...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

Xeogred



Sensationeller Texas Thrash!

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

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

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

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

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

Pflicht!



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

Xeogred



Sensationeller Texas Thrash!

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

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

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

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

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

Pflicht!



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cudowne lata...


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

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

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

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

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

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

colin040


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

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

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

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

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

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

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

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

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

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

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

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

metalpesant



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Cudowne lata...


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

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

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

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

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

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

colin040


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

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

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

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

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

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

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

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

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

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

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

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

metalpesant



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

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

Mariusz Danielak


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

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

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

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

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

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

Konrad Sebastian Morawski


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

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

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

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

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

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

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

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

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

The Prog Mind



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

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

Mariusz Danielak


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

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

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

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

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

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

Konrad Sebastian Morawski


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

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

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

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

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

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

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

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

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

The Prog Mind



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

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

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

Orionmetalhead



..::TRACK-LIST::..

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

2. Prelusion 1:54
Piano - Jennifer Sakowski

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

4. Exxplorer 4:19
Vocals - Armondo Diaz

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

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

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

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

9. Metal Detectors 4:33
Vocals - Lenny Rizzo

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



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

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

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

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

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

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

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

Orionmetalhead



..::TRACK-LIST::..

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

2. Prelusion 1:54
Piano - Jennifer Sakowski

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

4. Exxplorer 4:19
Vocals - Armondo Diaz

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

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

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

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

9. Metal Detectors 4:33
Vocals - Lenny Rizzo

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



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

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

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

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

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

Andromeda Unchained


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

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

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

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

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

VirginSteele-Helstar



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

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

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

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

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

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

Andromeda Unchained


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

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

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

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

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

VirginSteele-Helstar



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



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



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



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



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

...( Info )...


Artist: Reog
Title: Reog
Year: 2024
Genre: Hard, Heavy-Metal
Country: USA
Duration: 00:45:49
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Daily Grind 04:48
02. Where You Wanna Go 05:22
03. Island Of The Gods 04:22
04. Indecision 05:35
05. iBrainless 04:26
06. New Light 05:00
07. Not My Way 06:07
08. Head West 04:15
09. Against The World 05:50

...( Info )...
Title: Vissza sose nezz
Artist: Pokolgép
Year: 2024
Genre: Heavy-Metal
Country: Hungary

Duration: 00:48:58
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Vissza Sose Nézz
02. Tilos Csillagon
03. A Hatodik Nap
04. Tiszta Hitem
05. Szabad, Aki Szólni Mer
06. Ég Veled
07. Áldomás
08. Neked
09. Fogadj El
10. Utolsó Szívdobbanás
11. Nem Ért Engem A Világ [bonus]
12. Amíg A Tűz Tombol [bonus]

...( Info )...

Artist: Transylvania
Title: Windrider
Year: 2024
Genre: Heavy-Metal
Country: USA
Duration: 00:52:26
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...

01. Pale Horse
02. The Battle in the Air
03. 12 O'clock High
04. Black Dawn
05. Revenge
06. Vanguard
07. The Floating Palace

...( Info )...

Artist: Fire Action
Title: Until The Heat Dies
Year: 2024
Genre: Heavy Metal
Country: Finland
Duration: 00:40:50
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Storm Of Memories
02. No Drone Zone
03. Hard Days, Long Nights
04. Survive
05. Under The Gun
06. Dark Ages
07.13 Arrows
08. Incitement Of Insurrection
09. Until The Heat Dies
10. Curse The Day
11. Midnight Avenue

...( Info )...

Artist: Salem UK
Title: Outer Limits
Year: 2024
Genre: Heavy-Metal
Country: UK
Duration: 00:44:37
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Prologue: The Fairground
02. Rock You
03. Red Light
04. Silverback
05. Miss Fortune
06. Outer Limits
07. Overrider
08. Meteorite
09. Fire Fire
10. Present from the Past
11. Oblivion
12. Epilogue: The Fairground

...( Info )...

Artist: Torchlight Parade
Album: Children of the Night
Genre: Hard Rock, Heavy Metal
Source: deezer
Duration: 00:35:35
Codec: FLAC
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01. Children of the Night (01:52)
02. Howl'n Wolf (04:13)
03. Frankenstein of Death (04:37)
04. Shadow Run (01:42)
05. Vampire Night (04:26)
06. Haddonfield's Revenge (05:08)
07. I'm Not Dead... Yet! (05:38)
08. Mortician's Never Cry (04:00)
09. I Call Her Mausoleum (05:33)
10. Danc'n with the Dead (05:24)

...( Info )...

Artist: Demon Bitch
Title: Master Of The Games
Year: 2024
Genre: Heavy-Metal
Country: USA
Duration: 00:45:54
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

1. Beyond the Pillars 01:26
2. The Quickening 05:23
3. Master of the Games 06:11
4. Not of the Cruciform 05:30
5. Protector and the Horse 05:29
6. Into the Archway 04:54
7. Sentinel at the Spire 06:59
8. Tower of Dreams 05:01
9. Soliders of Obscurity 05:01

...( Info )...

Artist: Raptore
Title: Renaissance
Year: 2024
Genre: Heavy-Metal
Country: Argentina
Duration: 00:33:19
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

1. Ecclesia 01:07
2. Satana 04:39
3. Abaddon 03:54
4. Darklight 03:54
5. Requiescat in Pace 03:50
6. Into the Bowels 03:47
7. Kingdom Come 04:16
8. Imperium 03:29
9. All Fires the Fire 04:24

...( Info )...

Artist: Onyxgate
Title: I
Year: 2024
Genre: Progressive, Heavy-Metal
Country: Germany
Duration: 00:42:49
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Mother Willow 06:03
02. Sandstorm (Snowflakes In The Desert) 03:06
03. Nightmare 04:37
04. Us Is The Universe 05:20
05. Crystal Dimension 03:31
06. Angel Of War 03:54
07. Mountain King 05:20
08. Onyxgate 04:43
09. Goddess Of The Ocean 06:10

...( Info )...

Artist: Skol Bandit
Title: Resurrection
Year: 2024
Genre: Hard, Heavy-Metal
Country: Germany
Duration: 00:48:26
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Claymore Strike 04:16
02. 20th Century 04:09
03. Nevermore 05:27
04. Lovebreak 05:29
05. Defiance 04:05
06. Prisoner 06:24
07. One Part Of Me 05:22
08. The Last Descent 04:30
09. Squadrons Of Eternity 04:38
10. Symphony Of Destruction 04:06

...( Info )...

Artist: Voltstorm
Album: Break The Silence
Genre: Heavy Metal
Source: deezer
Duration: 00:43:54
Codec: FLAC
Bitrate: Lossless|WEB-DL
Rip type: tracks

...( TrackList )...

01. Stormchaser (02:17)
02. Judas (03:37)
03. Wake Me Up (04:06)
04. Lambs (04:03)
05. Eye Of The Storm (05:13)
06. Evil Eyes (04:30)
07. Rise Above (06:53)
08. Break The Silence (04:41)
09. Black Cage (04:28)
10. Destroyer (04:00)

...( Info )...

Artist: Mystyc Blade
Album: The Master Is Inside
Genre: Heavy-Metal
Edition: Label: 2024 Wormholedeath Records
Source: qobuz
Duration: 01:03:57
Codec: FLAC
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01. Don’t Forget to Live 5:40
02. Feel Invincible 4:08
03. Stay Away... Last Warning 4:34
04. Pyramids and Mystery 7:39
05. My Shield 5:13
06. Lies 6:08
07. Later is too Late 5:13
08. Song of Butterflies 6:56
09. Turn the Page 4:28
10. Forever Alone 6:24
11. The Master Is Inside 7:41

...( Info )...

Artist: Beast
Title: Ancient Powers Rising
Year: 2024
Genre: Heavy-Metal
Country: Germany
Duration: 00:44:19
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Behead the Dragon
02. In the Name of the Horned One
03. Ancient Powers Rising
04. Kingdom of Steel
05. Ride the Tempest
06. Shadows from the Arcane Tower
07. Swords are Burning
08. Mystery of the Lonesome Rider

...( Info )...

Artist: Gauntlet Rule
Album: After the Kill
Genre: Heavy-Metal
Edition: Label: Fighter Records
Source: link
Duration: 00:48:09
Codec: FLAC
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01. Usurper [00:04:19]
02. Exception to the Rule [00:04:35]
03. Drumhead Trial [00:05:10]
04. Bite the Hand That Feels [00:03:45]
05. Vengeance [00:05:26]
06. The Zero Crag [00:03:53]
07. Empire Maker [00:04:06]
08. The Night Wind [00:04:28]
09. After the Kill [00:03:45]
10. The Scythe [00:08:38]

...( Info )...

Artist: Circles Of Illusion
Title: Lionheart
Year: 2024
Genre: Hard, Heavy-Metal
Country: USA / Norway
Duration: 00:50:15
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Bridge to America
02. Raise the Flag
03. Ringing Bell
04. Escape
05. Doom
06. From the Words
07. Lionheart
08. Drowning
09. Where Dragons Fly
10. Mystery of Time

...( Info )...

Artist: Sophia Mengrosso
Title: Unforgiven
Year: 2024
Genre: Symphonic, Gothic, Heavy-Metal
Country: USA
Duration: 00:48:39
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Dream (03:50)
02. Under (03:19)
03. Demonizer (04:00)
04. Unforgiven (04:03)
05. Sweet Sacrifice (04:17)
06. Taking What You Want (04:07)
07. Medicate Me (04:17)
08. Another Dose (03:45)
09. Mind Splits In Two (03:15)
10. Sank In The World (03:36)
11. Down (03:04)
12. Haunted (03:49)
13. Ship Of Shattered Dreams (03:12)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Budowniczowie Grozy' to sludge metal brudny, uliczny i chamski, jak zawsze.
Cel jest niezmiennie ten sam: wpędzić słuchacza w dyskomfort używając dobrze już znanych środków - tłustych riffów, mięsistych refrenów, niebanalnych tekstów. No i kija baseballowego, oczywiście.

PM


Album 'Budowniczowie Grozy' to podróż w głąb najczarniejszych odmętów ludzkiej natury i demonów, jakie w niej drzemią. Las Trumien po raz kolejny udowadnia, że z miłością do mocnej muzyki pięknie opisuje śmierć.

Michał D


Wiele mówi się o tym, jak skuteczna i przyjemna jest nauka poprzez zabawę. Taką zabawą może być na przykład słuchanie muzyki, jednak nie musi być ona łatwa, o przyjemnej tematyce. Na warsztat możemy wziąć przecież historie zwyrodnialców, których nosiła Ziemia, ale o takim, dajmy na to, Josefie Mengele utwór napisać może każdy (to oczywiście odniesienie do "Angel of death" Slayera). Polski zespół Las Trumien podchodzi do tematu w sposób bardzo profesjonalny i przedstawia historie zwyroli "drugoligowych", którym (mimo "zasług") nigdy nie udało przebić się do mainstreamu. Wyraźnie widać, że już na starcie tej ekipie należy się duży szacunek za wysiłek w poszukiwaniach, a nie pójście na łatwiznę.

"Budowniczowie Grozy" to trzeci longplay w krótkiej, ale intensywnej karierze zespołu. Grupa powstała w 2020 roku i w dorobku ma jeszcze dwie EP-ki, jednak patrząc na skład, od razu zauważymy muzyków z doświadczeniem z innych ekip o zdecydowanie dłuższym stażu. W każdej z nich przewijają się różne odsłony metalu, zatem nic dziwnego, że Las Trumien również obraca się w tym gatunku, kierując swoje brzmienie w rejony stonerowo-sludge'owe.

Na przestrzeni czterech lat istnienia styl ten raczej mocno nie ewoluował ani nie zmieniał się wyraźnie. Zmiany słychać natomiast w warsztacie i zgraniu muzyków. "Budowniczowie Grozy" wydają się być albumem najbardziej zaawansowanym i dojrzałym muzycznie w dotychczasowej dyskografii. W zasadzie wszystko się tutaj zgadza - szybkie, stosunkowo krótkie utwory doskonale wpadają w ucho i świetnie współpracują z tekstami o historiach różnych zwyrodnialców i ich ofiar. Tutaj wachlarz jest szeroki zarówno pod względem lokalizacji, jak i czasu. Mamy też polskie akcenty, w tym te z rodzimego, szczecińskiego podwórka.

Mimo specyficznej i bardzo ciężkiej tematyki Wojtkowi Kałuży udaje się wpleść w teksty sporo gierek słownych oraz wysublimowanego poczucia humoru (szczególnie w refrenie "Pokaż Ząbki"). Do tego dochodzi wiele fragmentów od razu wpadających w ucho, które świetnie sprawdzą się na koncertach. Gwoździem programu są tutaj "Trupie Rozmówki" z tak charakterystycznym tematem, że ciężko przez długi czas pozbyć się go z głowy.

Wisienką na torcie (trumnie?) tego wydawnictwa jest bez wątpienia "Długa Droga Do Piekła", czyli dowód na to, że nawet dla tak specyficznej tematyki da się skomponować balladę. Wojtek Kałuża udowadnia tutaj również, że poza krzykiem i wrzaskiem potrafi też zaśpiewać czysto i całkiem nieźle mu to wychodzi. Na plus wydawnictwa działa również jego poligrafia, po raz kolejny wydana bardzo porządnie przez Patryka z Piranha Records. Poza tekstami utworów znajdziemy tutaj również rozpisane historie "bohaterów" utworów.

Dużej części reprezentantów nowego materiału miałem okazję posłuchać na koncercie. W tej odsłonie Las Trumien również wypada bardzo dobrze - brzmi ciężko i mięsiście, porywając ludzi do zabawy pod sceną. W zasadzie jedyny zarzut można mieć do czasu trwania. Repertuaru nazbierało się już sporo, można by koncert pociągnąć jeszcze z 10-15 minut dłużej, zwłaszcza że publika była głodna kolejnych dźwięków. Niecierpliwie czekam na dalszy rozwój wydarzeń, czyli kolejne wydawnictwa.

Karol Otkała



..::TRACK-LIST::..

1. Budowniczowie grozy 01:13
2. Pokaż ząbki 03:42
3. Nienasycony 03:58
4. Kandydat numer jeden 04:00
5. Rusałka jej grobem 02:26
6. Czerwony sędzia 03:49
7. Długa droga do piekła 04:22
8. Trupie rozmówki 02:03
9. Listonosz puka 03:19
10. By poczuć się lepiej 04:38
11. Kilka godzin 04:56
12. Serca samotne, serca nieszczęśliwe 05:16



..::OBSADA::..

R.J.M. - Bass
W.Ś. - Drums
B.D. - Guitars
W.K. - Vocals



https://www.youtube.com/watch?app=desktop&v=NyhiDFPjlyc



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

...( Info )...

Artist: California Villain
Title: Saints & Sinners
Year: 2024
Genre: Heavy-Metal
Country: USA
Duration: 00:43:13
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

1. Saints & Sinners 05:14
2. Dark Sky 04:31
3. The Gladiator Song 04:38
4. Fire And Stone 04:43
5. Walk Again 05:21
6. Distant 03:15
7. Me 04:03
8. The Other Side 04:06
9. My Machine 04:15
10. Iron Fist 03:02