...( Info )...
Title: Delusion
Artist: Liliac
Year: 2025
Genre: Hard, Heavy-Metal
Country: USA

Duration: 00:37:46
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Human (05:47)
2. Breathe (03:03)
3. Delusion (03:07)
4. Holy Odyssey (07:05)
5. Anxiety Kills the Beautiful (03:29)
6. Cover Up (03:10)
7. Prisoner (03:01)
8. Me Myself and I (03:26)
9. Au Revoir (03:14)
10. Bad Boyz (02:20)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Bez wątpienia 'Pillars of Salt' to bardzo przemyślane i świetnie wykonane dzieło. BALMOG doskonale wiedzą, co chcą osiągnąć swoją muzyką, tworząc tak potężny, rozległy, surrealistyczny i mroczny album, nie trzymając się żadnych reguł.
Dzięki takiemu nastawieniu osiągnęli coś całkowicie surrealistycznego, enigmatycznego i tajemniczego, co przyciągnie słuchaczy ze wszystkich kręgów metalowej społeczności.



The most ambitious recording of the band: an introspective journey into the darkest tradition of rock and extreme metal is hidden,
18 minutes of oppression and mysticism contained in a single track...



..::TRACK-LIST::..

1. Pillars of Salt 18:23



..::OBSADA::..

Morg - Bass
Virus - Drums
Balc - Vocals, Guitars



https://www.youtube.com/watch?v=Lq_ZYvU2v10



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Bez wątpienia 'Pillars of Salt' to bardzo przemyślane i świetnie wykonane dzieło. BALMOG doskonale wiedzą, co chcą osiągnąć swoją muzyką, tworząc tak potężny, rozległy, surrealistyczny i mroczny album, nie trzymając się żadnych reguł.
Dzięki takiemu nastawieniu osiągnęli coś całkowicie surrealistycznego, enigmatycznego i tajemniczego, co przyciągnie słuchaczy ze wszystkich kręgów metalowej społeczności.



The most ambitious recording of the band: an introspective journey into the darkest tradition of rock and extreme metal is hidden,
18 minutes of oppression and mysticism contained in a single track...



..::TRACK-LIST::..

1. Pillars of Salt 18:23



..::OBSADA::..

Morg - Bass
Virus - Drums
Balc - Vocals, Guitars



https://www.youtube.com/watch?v=Lq_ZYvU2v10



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

...( Info )...
Title: Ül
Artist: Mawiza
Year: 2025
Genre: Groove-Metal, Metalcore
Country: Chile

Duration: 00:40:27
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Wingkawnoam (03:38)
2. Pinhza Ñi Pewma (04:29)
3. Ngulutu (03:49)
4. Nawelkünuwnge (05:06)
5. Mamüll Reke (04:23)
6. Wenu Weychan (06:13)
7. Lhan Antü (04:07)
8. Kalli Lhayay (03:57)
9. Ti Inan Paw-Pawkan (feat. Joe Duplantier) (04:41)

...( Info )...
Title: Grip of Ancient Evil
Artist: Entrails
Year: 2025
Genre: Death-Metal
Country: Sweden

Duration: 00:48:23
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Grip of Ancient Evil (01:54)
2. Untreatable Decay (04:15)
3. Skin 'em All (04:12)
4. Conquering the Unknown (03:06)
5. Hunt in the Shadows (05:35)
6. Fed to the Dead (04:56)
7. Wings of Death (04:23)
8. Graveyard Rising (03:39)
9. Inner Demon (06:11)
10. Insane Death (04:57)
11. Consumed by Insects (05:11)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koszmary jeszcze nigdy nie brzmiały tak pięknie. Szwedzcy arcymistrzowie melancholijnego ciężaru z Katatonii powracają w nowym składzie z albumem Nightmares as Extensions of the Waking State, który ukaże się 6 czerwca 2025 roku za pośrednictwem Napalm Records. Po raz kolejny ta pochodząca ze Sztokholmu formacja po mistrzowsku porusza się między mrokiem a skandynawską rozpaczą, wplatając jednocześnie w serce słuchacza poczucie nadziei.

Nightmares as Extensions of the Waking State wyznacza kolejny krok w ewolucji Katatonii, bazując jednak na fundamentach ich poprzedniego albumu, Sky Void of Stars (2023). Krystalicznie czysta produkcja podkreśla wzajemne oddziaływanie ciszy i intensywności. Jednocześnie kontrast ciężkich riffów, delikatnych gitarowych harmonii, eterycznych syntezatorów i atmosferycznych niuansów tworzy urzekające napięcie. Utwory takie jakb Thrice i Warden pulsują dynamiczną energią, natomiast Lilac to niepowtarzalny wokal Jonasa Renkse przeplatający się z hipnotycznymi rytmami i progresywnymi elementami. Niemal ceremonialny Wind of No Change łączy subtelne, elektroniczne tekstury z enigmatycznymi pejzażami dźwiękowymi, zaś Temporal równoważy kruchość i siłę - jego intensywne wersy kończą się emocjonalnie naładowanym refrenem. Zapierający dech w piersiach Efter Solen (ang. After the Sun), ze szwedzkim tekstem, przywołuje echa zbioru opowiadań Jonasa Eiki z 2018 roku, z minimalistyczną ale uderzającą instrumentacją. Z dźwiękowymi krajobrazami, które przywołują dystopię, wewnętrzne demony, czystość i piękno, Nightmares as Extensions of the Waking State jest świadectwem ich trwałego rozwoju. Album został wyprodukowany przez Jonasa Renkse, nagrany przez Lawrence'a Mackrory'ego w NBS Audio i The City of Glass, zmiksowany przez Adama Noble'a i zmasterowany przez Robina Schmidta w 24-96 Mastering.

Przypomnijmy, że na albumie tym nie zagrał współzałożyciel i gitarzysta formacji, Anders Nyström, który opuścił grupę w minionym miesiącu (grupa poinformowała o tym 18 marca). Na gitarze nie zagra także znany z poprzednich płyt Roger Öjersson. Muzyków zastąpią Nico Elgstrand i Sebastian Svalland.

Art Rock


Całkiem niedawno recenzowałem płytę The Man-Eating Tree Night Verses i wmawiałem Wam, że temu zespołowi blisko jest do tego, co tworzy Katatonia. Tymczasem dzisiejszej Katatonii wcale nie tak blisko jest do samej Katatonii, a dokładniej do jej muzyki, jaką pokochaliśmy jakiś czas temu. W swojej historii zespół miał różne okresy twórczości: od black/doom metalu, poprzez udany epizod death/doom w postaci Brave Murder Day. Później depresyjny gothic, aż do dziś, kiedy mamy coś, co śmiałbym nazwać samobójczo-rockowo-gotycką alternatywą. Były płyty marne, lepsze, dobre i te znakomite, które po dziś dzień powodują ciarki na karku i szybszy oddech. I to wszystko tak naprawdę teraz nie jest już istotne, bo Katatonia wkroczyła w nowy etap swojego rozwoju artystycznego. Skład zespołu został przewrócony na lewą stronę i jedynym oryginalnym artystą jest Jonas Renske. Ten nieśmiały, nieco zakompleksiony wokalista, bez którego istnienie tego zespołu byłoby niemożliwe, ale też bezcelowe. Bo tak naprawdę jego głos stanowi o charakterystycznym, niepowtarzalnym uroku zespołu.

Nowi muzycy, stare waśnie, skrywane ambicje i świeży album. Nightmare as Extensions of the Waking State. Czego się spodziewać po nowej muzyce Katatonii? Ja spodziewałem się kontynuacji Sky Void of Stars i tak właśnie jest. Kocham ten zespół bezwarunkową miłością już wiele lat, niemalże od początku istnienia, ale niestety zjadanie własnego ogona nieco zaczyna mnie już męczyć. Jest tu, a jakże, kolosalna dawka uczucia, które wyzwala we mnie różne emocje, od wzruszenia, łez tęsknoty, radości, po wzburzenie i czasem nawet gniew. Niewiele zespołów tak na mnie działa, ale Katatonia zawsze miała taki dar.

Nowa płyta to niewątpliwie nowy etap dla samego zespołu, ale także nowy etap dla nas, fanów twórczości Szwedów. I to słychać. Płyta to kawał dobrej muzyki, niestety lata wzlotów Katatonia ma już niestety dawno za sobą i teraz, piszę to z przykrością, to tylko faza upadku, powolnego, ale jednak upadku. Na Nightmare as Extensions of the Waking State po raz kolejny brakuje finezji i momentu zaskoczenia, które jako kompozytor gwarantował Anders Nyström, główny motor, pomysłodawca i animator sztuki pod nazwą Katatonia. Takie utwory jak Warden czy The Light Which I Bleed świetnie się słucha i znakomicie wkomponowują się one w kanon Katatonii Jonasa Renske, ale to już było na City Burials i Sky Void of Stars. To cały czas Katatonia przepełniona smutkiem, nostalgią i toną emocji, to Katatonia pełna bólu, rozpaczy, tęsknoty i odrzucenia.

Nightmare as Extensions of the Waking State to podróż pełna mroku i nadziei. I rzeczywiście, koszmary nigdy nie brzmiały tak pięknie. Katatonia cały czas mistrzowsko balansuje na granicy mroku i skandynawskiej rozpaczy, jednocześnie subtelnie wplatając w serce słuchacza poczucie nadziei. Oferuje ukojenie tym z nas, którzy chcą zatracić się w immersyjnych pejzażach dźwiękowych. Błyszcząca niczym lustro produkcja tylko podkreśla współgranie ciszy i intensywności, podczas gdy kontrast ciężkich, niemal miażdżących riffów, delikatnych harmonii gitarowych, eterycznych smaczków klawiszowych i atmosferycznych detali tworzy urzekające napięcie. Otwierający album Thrice pulsuje dynamiczną jak krew energią, podczas gdy singlowy Lilac pokazuje unikatowy, pełen pasji wokal Jonasa przeplatający się z hipnotycznymi elementami. Prawie ceremonialny, momentami pompatyczny Winds of No Change łączy subtelne tekstury z enigmatycznymi pejzażami dźwiękowymi Katatonii, a Temporal równoważy kruchość i siłę przekazu. Zapierający dech w piersiach Efter Solen z tekstami po szwedzku hipnotyzuje minimalistyczną, ale uderzającą instrumentacją.

I wszystko ładnie, pięknie, ale to nadal tylko solowy projekt Jonasa Renske. Tyle tylko, że już oficjalnie pod nazwą Katatonia.

Adam Pilachowski


Maybe it is totally unrelated or perhaps it isn’t but now as KATATONIA has parted ways with one of their founding members, Anders Nyström, the new studio album, “Nightmares as Extensions of the Waking State,” released on June 6th, 2025, via Napalm Records, turns out one of the darkest chapters in the band’s musical saga. That is by no means a small feat, considering the band has never been a stranger to crafting heart-wrenching, melancholic narratives. Whether by leaving the profound sense of Gothic gloom hanging in the air like a frozen halo or by projecting our darkest desires against the backdrop of slow-crushing, melancholy prog, KATATONIA albums have had a habit of growing on me slowly over time. Apart perhaps from “The Great Cold Distance” (2006) and “Dead End Kings” (2012), their albums usually haven’t blown my mind immediately. However, after some time, I always find myself listening to the albums on repeat for days on end. The two singles released ahead of the new album – “Lilac” and “Temporal” – seem to follow this tradition down to a tee; at first, the songs did not impress me that much, but only after a few weeks, I cannot seem to get enough of them now. So, I guess this is a good omen for the album. I’m not sure how the band actually does it. Maybe through some dark magic? It is almost as if the songs become fixed in the mind on some subliminal level, even if you do not seem to be affected by the music; the songs lurk somewhere in the subconscious, ready to jump out at you the first chance they get, like a suppressed memory. It’s something nigh impossible to articulate but easy to appreciate – and the band has done it again.

The opener, “Thrice,” kicks off rather riff-heavy. Then again, it makes sense as the band features two new guitarists now – Nico Elgstrand of ENTOMBED fame and Sebastian Svalland, formerly hooked up with PAIN. The song sets the tone for the whole album, almost as though the band’s primus motor, Jonas Renkse, had intended to break in the new axe-slingers with extra emphasis on the guitar riffs this time. The familiar, atmospheric melancholy that has become the band’s trademark in the past 10 years is still prominently present, but it isn’t perhaps as front and center as on the last couple of albums. On occasion, “Thrice” and the follow-up track, “Liqud Eye,” almost harken back to the band’s 2009 album “Night Is the New Day,” albeit the latter does gear up on the atmospherics, especially in the verses, almost bordering on going full-on ambient.

Up to this point, the album has not really surprised the band’s old-time fans, but the single, “Wind of No Change,” probably will. I mean, the song comes off almost like an evil version of GHOST on sedatives, what with the choir in the background and lyrics flirting with Satan. You sure as hell have not heard anything like this on a KATATONIA album before. The verses unfold like any other atmospheric song from this bunch. For some reason, I got rather strong “Dead End Kings” vibes – but then the chorus makes a twisted U-turn with the choral part coming off almost like a tribute to THERION. First, I wasn’t sure what to make of the song. Is it some inside joke to hail Satan all of a sudden? The more I listen to the song, the more it starts to stick in my head, though. It’s that familiar KATATONIA effect in action, I reckon. The Old Nick has the best of tunes.

By now, the first single “Lilac” has become one of favorites by the band, pulling off a rather brilliant balancing act between atmospheric melancholy, banging riffs, and heart-wrenching melodies. While the song is not exactly a catchy beast, like that instant heart-churner “Lethean” on “Dead End Kings,” it resonates with the air of that 2012 album rather nicely. The same holds for the second single, “Temporal,” pretty much. When it came out a while ago, my first thoughts were something like “Meh,” but now I just frigging adore it for the very same reasons.

The latter half of the album kicks off on a tad more atmospheric footing. “Departure Trails” traverses the slow-burning, melancholy waters of “The Fall of Hearts” (2016). The song isn’t as memorable as the gems on that album, but I guess, over time, it might yet reveal the dark magic woven into its core. Positioned in the middle of the album, it serves as a breather of sorts, albeit I’m not sure that it is exactly called for – none of the songs are uptempo punch-ups that would necessitate such a thing. Depending on the day, I either like the song quite a lot or not at all. Anyhow, it makes the album flow seamlessly forward, so there’s that.

Next, “Warden” and “The Light Which I Bleed” pick up the pace, rolling out nice riffs with more punch. The main riff in the latter, especially in the song’s coda, where it is doubled with some (synth) strings, subtly recalls the symphonic sound of THERION, once again. That’s not something I get to say about KATATONIA very often. This would have worked as the album’s closer much better than “In the Event of,” which lacks the appropriate epic feel. The last two tracks are probably to blame for why so many have written the album off as a rather bland effort altogether. “Efter Solen” is an atmospheric ballad sung in Swedish, and the closer is a nice, atmospheric riffer that gets maybe a little too atmospheric at times, at least for a closer. Neither of the songs is necessarily lame, but I think they are sorely misplaced in the selection.

Considering the band’s recent lineup changes, “Nightmares as Extensions of the Waking State” sounds unexpectedly unsurprising. I mean, if this album is to mark some kind of a new start for the band, it sounds rather samey. Then again, Jonas Renkse has been the band’s most prominent songwriter for some time already. So, the album keeps on pushing ever deeper into the atmospheric realm, but fortunately, with some newfound faith in the power of the almighty guitar riff. It has peaks and valleys, of course, but like so many KATATONIA albums of late, it bears all the hallmarks of a slow grower. The first two singles have already won me over in just a couple of months. Putting an album that is so remarkably comprised of “autumn music,” the release date on the brink of summer was a rather counter-intuitive choice, but I reckon, when the autumn eventually falls upon us, this album will show its true colors.

Jani L.



..::TRACK-LIST::..

1. Thrice 04:39
2. The Liquid Eye 03:44
3. Wind of no Change 04:52
4. Lilac 04:51
5. Temporal 04:10
6. Departure Trails 05:01
7. Warden 04:18
8. The Light Which I Bleed 03:56
9. Efter Solen 05:51
10. In the Event of 04:53



..::OBSADA::..

Vocals - Jonas Renkse
Bass - Niklas Sandin
Drums - Daniel Moilanen
Guitar - Nico Elgstrand
Guitar - Sebastian Svalland




https://www.youtube.com/watch?v=VhMdOKDTC6s



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koszmary jeszcze nigdy nie brzmiały tak pięknie. Szwedzcy arcymistrzowie melancholijnego ciężaru z Katatonii powracają w nowym składzie z albumem Nightmares as Extensions of the Waking State, który ukaże się 6 czerwca 2025 roku za pośrednictwem Napalm Records. Po raz kolejny ta pochodząca ze Sztokholmu formacja po mistrzowsku porusza się między mrokiem a skandynawską rozpaczą, wplatając jednocześnie w serce słuchacza poczucie nadziei.

Nightmares as Extensions of the Waking State wyznacza kolejny krok w ewolucji Katatonii, bazując jednak na fundamentach ich poprzedniego albumu, Sky Void of Stars (2023). Krystalicznie czysta produkcja podkreśla wzajemne oddziaływanie ciszy i intensywności. Jednocześnie kontrast ciężkich riffów, delikatnych gitarowych harmonii, eterycznych syntezatorów i atmosferycznych niuansów tworzy urzekające napięcie. Utwory takie jakb Thrice i Warden pulsują dynamiczną energią, natomiast Lilac to niepowtarzalny wokal Jonasa Renkse przeplatający się z hipnotycznymi rytmami i progresywnymi elementami. Niemal ceremonialny Wind of No Change łączy subtelne, elektroniczne tekstury z enigmatycznymi pejzażami dźwiękowymi, zaś Temporal równoważy kruchość i siłę - jego intensywne wersy kończą się emocjonalnie naładowanym refrenem. Zapierający dech w piersiach Efter Solen (ang. After the Sun), ze szwedzkim tekstem, przywołuje echa zbioru opowiadań Jonasa Eiki z 2018 roku, z minimalistyczną ale uderzającą instrumentacją. Z dźwiękowymi krajobrazami, które przywołują dystopię, wewnętrzne demony, czystość i piękno, Nightmares as Extensions of the Waking State jest świadectwem ich trwałego rozwoju. Album został wyprodukowany przez Jonasa Renkse, nagrany przez Lawrence'a Mackrory'ego w NBS Audio i The City of Glass, zmiksowany przez Adama Noble'a i zmasterowany przez Robina Schmidta w 24-96 Mastering.

Przypomnijmy, że na albumie tym nie zagrał współzałożyciel i gitarzysta formacji, Anders Nyström, który opuścił grupę w minionym miesiącu (grupa poinformowała o tym 18 marca). Na gitarze nie zagra także znany z poprzednich płyt Roger Öjersson. Muzyków zastąpią Nico Elgstrand i Sebastian Svalland.

Art Rock


Całkiem niedawno recenzowałem płytę The Man-Eating Tree Night Verses i wmawiałem Wam, że temu zespołowi blisko jest do tego, co tworzy Katatonia. Tymczasem dzisiejszej Katatonii wcale nie tak blisko jest do samej Katatonii, a dokładniej do jej muzyki, jaką pokochaliśmy jakiś czas temu. W swojej historii zespół miał różne okresy twórczości: od black/doom metalu, poprzez udany epizod death/doom w postaci Brave Murder Day. Później depresyjny gothic, aż do dziś, kiedy mamy coś, co śmiałbym nazwać samobójczo-rockowo-gotycką alternatywą. Były płyty marne, lepsze, dobre i te znakomite, które po dziś dzień powodują ciarki na karku i szybszy oddech. I to wszystko tak naprawdę teraz nie jest już istotne, bo Katatonia wkroczyła w nowy etap swojego rozwoju artystycznego. Skład zespołu został przewrócony na lewą stronę i jedynym oryginalnym artystą jest Jonas Renske. Ten nieśmiały, nieco zakompleksiony wokalista, bez którego istnienie tego zespołu byłoby niemożliwe, ale też bezcelowe. Bo tak naprawdę jego głos stanowi o charakterystycznym, niepowtarzalnym uroku zespołu.

Nowi muzycy, stare waśnie, skrywane ambicje i świeży album. Nightmare as Extensions of the Waking State. Czego się spodziewać po nowej muzyce Katatonii? Ja spodziewałem się kontynuacji Sky Void of Stars i tak właśnie jest. Kocham ten zespół bezwarunkową miłością już wiele lat, niemalże od początku istnienia, ale niestety zjadanie własnego ogona nieco zaczyna mnie już męczyć. Jest tu, a jakże, kolosalna dawka uczucia, które wyzwala we mnie różne emocje, od wzruszenia, łez tęsknoty, radości, po wzburzenie i czasem nawet gniew. Niewiele zespołów tak na mnie działa, ale Katatonia zawsze miała taki dar.

Nowa płyta to niewątpliwie nowy etap dla samego zespołu, ale także nowy etap dla nas, fanów twórczości Szwedów. I to słychać. Płyta to kawał dobrej muzyki, niestety lata wzlotów Katatonia ma już niestety dawno za sobą i teraz, piszę to z przykrością, to tylko faza upadku, powolnego, ale jednak upadku. Na Nightmare as Extensions of the Waking State po raz kolejny brakuje finezji i momentu zaskoczenia, które jako kompozytor gwarantował Anders Nyström, główny motor, pomysłodawca i animator sztuki pod nazwą Katatonia. Takie utwory jak Warden czy The Light Which I Bleed świetnie się słucha i znakomicie wkomponowują się one w kanon Katatonii Jonasa Renske, ale to już było na City Burials i Sky Void of Stars. To cały czas Katatonia przepełniona smutkiem, nostalgią i toną emocji, to Katatonia pełna bólu, rozpaczy, tęsknoty i odrzucenia.

Nightmare as Extensions of the Waking State to podróż pełna mroku i nadziei. I rzeczywiście, koszmary nigdy nie brzmiały tak pięknie. Katatonia cały czas mistrzowsko balansuje na granicy mroku i skandynawskiej rozpaczy, jednocześnie subtelnie wplatając w serce słuchacza poczucie nadziei. Oferuje ukojenie tym z nas, którzy chcą zatracić się w immersyjnych pejzażach dźwiękowych. Błyszcząca niczym lustro produkcja tylko podkreśla współgranie ciszy i intensywności, podczas gdy kontrast ciężkich, niemal miażdżących riffów, delikatnych harmonii gitarowych, eterycznych smaczków klawiszowych i atmosferycznych detali tworzy urzekające napięcie. Otwierający album Thrice pulsuje dynamiczną jak krew energią, podczas gdy singlowy Lilac pokazuje unikatowy, pełen pasji wokal Jonasa przeplatający się z hipnotycznymi elementami. Prawie ceremonialny, momentami pompatyczny Winds of No Change łączy subtelne tekstury z enigmatycznymi pejzażami dźwiękowymi Katatonii, a Temporal równoważy kruchość i siłę przekazu. Zapierający dech w piersiach Efter Solen z tekstami po szwedzku hipnotyzuje minimalistyczną, ale uderzającą instrumentacją.

I wszystko ładnie, pięknie, ale to nadal tylko solowy projekt Jonasa Renske. Tyle tylko, że już oficjalnie pod nazwą Katatonia.

Adam Pilachowski


Maybe it is totally unrelated or perhaps it isn’t but now as KATATONIA has parted ways with one of their founding members, Anders Nyström, the new studio album, “Nightmares as Extensions of the Waking State,” released on June 6th, 2025, via Napalm Records, turns out one of the darkest chapters in the band’s musical saga. That is by no means a small feat, considering the band has never been a stranger to crafting heart-wrenching, melancholic narratives. Whether by leaving the profound sense of Gothic gloom hanging in the air like a frozen halo or by projecting our darkest desires against the backdrop of slow-crushing, melancholy prog, KATATONIA albums have had a habit of growing on me slowly over time. Apart perhaps from “The Great Cold Distance” (2006) and “Dead End Kings” (2012), their albums usually haven’t blown my mind immediately. However, after some time, I always find myself listening to the albums on repeat for days on end. The two singles released ahead of the new album – “Lilac” and “Temporal” – seem to follow this tradition down to a tee; at first, the songs did not impress me that much, but only after a few weeks, I cannot seem to get enough of them now. So, I guess this is a good omen for the album. I’m not sure how the band actually does it. Maybe through some dark magic? It is almost as if the songs become fixed in the mind on some subliminal level, even if you do not seem to be affected by the music; the songs lurk somewhere in the subconscious, ready to jump out at you the first chance they get, like a suppressed memory. It’s something nigh impossible to articulate but easy to appreciate – and the band has done it again.

The opener, “Thrice,” kicks off rather riff-heavy. Then again, it makes sense as the band features two new guitarists now – Nico Elgstrand of ENTOMBED fame and Sebastian Svalland, formerly hooked up with PAIN. The song sets the tone for the whole album, almost as though the band’s primus motor, Jonas Renkse, had intended to break in the new axe-slingers with extra emphasis on the guitar riffs this time. The familiar, atmospheric melancholy that has become the band’s trademark in the past 10 years is still prominently present, but it isn’t perhaps as front and center as on the last couple of albums. On occasion, “Thrice” and the follow-up track, “Liqud Eye,” almost harken back to the band’s 2009 album “Night Is the New Day,” albeit the latter does gear up on the atmospherics, especially in the verses, almost bordering on going full-on ambient.

Up to this point, the album has not really surprised the band’s old-time fans, but the single, “Wind of No Change,” probably will. I mean, the song comes off almost like an evil version of GHOST on sedatives, what with the choir in the background and lyrics flirting with Satan. You sure as hell have not heard anything like this on a KATATONIA album before. The verses unfold like any other atmospheric song from this bunch. For some reason, I got rather strong “Dead End Kings” vibes – but then the chorus makes a twisted U-turn with the choral part coming off almost like a tribute to THERION. First, I wasn’t sure what to make of the song. Is it some inside joke to hail Satan all of a sudden? The more I listen to the song, the more it starts to stick in my head, though. It’s that familiar KATATONIA effect in action, I reckon. The Old Nick has the best of tunes.

By now, the first single “Lilac” has become one of favorites by the band, pulling off a rather brilliant balancing act between atmospheric melancholy, banging riffs, and heart-wrenching melodies. While the song is not exactly a catchy beast, like that instant heart-churner “Lethean” on “Dead End Kings,” it resonates with the air of that 2012 album rather nicely. The same holds for the second single, “Temporal,” pretty much. When it came out a while ago, my first thoughts were something like “Meh,” but now I just frigging adore it for the very same reasons.

The latter half of the album kicks off on a tad more atmospheric footing. “Departure Trails” traverses the slow-burning, melancholy waters of “The Fall of Hearts” (2016). The song isn’t as memorable as the gems on that album, but I guess, over time, it might yet reveal the dark magic woven into its core. Positioned in the middle of the album, it serves as a breather of sorts, albeit I’m not sure that it is exactly called for – none of the songs are uptempo punch-ups that would necessitate such a thing. Depending on the day, I either like the song quite a lot or not at all. Anyhow, it makes the album flow seamlessly forward, so there’s that.

Next, “Warden” and “The Light Which I Bleed” pick up the pace, rolling out nice riffs with more punch. The main riff in the latter, especially in the song’s coda, where it is doubled with some (synth) strings, subtly recalls the symphonic sound of THERION, once again. That’s not something I get to say about KATATONIA very often. This would have worked as the album’s closer much better than “In the Event of,” which lacks the appropriate epic feel. The last two tracks are probably to blame for why so many have written the album off as a rather bland effort altogether. “Efter Solen” is an atmospheric ballad sung in Swedish, and the closer is a nice, atmospheric riffer that gets maybe a little too atmospheric at times, at least for a closer. Neither of the songs is necessarily lame, but I think they are sorely misplaced in the selection.

Considering the band’s recent lineup changes, “Nightmares as Extensions of the Waking State” sounds unexpectedly unsurprising. I mean, if this album is to mark some kind of a new start for the band, it sounds rather samey. Then again, Jonas Renkse has been the band’s most prominent songwriter for some time already. So, the album keeps on pushing ever deeper into the atmospheric realm, but fortunately, with some newfound faith in the power of the almighty guitar riff. It has peaks and valleys, of course, but like so many KATATONIA albums of late, it bears all the hallmarks of a slow grower. The first two singles have already won me over in just a couple of months. Putting an album that is so remarkably comprised of “autumn music,” the release date on the brink of summer was a rather counter-intuitive choice, but I reckon, when the autumn eventually falls upon us, this album will show its true colors.

Jani L.



..::TRACK-LIST::..

1. Thrice 04:39
2. The Liquid Eye 03:44
3. Wind of no Change 04:52
4. Lilac 04:51
5. Temporal 04:10
6. Departure Trails 05:01
7. Warden 04:18
8. The Light Which I Bleed 03:56
9. Efter Solen 05:51
10. In the Event of 04:53



..::OBSADA::..

Vocals - Jonas Renkse
Bass - Niklas Sandin
Drums - Daniel Moilanen
Guitar - Nico Elgstrand
Guitar - Sebastian Svalland




https://www.youtube.com/watch?v=VhMdOKDTC6s



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

...( Info )...
Title: Cold Awakening
Artist: AsaCordis
Year: 2025
Genre: Heavy-Metal
Country: Austria

Duration: 00:51:35
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Sea of Time (04:13)
02. Savage Mountain (05:24)
03. Fearless (04:26)
04. Cold Awakening (06:49)
05. The End of October (05:25)
06. Chosen Sacrifice (05:01)
07. Eye to Eye (04:38)
08. Fable (06:00)
09. Haunted Wasteland (05:04)
10. Guided (04:28)

...( Info )...
Title: Addicted to Power
Artist: Nefarious
Year: 2025
Genre: Thrash, Heavy-Metal
Country: USA

Duration: 00:43:09
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Mirror Death (06:18)
02. Addicted to Power (05:44)
03. Master Plan (04:22)
04. Together We Rise (04:38)
05. Day After (05:31)
06. Snarler (04:57)
07. Avatar of Chaos (05:05)
08. One Nation Enslaved (06:30)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::TRACK-LIST::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Trudno dostępny drugi album experimental grind/deathmetalowej załogi z Czech!!!

Utrzymany jest ten sam styl muzyczny, tak charakterystyczny dla zespołu. Grindowa baza wciąż jest podstawą, ale wzbogacona jest o sporo technik HC, deathmetalowych pasaży i, co nie mniej ważne, elektroniki, która dodaje całości świeżości i pikanterii... i tak naprawdę, dzięki tym syntetycznym dźwiękom, CONTRASTIC to dla mnie oryginalnie brzmiący zespół z własnym obliczem i podejściem do kompozycji, co bardzo mi się podoba.

FA


Coming hot off the heels of fellow countrymen !T.O.O.H.!'s attempt at relevancy comes this most unexpected of releases: Contrastic's sophomore(!!!) effort, Mamun. Much like yet another fellow Czech extreme metal luminaries, Lykathea Aflame, Contrastic released a sole masterpiece 20 years ago and seemingly decided they had done enough. Unlike the aforementioned band, they didn't spend the next 15 years promising a grand return. Unlike the aforementioned band, they now present a grand return.

Imagine my dread when I saw the album announced. Most of my experiences with big-name-comebacks ("big-names" as understood in the context of niche extreme metal, in this case) throughout the freshly finished decade have amounted to little more than depressing Memento Mori(s), a front-row seat to the spectacle that is the decay of creativity and the ruining of legacies. I was absolutely ready for this trend to continue. After all, what else can I expect from a band that stood dormant for two entire decades, only burst into the scene again in pretty much the same way a brick burst through a window, carrying an ominous message on a piece of paper tied to it? This time around, however, it wasn't much of a brick bursting through a window. It was rather like bumping into an old friend with whom one had lost contact in a pub right in the middle of Happy Hour. Fuck knows I needed something like this to put a slightly less depressive cap to the decade.

Contrastic has, either by virtue of unadultered genius, by quietly and slowly developing ideas before commiting them to tape, or by paying close attention to what's been going on in the past ten years, shown that they can still write challenging and imaginative music. Surely they have not reinvented the wheel; what this album has to offer has been offered before by other bands, tellingly by bands that seem to have been influenced by the immediately idiosyncratic and easily recognised extreme experimental Czech scene of the early 2000s. With that in mind, what we have here seems to be a sort of Gorguts situation: The band has come back to offer us their say in these current times, to show that, while maybe not as revolutionary as they once were, they're at the very least at the same level as all those bands that came after, walking the now-trodden path they had left behind. That's a relief, to say the least, and I cannot realistically expect a better outcome for an album 20 years in the making.

Now, that said, you'd expect the music itself is quite different from that of their self-titled, and it very much is. There is a lot, and I mean a LOT, going on here. The band managed to condense a fuckoff amount of ideas and approaches in this tiny, ~25min. long album without ending up with an overbearing mismash of pointless eclecticism and tackiness. The music overall has a slightly industrial edge to it. Not "industrial" in the sense that most people think of, which roughly translates to "it has keyboards but it's not symphonic", but rather in the Dødheimsgard sense of electronic 'sounds' used to enhance a sense of inhumanity or otherwordliness as they see fit. There are samples, digitally distorted vocals, the works. And the works work. One thing that struck me is how I couldn't really point out to anything that felt out of place. If anything my only complaint is that the album is too short, but then again that might be a blessing in disguise, especially when it comes to both comebacks and deathgrind in general. Their first album, tellingly, was also below the half-hour mark.

Riffing and drumming, let's talk about that. Let's talk about how varied they are, how contemporary they sound. Some people still reel and gnash their teeth when exposed to the rather straightforward idea that time, well, passes. The Internet has made it easy for an entire generation (mine, sadly enough) to build their entire personality around the constant shock of learning that time moves forward, and that 2000 was 20 years ago. Yes, it's true: My generation's main contribution to the history of culture seems to be their complete inability to wrap their heads around basic arithmetic (that, and the glorification of a new kind of "oldness", which they insist starts at age 25). Anyway. the point is that, yes, 20 years is indeed a sizeable chunck of time, and, especially when it comes to popular culture, 2000 was a long time ago. It happens. That was the main reason why I was more than ready to discover an absolutely mediocre, lukewarm attempt at music that, while always fresh and ready for revisiting, would be rather ridiculous to present as a new product today. If there's any band out there releasing new albums comprised of new material that sounds pretty much exactly like, say, Bloodflowers-era The Cure, they'd be laughed off of the stage. However this continues to be perfectly acceptable in the world of metal, for some fuckdamned reason. The term "contemporary" no longer covers that decade, like it or not. And that's a lesson that Contrastic seems to have learned straight away, with no need of intermediate albums. I don't know what it is, since the lineup seems to be pretty much the same except the bass player (R.I.P.) and the musicians involved haven't really been active for over ten years.

Where did they learn to stay acceptably fresh? Where did they learn to alternate straightforward deathgrind with somewhat "post-metal"-ish flirtings that's been all the rage in the 2010s, with the start-stop rockish approaches and the juxtaposition of thick distortion and thin cleanliness? The melodiousness that doesn't compromise aggressivity? The tactful dynamics in tempo and timbre which allows the band to shine in somewhat un-metal ways? Whence cometh this occasional burst of dissonance? Have they been taking notes frome DsO and the Icelandic scene? Terribly unlikely, and yet here we are, a veteran arriving at the same conclusion as his disciples, through completely different means and through no cross-pollination (that I know of). Kind of makes me sad that these good folk have had nothing to say throughout the decade, because with an effort as strong and imaginative as this one coming after 20 years of silence, maybe exercising their musical abilities throughout the decade could have established them as a main driving force instead of joining the ranks of the numerous Comeback Kids of the 10s, which is always an ugly title to bear, regardless of how good the comeback is.

As it is, it's nothing short of miraculous that a band that released one legendary album two entire decades ago would release a second effort that is at the very least up to the challenge of a now thankfully concluded decade. They were never going to rediscover fire nor trailblaze their way into an entire new subgenre, but that doesn't matter anymore. That, I don't believe will be happening again. This sort of pleasant surprise is as good as it will ever get. I declare this album nothing short of a miracle. One that no other Czech band that has been scratching their arses for 20 years now will be able to pull off. You hearing me, Lykathea Aflame?

Avestriel



..::OBSADA::..

1. Na márách 03:08
2. Tarvas Maniacus 02:27
3. Mentální výtok 03:07
4. Tenkrát na severu 02:45
5. Košile 02:21
6. Oni 02:17
7. Služebně starší nacista 01:38
8. National razor 02:37
9. Homoheresy 04:07




https://www.youtube.com/watch?v=h53toP9zN5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Hellbastard powstał w 1984 roku w Wielkiej Brytanii. Historia tego zespołu jest w chuj długa i pogmatwana. Wystarczy tylko wspomnieć, że członkowie zespołu w wyniku różnych kłótni i różnicy zdań odchodzili i zakładali własne zespoły o podobnych nazwach, wydawali płyty i ponownie się godzili.

To tak w dużym skrócie. W 1988 ukazał się debiutancki album Heading for Internal Darkness, który uznawany jest za jeden z kamieni milowych crust punka. Album ten poprzedziły dwie taśmy demo, z których ta pierwsza Ripper Crust uznawana jest za matkę gatunku Crust, od której zaczerpnięto nazwę.

W 1989 roku zespół podpisał papiery z Earache, która to wytwórnia w 1990 roku wydaje nieziemski Natural Order, który mimo, że nie jest tak wściekły jak debiut to zwrócił uwagę sceny zajebistym wykorzystaniem gitary rytmicznej. Płyta to jak i debiut to absolutny mus dla fanów Amebix, Discharge, Sacrilege.

Od tego momentu w Hellbastard następuje rozłam i zespół się rozpada na kilka innych grup. Powrócili w 2007 roku by dwa lata później nasza Selfmadegod wypuściła trzeci album, który już znacznie odbiegał od dwóch poprzednich a muzyka to bardziej taki thrash metal albo crossover. W 2015 wyszedł czwarty i jak na razie ostatni album Feral, który mimo zajebistej okładki muzycznie prezentował się średnio dalej będąc gatunkowo w muzyce thrash.

Hajasz



..::TRACK-LIST::..

CD 2 - Heading For Eternal Darkness:
1. We Had Evidence
2. Civilised?
3. Nazis Killed
4. Death Camp
5. Massacre.....
6. Heading For Internal Darkness
7. The Pylons
8. Afrikkan Beggar
9. Rise Of Crust (Inst.)

Bonus Tracks:
10. Into The Crypts Of Rays (Rehearsal 1988)
11. Return To The Eve (Rehearsal 1988)
12. Aggressor (Rehearsal 1988)
13. Aggressor (Brixton 1988)
14. Die By The Sword (Rehearsal 1988)
15. Die By The Sword (Birmingham 1988)



..::OBSADA::..

Vocals - Wendy V. Gill
Bass, Backing Vocals [Backing Vox] - Scotty
Drums, Percussion - Phil
Guitar [Guitars], Vocals, Music By [All Music], Lyrics By, Layout [Insert, Label, Back Cover, Sticker, Logo] - Scruff

Synth - Andy Tillison



https://www.youtube.com/watch?v=uOFlr3zwQNQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Hellbastard powstał w 1984 roku w Wielkiej Brytanii. Historia tego zespołu jest w chuj długa i pogmatwana. Wystarczy tylko wspomnieć, że członkowie zespołu w wyniku różnych kłótni i różnicy zdań odchodzili i zakładali własne zespoły o podobnych nazwach, wydawali płyty i ponownie się godzili.

To tak w dużym skrócie. W 1988 ukazał się debiutancki album Heading for Internal Darkness, który uznawany jest za jeden z kamieni milowych crust punka. Album ten poprzedziły dwie taśmy demo, z których ta pierwsza Ripper Crust uznawana jest za matkę gatunku Crust, od której zaczerpnięto nazwę.

W 1989 roku zespół podpisał papiery z Earache, która to wytwórnia w 1990 roku wydaje nieziemski Natural Order, który mimo, że nie jest tak wściekły jak debiut to zwrócił uwagę sceny zajebistym wykorzystaniem gitary rytmicznej. Płyta to jak i debiut to absolutny mus dla fanów Amebix, Discharge, Sacrilege.

Od tego momentu w Hellbastard następuje rozłam i zespół się rozpada na kilka innych grup. Powrócili w 2007 roku by dwa lata później nasza Selfmadegod wypuściła trzeci album, który już znacznie odbiegał od dwóch poprzednich a muzyka to bardziej taki thrash metal albo crossover. W 2015 wyszedł czwarty i jak na razie ostatni album Feral, który mimo zajebistej okładki muzycznie prezentował się średnio dalej będąc gatunkowo w muzyce thrash.

Hajasz



..::TRACK-LIST::..

CD 2 - Heading For Eternal Darkness:
1. We Had Evidence
2. Civilised?
3. Nazis Killed
4. Death Camp
5. Massacre.....
6. Heading For Internal Darkness
7. The Pylons
8. Afrikkan Beggar
9. Rise Of Crust (Inst.)

Bonus Tracks:
10. Into The Crypts Of Rays (Rehearsal 1988)
11. Return To The Eve (Rehearsal 1988)
12. Aggressor (Rehearsal 1988)
13. Aggressor (Brixton 1988)
14. Die By The Sword (Rehearsal 1988)
15. Die By The Sword (Birmingham 1988)



..::OBSADA::..

Vocals - Wendy V. Gill
Bass, Backing Vocals [Backing Vox] - Scotty
Drums, Percussion - Phil
Guitar [Guitars], Vocals, Music By [All Music], Lyrics By, Layout [Insert, Label, Back Cover, Sticker, Logo] - Scruff

Synth - Andy Tillison



https://www.youtube.com/watch?v=uOFlr3zwQNQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album białoruskiego zespołu złożonego z muzyków OMINOUS SCRIPTURES i RELICS OF HUMANITY.
11 utworów brutalnego i mocnego death/grind!



Before we get into the meat of this cd, I'd like you to focus your attention on the cover art. Go on, take a gander. Now you might be thinking that it's just a vase of flowers, but it's not until you take another look when you start noticing the splattered blood and body parts on there. Once you've spotted that, there is no more denying that this is some bitchin' cover art, right? You just gotta love art that comes at you in waves like that. It's something different than the depraved slaughter or dystopian landscape art that adorns a lot of death metal releases these days, and I love it! And with that out of the way, let's talk music!

Stylistically, you could place Grimentity between late 90's brutal death metal such as Lividity, Disgorge (US), Fleshgrind and Incestuous, and the death/grind style as it was popular around that same time in Germany and Eastern Europe, with acts like Ingrowing, Kadath, Nyctophobic and Abortion. Blast beat driven ferocity is alternated with groovier stomp, with the fat and heavy riffing holding the tracks firmly together. The vocals are a two-pronged attack of a gruff grunt and a ferocious scream that had me thinking of classic US grinders such as Terrorizer and Hemdale, thus establishing a genuine grindcore feel throughout. There are some winks and nods to the later works of Misery Index and Napalm Death in the guitar work as well, ensuring a good amount of variation, while keeping it all aggressive and fierce. This is a dose of way above average grinding death metal, and all into late 90's/early 00's bands such as Dying Fetus, Exhumed, Skinless and Resurrected should be able to find something to like in here.

When it comes to production I'm a bit torn here, honestly. It all sounds effin' massive, with everything neatly balanced out, but while the guitars sound heavy as fuck and the vocals make for an aggressive performance, the percussion sounds that bit too compressed to my liking. I guess that this is more or less a case of taste on my part, but if the drums had sounded just that bit more organic, it would have given the already ripping music even more punch.

I'm going to wrap this one up by saying that this is a pretty banging affair, sounding massive whilst oozing aggression, and it should be able to strike a nerve with all who like death metal/grindcore with an old school brutal death metal edge to it. If you feel any kind of nostalgia for the late 90's death metal scene (like me), these guys are sure worth checking out!

Vaseline1980



..::TRACK-LIST::..

1. Searching the perfect shade 02:10
2. The power of broken 02:19
3. Blinded by the majesty of own mind 02:54
4. Healing With Fury 01:30
5. Psilocybin Recombination 02:51
6. Faith imitation 02:20
7. A sense of the breath of a flame 02:39
8. Crimson tones dreams 02:13
9. Individual Perception of Psychoanalysis 02:15
10. The Supreme Form of Evolution 01:59
11. DSM-5. The New Chapter 02:05



..::OBSADA::..

Illia Baradulich - Vocals
Pavel Lapkouski - Guitar, Vocals
Nikita Metelskiy - Bass
Roman Drobishevski - Drums



https://www.youtube.com/watch?v=bGYdi4hWFq4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki album białoruskiego zespołu złożonego z muzyków OMINOUS SCRIPTURES i RELICS OF HUMANITY.
11 utworów brutalnego i mocnego death/grind!



Before we get into the meat of this cd, I'd like you to focus your attention on the cover art. Go on, take a gander. Now you might be thinking that it's just a vase of flowers, but it's not until you take another look when you start noticing the splattered blood and body parts on there. Once you've spotted that, there is no more denying that this is some bitchin' cover art, right? You just gotta love art that comes at you in waves like that. It's something different than the depraved slaughter or dystopian landscape art that adorns a lot of death metal releases these days, and I love it! And with that out of the way, let's talk music!

Stylistically, you could place Grimentity between late 90's brutal death metal such as Lividity, Disgorge (US), Fleshgrind and Incestuous, and the death/grind style as it was popular around that same time in Germany and Eastern Europe, with acts like Ingrowing, Kadath, Nyctophobic and Abortion. Blast beat driven ferocity is alternated with groovier stomp, with the fat and heavy riffing holding the tracks firmly together. The vocals are a two-pronged attack of a gruff grunt and a ferocious scream that had me thinking of classic US grinders such as Terrorizer and Hemdale, thus establishing a genuine grindcore feel throughout. There are some winks and nods to the later works of Misery Index and Napalm Death in the guitar work as well, ensuring a good amount of variation, while keeping it all aggressive and fierce. This is a dose of way above average grinding death metal, and all into late 90's/early 00's bands such as Dying Fetus, Exhumed, Skinless and Resurrected should be able to find something to like in here.

When it comes to production I'm a bit torn here, honestly. It all sounds effin' massive, with everything neatly balanced out, but while the guitars sound heavy as fuck and the vocals make for an aggressive performance, the percussion sounds that bit too compressed to my liking. I guess that this is more or less a case of taste on my part, but if the drums had sounded just that bit more organic, it would have given the already ripping music even more punch.

I'm going to wrap this one up by saying that this is a pretty banging affair, sounding massive whilst oozing aggression, and it should be able to strike a nerve with all who like death metal/grindcore with an old school brutal death metal edge to it. If you feel any kind of nostalgia for the late 90's death metal scene (like me), these guys are sure worth checking out!

Vaseline1980



..::TRACK-LIST::..

1. Searching the perfect shade 02:10
2. The power of broken 02:19
3. Blinded by the majesty of own mind 02:54
4. Healing With Fury 01:30
5. Psilocybin Recombination 02:51
6. Faith imitation 02:20
7. A sense of the breath of a flame 02:39
8. Crimson tones dreams 02:13
9. Individual Perception of Psychoanalysis 02:15
10. The Supreme Form of Evolution 01:59
11. DSM-5. The New Chapter 02:05



..::OBSADA::..

Illia Baradulich - Vocals
Pavel Lapkouski - Guitar, Vocals
Nikita Metelskiy - Bass
Roman Drobishevski - Drums



https://www.youtube.com/watch?v=bGYdi4hWFq4



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

...( Info )...
Title: Scientist
Artist: Symmetry Was Never An Option
Year: 2025
Genre: Progressive, Post-Metal
Country: Poland

Duration: 00:59:57
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Constant Changes
2. Atmosphere
3. Communication
4. D.I.J.A.V. II
5. Active
6. Consume Myself
7. Scientist
8. Colours
9. Farewell

...( Info )...
Title: Greed
Artist: Ritual Awakening
Year: 2025
Genre: Melodic, Death-Metal
Country: USA

Duration: 00:26:59
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Greed
2. Metamorphosis
3. Grotesque Obsession
4. Blinded
5. Impenitent
6. Chamber of Torment
7. Noosed
8. Portal

...( Info )...
Title: Kradljivac Duša
Artist: Smetlište
Year: 2025
Genre: Thrash, Groove-Metal
Country: Bosnia and Herzegovina

Duration: 00:47:55
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
1. Dum Spiro Spero
2. Revolucija
3. Lažna nada
4. Maska
5. N.E.R.V.
6. Delirium
7. Kradljivac duša
8. Korak više
9. Grijeh 0
10. Prezir (Bonus Track)

...( Info )...
Title: As The Ember Dies
Artist: Black Light
Year: 2025
Genre: Thrash-Metal
Country: Slovakia
Duration: 00:41:03
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...
1. Chase
2. Into the Nothing
3. Mistbreath
4. Frozen Desert
5. The Crones
6. Son of Sam
7. Circled Snake
8. Sticks and Stones
9. The First Touch
10. The Lake
11. Frameshift

...( Info )...
Title: Vs The World
Artist: Poison The Preacher
Year: 2025
Genre: Thrash-Metal, Crossover
Country: Colobia

Duration: 00:29:37
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Future Tense
2. Sucker Punch
3. Dying Every Day
4. 1312
5. Hate too Much
6. Congelado en el Tiempo
7. Promise to Pay
8. One Man Army
9. Us Against the World

...( Info )...
Title: Dream Labyrinth
Artist: Allodium
Year: 2025
Genre: Post, Black-Metal
Country: USA

Duration: 00:52:21
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Hiraeth
02. Barren Earth
03. You Were Faire
04. Dream Labyrinth
05. Into the Evergrey
06. Totenreich

...( Info )...
Title: Khaomorphosis
Artist: Khaotus
Year: 2025
Genre: Black, Death-Metal
Country: Finland

Duration: 00:35:15
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Intro
2. Scorched
3. A Husk No More
4. Here Where They Now Stand
5. Expunging the Ashes
6. The Petrichor of What Once Was

...( Info )...
Title: By All Means
Artist: Senpais
Year: 2025
Genre: Melodic, Death-Metal
Country: Germany

Duration: 00:43:06
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Not Even Close
02. Hunting Season
03. All Animals Are Equal
04. The Bludgeoning
05. Watch The World Burn
06. Repulse
07. War Is Peace
08. Scarlet
09. W.A.Y.S.B.
10. Nevermourn

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Tak na szybko mogę zaoferować taki zestaw. Miłego słuchania...



..::TRACK-LIST::..

Demos:
1989 - Reduced To Ashes
1990 - Excruciating Pain

Single, Live, Compilation:
1991 - The Black Mass (Single)
1992 - Live Demo 1991 (Live)
1994 - Live Soundboard (Live)
2006 - Horrors Of Hell (Compilation)
2007 - Evil - Death (Live)

Studio:
1992 - Let Us Pray
1992 - Let Us Pray (Reissue 2009)
1995 - Into Cold Darkness
1997 - Forever Underground
2000 - Dawn Of The Apocalypse
2003 - Dechristianize
2007 - Icons Of Evil



https://www.youtube.com/watch?v=_QEQ-8ZA8zk



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

...( Info )...
Title: Hibernation Devastation
Artist: Bangover
Year: 2025
Genre: Thrash-Metal
Country: UK

Duration: 00:36:06
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. The Texas Chainsaw Thrashacre
2. Scum Of The Earth
3. Thrashional Rail
4. The Banshee
5. Death Shed
6. Tannhauser Gates
7. Hibernation Devastation

...( Info )...
Title: This World Is Ours [Kristy Robson Edition]
Artist: Juliet's Not Dead
Year: 2025
Genre: Hard-Rock, Grunge
Country: UK

Duration: 00:49:04
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Sinner or Saint? (04:08)
2. Thrillseekers (03:04)
3. Open Fire (03:49)
4. Battle Scarred (03:39)
5. Notorious (03:38)
6. Passing Ships (04:09)
7. Double Life (02:48)
8. Last One Standing (04:01)
9. King & Queen (03:15)
10. Capsize (04:20)
11. Open Fire (04:16)
12. Battle Scarred (03:52)
13. Passing Ships (03:58)

...( Info )...
Title: The Mirror
Artist: Black Rose
Year: 2025
Genre: Hard, Heavy-Metal
Country: Sweden

Duration: 00:45:04
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Dualities 04:21
2. Farewell, Misery 03:38
3. Heavy Metal Angel 03:37
4. Shine 03:55
5. The Labyrinth Of Me 04:44
6. Heaven's Gate 05:32
7. Sole Survivor 04:30
8. Wildfire 05:18
9. Rebel Soul 04:31
10. Divine Sign 04:58

...( Info )...
Title: The End Of Human Tragedy
Artist: Chopped In Half
Year: 2025
Genre: Death-Metal
Country: Germany

Duration: 00:43:07
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Welcome to the ...
02. House of Pain
03. Insane
04. Immolation
05. End of Human Tragedy
06. No More Words
07. Ih8Yall
08. Obituary
09. Fall of the Last Civilisation
10. Morbid

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyna duża płyta UTOPIE założonego przez dwóch Polaków zamieszkałych w Niemczech. 16 utworów ultra brutalnego i krwawego goregrind najwyższych lotów.
Limitowane wznowienie! KULT!



..::TRACK-LIST::..

1. My Blood Through Your Vein - My Words Through Your Mouth 4:52
2. Spat Out To Live 3:11
3. He Put His Erected Phallus In Her Anal Canal And Said: 'Hey Mom This Time I Trust You - I Don't Want Your Shit On My Cock!' 4:10
4. Manipulated And Dismembered Like A Piece Of Shit 3:24
5. Short Erection 9 0:13
6. Kill - Fuck - Mutilate 2:24
7. Phalluskult Usus 5:52
8. Suffocate And Perish In Separation Of Humanity 1:37
9. Stop Viagra - Smoke Pot 2:08
10. Long Erection 2:40
11. Short Erection 10 0:11
12. The Way To Be An Autocannibal 3:04
13. Psychopathologic Menstruationorgasm 3:09
14. Short Erection 11 0:21
15. Our Life - Our Reality 4:33
16. You Are What I Eat 2:24
17. Untitled (Bonus Instrumental) 2:51

'Instinct For Existence' was recorded and mixed at Zinnkopf Audio Studio in Siegsdorf in March 99



..::OBSADA::..

Drums, Vocals - Marius
Guitar, Bass, Vocals [Screams] - Arek




https://www.youtube.com/watch?v=FYc7t_iFWdU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jedyna duża płyta UTOPIE założonego przez dwóch Polaków zamieszkałych w Niemczech. 16 utworów ultra brutalnego i krwawego goregrind najwyższych lotów.
Limitowane wznowienie! KULT!



..::TRACK-LIST::..

1. My Blood Through Your Vein - My Words Through Your Mouth 4:52
2. Spat Out To Live 3:11
3. He Put His Erected Phallus In Her Anal Canal And Said: 'Hey Mom This Time I Trust You - I Don't Want Your Shit On My Cock!' 4:10
4. Manipulated And Dismembered Like A Piece Of Shit 3:24
5. Short Erection 9 0:13
6. Kill - Fuck - Mutilate 2:24
7. Phalluskult Usus 5:52
8. Suffocate And Perish In Separation Of Humanity 1:37
9. Stop Viagra - Smoke Pot 2:08
10. Long Erection 2:40
11. Short Erection 10 0:11
12. The Way To Be An Autocannibal 3:04
13. Psychopathologic Menstruationorgasm 3:09
14. Short Erection 11 0:21
15. Our Life - Our Reality 4:33
16. You Are What I Eat 2:24
17. Untitled (Bonus Instrumental) 2:51

'Instinct For Existence' was recorded and mixed at Zinnkopf Audio Studio in Siegsdorf in March 99



..::OBSADA::..

Drums, Vocals - Marius
Guitar, Bass, Vocals [Screams] - Arek




https://www.youtube.com/watch?v=FYc7t_iFWdU



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