...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

ASS TO MOUTH powraca z nową, trzecią płytą po 10 latach!

"Enemy Of The Human Race" to czternaście premierowych kawałków wysokooktanowego i gwałtownego, choć niepozbawionego rock’n’rollowej chwytliwości grindcore’a dla fanów NASUM, PHOBIA, BLOOD DUSTER, JIG-AI.

Album nagrano, zmiksowano oraz poddano masteringowi we wrocławskim Soundscope Recording Studio z basistą Jarkiem Wysockim za heblami.

ASS TO MOUTH powstało w grudniu 2004 roku. Aż do końca 2016 zespół regularnie koncertował w całej Europie. W tym czasie udało się również zarejestrować dwa pełne albumy, jedno promo MCD i jeden split 10”. Na początku 2017 roku działalność zespołu została częściowo zawieszona. W międzyczasie, w nowym odświeżonym składzie udało się zarejestrować nowy album, którego premiera została zaplanowana na 2024 rok.



Ha! Ależ niespodzianka! Szczerze mówiąc, to straciłem już nadzieję, że Ass To Mouth jeszcze czymś nas uraczą, tym bardziej, że od ich wyśmienitego “Degenerate” minęła równo dekada, a wieści dopływające w międzyczasie z obozu wrocławskich degeneratów bynajmniej nie napawały zbytnią nadzieją na lepsze (albo w ogóle na „jakiekolwiek”) jutro. A tu nagle, jak coś nie pierdolnie, to nie wiedziałem, czy Ruskie atakują, czy niebo wali mi się na głowę, czy inna cholera… A to panowie z Ass To Mouth powrócili, co prawda w mocno przewietrzonym składzie, za to z takim przytupem, że jeszcze do chwili obecnej nie poskładałem się w całość. „Enemy of the Human Race”, czyli trójeczka naszej sztandarowej ekipy, to granie najwyższych, światowych lotów. Czternaście kawałków, z których tylko dwa dłuższe niż dwie minuty, to kwintesencja gatunku, jednocześnie grindcore jaki totalnie uwielbiam. Nie jakieś tam rozpędzone do granic możliwości gówno, napierdalające na jedno kopyto kawałki, które ciężko od siebie odróżnić.

W te krótkie strzały od Ass To Mouth wepchnięto tonę rozpierdalających riffów, przy których trupy wstają z trumien a katatonicy dostają drgawek. Oczywiście jest przeważnie szybko, albo i szybciej, lecz nie brak momentów na złapanie oddechu, tudzież szybki łyk piwka przed kontynuowaniem opętańczych pląsów. Panowie mają łeb nie od parady i potrafią umiejętnie różnicować swoje numery, pozostając jednocześnie w kanonie gatunku. Bo to, że dopatrzymy się tutaj elementów brutal death metalu, punka czy hardcore’a to chyba już na tyle oklepane ornamenty, że nikogo nie dziwią. Za to idealnie współgrają z grindowym kręgosłupem, dodając tej muzyce jeszcze więcej oktanów, niż oryginalnie gatunek ten zawiera. Poza naprawdę chwytliwymi, acz brutalnymi jak sam skurwisyn akordami, w chuj robotę robią na tych nagraniach wokalne dialogi. Ja powiedziałem dialogi? Prędzej bitwy, bo panowie chwilami przekrzykują się z większą wściekłością, niż protestujące babcie z kółek różańcowych na wiecach w obronie życia poczętego. Na „Enemy of the Human Race” jest tyle energii, że gdyby można ją zmaterializować, to Putin mógłby śmiało zakręcać te swoje kurki, bo i tak byśmy sobie poradzili. Ponadto brzmienie na tym krążku to czysta perfekcja. Tutaj wszystko dokładnie słychać, nic nie ucieka i nie ginie w ścianie dźwięku, a każdy ton wali w łeb niczym trzydziestotonowy kafar. Nowy album Ass To Mouth utwierdził mnie w przekonaniu, że tuż obok Hostia jest to najlepszy grindowy wyziew z krajowego podwórka, śmiało stający w pierwszej linii ze światowymi klasykami. Przekonajcie się zresztą sami, jak w dwadzieścia minut można zdewastować wszystko w zasięgu wzroku. Dla mnie mistrzostwo!

jesusatan



Ass To Mouth pojawia się i znika jak penis w różnych otworach na takim jednym filmie, co kiedyś go widziałem dawno temu. Jak się pojawił ostatnio, to zniknął na dekadę. W filmie nazywa się ta pozycja buforowaniem, a w realu?

W realu prawdopodobnie nazywa się żyćko jebane. Ale fajnie, że powrócili, a to za sprawą trzeciej płyty długogrającej. Jej tytuł brzmi „Enemy of the Human Race” i o dziwo – na okładce nie ma Wojtyły! I od razu powiem – front cover moim zdaniem nieudany i dość generyczny. Ponadto mógłby pasować do dwudziestu czterech różnych gatunków, jednak w mojej opinii to nie zaleta. A jak muzycznie?

A muzycznie jest dobrze. Czy bardzo dobrze? No chwilami bardzo dobrze. Zaczyna się od „The Underdog”, kawałka z mocno hard core’owym drajwem. I on mnie trochę zbił z tropu, bo średnio mi podszedł. Ale to nie jedyny numer utrzymany w bardziej tym stylu niźli grajndowym – choćby taki „Nazi Pig”, ale ten akurat wchodzi mi zajebiście. No i mamy też typowe, szybkie i brutalne strzały już czysto grindowe. „You’ll Choke With Your Own Shit”, „XXI”, bardzo terrrajzerowaty „Modern Slaves” czy “Grind Screwed My Life” to już typowe grajndowe, mocarne potupajki. I fajnie to buja – raz dobrze, raz jeszcze lepiej. Choć mam chwilami wrażenie, że Ass To Mouth nagrało krążek trochę nierówny – bo kilka kawałków jakoś tak przelatuje i ani nie robią wrażenia, ani nawet nie zauważam, że w ogóle są. Dosłownie kilka. Zdecydowana większość naprawdę robi robotę – jest skocznie i prosto w ryj.

Czy to dobry powrót? Dobry. Czy oczekiwany? Przez niektórych pewnie tak. Choć mam trochę wrażenie, że od czasu zniknięcia Ass To Mouth ze sceny powstało kilka załóg w tym smutnym jak pizda kraju, które bardziej trafiają do mnie ze swoim grindowym przekazem. No ale nic to, „Enemy of the Human Race” jest całkiem dobre. Możliwe, że grindowym freakom przypasuje nawet bardziej.

Oracle



ASS TO MOUTH are back with the long awaited 3rd full length!

"Enemy Of The Human Race" consists of fourteen tracks of high-octane and rapid grindcore with a rock'n'roll vibe for fans of NASUM, PHOBIA, BLOOD DUSTER, JIG-AI.

The album was recorded, mixed and mastered at Soundscope Recording Studio in Wrocław, Poland by Jarek Wysocki.

ASS TO MOUTH was founded in December 2004. Until the end of 2016, the band regularly played shows & festivals in many different countries in Europe. During this time the band recorded two full-length albums, one promo MCD, and one split 10”. At the beginning of 2017, the band's activities were partially suspended. In the meantime, the new, refreshed lineup managed to record a new album, the premiere of which is scheduled for 2024 release.



..::TRACK-LIST::..

1. The Underdog 01:35
2. Model Citizen 01:31
3. Hang Those Bastards 01:54
4. The Underground 01:09
5. Nazi Pig 01:53
6. You'll Choke With Your Own Shit 01:13
7. Vomit Disatste 01:37
8. XXI 00:54
9. One Step From Hell 02:33
10. Authority 01:00
11. Modern Slaves 01:04
12. Grindcore Screwed My Life 01:04
13. Brainwash 00:40
14. Nuclear Winter 03:27




https://www.youtube.com/watch?v=-UHAwM1LX_4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

ASS TO MOUTH powraca z nową, trzecią płytą po 10 latach!

"Enemy Of The Human Race" to czternaście premierowych kawałków wysokooktanowego i gwałtownego, choć niepozbawionego rock’n’rollowej chwytliwości grindcore’a dla fanów NASUM, PHOBIA, BLOOD DUSTER, JIG-AI.

Album nagrano, zmiksowano oraz poddano masteringowi we wrocławskim Soundscope Recording Studio z basistą Jarkiem Wysockim za heblami.

ASS TO MOUTH powstało w grudniu 2004 roku. Aż do końca 2016 zespół regularnie koncertował w całej Europie. W tym czasie udało się również zarejestrować dwa pełne albumy, jedno promo MCD i jeden split 10”. Na początku 2017 roku działalność zespołu została częściowo zawieszona. W międzyczasie, w nowym odświeżonym składzie udało się zarejestrować nowy album, którego premiera została zaplanowana na 2024 rok.



Ha! Ależ niespodzianka! Szczerze mówiąc, to straciłem już nadzieję, że Ass To Mouth jeszcze czymś nas uraczą, tym bardziej, że od ich wyśmienitego “Degenerate” minęła równo dekada, a wieści dopływające w międzyczasie z obozu wrocławskich degeneratów bynajmniej nie napawały zbytnią nadzieją na lepsze (albo w ogóle na „jakiekolwiek”) jutro. A tu nagle, jak coś nie pierdolnie, to nie wiedziałem, czy Ruskie atakują, czy niebo wali mi się na głowę, czy inna cholera… A to panowie z Ass To Mouth powrócili, co prawda w mocno przewietrzonym składzie, za to z takim przytupem, że jeszcze do chwili obecnej nie poskładałem się w całość. „Enemy of the Human Race”, czyli trójeczka naszej sztandarowej ekipy, to granie najwyższych, światowych lotów. Czternaście kawałków, z których tylko dwa dłuższe niż dwie minuty, to kwintesencja gatunku, jednocześnie grindcore jaki totalnie uwielbiam. Nie jakieś tam rozpędzone do granic możliwości gówno, napierdalające na jedno kopyto kawałki, które ciężko od siebie odróżnić.

W te krótkie strzały od Ass To Mouth wepchnięto tonę rozpierdalających riffów, przy których trupy wstają z trumien a katatonicy dostają drgawek. Oczywiście jest przeważnie szybko, albo i szybciej, lecz nie brak momentów na złapanie oddechu, tudzież szybki łyk piwka przed kontynuowaniem opętańczych pląsów. Panowie mają łeb nie od parady i potrafią umiejętnie różnicować swoje numery, pozostając jednocześnie w kanonie gatunku. Bo to, że dopatrzymy się tutaj elementów brutal death metalu, punka czy hardcore’a to chyba już na tyle oklepane ornamenty, że nikogo nie dziwią. Za to idealnie współgrają z grindowym kręgosłupem, dodając tej muzyce jeszcze więcej oktanów, niż oryginalnie gatunek ten zawiera. Poza naprawdę chwytliwymi, acz brutalnymi jak sam skurwisyn akordami, w chuj robotę robią na tych nagraniach wokalne dialogi. Ja powiedziałem dialogi? Prędzej bitwy, bo panowie chwilami przekrzykują się z większą wściekłością, niż protestujące babcie z kółek różańcowych na wiecach w obronie życia poczętego. Na „Enemy of the Human Race” jest tyle energii, że gdyby można ją zmaterializować, to Putin mógłby śmiało zakręcać te swoje kurki, bo i tak byśmy sobie poradzili. Ponadto brzmienie na tym krążku to czysta perfekcja. Tutaj wszystko dokładnie słychać, nic nie ucieka i nie ginie w ścianie dźwięku, a każdy ton wali w łeb niczym trzydziestotonowy kafar. Nowy album Ass To Mouth utwierdził mnie w przekonaniu, że tuż obok Hostia jest to najlepszy grindowy wyziew z krajowego podwórka, śmiało stający w pierwszej linii ze światowymi klasykami. Przekonajcie się zresztą sami, jak w dwadzieścia minut można zdewastować wszystko w zasięgu wzroku. Dla mnie mistrzostwo!

jesusatan



Ass To Mouth pojawia się i znika jak penis w różnych otworach na takim jednym filmie, co kiedyś go widziałem dawno temu. Jak się pojawił ostatnio, to zniknął na dekadę. W filmie nazywa się ta pozycja buforowaniem, a w realu?

W realu prawdopodobnie nazywa się żyćko jebane. Ale fajnie, że powrócili, a to za sprawą trzeciej płyty długogrającej. Jej tytuł brzmi „Enemy of the Human Race” i o dziwo – na okładce nie ma Wojtyły! I od razu powiem – front cover moim zdaniem nieudany i dość generyczny. Ponadto mógłby pasować do dwudziestu czterech różnych gatunków, jednak w mojej opinii to nie zaleta. A jak muzycznie?

A muzycznie jest dobrze. Czy bardzo dobrze? No chwilami bardzo dobrze. Zaczyna się od „The Underdog”, kawałka z mocno hard core’owym drajwem. I on mnie trochę zbił z tropu, bo średnio mi podszedł. Ale to nie jedyny numer utrzymany w bardziej tym stylu niźli grajndowym – choćby taki „Nazi Pig”, ale ten akurat wchodzi mi zajebiście. No i mamy też typowe, szybkie i brutalne strzały już czysto grindowe. „You’ll Choke With Your Own Shit”, „XXI”, bardzo terrrajzerowaty „Modern Slaves” czy “Grind Screwed My Life” to już typowe grajndowe, mocarne potupajki. I fajnie to buja – raz dobrze, raz jeszcze lepiej. Choć mam chwilami wrażenie, że Ass To Mouth nagrało krążek trochę nierówny – bo kilka kawałków jakoś tak przelatuje i ani nie robią wrażenia, ani nawet nie zauważam, że w ogóle są. Dosłownie kilka. Zdecydowana większość naprawdę robi robotę – jest skocznie i prosto w ryj.

Czy to dobry powrót? Dobry. Czy oczekiwany? Przez niektórych pewnie tak. Choć mam trochę wrażenie, że od czasu zniknięcia Ass To Mouth ze sceny powstało kilka załóg w tym smutnym jak pizda kraju, które bardziej trafiają do mnie ze swoim grindowym przekazem. No ale nic to, „Enemy of the Human Race” jest całkiem dobre. Możliwe, że grindowym freakom przypasuje nawet bardziej.

Oracle



ASS TO MOUTH are back with the long awaited 3rd full length!

"Enemy Of The Human Race" consists of fourteen tracks of high-octane and rapid grindcore with a rock'n'roll vibe for fans of NASUM, PHOBIA, BLOOD DUSTER, JIG-AI.

The album was recorded, mixed and mastered at Soundscope Recording Studio in Wrocław, Poland by Jarek Wysocki.

ASS TO MOUTH was founded in December 2004. Until the end of 2016, the band regularly played shows & festivals in many different countries in Europe. During this time the band recorded two full-length albums, one promo MCD, and one split 10”. At the beginning of 2017, the band's activities were partially suspended. In the meantime, the new, refreshed lineup managed to record a new album, the premiere of which is scheduled for 2024 release.



..::TRACK-LIST::..

1. The Underdog 01:35
2. Model Citizen 01:31
3. Hang Those Bastards 01:54
4. The Underground 01:09
5. Nazi Pig 01:53
6. You'll Choke With Your Own Shit 01:13
7. Vomit Disatste 01:37
8. XXI 00:54
9. One Step From Hell 02:33
10. Authority 01:00
11. Modern Slaves 01:04
12. Grindcore Screwed My Life 01:04
13. Brainwash 00:40
14. Nuclear Winter 03:27




https://www.youtube.com/watch?v=-UHAwM1LX_4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ostatnia jak dotąd rewolucja w muzyce blackmetalowej miała miejsce… we Francji, a wspomógł ją pewien Fin, który dołączając do grupki cholernie uzdolnionych instrumentalistów, przyniósł ze sobą głęboko przemyślaną warstwę ideologiczną.

Brzmi dziwnie? A jakże, w końcu mowa o Deathspell Omega, najlepszym i najbardziej awangardowym zespole blackmetalowym ostatnich lat. Właśnie ukazała się jego najnowsza, doskonała płyta "Fas - Ite, Maledicti, in Ignem Aeternum".

Początki Deathspell Omega wcale nie zapowiadały tego, że grupa wywróci gatunek do góry nogami - dwa pierwsze albumy Francuzów były bardzo udaną, ale jednak tylko kopią najważniejszych dokonań Darkthrone. Dopiero na trzecim, a jednocześnie pierwszym nagranym z udziałem fińskiego wokalisty Mikko Aspy (m.in. Clandestine Blaze, Stabat Mater), "Si Monumentum Requires, Circumspice", do głosu doszły wizjonerskie zapędy muzyków - psychodelia, chorały gregoriańskie i metrum przywodzące na myśl najciekawsze krążki mathcorowe. Leśny klimat zostawili umalowanym prymitywom, zdolnym zacytować tylko najbardziej znane frazy z Nietzschego i bezczelnie zrzynającym z Celtic Frost.

"Fas…" rządzi pokręcona rytmika, której nie powstydziliby się Converge, ani The Dillinger Escape Plan. Porównania są jak najbardziej na miejscu, bo pomimo różnic gatunkowych, Deathspell Omega buduje swoje riffy na bardzo podobnej bazie. Muzycy nie boją się też interpretować na własny sposób okołojazzowe patenty, a robią to na tyle charakterystycznie, że nie sposób ich pomylić z nikim innym. Kolejnym istotnym elementem wyróżniającym Francuzów wśród innych blackmetalowców są bardzo częste zmiany nastroju - od ciszy, przez niemal doommetalowe, pogrzebowe tempa, aż po psychopatyczną, pełną perkusyjnych blastów jazdę. To czyste dźwiękowe szaleństwo, którym rządzą reguły niezrozumiałe dla przeciętnych zjadaczy chleba. To samo tyczy się warstwy tekstowej - "Fas…" to druga część trylogii opisującej na poziomie teologicznym relacje między Bogiem, Szatanem i człowiekiem. Bez odpowiedniego przygotowania można zapomnieć o zgłębianiu tekstów.

Deathspell Omega pokazała, że black metal to coś więcej niż tylko szczeniackie wybryki skandynawskich nastolatków okraszone marnej jakości muzyką, a dzięki takim płytom, jak "Fas…" okazuje się, że w tym niemłodym już gatunku wciąż jest miejsce na eksperymenty dźwiękowe. Chwała im za to.

Maciej Stankiewicz


Trzy lata kazał czekać Deathspell Omega na swój kolejny, czwarty już album. Chyba ten okres wyszedł zespołowi na dobre, gdyż zawartość "Fas-Ite, Maledicti, In Ignem Aeternum" bardzo pozytywnie zaskakuje.
Od strony muzycznej, jest to naturalny krok naprzód w stosunku do poprzedniej płyty. Formacja jeszcze odważniej sięgnęła po bardziej ambientowe dźwięki, przez co muzyka jeszcze bardziej kojarzy się z ostatnimi dokonaniami Blut Aus Nord, ale z przeciwnieństwie do swoich rodaków pozostał w tej muzyce dużo pierwiastek agresywnego grania. Da się zauważyć, że muzycy umiejętniej różnicują tempo i dozują emocje - teraz momenty agresywne brzmią agresywnie, spokojne, brzmią spokojnie, a muzyka nie zlewa się w jeden szybki blackowy kocioł. Kolejną rzeczą, która cieszy jest "tylko" 46 minut muzyki zamknięte w 6 utworach, z których 2 są powyżej 10 minut, a 2 nieco poniżej. Pomimo tak długich utworów nie nazwałbym tego jeszcze progresywnym graniem, gdyż mimo wszystko ta muzyka jest bardzo mocno osadzona w black metalu i niestety jeszcze mzuycy nie potrafią ze swoich ambientowych elementów wykreowac takiego nastroju jak robi to właśnie Blut Aus Nord.

Deathspell Omega nagrał naprawdę dobry album, ale mimo wszystko to jest jeszcze druga liga gatunku, a zespół jest zawsze o krok lub dwa za pionierami, którzy przecierają nowe szlaki w gatunku. Nie można jednak odmówić formacji zapału i konsekwencji - dostaliśmy naprawdę solidny i dobrze zagrany materiał, w którym jednak za mało jest tego czegoś, co zespół powinien dać od siebie.

Harlequin


It's not so easy to describe how the mysterious French project Deathspell Omega pushed the black metal genre to its ultimate borders, and even beyond, in a territory never explored before and still unmatched by others. It's true that, following the widespread trend of black metal, in the early 2000s, the band started as a homage to the Darkthrone's fashion-like style, thus resulting in an effective and excellent reinterpretation of Norwegian black metal in its rawest form. However, at a certain point, in 2004, Deathspell Omega dared to put their personal signature to the genre with their third effort "Si Monvmentvm Reqvires, Circvmspice": a ritualistic, ceremonial-like sound, deep and dense in its low-end frequencies’ emphasis, and with a completely different approach to the lyrical content. No more blasphemous statements or provoking Devil worship for the sake of being anti-social, but an orthodox, theistic and philosophical dissertation around the obscure matter.

All the previous typical black metal cliché appeared, retrospectively, a little bit childish and superficial: everything suddenly entered a way more serious and rigorous, interesting treatment. Retaining a feral and violent musical vehemence, this French act also introduced technical proficiency and exquisite musicianship in their proposal and in the whole genre: no more minimalistic melodies with a basic octave-based harmonic context, but a sophisticated taste for challenging interval juxtapositions, with a particular focus on dissonance. Courageous diminished 5th and 2nd intervals, along with 7th chord shapes were injected in their phrasings, even daring to put unpleasant harmonies on strong, down-beat accents. The sense of discomfort and distress was never so evident and palpable in a black metal environment.

Great musicianship and amazing compositional skills are no more features of, let's say, jazz-infused technical death metal, or progressive metal: they are now a consistent part of this new kind of black metal. Micro-labelling started to spread uncontrolled: religious, orthodox, avant-garde progressive dissonant black metal? By my point of view, it's still, basically speaking, black metal, maybe of a "De Mysteriis Dom Sathanas" or "Wolf's Lair Abyss" quality and breed, but developed in an extremely articulated manner. And then, "Fas - Ite, Maledicti, in Ignem Aeternum" was released, in 2007: only 4, long, progressive suite-like compositions that brought the style of the band at its peak. There are no more unresolved melodic phrases, as there's no melody left at all. Black metal, in its purest form, not the symphonic variation, was deliberately broken in thousands sharp slivers and then all is scattered all around, like in an explosion.

The soundscape of chaos, the symphony of the fall of the light-bearer, the supreme and sublime dissonance against all order and harmony: if this is still black metal, it's the thing in itself. No need for labels, just BLACK METAL, in capital letters. There's no room for harmonic resolution, and there's no time to breathe through impossible blast-beats, performed even in odd-time signatures. When the storming rhythmic and disharmonic assault takes a stop, then a gloomy, obscure and menacing atmosphere permeates the sonic space, even with a dense, disturbing almost silent sections. This is black metal art! This is the most violent and upsetting music you can imagine, and it's all here, in a 46 minutes long masterpiece. Perfection at its highest peak, and then, from that height, a frenzied downfall.

VergerusTheSargonian



It's just not enough to say that Deathspell Omega's fourth commercially released full-length is great, nor is it enough to say it's a masterpiece of black metal. To borrow from the band themselves a song off of their Drought EP, this album is an abrasive swirling musk of unsettling corporeal madness. It's unapproachable. It's complex beyond any measure of complexity. It's impossibly fast. It's philosophical. It's boundary testing, patience testing, sanity testing, sense testing - it's unwelcoming and unpleasant.

And I love every second of it.

Going into this record directly after the fantastic, but flawed Si Monvmentvm Reqvires, Circvmspice, I didn't know what to expect other than a continued pummeling of my very lofty expectations upon closing out the first part of what I called "The Unholy Trilogy." While Si Monvmentvm... had fantastically gratuitous moments in overwhelming abundance ("Sola Fide I" and "Carnal Malefactor," anyone?), it did have its fair share of filler tracks that could be skipped or removed altogether. But at the same time, I believed that omitting any of the songs would've thrown a wrench in the gears of the message DsO was pushing, which was clothed in dark Theistic Satanist robes. An omission would serve as a compromise to Deathspell's philosophy, so they had to keep every song they had written and composed, even at the risk of having an overly long and bloated album. So in the end, I'm just being kinda selfish.

2007 is when Deathspell Omega hit their creative zenith with this album. According to the band, this marks the second part of their Unholy Trilogy, which, when all three albums were put together, would serve to be a "theological dispute on the divine essence of the Devil, the roles and virtues of faith and the place of man therein."

What this album does is answer the question if there could ever exist a near perfect record. It's not often I find an album that meets that criteria, but here comes Deathspell Omega to prove me very, very wrong. A frightening sense of isolation exists throughout this album from the spacious ambiance of the both "Obombration" songs, to the uneasy churning muck of the 11-minute monster "The Repellent Scars of Abandon & Election," to the petrifying silence that starts halfway through "The Shrine of Mad Laughter," each song is a part of a larger journey this album takes you on, particularly to underscore the unabashed horror of the Christian religion and its hypocrisy so bare and naked. All the while, the slower parts are adequately complemented by the performances of the band members. Those moments of calm, though they give a brief moment of solace, promulgate the utter destruction of whatever faith the poor souls who listened to this had, now being sucked away into a black void of nothingness.

If this album or any of the albums with Mikko Aspa are any indication (with maybe the exception of Si Monvmentvm...), I can see why Deathspell Omega refuses to play live. This is some unbelievably complex shit for black metal. It's not technical black metal, but I could see people making a good argument for whoever drums on this is one of the best drummers in black metal. Listening to him keep up with these insane, incomprehensible time and tempo changes is more than commendable. It's honorable and humbling. Going from calm progressive drumming to impossible kit destruction in less than a fraction of a second is one hell of a feat. Coming in right behind him is guitarist Hasjarl, who's guitar lines are disgustingly fast and dissonant to the point where there's almost no melody, yet still coming across as being so memorable. So many chords and riffs are just instantly stuck in your head the instant you hear them, like the riff that opens "Bread of Bitterness" or partway through "The Repellent Scars of Abandon & Election." My favorite moment is near the end of "A Chore for the Lost" when he delivers these series of melodic riffs that couldn't make the song any more amazing than the rest of the songs here. Like how the hell does Hasjarl conjure up these infernal riffs? I can imagine from a cosmic black hole of from the deepest, most bottomless pit ever made. Khaos' bass lines are surprisingly clear when taking into consideration how this album is mixed and how everything seemingly mushes together in a blurring wall of noise. They shine through in the chaos, can be heard just fine, and are just as memorable as the guitar riffs.

The album ends with the second "Obombration," which I learned after looking it up was taken from the Latin word, "obumbrare," which translates to mean "shadow," or obumbrationem, which means "overshadowing," which is perfect as both open and bookend the album. The albums philosophical undertones come to a head with this closer. After everything you've heard, after all the chaos, the insanity, the unmitigated, unbridled syncope this album caused, you'd expect the closer would give you ample time to catch your breath and regain your discombobulated mental state. If you were naive enough to think such a thing, then Deathspell Omega are far smarter than you. What would you expect other than a dissonant piano playing softly in the background while horns play, slowly growing louder and louder as the paranoid claustrophobia sets in? The ending forces you to confront your deepest chasm of fears, to see with your own eyes the unearthly beasts of formless darkness, and leaves you unfathomably broken to the core of the threshold of your soul. And as you pick the pieces of yourself up to put back together again, you sit there wondering to yourself, "What?"

This album will take you on an experience you've never been on before. Musically, it's probably the most unpredictable thing I've ever listened to in my life. Forty-six minutes of pure terror, consternation, dread, anxiety, and horror. The realities of some of the darkest corners of our world can only be as shaking as this album. Every song is a testament to the evil of man, the futility of theocracy and religion, the intelligence of thinking for oneself, and the reverential devotion of the horned lord of Hell.

Every genre of metal has its perfect album or its near-perfect albums. Peace Sells...But Who's Buying?; Biomech; Left Hand Path; Nespithe; Nightfall; Dead As Dreams; In the Nightside Eclipse. Black metal has Fas - Ite, Maledicti, In Agnem Aeternum, and it's perfect. I'll go so far to add it's not only one of the best black metal albums ever made, it's one of the best albums ever made.

Period.

Beast of Burden



..::TRACK-LIST::..

I. Obombration 4:48
II. The Shrine Of Mad Laughter 10:37
III. Bread Of Bitterness 7:49
IV. The Repellent Scars Of Abandon And Election 11:40
V. A Chore For The Lost 9:15
VI. Obombration 2:07



..::OBSADA::..

Hasjarl - Guitars
Khaos - Bass
Mikko Aspa - Vocals




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Ostatnia jak dotąd rewolucja w muzyce blackmetalowej miała miejsce… we Francji, a wspomógł ją pewien Fin, który dołączając do grupki cholernie uzdolnionych instrumentalistów, przyniósł ze sobą głęboko przemyślaną warstwę ideologiczną.

Brzmi dziwnie? A jakże, w końcu mowa o Deathspell Omega, najlepszym i najbardziej awangardowym zespole blackmetalowym ostatnich lat. Właśnie ukazała się jego najnowsza, doskonała płyta "Fas - Ite, Maledicti, in Ignem Aeternum".

Początki Deathspell Omega wcale nie zapowiadały tego, że grupa wywróci gatunek do góry nogami - dwa pierwsze albumy Francuzów były bardzo udaną, ale jednak tylko kopią najważniejszych dokonań Darkthrone. Dopiero na trzecim, a jednocześnie pierwszym nagranym z udziałem fińskiego wokalisty Mikko Aspy (m.in. Clandestine Blaze, Stabat Mater), "Si Monumentum Requires, Circumspice", do głosu doszły wizjonerskie zapędy muzyków - psychodelia, chorały gregoriańskie i metrum przywodzące na myśl najciekawsze krążki mathcorowe. Leśny klimat zostawili umalowanym prymitywom, zdolnym zacytować tylko najbardziej znane frazy z Nietzschego i bezczelnie zrzynającym z Celtic Frost.

"Fas…" rządzi pokręcona rytmika, której nie powstydziliby się Converge, ani The Dillinger Escape Plan. Porównania są jak najbardziej na miejscu, bo pomimo różnic gatunkowych, Deathspell Omega buduje swoje riffy na bardzo podobnej bazie. Muzycy nie boją się też interpretować na własny sposób okołojazzowe patenty, a robią to na tyle charakterystycznie, że nie sposób ich pomylić z nikim innym. Kolejnym istotnym elementem wyróżniającym Francuzów wśród innych blackmetalowców są bardzo częste zmiany nastroju - od ciszy, przez niemal doommetalowe, pogrzebowe tempa, aż po psychopatyczną, pełną perkusyjnych blastów jazdę. To czyste dźwiękowe szaleństwo, którym rządzą reguły niezrozumiałe dla przeciętnych zjadaczy chleba. To samo tyczy się warstwy tekstowej - "Fas…" to druga część trylogii opisującej na poziomie teologicznym relacje między Bogiem, Szatanem i człowiekiem. Bez odpowiedniego przygotowania można zapomnieć o zgłębianiu tekstów.

Deathspell Omega pokazała, że black metal to coś więcej niż tylko szczeniackie wybryki skandynawskich nastolatków okraszone marnej jakości muzyką, a dzięki takim płytom, jak "Fas…" okazuje się, że w tym niemłodym już gatunku wciąż jest miejsce na eksperymenty dźwiękowe. Chwała im za to.

Maciej Stankiewicz


Trzy lata kazał czekać Deathspell Omega na swój kolejny, czwarty już album. Chyba ten okres wyszedł zespołowi na dobre, gdyż zawartość "Fas-Ite, Maledicti, In Ignem Aeternum" bardzo pozytywnie zaskakuje.
Od strony muzycznej, jest to naturalny krok naprzód w stosunku do poprzedniej płyty. Formacja jeszcze odważniej sięgnęła po bardziej ambientowe dźwięki, przez co muzyka jeszcze bardziej kojarzy się z ostatnimi dokonaniami Blut Aus Nord, ale z przeciwnieństwie do swoich rodaków pozostał w tej muzyce dużo pierwiastek agresywnego grania. Da się zauważyć, że muzycy umiejętniej różnicują tempo i dozują emocje - teraz momenty agresywne brzmią agresywnie, spokojne, brzmią spokojnie, a muzyka nie zlewa się w jeden szybki blackowy kocioł. Kolejną rzeczą, która cieszy jest "tylko" 46 minut muzyki zamknięte w 6 utworach, z których 2 są powyżej 10 minut, a 2 nieco poniżej. Pomimo tak długich utworów nie nazwałbym tego jeszcze progresywnym graniem, gdyż mimo wszystko ta muzyka jest bardzo mocno osadzona w black metalu i niestety jeszcze mzuycy nie potrafią ze swoich ambientowych elementów wykreowac takiego nastroju jak robi to właśnie Blut Aus Nord.

Deathspell Omega nagrał naprawdę dobry album, ale mimo wszystko to jest jeszcze druga liga gatunku, a zespół jest zawsze o krok lub dwa za pionierami, którzy przecierają nowe szlaki w gatunku. Nie można jednak odmówić formacji zapału i konsekwencji - dostaliśmy naprawdę solidny i dobrze zagrany materiał, w którym jednak za mało jest tego czegoś, co zespół powinien dać od siebie.

Harlequin


It's not so easy to describe how the mysterious French project Deathspell Omega pushed the black metal genre to its ultimate borders, and even beyond, in a territory never explored before and still unmatched by others. It's true that, following the widespread trend of black metal, in the early 2000s, the band started as a homage to the Darkthrone's fashion-like style, thus resulting in an effective and excellent reinterpretation of Norwegian black metal in its rawest form. However, at a certain point, in 2004, Deathspell Omega dared to put their personal signature to the genre with their third effort "Si Monvmentvm Reqvires, Circvmspice": a ritualistic, ceremonial-like sound, deep and dense in its low-end frequencies’ emphasis, and with a completely different approach to the lyrical content. No more blasphemous statements or provoking Devil worship for the sake of being anti-social, but an orthodox, theistic and philosophical dissertation around the obscure matter.

All the previous typical black metal cliché appeared, retrospectively, a little bit childish and superficial: everything suddenly entered a way more serious and rigorous, interesting treatment. Retaining a feral and violent musical vehemence, this French act also introduced technical proficiency and exquisite musicianship in their proposal and in the whole genre: no more minimalistic melodies with a basic octave-based harmonic context, but a sophisticated taste for challenging interval juxtapositions, with a particular focus on dissonance. Courageous diminished 5th and 2nd intervals, along with 7th chord shapes were injected in their phrasings, even daring to put unpleasant harmonies on strong, down-beat accents. The sense of discomfort and distress was never so evident and palpable in a black metal environment.

Great musicianship and amazing compositional skills are no more features of, let's say, jazz-infused technical death metal, or progressive metal: they are now a consistent part of this new kind of black metal. Micro-labelling started to spread uncontrolled: religious, orthodox, avant-garde progressive dissonant black metal? By my point of view, it's still, basically speaking, black metal, maybe of a "De Mysteriis Dom Sathanas" or "Wolf's Lair Abyss" quality and breed, but developed in an extremely articulated manner. And then, "Fas - Ite, Maledicti, in Ignem Aeternum" was released, in 2007: only 4, long, progressive suite-like compositions that brought the style of the band at its peak. There are no more unresolved melodic phrases, as there's no melody left at all. Black metal, in its purest form, not the symphonic variation, was deliberately broken in thousands sharp slivers and then all is scattered all around, like in an explosion.

The soundscape of chaos, the symphony of the fall of the light-bearer, the supreme and sublime dissonance against all order and harmony: if this is still black metal, it's the thing in itself. No need for labels, just BLACK METAL, in capital letters. There's no room for harmonic resolution, and there's no time to breathe through impossible blast-beats, performed even in odd-time signatures. When the storming rhythmic and disharmonic assault takes a stop, then a gloomy, obscure and menacing atmosphere permeates the sonic space, even with a dense, disturbing almost silent sections. This is black metal art! This is the most violent and upsetting music you can imagine, and it's all here, in a 46 minutes long masterpiece. Perfection at its highest peak, and then, from that height, a frenzied downfall.

VergerusTheSargonian



It's just not enough to say that Deathspell Omega's fourth commercially released full-length is great, nor is it enough to say it's a masterpiece of black metal. To borrow from the band themselves a song off of their Drought EP, this album is an abrasive swirling musk of unsettling corporeal madness. It's unapproachable. It's complex beyond any measure of complexity. It's impossibly fast. It's philosophical. It's boundary testing, patience testing, sanity testing, sense testing - it's unwelcoming and unpleasant.

And I love every second of it.

Going into this record directly after the fantastic, but flawed Si Monvmentvm Reqvires, Circvmspice, I didn't know what to expect other than a continued pummeling of my very lofty expectations upon closing out the first part of what I called "The Unholy Trilogy." While Si Monvmentvm... had fantastically gratuitous moments in overwhelming abundance ("Sola Fide I" and "Carnal Malefactor," anyone?), it did have its fair share of filler tracks that could be skipped or removed altogether. But at the same time, I believed that omitting any of the songs would've thrown a wrench in the gears of the message DsO was pushing, which was clothed in dark Theistic Satanist robes. An omission would serve as a compromise to Deathspell's philosophy, so they had to keep every song they had written and composed, even at the risk of having an overly long and bloated album. So in the end, I'm just being kinda selfish.

2007 is when Deathspell Omega hit their creative zenith with this album. According to the band, this marks the second part of their Unholy Trilogy, which, when all three albums were put together, would serve to be a "theological dispute on the divine essence of the Devil, the roles and virtues of faith and the place of man therein."

What this album does is answer the question if there could ever exist a near perfect record. It's not often I find an album that meets that criteria, but here comes Deathspell Omega to prove me very, very wrong. A frightening sense of isolation exists throughout this album from the spacious ambiance of the both "Obombration" songs, to the uneasy churning muck of the 11-minute monster "The Repellent Scars of Abandon & Election," to the petrifying silence that starts halfway through "The Shrine of Mad Laughter," each song is a part of a larger journey this album takes you on, particularly to underscore the unabashed horror of the Christian religion and its hypocrisy so bare and naked. All the while, the slower parts are adequately complemented by the performances of the band members. Those moments of calm, though they give a brief moment of solace, promulgate the utter destruction of whatever faith the poor souls who listened to this had, now being sucked away into a black void of nothingness.

If this album or any of the albums with Mikko Aspa are any indication (with maybe the exception of Si Monvmentvm...), I can see why Deathspell Omega refuses to play live. This is some unbelievably complex shit for black metal. It's not technical black metal, but I could see people making a good argument for whoever drums on this is one of the best drummers in black metal. Listening to him keep up with these insane, incomprehensible time and tempo changes is more than commendable. It's honorable and humbling. Going from calm progressive drumming to impossible kit destruction in less than a fraction of a second is one hell of a feat. Coming in right behind him is guitarist Hasjarl, who's guitar lines are disgustingly fast and dissonant to the point where there's almost no melody, yet still coming across as being so memorable. So many chords and riffs are just instantly stuck in your head the instant you hear them, like the riff that opens "Bread of Bitterness" or partway through "The Repellent Scars of Abandon & Election." My favorite moment is near the end of "A Chore for the Lost" when he delivers these series of melodic riffs that couldn't make the song any more amazing than the rest of the songs here. Like how the hell does Hasjarl conjure up these infernal riffs? I can imagine from a cosmic black hole of from the deepest, most bottomless pit ever made. Khaos' bass lines are surprisingly clear when taking into consideration how this album is mixed and how everything seemingly mushes together in a blurring wall of noise. They shine through in the chaos, can be heard just fine, and are just as memorable as the guitar riffs.

The album ends with the second "Obombration," which I learned after looking it up was taken from the Latin word, "obumbrare," which translates to mean "shadow," or obumbrationem, which means "overshadowing," which is perfect as both open and bookend the album. The albums philosophical undertones come to a head with this closer. After everything you've heard, after all the chaos, the insanity, the unmitigated, unbridled syncope this album caused, you'd expect the closer would give you ample time to catch your breath and regain your discombobulated mental state. If you were naive enough to think such a thing, then Deathspell Omega are far smarter than you. What would you expect other than a dissonant piano playing softly in the background while horns play, slowly growing louder and louder as the paranoid claustrophobia sets in? The ending forces you to confront your deepest chasm of fears, to see with your own eyes the unearthly beasts of formless darkness, and leaves you unfathomably broken to the core of the threshold of your soul. And as you pick the pieces of yourself up to put back together again, you sit there wondering to yourself, "What?"

This album will take you on an experience you've never been on before. Musically, it's probably the most unpredictable thing I've ever listened to in my life. Forty-six minutes of pure terror, consternation, dread, anxiety, and horror. The realities of some of the darkest corners of our world can only be as shaking as this album. Every song is a testament to the evil of man, the futility of theocracy and religion, the intelligence of thinking for oneself, and the reverential devotion of the horned lord of Hell.

Every genre of metal has its perfect album or its near-perfect albums. Peace Sells...But Who's Buying?; Biomech; Left Hand Path; Nespithe; Nightfall; Dead As Dreams; In the Nightside Eclipse. Black metal has Fas - Ite, Maledicti, In Agnem Aeternum, and it's perfect. I'll go so far to add it's not only one of the best black metal albums ever made, it's one of the best albums ever made.

Period.

Beast of Burden



..::TRACK-LIST::..

I. Obombration 4:48
II. The Shrine Of Mad Laughter 10:37
III. Bread Of Bitterness 7:49
IV. The Repellent Scars Of Abandon And Election 11:40
V. A Chore For The Lost 9:15
VI. Obombration 2:07



..::OBSADA::..

Hasjarl - Guitars
Khaos - Bass
Mikko Aspa - Vocals




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Drugi album The Art Of Death!, na którym Atrocity idzie drogą wytyczoną przez debiut. Co prawda jest tutaj sporo death metalowych naleciałości, ale stary grindcore nie zaginął i ciągle jest słyszalny, zwłaszcza w charakterystycznej motoryce kawałków.



..::TRACK-LIST::..

1. Pol Pot 0:46
2. Unpure To Christ 0:56
3. Confined 1:13
4. Delerium Tremens 1:48
5. Let The Killing Begin 1:02
6. Waste The Good Suffering 0:25
7. Warped Progress 1:16
8. Maggot Feed 1:27
9. Blood Harvest 1:27
10. I Am God - I Am Death 1:21
11. Depression 4:31
12. Progress Of Suicide 2:34
13. Scarred 2:21
14. Collapsing In Seizure 0:31
15. A Tranquil Place 1:08
16. The Art Of Death 1:42
17. Parade Of The Morbid 1:46
18. Homicidal Cunt 2:10
19. Charred Remains 1:30
20. Suicidal 3:20

Mixed and recorded at the Media Arts Center Nickel Recording, Hartford, Ct, USA on the 18, 19 and 20 January 1991.



..::OBSADA::..

Vocals, Lyrics By - Rob Wedda
Guitar - Jesse Piechowski
Bass - Rich Flint
Drums - Jeff White



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Drugi album The Art Of Death!, na którym Atrocity idzie drogą wytyczoną przez debiut. Co prawda jest tutaj sporo death metalowych naleciałości, ale stary grindcore nie zaginął i ciągle jest słyszalny, zwłaszcza w charakterystycznej motoryce kawałków.



..::TRACK-LIST::..

1. Pol Pot 0:46
2. Unpure To Christ 0:56
3. Confined 1:13
4. Delerium Tremens 1:48
5. Let The Killing Begin 1:02
6. Waste The Good Suffering 0:25
7. Warped Progress 1:16
8. Maggot Feed 1:27
9. Blood Harvest 1:27
10. I Am God - I Am Death 1:21
11. Depression 4:31
12. Progress Of Suicide 2:34
13. Scarred 2:21
14. Collapsing In Seizure 0:31
15. A Tranquil Place 1:08
16. The Art Of Death 1:42
17. Parade Of The Morbid 1:46
18. Homicidal Cunt 2:10
19. Charred Remains 1:30
20. Suicidal 3:20

Mixed and recorded at the Media Arts Center Nickel Recording, Hartford, Ct, USA on the 18, 19 and 20 January 1991.



..::OBSADA::..

Vocals, Lyrics By - Rob Wedda
Guitar - Jesse Piechowski
Bass - Rich Flint
Drums - Jeff White



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja debiutu VECTOM oryginalnie wydanego w 1985 roku. 35 minut old school speed metalu.
Limitowane do 500 sztuk wydanie slipcase CD z plakatem.


In the deep underground metal scene of Germany were hidden many great bands that no one knew of, especially outside the European territory. This was the case with the German speed metal band Vectom. Very little information is known about their background as well as the members of the band. They basically appeared in 1983, released two full-length records and then spit-up apparently in 1993. This is kind of unfortunate because they always lived in the obscurity and didn't benefit from great label support and promotion. Though, the amount of similar bands was absurd at this point, the band didn't innovate enough musically speaking. However, they still managed to release some material, despite dealing with those problems.

What we have here is the first album of Vectom titled "Speed Revolution". Some of you might tell yourself by looking at the cover art: "What the fuck is that?". Well this is understandable because no one really knows, but most people think that its some evil KKK guys dressed in black. I think these guys really tried to be offensive in their music, especially for a 1985 album, but this is what the shit was back then. Even though there are 10 songs on the record, it still only clocks at 35 minutes, and nearly all tracks average the 3 minutes of length. It tells a bit about the musical approach the band has taken.

The album begins with the self-titled track of the album, "Speed Revolution", with a creepy introduction until a guitar riff is unleashed accompanied by violent drumming blasts, which I really liked the sound. The chorus is pretty cool also, going simply, but efficiently by "Revolution!", it kind of feature the typical speed metal song structure. We also have the following "In Nomine Satanas" that doesn't bring much more to the table, but very intense drumming performance, and some sort of guitar solos, to say the least. I have a love/hate opinion about the third track "Damned Love" though, the main riff is killer, but the chorus doesn't sound that good for me at least, but still a good song whatsoever. The most memorable songs are definitely "Black Viper", "Satan's Colour" and "Open the Coffin" if you ask me. All three of these songs have a catchy as hell chorus, interesting melodic passages and nice solos as well as some unique vocals of Christian Bucher. He had a pretty nice voice tone and it fitted perfectly in this kind of raw speed metal with the semi-growling and high-pitched screams at times. One thing for sure, Vectom sounds exactly how German speed and thrash metal of the 80s is known for, their music can most likely be compared to other German bands such as Carrion, Necronomicon or Angel Dust. They also followed the evil and occult train of the mid-80s by adopting the satanic worship lyrics. However, they quickly changed their subjects in their second record and got better with their instruments too. Even though it's their first album, they still were talented musicians, they just didn't have the experience ... But one thing for sure, they had the will and ferocity. The "Speed Revolution" album production quality is really primitive, but still nice to listen too because we can actually hear all the instruments in the mix properly, the bass is especially interesting there, it will surely appeal to the people that are used to this kind of old school sound.

Overall, there's nothing really "original", but it doesn't mean that it's not great because in fact, this is a solid record and worthy of being among the great releases of German speed and thrash metal of the mid-80s. Maybe it's not as memorable or as good as the Sodom, Destruction and Kreator first records, but it definitely has it charm. I obviously recommend giving this album a chance, I am pretty sure that it can make some great headbanging moments, especially for fans of 80s old school metal that doesn't care about the sound quality, even if it's not bad in that particular case, for me at least.

DesecratorJ



..::TRACK-LIST::..

1. Speed Revolution
2. In Nomine Satanas
3. Damned Love
4. The Exterminator
5. Loudness And Speed
6. Black Viper
7. Day Of Execution
8. Open The Coffin
9. Satan's Colours
10. Too Fast For Hell



..::OBSADA::..

Wolfgang Sonhütter - Drums
Horst Götz - Guitars
Stefan Kroll - Guitars
Ralf Simon - Bass
Christian Bucher - Vocals




https://www.youtube.com/watch?v=6Lp0YS0NIx8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja debiutu VECTOM oryginalnie wydanego w 1985 roku. 35 minut old school speed metalu.
Limitowane do 500 sztuk wydanie slipcase CD z plakatem.


In the deep underground metal scene of Germany were hidden many great bands that no one knew of, especially outside the European territory. This was the case with the German speed metal band Vectom. Very little information is known about their background as well as the members of the band. They basically appeared in 1983, released two full-length records and then spit-up apparently in 1993. This is kind of unfortunate because they always lived in the obscurity and didn't benefit from great label support and promotion. Though, the amount of similar bands was absurd at this point, the band didn't innovate enough musically speaking. However, they still managed to release some material, despite dealing with those problems.

What we have here is the first album of Vectom titled "Speed Revolution". Some of you might tell yourself by looking at the cover art: "What the fuck is that?". Well this is understandable because no one really knows, but most people think that its some evil KKK guys dressed in black. I think these guys really tried to be offensive in their music, especially for a 1985 album, but this is what the shit was back then. Even though there are 10 songs on the record, it still only clocks at 35 minutes, and nearly all tracks average the 3 minutes of length. It tells a bit about the musical approach the band has taken.

The album begins with the self-titled track of the album, "Speed Revolution", with a creepy introduction until a guitar riff is unleashed accompanied by violent drumming blasts, which I really liked the sound. The chorus is pretty cool also, going simply, but efficiently by "Revolution!", it kind of feature the typical speed metal song structure. We also have the following "In Nomine Satanas" that doesn't bring much more to the table, but very intense drumming performance, and some sort of guitar solos, to say the least. I have a love/hate opinion about the third track "Damned Love" though, the main riff is killer, but the chorus doesn't sound that good for me at least, but still a good song whatsoever. The most memorable songs are definitely "Black Viper", "Satan's Colour" and "Open the Coffin" if you ask me. All three of these songs have a catchy as hell chorus, interesting melodic passages and nice solos as well as some unique vocals of Christian Bucher. He had a pretty nice voice tone and it fitted perfectly in this kind of raw speed metal with the semi-growling and high-pitched screams at times. One thing for sure, Vectom sounds exactly how German speed and thrash metal of the 80s is known for, their music can most likely be compared to other German bands such as Carrion, Necronomicon or Angel Dust. They also followed the evil and occult train of the mid-80s by adopting the satanic worship lyrics. However, they quickly changed their subjects in their second record and got better with their instruments too. Even though it's their first album, they still were talented musicians, they just didn't have the experience ... But one thing for sure, they had the will and ferocity. The "Speed Revolution" album production quality is really primitive, but still nice to listen too because we can actually hear all the instruments in the mix properly, the bass is especially interesting there, it will surely appeal to the people that are used to this kind of old school sound.

Overall, there's nothing really "original", but it doesn't mean that it's not great because in fact, this is a solid record and worthy of being among the great releases of German speed and thrash metal of the mid-80s. Maybe it's not as memorable or as good as the Sodom, Destruction and Kreator first records, but it definitely has it charm. I obviously recommend giving this album a chance, I am pretty sure that it can make some great headbanging moments, especially for fans of 80s old school metal that doesn't care about the sound quality, even if it's not bad in that particular case, for me at least.

DesecratorJ



..::TRACK-LIST::..

1. Speed Revolution
2. In Nomine Satanas
3. Damned Love
4. The Exterminator
5. Loudness And Speed
6. Black Viper
7. Day Of Execution
8. Open The Coffin
9. Satan's Colours
10. Too Fast For Hell



..::OBSADA::..

Wolfgang Sonhütter - Drums
Horst Götz - Guitars
Stefan Kroll - Guitars
Ralf Simon - Bass
Christian Bucher - Vocals




https://www.youtube.com/watch?v=6Lp0YS0NIx8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sacrilege to absolutnie kluczowy akt w historii brytyjskiego metalu, prowadzący słuchacza z krainy crusta w rejony doomu!
Pierwotnie wydany w 1985 roku, SACRILEGE był jednym z pierwszych zespołów lat 80-tych, za którym stanęli zarówno punki, jak i metalowcy.
Napędzany dzikim wokalem wokalistki Lyndy 'Tam' Simpson i naładowanymi politycznie tekstami, Behind The Realms Of Madness połączył klimat, thrash, hardcore, doom i death metal, tworząc ponadczasowy album, który bezpośrednio wpłynął na dziesiątki punków i metalowców.




Rok 1985 przyniósł debiut SACRILEGE. W przyszłości ich muzyka zwolni, nabierze ciężaru, mocy i dostojeństwa. Na „Behind the Realms of Madness” to skurwysyński thrash przesiąknięty crust/punkowym duchem. Nieco ponad 26 minut grania tak powalającego, że tracę oddech i miękną mi kolana.

To nie solówa na placu zabaw w ogródku jordanowskim, to konfrontacja, w której wszystkie chwyty są dozwolone, uliczna walka od ostatniej kropli krwi o więcej niż życie. Jej stawkę jest honor!

W głosie Lyndy Simpson słychać punkową rebelię i nieokiełznanie, a gitarowe riffy są tak charyzmatyczne, dobitne i spektakularne, że serce zaczyna bić nie tylko w piersi, ale i w uszach. Jednocześnie słuchać tu heavy metalowe harmonie i bardziej złożone aranżacje. W to wszystko wbijają się gitarowe frazy – bezwzględne, chamskie i bezczelne – nie tak szybkie i brutalne jak na wydanym dwa lata później „Scum”, ale o tym samym rodowodzie, z tej samej gleby wyrastające.

Tyle, że tu utwory mamy dłuższe, bardziej wyrafinowane, łączące punkową bezkompromisowość z metalową erudycją, a riffy są jak wściekłe psy, które tylko czasami spuszcza się ze smyczy. Tak jak w pulsującym, tętniącym agresją „Shadow From Mordor”, czy na rozpoczęcie trzeciego na płycie „At Death’s Door”, przy którym mam dreszcze, a włosy stają mi na sztorc. To proste riffowanie na początku drugiej minuty jest jak smaganie batem rozcinające skórę, a wokal Lyndy, czysto punkowy, dosadny, wulgarny, jakby pluła słowami, jakby wykrzykiwanymi frazami wymierzała otwartą dłonią palące razy prosto w twarz.

Jednym z moich ulubionych punktów tego albumu jest „The Closing Irony”. Pierwsza minuta tego kawałka to czysta magia, a później to powracające uderzenie w dzwon, solo jakby z innego świata, i znów dzwon i przekręcenie „pokrętła zajebistości” do poziomu, przy którym pragnę wyskoczyć ze swojego własnego ciała i kopnąć samego siebie w dupsko. Dopełnieniem jest pełen determinacji, histeryczny wokal, a na koniec uderzenie w dzwon i leżymy na podłodze. O odpoczynku jednak nie ma mowy, bo od razu na buty bierze nas ostatni na płycie „Out of Sight, Out of Mind”. I znów kopanie po brzuchu, skakanie po twarzy i równanie z ziemią. Riffy są obłędne, prują i rozrywają w sposób prosty, dosadny, bez żadnej ekwilibrystyki i gitarowej hochsztaplerki.

A gdy kawałek się urywa kończąc płytę, cisza jest tak wymowna, gwałtowna i brutalna, że natychmiast chcemy ją przerwać i włączyć ponownie. I tak cały dzień od rana do wieczora, bo to jeden z tych albumów, który sprawia, że jak już do niego powrócę do szybko oswobodzić się nie mogę.

Maria Konopnicka


Those of you with limited disposable income – and you can include me in this group – might find yourselves frustrated at the music industry’s tendency to reissue any and everything they can get the rights to. Others amongst you – and you can also include me in this group – will welcome reissues of old and obscure titles simply because it’s always nice to be able to access old hard-to-find or out-of-print albums that have either died with a shoddy format (cassettes), material I never actually owned or to replace stuff that has disappeared from my collection over the years. With the number of albums that have gone missing, forgive me for never inviting any of you over to my house ever again, but you can also feel free to scold me for associating with too many scumbags. But I digress…

That Relapse has sunk their tentacles into re-issuing the debut album by the ever-morphing and groundbreaking Sacrilege is surprising to these ears. Not because Behind the Realms of Madness is a questionable selection of dubious quality – far from it, it’s my favourite by these Birmingham nutters – but because I didn’t think many people besides me, the band’s small circle of friends and the smaller semi-circle of my friends still allowed into my house and near my record collection gave a shit. Sacrilege isn’t a name that gets thrown around much by either today’s whippersnappers or the late 30s/early 40s set determined to let everyone know how deep their cred runs and obscure their listening habits are. This, despite being groundbreaking in their own right and with members going on to spend time in Napalm Death, Anaal Nathrakh, Benediction, Cerebral Fix, English Dogs, Cathedral, The Varukers and Morrissey(?!). Back in the mid-80s, Sacrilege was melding D-beat crust punk with thrash, hardcore and radical political thought and having it delivered from the lungs of a fiery frontwoman at a time when the vast majority of boobs at underground punk and hardcore shows were man-boobs. So, good on ya Relapse for going down this road, ‘cuz my original copy of Behind… got lifted from my place by a guy who eventually ended up in the slammer (true story). I guess this means I’m never getting it back.

Behind… starts off with “Lifeline” and all guns are blazing, even with the introductory keyboard swell that must’ve had the crusties shaking in their Doc Marten’s about the possibility of what was to come. Never mind those bollocks, as anyone who stuck around past the twenty-second mark was handsomely rewarded as the main riff is one of the crowning achievements of English extreme music. A galloping beat powers it, Lynda ‘Tam” Simpson barks like a staccato-obsessed banshee, with a noisy but killer two-pronged lead burst and near-perfect arrangement driving the thematic point of excessive materialism home. This sets the foundation for the album’s approach as crusty punk gets steamrolled into thrash with a violently chugging edge. Never was able to figure out the tuning monstrosity introducing “Shadow from Mordor” (still can’t), but the wailing solo, flashy trills and sliding accents in the main riff make it a treat to experience, whether for the first or the millionth time. Similar accolades can be laid at the feet of “The Closing Irony,” “At Death’s Door” and just about every track comprising the original recording. It’s all top notch stuff that has withstood the test of time and was surprisingly still swimming around my memory vaults. The only two issues I might whine about is the nature of Simpson’s voice and approach making some of her phrasing interchangeable and the band’s tendency to milk a riff for far too long. But that’s six and one half dozen of the other when the riffs are this frickin’ good!

The bonus material compiles a demo the band recorded in 1986 – everything here has been re-mastered by From Ashes Rise’s Brad Boatright, in case you were curious about the sound quality improvements – for their Within the Prophecy album, and two live tracks. That’s not to mention the all-new cover, the supposed expanded art and liner notes (which we haven’t seen) and two new songs in the form of “Feed,” which injects a bit of stoner doom into the proceedings, and the taut thrash of “Dig Your Own Grave” which has Tam delivering a decade’s worth of frustration and hate through her guttery larynx. At under two minutes, it’s also the shortest song they’ve ever written and proves they can get to the fucking point. I guess you can’t take the punk out of an old punk, no matter how metal they try and get.

Kevin Stewart-Panko



..::TRACK-LIST::..

1. Lifeline 4:19
2. Shadow From Mordor 5:00
3. At Death's Door 5:14
4. A Violation Of Something Sacred 4:20
5. The Closing Irony 4:23
6. Out Of Sight, Out Of Mind 3:52

Bonus Tracks:
7. The Captive (1986 Demo) 4:07
8. Flight Of The Nazgul (1986 Demo) 5:49
9. Sight Of The Wise (1986 Demo) 6:15
10. Feed (2015) 5:12
11. Dig Your Own Grave (2015) 2:00
12. The Closing Irony (Live) 4:09
13. Bloodrun (Live) 5:13



..::OBSADA::..

Guitar - Damian Thompson
Vocals - Lynda 'Tam' Simpson
Bass - Frank Healy (tracks: 10, 11), Tony May (tracks: 1 to 9, 12, 13)
Drums - Andy Baker (tracks: 1 to 9, 12, 13), Spike T Smith (tracks: 10, 11)




https://www.youtube.com/watch?v=UKDFXDu9Mlo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Sacrilege to absolutnie kluczowy akt w historii brytyjskiego metalu, prowadzący słuchacza z krainy crusta w rejony doomu!
Pierwotnie wydany w 1985 roku, SACRILEGE był jednym z pierwszych zespołów lat 80-tych, za którym stanęli zarówno punki, jak i metalowcy.
Napędzany dzikim wokalem wokalistki Lyndy 'Tam' Simpson i naładowanymi politycznie tekstami, Behind The Realms Of Madness połączył klimat, thrash, hardcore, doom i death metal, tworząc ponadczasowy album, który bezpośrednio wpłynął na dziesiątki punków i metalowców.




Rok 1985 przyniósł debiut SACRILEGE. W przyszłości ich muzyka zwolni, nabierze ciężaru, mocy i dostojeństwa. Na „Behind the Realms of Madness” to skurwysyński thrash przesiąknięty crust/punkowym duchem. Nieco ponad 26 minut grania tak powalającego, że tracę oddech i miękną mi kolana.

To nie solówa na placu zabaw w ogródku jordanowskim, to konfrontacja, w której wszystkie chwyty są dozwolone, uliczna walka od ostatniej kropli krwi o więcej niż życie. Jej stawkę jest honor!

W głosie Lyndy Simpson słychać punkową rebelię i nieokiełznanie, a gitarowe riffy są tak charyzmatyczne, dobitne i spektakularne, że serce zaczyna bić nie tylko w piersi, ale i w uszach. Jednocześnie słuchać tu heavy metalowe harmonie i bardziej złożone aranżacje. W to wszystko wbijają się gitarowe frazy – bezwzględne, chamskie i bezczelne – nie tak szybkie i brutalne jak na wydanym dwa lata później „Scum”, ale o tym samym rodowodzie, z tej samej gleby wyrastające.

Tyle, że tu utwory mamy dłuższe, bardziej wyrafinowane, łączące punkową bezkompromisowość z metalową erudycją, a riffy są jak wściekłe psy, które tylko czasami spuszcza się ze smyczy. Tak jak w pulsującym, tętniącym agresją „Shadow From Mordor”, czy na rozpoczęcie trzeciego na płycie „At Death’s Door”, przy którym mam dreszcze, a włosy stają mi na sztorc. To proste riffowanie na początku drugiej minuty jest jak smaganie batem rozcinające skórę, a wokal Lyndy, czysto punkowy, dosadny, wulgarny, jakby pluła słowami, jakby wykrzykiwanymi frazami wymierzała otwartą dłonią palące razy prosto w twarz.

Jednym z moich ulubionych punktów tego albumu jest „The Closing Irony”. Pierwsza minuta tego kawałka to czysta magia, a później to powracające uderzenie w dzwon, solo jakby z innego świata, i znów dzwon i przekręcenie „pokrętła zajebistości” do poziomu, przy którym pragnę wyskoczyć ze swojego własnego ciała i kopnąć samego siebie w dupsko. Dopełnieniem jest pełen determinacji, histeryczny wokal, a na koniec uderzenie w dzwon i leżymy na podłodze. O odpoczynku jednak nie ma mowy, bo od razu na buty bierze nas ostatni na płycie „Out of Sight, Out of Mind”. I znów kopanie po brzuchu, skakanie po twarzy i równanie z ziemią. Riffy są obłędne, prują i rozrywają w sposób prosty, dosadny, bez żadnej ekwilibrystyki i gitarowej hochsztaplerki.

A gdy kawałek się urywa kończąc płytę, cisza jest tak wymowna, gwałtowna i brutalna, że natychmiast chcemy ją przerwać i włączyć ponownie. I tak cały dzień od rana do wieczora, bo to jeden z tych albumów, który sprawia, że jak już do niego powrócę do szybko oswobodzić się nie mogę.

Maria Konopnicka


Those of you with limited disposable income – and you can include me in this group – might find yourselves frustrated at the music industry’s tendency to reissue any and everything they can get the rights to. Others amongst you – and you can also include me in this group – will welcome reissues of old and obscure titles simply because it’s always nice to be able to access old hard-to-find or out-of-print albums that have either died with a shoddy format (cassettes), material I never actually owned or to replace stuff that has disappeared from my collection over the years. With the number of albums that have gone missing, forgive me for never inviting any of you over to my house ever again, but you can also feel free to scold me for associating with too many scumbags. But I digress…

That Relapse has sunk their tentacles into re-issuing the debut album by the ever-morphing and groundbreaking Sacrilege is surprising to these ears. Not because Behind the Realms of Madness is a questionable selection of dubious quality – far from it, it’s my favourite by these Birmingham nutters – but because I didn’t think many people besides me, the band’s small circle of friends and the smaller semi-circle of my friends still allowed into my house and near my record collection gave a shit. Sacrilege isn’t a name that gets thrown around much by either today’s whippersnappers or the late 30s/early 40s set determined to let everyone know how deep their cred runs and obscure their listening habits are. This, despite being groundbreaking in their own right and with members going on to spend time in Napalm Death, Anaal Nathrakh, Benediction, Cerebral Fix, English Dogs, Cathedral, The Varukers and Morrissey(?!). Back in the mid-80s, Sacrilege was melding D-beat crust punk with thrash, hardcore and radical political thought and having it delivered from the lungs of a fiery frontwoman at a time when the vast majority of boobs at underground punk and hardcore shows were man-boobs. So, good on ya Relapse for going down this road, ‘cuz my original copy of Behind… got lifted from my place by a guy who eventually ended up in the slammer (true story). I guess this means I’m never getting it back.

Behind… starts off with “Lifeline” and all guns are blazing, even with the introductory keyboard swell that must’ve had the crusties shaking in their Doc Marten’s about the possibility of what was to come. Never mind those bollocks, as anyone who stuck around past the twenty-second mark was handsomely rewarded as the main riff is one of the crowning achievements of English extreme music. A galloping beat powers it, Lynda ‘Tam” Simpson barks like a staccato-obsessed banshee, with a noisy but killer two-pronged lead burst and near-perfect arrangement driving the thematic point of excessive materialism home. This sets the foundation for the album’s approach as crusty punk gets steamrolled into thrash with a violently chugging edge. Never was able to figure out the tuning monstrosity introducing “Shadow from Mordor” (still can’t), but the wailing solo, flashy trills and sliding accents in the main riff make it a treat to experience, whether for the first or the millionth time. Similar accolades can be laid at the feet of “The Closing Irony,” “At Death’s Door” and just about every track comprising the original recording. It’s all top notch stuff that has withstood the test of time and was surprisingly still swimming around my memory vaults. The only two issues I might whine about is the nature of Simpson’s voice and approach making some of her phrasing interchangeable and the band’s tendency to milk a riff for far too long. But that’s six and one half dozen of the other when the riffs are this frickin’ good!

The bonus material compiles a demo the band recorded in 1986 – everything here has been re-mastered by From Ashes Rise’s Brad Boatright, in case you were curious about the sound quality improvements – for their Within the Prophecy album, and two live tracks. That’s not to mention the all-new cover, the supposed expanded art and liner notes (which we haven’t seen) and two new songs in the form of “Feed,” which injects a bit of stoner doom into the proceedings, and the taut thrash of “Dig Your Own Grave” which has Tam delivering a decade’s worth of frustration and hate through her guttery larynx. At under two minutes, it’s also the shortest song they’ve ever written and proves they can get to the fucking point. I guess you can’t take the punk out of an old punk, no matter how metal they try and get.

Kevin Stewart-Panko



..::TRACK-LIST::..

1. Lifeline 4:19
2. Shadow From Mordor 5:00
3. At Death's Door 5:14
4. A Violation Of Something Sacred 4:20
5. The Closing Irony 4:23
6. Out Of Sight, Out Of Mind 3:52

Bonus Tracks:
7. The Captive (1986 Demo) 4:07
8. Flight Of The Nazgul (1986 Demo) 5:49
9. Sight Of The Wise (1986 Demo) 6:15
10. Feed (2015) 5:12
11. Dig Your Own Grave (2015) 2:00
12. The Closing Irony (Live) 4:09
13. Bloodrun (Live) 5:13



..::OBSADA::..

Guitar - Damian Thompson
Vocals - Lynda 'Tam' Simpson
Bass - Frank Healy (tracks: 10, 11), Tony May (tracks: 1 to 9, 12, 13)
Drums - Andy Baker (tracks: 1 to 9, 12, 13), Spike T Smith (tracks: 10, 11)




https://www.youtube.com/watch?v=UKDFXDu9Mlo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album niesamowitego zespołu z Argentyny grającego avantgardowy black metal!


Following the band's first two instrumental albums, AlphA and Beta, Psicosfera emerges with their third installment, titled Summa Negativa. This album is a predatory plunge into pitch-black darkness of avant-garde black metal. The album illuminates the souls of the damned with its devilish fangs.

The new material is a reflection of Psicosfera’s ongoing evolution, driven by ceaseless march of time. With a blend of uncompromising determination and the introduction of vocals, alongside the liberation of an even fiercer facet of the band’s creativity, the new material relentlessly pushes the boundaries beyond their prior instrumental efforts.

Spanning their previous two albums, the band absorbed its influences, mastered the emotional depth of those records and honed their craft meticulously. Five years after their second album, the band’s journey has culminated in Summa Negativa, which materializes as a sinister reflection of contemporary darkness, seamlessly morphing the vision of genre’s progenitors into a contemporary realm that is both relentless and audacious. By skillfully weaving dissonance and melody through inventive manipulation, complemented by genuinely dreadful riffs, the album creates an encapsulated universe that embraces the essence of despair, melancholy, aggression, and hostility.

Summa Negativa emerges not as a nostalgic reverie, but as a reflection of modern nihilistic void. The darkness, evil, and despair within aren’t mere obligatory components; they mirror the current, profound upheavals of the soul of man. This essence imbues Summa Negativa with unparalleled vitality.

As such, Psicosfera’s new album holds the promise of elation - for seekers of evolving flux, for those who embrace musical development - while remaining devotional to the spirit.



..::TRACK-LIST::..

1. Rising River of Frustration 4:45
2. Pernicious Oblivion pt. 1 4:41
3. Pernicious Oblivion pt. 2 5:02
4. Gamma (interlude) 0:47
5. Taste of Triumph 4:09
6. Dismal Landscape of Disillusion and Rejection 5:53
7. Contortionist of Perception 6:00
8. Tartarus 5:35



..::OBSADA::..

Gabriel Sabatini - Guitars
Gabriel Luque - Guitars
Julián Reggi - Vocals
Juan Facundo Brinville - Drums
Alan Ponce - Bass



https://www.youtube.com/watch?v=AWAMMXa72xQ



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Trzeci album niesamowitego zespołu z Argentyny grającego avantgardowy black metal!


Following the band's first two instrumental albums, AlphA and Beta, Psicosfera emerges with their third installment, titled Summa Negativa. This album is a predatory plunge into pitch-black darkness of avant-garde black metal. The album illuminates the souls of the damned with its devilish fangs.

The new material is a reflection of Psicosfera’s ongoing evolution, driven by ceaseless march of time. With a blend of uncompromising determination and the introduction of vocals, alongside the liberation of an even fiercer facet of the band’s creativity, the new material relentlessly pushes the boundaries beyond their prior instrumental efforts.

Spanning their previous two albums, the band absorbed its influences, mastered the emotional depth of those records and honed their craft meticulously. Five years after their second album, the band’s journey has culminated in Summa Negativa, which materializes as a sinister reflection of contemporary darkness, seamlessly morphing the vision of genre’s progenitors into a contemporary realm that is both relentless and audacious. By skillfully weaving dissonance and melody through inventive manipulation, complemented by genuinely dreadful riffs, the album creates an encapsulated universe that embraces the essence of despair, melancholy, aggression, and hostility.

Summa Negativa emerges not as a nostalgic reverie, but as a reflection of modern nihilistic void. The darkness, evil, and despair within aren’t mere obligatory components; they mirror the current, profound upheavals of the soul of man. This essence imbues Summa Negativa with unparalleled vitality.

As such, Psicosfera’s new album holds the promise of elation - for seekers of evolving flux, for those who embrace musical development - while remaining devotional to the spirit.



..::TRACK-LIST::..

1. Rising River of Frustration 4:45
2. Pernicious Oblivion pt. 1 4:41
3. Pernicious Oblivion pt. 2 5:02
4. Gamma (interlude) 0:47
5. Taste of Triumph 4:09
6. Dismal Landscape of Disillusion and Rejection 5:53
7. Contortionist of Perception 6:00
8. Tartarus 5:35



..::OBSADA::..

Gabriel Sabatini - Guitars
Gabriel Luque - Guitars
Julián Reggi - Vocals
Juan Facundo Brinville - Drums
Alan Ponce - Bass



https://www.youtube.com/watch?v=AWAMMXa72xQ



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

...( Info )...
Artist: Dragonauta
Album: Omega Pentagram
Country: Argentina
Release date: 2013
Genre: Psychedelic Stoner/Doom Metal
Format: MP3
Bitrate: 320 kbps
Duration: 00:52:03

...( TrackList )...
01 - Frozen Neptunian Demons [00:05:23]
02 - I. The Talking Snake II. The Witch Hammer [00:08:04]
03 - Nautilus 666 [00:03:34]
04 - Seven Rings Of Saturn [00:06:28]
05 - I Am The Frost Thrones [00:06:36]
06 - Jupiterian Sword Of Annihilation [00:04:17]
07 - Iron Planet [00:07:12]
08 - Black Horn Messiah [00:10:27]

...( Info )...
Genre: Stoner/Doom Metal
Country of artist (band): USA
Year of publication: 2025
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 22:31

...( TrackList )...
1. First Frost
2. The Bottom
3. Excavation
4. No Ritual
5. The Return

...( Info )...
Genre: Stoner/Doom Metal
Country of artist (band): UK
Year of publication: 2025
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 00:38:09

...( TrackList )...
1. Zeus Among The Clouds (05:26)
2. Prometheus Unbound (03:37)
3. Medusa's Lament (03:04)
4. Underworld Love (03:35)
5. Persephone's Return (03:11)
6. The Minotaur's Labyrinth (03:36)
7. King Midas' Curse (02:48)
8. Pandora's Reckoning (03:35)
9. Aphrodite's Dream (02:48)
10. Guardians Of The Gates (03:52)
11. Cerberus' Lullaby (04:39)
12. The River Styx (02:58)

...( Info )...
Title: Lightning In A Bottle
Artist: Pentagram
Year: 2025
Genre: Doom-Metal
Country: USA

Duration: 00:52:05
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Live Again (03:34)
02. In The Panic Room (03:31)
03. I Spoke To Death (03:40)
04. Dull Pain (03:30)
05. Lady Heroin (05:32)
06. I'll Certainly See You In Hell (02:08)
07. Thundercrest (03:01)
08. Solve The Puzzle (03:12)
09. Spread Your Wings (03:31)
10. Lightning In A Bottle (04:40)
11. Walk The Sociopath (04:49)
12. Start The End (Bonus Track) (03:55)
13. Might Just Wanna Be Your Fool (Bonus Track) (02:27)
14. Lady Heroin (Pre-Edit Rough Mix Bonus Track) (04:28)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja na 25 urodziny! Szósty album AGATHOCLES wydany oryginalnie w 1999 roku. 16 utworów + dwa bonusowe numery z 2000 roku wydane jako split 7"EP z włoskim KONTATTO. Surowy, minimalistyczny noise'owy D-beat punk inspirowany przez takie zespoły jak ABSURD, wczesny DISCHARGE, DISCLOSE, wczesny ANTI CIMEX, D.N.A., BOMBRAID, ANTI-BOFORS, BOMBANFAL, DISASTER, SHITLICKERS. Odświeżona oprawa graficzna oraz liner notes autorstwa Jan'a AGx.


I was possitively surpried when I first heard this album. I had almost given up on Agathocles after their inconsistent and rather sloppy "Humarrogance" album but this time the band again knew how to do exactly that which I didn't expect. They've simply recorded a hardcore punk / crustcore album. Their earlier split Ep with Vomit Fall has been a personal favorite and this time they must have though "what the hell, let's release a punk album".

The production is heavy but fortunately not too much. There's still plenty of definition in the separate instruments and the performace is suprisingly well.
Of course one could complain an album full of just these kind of songs tends to get monotone but it really is over before you even now it. They still change pace a lot on this album if you care to listen closely. Of course the tempi are mostly variations on 'being fast', but hey, it's hardcore punk and there are a lot of different kinds of fast here!

There are no real stand out tracks but if I have to name a few, the catchy opener "Bomb the Bastard" and "Who Cares" have become personal favorites. Least favorite song must be "One Sided Views" which has a Celtic Frost break (Morbid Tales) and therefor becomes somewhat annoying. There is however something to complain of course. One thing really. It's the vocals. We all know Jan had tried some different vocals on earlier records and especially his screaming punk voice worked very well on their hardcore punks songs (remember "Get Off You Ass", "Fragments of a time to come" and "Here And Now"?). On this album he mostly uses his grunting vocals and this proves to be something of a bummer. A lot more could have been done vocally on these songs. I wonder why they didn't. If they'd done so, this could have been my second favorite Agathocles album ever

Morbert



..::TRACK-LIST::..

1. Bomb the Bastard 02:28
2. Judged Too Soon 01:27
3. Wage-War 02:11
4. To Serve... to Protect 02:04
5. Hand in Hand 03:15
6. Scared 01:34
7. Homes Not Domes 02:10
8. Full of Hatred 01:41
9. Who Cares 01:32
10. Euro-Nomous 03:00
11. One-Sided-Views 02:00
12. Wrong Way 00:57
13. I Thought 03:20
14. Living in Hell 01:32
15. Cool Fools 02:04
16. Tele-Conning 01:18

Bonus Tracks:
Recorded in 2000 and released on a split 7"EP w/ KONTATTO from Italy
17. Fed Up with Your Make Up 01:16
18. Leads to… 01:39



..::OBSADA::..

Bass [Bass-Tard], Vocals [Throat] - Jan
Drums, Voice [Voicenoises] - Burt
Guitar [Guitarzzz], Vocals [Mouth] - Dirk




https://www.youtube.com/watch?v=MZpIr86VqmA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja na 25 urodziny! Szósty album AGATHOCLES wydany oryginalnie w 1999 roku. 16 utworów + dwa bonusowe numery z 2000 roku wydane jako split 7"EP z włoskim KONTATTO. Surowy, minimalistyczny noise'owy D-beat punk inspirowany przez takie zespoły jak ABSURD, wczesny DISCHARGE, DISCLOSE, wczesny ANTI CIMEX, D.N.A., BOMBRAID, ANTI-BOFORS, BOMBANFAL, DISASTER, SHITLICKERS. Odświeżona oprawa graficzna oraz liner notes autorstwa Jan'a AGx.


I was possitively surpried when I first heard this album. I had almost given up on Agathocles after their inconsistent and rather sloppy "Humarrogance" album but this time the band again knew how to do exactly that which I didn't expect. They've simply recorded a hardcore punk / crustcore album. Their earlier split Ep with Vomit Fall has been a personal favorite and this time they must have though "what the hell, let's release a punk album".

The production is heavy but fortunately not too much. There's still plenty of definition in the separate instruments and the performace is suprisingly well.
Of course one could complain an album full of just these kind of songs tends to get monotone but it really is over before you even now it. They still change pace a lot on this album if you care to listen closely. Of course the tempi are mostly variations on 'being fast', but hey, it's hardcore punk and there are a lot of different kinds of fast here!

There are no real stand out tracks but if I have to name a few, the catchy opener "Bomb the Bastard" and "Who Cares" have become personal favorites. Least favorite song must be "One Sided Views" which has a Celtic Frost break (Morbid Tales) and therefor becomes somewhat annoying. There is however something to complain of course. One thing really. It's the vocals. We all know Jan had tried some different vocals on earlier records and especially his screaming punk voice worked very well on their hardcore punks songs (remember "Get Off You Ass", "Fragments of a time to come" and "Here And Now"?). On this album he mostly uses his grunting vocals and this proves to be something of a bummer. A lot more could have been done vocally on these songs. I wonder why they didn't. If they'd done so, this could have been my second favorite Agathocles album ever

Morbert



..::TRACK-LIST::..

1. Bomb the Bastard 02:28
2. Judged Too Soon 01:27
3. Wage-War 02:11
4. To Serve... to Protect 02:04
5. Hand in Hand 03:15
6. Scared 01:34
7. Homes Not Domes 02:10
8. Full of Hatred 01:41
9. Who Cares 01:32
10. Euro-Nomous 03:00
11. One-Sided-Views 02:00
12. Wrong Way 00:57
13. I Thought 03:20
14. Living in Hell 01:32
15. Cool Fools 02:04
16. Tele-Conning 01:18

Bonus Tracks:
Recorded in 2000 and released on a split 7"EP w/ KONTATTO from Italy
17. Fed Up with Your Make Up 01:16
18. Leads to… 01:39



..::OBSADA::..

Bass [Bass-Tard], Vocals [Throat] - Jan
Drums, Voice [Voicenoises] - Burt
Guitar [Guitarzzz], Vocals [Mouth] - Dirk




https://www.youtube.com/watch?v=MZpIr86VqmA



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

...( Info )...
Title: Tragic Creature
Artist: Discordant Meditation
Year: 2025
Genre: Experimental, Death-Metal
Country: USA

Duration: 00:32:11
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. Conduit
2. Festering Black Fractals
3. Exist Alone
4. Formless As Water
5. Passage Of Obscured Lucidity
6. Deformed Beyond Recognition
7. Clawing At The Open Wound
8. Tragic Creature

...( Info )...
Title: Psychotic Break
Artist: Worldfall
Year: 2025
Genre: Experimental, Thrash-Metal
Country: USA

Duration: 00:37:07
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Age of Sensitivity
02. Obliteration
03. Psychotic Break
04. Convicción
05. Larger Than Life
06. Tarnished Image
07. Through These Eyes

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Przyznam szczerze, że kiedy po wydaniu usłyszałem ten krążek byłem załamany...
Po takim debiucie? Jak? Dlaczego?

Dzisiaj... Człowiek się jednak starzeje...



Although the reason why I decided to revisit Iron Angel’s back catalogue some ten years ago was the release of the awful “Back from Hell” demo, about which the guys should forget faster than Destruction did about their mid-90’s period (yeah, it’s that bad), I was quite glad that I did since it reminded me of how jubilant I was listening to this happy-go-lucky speed metal barrage on the album reviewed here in my teenage years, feeling also content with the fact that I had found “Walls of Jericho”’s little brother, only served with a more mainstream flavour. Although the guys were the first German victims of the mid-80’s transformation campaign (Motley Crue, Judas Priest, Iron Maiden, etc.) towards a mellower poppier sound, they still managed to retain quite a bit of their aggressive swagger that made their debut such a compulsive headbanging fest.

The debut was a compelling speed/thrash affair with audible attempts at more individual ways of expression. However, the sophomore here shows an obvious fascination with the mentioned Helloween magnum opus, and it remains its most faithful companion all these years including with the more commercial radio-friendly additives, and not only because of Dick Shroder’s “Kai Hansen meets Udo”-like vocals. The stomping officiant intro that is the title-track abruptly turns into a ball of speed metal fury on “Metalstorm” which couldn’t have been titled more appropriately, a short bursting speedster that almost exemplifies the German speed metal scene in its entirety. “Son of a Bitch” is not an Accept cover, contrary to the expectations, but is a great uplifting power metal anthem with a nearly stadium-filling potential with the rousing shouty chorus and the brisk bouncy rhythms. “Vicious” has a smattering pounding beginning, but after it it’s business as usual the band unleashing a whirlwind of fast lashing guitars turning this number into another shining example of pure speed metal carnage done right. “Born to Rock” has a very clear message from the very title, and this is indeed a fist-pumping heavy rocker worthy of Accept and Scorpions with a staged live setting echoing Bruce Springsteen’s “Born to Run”.

Far from embarrassment, this number remains the only full-fledged probe into the growing pop-metalish aesthetics on the field, and is totally cancelled by “Fight for Your Life”, a vigorous speed/thrash with biting cutting guitars, arguably the band’s finest achievement, offering myriad time and tempo-changes, a shredding fest of epic proportions nearly matched by “Stronger than Steel” which stomping intro reminds of Exciter’s “Scream in the Night” from “Violence & Force”; furious speed metal is thrown at the expectant audience later, a soaring “eagle fly free” cavalcade with the next in line sing-along chorus embedded into the hyper-active melee. “Sea of Flames” serves a tasteful portion of melodic leads as an appetizer which precedes another fast-paced carnival mixed with more laid-back power metal, the melodic hooks appearing later again to wrap it on. “Creatures of Destruction” is a brilliant angry speed metaller the guys raising hell as a logical conclusion to this impressive slab of old school metal which actual finale is the cool short balladic “Back to the Silence” with Schroder showing his more lyrical, more passionate vocal arsenal to a really positive effect.

German speed metal couldn’t have come much better than here, and apart from the early Helloween exploits and Living Death’s “Metal Revolution” it’s probably only the first two Scanner instalments that managed to capture the movement’s invigorating charm as profoundly, not siding that readily with the more aggressive thrash-prone debuts of Angel Dust, Exumer and Paradox, and Blind Guardian’s first two. The mentioned friendlier ingredients boded danger for eventual future recordings as one never knew how far the guys would be willing to reach exploring their more tender side. In this train of thought their very early disappearance, one of the earliest in metal history as a matter of fact, may have been for the better cause no one wanted to see prime German speed metallers releasing “Cold Lake” or “Eat the Heat” before those albums were even conceived on the mental plane.

The old school resurrection wave brought the Iron Angels back into the game, and although the first showing (the mentioned demo) after the reformation had better be forgotten, the more recent weather forecasts hint at potential strong winds (of war) stirring somewhere in the distance.

Bayern



..::TRACK-LIST::..

1. Winds Of War
2. Metalstorm
3. Son Of A Bitch
4. Vicious
5. Born To Rock
6. Fight For Your Life
7. Stronger Than Steel
8. Sea Of Flames [First Solo And Melodic Guitar] - Jürgen Blackmore
9. Creatures Of Destruction
10. Back To The Silence



..::OBSADA::..

Dirk Schröder - Vocals
Mike Matthes - Drums
Thorsten Lohman- Bass
Sven Strüven (R.I.P. 2008) - Guitars
Peter Wittke (R.I.P. 2000) - Guitars




https://www.youtube.com/watch?v=LJ5ERWrXF5A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Przyznam szczerze, że kiedy po wydaniu usłyszałem ten krążek byłem załamany...
Po takim debiucie? Jak? Dlaczego?

Dzisiaj... Człowiek się jednak starzeje...



Although the reason why I decided to revisit Iron Angel’s back catalogue some ten years ago was the release of the awful “Back from Hell” demo, about which the guys should forget faster than Destruction did about their mid-90’s period (yeah, it’s that bad), I was quite glad that I did since it reminded me of how jubilant I was listening to this happy-go-lucky speed metal barrage on the album reviewed here in my teenage years, feeling also content with the fact that I had found “Walls of Jericho”’s little brother, only served with a more mainstream flavour. Although the guys were the first German victims of the mid-80’s transformation campaign (Motley Crue, Judas Priest, Iron Maiden, etc.) towards a mellower poppier sound, they still managed to retain quite a bit of their aggressive swagger that made their debut such a compulsive headbanging fest.

The debut was a compelling speed/thrash affair with audible attempts at more individual ways of expression. However, the sophomore here shows an obvious fascination with the mentioned Helloween magnum opus, and it remains its most faithful companion all these years including with the more commercial radio-friendly additives, and not only because of Dick Shroder’s “Kai Hansen meets Udo”-like vocals. The stomping officiant intro that is the title-track abruptly turns into a ball of speed metal fury on “Metalstorm” which couldn’t have been titled more appropriately, a short bursting speedster that almost exemplifies the German speed metal scene in its entirety. “Son of a Bitch” is not an Accept cover, contrary to the expectations, but is a great uplifting power metal anthem with a nearly stadium-filling potential with the rousing shouty chorus and the brisk bouncy rhythms. “Vicious” has a smattering pounding beginning, but after it it’s business as usual the band unleashing a whirlwind of fast lashing guitars turning this number into another shining example of pure speed metal carnage done right. “Born to Rock” has a very clear message from the very title, and this is indeed a fist-pumping heavy rocker worthy of Accept and Scorpions with a staged live setting echoing Bruce Springsteen’s “Born to Run”.

Far from embarrassment, this number remains the only full-fledged probe into the growing pop-metalish aesthetics on the field, and is totally cancelled by “Fight for Your Life”, a vigorous speed/thrash with biting cutting guitars, arguably the band’s finest achievement, offering myriad time and tempo-changes, a shredding fest of epic proportions nearly matched by “Stronger than Steel” which stomping intro reminds of Exciter’s “Scream in the Night” from “Violence & Force”; furious speed metal is thrown at the expectant audience later, a soaring “eagle fly free” cavalcade with the next in line sing-along chorus embedded into the hyper-active melee. “Sea of Flames” serves a tasteful portion of melodic leads as an appetizer which precedes another fast-paced carnival mixed with more laid-back power metal, the melodic hooks appearing later again to wrap it on. “Creatures of Destruction” is a brilliant angry speed metaller the guys raising hell as a logical conclusion to this impressive slab of old school metal which actual finale is the cool short balladic “Back to the Silence” with Schroder showing his more lyrical, more passionate vocal arsenal to a really positive effect.

German speed metal couldn’t have come much better than here, and apart from the early Helloween exploits and Living Death’s “Metal Revolution” it’s probably only the first two Scanner instalments that managed to capture the movement’s invigorating charm as profoundly, not siding that readily with the more aggressive thrash-prone debuts of Angel Dust, Exumer and Paradox, and Blind Guardian’s first two. The mentioned friendlier ingredients boded danger for eventual future recordings as one never knew how far the guys would be willing to reach exploring their more tender side. In this train of thought their very early disappearance, one of the earliest in metal history as a matter of fact, may have been for the better cause no one wanted to see prime German speed metallers releasing “Cold Lake” or “Eat the Heat” before those albums were even conceived on the mental plane.

The old school resurrection wave brought the Iron Angels back into the game, and although the first showing (the mentioned demo) after the reformation had better be forgotten, the more recent weather forecasts hint at potential strong winds (of war) stirring somewhere in the distance.

Bayern



..::TRACK-LIST::..

1. Winds Of War
2. Metalstorm
3. Son Of A Bitch
4. Vicious
5. Born To Rock
6. Fight For Your Life
7. Stronger Than Steel
8. Sea Of Flames [First Solo And Melodic Guitar] - Jürgen Blackmore
9. Creatures Of Destruction
10. Back To The Silence



..::OBSADA::..

Dirk Schröder - Vocals
Mike Matthes - Drums
Thorsten Lohman- Bass
Sven Strüven (R.I.P. 2008) - Guitars
Peter Wittke (R.I.P. 2000) - Guitars




https://www.youtube.com/watch?v=LJ5ERWrXF5A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Deathless Void to kusząca mieszanka ponurej agresji, majestatycznej melodii i mrocznego nastroju.
Zapraszam do mocnej i stosunkowo niezdrowej zabawy...



Dutch Black Metal visionaries Deathless Void are set to ignite the global metal scene with the release of their highly anticipated debut album, "The Voluptuous Fire of Sin," out September 20th via Iron Bonehead Productions.

Emerging from the resurgent Dutch Black Metal underground, Deathless Void made their enigmatic debut in early 2022 with a self-titled demo that shook the foundations of extreme music. Now, with their full-length debut, the band coagulates their place among the elite of the genre, offering a sonic journey that is as terrifying as it is mesmerizing.

Blending familiar Black Metal ferocity with a mind-warping, otherworldly atmosphere, "The Voluptuous Fire Of Sin" is an orgy of flesh-creeping guitar riffs, telluric blast beats, undulating bass frequencies and unhinged screams of berserk ecstasy and demonic fury executed with unprecedented dedication.

"The Voluptuous Fire Of Sin" is a paroxysmal psychedelic vision of mystery, misery, madness, and lust - rejoice in sin, enter the deathless void!


https://darksoulsunited.wordpress.com/2024/09/21/deathless-void-the-voluptuous-fire-of-sin-iron-bonehead/



..::TRACK-LIST::..

1. Psychedelic Warfare 03:54
2. Vortex Climax 04:56
3. The Shattered Realms Of Man Become The Abyss 03:12
4. The Ecstasy Of Sin 04:11
5. Iside 01:33
6. Burning Shapes Without Form 03:21
7. Crossing The Threshold 07:06
8. Purple Triad 05:28
9. Curse Upon You 05:08



https://www.youtube.com/watch?v=CGj69SRwKuE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Deathless Void to kusząca mieszanka ponurej agresji, majestatycznej melodii i mrocznego nastroju.
Zapraszam do mocnej i stosunkowo niezdrowej zabawy...



Dutch Black Metal visionaries Deathless Void are set to ignite the global metal scene with the release of their highly anticipated debut album, "The Voluptuous Fire of Sin," out September 20th via Iron Bonehead Productions.

Emerging from the resurgent Dutch Black Metal underground, Deathless Void made their enigmatic debut in early 2022 with a self-titled demo that shook the foundations of extreme music. Now, with their full-length debut, the band coagulates their place among the elite of the genre, offering a sonic journey that is as terrifying as it is mesmerizing.

Blending familiar Black Metal ferocity with a mind-warping, otherworldly atmosphere, "The Voluptuous Fire Of Sin" is an orgy of flesh-creeping guitar riffs, telluric blast beats, undulating bass frequencies and unhinged screams of berserk ecstasy and demonic fury executed with unprecedented dedication.

"The Voluptuous Fire Of Sin" is a paroxysmal psychedelic vision of mystery, misery, madness, and lust - rejoice in sin, enter the deathless void!


https://darksoulsunited.wordpress.com/2024/09/21/deathless-void-the-voluptuous-fire-of-sin-iron-bonehead/



..::TRACK-LIST::..

1. Psychedelic Warfare 03:54
2. Vortex Climax 04:56
3. The Shattered Realms Of Man Become The Abyss 03:12
4. The Ecstasy Of Sin 04:11
5. Iside 01:33
6. Burning Shapes Without Form 03:21
7. Crossing The Threshold 07:06
8. Purple Triad 05:28
9. Curse Upon You 05:08



https://www.youtube.com/watch?v=CGj69SRwKuE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


Na prośbę...


..::OPIS::..

Infernal War to powstały w 1997 roku (początkowo działał pod nazwami Quintus i Infernal SS) polski zespół wykonujący szybki i brutalny Black Metal z wpływami Death Metalu. Na koncie mają miedzy innymi kilka splitów (na przykład z Kriegsmaschine), dwie EPki (w tym "Conflagrator" prezentującą nieco inne oblicze zespołu) i przede wszystkim trzy pełniaki. Muzycznie mamy tu do czynienia z bardzo szybki i intensywnym (blasty, blasty i jeszcze więcej blastów) Black Metalem z wyraźnymi naleciałościami Death Metalu. Ludzi odpowiedzialni za zespół udzielają/udzielali się także w innych mniej lub bardziej znanych projektach, między innymi Iperyt, Thunderbolt, Deus Mortem czy Voidhanger.



..::TRACK-LIST::..

Terrorfront (2005):
1. Introduction To Assassination (Intro) (Performer - Cezary Gapik)(0:52)
2. Crushing Impure Idolatry (3:15)
3. Dead Head's Empire (3:06)
4. Be A Slave Or Be A Lord (3:53)
5. Crush The Tribe Of Jesus Christ (4:09)
6. Terrorfront (4:15)
7. Salvation (6:02)
8. The Grand Intolerance Manifestation (2:26)
9. Dechristianized By Parabellum (3:09)
10. Triumphant Outroduction (Outro) (Performer - Cezary Gapik)(1:16)


Redesekration [The Gospel Of Hatred And Apotheosis Of Genocide] (2007):
1. Prelude To Infernal Purification (Intro) (Performer - Cezary Gapik)(0:11)
2. Spill The Dirty Blood Of Jesus (3:56)
3. Shatterer Of Liberty (3:38)
4. Redesekration (3:00)
5. Radical (Kill The Peace!) (3:51)
6. Regime Of Terror (with Pete Helmkamp from Angelcorpse)(4:08)
7. Heretic Victory Ascending (4:11)
8. Extirpate (3:40)
9. Death's Evangelist (4:14)
10. Branded With Sacred Flames Of Gehinnom (5:07)
11. The End Of Time (Outro) (Performer - Cezary Gapik)(1:19)


Axiom (2015):
1. Coronation (04:41)
2. Militant Hate Church (03:17)
3. Into Dead Soil (04:00)
4. Paradygmat (03:15)
5. Nihil Prayer (04:16)
6. The Parallel Darkness (03:15)
7. Transfigure (03:29)
8. Eater of Hope (03:40)
9. Camp 22 (04:00)
10. No Forgiveness (03:30)
11. Axiom (05:30)




https://www.youtube.com/watch?v=YvG_I5PH7ZI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Split AGATHOCLES z 2022 roku z rosyjskim death/grindowym СТАБИЛЬНОСТЬ!


..::TRACK-LIST::..

Agathocles:
1. Big Mess 01:20
2. Rollin Horror 00:35
3. Choke And Die 00:27
4. Deceits 00:19
5.Fick Deine Nationalitat 00:51
6. Flemish Nationalist Garbage 00:27
7. Sick And Twisted Lies 00:53
8. Deny Your Blood 00:53
9. Somos Ratas De Belgica 00:29
10. Outro 01:13

Стабильность:
11. 2014 (Интро) 01:33
12. Стабильность 01:01
13. Наши Реалии 01:09
14. Война 01:01
15. Чиновник 00:29
16. Гомофобия 01:39
17. Мракобес 01:30
18. Современное Рабство 01:49




https://www.youtube.com/watch?v=sYLfD6DLp6o



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Split AGATHOCLES z 2022 roku z rosyjskim death/grindowym СТАБИЛЬНОСТЬ!


..::TRACK-LIST::..

Agathocles:
1. Big Mess 01:20
2. Rollin Horror 00:35
3. Choke And Die 00:27
4. Deceits 00:19
5.Fick Deine Nationalitat 00:51
6. Flemish Nationalist Garbage 00:27
7. Sick And Twisted Lies 00:53
8. Deny Your Blood 00:53
9. Somos Ratas De Belgica 00:29
10. Outro 01:13

Стабильность:
11. 2014 (Интро) 01:33
12. Стабильность 01:01
13. Наши Реалии 01:09
14. Война 01:01
15. Чиновник 00:29
16. Гомофобия 01:39
17. Мракобес 01:30
18. Современное Рабство 01:49




https://www.youtube.com/watch?v=sYLfD6DLp6o



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

...( Info )...
Title: The 3rd Dimension
Artist: Hazzerd
Year: 2025
Genre: Thrash-Metal
Country: Canada

Duration: 00:41:06
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01 - Interdimension [00:03:35]
02 - Scars [00:03:38]
03 - Unto Ashes [00:06:18]
04 - Deathbringer [00:04:25]
05 - T.T.T [00:01:25]
06 - Plagueis [00:03:50]
07 - ThArSh TiLl DeTh [00:02:23]
08 - Parasitic [00:03:13]
09 - A Fell Omen [00:09:07]
10 - Control [00:03:08]

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Oszałamiający debiut!


CORRUPT MORAL ALTAR are an angry band. "Mechanical Tides" is an angry album full of angry songs. 'Anger is an energy', sounded the battle cry raised by former SEX PISTOLS frontman Johnny Rotten. CORRUPT MORAL ALTAR connected the dots and reviewed the forever undead spirit of original punk with their founding on the Merseyside in 2012. Filling in the blanks left by decades of musical evolution, the quartet added sludge, grind and hardcore elements to their sound. This fistful of aggression was slammed straight into the faces of their adversaries, creating shockwaves with the immediate release of their "Needle Drugs" demo in the year of their founding as well as the 2013 EPs "Luciferian Deathcult" and "Whiskey Sierra", which received a glowing welcome in the UK press.

CORRUPT MORAL ALTAR underlined their ambitions with intimidating live shows alongside renowned bands such as BRUTAL TRUTH, PSYCROPTIC, EXTREME NOISE TERROR, HOUR OF PENANCE, and more. Now the band is ready to unleash their first full-length "Mechanical Tides" in a worldwide blaze of fury. Open up for CORRUPT MORAL ALTAR and let the anger flow through you! Anger is an energy!



..::TRACK-LIST::..

1. Father Tongue 02:49
2. Blood Harmony 05:06
3. Die Glocke ft. Jeff Walker (Carcass) 03:19
4. Line Check 02:58
5. Wire Mother 07:37
6. Gin Dreams 03:07
7. Closed Casket 01:45
8. Sweet Talk 02:33
9. Admit Defeat ft. Mitch Harris (Napalm Death) 03:28
10. Garland Greene 03:42
11. River Blind 03:32
12. Black Chapter 00:35
13. Insect Politicians 02:36



..::OBSADA::..

John Cooke - Guitar
Chris Reese - Vocals
Tom Dring - Drums
Adam Clarkson - Bass

Additional Vocals:
Blood Harmony - Kirsty Harding, Nial Owen, Die Glocke - Jeff Walker
Wire Mother - Kirsty Harding, Closed Casket - Zac Broughton
Sweet Talk - Ed and Rich
Admit Defeat - Mitch Harris and Garland Greene - Jeff Walker and Damian Von Talbot




https://www.youtube.com/watch?v=efemCreT0zo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Oszałamiający debiut!


CORRUPT MORAL ALTAR are an angry band. "Mechanical Tides" is an angry album full of angry songs. 'Anger is an energy', sounded the battle cry raised by former SEX PISTOLS frontman Johnny Rotten. CORRUPT MORAL ALTAR connected the dots and reviewed the forever undead spirit of original punk with their founding on the Merseyside in 2012. Filling in the blanks left by decades of musical evolution, the quartet added sludge, grind and hardcore elements to their sound. This fistful of aggression was slammed straight into the faces of their adversaries, creating shockwaves with the immediate release of their "Needle Drugs" demo in the year of their founding as well as the 2013 EPs "Luciferian Deathcult" and "Whiskey Sierra", which received a glowing welcome in the UK press.

CORRUPT MORAL ALTAR underlined their ambitions with intimidating live shows alongside renowned bands such as BRUTAL TRUTH, PSYCROPTIC, EXTREME NOISE TERROR, HOUR OF PENANCE, and more. Now the band is ready to unleash their first full-length "Mechanical Tides" in a worldwide blaze of fury. Open up for CORRUPT MORAL ALTAR and let the anger flow through you! Anger is an energy!



..::TRACK-LIST::..

1. Father Tongue 02:49
2. Blood Harmony 05:06
3. Die Glocke ft. Jeff Walker (Carcass) 03:19
4. Line Check 02:58
5. Wire Mother 07:37
6. Gin Dreams 03:07
7. Closed Casket 01:45
8. Sweet Talk 02:33
9. Admit Defeat ft. Mitch Harris (Napalm Death) 03:28
10. Garland Greene 03:42
11. River Blind 03:32
12. Black Chapter 00:35
13. Insect Politicians 02:36



..::OBSADA::..

John Cooke - Guitar
Chris Reese - Vocals
Tom Dring - Drums
Adam Clarkson - Bass

Additional Vocals:
Blood Harmony - Kirsty Harding, Nial Owen, Die Glocke - Jeff Walker
Wire Mother - Kirsty Harding, Closed Casket - Zac Broughton
Sweet Talk - Ed and Rich
Admit Defeat - Mitch Harris and Garland Greene - Jeff Walker and Damian Von Talbot




https://www.youtube.com/watch?v=efemCreT0zo



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