this case is the brilliant “Armageddon (Fight Back))”, an almost fast-paced thrasher with very good leads and more flexible riffage bordering on the technical. This is the last life-saver, though, since after it comes the closer “No One Will Remember”, the song which indeed one will hardly remember several years down the line, this over 7-min saga being another ballad/semi-ballad, a bit faster than the "Lullaby", but not doing much to elevate the album to the true masterpiece pedestal despite the superb, albeit overlong lead section.

That last song could be viewed as the weakest track here since there were a few numbers already in the slow camp, and this one can’t be seen as a really valuable addition to an effort which was already full to the brim with doom and gloom. The darker overtones were already introduced on the previous offering, but here they totally dominate the landscape making this new saga an entirely different “beast”; it’s really hard to think of another work from the European thrash metal scene which captures the pessimistic, brooding side of the genre as well and so thoroughly without completely crossing over the boundaries of the band’s staple style (Assorted Heap’s “Mindwaves” maybe? Or Sacrosanct’s “Recesses for the Depraved”?). On the other hand, if you think of it, the guys have always been in a league of their own, neither following the vicious outbreaks of the Holy Three from their homeland, nor becoming fascinated with the more ambitious, intricate arrangements of the Bay Area brotherhood from the other side of the Atlantic. 1992 was a year for experimentation (Kreator, Exodus, Overkill, Testament, etc.) for the metal world, a time to try and expand beyond the true and tested formulas… Risk indeed took a risk worth taking, giving thrash metal a sombre shade that would have suited the genre way better than the groovy/angry transformation which befell it later in the decade, and threatened to completely erase it from the face of the music map.

Well, this transformation finally caught up with the band as well on their next instalment “Turpitude” released less than a year later. The hopes were, having in mind the short gap between the two albums, that this effort would be really close in spirit to its predecessor. Although it contained the same dark depressing mood, it was widely based on the new post-thrashy trends making the few splashes of classic metallisms seem like ridiculous, erroneous afterthoughts. Yes, the aggro-movement finally took Risk, too, another fortress which defiantly stood its ground, albeit for not much longer than the other fallen heroes.

The band still play indifferent to the thrash metal rebirth witnessed through the new millennium. They haven’t been doing much, as a matter of fact, during this dormant period randomly appearing for brief recording sessions of other acts (Centaur, Crows, etc.). I guess they are musing over a serious dilemma right now: to reform Faithful Breath, or to bring Risk back to life… to us, the thrash metal fraternity, the latter option would always seem like the less risky, and the far more preferrable proposition.

Bayern



..::TRACK-LIST::..

1. Arise 00:46
2. Last Warning 09:16
3. Be No More 04:30
4. Lullaby 04:02
5. Awakening 01:15
6. Turn Back to Ecstasy 04:49
7. Eclipse 00:52
8. The Night Will Fall 05:37
9. Phantasmagoria 04:18
10. Armageddon (Fight Back) 04:08
11. No One Will Remember 07:12

Bonus Tracks:
12. Be No More [The Reborn demo]
13. Last Warning [The Reborn demo]



..::OBSADA::..

Heimi Mikus - Vocals
Jürgen Düsterloh (R.I.P. 2014) - Percussion, Drums
Peter Dell - Bass
Christian Sumser - Guitars, Sitar
Romme 'Romme' Keymer - Guitars, Sitar



https://www.youtube.com/watch?v=aw5pHcQqRAY



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

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


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

'The Reborn' to jeden z najbardziej niezależnych i najlepszych albumów heavy/power metalowych, jakie kiedykolwiek przekroczyły granice naszych zachodnich sąsiadów i wciąż uważam go za absolutny hit tego gatunku!

FA


The German metal scene was a really happy-go-lucky place in the late-80’s/early-90’s; myriads of bands were rushing to secure for themselves a place under the metal sun, be it with just one isolated effort. Many of them never managed to leave their motherland, maybe not even their hometown, but they did take part in a movement which at some stage was probably bigger than the one in The States even. Risk were one of the lucky ones who managed to carve a longer career, and although they never became a premier league outfit, quite a few are those who fondly remember these lads who once upon a time were spreading “the daily horror news” on a more or less regular basis.

The band’s history starts way back in time, actually, the early 1970’s to be precise, and they can officially be considered the second heavy metal outfit on German ground after Scorpions. Now that’s something to be proud of! However, unlike The Scorps who quickly found the way to more aggressive musical dimensions, our risk takers, who were operating under the name Faithful Breath at that time, spent too much time roaming around the radio-friendly hard rock arena, and it took them wholesome ten years before they decided to step on the pedal harder. The result from this decision were two decent classic heavy metal albums (“Gold’n Glory” (1984) & “Skol” (1985)). Another however, the tastes in the mid-80’s were changing towards heavier, more brutal horizons and the guys didn’t think twice before embracing the speed/thrash metal idea, first by changing their name to Risk, and second with their excellent debut, “The Daily Horror News” (1988), under this new moniker. The style initially was more speed metal-based, but by the time the band reached their third opus “Dirty Surfaces” (1990), the transition into an accomplished thrash metal outfit was pretty much complete.

The guys had managed to establish a fairly individual face backed up by very memorable song-writing (“Russian Nights” from their sophomore effort remains one of the perennial metal hymns on the scene) and the excellent dramatic clean vocals of Heinz Mikus. The man had made some adjustments to his performance behind the mike from the Faithful Breath days to suit the more aggressive music, but his attached melodic vocal lines could always be recognized unerringly. Back to “Dirty Surfaces”: so the emphasis on speed from the early Risk days has given way to more serious, more thought-out music characterized by several imposing stompers. Those who liked this tendency into the band’s delivery were heading towards their dream album…

the introductory “Arise” goes straight into last year’s Sepultura’s magnum opus… kidding of course!, is a great melodic lead-driven piece which energetic aura is like a precursor to another speed/thrash metal storm. Yes, but no; starts “Last Warning” with those infectious morose Oriental hooks, and the listener has to adjust his/her senses to this surprisingly ambitious progressive composition which marches for over 9-min not forgetting about the staple memorable chorus. 9-min are more than enough for one to reconsider his/her music conceptions, and those who have opened their hearts (and ears) for the established steam-roller hegemony, will have the time of their lives on the following “Be No More”, a creepy minimalistic shredder without any fast-paced temptations. More surprises later with ”Lullaby” which deserves its title being a great heavy ballad.

All illusions are inevitably cast aside after this compelling sleeper, but the only way is up from now on, and the guys serve “Turn back to Ecstasy”, a much more dynamic number with intriguing semi-technical guitar work, a brilliant main motif introduced from the get-go, and another nice catchy chorus. Further we go up the speed scale with the nighty... sorry, mighty “Night Will Fall”, a dark razor-sharp mid-pacer which may even make some more vigorous fans headbang for a bit. Our favourite speed is implacably killed on the doomy depresser “Phantasmagoria”, and for the band to stop the wave of suicides which would inadvertently follow after such a piece, they have to provide a more dynamic track which in this case is the brilliant “Armageddon (Fight Back))”, an almost fast-paced thrasher with very good leads and more flexible riffage bordering on the technical. This is the last life-saver, though, since after it comes the closer “No One Will Remember”, the song which indeed one will hardly remember several years down the line, this over 7-min saga being another ballad/semi-ballad, a bit faster than the "Lullaby", but not doing much to elevate the album to the true masterpiece pedestal despite the superb, albeit overlong lead section.

That last song could be viewed as the weakest track here since there were a few numbers already in the slow camp, and this one can’t be seen as a really valuable addition to an effort which was already full to the brim with doom and gloom. The darker overtones were already introduced on the previous offering, but here they totally dominate the landscape making this new saga an entirely different “beast”; it’s really hard to think of another work from the European thrash metal scene which captures the pessimistic, brooding side of the genre as well and so thoroughly without completely crossing over the boundaries of the band’s staple style (Assorted Heap’s “Mindwaves” maybe? Or Sacrosanct’s “Recesses for the Depraved”?). On the other hand, if you think of it, the guys have always been in a league of their own, neither following the vicious outbreaks of the Holy Three from their homeland, nor becoming fascinated with the more ambitious, intricate arrangements of the Bay Area brotherhood from the other side of the Atlantic. 1992 was a year for experimentation (Kreator, Exodus, Overkill, Testament, etc.) for the metal world, a time to try and expand beyond the true and tested formulas… Risk indeed took a risk worth taking, giving thrash metal a sombre shade that would have suited the genre way better than the groovy/angry transformation which befell it later in the decade, and threatened to completely erase it from the face of the music map.

Well, this transformation finally caught up with the band as well on their next instalment “Turpitude” released less than a year later. The hopes were, having in mind the short gap between the two albums, that this effort would be really close in spirit to its predecessor. Although it contained the same dark depressing mood, it was widely based on the new post-thrashy trends making the few splashes of classic metallisms seem like ridiculous, erroneous afterthoughts. Yes, the aggro-movement finally took Risk, too, another fortress which defiantly stood its ground, albeit for not much longer than the other fallen heroes.

The band still play indifferent to the thrash metal rebirth witnessed through the new millennium. They haven’t been doing much, as a matter of fact, during this dormant period randomly appearing for brief recording sessions of other acts (Centaur, Crows, etc.). I guess they are musing over a serious dilemma right now: to reform Faithful Breath, or to bring Risk back to life… to us, the thrash metal fraternity, the latter option would always seem like the less risky, and the far more preferrable proposition.

Bayern



..::TRACK-LIST::..

1. Arise 00:46
2. Last Warning 09:16
3. Be No More 04:30
4. Lullaby 04:02
5. Awakening 01:15
6. Turn Back to Ecstasy 04:49
7. Eclipse 00:52
8. The Night Will Fall 05:37
9. Phantasmagoria 04:18
10. Armageddon (Fight Back) 04:08
11. No One Will Remember 07:12

Bonus Tracks:
12. Be No More [The Reborn demo]
13. Last Warning [The Reborn demo]



..::OBSADA::..

Heimi Mikus - Vocals
Jürgen Düsterloh (R.I.P. 2014) - Percussion, Drums
Peter Dell - Bass
Christian Sumser - Guitars, Sitar
Romme 'Romme' Keymer - Guitars, Sitar



https://www.youtube.com/watch?v=aw5pHcQqRAY



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

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



Płyta, której naprawdę trzeba posłuchać!


..::TRACK-LIST::..

I. Immortal's Requiem 2:43
II. Dawn Of Mind 8:31
III. Seven Sided Mirror 4:48
IV. Up The Tower 4:03
V. Black Spire Curse 4:23
VI. Blood Becomes Sand 7:39

Bonus Tracks:
VII. Moonchild (Rory Gallagher cover) 4:37
VIII. Keep On Running (Alternate Version) 4:01



..::OBSADA::..

Kyle McNeill - all instruments



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



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



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

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



Płyta, której naprawdę trzeba posłuchać!


..::TRACK-LIST::..

I. Immortal's Requiem 2:43
II. Dawn Of Mind 8:31
III. Seven Sided Mirror 4:48
IV. Up The Tower 4:03
V. Black Spire Curse 4:23
VI. Blood Becomes Sand 7:39

Bonus Tracks:
VII. Moonchild (Rory Gallagher cover) 4:37
VIII. Keep On Running (Alternate Version) 4:01



..::OBSADA::..

Kyle McNeill - all instruments



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



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



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

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


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie koncertowy CD zawierający trwający 53 minuty wczesny koncert zespołu, zarejestrowany profesjonalnie (tzw. soundboard recording) w Kopenhhadze w sali Odd Fellow Palæet 26 marca 1982 roku - całe osiem miesięcy przed wydaniem debiutanckiej EP. To już był klasyczny Mercyful Fate (połączenie wczesnych Black Sabbath z Judas Priest), w składzie z pierwszych dwóch albumów, choć niektóre nagrania posiadały wczesne, nieznane aranżacje. Fascynujący moment w historii metalu! Atrakcyjna okładka zawiera kilka rzadkich, fajnych zdjęć wówczas kompletnie nieznanej poza Danią grupy! To jest chyba jedyny koncert klasycznego Mercyful Fate zarejestrowany w świetnej jakości! Absolutny mus dla fanów klasycznego metalu!

JL


Recorded live at Odd Fellow Palæet, Copenhagen, Denkmark on 26 march 1982.
Excellent quality soundboard recordings with remastered sound.



..::TRACK-LIST::..

1. Black Funeral 3:32
2. Curse Of The Pharaohs 4:40
3. Into The Coven 4:36
4. A Corpse Without Soul 7:03
5. Nightmare 6:44
6. Return Of The Vampire 4:20
7. Nuns Have No Fun 4:14
8. Devils' Eyes 5:13
9. Satan's Fall 12:41



..::OBSADA::..

Bass Guitar - Timi 'Grabber' Hansen
Drums, Percussion - Kim Ruzz
Lead Guitar, Rhythm Guitar - Hank Sherman, Michael Denner
Lead Vocals - King Diamond




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



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

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


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie koncertowy CD zawierający trwający 53 minuty wczesny koncert zespołu, zarejestrowany profesjonalnie (tzw. soundboard recording) w Kopenhhadze w sali Odd Fellow Palæet 26 marca 1982 roku - całe osiem miesięcy przed wydaniem debiutanckiej EP. To już był klasyczny Mercyful Fate (połączenie wczesnych Black Sabbath z Judas Priest), w składzie z pierwszych dwóch albumów, choć niektóre nagrania posiadały wczesne, nieznane aranżacje. Fascynujący moment w historii metalu! Atrakcyjna okładka zawiera kilka rzadkich, fajnych zdjęć wówczas kompletnie nieznanej poza Danią grupy! To jest chyba jedyny koncert klasycznego Mercyful Fate zarejestrowany w świetnej jakości! Absolutny mus dla fanów klasycznego metalu!

JL


Recorded live at Odd Fellow Palæet, Copenhagen, Denkmark on 26 march 1982.
Excellent quality soundboard recordings with remastered sound.



..::TRACK-LIST::..

1. Black Funeral 3:32
2. Curse Of The Pharaohs 4:40
3. Into The Coven 4:36
4. A Corpse Without Soul 7:03
5. Nightmare 6:44
6. Return Of The Vampire 4:20
7. Nuns Have No Fun 4:14
8. Devils' Eyes 5:13
9. Satan's Fall 12:41



..::OBSADA::..

Bass Guitar - Timi 'Grabber' Hansen
Drums, Percussion - Kim Ruzz
Lead Guitar, Rhythm Guitar - Hank Sherman, Michael Denner
Lead Vocals - King Diamond




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



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

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


..::OPIS::..

Po prawie dwudziestoletniej karierze Heinz Mikus postanowił porzucić nazwę Faithful Breath, zmieniając ją w 1986 roku na Risk. Ryzykowny interes, ale dobry wybór pana Mikusa, ponieważ jego zamiar zerwania z przeszłością i oddania czystego konta swojemu 'nowemu' zespołowi i jego 'nowej' wizji opłacił się. Mógł zachować nazwę, ponieważ Faithful Breath miało już doświadczenie w podejmowaniu radykalnych transformacji estetycznych, zaczynając od renesansowego zespołu progresywnego w połowie lat 70., po hardrockowo-heavymetalowy zespół w stylu Scorpions, a później Accept w latach 80.

Risk był jedynie logiczną kontynuacją tej metalowej-morfozy, zasygnalizowanej już w ostatnim utworze Faithful Breath z ich ostatniego albumu, tytułowym utworze 'Skol' z 1986 roku , który był szczytem ich metalowej kariery.
Ale tego nie zrobił, a zamiast tego Risk odrodził się (ponownie), niczym ksenomorficzny rozpruwacz klatki piersiowej, brutalnie niszcząc swoje źródło pochodzenia, ale nie bez przeniesienia niektórych jego cech.

FA


Risk is one of the rare cases of a classic metal band finding successful new life with a change of identity and style. From 1967-1985, they released six full-length albums as Faithful Breath, evolving from hard rock roots to a heavier style more typical of their day, before they decided they would partake in the faster, speed/thrash scene that Germany was very well known for by the mid 80s. Rather than drag their original vision through the mud, they adopted the name Risk, which surprisingly hadn't been taken by anyone important in the metal universe. The Daily Horror News was born, the first and still best effort under this new visage, despite the lamentable cover art which makes...only a strange kind of sense with the title.

No, this is not fucking Donkey Kong metal, but a work of memorable velocity and impressive songwriting which immediately placed the band among peers like Rage, Scanner, Helloween and Running Wild. It's primarily speed/power metal, but there are moments where they bite down a little harder for some thrash. The band's classic metal riffing influence obviously goes a long way towards making each track distinct and full to the brim with hooks, but I'd also point out the vocals of Heinz Mikus, which sound like a mix of Rock'n'Rolf Kasparek and the silky, grimier tones often adopted by Andi Deris through his work with Helloween. I thoroughly enjoy his performance here, with the same wonderful reverb common to Running Wild records from from the 1984-1989 period, and it's damn well consistent. You've just got to survive a moment of jungle beasts and radio samples to carve out the coconuts within...

"Living in Chaos" is the first layer of flaky white goodness, a speed jaunt that sounds strikingly similar to something that might occur of Kasparek were fronting Rage. "Roadwar", however, is one of the best tracks on the album, pretty much a pure power metal number which once again sounds like a particular pirate metal outfit of this period. Gang shouts, uproarious riffs, and fluid lethality all build into a superb chorus. They slow the pace for "DNS Madness", which I assume refers to one of the acids involved with possible cloning, but it's still got hooks aplomb, even the predictable chorus delivers. "Revolution Now", "Rommes Fritz" and "Speed Kills" ramp up the intensity, and I'm particularly enamored of the lead sequences in "Rommes Fritz", and "Strike" and the bonus track "Violent Science" are both likewise remarkable, the latter hitting a nice hard thrash pace through the verses.

The Daily Horror News had a lot to contend with in 1988, and perhaps this is the reason so few have actually heard of the band or album. Running Wild's Port Royal and Rage's Perfect Man both came out the same year, and both are unreal (two of my favorite albums ever), so that might explain why it was left in the dust, but this debut absolutely deserves mention alongside them, a trinity of German 'R' bands hauling ass with the best material of their careers, all within a short span of time. The mix here simply slays, still sounding fresh and bright over 20 years later, and the individual performances here are all noteworthy. But what is most magnificent is that an already established band (in Europe at least) were able to undergo a transition like with this dignity and class, retiring their prior identity instead of molesting it. Whether Risk ever got the credit they deserved is up for debate, but if you're a metalian of taste, acquire this record however possible. It is that good.

autothrall



..::TRACK-LIST::..

Full title on front and disc:
The Daily Horror News... From The Lost Side Of The World

1. Living In Chaos 4:09
2. Roadwar 4:12
3. DNS Madness 3:59
4. Revolution Now 5:57
5. Alien Terror 5:02
6. Speed Kills 5:17
7. Rommes Fritz 3:58
8. Strike 5:08
9. Violent Science 4:06

Bonus Tracks:
The Daily Horror News Demo
10. Strike 5:38
11. Violent Science 4:45
12. DNS 4:29
13. Roadwar 4:00
14. Stand Out (Revolution Now) 5:46
15. Chase the Evil (Speed Kills) 5:30



..::OBSADA::..

H.R. Mikus - Vocals, Guitars
Roman 'Romme' Keymer - Guitars
Peter Dell - Bass
Jürgen Düsterloh (R.I.P. 2014) - Drums




https://www.youtube.com/watch?v=usMf_83K168



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

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


..::OPIS::..

Po prawie dwudziestoletniej karierze Heinz Mikus postanowił porzucić nazwę Faithful Breath, zmieniając ją w 1986 roku na Risk. Ryzykowny interes, ale dobry wybór pana Mikusa, ponieważ jego zamiar zerwania z przeszłością i oddania czystego konta swojemu 'nowemu' zespołowi i jego 'nowej' wizji opłacił się. Mógł zachować nazwę, ponieważ Faithful Breath miało już doświadczenie w podejmowaniu radykalnych transformacji estetycznych, zaczynając od renesansowego zespołu progresywnego w połowie lat 70., po hardrockowo-heavymetalowy zespół w stylu Scorpions, a później Accept w latach 80.

Risk był jedynie logiczną kontynuacją tej metalowej-morfozy, zasygnalizowanej już w ostatnim utworze Faithful Breath z ich ostatniego albumu, tytułowym utworze 'Skol' z 1986 roku , który był szczytem ich metalowej kariery.
Ale tego nie zrobił, a zamiast tego Risk odrodził się (ponownie), niczym ksenomorficzny rozpruwacz klatki piersiowej, brutalnie niszcząc swoje źródło pochodzenia, ale nie bez przeniesienia niektórych jego cech.

FA


Risk is one of the rare cases of a classic metal band finding successful new life with a change of identity and style. From 1967-1985, they released six full-length albums as Faithful Breath, evolving from hard rock roots to a heavier style more typical of their day, before they decided they would partake in the faster, speed/thrash scene that Germany was very well known for by the mid 80s. Rather than drag their original vision through the mud, they adopted the name Risk, which surprisingly hadn't been taken by anyone important in the metal universe. The Daily Horror News was born, the first and still best effort under this new visage, despite the lamentable cover art which makes...only a strange kind of sense with the title.

No, this is not fucking Donkey Kong metal, but a work of memorable velocity and impressive songwriting which immediately placed the band among peers like Rage, Scanner, Helloween and Running Wild. It's primarily speed/power metal, but there are moments where they bite down a little harder for some thrash. The band's classic metal riffing influence obviously goes a long way towards making each track distinct and full to the brim with hooks, but I'd also point out the vocals of Heinz Mikus, which sound like a mix of Rock'n'Rolf Kasparek and the silky, grimier tones often adopted by Andi Deris through his work with Helloween. I thoroughly enjoy his performance here, with the same wonderful reverb common to Running Wild records from from the 1984-1989 period, and it's damn well consistent. You've just got to survive a moment of jungle beasts and radio samples to carve out the coconuts within...

"Living in Chaos" is the first layer of flaky white goodness, a speed jaunt that sounds strikingly similar to something that might occur of Kasparek were fronting Rage. "Roadwar", however, is one of the best tracks on the album, pretty much a pure power metal number which once again sounds like a particular pirate metal outfit of this period. Gang shouts, uproarious riffs, and fluid lethality all build into a superb chorus. They slow the pace for "DNS Madness", which I assume refers to one of the acids involved with possible cloning, but it's still got hooks aplomb, even the predictable chorus delivers. "Revolution Now", "Rommes Fritz" and "Speed Kills" ramp up the intensity, and I'm particularly enamored of the lead sequences in "Rommes Fritz", and "Strike" and the bonus track "Violent Science" are both likewise remarkable, the latter hitting a nice hard thrash pace through the verses.

The Daily Horror News had a lot to contend with in 1988, and perhaps this is the reason so few have actually heard of the band or album. Running Wild's Port Royal and Rage's Perfect Man both came out the same year, and both are unreal (two of my favorite albums ever), so that might explain why it was left in the dust, but this debut absolutely deserves mention alongside them, a trinity of German 'R' bands hauling ass with the best material of their careers, all within a short span of time. The mix here simply slays, still sounding fresh and bright over 20 years later, and the individual performances here are all noteworthy. But what is most magnificent is that an already established band (in Europe at least) were able to undergo a transition like with this dignity and class, retiring their prior identity instead of molesting it. Whether Risk ever got the credit they deserved is up for debate, but if you're a metalian of taste, acquire this record however possible. It is that good.

autothrall



..::TRACK-LIST::..

Full title on front and disc:
The Daily Horror News... From The Lost Side Of The World

1. Living In Chaos 4:09
2. Roadwar 4:12
3. DNS Madness 3:59
4. Revolution Now 5:57
5. Alien Terror 5:02
6. Speed Kills 5:17
7. Rommes Fritz 3:58
8. Strike 5:08
9. Violent Science 4:06

Bonus Tracks:
The Daily Horror News Demo
10. Strike 5:38
11. Violent Science 4:45
12. DNS 4:29
13. Roadwar 4:00
14. Stand Out (Revolution Now) 5:46
15. Chase the Evil (Speed Kills) 5:30



..::OBSADA::..

H.R. Mikus - Vocals, Guitars
Roman 'Romme' Keymer - Guitars
Peter Dell - Bass
Jürgen Düsterloh (R.I.P. 2014) - Drums




https://www.youtube.com/watch?v=usMf_83K168



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

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


..::OPIS::..

Limitowany, trwający 78 minut CD wydany w bardzo atrakcyjnej okładce z rzadkim rysunkiem Dereka Riggsa. Ta kapitalna płytka zawiera rzadkie, trudno dostępne, bądź nieosiągalne studyjne singlowe nagrania zespołu, zrealizowane pomiędzy 1990 a 1996 - w tym sporo udanych przeróbek kompozycji innych wykonawców. Mamy tutaj m.in. "Massacre" z repertuaru Thin Lizzy, "Communication Breakdown" - Led Zeppelin, "I'm A Mover" - Free, "Space Station No 5" - Montrose, "I Can See My Feelings" - Budgie, czy wreszcie "Doctor Doctor" - UFO i "My Generation" - The Who - te dwa ostatnie z Blaze'em Bayleyem w roli wokalisty!

Generalnie płyta brzmi wspaniale i jest fantastycznym i zarazem perfekcyjnym uzupełnieniem albumów z lat 90. - od "No Prayer For The Dying" po "X Factor"! UWAGA! Dostępny jest również CD "King Of Twilight - Rare B'sides 1982-1988", gromadzący rzadkie singlowe (w tym koncertowe) nagrania z Dickinsonem, z lat 80.



..::TRACK-LIST::..

1. Massacre (Thin Lizzy cover) 2:52
from 'Can I Play Madness' 7", 1988

2. Communication Breakdown(Led Zeppelin cover)2:40
from 'Bring Your Daughter... To The Slaughter' 12", 1990

3. All In Your Mind (Stray cover) 4:29
from 'Holy Smoke' 7", 1990

4. I’m A Mover (Free cover) 3:23
from 'Bring Your Daughter... To The Slaughter' 7", 1990

5. Kill Me Ce Soir (Golden Earring cover) 6:15
from 'Holy Smoke' 12", 1990

6. I Can‘t See My Feelings (Budgie cover) 3:48
from 'From Here To Eternity' Shaped Picture Disc 7", 1992

7. Roll Over Vic Vella (Chuck Berry cover) 4:46
from 'From Here To Eternity' 7", 1992

8. Space Station No.5 (Montrose cover) 3:40
from 'Be Quick Or Be Dead' 12", 1992

9. Nodding Donkey Blues 3:09
from 'Be Quick Or Be Dead 7", 1992

10. Wasted Years (Live) 4:47
from 'Hallowed Be Thy Name' Picture Disc 12", 1993

11. No Prayer For The Dying (Live)
from 'From Here To Eternity' 12", 1992

12. I Live My Way 3:45
from 'Man On The Edge' Picture Disc 12", 1995

13. Justice Of The Peace 3:21
from 'Man On The Edge' CD single, 1995

14. Judgement Day 3:56
from 'Man On The Edge' CD single, 1995

15. My Generation (The Who cover) 3:21
from 'Lord Of The Files' CD single, 1996

16. Doctor Doctor (UFO cover) 4:47
from 'Lord Of The Files' CD single, 1996

17. Virus 6:12
from 'Virus' 12"/CD single, 1996

18 Afraid To Shoot Strangers (Live) 6:40
from 'Best Of The Beast' Compilation 4LP, 1996



..::OBSADA::..

Bruce Dickinson - vocals (Tracks 1-11)
Blaze Bayley - vocals (Tracks 12-18)
Steve Harris - bass guitar
Dave Murray - guitars
Jannick Gers - guitars (expect Track 1)
Adrian Smith - guitars (Track 1 only)
Nicko McBrain - drums



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



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

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


..::OPIS::..

Limitowany, trwający 78 minut CD wydany w bardzo atrakcyjnej okładce z rzadkim rysunkiem Dereka Riggsa. Ta kapitalna płytka zawiera rzadkie, trudno dostępne, bądź nieosiągalne studyjne singlowe nagrania zespołu, zrealizowane pomiędzy 1990 a 1996 - w tym sporo udanych przeróbek kompozycji innych wykonawców. Mamy tutaj m.in. "Massacre" z repertuaru Thin Lizzy, "Communication Breakdown" - Led Zeppelin, "I'm A Mover" - Free, "Space Station No 5" - Montrose, "I Can See My Feelings" - Budgie, czy wreszcie "Doctor Doctor" - UFO i "My Generation" - The Who - te dwa ostatnie z Blaze'em Bayleyem w roli wokalisty!

Generalnie płyta brzmi wspaniale i jest fantastycznym i zarazem perfekcyjnym uzupełnieniem albumów z lat 90. - od "No Prayer For The Dying" po "X Factor"! UWAGA! Dostępny jest również CD "King Of Twilight - Rare B'sides 1982-1988", gromadzący rzadkie singlowe (w tym koncertowe) nagrania z Dickinsonem, z lat 80.



..::TRACK-LIST::..

1. Massacre (Thin Lizzy cover) 2:52
from 'Can I Play Madness' 7", 1988

2. Communication Breakdown(Led Zeppelin cover)2:40
from 'Bring Your Daughter... To The Slaughter' 12", 1990

3. All In Your Mind (Stray cover) 4:29
from 'Holy Smoke' 7", 1990

4. I’m A Mover (Free cover) 3:23
from 'Bring Your Daughter... To The Slaughter' 7", 1990

5. Kill Me Ce Soir (Golden Earring cover) 6:15
from 'Holy Smoke' 12", 1990

6. I Can‘t See My Feelings (Budgie cover) 3:48
from 'From Here To Eternity' Shaped Picture Disc 7", 1992

7. Roll Over Vic Vella (Chuck Berry cover) 4:46
from 'From Here To Eternity' 7", 1992

8. Space Station No.5 (Montrose cover) 3:40
from 'Be Quick Or Be Dead' 12", 1992

9. Nodding Donkey Blues 3:09
from 'Be Quick Or Be Dead 7", 1992

10. Wasted Years (Live) 4:47
from 'Hallowed Be Thy Name' Picture Disc 12", 1993

11. No Prayer For The Dying (Live)
from 'From Here To Eternity' 12", 1992

12. I Live My Way 3:45
from 'Man On The Edge' Picture Disc 12", 1995

13. Justice Of The Peace 3:21
from 'Man On The Edge' CD single, 1995

14. Judgement Day 3:56
from 'Man On The Edge' CD single, 1995

15. My Generation (The Who cover) 3:21
from 'Lord Of The Files' CD single, 1996

16. Doctor Doctor (UFO cover) 4:47
from 'Lord Of The Files' CD single, 1996

17. Virus 6:12
from 'Virus' 12"/CD single, 1996

18 Afraid To Shoot Strangers (Live) 6:40
from 'Best Of The Beast' Compilation 4LP, 1996



..::OBSADA::..

Bruce Dickinson - vocals (Tracks 1-11)
Blaze Bayley - vocals (Tracks 12-18)
Steve Harris - bass guitar
Dave Murray - guitars
Jannick Gers - guitars (expect Track 1)
Adrian Smith - guitars (Track 1 only)
Nicko McBrain - drums



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Gorąco polecam, jeden z najlepszych albumów power metalowych lat 80!


This rarity is a true gem of the NWOBHM treasure. The two most outstanding elements are the vocals and the guitars. Russ North is without any doubt one of the best metal singers in the world. Few can combine the power, class, range, technicality, and falsetto screams he shows off only in the first song. Coming to that, he has a voice of his own. Charismatic, strong, inspired and emotional. Yes this singer rocks. He joined Cloven Hoof on the Dominator album but A Sultan’s Ransom feature even finer works of his. This guy was by the way in the final round when Iron Maiden selected a new vocalist.

The guitarist Andy Wood moves the listener to the seventh heaven with his blazing leads, glimmering solos and blasting riffs. It’s such a pleasure listening to the melodic yet so powerful guitars played by competent hands switching between riff attacks, solo crescendos and calmer passages faster and easier than oneself put butter on the breakfast bread. Actually, the guitar work is unparalleled by most bands of the time. It’s like Andy LaRocque in King Diamond’s band during their three best albums, squared. Drumming feels just as human-made as it shall do. Not the overly exact beats of a machine, but the harder, yet more fluid-like ones you only hear from a really skilled drummer. They just flow on, and on, and on… One doesn’t hear any echoes; one cannot but appreciate the swift and soft switching between tempos that happens quite often.

The music is a dynamic speed-attack by this now ten years old band, who now really proves they are masters of the genre. There isn’t one single tune not giving one a sudden, strong and vital urge to head bang. Astral Rider is an instant hit, and so are all the other songs. The only weak spot, Notre Dame, is weak only in sense that it is weaker than the other songs on this album. I don’t want to give the impression that it in is a weak song; that would be misleading. In fact, it slays most Iron Maiden and Judas Priest songs without any problems. Forgotten Heroes and especially Mad, Mad World are extremely catchy, with the kind of choruses you’ll find yourself singing on the street. But even these songs, and the magnificent Astral Rider, speedy, D.V.R, Accept-tasting Jekyll & Hyde, they are all nothing compared to the two real masterpieces, the two epic closing songs. Highlander and Mistress of the Forest are perhaps the two most expressive NWOBHM ever recorded. If not, they are definitely among the top ones.

Corimngul



..::TRACK-LIST::..

1. Astral Rider 5:15
2. Forgotten Heroes 4:41
3. D.V.R. 2:49
4. Jekyll And Hyde 3:28
5. 1001 Nights 5:28
6. Silver Surfer 3:43
7. Notre Dame 5:45
8. Mad, Mad World 2:29
9. Highlander 3:40
10. Mistress Of The Forest 6:50



..::OBSADA::..

Russ North (R.I.P. 2025) - vocals
Andy Wood - guitar
Lee Payne - bass
Jon Brown - drums

Additional musicians:
Mil Gacic - guitar
Paul Hodson - keyboards



https://www.youtube.com/watch?v=cl5bgXgi2s4


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Gorąco polecam, jeden z najlepszych albumów power metalowych lat 80!


This rarity is a true gem of the NWOBHM treasure. The two most outstanding elements are the vocals and the guitars. Russ North is without any doubt one of the best metal singers in the world. Few can combine the power, class, range, technicality, and falsetto screams he shows off only in the first song. Coming to that, he has a voice of his own. Charismatic, strong, inspired and emotional. Yes this singer rocks. He joined Cloven Hoof on the Dominator album but A Sultan’s Ransom feature even finer works of his. This guy was by the way in the final round when Iron Maiden selected a new vocalist.

The guitarist Andy Wood moves the listener to the seventh heaven with his blazing leads, glimmering solos and blasting riffs. It’s such a pleasure listening to the melodic yet so powerful guitars played by competent hands switching between riff attacks, solo crescendos and calmer passages faster and easier than oneself put butter on the breakfast bread. Actually, the guitar work is unparalleled by most bands of the time. It’s like Andy LaRocque in King Diamond’s band during their three best albums, squared. Drumming feels just as human-made as it shall do. Not the overly exact beats of a machine, but the harder, yet more fluid-like ones you only hear from a really skilled drummer. They just flow on, and on, and on… One doesn’t hear any echoes; one cannot but appreciate the swift and soft switching between tempos that happens quite often.

The music is a dynamic speed-attack by this now ten years old band, who now really proves they are masters of the genre. There isn’t one single tune not giving one a sudden, strong and vital urge to head bang. Astral Rider is an instant hit, and so are all the other songs. The only weak spot, Notre Dame, is weak only in sense that it is weaker than the other songs on this album. I don’t want to give the impression that it in is a weak song; that would be misleading. In fact, it slays most Iron Maiden and Judas Priest songs without any problems. Forgotten Heroes and especially Mad, Mad World are extremely catchy, with the kind of choruses you’ll find yourself singing on the street. But even these songs, and the magnificent Astral Rider, speedy, D.V.R, Accept-tasting Jekyll & Hyde, they are all nothing compared to the two real masterpieces, the two epic closing songs. Highlander and Mistress of the Forest are perhaps the two most expressive NWOBHM ever recorded. If not, they are definitely among the top ones.

Corimngul



..::TRACK-LIST::..

1. Astral Rider 5:15
2. Forgotten Heroes 4:41
3. D.V.R. 2:49
4. Jekyll And Hyde 3:28
5. 1001 Nights 5:28
6. Silver Surfer 3:43
7. Notre Dame 5:45
8. Mad, Mad World 2:29
9. Highlander 3:40
10. Mistress Of The Forest 6:50



..::OBSADA::..

Russ North (R.I.P. 2025) - vocals
Andy Wood - guitar
Lee Payne - bass
Jon Brown - drums

Additional musicians:
Mil Gacic - guitar
Paul Hodson - keyboards



https://www.youtube.com/watch?v=cl5bgXgi2s4


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

Środowisko muzyczne właśnie straciło jedną ze swoich największych ikon. Ozzy – nieśmiertelny głos Black Sabbath, "Książę Ciemności", człowiek, który zdefiniował całe pokolenia fanów ciężkiego grania – odszedł po długiej walce z chorobą Parkinsona. Miał 76 lat.
R.I.P

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tradycyjny, energetyczny heavy metal grany z emocjami i przekonaniem.
Świetna zabawa!

FA

With well over a decade in the rear view since what has been dubbed the New Wave of Traditional Heavy Metal became a force to be reckoned with in the metal underground, some might say that the formula has been completely established, but they would be quite mistaken when considering the likes of California’s own Night Demon. Though an outfit that has been making waves since the early fringes of the 2010s, their presence would become better known at the very middle of said decade with their signing to Steamhammer Records and the 2015 unleashing of their debut LP Curse Of The Damned, an opus that arguably resurrected the old school NWOBHM sound in a place fairly close to where it was originally overshadowed by the glam-dominated Sunset Strip scene. The subsequent release of their highly acclaimed 2017 sophomore studio outing Darkness Remains would codify them as standard-bearers of the old school sound, yet only now 6 years later with the recent unveiling of their 3rd full length endeavor Outsider has this metallic upstart arguably tapped into their fullest potential.

At first glance, this latest installment of vintage heavy metal rage seems to stick closely to the familiar themes of swift, riff happy aggression that typified their previous album, but a closer examination reveals a band that has broadened their take on the power trio to a fairly different place. This mostly manifests in a greater degree of dreary, atmospheric tone to much of the songwriting and the album’s overall production that deviates from the expected mixture of Diamond Head, Tank and Iron Maiden influences that this group is known for wearing on their proverbial shirtsleeve. It doesn’t quite crossover into the realm of the sort of doom metal meets traditional stylings that one witnessed back in the glory days of Witchfinder General and Cirith Ungol, but it gets dangerously close at times, and sees guitarist Armand John Anthony touch up his affinity for Brian Tatler and Mick Tucker with some Tony Iommi trappings, while Dusty Squires’ drumming has definitely acquired a looser, almost jazzier affectation that occasional reminisces upon vintage Bill Ward high-jinks, while Jarvis Leatherby’s flashy, Steve Harris-inspired bass work often exhibits a wandering, Geezer Butler-like quality. Truth be told, the only element that has retained all of its familiar character is Jarvis’ mid-ranged, Algy Ward-like every man vocal persona.

The structure of the final product is no less intricate and evolved than the individual players that crafted it, and takes on a sort of vivid, almost theatrical character. Adorned with a somber instrumental at its inception simply dubbed “Prelude”, a clear signal of a change in direction is sent between the blend of 70s prog-like synthesizer lines and dense piano sound, as Leatherby’s bass drives things along with occasional interplay from the rest of the band. In essence, this is the sort of elaborate introduction that paves the way for something truly impactful, and it can’t be understated just how much of a triumphant fist in the air that the subsequent title anthem “Outsider” proves to be. Picture a brilliant blend of Iron Maiden-inspired melodic splendor from Jarvis’ bellowing baritone, a driving to thrashing drum display and an elaborate dance of flashy guitar work and one would still need a bit more to fully comprehend it all. A similar story is told with more of a jazzy shuffle at an even more blistering pace with the entry of “Obsidian”, landing fairly close to where Maiden was circa Powerslave, yet also possessing a dank and often haunting character that also dovetails with some of the faster work of early Saint Vitus. Other fleet-footed bangers like “Rebirth” and “Escape From Beyond” prove to be fair from slouches as well, with the latter featuring one of the most thrilling spectacles courtesy of Anthony’s guitar work yet.

Be this all as it may, the truly awe-inspiring moments of this well-crafted series of old school serenades come at a much slower tempo and in a far less triumphant air. Taking heavy cues from the traditional and epic doom trappings of Candlemass and Cirith Ungol, the slow-trudging dirge “Beyond The Grave” could have all but been accomplished by a different band save for Jarvis’ vocals, which brilliantly walk the line between a heartfelt croon and an agonized wail. The brilliance of the interplay between the instrumentation rounded out by these three surgeons cannot be understated, erecting a towering wall of sound and maximizing the dynamic capabilities within a doom setting masterfully, with Leatherby’s droning bass often resembling a tolling bell as the wild kit work of Squires continues to be on another level. The dreariness factor is increased further still on the woefully balladry of “The Wake”, which often draws from the blues/rock roots of Sabbath as it progresses from a subdued elegy to a metallic storm of grief, culminating in a less than subtle nod to Diamond Head’s “Am I Evil?” during the guitar solo at its tail-end. Functioning as a sort of extended successor to the aforementioned doom-drenched ballad, the closing epic number “The Wrath” draws the deepest from this outfit’s expansive well of ideas and demonstrates the widest dynamic range, often blurring the lines between doom and thrash metal in a manner highly becoming of a band seeking to recapture the unfettered stylistic character of early 80s heavy metal.

Thus far, there is a solid case to be made that Night Demon has truly come into its own and delivered something worthy of magnum opus status, though still a relatively young act in the grand scheme of things. It’s the sort of album that greets one with a very familiar set of ideas, yet keeps the listener guessing throughout, touching upon that progressive stylistic ideal that was a staple of the NWOBHM scene and often found the bands involved being comparable only in terms of their shared country of origin. Combined with the rare and arguably unconventional disposition of attacking the metal genre from the standpoint of a trio arrangement, this band has climbed the proverbial mountain and has shouted from its peak that old school metal is not a fad with a termination date. It is difficult to surmise where this California-based outfit will go next, let alone how they would go about topping this compact yet colossal collection of metal magic, but regardless of how things roll out, this is a band to watch regardless of what one’s preferred sub-genre happens to be.

hells unicorn



..::TRACK-LIST::..

1. Prelude 02:18
2. Outsider 03:50
3. Obsidian 03:57
4. Beyond The Grave 06:21
5. Rebirth 03:35
6. Escape From Beyond 03:47
7. A Wake 03:27
8. The Wrath 07:26



..::OBSADA::..

Jarvis Leatherby - Vocals, Bass
Armand John Anthony – Guitars, Keyboards
Dusty Squires - Drums




https://www.youtube.com/watch?v=BZSjk7aWhA8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tradycyjny, energetyczny heavy metal grany z emocjami i przekonaniem.
Świetna zabawa!

FA

With well over a decade in the rear view since what has been dubbed the New Wave of Traditional Heavy Metal became a force to be reckoned with in the metal underground, some might say that the formula has been completely established, but they would be quite mistaken when considering the likes of California’s own Night Demon. Though an outfit that has been making waves since the early fringes of the 2010s, their presence would become better known at the very middle of said decade with their signing to Steamhammer Records and the 2015 unleashing of their debut LP Curse Of The Damned, an opus that arguably resurrected the old school NWOBHM sound in a place fairly close to where it was originally overshadowed by the glam-dominated Sunset Strip scene. The subsequent release of their highly acclaimed 2017 sophomore studio outing Darkness Remains would codify them as standard-bearers of the old school sound, yet only now 6 years later with the recent unveiling of their 3rd full length endeavor Outsider has this metallic upstart arguably tapped into their fullest potential.

At first glance, this latest installment of vintage heavy metal rage seems to stick closely to the familiar themes of swift, riff happy aggression that typified their previous album, but a closer examination reveals a band that has broadened their take on the power trio to a fairly different place. This mostly manifests in a greater degree of dreary, atmospheric tone to much of the songwriting and the album’s overall production that deviates from the expected mixture of Diamond Head, Tank and Iron Maiden influences that this group is known for wearing on their proverbial shirtsleeve. It doesn’t quite crossover into the realm of the sort of doom metal meets traditional stylings that one witnessed back in the glory days of Witchfinder General and Cirith Ungol, but it gets dangerously close at times, and sees guitarist Armand John Anthony touch up his affinity for Brian Tatler and Mick Tucker with some Tony Iommi trappings, while Dusty Squires’ drumming has definitely acquired a looser, almost jazzier affectation that occasional reminisces upon vintage Bill Ward high-jinks, while Jarvis Leatherby’s flashy, Steve Harris-inspired bass work often exhibits a wandering, Geezer Butler-like quality. Truth be told, the only element that has retained all of its familiar character is Jarvis’ mid-ranged, Algy Ward-like every man vocal persona.

The structure of the final product is no less intricate and evolved than the individual players that crafted it, and takes on a sort of vivid, almost theatrical character. Adorned with a somber instrumental at its inception simply dubbed “Prelude”, a clear signal of a change in direction is sent between the blend of 70s prog-like synthesizer lines and dense piano sound, as Leatherby’s bass drives things along with occasional interplay from the rest of the band. In essence, this is the sort of elaborate introduction that paves the way for something truly impactful, and it can’t be understated just how much of a triumphant fist in the air that the subsequent title anthem “Outsider” proves to be. Picture a brilliant blend of Iron Maiden-inspired melodic splendor from Jarvis’ bellowing baritone, a driving to thrashing drum display and an elaborate dance of flashy guitar work and one would still need a bit more to fully comprehend it all. A similar story is told with more of a jazzy shuffle at an even more blistering pace with the entry of “Obsidian”, landing fairly close to where Maiden was circa Powerslave, yet also possessing a dank and often haunting character that also dovetails with some of the faster work of early Saint Vitus. Other fleet-footed bangers like “Rebirth” and “Escape From Beyond” prove to be fair from slouches as well, with the latter featuring one of the most thrilling spectacles courtesy of Anthony’s guitar work yet.

Be this all as it may, the truly awe-inspiring moments of this well-crafted series of old school serenades come at a much slower tempo and in a far less triumphant air. Taking heavy cues from the traditional and epic doom trappings of Candlemass and Cirith Ungol, the slow-trudging dirge “Beyond The Grave” could have all but been accomplished by a different band save for Jarvis’ vocals, which brilliantly walk the line between a heartfelt croon and an agonized wail. The brilliance of the interplay between the instrumentation rounded out by these three surgeons cannot be understated, erecting a towering wall of sound and maximizing the dynamic capabilities within a doom setting masterfully, with Leatherby’s droning bass often resembling a tolling bell as the wild kit work of Squires continues to be on another level. The dreariness factor is increased further still on the woefully balladry of “The Wake”, which often draws from the blues/rock roots of Sabbath as it progresses from a subdued elegy to a metallic storm of grief, culminating in a less than subtle nod to Diamond Head’s “Am I Evil?” during the guitar solo at its tail-end. Functioning as a sort of extended successor to the aforementioned doom-drenched ballad, the closing epic number “The Wrath” draws the deepest from this outfit’s expansive well of ideas and demonstrates the widest dynamic range, often blurring the lines between doom and thrash metal in a manner highly becoming of a band seeking to recapture the unfettered stylistic character of early 80s heavy metal.

Thus far, there is a solid case to be made that Night Demon has truly come into its own and delivered something worthy of magnum opus status, though still a relatively young act in the grand scheme of things. It’s the sort of album that greets one with a very familiar set of ideas, yet keeps the listener guessing throughout, touching upon that progressive stylistic ideal that was a staple of the NWOBHM scene and often found the bands involved being comparable only in terms of their shared country of origin. Combined with the rare and arguably unconventional disposition of attacking the metal genre from the standpoint of a trio arrangement, this band has climbed the proverbial mountain and has shouted from its peak that old school metal is not a fad with a termination date. It is difficult to surmise where this California-based outfit will go next, let alone how they would go about topping this compact yet colossal collection of metal magic, but regardless of how things roll out, this is a band to watch regardless of what one’s preferred sub-genre happens to be.

hells unicorn



..::TRACK-LIST::..

1. Prelude 02:18
2. Outsider 03:50
3. Obsidian 03:57
4. Beyond The Grave 06:21
5. Rebirth 03:35
6. Escape From Beyond 03:47
7. A Wake 03:27
8. The Wrath 07:26



..::OBSADA::..

Jarvis Leatherby - Vocals, Bass
Armand John Anthony – Guitars, Keyboards
Dusty Squires - Drums




https://www.youtube.com/watch?v=BZSjk7aWhA8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



A-Z to mistrzowie w swoim fachu!!!



..::TRACK-LIST::..

1. Fire Away 04:37
2. Running in Place 04:58
3. Nothing Is Over 04:18
4. A Wordless Prison 06:04
5. Reaching Out 04:16
6. The Remedy 05:06
7. I Am Numb 04:03
8. This Chaotic Symphony 05:10
9. Learning to Fly 04:38
10. Now I Walk Away 05:39



..::OBSADA::..

Ray Alder - Lead and Backing Vocals
Philip Bynoe - Bass Guitar
Nick Van Dyk - Guitars
Simone Mularoni - Lead Guitars
Jimmy Waldo - Keyboards
Mark Zonder - Drums




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



A-Z to mistrzowie w swoim fachu!!!



..::TRACK-LIST::..

1. Fire Away 04:37
2. Running in Place 04:58
3. Nothing Is Over 04:18
4. A Wordless Prison 06:04
5. Reaching Out 04:16
6. The Remedy 05:06
7. I Am Numb 04:03
8. This Chaotic Symphony 05:10
9. Learning to Fly 04:38
10. Now I Walk Away 05:39



..::OBSADA::..

Ray Alder - Lead and Backing Vocals
Philip Bynoe - Bass Guitar
Nick Van Dyk - Guitars
Simone Mularoni - Lead Guitars
Jimmy Waldo - Keyboards
Mark Zonder - Drums




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Limitowany, trwający 76 minut, europejski CD w okładce z klasycznym, świątecznym rysunkiem Dereka Riggsa z 1984 roku! Płyta zawiera dość rzadkie i raczej trudno dostępne studyjne oraz koncertowe, singlowe nagrania zespołu (w tym sporo udanych przeróbek kompozycji innych wykonawców, jak 'Cross-Eyed Mary' Jethro Tull, 'I've Got The Fire' Montrose, 'King Of Twilight' Nektar) zrealizowane pomiędzy 1982 a 1988!

Generalnie płyta brzmi wspaniale i jest fantastycznym i zarazem perfekcyjnym uzupełnieniem albumów z Dickinsonem z lat 80. - od 'The Number Of The Beast' po 'Seventh Son Of The Seventh Son'!

JL



..::TRACK-LIST::..

1. Total Eclipse 4:24
from 'Run to the Hills' 7", 1982

2. Remember Tomorrow (live) 5:25
from 'The Number of the Beast' 7", 1982

3. I've Got the Fire (MONTROSE cover) 2:37
from 'Flight of Icarus' 7", 1983

4. Cross-Eyed Mary (Jethro Tull cover) 3:52
from 'The Trooper' 7", 1983

5. Rainbow's Gold (Beckett cover) 4:57
from '2 Minutes to Midnight' 7", 1984

6. King of Twilight (Nektar cover) 4:51
from 'Aces High' 12", 1984

7. The Number of the Beast (live) 4:56
from "Aces High' 12", 1984

8. Sanctuary (live) 4:38
from 'Running Free' Live 12", 1985

9. Murders in the Rue Morgue (live) 4:30
from 'Running Free' Live 12", 1985

10. Losfer Words [Big 'Orra] (live) 4:14
from 'Run to the Hills' Live 12", 1985

11. Sheriff of Hudderfield 3:33
from 'Wasted Years' 12", 1986

12. Reach Out 3:29
from 'Wasted Years' 7", 1986

13. That Girl (FM cover) 5:03
from 'Stranger in a Strange Land' 12", 1986

14. Juanita 3:44
from 'Stranger in a Strange Land' 12", 1986

15. Prowler '88 4:06
from 'The Evil That Men Do' 7", 1988

16. Charlotte the Hariot '88 4:09
from 'The Evil That Men Do' 12", 1988

17. Black Bart Blues 6:39
from 'Can I Play with Madness' 7", 1988



..::OBSADA::..

Bass - Steve Harris
Drums - Clive Burr (tracks: 1-2), Nicko McBrain (tracks: 3-17)
Guitar [Guitars] - Adrian Smith, Dave Murray
Vocals - Bruce Dickinson



https://www.youtube.com/watch?v=q3vWC2ROvj4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Limitowany, trwający 76 minut, europejski CD w okładce z klasycznym, świątecznym rysunkiem Dereka Riggsa z 1984 roku! Płyta zawiera dość rzadkie i raczej trudno dostępne studyjne oraz koncertowe, singlowe nagrania zespołu (w tym sporo udanych przeróbek kompozycji innych wykonawców, jak 'Cross-Eyed Mary' Jethro Tull, 'I've Got The Fire' Montrose, 'King Of Twilight' Nektar) zrealizowane pomiędzy 1982 a 1988!

Generalnie płyta brzmi wspaniale i jest fantastycznym i zarazem perfekcyjnym uzupełnieniem albumów z Dickinsonem z lat 80. - od 'The Number Of The Beast' po 'Seventh Son Of The Seventh Son'!

JL



..::TRACK-LIST::..

1. Total Eclipse 4:24
from 'Run to the Hills' 7", 1982

2. Remember Tomorrow (live) 5:25
from 'The Number of the Beast' 7", 1982

3. I've Got the Fire (MONTROSE cover) 2:37
from 'Flight of Icarus' 7", 1983

4. Cross-Eyed Mary (Jethro Tull cover) 3:52
from 'The Trooper' 7", 1983

5. Rainbow's Gold (Beckett cover) 4:57
from '2 Minutes to Midnight' 7", 1984

6. King of Twilight (Nektar cover) 4:51
from 'Aces High' 12", 1984

7. The Number of the Beast (live) 4:56
from "Aces High' 12", 1984

8. Sanctuary (live) 4:38
from 'Running Free' Live 12", 1985

9. Murders in the Rue Morgue (live) 4:30
from 'Running Free' Live 12", 1985

10. Losfer Words [Big 'Orra] (live) 4:14
from 'Run to the Hills' Live 12", 1985

11. Sheriff of Hudderfield 3:33
from 'Wasted Years' 12", 1986

12. Reach Out 3:29
from 'Wasted Years' 7", 1986

13. That Girl (FM cover) 5:03
from 'Stranger in a Strange Land' 12", 1986

14. Juanita 3:44
from 'Stranger in a Strange Land' 12", 1986

15. Prowler '88 4:06
from 'The Evil That Men Do' 7", 1988

16. Charlotte the Hariot '88 4:09
from 'The Evil That Men Do' 12", 1988

17. Black Bart Blues 6:39
from 'Can I Play with Madness' 7", 1988



..::OBSADA::..

Bass - Steve Harris
Drums - Clive Burr (tracks: 1-2), Nicko McBrain (tracks: 3-17)
Guitar [Guitars] - Adrian Smith, Dave Murray
Vocals - Bruce Dickinson



https://www.youtube.com/watch?v=q3vWC2ROvj4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Limitowany europejski CD zawierający blisko 80-minutowy zapis transmitowanego przez radio występu, jaki odbył się na festiwalu Summerfest w Milwaukee, USA, w czerwcu 1981 roku, podczas trasy promującej drugi w dyskografii zespołu LP "Killers".

UWAGA! Na okładce widnieje reprodukcja unikalnej, legendarnej i bardzo rzadkiej świątecznej kartki, wysyłanej do fanów zespołu w 1980 roku! Jakość dźwięku jest bardzo dobra (radio broadcast) - znacznie lepsza, pełniej brzmiąca niż na poprzednich wersjach tego występu! Z pewnością jest to wielka gratka dla fanów starego Maiden i NWOBHM!

JL



..::TRACK-LIST::..

Recorded live In Milwaukee, USA on 26th, June 1981.
1. Sanctuary
2. Purgatory
3. Wrathchild
4. Remember Tomorrow
5. Another Life
6. Genghis Khan
7. Killers
8. Innocent Exile
9. Twilight Zone
10. Murders In The Rue Morgue
11. Phantom Of The Opera
12. Iron Maiden
13. Running Free
14. Transylvania
15. Drifter



..::OBSADA::..

Paul Di'Anno - vocals
Dave Murray - guitars
Adrian Smith - guitars
Steve Harris - bass
Clive Burr - drums




https://www.youtube.com/watch?v=zFJjI3ICGwc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Limitowany europejski CD zawierający blisko 80-minutowy zapis transmitowanego przez radio występu, jaki odbył się na festiwalu Summerfest w Milwaukee, USA, w czerwcu 1981 roku, podczas trasy promującej drugi w dyskografii zespołu LP "Killers".

UWAGA! Na okładce widnieje reprodukcja unikalnej, legendarnej i bardzo rzadkiej świątecznej kartki, wysyłanej do fanów zespołu w 1980 roku! Jakość dźwięku jest bardzo dobra (radio broadcast) - znacznie lepsza, pełniej brzmiąca niż na poprzednich wersjach tego występu! Z pewnością jest to wielka gratka dla fanów starego Maiden i NWOBHM!

JL



..::TRACK-LIST::..

Recorded live In Milwaukee, USA on 26th, June 1981.
1. Sanctuary
2. Purgatory
3. Wrathchild
4. Remember Tomorrow
5. Another Life
6. Genghis Khan
7. Killers
8. Innocent Exile
9. Twilight Zone
10. Murders In The Rue Morgue
11. Phantom Of The Opera
12. Iron Maiden
13. Running Free
14. Transylvania
15. Drifter



..::OBSADA::..

Paul Di'Anno - vocals
Dave Murray - guitars
Adrian Smith - guitars
Steve Harris - bass
Clive Burr - drums




https://www.youtube.com/watch?v=zFJjI3ICGwc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy album pochodzącego z Austrii Venator to był trochę taki nieśmiały pierwszy krok tej kapeli na scenie metalowej. Obrali sobie za cel przypomnienie nam heavy metalu z nutką hard rocka w klimacie lat 80. W ich muzyce znajdzie się coś z Heavy Load, Iron maiden, Judas Priest, Riot city czy Mindless Sinner. 25 kwietnia na świat wyszedł "Psychodrome" za sprawą Dying Victims Productions.
Dla fanów heavy metalu lat 80 i klasycznych dźwięków to pozycja obowiązkowa.

Okładka nieco kiczowata, ale oddaje w pełni klimat lat 80. Brzmienie również mocno wzorowane na tamtych czasach. Venator to przede wszystkim dobrze zgrany duet gitarowy, który tworzą Holzner/Ehrengruber. Panowie dają czadu i choć to wszystko wtórne to dostarcza sporo frajdy i niezapomnianych przeżyć. Słucha się tego naprawdę bardzo dobrze, a pojedynki gitarowe czy riffy są tutaj nie ladą atrakcją. Wszystko pięknie spina wokal Hansa Huemera, którego charyzma i drapieżność dodaje uroku. To właściwy człowiek do takiego zadania i za jego sprawą klimat lat 80 jest bardziej autentyczny. W każdej sferze czuć postęp względem debiutu.

Intro "Into the drome" przyprawia o dreszcze i buduje odpowiednie napięcie. Potem od razu na pierwszy strzał dwa killery. Energiczny "Children of The Beast" i przebojowy "Steel the Night". Skoczny "Ravening Angel" przemyca patenty NWOBHM i mocno nawiązuje do dwóch pierwszych płyt Iron maiden. Kompozycja godna uwagi! Najdłuższy na płycie jest "The Final Call", który pokazuje, że band potrafi urozmaicić kompozycję i grać dłużej nie przynudzając. Jest coś z heavy load, czy iron maiden. Band pokazuje prawdziwą moc i pomysłowość. Prosto i do celu jest w 'Radar", który jest udanym miksem heavy metalu i hard rocka. Oj wpada w ucho. Więcej hard rocka i wpływów NWOBHM można wyłapać w skocznym "Dynamite" i takie proste patenty zawsze sprawdzają się najlepiej. Hit godny wyróżnienia! Wokale Hansa w "Fear the light" robią wrażenie, szkoda tylko że utwór troszkę słabszy. Finał to energiczny, nieco speed metalowy "Astral Seduction" i Venator pokazuje, że rozwinął skrzydła i brzmi co raz to pewniej. Nie mają czego się wstydzić.

"Psychodrome" brzmi jakby powstał w latach 80. Nie jest to jakiś zaginiony klasyk z lat 80, a najnowsze dzieło austriackiego Venator, który działa od 9 lat. Nowy krążek umacnia pozycję zespołu i pokazuje jak ogromny drzemie w nim potencjał.

PMW

Austrian heavy metal traditionalists Venator are back with their second full length album. Set for release via Dying Victims Productions on April 25th.

80s synths begin the record with a nostalgic and simplistic introduction. As guitars come to life, the traditional heavy metal attack is launched with full melodic power. Slowing joining, the rhythm sections pummel into existence and the full instrumental mix is glorious. There is plenty of space between each instrument and the vocals so everything can breathe, be heard and most importantly; have impact. Vocally the melodic and heartfelt performance is just as strong as on the bands previous works while the riffing is also potent as ever. Hearing more prominent bass lines to counter the ripping solos ensures every member has their time in the spotlight. The drumming is a powerhouse of pure classic strength and the essential backbone to this record. It feels like we a picking up exactly where we left off with Venator, for which I am glad. I’ve really enjoyed the whole body of work from this band and I’m excited to venture further into the psychodrome…

From the fist-pounding fury to haunting passages, I love the dynamics that this band uses while holding that simplistic charm of Accept’s “Metal Heart” or Stormwitch’s “Stronger Than Heaven”, either way an undeniably European feeling is very present on this album and the Austrians don’t show away from that characteristic. Their sense of melodic prowess and engaging hooks is perfect, but they still vary things enough to keep from feeling like a one trick pony. Harnessing a powerful set of musicians can sometimes be a struggle for control, but everything here is balanced and has its time to shine. Having seen this band live, I know just how infectiously these songs translate in a concert setting to get everyone singing along and having a great time. Sometimes the less is more style of songwriting really pays off and Venator are a gleaming example that still feels authentic and true to the bone.

These are the kind of songs which get their hooks deep into your flesh and drag you back endlessly for more. Venator have always felt confident and like they know exactly what material to put forward and that continues with this second opus of overtly classic-sounding heavy metal. There is no denying the good times you will experience with this record. While perhaps not the most inventive, who cares when it sounds this damned good? Not me. Every soaring moment feels like one more shot at glory that never misses. Each piece a ripping slice of steel that lacerates you with its shining brilliance. Strap in ’til the end and you’ll be flipping the wax over to hear it again. “Psychodrome” is one belter of an album that is just to fun to miss. Metal needs to have that right feel to it that grabs you by the throat and thrusts you out into the night to fend for yourself and Venator captures exactly that.

If catchy, powerful and enchanting heavy metal haunted by the spirits of the 80s while pushing forth its own character is your thing; Venator is definitely a band to have on your radar. As always we hear masterful songwriting and killer musicianship pack one hell of a punch and take us on one epic ride that you never want to end. Clearly inspiration and ideas have not run short as we hear a fresh set of scorchers come straight for the heart with their fiery inferno of metallic passion. Join the race to glory!

Nattskog7



..::TRACK-LIST::..

1. Into the Drome 01:06
2. Steal the Night 04:10
3. Children of the Beast 04:59
4. Ravening Angel 05:25
5. The Final Call 06:47
6. Radar 04:25
7. Race to Glory 03:30
8. Dynamite 04:16
9. Fear the Light 04:14
10. Astral Seduction 04:41



..::OBSADA::..

Jakob Steidl - Drums
Anton Holzner - Guitars
Leon Ehrengruber - Guitars
Hans Huemer - Vocals
Stefan Glasner - Bass



https://www.youtube.com/watch?v=Q45D__bF5A4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Pierwszy album pochodzącego z Austrii Venator to był trochę taki nieśmiały pierwszy krok tej kapeli na scenie metalowej. Obrali sobie za cel przypomnienie nam heavy metalu z nutką hard rocka w klimacie lat 80. W ich muzyce znajdzie się coś z Heavy Load, Iron maiden, Judas Priest, Riot city czy Mindless Sinner. 25 kwietnia na świat wyszedł "Psychodrome" za sprawą Dying Victims Productions.
Dla fanów heavy metalu lat 80 i klasycznych dźwięków to pozycja obowiązkowa.

Okładka nieco kiczowata, ale oddaje w pełni klimat lat 80. Brzmienie również mocno wzorowane na tamtych czasach. Venator to przede wszystkim dobrze zgrany duet gitarowy, który tworzą Holzner/Ehrengruber. Panowie dają czadu i choć to wszystko wtórne to dostarcza sporo frajdy i niezapomnianych przeżyć. Słucha się tego naprawdę bardzo dobrze, a pojedynki gitarowe czy riffy są tutaj nie ladą atrakcją. Wszystko pięknie spina wokal Hansa Huemera, którego charyzma i drapieżność dodaje uroku. To właściwy człowiek do takiego zadania i za jego sprawą klimat lat 80 jest bardziej autentyczny. W każdej sferze czuć postęp względem debiutu.

Intro "Into the drome" przyprawia o dreszcze i buduje odpowiednie napięcie. Potem od razu na pierwszy strzał dwa killery. Energiczny "Children of The Beast" i przebojowy "Steel the Night". Skoczny "Ravening Angel" przemyca patenty NWOBHM i mocno nawiązuje do dwóch pierwszych płyt Iron maiden. Kompozycja godna uwagi! Najdłuższy na płycie jest "The Final Call", który pokazuje, że band potrafi urozmaicić kompozycję i grać dłużej nie przynudzając. Jest coś z heavy load, czy iron maiden. Band pokazuje prawdziwą moc i pomysłowość. Prosto i do celu jest w 'Radar", który jest udanym miksem heavy metalu i hard rocka. Oj wpada w ucho. Więcej hard rocka i wpływów NWOBHM można wyłapać w skocznym "Dynamite" i takie proste patenty zawsze sprawdzają się najlepiej. Hit godny wyróżnienia! Wokale Hansa w "Fear the light" robią wrażenie, szkoda tylko że utwór troszkę słabszy. Finał to energiczny, nieco speed metalowy "Astral Seduction" i Venator pokazuje, że rozwinął skrzydła i brzmi co raz to pewniej. Nie mają czego się wstydzić.

"Psychodrome" brzmi jakby powstał w latach 80. Nie jest to jakiś zaginiony klasyk z lat 80, a najnowsze dzieło austriackiego Venator, który działa od 9 lat. Nowy krążek umacnia pozycję zespołu i pokazuje jak ogromny drzemie w nim potencjał.

PMW

Austrian heavy metal traditionalists Venator are back with their second full length album. Set for release via Dying Victims Productions on April 25th.

80s synths begin the record with a nostalgic and simplistic introduction. As guitars come to life, the traditional heavy metal attack is launched with full melodic power. Slowing joining, the rhythm sections pummel into existence and the full instrumental mix is glorious. There is plenty of space between each instrument and the vocals so everything can breathe, be heard and most importantly; have impact. Vocally the melodic and heartfelt performance is just as strong as on the bands previous works while the riffing is also potent as ever. Hearing more prominent bass lines to counter the ripping solos ensures every member has their time in the spotlight. The drumming is a powerhouse of pure classic strength and the essential backbone to this record. It feels like we a picking up exactly where we left off with Venator, for which I am glad. I’ve really enjoyed the whole body of work from this band and I’m excited to venture further into the psychodrome…

From the fist-pounding fury to haunting passages, I love the dynamics that this band uses while holding that simplistic charm of Accept’s “Metal Heart” or Stormwitch’s “Stronger Than Heaven”, either way an undeniably European feeling is very present on this album and the Austrians don’t show away from that characteristic. Their sense of melodic prowess and engaging hooks is perfect, but they still vary things enough to keep from feeling like a one trick pony. Harnessing a powerful set of musicians can sometimes be a struggle for control, but everything here is balanced and has its time to shine. Having seen this band live, I know just how infectiously these songs translate in a concert setting to get everyone singing along and having a great time. Sometimes the less is more style of songwriting really pays off and Venator are a gleaming example that still feels authentic and true to the bone.

These are the kind of songs which get their hooks deep into your flesh and drag you back endlessly for more. Venator have always felt confident and like they know exactly what material to put forward and that continues with this second opus of overtly classic-sounding heavy metal. There is no denying the good times you will experience with this record. While perhaps not the most inventive, who cares when it sounds this damned good? Not me. Every soaring moment feels like one more shot at glory that never misses. Each piece a ripping slice of steel that lacerates you with its shining brilliance. Strap in ’til the end and you’ll be flipping the wax over to hear it again. “Psychodrome” is one belter of an album that is just to fun to miss. Metal needs to have that right feel to it that grabs you by the throat and thrusts you out into the night to fend for yourself and Venator captures exactly that.

If catchy, powerful and enchanting heavy metal haunted by the spirits of the 80s while pushing forth its own character is your thing; Venator is definitely a band to have on your radar. As always we hear masterful songwriting and killer musicianship pack one hell of a punch and take us on one epic ride that you never want to end. Clearly inspiration and ideas have not run short as we hear a fresh set of scorchers come straight for the heart with their fiery inferno of metallic passion. Join the race to glory!

Nattskog7



..::TRACK-LIST::..

1. Into the Drome 01:06
2. Steal the Night 04:10
3. Children of the Beast 04:59
4. Ravening Angel 05:25
5. The Final Call 06:47
6. Radar 04:25
7. Race to Glory 03:30
8. Dynamite 04:16
9. Fear the Light 04:14
10. Astral Seduction 04:41



..::OBSADA::..

Jakob Steidl - Drums
Anton Holzner - Guitars
Leon Ehrengruber - Guitars
Hans Huemer - Vocals
Stefan Glasner - Bass



https://www.youtube.com/watch?v=Q45D__bF5A4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Smakowite gitary, krzykliwy wokal, teksty o życiu metalowca czyli o niczym ważnym!!!
Tak się nakurwia tradycyjny heavy w Peru!
Serce mocniej bije, łeb z nogami napierdala! Żadnej rewolucji!
PETARDA!!!


Hailing from the highlands of Cajamarca, Peru’s HYENA have been delivering true and uncompromising heavy metal since 2018. Founded by guitarist and songwriter Alfonso Espinoza, the band emerged with a clear mission: to keep the spirit of heavy metal alive and untamed.

With a career forged in the underground, HYENA’s music is pure adrenaline – direct, explosive, and unapologetic. Their demos and raw recordings have been released around the globe, earning a cult following among diehard maniacs of authentic, no-frills heavy metal. HYENA’s extensive touring journey has taken them from spontaneous, off-the-grid gigs in remote locations to headlining underground festivals across Latin America, Asia, and Oceania, where the passion for metal reigns supreme.

Now, HYENA are unleashing About Rock and Roll, their aptly titled debut album. This ten-track attack captures the band’s energy and unwavering commitment to the roots of heavy metal – particularly the genre’s earliest days, during the pivotal late ‘70s, when rock ‘n’ roll indeed still formed the foundation. Packed with vicious, headbanging riffs that make you want to raise your fist and let all Hell break loose, About Rock and Roll delivers solos as memorable as they are fierce, a relentless rhythm section that’s pure pounding-metal, and a commanding vocal performance that pierces through and devastates everything in its path.
Influenced by NWOBHM, Japanese heavy metal, and speed metal, HYENA channel the spirit of bands like Iron Maiden, Judas Priest, and Motörhead – big names, sure, but reverence is key when taking this torch. To coincide with the release of About Rock and Roll , HYENA will perform for their first time on European solo at the 25th anniversary of the legendary Keep it True Festival.



..::TRACK-LIST::..

1. Nightriders 03:28
2. About Rock and Roll 03:17
3. The Eternal Zero 04:11
4. Hail the Fire 02:52
5. Epitome of Evil 06:03
6. Echoes of the Underworld 03:46
7. Ready to Explode 04:28
8. Metal Machine 03:27
9. Hyena 02:50
10. Keep it True 03:27



..::OBSADA::..

Alfonso Espinoza - Guitars
El Sucio - Vocals
Leonardo Zelada - Drums
Alexander Rojas - Bass
Sergio Silva - Guitars, Bass



https://www.youtube.com/watch?v=S6NYBTZe5Kc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Smakowite gitary, krzykliwy wokal, teksty o życiu metalowca czyli o niczym ważnym!!!
Tak się nakurwia tradycyjny heavy w Peru!
Serce mocniej bije, łeb z nogami napierdala! Żadnej rewolucji!
PETARDA!!!


Hailing from the highlands of Cajamarca, Peru’s HYENA have been delivering true and uncompromising heavy metal since 2018. Founded by guitarist and songwriter Alfonso Espinoza, the band emerged with a clear mission: to keep the spirit of heavy metal alive and untamed.

With a career forged in the underground, HYENA’s music is pure adrenaline – direct, explosive, and unapologetic. Their demos and raw recordings have been released around the globe, earning a cult following among diehard maniacs of authentic, no-frills heavy metal. HYENA’s extensive touring journey has taken them from spontaneous, off-the-grid gigs in remote locations to headlining underground festivals across Latin America, Asia, and Oceania, where the passion for metal reigns supreme.

Now, HYENA are unleashing About Rock and Roll, their aptly titled debut album. This ten-track attack captures the band’s energy and unwavering commitment to the roots of heavy metal – particularly the genre’s earliest days, during the pivotal late ‘70s, when rock ‘n’ roll indeed still formed the foundation. Packed with vicious, headbanging riffs that make you want to raise your fist and let all Hell break loose, About Rock and Roll delivers solos as memorable as they are fierce, a relentless rhythm section that’s pure pounding-metal, and a commanding vocal performance that pierces through and devastates everything in its path.
Influenced by NWOBHM, Japanese heavy metal, and speed metal, HYENA channel the spirit of bands like Iron Maiden, Judas Priest, and Motörhead – big names, sure, but reverence is key when taking this torch. To coincide with the release of About Rock and Roll , HYENA will perform for their first time on European solo at the 25th anniversary of the legendary Keep it True Festival.



..::TRACK-LIST::..

1. Nightriders 03:28
2. About Rock and Roll 03:17
3. The Eternal Zero 04:11
4. Hail the Fire 02:52
5. Epitome of Evil 06:03
6. Echoes of the Underworld 03:46
7. Ready to Explode 04:28
8. Metal Machine 03:27
9. Hyena 02:50
10. Keep it True 03:27



..::OBSADA::..

Alfonso Espinoza - Guitars
El Sucio - Vocals
Leonardo Zelada - Drums
Alexander Rojas - Bass
Sergio Silva - Guitars, Bass



https://www.youtube.com/watch?v=S6NYBTZe5Kc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

April 16 th co to za nazwa dla kapeli heavy metalowej? Dość dziwna, ale zarazem intrygująca. Tak udało mi się natknąć na zespół o nazwie April 16 th. Jest to brytyjska formacja heavy metalowa działająca w okresie 1985-1991 i choć nie był to jakiś długi okres działania, to jednak udało się wydać kapeli jeden album w postaci „Sleepwalking”. Dobry tytuł albumu, ciekawa, klimatyczna okładka oraz intrygująca nazwa kapeli zachęciły mnie do sięgnięcia po to wydawnictwo.

Na samym wstępie przekonałem się, że zespół wyróżnia się na tle innych wokalistą, który śpiewa czysto i nie zadaje sobie trudu zmieniania charakteru choć na chwilę. Dave Russel swoim wokalem przypomina Joe Lynn Turnera czy Iana Gillana z Deep Purple. To akurat dobrze o nim świadczy, nawet jeśli jego wokal jest dość komercyjny jak na takie granie. Tak zespół gra heavy metal, choć nie trudno doszukać się w tym wszystkim hard rockowego feelingu. Dobitnie o tym świadczy rytmiczny „She's Mean”, który brzmi jak kawałek Deep Purple z okresu „Perfect Strangers”. To mało znane wydawnictwo zasługuje na większe zainteresowanie, a choćby ze względu na to co wygrywają Mills i Harris. Ci gitarzyści nie wiedzą co to nuda i monotonność, czerpią garściami z Deep Purple, Rainbow, jednocześnie nie stając się marnym klonem. Dzięki ich grze płyta jest bardzo melodyjna i zaskakująca jeśli chodzi o pomysły na utwory. Wystarczy posłuchać przeboju w postaci „Rattlesnake” żeby się przekonać o co mi chodzi. Otwieracz w postaci „Sleepwalking” raczej zwiastuje hard rockowe granie przesiąknięte Def Leppard, ale lekki „Let It Roll” pokazuje że zespół jednak chce nawiązać do melodyjnego metalu tworzonego niegdyś przez Ritchiego Blackmore'a. 7 minutowa ballada w postaci „Clapham Wood” jest po prostu piękna i właśnie tego się oczekuje od tego typu utworów. Słychać wpływy Scorpions, a przede wszystkim Nazereth. „Illusion” i „Blood Mary” przyozdobione są finezyjnymi solówkami, które zauroczą najbardziej wymagających słuchaczy.

Brytyjskie brzmienie, nawiązanie do korzeni w postaci brytyjskiego hard rocka które słychać na debiutanckim albumie April 16 Th dobrze świadczą o zespole i to przedkłada się na poziom prezentowanej muzyki. Choć zespół nie zdobył sławy ani szerszego grona fanów, to jednak płyta zasługuje na uwagę. Nie często słyszy się takie pomysłowe riffy, taki ciepły i emocjonalny wokal czy finezyjne solówki wzorowane na twórczości Ritchiego Blackmore;a. Szkoda, ze kapela się rozpadła, no ale cóż konkurencja w tamtym czasie nie spała. Gorąco polecam!

power metal warrior


On their album ‘Epitaph’ vintage British based band April 16th unleash a ballsy platter of sparkling Rock that is scintillating and effervescent in equal measure.

Featuring fourteen panoramic and propulsive slabs of evocative music, this mellifluous opus is a timeless paean to classic songcraft that will hold you aloft with its smorgasbord of stellar verses and vibrant choruses.

I went into this album with no prior band history or context as opposed to the knowledge that these fellows are seemingly defunct and emerged in its wake having been set ablaze by a robust work of whimsical and wild Rock magic.

Following listening to this glistening piece of pummeling, hedonistic rock it came to my knowledge that ‘Epitaph’ was produced using the initial studio masters under which it was originally recorded at Cherry Studios. Simultneously I learned that April16th consisted of Dave Russel on vocals, John Fisher on Drums, Eric Buffet on Bass, Lawrence Mills on lead guitar and Chris Mills on Rhythm Guitar.

Beginning the proceedings is the rollicking ‘’She’s Mean”, a song that harkens back to the sneering, radio-Rock of Billy Idol with its blazing leads and vocal swagger.

Tracks like “Thursday’s Child”, “Midday Man” and “Don’t Drink” are bluesy examples of what would occur if the musical paths of The Cult, Mötley Crüe and Bon Jovi intersected on route 66 in a conflagration of catchy melodies, smooth vocals and gritty bombast.

“Sleepwalking’’ picks up the pace after the beautiful barroom sleaze laid down in ‘’Don’t Drink’’ with a rousing stadium rock sized riff, soaring vocals and pounding drums.

“Clapham Wood’’ is a lilting rock ballad that begins with a melancholic, reverb drenched guitar melody and husky vocals before its distorted central riff carries it forward in a blaze of glory. In stark contrast, “Illusion’’ is a romper stomper that is festive and arena ready replete with a charging riff that is akin to the most up-tempo moments of ‘Priest and ‘Sabbath.

“Let It Roll’’ has more of a new wave style threaded through its funky riffs and rhythms while ‘’Away’’ is a song I could have sworn I had heard before, perhaps when I was an adolescent listening to the Barney Simon show on 5fm. I could be wrong concerning this ripping song. It is a ripping song. Know that.

“Rattlesnake Shakedown”, “The Dealer” and “The Survivor” all continue the template established throughout ‘Epitaph’, each song being a prime example of infectious and strident Rock.

Opening with a slithering bass line ‘’Bloody Mary’’ is another barn-storming example of fiery riff driven smoulder that shimmies with its Def Leppard like bluster.

“Looking For Love’ brings ‘Epitaph’ to a close with might as its mammoth riffs, melodic vocals and solid drumming meld together to create a sing a long anthem in an album that is chock full of them.

Like the Eighties all over again and bringing to mind images of cruising down Sunset Boulevard with the wind rustling through one’s hair, the classic Rock conjured forth on ‘Epitaph’ is fun and festive.

Asher Locketz



..::TRACK-LIST::..

1. She's Mean 3:18
2. Thursday's Child 3:57
3. Midday Man 5:47
4. Don't Drink 5:25
5. Sleepwalking 5:06
6. Clapham Wood 7:46
7. Illusion 4:21
8. Let It Roll 4:54
9. Away 4:43
10. Rattlesnake Shakedown 3:32
11. The Dealer 5:16
12. Bloody Mary 4:13
13. Survivor 6:53
14. Looking For Love 2:58

This CD was produced using the original studio master tapes from the Sleepwalking album and additional tracks from the Cherry Jam recording sessions.



..::OBSADA::..

Vocals - Dave Russel
Guitar - Chris Harris
Lead Guitar - Lawrence Mills
Bass Guitar - Eric Puffet
Drums - John Fisher



https://www.youtube.com/watch?v=_A8jpPOLZ8Q



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