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


..::OPIS::..

'Tales Of Terror' ma swój specyficzny urok, bo nie brakuje mu młodzieńczej energii, a jednocześnie opiera się na najczystszej materii, z której wywodzi się wszystko, co angażuje w muzyce tego zespołu. Teksty mają moc przyciągania, zwłaszcza miłośników historycznych realiów i atmosfery, która z nich emanuje.

FA


When it comes to German heavy/power metal, Stormwitch has been quite a heavy hitter for me since I started listening to them some 10 years ago or more. Their play style can remind a lot of NWOBHM bands through their first few albums, but they stood out particularly due to their noticeable German origins and, of course, the originality of their concept. Unfortunately, the history of this group hasn't been the most successful, as their sound progressively evolved into some sort of glam or commercial direction, which didn't work out and most likely was one of the reasons behind their break-up in the 90s. Anyway, the beginnings were a different beast though, as the first effort, "Walpurgis Night", seemed to have been heavily influenced by Iron Maiden with its galloping grooves and melodic approach. The sound was pretty heavy, and the overall pace was mid to fast at times, and singer Andy Mück had quite a long-range voice as well. At this point, coming with the second release, "Tales of Terror", we saw the band starting to expand on that initial playstyle and include some epic elements to the mix, which was, to me at least, a welcomed improvement.

Being an album released in 1985, we were still in a very early stage of the establishment of the power metal genre, but some traces can already be noticed on there. It is definitely not a huge musical shift compared to the first record, but the evolution of their sound displayed here shows a more refined work in general. This time around, we once again have 9 tracks of material and also clocking at 40 minutes. The only difference is that there's no instrumental song, unlike the follow-up "Stronger Than Heaven", which also has one. The "Tales of Terror" album pretty much hooked me from the beginning with the first track it kicks things off with, being "Point of No Return". The song starts with a chanting introduction, and once the first riff goes off, you know you're in for a treat. Structure-wise, it is quite standard, but the catchiness of it didn't take long to have its effect on me. I would also argue that Side A of the album is the better part of it, mainly due to it having the most upbeat tracks. If we take, for instance, "Masque of the Red Death", it goes from a smooth and melodic beat with great vocal performances to a fast-paced passage that leads to a guitar solo in a really smooth way. Despite all that, it isn't to say that the second part of the record is not great by any means, as the epic "Sword of Sagon" with its storytelling concept is an absolute banger as well, with its intense riff delivery. One could notice that the whole pace may have been slowed down a bit on this effort, but Stormwitch had always kept it steady regardless, as we can still see some classic speed metal vibes on the "Night Stalker" track, which displays a great sense of variety.

Although it is very good and catchy in general, there are a few weak parts such as "Trust in the Fire" and the closer "When the Bat Bites", which I always found to be a bit less engaging and impactful due to the commercial vibe of the former and the unmemorable chorus of the latter tracks. One thing for sure is that to enjoy this band's music, listeners may need to get used to high-pitched vocals, as it is the main trademark here, and put on the front end rightfully so. However, people who are Helloween or Judas Priest fans will certainly enjoy this. Other than the vocals, the guitars are surely the band's main force, and not so much the bass or drums. The album production work proves it as well, since they are the instruments that we can hear the most in the mix. The bass and drums are fine, but didn't make a particular impression on me, basically just doing the job, and honestly, I didn't mind it at all. The sound in general is also cleaner than the first album, which was recorded in the same studio as this one, and I would say quite noticeably. The approach that was taken on this album is quite interesting, as when we take an overview of the whole picture of this work, it is indeed very story-based, as each track tells a different tale, hence the name of the album. Although nothing seemed terrifying to me, it is nonetheless quite an original idea, for the time at least.

These guys surely had a great plan moving forward in that conceptual and musical direction, which they did for the next record, but that didn't last long and fell apart in the late 80s. "Tales of Terror" is a good display of progression in that matter, and is to me as good as you can get from them regarding their catalog. Even though the heavy/power metal era was quite short-lived with them, we fortunately have 3 great outputs to enjoy. At this point in 1985, the competition grew quite strong in that musical orientation, and therefore some bands like these guys were lost on the radar. In fact, for the most part, they've always been an underground band that didn't get much recognition, but they're worth checking out, that's for sure. I'd recommend this album to basically anyone who enjoys NWOBHM bands or old school power metal in general, as it delivers well and is very easy to get into, largely because most tracks have something to hook you on.

DesecratorJ


Tales of Terror is one of the essential Stormwitch albums. This, along with Walpurgis Night and Stronger Than Heaven, is a great place to start for those who are new to this legendary band.

The album begins with the solemn tones of a Gregorian-styled monk's chant before you are taken from the point of no return into a world of adventure and breathtaking sights. Stormwitch are more subtle at drawing you into their world than some other fantasy-inspired bands. Instead of lyrics that utilize regal language to paint a landscape, Stormwitch's lyrics are such that the flow of the story is more powerful than the words used. Andy Aldrian's confident mid-range singing style compliments the equally subtle twists and turns of the music and his voice has a narrative quality to it that makes you feel as if he is recalling something that he experienced.

Tales of Terror features a variety of headbanging riffs, energetic solos, and mid-to-fast paced tempos. "Hell's Still Alive" is a menacing gallop with a bristling solo and Aldrian's scream near the end of the track is pure metal. "Arabian Nights" has a fun little skip in its step reminiscent of Iron Maiden's "Twilight Zone." There is an Arabian-flavored melody at 2:57 of this track that seems to come out of nowhere and provides a strong foundation for the solo that follows. Okay, Stormwitch. Admit it. Tony Iommi commandeered your studio during the twilight hours of a particularly rough day of recording and thundered forth those riffs in "Lost Legions." Tell us what you know! Kidding aside, that's a pounding monster of a track that stands out like a monolith on this album. All fans of Black Sabbath must listen to it now. From the impending doom of "Point of No Return" up through the final moments of the vampire-themed "When the Bat Bites," every song on this album is like its own self-contained world that makes you want to visit time and again. You might as well just hit the play button after the CD stops spinning because Stormwitch's music is just that addictive.

Musically, Stormwitch's performance on Tales of Terror is tight and executed in a way that seems to put the good of the song ahead of any sort of unnecessary histrionics. The mystery and magic conveyed through the lyrics is done in a believable way as opposed to the all too common overdramatic approach that some bands use when singing about fantasy concepts. The spoken-word introduction to "Sword of Sagon" may be an acquired taste for some, but the song itself is engaging enough to make you forget about that if that's not your cup of tea.

Overall, Tales of Terror is another engaging album where Stormwitch managed to create a mystical vibe by utilizing familiar elements through a composed and understated approach that invites you into their world where a host of exotic emotions await and to where you'll long to return even after the music ends.

If you're a fan of power metal or classic heavy metal and you've never listened to Stormwitch, then where have you been? Check out Tales of Terror now and experience what you've been missing.

AsPredatorToPrey



..::TRACK-LIST::..

1. Point Of No Return 5:03
2. Hell's Still Alive 4:28
3. Masque Of The Red Death 4:55
4. Arabian Nights 4:57
5. Sword Of Sagon 5:26
6. Trust In The Fire 3:53
7. Night Stalker 3:42
8. Lost Legions 3:43
9. When The Bat Bites 3:53



..::OBSADA::..

Lead Guitar - Lee Tarot
Lead Vocals - Andy Aldrian
Drums - Pete Lancer
Bass - Ronny Pearson
Rhythm Guitar - Steve Merchant



https://www.youtube.com/watch?v=9574HofEtYI



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

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


..::OPIS::..

'Tales Of Terror' ma swój specyficzny urok, bo nie brakuje mu młodzieńczej energii, a jednocześnie opiera się na najczystszej materii, z której wywodzi się wszystko, co angażuje w muzyce tego zespołu. Teksty mają moc przyciągania, zwłaszcza miłośników historycznych realiów i atmosfery, która z nich emanuje.

FA


When it comes to German heavy/power metal, Stormwitch has been quite a heavy hitter for me since I started listening to them some 10 years ago or more. Their play style can remind a lot of NWOBHM bands through their first few albums, but they stood out particularly due to their noticeable German origins and, of course, the originality of their concept. Unfortunately, the history of this group hasn't been the most successful, as their sound progressively evolved into some sort of glam or commercial direction, which didn't work out and most likely was one of the reasons behind their break-up in the 90s. Anyway, the beginnings were a different beast though, as the first effort, "Walpurgis Night", seemed to have been heavily influenced by Iron Maiden with its galloping grooves and melodic approach. The sound was pretty heavy, and the overall pace was mid to fast at times, and singer Andy Mück had quite a long-range voice as well. At this point, coming with the second release, "Tales of Terror", we saw the band starting to expand on that initial playstyle and include some epic elements to the mix, which was, to me at least, a welcomed improvement.

Being an album released in 1985, we were still in a very early stage of the establishment of the power metal genre, but some traces can already be noticed on there. It is definitely not a huge musical shift compared to the first record, but the evolution of their sound displayed here shows a more refined work in general. This time around, we once again have 9 tracks of material and also clocking at 40 minutes. The only difference is that there's no instrumental song, unlike the follow-up "Stronger Than Heaven", which also has one. The "Tales of Terror" album pretty much hooked me from the beginning with the first track it kicks things off with, being "Point of No Return". The song starts with a chanting introduction, and once the first riff goes off, you know you're in for a treat. Structure-wise, it is quite standard, but the catchiness of it didn't take long to have its effect on me. I would also argue that Side A of the album is the better part of it, mainly due to it having the most upbeat tracks. If we take, for instance, "Masque of the Red Death", it goes from a smooth and melodic beat with great vocal performances to a fast-paced passage that leads to a guitar solo in a really smooth way. Despite all that, it isn't to say that the second part of the record is not great by any means, as the epic "Sword of Sagon" with its storytelling concept is an absolute banger as well, with its intense riff delivery. One could notice that the whole pace may have been slowed down a bit on this effort, but Stormwitch had always kept it steady regardless, as we can still see some classic speed metal vibes on the "Night Stalker" track, which displays a great sense of variety.

Although it is very good and catchy in general, there are a few weak parts such as "Trust in the Fire" and the closer "When the Bat Bites", which I always found to be a bit less engaging and impactful due to the commercial vibe of the former and the unmemorable chorus of the latter tracks. One thing for sure is that to enjoy this band's music, listeners may need to get used to high-pitched vocals, as it is the main trademark here, and put on the front end rightfully so. However, people who are Helloween or Judas Priest fans will certainly enjoy this. Other than the vocals, the guitars are surely the band's main force, and not so much the bass or drums. The album production work proves it as well, since they are the instruments that we can hear the most in the mix. The bass and drums are fine, but didn't make a particular impression on me, basically just doing the job, and honestly, I didn't mind it at all. The sound in general is also cleaner than the first album, which was recorded in the same studio as this one, and I would say quite noticeably. The approach that was taken on this album is quite interesting, as when we take an overview of the whole picture of this work, it is indeed very story-based, as each track tells a different tale, hence the name of the album. Although nothing seemed terrifying to me, it is nonetheless quite an original idea, for the time at least.

These guys surely had a great plan moving forward in that conceptual and musical direction, which they did for the next record, but that didn't last long and fell apart in the late 80s. "Tales of Terror" is a good display of progression in that matter, and is to me as good as you can get from them regarding their catalog. Even though the heavy/power metal era was quite short-lived with them, we fortunately have 3 great outputs to enjoy. At this point in 1985, the competition grew quite strong in that musical orientation, and therefore some bands like these guys were lost on the radar. In fact, for the most part, they've always been an underground band that didn't get much recognition, but they're worth checking out, that's for sure. I'd recommend this album to basically anyone who enjoys NWOBHM bands or old school power metal in general, as it delivers well and is very easy to get into, largely because most tracks have something to hook you on.

DesecratorJ


Tales of Terror is one of the essential Stormwitch albums. This, along with Walpurgis Night and Stronger Than Heaven, is a great place to start for those who are new to this legendary band.

The album begins with the solemn tones of a Gregorian-styled monk's chant before you are taken from the point of no return into a world of adventure and breathtaking sights. Stormwitch are more subtle at drawing you into their world than some other fantasy-inspired bands. Instead of lyrics that utilize regal language to paint a landscape, Stormwitch's lyrics are such that the flow of the story is more powerful than the words used. Andy Aldrian's confident mid-range singing style compliments the equally subtle twists and turns of the music and his voice has a narrative quality to it that makes you feel as if he is recalling something that he experienced.

Tales of Terror features a variety of headbanging riffs, energetic solos, and mid-to-fast paced tempos. "Hell's Still Alive" is a menacing gallop with a bristling solo and Aldrian's scream near the end of the track is pure metal. "Arabian Nights" has a fun little skip in its step reminiscent of Iron Maiden's "Twilight Zone." There is an Arabian-flavored melody at 2:57 of this track that seems to come out of nowhere and provides a strong foundation for the solo that follows. Okay, Stormwitch. Admit it. Tony Iommi commandeered your studio during the twilight hours of a particularly rough day of recording and thundered forth those riffs in "Lost Legions." Tell us what you know! Kidding aside, that's a pounding monster of a track that stands out like a monolith on this album. All fans of Black Sabbath must listen to it now. From the impending doom of "Point of No Return" up through the final moments of the vampire-themed "When the Bat Bites," every song on this album is like its own self-contained world that makes you want to visit time and again. You might as well just hit the play button after the CD stops spinning because Stormwitch's music is just that addictive.

Musically, Stormwitch's performance on Tales of Terror is tight and executed in a way that seems to put the good of the song ahead of any sort of unnecessary histrionics. The mystery and magic conveyed through the lyrics is done in a believable way as opposed to the all too common overdramatic approach that some bands use when singing about fantasy concepts. The spoken-word introduction to "Sword of Sagon" may be an acquired taste for some, but the song itself is engaging enough to make you forget about that if that's not your cup of tea.

Overall, Tales of Terror is another engaging album where Stormwitch managed to create a mystical vibe by utilizing familiar elements through a composed and understated approach that invites you into their world where a host of exotic emotions await and to where you'll long to return even after the music ends.

If you're a fan of power metal or classic heavy metal and you've never listened to Stormwitch, then where have you been? Check out Tales of Terror now and experience what you've been missing.

AsPredatorToPrey



..::TRACK-LIST::..

1. Point Of No Return 5:03
2. Hell's Still Alive 4:28
3. Masque Of The Red Death 4:55
4. Arabian Nights 4:57
5. Sword Of Sagon 5:26
6. Trust In The Fire 3:53
7. Night Stalker 3:42
8. Lost Legions 3:43
9. When The Bat Bites 3:53



..::OBSADA::..

Lead Guitar - Lee Tarot
Lead Vocals - Andy Aldrian
Drums - Pete Lancer
Bass - Ronny Pearson
Rhythm Guitar - Steve Merchant



https://www.youtube.com/watch?v=9574HofEtYI



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

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


..::OPIS::..

AXEWITCH był jednym z najważniejszych zespołów w początkowych latach szwedzkiej sceny heavy metal. "The Lord of Flies" to debiut z 1983 roku. Album jest dostępny po raz pierwszy jako digipak CD, zawierający 12-stronicową książeczkę, pełną archiwalnych zdjęć, informacji o zespole i tekstów.
Dla fanów: NWOBHM, GOTHAM CITY, HEAVY LOAD, OVERDRIVE.


Here is a reissue of the debut album from Swedish 80s Heavy Metallers AXEWITCH and you can expect a high octane dose of good old early-mid 80s Heavy Metal delivered with sharp precision and with plenty of incredibly catchy hooks! It is pedal to the metal from the get go with the first track ‘Axe Victim’ swaggering out of the speakers with energetic fervent finesse, the guitar sound is nice, warm and crisp with each riff cutting through the mix clearly, the drums pound along like a jackhammer sent to max with a lot of double kick fuelled parts, the bass is hefty and provides a weighty bottom end and the vocals lead the charge throughout reminding me of Sean Harris (DIAMOND HEAD). The lead work has to be mentioned too, all great Heavy Metal bands need strong lead playing and AXEWITCH definitely have that in abundance. This is Heavy Metal with a definite feel good vibe, the kind of Heavy Metal that was made for headbanging, fist raising and beer drinking! I can imagine just how well these songs would work in the live environment in an intimate sweaty setting with the adrenaline pumped up to full and the crowd and band feeding off each other. The production is powerful for its time with the songs really coming out of the speakers at you full force with each instrument clearly audible but there’s just the right amount of 80s style grit too so it definitely dosen’t sound overly polished, they found a good mix production wise back in the day and it does sound very of its time. This will transport you right back to the hey day of the era when the NWOBHM movement was going very strong and still a dominant force in the global Metal scene but these Swedes along with countrymen GOTHAM CITY, TORCH, SILVER MOUNTAIN, HEAVY LOAD etc were also contributing some top class Heavy Metal to the world and helping to put Scandinavia on the Metal map. It is a warm and very welcome revisit to the days when Heavy Metal was mainly just that, HEAVY METAL! There are definite nods to JUDAS PRIEST, DIAMOND HEAD and such bands and AXEWITCH are clearly influenced by such bands and NWOBHM in general. “The Lord Of Flies” will definitely appeal to anyone who loves early-mid 80s fist pumping Heavy Metal.

Kat 'Shevil' Gillham



..::TRACK-LIST::..

1. Axevictim 4:51
2. Just Another Lunatic 4:16
3. High Power 5:46
4. Let The Strings Cry Out 1:27
5. Sinner 4:40
6. The Arrival Of The Flies (Part 1) 2:10
7. The Lord Of Flies 6:01
8. Down Town 4:57
9. Seven Angels 4:35



..::OBSADA::..

Lead Guitar - Mange, Micke
Lead Vocals - Wallen
Bass Guitar - Tommy
Drums - Matte

Backing Vocals - Fredrik V. Gerber



https://www.youtube.com/watch?v=eXqH3vTZndU



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

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


..::OPIS::..

AXEWITCH był jednym z najważniejszych zespołów w początkowych latach szwedzkiej sceny heavy metal. "The Lord of Flies" to debiut z 1983 roku. Album jest dostępny po raz pierwszy jako digipak CD, zawierający 12-stronicową książeczkę, pełną archiwalnych zdjęć, informacji o zespole i tekstów.
Dla fanów: NWOBHM, GOTHAM CITY, HEAVY LOAD, OVERDRIVE.


Here is a reissue of the debut album from Swedish 80s Heavy Metallers AXEWITCH and you can expect a high octane dose of good old early-mid 80s Heavy Metal delivered with sharp precision and with plenty of incredibly catchy hooks! It is pedal to the metal from the get go with the first track ‘Axe Victim’ swaggering out of the speakers with energetic fervent finesse, the guitar sound is nice, warm and crisp with each riff cutting through the mix clearly, the drums pound along like a jackhammer sent to max with a lot of double kick fuelled parts, the bass is hefty and provides a weighty bottom end and the vocals lead the charge throughout reminding me of Sean Harris (DIAMOND HEAD). The lead work has to be mentioned too, all great Heavy Metal bands need strong lead playing and AXEWITCH definitely have that in abundance. This is Heavy Metal with a definite feel good vibe, the kind of Heavy Metal that was made for headbanging, fist raising and beer drinking! I can imagine just how well these songs would work in the live environment in an intimate sweaty setting with the adrenaline pumped up to full and the crowd and band feeding off each other. The production is powerful for its time with the songs really coming out of the speakers at you full force with each instrument clearly audible but there’s just the right amount of 80s style grit too so it definitely dosen’t sound overly polished, they found a good mix production wise back in the day and it does sound very of its time. This will transport you right back to the hey day of the era when the NWOBHM movement was going very strong and still a dominant force in the global Metal scene but these Swedes along with countrymen GOTHAM CITY, TORCH, SILVER MOUNTAIN, HEAVY LOAD etc were also contributing some top class Heavy Metal to the world and helping to put Scandinavia on the Metal map. It is a warm and very welcome revisit to the days when Heavy Metal was mainly just that, HEAVY METAL! There are definite nods to JUDAS PRIEST, DIAMOND HEAD and such bands and AXEWITCH are clearly influenced by such bands and NWOBHM in general. “The Lord Of Flies” will definitely appeal to anyone who loves early-mid 80s fist pumping Heavy Metal.

Kat 'Shevil' Gillham



..::TRACK-LIST::..

1. Axevictim 4:51
2. Just Another Lunatic 4:16
3. High Power 5:46
4. Let The Strings Cry Out 1:27
5. Sinner 4:40
6. The Arrival Of The Flies (Part 1) 2:10
7. The Lord Of Flies 6:01
8. Down Town 4:57
9. Seven Angels 4:35



..::OBSADA::..

Lead Guitar - Mange, Micke
Lead Vocals - Wallen
Bass Guitar - Tommy
Drums - Matte

Backing Vocals - Fredrik V. Gerber



https://www.youtube.com/watch?v=eXqH3vTZndU



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

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


..::OPIS::..

Zespół dostarcza sporą dawkę klasycznego heavy/power metalu, czerpiąc inspiracje z brzmienia takich legend jak Judas Priest i Dio. Płyta zachwyca potężnymi riffami i epickim, wzniosłym wokalem Gilesa Lavery'ego, znanegio m.in. z Warlord.
To obowiązkowa pozycja dla każdego fana tradycyjnego metalu!



Giles Lavery is best known as the vocalist of Warlord, Alcatrazz and Jack Starr. On top of that, he is also a highly prolific band manager, record producer and label co-owner.

Dragonsclaw is the name one of the first bands Giles Lavery formed in 2010, while still residing in Sydney, Australia. Their debut album »Prophecy« was quickly recorded in 2011, followed by »Judgement Day« (2013). And now, a record breaking twelve years later, it’s time for the follow-up.

Apart from Giles Lavery on vocals, »Moving Target« features Australian citizens Ben Thomas (guitars) and Aaron Thomas (bass) as well Warlord members Mark Zonder (drums) and Jimmy Waldo (keyboards).

“For me the direction on »Moving Target« was intended to be if Judas Priest had made an album somewhere in 1985 between »Defenders Of The Faith« and »Turbo«,” describes the vocalist the sound of the new Dragonsclaw album, “with some of the second Fifth Angel album in there too.”

Keyboards are prominently featured on »Moving Target«, which was actually the original plan of the band: “I think for this album the keyboards are very important, they create the needed atmosphere and drama. I would say that we used them in a similar way that Virgin Steele did on »Age Of Consent«, namely to build atmosphere. I really like that haunting effect keyboards can have when used right. Like Tony Banks from Genesis does, or Tony Carey on his Planet P Project albums ... Jimmy Waldo is one of those guys too.”

Probably the fastest and most upbeat number on »Moving Target« is called “Shadowfire”. And it comes with a surprise: “’Shadowfire’ reminded me of a current-day Riot song, so I asked Todd Michael Hall to sing on it with me, and he was kind enough to do so!”

“(Tell Me) All Your Lies”, on the other hand, another standout track on »Moving Target«, is quite an accessible composition, possibly the catchiest tune on »Moving Target«. It’s got a bit of that “Wasted Years” Maiden-vibe, following the Adrian Smith school of songwriting. “I am glad you noticed that,” laughs the singer. “As I heard that too ... Co-producer Thomas Mergler was largely responsible for helping to finish that song up as it wasn't quite right and he added some very good ideas to it.”

With the band on fire and Giles Lavery, the singer, coming across as a blend of Michael Kiske, Geoff Tate and Ronnie James Dio, »Moving Target« has every chance to become a modern-day heavy metal classic.

Matthias Mader



..::TRACK-LIST::..

1. The Road Beneath Your Wheels 04:49
2. Survival 04:32
3. Cry Wolf 03:51
4. Don't Break The Silence Again 05:11
5. Back On The Streets 03:41
6. Ghost Soldiers 04:42
7. Shadowfire 04:34
8. (Tell Me) All Your Lies 04:38
9. Raise Your Fist 04:44



..::OBSADA::..

Giles Lavery - Vocals
Ben Thomas - Guitar
Aaron Thomas - Bass
Jimmy Waldo - Keys
Mark Zonder - Drums

With:
Todd Michael Hall - Guest Duet Vocals on 'Shadowfire'
Alan Rueda - Guest Duet vocals on 'Raise Your Fist'
Eddie St James - Background vocals on Raise Your Fist
Kenny ‘Rhino’ Earl - Background vocals on 'Ghost Soldiers' & '(Tell Me) All Your Lies'
Thomas Mergler - Guest second guitar on '(Tell Me) All Your Lies'
Joe Stump - Guest guitar solos on 'Raise Your Fist'



https://www.youtube.com/watch?v=ZAypjkB74tc



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

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


..::OPIS::..

Zespół dostarcza sporą dawkę klasycznego heavy/power metalu, czerpiąc inspiracje z brzmienia takich legend jak Judas Priest i Dio. Płyta zachwyca potężnymi riffami i epickim, wzniosłym wokalem Gilesa Lavery'ego, znanegio m.in. z Warlord.
To obowiązkowa pozycja dla każdego fana tradycyjnego metalu!



Giles Lavery is best known as the vocalist of Warlord, Alcatrazz and Jack Starr. On top of that, he is also a highly prolific band manager, record producer and label co-owner.

Dragonsclaw is the name one of the first bands Giles Lavery formed in 2010, while still residing in Sydney, Australia. Their debut album »Prophecy« was quickly recorded in 2011, followed by »Judgement Day« (2013). And now, a record breaking twelve years later, it’s time for the follow-up.

Apart from Giles Lavery on vocals, »Moving Target« features Australian citizens Ben Thomas (guitars) and Aaron Thomas (bass) as well Warlord members Mark Zonder (drums) and Jimmy Waldo (keyboards).

“For me the direction on »Moving Target« was intended to be if Judas Priest had made an album somewhere in 1985 between »Defenders Of The Faith« and »Turbo«,” describes the vocalist the sound of the new Dragonsclaw album, “with some of the second Fifth Angel album in there too.”

Keyboards are prominently featured on »Moving Target«, which was actually the original plan of the band: “I think for this album the keyboards are very important, they create the needed atmosphere and drama. I would say that we used them in a similar way that Virgin Steele did on »Age Of Consent«, namely to build atmosphere. I really like that haunting effect keyboards can have when used right. Like Tony Banks from Genesis does, or Tony Carey on his Planet P Project albums ... Jimmy Waldo is one of those guys too.”

Probably the fastest and most upbeat number on »Moving Target« is called “Shadowfire”. And it comes with a surprise: “’Shadowfire’ reminded me of a current-day Riot song, so I asked Todd Michael Hall to sing on it with me, and he was kind enough to do so!”

“(Tell Me) All Your Lies”, on the other hand, another standout track on »Moving Target«, is quite an accessible composition, possibly the catchiest tune on »Moving Target«. It’s got a bit of that “Wasted Years” Maiden-vibe, following the Adrian Smith school of songwriting. “I am glad you noticed that,” laughs the singer. “As I heard that too ... Co-producer Thomas Mergler was largely responsible for helping to finish that song up as it wasn't quite right and he added some very good ideas to it.”

With the band on fire and Giles Lavery, the singer, coming across as a blend of Michael Kiske, Geoff Tate and Ronnie James Dio, »Moving Target« has every chance to become a modern-day heavy metal classic.

Matthias Mader



..::TRACK-LIST::..

1. The Road Beneath Your Wheels 04:49
2. Survival 04:32
3. Cry Wolf 03:51
4. Don't Break The Silence Again 05:11
5. Back On The Streets 03:41
6. Ghost Soldiers 04:42
7. Shadowfire 04:34
8. (Tell Me) All Your Lies 04:38
9. Raise Your Fist 04:44



..::OBSADA::..

Giles Lavery - Vocals
Ben Thomas - Guitar
Aaron Thomas - Bass
Jimmy Waldo - Keys
Mark Zonder - Drums

With:
Todd Michael Hall - Guest Duet Vocals on 'Shadowfire'
Alan Rueda - Guest Duet vocals on 'Raise Your Fist'
Eddie St James - Background vocals on Raise Your Fist
Kenny ‘Rhino’ Earl - Background vocals on 'Ghost Soldiers' & '(Tell Me) All Your Lies'
Thomas Mergler - Guest second guitar on '(Tell Me) All Your Lies'
Joe Stump - Guest guitar solos on 'Raise Your Fist'



https://www.youtube.com/watch?v=ZAypjkB74tc



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

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


..::OPIS::..

Wydany w atrakcyjnej okładce (wewnątrz której widnieje fajne, unikalne, duże zdjęcie z koncertu z 1977 roku) pojedynczy, LIMITOWANY europejski CD, zawierający doskonale brzmiący (transmisja radiowa + dwie bardzo dobre rejestracje z publiczności) godzinny występ, nagrany w lipcu 1978 roku, podczas japońskiej trasy promującej genialny, czwarty album "Stained Class" (z perkusistą Lesem Binksem). Po tym albumie zespół porzucił progresywne naleciałości, zaś Rob Halford zaczął śpiewać nieco mocniej niż wcześniej... Kapitalny zestaw nagrań (w tym 13-minutowa, improwizowana wersja "Genocide") z bardzo dobrym, czytelnym brzmieniem.

UWAGA! Dodatkowo zamieszczono trzy nagrania z Japonii ("Delivering The Goods", "Evil Fantasies" i "Beyong The Realms Of Death"), zarejestrowane rok później na potrzeby klasycznego koncertowego albumu "Unleashed In The East - Live In Japan" i wydane jedynie na brytyjskich singlach. Największą atrakcją jest niewydana nigdy na płycie CD, absolutnie genialna wersja "Beyond The Realms Of Death"!(1979).



..::TRACK-LIST::..

1. Exciter 5:28
2. White Heat, Red Hot 5:03
3. Beyond The Realms Of Death 7:37
4. Victim Of Changes 7:41
5. Better By You, Better Than Me 3:17
6. Diamonds And Rust 3:55
7. Genocide 13:29
8. Tyrant 5:33
9. Starbreaker 7:05
+
Live Bonus Tracks from UK singles:
10. Delivering the Goods 4:00
- from 'Living After Midnight' 12", 1980
11. Evil Fantasies 4:29
- from 'Living After Midnight' 12", 1980
12. Beyond the Realm of Death 7:00
- from 'Unleashed in the East' free EP, 1979

Recorded live during 'Stained Class' tourat Shinjuku Koseinenkin Hall, Tokyo, Japan on 31st July 1978 (afternoon and evening shows).
Excellent quality radio broadcast and soundboard recordings.
Tracks 5 & 6 Excellent quality audience recordings.

Tracks 10-12 recorded in Tokyo on 10th/15th February 1979.
Track 12 never before released on CD.



..::OBSADA::..

Bass - Ian Hill
Drums - Les Binks
Guitar - Glenn Tipton, K.K. Downing
Vocals - Rob Halford



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



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

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


..::OPIS::..

Wydany w atrakcyjnej okładce (wewnątrz której widnieje fajne, unikalne, duże zdjęcie z koncertu z 1977 roku) pojedynczy, LIMITOWANY europejski CD, zawierający doskonale brzmiący (transmisja radiowa + dwie bardzo dobre rejestracje z publiczności) godzinny występ, nagrany w lipcu 1978 roku, podczas japońskiej trasy promującej genialny, czwarty album "Stained Class" (z perkusistą Lesem Binksem). Po tym albumie zespół porzucił progresywne naleciałości, zaś Rob Halford zaczął śpiewać nieco mocniej niż wcześniej... Kapitalny zestaw nagrań (w tym 13-minutowa, improwizowana wersja "Genocide") z bardzo dobrym, czytelnym brzmieniem.

UWAGA! Dodatkowo zamieszczono trzy nagrania z Japonii ("Delivering The Goods", "Evil Fantasies" i "Beyong The Realms Of Death"), zarejestrowane rok później na potrzeby klasycznego koncertowego albumu "Unleashed In The East - Live In Japan" i wydane jedynie na brytyjskich singlach. Największą atrakcją jest niewydana nigdy na płycie CD, absolutnie genialna wersja "Beyond The Realms Of Death"!(1979).



..::TRACK-LIST::..

1. Exciter 5:28
2. White Heat, Red Hot 5:03
3. Beyond The Realms Of Death 7:37
4. Victim Of Changes 7:41
5. Better By You, Better Than Me 3:17
6. Diamonds And Rust 3:55
7. Genocide 13:29
8. Tyrant 5:33
9. Starbreaker 7:05
+
Live Bonus Tracks from UK singles:
10. Delivering the Goods 4:00
- from 'Living After Midnight' 12", 1980
11. Evil Fantasies 4:29
- from 'Living After Midnight' 12", 1980
12. Beyond the Realm of Death 7:00
- from 'Unleashed in the East' free EP, 1979

Recorded live during 'Stained Class' tourat Shinjuku Koseinenkin Hall, Tokyo, Japan on 31st July 1978 (afternoon and evening shows).
Excellent quality radio broadcast and soundboard recordings.
Tracks 5 & 6 Excellent quality audience recordings.

Tracks 10-12 recorded in Tokyo on 10th/15th February 1979.
Track 12 never before released on CD.



..::OBSADA::..

Bass - Ian Hill
Drums - Les Binks
Guitar - Glenn Tipton, K.K. Downing
Vocals - Rob Halford



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



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

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


..::OPIS::..

Kultowy debiutancki album Stormwitch z 1984 wznowiony na CD!



Album, który stał się jednym z filarów piorunującego heavy metalu z Niemiec. Trudno wskazać jakiegoś metalowca siedzącego w klasycznym heavy metalu, który nie kojarzyłby tej płyty. "Walpurgis Night" to klasyk. Ten album ma wszystko to, co powinien mieć. Melodie, riffy, wokale i wszystkie pozostałe składowe, które stanowią część dobrej muzyki są tutaj obecne.

Debiutancki krążek Stormwitch charakteryzuje bardzo twórcze podejście do pracy gitary oraz perkusji. Nie mamy tutaj stonowanej łupanki na jedno kopyto. Bębniarz urozmaica swoją grę nie tylko dobrze dobranymi przejściami, lecz także dość nietuzinkowymi patentami, które dopiero w najbliższych latach wpiszą się do kanonu metalowej gry perkusyjnej. Metalowe riffy, które wydobywają się z gitar są przedniego muzycznego sortu i w tym temacie nie ma się do czego przyczepić. Prawdziwe heavy metalowe mięso i tyle. Choć produkcja dźwięku może pozostawiać wiele do życzenia miękkim fajom, które są przyzwyczajone do nowoczesnego wypolerowanego brzmienia, to prawdziwy maniacy metalu powinni ją pokochać już od pierwszej nuty, nawet jeżeli nie są koneserami starych albumów.

Już od pierwszych sekund trwania tego albumu i głośnego "Are you ready?!" rozpoczynającego "Cave of Steenfoll" Stormwitch traktuje nas kunsztem swego brzmienia. Heavy metal spod znaku Stormwitch jest prosty i piękny. Każdy z dziewięciu utworów jest charakterystyczną kompozycją o silnie zarysowanych cechach. Aranżacje w każdej z nich są mistrzowskie. Postawiono w nich na mnogość doskonałych riffów i motywów. Mimo tego, że w utworach dużo się dzieje, to nie mamy przesytu gitarowych zagrywek. Wszystko jest bardzo dobrze przemyślane i poszczególne partie nie gryzą się ze sobą w utworach. Dzięki temu Stormwitch podało nam wyjątkowo smaczne i przejrzyste kompozycje, które stały się już praktycznie klasykami.

Wesoło gnający do przodu "Werewolves on the Hunt" stanowi jeden z szybszych i bardziej błyszczących momentów na płycie. Debiut Stormwitch zawiera raczej średnio-szybkie kawałki, idealne do headbangingu, jednak nawet przyspieszenie rytmu nie gubi czaru jaki roztacza muzyka Stormwitch. Jednak ten utwór nie jest jedynym przejawem mistrzostwa metalowej klasy. Niszczycielski "Warlord" z prężną i ostrą perkusją jest prawdziwym żeliwnym kanałem dla rozpalonego ognia wydobywającego się z gitar. Przebojowy utwór tytułowy to jeden z najbardziej charakterystycznych metalowych hymnów, który spokojnie może stać obok "Balls to the Wall", "The Troopera", "Medieval Steel" i "Come To The Sabbath". Melodyjny zakrzyk w refrenie dodaje mocy tej kompozycji i tak roziskrzonej dzięki płomiennym gitarom.

Metal na debiucie Stormwitch sypie iskrami nieprzerwanie już do samego końca. "Excalibur" osobiście należy do jednych z mych ulubionych instrumentalnych wałków. Świetne operowanie klimatem i przetykanie riffów odpowiednim tłumieniem dźwięków sprawia, że gitary zawarte w tym numerze są bardzo żywotne i elektryzujące. Na tej płycie po prostu nie ma słabego utworu. Od wyrazistego "Cave of Steenfoll" poprzez hiciarski "Skull and Crossbones" i owiany mglistym woalem tajemnicy "Flour in the Wind" po ostatnie wybrzmiewania "Thunderland".

Skoro tak już punktuję mocne strony tego wydawnictwa, warto też powiedzieć nieco o tekstach. "Walpurgis Night" jest albumem, który powinien stać się podręcznikiem do tego jak należy tworzyć warstwę liryczną w heavy metalu. Nie dość, że wszystkie utwory mają cudownie i kreatywnie napisane teksty, to ponadto idealnie pasują do melodyjnych partii wokalnych. Bardzo dobrze zostały rozłożone poszczególne akcenty i artykulacje. Wersy nie są sztywne, lecz swobodnie płyną w utworach, Dzięki tej swobodzie same kompozycje zyskują bardzo wiele i nawet po trzydziestu latach od momentu ich nagrania dalej wydają się świeże i interesujące. Tematyka tekstów też jest bardzo dobrze dobrana. Nie mamy tutaj plastikowego mordowania smoków ani utyskiwania na społeczne nierówności (thrash tak bardzo). Mamy dokładnie to, czego oczekuje się od heavy metalu. Tajemnicy, szczypty okultyzmu, dawnych legend, opowieści z przeszłości, garści mrocznych mitów i dużej ilości dobrej zabawy.

Sterviss


The country? Germany. The year? 1984. The same year when Running Wild released “Gates to Purgatory”, Warlock released “Burning the Witches” and Helloween participated in the split “Death Metal”. The sound? What would later be known as “German metal” or “Teutonic metal” and with time would evolve and split into power metal and speed metal. So, all these bands caught the tide and the influence of the NWoBHM but adjusted the British sound to the German characteristics, basically gave the sound a touch of death-cold, as all these bands back then came in the “spikes, leather and the occult” format.

What we’ve got here is a surge of raw NWoBHM, totally uncompromising and with very grim lyrics. In fact, throughout their next 4 releases their trademark would be precisely their gothic-themed lyrics, courtesy of Lee Tarot (Harald Spengler, RIP), which would win them the nickname of “Masters of the black romantic”.

Musically, they show a high degree of skill. Guitarists Lee Tarot and Steve ‘Snake’ Merchant (Stephan Kauffman) are capable of delivering Maidenesque riffs – in fact I tend to liken the instrumental “Excalibur” with Maiden’s Transylvania, they both share this kind of medieval metallic approach. Drummer Pete Lancer (Pete Langer) delivers a thundering load which you can best appreciate in “Werewolves on the Hunt” (that title pals, those lyrics…). And Andy Aldrian (Andy Mück) gives an aura of evil to the very wicked lyrics with his distinctive, raw voice; although he doesn’t focus on high notes, he’s also capable of delivering them (towards the end of “Werewolves on the Hunt”). From beginning to end, the album features elaborate soloing, constant and profuse riffing patterns (many times approaching Maiden-like gallops) and a stout and solid rhythm base. Some nice surprises for fans of progressive metal await as there’s some attempts at progression, or at least what constitutes a common feature to many progressive albums, that is, rhythm shifts; these can be seen, for example, towards the middle of “The Cave of Steenfoll”, with a couple of consecutive, all encompassing, intricate rhythm shifts which then give way to the solo. Most songs share a fast tempo, with the exception of “Priest of Evil”, which in turn has a more atmospheric, thick, dense approach.

Lyrically, this album is rather different from what their compatriots were doing at that time, feels closer to Mercyful Fate or even Venom, most songs revolve around different aspects of evil (Satanism on “Priest of Evil”, piracy on “Skull and Crossbones”, witches on “Walpurgis Night”) and anguish (“Werewolves on the Hunt”, “Flour in the Wind”). The songwriting was good in particular, no cheesy lyrics or dodgy rhyming, most of it is consonant and, without a blink of the eye, evokes very powerful, dark imagery. In one sentence, the listener will be thrown into an unpolished string of ruthless and visceral obscurity.

A few songs deserve special attention. I think the one that really outstands here is “Werewolves on the Hunt” both lyrically and musically. Very few other metal songs to that date succeeded in evoking such an overwhelming impression and mood. First with the title, think of a bunch of werewolves out for blood, chasing you in a forest (“Deep in the misty forest, In nights when wind stops blowing”). This song is very fast paced approaching speed metal (by 1984 standards), and has a very intricate, complex, Maidenesque, fast, 90 seconds solo accompanied by continuous hammering drumrolls. “Flour in the Wind” presents a wicked miller who goes on to steal the harvest of a village, leaving them no other choice but crude starvation, plain and simple; the song features reminiscences of Maiden’s gallops, complex guitar chords and continuous drumrolls in perfect harmony with Mück’s voice and dark lyrics (“death, pain, agony, famine is spread on through the air”). The other track that shines over the top for me is the instrumental Excalibur, which revolves around a riff pattern with some chord progression, a melancholic solo and a fast blast towards the end, with a whole load of drumrolling through and through.

To recap, this unique jewel combines power, speed, lyrics and technique, all into one; don’t expect any concessions here, this is crude, raw metal made in Germany with a high degree of musicianship and dark lyrics at its best, making this a rather unique creation.

paradisebeyond


At first look, Stormwitch were a pretty dark sounding and evil band, but as we follow their releases, they quickly goes into a more accessible direction. It actually took me quite a while to get to hear these guys and I did not have any regrets to finally give them a listen. Well, to be very precise, the title of this review fits perfectly with the overall sound of early Stormwitch's material, it's basically the sound of the NWOBHM bands, but with an interesting Germanic approach. Of course, back in 1984, the extreme metal scene started out and the classic heavy metal bands were not that "new" anymore. However, bands like Running Wild, Grave Digger, Attack or Atlain were doing similar stuff back in that particular year, but Stormwitch made it clear with their first full-length album that heavy metal was still rocking out awesome stuff in Germany.

Named "Walpurgis Night", released in 1984, is the first official release of the band. Just looking at this cover art shows the evil image that the band used in their early days. The first thing I liked about this album is its primitive sound while also sounding great, the instruments are mixed pretty well and everything is heard perfectly, even the badass bass. It definitely sounds like an early 80s NWOBHM record, which is an even better reason to make you want to listen to it! nine tracks are featured on this album with a running time of 40 minutes and basically no bad tracks at all, if you ask me. Let me say at first that Iron Maiden were probably their biggest influence on this album. As an Iron Maiden fan, I was quite happy to hear the famous instrumental track called "Excalibur". You can easily notice in that song some similarities with Maiden's instrumental tracks like "Transylvania" and "Genghis Khan". The guys of Stormwitch were already skilled musicians by their debut record, by delivering impressive guitar solos through all the album tracks. Let's not forget the front man "Andy Mück" who also impress with his intense vocals.

His vocals are unique and he is able to use a great variety of ranges, but his high-pitched voice made all the difference, songs like "Thunderland" and "Warlord" are great example of that and displays his talent. Well, this album also possess a great catalogue of memorable guitar riffs as the songs varies in term of structure. In fact, each songs are unique and very different from each other, no one can deny how great the track "Priest of Evil" is. Being the one of the most popular Stormwitch composition, it's also one of their catchiest song, with its memorable chorus. The same actually apply to the awesome pirate lyrics song inspired "Skull and Crossbones", but this one also caught my attention especially because of its great melodic parts, it is also my most played song of this album for those reasons. One interesting melodic track is the self-titled "Walpurgis Night", which has a very nice dual guitar melody part. Though, for people that like fast-pacing riffs and intensity, this album can make you happy as well with "Werewolves on the Hunt", this song has the classic speed metal formula and delivers pretty well.

The German approach to this NWOBHM-influenced album made it unique for that reason. Their lyrics are also interesting, writing about the occult and mostly tales and medieval stories. I obviously have to recommend such release to any old school heavy metal fan, it's a very accessible band and even more as you progress in their discography. However, I have to say that their most worthy material is definitely the first three albums, being the one reviewed here, "Tales of Terror" and "Stronger Than Heaven". German metal scene has always been one of the greatest, and Stormwitch is one of the first band to have been part of that scene. They are sometimes forgotten by some people, but albums like these really needs to have more auditors, as they are classic heavy metal records! Give "Walpurgis Night" a listen and I am pretty sure you won't be disappointed.

DesecratorJ



..::TRACK-LIST::..

1. Cave Of Steenfoll 4:24
2. Priest Of Evil 4:39
3.Skull And Crossbones 5:47
4. Werewolves On The Hunt 4:40
5. Walpurgis Night 3:04
6. Flour In The Wind 4:49
7. Warlord 4:30
8. Excalibur 3:48
9. Thunderland 4:30



..::OBSADA::..

Andy Mück - Vocals
Harald Spengler (R.I.P. 2013) - Guitars (lead)
Stefan Kauffmann - Guitars (rhythm)
Ronny Gleisberg - Bass
Peter Langer - Drums




https://www.youtube.com/watch?v=gV0mmgr5nKw



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

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


..::OPIS::..

Kultowy debiutancki album Stormwitch z 1984 wznowiony na CD!



Album, który stał się jednym z filarów piorunującego heavy metalu z Niemiec. Trudno wskazać jakiegoś metalowca siedzącego w klasycznym heavy metalu, który nie kojarzyłby tej płyty. "Walpurgis Night" to klasyk. Ten album ma wszystko to, co powinien mieć. Melodie, riffy, wokale i wszystkie pozostałe składowe, które stanowią część dobrej muzyki są tutaj obecne.

Debiutancki krążek Stormwitch charakteryzuje bardzo twórcze podejście do pracy gitary oraz perkusji. Nie mamy tutaj stonowanej łupanki na jedno kopyto. Bębniarz urozmaica swoją grę nie tylko dobrze dobranymi przejściami, lecz także dość nietuzinkowymi patentami, które dopiero w najbliższych latach wpiszą się do kanonu metalowej gry perkusyjnej. Metalowe riffy, które wydobywają się z gitar są przedniego muzycznego sortu i w tym temacie nie ma się do czego przyczepić. Prawdziwe heavy metalowe mięso i tyle. Choć produkcja dźwięku może pozostawiać wiele do życzenia miękkim fajom, które są przyzwyczajone do nowoczesnego wypolerowanego brzmienia, to prawdziwy maniacy metalu powinni ją pokochać już od pierwszej nuty, nawet jeżeli nie są koneserami starych albumów.

Już od pierwszych sekund trwania tego albumu i głośnego "Are you ready?!" rozpoczynającego "Cave of Steenfoll" Stormwitch traktuje nas kunsztem swego brzmienia. Heavy metal spod znaku Stormwitch jest prosty i piękny. Każdy z dziewięciu utworów jest charakterystyczną kompozycją o silnie zarysowanych cechach. Aranżacje w każdej z nich są mistrzowskie. Postawiono w nich na mnogość doskonałych riffów i motywów. Mimo tego, że w utworach dużo się dzieje, to nie mamy przesytu gitarowych zagrywek. Wszystko jest bardzo dobrze przemyślane i poszczególne partie nie gryzą się ze sobą w utworach. Dzięki temu Stormwitch podało nam wyjątkowo smaczne i przejrzyste kompozycje, które stały się już praktycznie klasykami.

Wesoło gnający do przodu "Werewolves on the Hunt" stanowi jeden z szybszych i bardziej błyszczących momentów na płycie. Debiut Stormwitch zawiera raczej średnio-szybkie kawałki, idealne do headbangingu, jednak nawet przyspieszenie rytmu nie gubi czaru jaki roztacza muzyka Stormwitch. Jednak ten utwór nie jest jedynym przejawem mistrzostwa metalowej klasy. Niszczycielski "Warlord" z prężną i ostrą perkusją jest prawdziwym żeliwnym kanałem dla rozpalonego ognia wydobywającego się z gitar. Przebojowy utwór tytułowy to jeden z najbardziej charakterystycznych metalowych hymnów, który spokojnie może stać obok "Balls to the Wall", "The Troopera", "Medieval Steel" i "Come To The Sabbath". Melodyjny zakrzyk w refrenie dodaje mocy tej kompozycji i tak roziskrzonej dzięki płomiennym gitarom.

Metal na debiucie Stormwitch sypie iskrami nieprzerwanie już do samego końca. "Excalibur" osobiście należy do jednych z mych ulubionych instrumentalnych wałków. Świetne operowanie klimatem i przetykanie riffów odpowiednim tłumieniem dźwięków sprawia, że gitary zawarte w tym numerze są bardzo żywotne i elektryzujące. Na tej płycie po prostu nie ma słabego utworu. Od wyrazistego "Cave of Steenfoll" poprzez hiciarski "Skull and Crossbones" i owiany mglistym woalem tajemnicy "Flour in the Wind" po ostatnie wybrzmiewania "Thunderland".

Skoro tak już punktuję mocne strony tego wydawnictwa, warto też powiedzieć nieco o tekstach. "Walpurgis Night" jest albumem, który powinien stać się podręcznikiem do tego jak należy tworzyć warstwę liryczną w heavy metalu. Nie dość, że wszystkie utwory mają cudownie i kreatywnie napisane teksty, to ponadto idealnie pasują do melodyjnych partii wokalnych. Bardzo dobrze zostały rozłożone poszczególne akcenty i artykulacje. Wersy nie są sztywne, lecz swobodnie płyną w utworach, Dzięki tej swobodzie same kompozycje zyskują bardzo wiele i nawet po trzydziestu latach od momentu ich nagrania dalej wydają się świeże i interesujące. Tematyka tekstów też jest bardzo dobrze dobrana. Nie mamy tutaj plastikowego mordowania smoków ani utyskiwania na społeczne nierówności (thrash tak bardzo). Mamy dokładnie to, czego oczekuje się od heavy metalu. Tajemnicy, szczypty okultyzmu, dawnych legend, opowieści z przeszłości, garści mrocznych mitów i dużej ilości dobrej zabawy.

Sterviss


The country? Germany. The year? 1984. The same year when Running Wild released “Gates to Purgatory”, Warlock released “Burning the Witches” and Helloween participated in the split “Death Metal”. The sound? What would later be known as “German metal” or “Teutonic metal” and with time would evolve and split into power metal and speed metal. So, all these bands caught the tide and the influence of the NWoBHM but adjusted the British sound to the German characteristics, basically gave the sound a touch of death-cold, as all these bands back then came in the “spikes, leather and the occult” format.

What we’ve got here is a surge of raw NWoBHM, totally uncompromising and with very grim lyrics. In fact, throughout their next 4 releases their trademark would be precisely their gothic-themed lyrics, courtesy of Lee Tarot (Harald Spengler, RIP), which would win them the nickname of “Masters of the black romantic”.

Musically, they show a high degree of skill. Guitarists Lee Tarot and Steve ‘Snake’ Merchant (Stephan Kauffman) are capable of delivering Maidenesque riffs – in fact I tend to liken the instrumental “Excalibur” with Maiden’s Transylvania, they both share this kind of medieval metallic approach. Drummer Pete Lancer (Pete Langer) delivers a thundering load which you can best appreciate in “Werewolves on the Hunt” (that title pals, those lyrics…). And Andy Aldrian (Andy Mück) gives an aura of evil to the very wicked lyrics with his distinctive, raw voice; although he doesn’t focus on high notes, he’s also capable of delivering them (towards the end of “Werewolves on the Hunt”). From beginning to end, the album features elaborate soloing, constant and profuse riffing patterns (many times approaching Maiden-like gallops) and a stout and solid rhythm base. Some nice surprises for fans of progressive metal await as there’s some attempts at progression, or at least what constitutes a common feature to many progressive albums, that is, rhythm shifts; these can be seen, for example, towards the middle of “The Cave of Steenfoll”, with a couple of consecutive, all encompassing, intricate rhythm shifts which then give way to the solo. Most songs share a fast tempo, with the exception of “Priest of Evil”, which in turn has a more atmospheric, thick, dense approach.

Lyrically, this album is rather different from what their compatriots were doing at that time, feels closer to Mercyful Fate or even Venom, most songs revolve around different aspects of evil (Satanism on “Priest of Evil”, piracy on “Skull and Crossbones”, witches on “Walpurgis Night”) and anguish (“Werewolves on the Hunt”, “Flour in the Wind”). The songwriting was good in particular, no cheesy lyrics or dodgy rhyming, most of it is consonant and, without a blink of the eye, evokes very powerful, dark imagery. In one sentence, the listener will be thrown into an unpolished string of ruthless and visceral obscurity.

A few songs deserve special attention. I think the one that really outstands here is “Werewolves on the Hunt” both lyrically and musically. Very few other metal songs to that date succeeded in evoking such an overwhelming impression and mood. First with the title, think of a bunch of werewolves out for blood, chasing you in a forest (“Deep in the misty forest, In nights when wind stops blowing”). This song is very fast paced approaching speed metal (by 1984 standards), and has a very intricate, complex, Maidenesque, fast, 90 seconds solo accompanied by continuous hammering drumrolls. “Flour in the Wind” presents a wicked miller who goes on to steal the harvest of a village, leaving them no other choice but crude starvation, plain and simple; the song features reminiscences of Maiden’s gallops, complex guitar chords and continuous drumrolls in perfect harmony with Mück’s voice and dark lyrics (“death, pain, agony, famine is spread on through the air”). The other track that shines over the top for me is the instrumental Excalibur, which revolves around a riff pattern with some chord progression, a melancholic solo and a fast blast towards the end, with a whole load of drumrolling through and through.

To recap, this unique jewel combines power, speed, lyrics and technique, all into one; don’t expect any concessions here, this is crude, raw metal made in Germany with a high degree of musicianship and dark lyrics at its best, making this a rather unique creation.

paradisebeyond


At first look, Stormwitch were a pretty dark sounding and evil band, but as we follow their releases, they quickly goes into a more accessible direction. It actually took me quite a while to get to hear these guys and I did not have any regrets to finally give them a listen. Well, to be very precise, the title of this review fits perfectly with the overall sound of early Stormwitch's material, it's basically the sound of the NWOBHM bands, but with an interesting Germanic approach. Of course, back in 1984, the extreme metal scene started out and the classic heavy metal bands were not that "new" anymore. However, bands like Running Wild, Grave Digger, Attack or Atlain were doing similar stuff back in that particular year, but Stormwitch made it clear with their first full-length album that heavy metal was still rocking out awesome stuff in Germany.

Named "Walpurgis Night", released in 1984, is the first official release of the band. Just looking at this cover art shows the evil image that the band used in their early days. The first thing I liked about this album is its primitive sound while also sounding great, the instruments are mixed pretty well and everything is heard perfectly, even the badass bass. It definitely sounds like an early 80s NWOBHM record, which is an even better reason to make you want to listen to it! nine tracks are featured on this album with a running time of 40 minutes and basically no bad tracks at all, if you ask me. Let me say at first that Iron Maiden were probably their biggest influence on this album. As an Iron Maiden fan, I was quite happy to hear the famous instrumental track called "Excalibur". You can easily notice in that song some similarities with Maiden's instrumental tracks like "Transylvania" and "Genghis Khan". The guys of Stormwitch were already skilled musicians by their debut record, by delivering impressive guitar solos through all the album tracks. Let's not forget the front man "Andy Mück" who also impress with his intense vocals.

His vocals are unique and he is able to use a great variety of ranges, but his high-pitched voice made all the difference, songs like "Thunderland" and "Warlord" are great example of that and displays his talent. Well, this album also possess a great catalogue of memorable guitar riffs as the songs varies in term of structure. In fact, each songs are unique and very different from each other, no one can deny how great the track "Priest of Evil" is. Being the one of the most popular Stormwitch composition, it's also one of their catchiest song, with its memorable chorus. The same actually apply to the awesome pirate lyrics song inspired "Skull and Crossbones", but this one also caught my attention especially because of its great melodic parts, it is also my most played song of this album for those reasons. One interesting melodic track is the self-titled "Walpurgis Night", which has a very nice dual guitar melody part. Though, for people that like fast-pacing riffs and intensity, this album can make you happy as well with "Werewolves on the Hunt", this song has the classic speed metal formula and delivers pretty well.

The German approach to this NWOBHM-influenced album made it unique for that reason. Their lyrics are also interesting, writing about the occult and mostly tales and medieval stories. I obviously have to recommend such release to any old school heavy metal fan, it's a very accessible band and even more as you progress in their discography. However, I have to say that their most worthy material is definitely the first three albums, being the one reviewed here, "Tales of Terror" and "Stronger Than Heaven". German metal scene has always been one of the greatest, and Stormwitch is one of the first band to have been part of that scene. They are sometimes forgotten by some people, but albums like these really needs to have more auditors, as they are classic heavy metal records! Give "Walpurgis Night" a listen and I am pretty sure you won't be disappointed.

DesecratorJ



..::TRACK-LIST::..

1. Cave Of Steenfoll 4:24
2. Priest Of Evil 4:39
3.Skull And Crossbones 5:47
4. Werewolves On The Hunt 4:40
5. Walpurgis Night 3:04
6. Flour In The Wind 4:49
7. Warlord 4:30
8. Excalibur 3:48
9. Thunderland 4:30



..::OBSADA::..

Andy Mück - Vocals
Harald Spengler (R.I.P. 2013) - Guitars (lead)
Stefan Kauffmann - Guitars (rhythm)
Ronny Gleisberg - Bass
Peter Langer - Drums




https://www.youtube.com/watch?v=gV0mmgr5nKw



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

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


..::OPIS::..

Muzyka na tym krążku jest naprawdę bogata i niesamowita.
Rewelacyjny album ze świetnym dźwiękiem i dobrymi pomysłami!
Słucham go już od kilku dni i podobnie jak NIGHT DEMON cudownie łechta za każdym razem...



..::TRACK-LIST::..

1. Harbinger
2. En cima del mal
3. Sutratma: Lost Chapter E.
4. Panic In Urals (Burning Skies)
5. Waltz In Madness
6. Into Mental East
7. Inner Sanctum Asylum
8. A Tyrannous Revolt
9. Amarna's Reign: Lost Chapter E.

Bonus:
10. Come To The Sabbath (Mercyful Fate cover)



..::OBSADA::..

Bass - Spiros Stikas
Drums - Vagelis Felonis
Guitar - Marios Petropoulos
Voice - Dimitris Kartaloglou



https://www.youtube.com/watch?v=DLSM54YJKiA


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

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


..::OPIS::..

Muzyka na tym krążku jest naprawdę bogata i niesamowita.
Rewelacyjny album ze świetnym dźwiękiem i dobrymi pomysłami!
Słucham go już od kilku dni i podobnie jak NIGHT DEMON cudownie łechta za każdym razem...



..::TRACK-LIST::..

1. Harbinger
2. En cima del mal
3. Sutratma: Lost Chapter E.
4. Panic In Urals (Burning Skies)
5. Waltz In Madness
6. Into Mental East
7. Inner Sanctum Asylum
8. A Tyrannous Revolt
9. Amarna's Reign: Lost Chapter E.

Bonus:
10. Come To The Sabbath (Mercyful Fate cover)



..::OBSADA::..

Bass - Spiros Stikas
Drums - Vagelis Felonis
Guitar - Marios Petropoulos
Voice - Dimitris Kartaloglou



https://www.youtube.com/watch?v=DLSM54YJKiA


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

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


..::OPIS::..

'Lamentations' to kolejny świetny przykład onirycznego, lirycznego heavy rocka. Doskonałe wydawnictwo!
O dziwo 'pani bozia' mnie tutaj nie razi...



Lancastrian rock apostles Wytch Hazel have been building their citadel since 2011, when debut single Surrender introduced this boldly wholesome new voice to the British metal underground. Since then the quartet have continually underscored and bolstered a signature sound rooted in heroic days of yore, but finessed to an elegant apex by long-time producer Ed Turner. That sonic alchemy coalesces all over V: Lamentations, bubbling with even more febrile creativity than previous masterworks Prelude, II: Sojourn, III: Pentecost and IV: Sacrament. The latter, bizarrely, reached number seven on the UK 'Christian & Gospel' chart - despite selling enough to clinch the number one rock album. "Ed is a huge part of what we're doing," affirms Wytch Hazel's guiding mastermind Colin Hendra. "He's added so many more details, there's more to pick up on multiple listens. Ed's been key in bringing these songs to life; what he brings to the table is fantastic and unique and exactly what we need. Ed finishes my musical sentences with his production."

However, working remotely with this enigmatic taskmaster ("The epitome of eccentric," laughs Colin) - and the obsessive perfectionism that both Colin and Ed bring to their work - made for an even more painfully fraught recording process than last time. Colin reveals he had nearly all of this album written when Sacrament emerged in 2023: "So why has it taken so long?!" he groans, with a frustrated despair that he can only now start to laugh at. "I basically am just physically and mentally broken by the whole thing. I actually have health issues now; I have chronic exhaustion that I'm working through. I've been having significant vocal issues, a lot of it down to my own technique and habits. I got to the stage where I couldn't keep up singing in that way, so I had to unlearn and relearn some things. I'm in a much better place now, so vocals have probably been easier this time. But there is that question: is this worth it? The endless pursuit of perfection is never finished. It's a very painful process, but now it's past the finish line I feel such relief, like a massive weight has been lifted."

Happily, accumulating material is never a problem. From heartfelt, shimmering headbangers like I Lament, Run The Race and Elements, to the richly textured, pensive atmospheres of The Citadel, Woven and Heavy Load, great songs come to Colin naturally and abundantly, as if divinely bestowed from some otherworldly wellspring. "I'll sit there and think, 'Where did that come from?!' It's the best feeling in the world," enthuses Colin. "This thing was just born - what did I do? I didn't try, it just happened, like I'm a conduit for this spiritual, magical thing. I'm sure there is some skill involved, but I can't put my finger on what! I'm sitting there moving my fingers around and then a song appears, it's so weird and magical and special. I can't stop doing it either, the songwriting is compulsive. I can't get enough of it, I love it!"
As ever, Colin's songwriting resounds with open-hearted emotional force, evoking joy and sorrow often in the same melody. A metal frontman of rare sensitivity, Colin has pushed himself to breaking point for his art. Opener I Lament was the last song to be written, and despite its Maidenesque jubilance, the lyrics came at a low point: "I was in a place where I was like, if I continue with these patterns of behaviour, where does this actually lead me? It's a lot more honest songwriting, very reflective of where I've been for the last few years: a more introspective, doubting, darker place. But I feel like I've had a very significant spiritual shift over the past few weeks. I was still dealing with chronic exhaustion and depression, but I feel I've made a lot of progress physically, spiritually and mentally, so I'm viewing the album in a different way now."

Wytch Hazel's beguiling juxtaposition of sorrow and joy is most profoundly evident on the closing partnership of Heavy Load and Healing Power, the world-weary, Sabbath-like dejection of the former giving way to the latter's heavenly uplift. "I wanted it to have a happy ending, that just felt very Wytch Hazel," affirms Colin. "I do believe music can heal. For me particularly songwriting is very therapeutic, I don't think I'd be here if there wasn't that outlet. I believe things have meanings and significance, I want my life to have that, and Healing Power is like, this actually means something. Music isn't just a self-indulgent, entertainment thing, for me it's a huge part of my life, very special, very magical and very meaningful. I want Wytch Hazel to be a force for good, a healing power."
Helping in that regard is the new line-up, welcoming back original drummer Aaron Hay, who was there on Wytch Hazel's debut single in 2011 and 2012's The Truth EP, alongside well-established oppos Alex Haslam and Andy Shackleton. "The band we've got at the moment is just the best bunch of lads," beams Colin, "we're having the best time touring together, we get on so well. The gigs have been a real highlight these last few years, and experiencing that as best mates together has been fantastic." It'll get even better in May, as Wytch Hazel are supporting Michael Schenker on the guitar legend's My Years With UFO UK tour. "I can't think about it for too long, he's like a childhood hero," confesses Colin. "I am incredibly privileged. Against all this painful stuff, I do have to hold in equal measure the wonderful adventure that it is to be in this band. There's so much to be grateful for, too many things to count."



Wytch Hazel is a band I've followed since they released their first LP. They're a unique band, with a clear spirit of 70s English rock, especially heirs of Jethro Tull, Uriah Heep, and Thin Lizzy, of course. This makes them something like Pagan Altar's younger siblings, as they convey that same essence of medieval mysticism.

But if Pagan Altar sometimes shows a occult side, Wytch Hazel is pure light. Their songs are joyful, emotional, full of love and heroism, with truly honest lyrics and perennial wisdom. The lead vocals are beautiful and convey a sense of serenity. These musicians are true virtuosos, although I still have the feeling they can create longer, more epic songs, something I hope they will achieve one day. Even so, their riffs are inspiring and warm, and they even introduce nostalgic acoustic arrangements.

Lamentations is another gem of this medieval hard rock genre. There aren't many differences from their predecessors, which demonstrates the great mastery they possess in their unique style. The album cover, however, evokes a certain Templar secret, something that was already known from the beginning, but here they seem to make it clear: this band is proudly Christian, not a run-of-the-mill Christianity, but an esoteric-gnostic inner Christianity.

The first song, "I Lament," is an energetic opening, as if on a mission or trying to convey an important message that tells you: pay attention to what we have to say! The next great track is "Elixir," a captivating instrumental that will inevitably grab your subconscious. Immediately after comes what, for me, is the best song on the album: "Woven," it's a special piece, with an esoteric message and musically orgasmic. Heavy Load brings to mind the name of that essential Swedish band, surely a tribute to them. In short, the entire album is a demonstration of faith; it's solid and consistent, which is why it could undoubtedly be placed alongside the best NWOBHM albums.

Wytch Hazel is a special band that puts most metal bands in general to shame. From a psychological perspective, this genre is full of people with many unhealed wounds who hide all that pain behind a black shirt. But behold, the cure has been given to them, and the cure is called Wytch Hazel.

GreatSpirit



..::TRACK-LIST::..

1. I Lament 04:11
2. Run The Race 04:58
3. The Citadel 05:09
4. Elements 04:33
5. The Demon Within 04:26
6. Racing Forwards 04:13
7. Elixir 01:41
8. Woven 04:50
9. Heavy Load 04:42
10. Healing Power 06:22



..::OBSADA::..

Colin Hendra - guitar, vocals
Alex Haslam - guitar
Andy Shackleton - bass
Aaron Hay - drums



https://www.youtube.com/watch?v=QZFXxW9yTK8



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

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


..::OPIS::..

'Lamentations' to kolejny świetny przykład onirycznego, lirycznego heavy rocka. Doskonałe wydawnictwo!
O dziwo 'pani bozia' mnie tutaj nie razi...



Lancastrian rock apostles Wytch Hazel have been building their citadel since 2011, when debut single Surrender introduced this boldly wholesome new voice to the British metal underground. Since then the quartet have continually underscored and bolstered a signature sound rooted in heroic days of yore, but finessed to an elegant apex by long-time producer Ed Turner. That sonic alchemy coalesces all over V: Lamentations, bubbling with even more febrile creativity than previous masterworks Prelude, II: Sojourn, III: Pentecost and IV: Sacrament. The latter, bizarrely, reached number seven on the UK 'Christian & Gospel' chart - despite selling enough to clinch the number one rock album. "Ed is a huge part of what we're doing," affirms Wytch Hazel's guiding mastermind Colin Hendra. "He's added so many more details, there's more to pick up on multiple listens. Ed's been key in bringing these songs to life; what he brings to the table is fantastic and unique and exactly what we need. Ed finishes my musical sentences with his production."

However, working remotely with this enigmatic taskmaster ("The epitome of eccentric," laughs Colin) - and the obsessive perfectionism that both Colin and Ed bring to their work - made for an even more painfully fraught recording process than last time. Colin reveals he had nearly all of this album written when Sacrament emerged in 2023: "So why has it taken so long?!" he groans, with a frustrated despair that he can only now start to laugh at. "I basically am just physically and mentally broken by the whole thing. I actually have health issues now; I have chronic exhaustion that I'm working through. I've been having significant vocal issues, a lot of it down to my own technique and habits. I got to the stage where I couldn't keep up singing in that way, so I had to unlearn and relearn some things. I'm in a much better place now, so vocals have probably been easier this time. But there is that question: is this worth it? The endless pursuit of perfection is never finished. It's a very painful process, but now it's past the finish line I feel such relief, like a massive weight has been lifted."

Happily, accumulating material is never a problem. From heartfelt, shimmering headbangers like I Lament, Run The Race and Elements, to the richly textured, pensive atmospheres of The Citadel, Woven and Heavy Load, great songs come to Colin naturally and abundantly, as if divinely bestowed from some otherworldly wellspring. "I'll sit there and think, 'Where did that come from?!' It's the best feeling in the world," enthuses Colin. "This thing was just born - what did I do? I didn't try, it just happened, like I'm a conduit for this spiritual, magical thing. I'm sure there is some skill involved, but I can't put my finger on what! I'm sitting there moving my fingers around and then a song appears, it's so weird and magical and special. I can't stop doing it either, the songwriting is compulsive. I can't get enough of it, I love it!"
As ever, Colin's songwriting resounds with open-hearted emotional force, evoking joy and sorrow often in the same melody. A metal frontman of rare sensitivity, Colin has pushed himself to breaking point for his art. Opener I Lament was the last song to be written, and despite its Maidenesque jubilance, the lyrics came at a low point: "I was in a place where I was like, if I continue with these patterns of behaviour, where does this actually lead me? It's a lot more honest songwriting, very reflective of where I've been for the last few years: a more introspective, doubting, darker place. But I feel like I've had a very significant spiritual shift over the past few weeks. I was still dealing with chronic exhaustion and depression, but I feel I've made a lot of progress physically, spiritually and mentally, so I'm viewing the album in a different way now."

Wytch Hazel's beguiling juxtaposition of sorrow and joy is most profoundly evident on the closing partnership of Heavy Load and Healing Power, the world-weary, Sabbath-like dejection of the former giving way to the latter's heavenly uplift. "I wanted it to have a happy ending, that just felt very Wytch Hazel," affirms Colin. "I do believe music can heal. For me particularly songwriting is very therapeutic, I don't think I'd be here if there wasn't that outlet. I believe things have meanings and significance, I want my life to have that, and Healing Power is like, this actually means something. Music isn't just a self-indulgent, entertainment thing, for me it's a huge part of my life, very special, very magical and very meaningful. I want Wytch Hazel to be a force for good, a healing power."
Helping in that regard is the new line-up, welcoming back original drummer Aaron Hay, who was there on Wytch Hazel's debut single in 2011 and 2012's The Truth EP, alongside well-established oppos Alex Haslam and Andy Shackleton. "The band we've got at the moment is just the best bunch of lads," beams Colin, "we're having the best time touring together, we get on so well. The gigs have been a real highlight these last few years, and experiencing that as best mates together has been fantastic." It'll get even better in May, as Wytch Hazel are supporting Michael Schenker on the guitar legend's My Years With UFO UK tour. "I can't think about it for too long, he's like a childhood hero," confesses Colin. "I am incredibly privileged. Against all this painful stuff, I do have to hold in equal measure the wonderful adventure that it is to be in this band. There's so much to be grateful for, too many things to count."



Wytch Hazel is a band I've followed since they released their first LP. They're a unique band, with a clear spirit of 70s English rock, especially heirs of Jethro Tull, Uriah Heep, and Thin Lizzy, of course. This makes them something like Pagan Altar's younger siblings, as they convey that same essence of medieval mysticism.

But if Pagan Altar sometimes shows a occult side, Wytch Hazel is pure light. Their songs are joyful, emotional, full of love and heroism, with truly honest lyrics and perennial wisdom. The lead vocals are beautiful and convey a sense of serenity. These musicians are true virtuosos, although I still have the feeling they can create longer, more epic songs, something I hope they will achieve one day. Even so, their riffs are inspiring and warm, and they even introduce nostalgic acoustic arrangements.

Lamentations is another gem of this medieval hard rock genre. There aren't many differences from their predecessors, which demonstrates the great mastery they possess in their unique style. The album cover, however, evokes a certain Templar secret, something that was already known from the beginning, but here they seem to make it clear: this band is proudly Christian, not a run-of-the-mill Christianity, but an esoteric-gnostic inner Christianity.

The first song, "I Lament," is an energetic opening, as if on a mission or trying to convey an important message that tells you: pay attention to what we have to say! The next great track is "Elixir," a captivating instrumental that will inevitably grab your subconscious. Immediately after comes what, for me, is the best song on the album: "Woven," it's a special piece, with an esoteric message and musically orgasmic. Heavy Load brings to mind the name of that essential Swedish band, surely a tribute to them. In short, the entire album is a demonstration of faith; it's solid and consistent, which is why it could undoubtedly be placed alongside the best NWOBHM albums.

Wytch Hazel is a special band that puts most metal bands in general to shame. From a psychological perspective, this genre is full of people with many unhealed wounds who hide all that pain behind a black shirt. But behold, the cure has been given to them, and the cure is called Wytch Hazel.

GreatSpirit



..::TRACK-LIST::..

1. I Lament 04:11
2. Run The Race 04:58
3. The Citadel 05:09
4. Elements 04:33
5. The Demon Within 04:26
6. Racing Forwards 04:13
7. Elixir 01:41
8. Woven 04:50
9. Heavy Load 04:42
10. Healing Power 06:22



..::OBSADA::..

Colin Hendra - guitar, vocals
Alex Haslam - guitar
Andy Shackleton - bass
Aaron Hay - drums



https://www.youtube.com/watch?v=QZFXxW9yTK8



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

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


..::OPIS::..

Kataloński zespół, od momentu powstania w 2021 roku, wyróżnia się nie 'wynalezieniem koła na nowo' ani redefinicją gatunku heavy metalu, ale pełnym pasji oddaniem nieskalanej istocie tego gatunku.
'Rising' ucieleśnia ducha klasycznego heavy metalu. Hymnowe refreny, wznoszący się wokal, unoszące duszę harmonie i wciągające melodie, charakteryzują kompozycje, które doprowadzą miłośników tradycyjnego heavy metalu do wielokrotnego, pełnego błogości i satysfakcji odsłuchu.

FA

Gee, that was fast! Savaged didn’t wait much to drop their second full-length, having only unleashed the chromed-out sabretooth a year ago, but here they are again, doing what they do best. That is a mix of speed and traditional heavy metal in case you missed one of the best releases from the last year. Now, how does Rising fare against Night Stealer? Quite well actually.

They pick up roughly where the debut left off, still having a very infectious energy to everything they do, but perhaps having a little less of the unpredictability songs like Tons of Leather and Elm Street had. So yeah, this kinda makes me sad, but the band turns my frown upside-down really quick with just how great everything else is about the album. At times the band takes us towards a much steelier sound, packing considerable heaviness with how they put more emphasis into the regular heavy metal sound, rather than focusing on the speed metal gallops and such. Fire It Up, for example, has some strong Metal Church and 80s Judas Priest vibes to its chorus, and it just makes me grin like a dumbass. But worry not, it’s not just ballsy songs from start to finish, as if you remember my previous review, I talked about how they have a knack for making some pretty damn good melodramatic, melodic tracks as well. This also returns in the shape of the glam-esque Queen of My Salvation with its simplified lead sections and 80s radioplay hard rock chorus (and some damned cowbells too sadly). Yeah, it’s not my favourite thing the band has ever written, and neither is the similarly silly Texas Bloody Texas, but the rest of what they have to offer more than make up for these.

And now we come to the point where the band showcases some experimenting with their sound. For example, the guitars have the same amazing tone, but this time around they let them get significantly more fancy, nearly reaching neoclassical levels of virtuosity. You’ll become very much aware of this fact after hearing what I consider the two absolute highlights of the record, namely Across the Burning Fields and Rising, both of which is what we could call a damn great attempt at making epic heavy or power metal. Former has some really good display of the oddly toned vocals, rhythmically spitting in a way that sounds very fitting for the song title, but they didn’t forget about their trademark falsettos or the sections with insane, descending shreds either. Still, the threatening barrage of Rising I like even more, giving me the impression that this is just the start of the Savaged saga. And let me tell you, they have convinced me to pay attention to the future chapters a long time ago.

There is just something fundamentally right about everything Savaged does. Like the way they are having the at times throaty singing be contrasted by the shrieky highs, harmonizing well with the backing vocals. Or how their guitarwork didn’t just get flashier, it also got much more cohesive riff patterns to make the album feel even tighter. Or perhaps how great their mixing and general production quality have been since day one. Seriously, this is absurdly good for a band that has only been around for a couple of years. And at the end of the day, Rising is catchy, complex when it wants to be complex, simple when it needs to be simple, and an album that you shouldn’t skip under any circumstance.

Feast for the Damned



..::TRACK-LIST::..

1. Ascension
2. Queen Of My Salvation
3. The Long Walk
4. Across The Burning Fields
5. The Conqueror
6. Stars Are Falling
7. Texas (Bloody Texas)
8. Rising



..::OBSADA::..

Cristian Blade - Drums, Vocals (backing)
Aleix Coll - Bass
Jamie Killhead - Vocals, Guitars (lead)
Joan Grimalt - Guitars (rhythm), Vocals (backing)




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



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

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


..::OPIS::..

Kataloński zespół, od momentu powstania w 2021 roku, wyróżnia się nie 'wynalezieniem koła na nowo' ani redefinicją gatunku heavy metalu, ale pełnym pasji oddaniem nieskalanej istocie tego gatunku.
'Rising' ucieleśnia ducha klasycznego heavy metalu. Hymnowe refreny, wznoszący się wokal, unoszące duszę harmonie i wciągające melodie, charakteryzują kompozycje, które doprowadzą miłośników tradycyjnego heavy metalu do wielokrotnego, pełnego błogości i satysfakcji odsłuchu.

FA

Gee, that was fast! Savaged didn’t wait much to drop their second full-length, having only unleashed the chromed-out sabretooth a year ago, but here they are again, doing what they do best. That is a mix of speed and traditional heavy metal in case you missed one of the best releases from the last year. Now, how does Rising fare against Night Stealer? Quite well actually.

They pick up roughly where the debut left off, still having a very infectious energy to everything they do, but perhaps having a little less of the unpredictability songs like Tons of Leather and Elm Street had. So yeah, this kinda makes me sad, but the band turns my frown upside-down really quick with just how great everything else is about the album. At times the band takes us towards a much steelier sound, packing considerable heaviness with how they put more emphasis into the regular heavy metal sound, rather than focusing on the speed metal gallops and such. Fire It Up, for example, has some strong Metal Church and 80s Judas Priest vibes to its chorus, and it just makes me grin like a dumbass. But worry not, it’s not just ballsy songs from start to finish, as if you remember my previous review, I talked about how they have a knack for making some pretty damn good melodramatic, melodic tracks as well. This also returns in the shape of the glam-esque Queen of My Salvation with its simplified lead sections and 80s radioplay hard rock chorus (and some damned cowbells too sadly). Yeah, it’s not my favourite thing the band has ever written, and neither is the similarly silly Texas Bloody Texas, but the rest of what they have to offer more than make up for these.

And now we come to the point where the band showcases some experimenting with their sound. For example, the guitars have the same amazing tone, but this time around they let them get significantly more fancy, nearly reaching neoclassical levels of virtuosity. You’ll become very much aware of this fact after hearing what I consider the two absolute highlights of the record, namely Across the Burning Fields and Rising, both of which is what we could call a damn great attempt at making epic heavy or power metal. Former has some really good display of the oddly toned vocals, rhythmically spitting in a way that sounds very fitting for the song title, but they didn’t forget about their trademark falsettos or the sections with insane, descending shreds either. Still, the threatening barrage of Rising I like even more, giving me the impression that this is just the start of the Savaged saga. And let me tell you, they have convinced me to pay attention to the future chapters a long time ago.

There is just something fundamentally right about everything Savaged does. Like the way they are having the at times throaty singing be contrasted by the shrieky highs, harmonizing well with the backing vocals. Or how their guitarwork didn’t just get flashier, it also got much more cohesive riff patterns to make the album feel even tighter. Or perhaps how great their mixing and general production quality have been since day one. Seriously, this is absurdly good for a band that has only been around for a couple of years. And at the end of the day, Rising is catchy, complex when it wants to be complex, simple when it needs to be simple, and an album that you shouldn’t skip under any circumstance.

Feast for the Damned



..::TRACK-LIST::..

1. Ascension
2. Queen Of My Salvation
3. The Long Walk
4. Across The Burning Fields
5. The Conqueror
6. Stars Are Falling
7. Texas (Bloody Texas)
8. Rising



..::OBSADA::..

Cristian Blade - Drums, Vocals (backing)
Aleix Coll - Bass
Jamie Killhead - Vocals, Guitars (lead)
Joan Grimalt - Guitars (rhythm), Vocals (backing)




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



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

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


..::OPIS::..

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

FA

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

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

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

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

PMW

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

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

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

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

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

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

Dr. Robert



..::TRACK-LIST::..

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



..::OBSADA::..

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




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


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

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


..::OPIS::..

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

FA

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

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

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

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

PMW

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

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

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

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

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

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

Dr. Robert



..::TRACK-LIST::..

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



..::OBSADA::..

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




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


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

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


..::OPIS::..

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


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



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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


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



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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


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



..::OPIS::..

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

FA


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

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

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

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

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

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

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

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

Bayern



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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


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



..::OPIS::..

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

FA


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

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

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

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

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

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

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

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

Bayern



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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



Płyta, której naprawdę trzeba posłuchać!


..::TRACK-LIST::..

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

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



..::OBSADA::..

Kyle McNeill - all instruments



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



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



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

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



Płyta, której naprawdę trzeba posłuchać!


..::TRACK-LIST::..

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

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



..::OBSADA::..

Kyle McNeill - all instruments



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



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



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

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


..::OPIS::..

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

JL


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



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

JL


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



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

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

FA


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

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

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

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

autothrall



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

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

FA


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

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

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

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

autothrall



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

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



..::TRACK-LIST::..

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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

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



..::TRACK-LIST::..

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



..::OBSADA::..

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



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



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