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


..::OPIS::..

Reedycja na 24. urodziny.
Druga duża płyta MY MINDS MINE wydana oryginalnie w 2002 roku.
24 krótkie i szybkie numery wściekłego grindcore'a, który przypadnie do gustu fanom wczesnego NAPALM DEATH, S.O.B., UNSEEN TERROR, HERESY.



Album Holendrów Scenes of the Complete Annihilation of This Planet to reedycja drugiej płyty z 2002 roku. Jest to zdecydowanie oldschoolowy grind core, który przesiąknięty jest klasyką gatunku czyli albumami Scum I From Enslavement To Obliteration angielskiego Napalm Death. W Polsce, z tego co pamiętam grały podobnie zespoły Psychoneurosis czy D.O.C…

Album składa się z bardzo szybkich i krótkich kawałków, z perkusistą grającym mnóstwo blastów. Wokale są ekstremalnie krzykliwe (więcej), podczas gdy tych growlujacych jest nieco mniej.

Co odróżnia My Mind`s Mine od Napalm Death to nieco bardziej techniczna gra gitarzystów, którzy i tak dostarczają grind core z taką czystą, surową energią, może nie do końca z nostalgią lat 80- tych jeśli chodzi o brzmienie, ale jeśli mówimy o muzyce to raczej tak. Prawie cały czas jest masakrycznie wyniszczająco, brzmienie ma ten fajny brudek wynikający z ekstremy że aż miło się robi w uszach. No i najważniejsze - są tu tony noise grind cora, dynamicznie i chaotycznie zagranego, robiącego czystkę robakom w waszych mózgach. Czasami jest coś grindowo punkowego z pozorną melodyjką i prostszymi riffami, ale to jest to, tyle wystarcza. Materiał jest krotki, więc słucha się błyskawicznie, a i umysł potrafi się jakoś fajnie zresetować. Chyba nie ma sensu rozpisywać się na temat poszczególnych utworów bo to wszystko co usłyszałem na tej płycie to jest zaproszenie do pogowania i obijania się o ściany z powodu absolutnie wariackiego hałasu zespołu My Mind`s Mine.

Sławek Migacz


The album Scenes of the Complete Annihilation of This Planet by Dutch band My Mind`s Mine is a reissue of their second CD from 2002. It's definitely old-school grind core, steeped in classics like Napalm Death's Scum and From Enslavement to Obliteration. In Poland, bands like Psychoneurosis and D.O.C. played similarly back in the days.

The album consists of very fast and short tracks, with the drummer playing a lot of blast beats. The vocals are extremely screamy (more), while there's less growls.

What distinguishes My Mind's Mine from Napalm Death is the slightly more technical playing of the guitarists, who still deliver a grind core with such pure, raw energy. It might not quite be 80s nostalgia in terms of sound, but in terms of music, it's more like it. It's almost constant obliteration this band delivers, and the sound has that cool, dirty edge that's pleasing my ears. And most importantly, the album is full of dynamic, chaotic and noisy grind core, which cleanses the worms in the brain. Sometimes there's some grind punk with a mock melody and simpler riffs, but that's it; that's all there is to it. The material is short, so it's a quick listen, which provides a nice reset for my mind. I probably see no point in going into detail about individual tracks, because all I heard on the album will make you headbang and throw your own body against the wall. That all causes the crazy music of My Mind`s Mine at its top noise scale.

Sławek Migacz



..::TRACK-LIST::..

1. Nothing 00:25
2. Signing Up 00:27
3. Lockup Volunteers 00:56
4. Anti-Man 00:45
5. On the Soil of Greed 00:48
6. In Decay 01:00
7. I Lied 00:48
8. Empty Figureheads 00:40
9. Sociopath 00:31
10. (Rooth cover) 00:42
11. Easy Come - Easy Go 00:26
12. Numbered Corpse 00:57
13. Pest 00:37
14. Seen and Not Seen 00:49
15. Remote Controller 00:14
16. Switch Blade Attitude 00:40
17. Imago Mundi 00:51
18. Confront 00:45
19. The Game (Infest cover) 00:28
20. Reproach 00:44
21. My Minds Mine 00:27
22. Mobilization of Chaos 00:36
23. Born Tired 00:37
24. Pretentious Idols 04:38



..::OBSADA::..

Vocals - Rosco
Bass - Bert
Drums - Ype
Guitar - Shantia



https://www.youtube.com/watch?v=nEZ_W4N0Qss


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

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


..::OPIS::..

Reedycja na 24. urodziny.
Druga duża płyta MY MINDS MINE wydana oryginalnie w 2002 roku.
24 krótkie i szybkie numery wściekłego grindcore'a, który przypadnie do gustu fanom wczesnego NAPALM DEATH, S.O.B., UNSEEN TERROR, HERESY.



Album Holendrów Scenes of the Complete Annihilation of This Planet to reedycja drugiej płyty z 2002 roku. Jest to zdecydowanie oldschoolowy grind core, który przesiąknięty jest klasyką gatunku czyli albumami Scum I From Enslavement To Obliteration angielskiego Napalm Death. W Polsce, z tego co pamiętam grały podobnie zespoły Psychoneurosis czy D.O.C…

Album składa się z bardzo szybkich i krótkich kawałków, z perkusistą grającym mnóstwo blastów. Wokale są ekstremalnie krzykliwe (więcej), podczas gdy tych growlujacych jest nieco mniej.

Co odróżnia My Mind`s Mine od Napalm Death to nieco bardziej techniczna gra gitarzystów, którzy i tak dostarczają grind core z taką czystą, surową energią, może nie do końca z nostalgią lat 80- tych jeśli chodzi o brzmienie, ale jeśli mówimy o muzyce to raczej tak. Prawie cały czas jest masakrycznie wyniszczająco, brzmienie ma ten fajny brudek wynikający z ekstremy że aż miło się robi w uszach. No i najważniejsze - są tu tony noise grind cora, dynamicznie i chaotycznie zagranego, robiącego czystkę robakom w waszych mózgach. Czasami jest coś grindowo punkowego z pozorną melodyjką i prostszymi riffami, ale to jest to, tyle wystarcza. Materiał jest krotki, więc słucha się błyskawicznie, a i umysł potrafi się jakoś fajnie zresetować. Chyba nie ma sensu rozpisywać się na temat poszczególnych utworów bo to wszystko co usłyszałem na tej płycie to jest zaproszenie do pogowania i obijania się o ściany z powodu absolutnie wariackiego hałasu zespołu My Mind`s Mine.

Sławek Migacz


The album Scenes of the Complete Annihilation of This Planet by Dutch band My Mind`s Mine is a reissue of their second CD from 2002. It's definitely old-school grind core, steeped in classics like Napalm Death's Scum and From Enslavement to Obliteration. In Poland, bands like Psychoneurosis and D.O.C. played similarly back in the days.

The album consists of very fast and short tracks, with the drummer playing a lot of blast beats. The vocals are extremely screamy (more), while there's less growls.

What distinguishes My Mind's Mine from Napalm Death is the slightly more technical playing of the guitarists, who still deliver a grind core with such pure, raw energy. It might not quite be 80s nostalgia in terms of sound, but in terms of music, it's more like it. It's almost constant obliteration this band delivers, and the sound has that cool, dirty edge that's pleasing my ears. And most importantly, the album is full of dynamic, chaotic and noisy grind core, which cleanses the worms in the brain. Sometimes there's some grind punk with a mock melody and simpler riffs, but that's it; that's all there is to it. The material is short, so it's a quick listen, which provides a nice reset for my mind. I probably see no point in going into detail about individual tracks, because all I heard on the album will make you headbang and throw your own body against the wall. That all causes the crazy music of My Mind`s Mine at its top noise scale.

Sławek Migacz



..::TRACK-LIST::..

1. Nothing 00:25
2. Signing Up 00:27
3. Lockup Volunteers 00:56
4. Anti-Man 00:45
5. On the Soil of Greed 00:48
6. In Decay 01:00
7. I Lied 00:48
8. Empty Figureheads 00:40
9. Sociopath 00:31
10. (Rooth cover) 00:42
11. Easy Come - Easy Go 00:26
12. Numbered Corpse 00:57
13. Pest 00:37
14. Seen and Not Seen 00:49
15. Remote Controller 00:14
16. Switch Blade Attitude 00:40
17. Imago Mundi 00:51
18. Confront 00:45
19. The Game (Infest cover) 00:28
20. Reproach 00:44
21. My Minds Mine 00:27
22. Mobilization of Chaos 00:36
23. Born Tired 00:37
24. Pretentious Idols 04:38



..::OBSADA::..

Vocals - Rosco
Bass - Bert
Drums - Ype
Guitar - Shantia



https://www.youtube.com/watch?v=nEZ_W4N0Qss


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

Genre: Technical/Progressive Thrash Metal
Country of Artist (Band): Poland
Year of Release: 2024 - 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 01:55:30
Availability of scans in the download: No

Tracklist:
2024 - Instrumental (01:08:37)
2026 - Beczkomiot (00:46:53)

https://www.metal-archives.com/bands/Keg_Thrower/3540545339

...( Info )...

Artist: Motörhead
Title: Motörhead (40th Anniversary Edition)
Year: 1977/2017
Genre: Rock
Style: Heavy Metal, Hard Rock
Publisher (label): Chiswick Records
Country: US
Duration: 01:17:44
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Motörhead (00:03:10)
02. Vibrator (00:03:36)
03. Lost Johnny (00:04:13)
04. Iron Horse - Born To Lose (00:05:20)
05. White Line Fever (00:02:37)
06. Keep Us On The Road (00:05:55)
07. The Watcher (00:04:27)
08. Train Kept A-Rollin' (00:03:16)
09. City Kids (Bonus Track) (00:03:28)
10. Beer Drinkers & Hell Raisers (Bonus Track) (00:03:27)
11. On Parole (Bonus Track) (00:06:00)
12. Instro (Bonus Track) (00:02:29)
13. I'm Your Witch Doctor (Bonus Track) (00:02:59)
14. Lost Johnny (Mix 2) (00:04:17)
15. City Kids (Mix 1) (00:03:23)
16. I'm Your Witch Doctor (Alternative Mix) (00:02:40)
17. The Watcher (Mix 3) (00:04:32)
18. White Line Fever (Mix 7) (00:02:36)
19. Keep Us On The Road (Mix 1) (00:06:06)
20. Motörhead (Alternative Vocal & Guitar Solo) (00:03:13)

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


..::OPIS::..

Old schoolowy black thrash metal w wykonaniu jednego z najdłużej działających zespołów z Portugalii, miłe dla ucha dźwięki przeznaczone dla fanów starego brzmienia - Piledriver, Bathory, Whiplash, Celtic Frost...


The sophomore release of the portuguese venomous beast, entitled “Pornokrates: Deo Gratias”, retells the story of vaticanal pornotheology; a papal compendium of moral practice not theory, in a new special edition by Osmose to further spread the good word of Evil Metal throughout the orb and the sacred city.

Totally recommended to the fans of NIFELHEIM, HELLHAMMER, SODOM, VENOM, JUDAS PRIEST, BATHORY, the old fucking great icons of what mean HEAVY BLACK THRASH METAL!



..::TRACK-LIST::..

1. Deo Gratias: Harmonia Mundi 01:12
2. Rancor 03:39
3. Cadafalso 05:20
4. Labyrinto 03:39
5. Metastese 04:00
6. Necro Rock n Roll 03:54
7. Seita 06:23
8. Rebanho De Lobos 03:32
9. Ecumenica Matanca Por Jesus 03:46
10. Materia Negra 04:39
11. Voivodina 03:21
12. Pornokrates 04:26



..::OBSADA::..

Helregni - Bass
Mantus - Guitars
Belathauzer - Vocals, Guitars (rhythm)
Arrno Maalm - Drums




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


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

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


..::OPIS::..

Old schoolowy black thrash metal w wykonaniu jednego z najdłużej działających zespołów z Portugalii, miłe dla ucha dźwięki przeznaczone dla fanów starego brzmienia - Piledriver, Bathory, Whiplash, Celtic Frost...


The sophomore release of the portuguese venomous beast, entitled “Pornokrates: Deo Gratias”, retells the story of vaticanal pornotheology; a papal compendium of moral practice not theory, in a new special edition by Osmose to further spread the good word of Evil Metal throughout the orb and the sacred city.

Totally recommended to the fans of NIFELHEIM, HELLHAMMER, SODOM, VENOM, JUDAS PRIEST, BATHORY, the old fucking great icons of what mean HEAVY BLACK THRASH METAL!



..::TRACK-LIST::..

1. Deo Gratias: Harmonia Mundi 01:12
2. Rancor 03:39
3. Cadafalso 05:20
4. Labyrinto 03:39
5. Metastese 04:00
6. Necro Rock n Roll 03:54
7. Seita 06:23
8. Rebanho De Lobos 03:32
9. Ecumenica Matanca Por Jesus 03:46
10. Materia Negra 04:39
11. Voivodina 03:21
12. Pornokrates 04:26



..::OBSADA::..

Helregni - Bass
Mantus - Guitars
Belathauzer - Vocals, Guitars (rhythm)
Arrno Maalm - Drums




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


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

...( Info )...
Kategoria: Music
Styl: Black Death Metal
Kraj: Poland
Format: FLAC

https://www.metal-archives.com/albums/Behemoth/I%2C_Scvlptor/1442569

...( TrackList )...
01. I, Scvlptor
02. Lord ov the Horizons
03. Rise of the Blackstorm of Evil
04. In Thy Pandemaeternum
05. Begotten
06. In League with Satan (Venom cover)
07. The Return of Darkness and Evil (Bathory cover) (live)
08. Lord ov the Horizons (Rough mix)
...( Dane Techniczne )...
Bit depth: 16 Bit / 44.1 kHz
Audio codec : FLAC
Rip type : image+.cue+.log
Audio bitrate : 1008 kbps
Scans from the disc : Yes
Length : 00:37:50

..::INFO::..

---------------------------------------------------------------------
Lou Reed & Metallica - Lulu - (2 CD)
---------------------------------------------------------------------

Artist...............: Lou Reed & Metallica
Album................: Lulu
Genre................: Metal
Source...............: CD
Year.................: 2011
Ripper...............: EAC (Secure mode) & Lite-On iHAS124
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.5.0 20250211
Quality..............: Lossless, (avg. compression: 61-72 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........: Vertigo

Included.............: NFO, M3U, CUE
Covers...............: Front Back CD

---------------------------------------------------------------------
Tracklisting - CD 1
---------------------------------------------------------------------

1. Lou Reed & Metallica - Brandenburg Gate [04:21]
2. Lou Reed & Metallica - The View [05:20]
3. Lou Reed & Metallica - Pumping Blood [07:24]
4. Lou Reed & Metallica - Mistress Dread [06:52]
5. Lou Reed & Metallica - Iced Honey [04:37]
6. Lou Reed & Metallica - Cheat On Me [11:26]

Playing Time.........: 40:02
Total Size...........: 285,43 MB

---------------------------------------------------------------------
Tracklisting - CD 2
---------------------------------------------------------------------

1. Lou Reed & Metallica - Frustration [08:33]
2. Lou Reed & Metallica - Little Dog [08:01]
3. Lou Reed & Metallica - Dragon [11:10]
4. Lou Reed & Metallica - Junior Dad [19:28]

Playing Time.........: 47:14
Total Size...........: 293,32 MB


Recorded April 2011 - June 2011 at HQ in San Rafael, CA.

Bass – Robert Trujillo
Drums – Lars Ulrich
Guitar [Guitars] – Kirk Hammett
Guitar [Guitars], Synthesizer [Continuum], Vocals – Lou Reed
Guitar [Guitars], Vocals – James Hetfield
Lyrics By – Lou Reed
Music By – Lou Reed, Metallica
Musician [Additional], Cello – Marika Hughes
Musician [Additional], Electronics – Sarth Calhoun
Musician [Additional], Viola – Ron Lawrence
Musician [Additional], Violin – Megan Gould
Musician [Additional], Violin, Viola, Arranged By [String Arrangements] – Jenny Scheinman

Genre: Black | Thrash Metal
Country: Poland
Year of release: 2019
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 00:37:22
Scans available: front

Tracklist:
1. Black Army 3:27
2. The Chapel Of Death 3:25
3. Feasting On Dead Bodies 4:00
4. The Burning Flames Of Ignorance 3:22
5. Slay, Swive And Devour 3:53
6. The Punishment 3:22
7. Death By The Cleansing Fire 3:30
8. Grunberger (Drinking with the Devil) 3:19
9. March Of Death 5:25
10.Atrocious Saviour 3:53

Genre: Black/Thrash Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 44:25
Availability of scans in the distribution content: no

Tracklist:
01. Totengasse
02. Frankenstein Terror
03. Divine Winds of Death
04. The House of Six Corpses
05. Hypnos/Thanatos
06. In the Cold
07. Cotard Syndrome
08. Unit 731
09. November 9th, 1888
10. Agony

...( Info )...

Artist: Rammstein
Title: Made In Germany 1995 - 2011
Year: 2011
Genre: Rock
Style: Industrial Metal, Hard Rock
Publisher (label): Vertigo Berlin
Duration: 02:26:14
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Engel (00:04:25)
02. Links 2 3 4 (00:03:40)
03. Keine Lust [Explicit] (00:03:42)
04. Mein Teil (00:04:39)
05. Du hast (00:03:56)
06. Du riechst so gut (00:04:33)
07. Ich will (00:03:38)
08. Mein Herz brennt (00:04:40)
09. Mutter (00:04:29)
10. Pussy [Explicit] (00:03:59)
11. Rosenrot (00:03:53)
12. Haifisch (00:03:43)
13. Amerika (00:03:47)
14. Sonne (00:04:06)
15. Ohne dich (00:04:30)
16. Mein Land (00:03:53)
17. Du riechst so gut '98 (RMX By Faith No More) (00:01:59)
18. Du hast (RMX By Jacob Hellner) (00:06:43)
19. Stripped (RMX By Johan Edlund (Tiamat)) (00:04:23)
20. Sonne (RMX By Clawfinger) (00:04:10)
21. Links 2 3 4 (RMX By Westbam) (00:03:41)
22. Mutter (RMX By Sono) (00:07:22)
23. Feuer frei! (RMX By Junkie Xl) (00:04:11)
24. Mein Teil (RMX By Pet Shop Boys) (00:04:05)
25. Amerika (RMX By Olsen Involtini) (00:03:16)
26. Ohne dich (RMX By Laibach) (00:03:59)
27. Keine Lust (RMX By Black Strobe) (00:07:08)
28. Benzin (RMX By Meshuggah) (00:05:05)
29. Rosenrot (RMX By Northern Lite) (00:04:46)
30. Pussy (RMX By Scooter) [Explicit] (00:04:54)
31. Rammlied (RMX By Devin Townsend) (00:05:06)
32. Ich tu dir weh (RMX By Fukkk Offf) [Explicit] (00:06:08)
33. Haifisch (RMX By Hurts) (00:03:45)

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


..::OPIS::..

'Esoterrorcult' to prawdziwe dzieło sztuki.
Jest nieskończenie mroczny i złowrogi, ale jednocześnie urzekający. Pustka na początku... na początku po prostu się w nią zanurzasz, ale po drugim czy trzecim przesłuchaniu zaczynasz dostrzegać aspekty i przekazy, skupiając się na ważnych rzeczach, a w końcu możesz je złożyć w jeden wielki obraz, jak obrazy Boscha...

FA


As blasphemous and corrosive as it is, Karkosa's new album Esoterrorcult reaches a level of catchiness that blackened death metal rarely nails, but honestly could stand to reach more often. There's no tradeoffs happening here, as Esoterrorcult is big on impact and vile, crawling riffs--but the Indiana group's core offering comes with engaging trappings that only add to the experience. Somber spoken word interludes, near-operatic gang vocals, and massive production make every song memorable, though the band's dynamic songwriting plays a role there as well. It's interesting to hear scream-along-worthy lyrics next to exacting technical staccato riffs, but damn if it doesn't work here.

Invisible Oranges


At first listen of Karkosa’s full length debut album Esoterrorcult released on Redefining Darkness Records, I must admit I was a little underwhelmed. Sure, it is a barrage of relentless warring guitars, growls, screams, howls, and machine gun blast beats that feels like being fully bulldozed by a speeding semi-truck full of wolverines, but it just sounded like that is all it was going to be. Been there done that if you will. Well, I am here to admit that I was being a total dickwad and my brutal black metal credentials were under serious question at the time. Esoterrorcult is all those wonderful or grim, blackened death metal things that we all love so much, but it is also so much more. Once this album’s hooks really dig in, it reveals itself to be a completely different animal full of more than just piss and venom. It is dissonantly complex, often with slight elements of tech death and layers of progressiveness that takes this so much further into the realm of nightmarish soundscapes. To be fair I was in heavy traffic the very first time I listened to this, so I was already distracted and highly irritable. Let us move on, shall we.

Formed in 2013, Karkosa are an aggressive black metal quartet hailing from Fort Wayne Indiana. Having released a highly touted EP Harvest of the Adept in 2018, the band showed serious promise from the start. Consisting of Alden Debee, Brenton Weaver (guitars), Ian Lemberg (drums) and Rafael Palacios (vocals), Esoterrorcult is an infernal coming together of blasphemous, corrosive, and violently dark black metal. You will be hard-pressed to find a more menacing as well as musically fresh example of this genre.

Right from the beginning of the record, track one, Encorcelled Spirits, bursts out of the speakers like an angry demon full of hellfire. A brief guitar intro last about nine seconds before a cacophony of blast beats and searing tremolo picked riffs flog the ever-living life from your body. A lone tortured scream over the fiery beginning riffs sets the mood of pure agony. This track alone tells the story of how varied this record really is. Guitar squawks, death metal riffs mixed with burning black metal speed, a huge singable chorus that is alarmingly hypnotizing, progressive sensibilities that changes the mood from violently possessed to grim darkness all come together in a way that feels completely organic. The vocal range from Rafael goes from memorable shrieks, and growls to spoken word and course yells. He truly sets this release off with tremendous vocal personality. The punishing drums from Ian hit extreme levels of destruction on tracks like Poison of God and Domini Sanctum. His insane fills are as lethal as his blast beats. The guitars of Alden and Brenton are full of hateful toxicity throughout the entire record but are at their highest point in tracks like Angelus Ejectiones, where hooky death metal riffs meet dissonant, frenzied black metal. Glorious from beginning to end.

Honestly, I could not be more impressed with how quickly this record showed me its true vile face. The production sounds massive as well as oppressive. By the second listen, one where I actually listened, I felt like I was in hell being ripped apart repeatedly, each time a little more complex and horrifying than the first. Esoterrocult is a brutal record full of hate, spite, malice, and engaging songwriting. Not to be missed.

Rick Farley



..::TRACK-LIST::..

1. Ensorcelled Spirits 05:08
2. Poison of God 04:09
3. Tomb of Hiram Abiff 04:45
4. Dominae Sanctum 05:31
5. Axis Mundi 02:58
6. Remnants of Creation 05:01
7. Cyclopian Gateway 05:16
8. Shattered Throne 04:42
9. The Freezing Shadows of the Eternal Winter 06:52
10. Angelus Ejectiones 05:53



..::OBSADA::..

Alden Debee - Guitars
Brenton Weaver - Guitars
Rafael Palacios- Vocals
Ian Lemberg - Drums

bass performed by Kurt Ley



https://www.youtube.com/watch?v=TXlJJ4V6Q6w


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

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


..::OPIS::..

'Esoterrorcult' to prawdziwe dzieło sztuki.
Jest nieskończenie mroczny i złowrogi, ale jednocześnie urzekający. Pustka na początku... na początku po prostu się w nią zanurzasz, ale po drugim czy trzecim przesłuchaniu zaczynasz dostrzegać aspekty i przekazy, skupiając się na ważnych rzeczach, a w końcu możesz je złożyć w jeden wielki obraz, jak obrazy Boscha...

FA


As blasphemous and corrosive as it is, Karkosa's new album Esoterrorcult reaches a level of catchiness that blackened death metal rarely nails, but honestly could stand to reach more often. There's no tradeoffs happening here, as Esoterrorcult is big on impact and vile, crawling riffs--but the Indiana group's core offering comes with engaging trappings that only add to the experience. Somber spoken word interludes, near-operatic gang vocals, and massive production make every song memorable, though the band's dynamic songwriting plays a role there as well. It's interesting to hear scream-along-worthy lyrics next to exacting technical staccato riffs, but damn if it doesn't work here.

Invisible Oranges


At first listen of Karkosa’s full length debut album Esoterrorcult released on Redefining Darkness Records, I must admit I was a little underwhelmed. Sure, it is a barrage of relentless warring guitars, growls, screams, howls, and machine gun blast beats that feels like being fully bulldozed by a speeding semi-truck full of wolverines, but it just sounded like that is all it was going to be. Been there done that if you will. Well, I am here to admit that I was being a total dickwad and my brutal black metal credentials were under serious question at the time. Esoterrorcult is all those wonderful or grim, blackened death metal things that we all love so much, but it is also so much more. Once this album’s hooks really dig in, it reveals itself to be a completely different animal full of more than just piss and venom. It is dissonantly complex, often with slight elements of tech death and layers of progressiveness that takes this so much further into the realm of nightmarish soundscapes. To be fair I was in heavy traffic the very first time I listened to this, so I was already distracted and highly irritable. Let us move on, shall we.

Formed in 2013, Karkosa are an aggressive black metal quartet hailing from Fort Wayne Indiana. Having released a highly touted EP Harvest of the Adept in 2018, the band showed serious promise from the start. Consisting of Alden Debee, Brenton Weaver (guitars), Ian Lemberg (drums) and Rafael Palacios (vocals), Esoterrorcult is an infernal coming together of blasphemous, corrosive, and violently dark black metal. You will be hard-pressed to find a more menacing as well as musically fresh example of this genre.

Right from the beginning of the record, track one, Encorcelled Spirits, bursts out of the speakers like an angry demon full of hellfire. A brief guitar intro last about nine seconds before a cacophony of blast beats and searing tremolo picked riffs flog the ever-living life from your body. A lone tortured scream over the fiery beginning riffs sets the mood of pure agony. This track alone tells the story of how varied this record really is. Guitar squawks, death metal riffs mixed with burning black metal speed, a huge singable chorus that is alarmingly hypnotizing, progressive sensibilities that changes the mood from violently possessed to grim darkness all come together in a way that feels completely organic. The vocal range from Rafael goes from memorable shrieks, and growls to spoken word and course yells. He truly sets this release off with tremendous vocal personality. The punishing drums from Ian hit extreme levels of destruction on tracks like Poison of God and Domini Sanctum. His insane fills are as lethal as his blast beats. The guitars of Alden and Brenton are full of hateful toxicity throughout the entire record but are at their highest point in tracks like Angelus Ejectiones, where hooky death metal riffs meet dissonant, frenzied black metal. Glorious from beginning to end.

Honestly, I could not be more impressed with how quickly this record showed me its true vile face. The production sounds massive as well as oppressive. By the second listen, one where I actually listened, I felt like I was in hell being ripped apart repeatedly, each time a little more complex and horrifying than the first. Esoterrocult is a brutal record full of hate, spite, malice, and engaging songwriting. Not to be missed.

Rick Farley



..::TRACK-LIST::..

1. Ensorcelled Spirits 05:08
2. Poison of God 04:09
3. Tomb of Hiram Abiff 04:45
4. Dominae Sanctum 05:31
5. Axis Mundi 02:58
6. Remnants of Creation 05:01
7. Cyclopian Gateway 05:16
8. Shattered Throne 04:42
9. The Freezing Shadows of the Eternal Winter 06:52
10. Angelus Ejectiones 05:53



..::OBSADA::..

Alden Debee - Guitars
Brenton Weaver - Guitars
Rafael Palacios- Vocals
Ian Lemberg - Drums

bass performed by Kurt Ley



https://www.youtube.com/watch?v=TXlJJ4V6Q6w


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

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


..::OPIS::..

Może znacie, bo ja, jak dotąd nie, ale już znam. Ci czterej panowie są z Waszyngtonu, lecz w żadnym razie na Iran napadać nie zamierzają. Napadają za to na swoich fanów drugim już w swojej karierze krążkiem. Amerykańce szyją grindujący metal śmierci, który podąża przed siebie w zmiennych tempach, zasypując blastami, miażdżącymi zwolnieniami i bardziej skocznymi akordami. Czasem zaskoczy on krótką solówką, innym razem noisowym przesterem lub przerywnikiem na basie. Wszystkie te elementy wraz ze zmiennymi wokalizami tworzą intensywną i brutalną muzę, która złożona jest również z szybkiego, biczującego kostkowania. „No Peace” ucieka także chwilami w lżejsze rytmy upodabniając się do późniejszej Sepultury, a nawet skręcając w rejony bliższe zmetalizowanemu core’owi w typie Pro-Pain czy też wczesnego Downset. Jednakże death metalowe mielenie i grindowe ataki stanowią większość tego materiału, który został zawarty w dwunastu, krótkich utworach. Katują one przez prawie 22 minuty, swoimi gęstymi riffami, które okresowo przechodzą w dość chaotyczną napierdalankę. To w obrębie tego sposobu na granie, mocne kompozycje, które zwięźle wypowiadają się na polityczne, antywojenne (więc na pewno NO/MÁS nie ma nic do Iranu) i poświęcone wszelkim niesprawiedliwościom społecznym, tematy. Jak dla mnie, fuzja tych wszystkich występujących tutaj pierwiastków, niczym szczególnym się nie wyróżnia i jest najzwyczajniej w świecie, typowym rzępoleniem w tym stylu. Stylu, który trochę łączy późniejszy Napalm Death, dokłada to tego odrobinę Brutal Truth i posypuje całość szczyptą wyżej wymienionych Nowojorczyków czy czymś w rodzaju Exhorder. Wyszedł z tego taki ciężki crossover, który doskonale sprzedaje się w USA lub wśród fanów takiego grania. Mi nie leży, ale miłośnicy takiego ujęcia nie powinni być zawiedzeni.

shub niggurath



D.C. grindcore crushers NO/MAS return with a vicious new single blending hardcore speed, death-metal heft, and razor political urgency. One of the East Coast’s fastest-rising extreme bands, they deliver their most precise and punishing work yet.



DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Grin Reaper



..::TRACK-LIST::..

1. Foreign Threat 00:31
2. Manic 01:55
3. Overthrow 01:03
4. Blood Soaked Soil 01:55
5. Abolition (feat. Gobi Longobardi) 01:52
6. Leech 02:43
7. Act of Killing 01:06
8. Ley Indígena 01:48
9. Choke Point 02:05
10. Spineless 02:12
11. No Peace 01:54
12. Cycle of Sacrifice 02:44



..::OBSADA::..

Roger Rivadeneira - Vocals
John Letzkus - Guitar
Henry Everitt - Drums, Vocals
Joe Vasta - Bass

Additional vocals on Abolition by Gobi Longobardi



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


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

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


..::OPIS::..

Może znacie, bo ja, jak dotąd nie, ale już znam. Ci czterej panowie są z Waszyngtonu, lecz w żadnym razie na Iran napadać nie zamierzają. Napadają za to na swoich fanów drugim już w swojej karierze krążkiem. Amerykańce szyją grindujący metal śmierci, który podąża przed siebie w zmiennych tempach, zasypując blastami, miażdżącymi zwolnieniami i bardziej skocznymi akordami. Czasem zaskoczy on krótką solówką, innym razem noisowym przesterem lub przerywnikiem na basie. Wszystkie te elementy wraz ze zmiennymi wokalizami tworzą intensywną i brutalną muzę, która złożona jest również z szybkiego, biczującego kostkowania. „No Peace” ucieka także chwilami w lżejsze rytmy upodabniając się do późniejszej Sepultury, a nawet skręcając w rejony bliższe zmetalizowanemu core’owi w typie Pro-Pain czy też wczesnego Downset. Jednakże death metalowe mielenie i grindowe ataki stanowią większość tego materiału, który został zawarty w dwunastu, krótkich utworach. Katują one przez prawie 22 minuty, swoimi gęstymi riffami, które okresowo przechodzą w dość chaotyczną napierdalankę. To w obrębie tego sposobu na granie, mocne kompozycje, które zwięźle wypowiadają się na polityczne, antywojenne (więc na pewno NO/MÁS nie ma nic do Iranu) i poświęcone wszelkim niesprawiedliwościom społecznym, tematy. Jak dla mnie, fuzja tych wszystkich występujących tutaj pierwiastków, niczym szczególnym się nie wyróżnia i jest najzwyczajniej w świecie, typowym rzępoleniem w tym stylu. Stylu, który trochę łączy późniejszy Napalm Death, dokłada to tego odrobinę Brutal Truth i posypuje całość szczyptą wyżej wymienionych Nowojorczyków czy czymś w rodzaju Exhorder. Wyszedł z tego taki ciężki crossover, który doskonale sprzedaje się w USA lub wśród fanów takiego grania. Mi nie leży, ale miłośnicy takiego ujęcia nie powinni być zawiedzeni.

shub niggurath



D.C. grindcore crushers NO/MAS return with a vicious new single blending hardcore speed, death-metal heft, and razor political urgency. One of the East Coast’s fastest-rising extreme bands, they deliver their most precise and punishing work yet.



DC deathgrind ensemble No/Más formed almost a decade ago, pumping out a split, two EPs, and a full-length between 2017 and 2022. Four years later, No/Más assails 2026 from the jump, touring with Exhumed and Oxygen Destroyer as well as crackin’ skulls with their sophomore effort, No Peace. Stylistically similar to their debut Consume/Deny/Repent, No Peace offers listeners twenty-two minutes of throat-punching, toe-stomping aural hooliganism that’s as charming as it is confrontational. Does No/Más’ boisterous, acerbic approach leave listeners with a tolerance for their hijinks, or will they leave No Peace thinking, ‘no thanks?’

While No Peace manifests many upgrades from their (admittedly good) debut, the biggest win might be that No/Más firmly institutes their identity. The change isn’t drastic, and No Peace is a natural progression from Consume/Deny/Repent, but the sophisticated onslaught supplied on this sophomore sweep oozes with sneering confidence. Following in the footsteps of Nails, No/Más balances grindcore, death metal, and hardcore/crust tendencies with playful intelligence, weaving together Full of Hell’s caustic bite, Napalm Death’s thuggish simplicity, and Jungle Rot’s warped melodicism into a densely packed third of an hour. And if those touchstones aren’t enough, No/Más unleashes Sepultura-informed grooves and a slow leak of Pro-Pain into their secret sauce. Not to fret, though, because despite all the influences, No Peace presents as a unified vision, and one that will rouse languid listeners into a frothing fancy.

No/Más’ instrumentation on No Peace sets a high bar with energetic performances, snapping necks with whiplash-inducing riffs and a license to thrill. Joe Vasta’s bass bounces and chugs with in-your-face rumbles throughout No Peace (“Abolition,” “Cycle of Sacrifice”), wielding a thick, surly tone that’ll rabbit punch you into head-banging if you’re standing still. Drummer Henry Everitt wallops the skins hard enough to rattle your ear bones, battering with furious fills (“Abolition”) and dropping to half-time backbeats (“No Peace”) as songs demand. It’s not all about the beatdowns, though, as No/Más injects a welcome helping of melody into No Peace. John Letzkus’ guitar slices through the faff to drench the album in a satisfyingly saturated buzz (“Act of Killing,” “Spineless”), though he also takes the reins and dazzles with efficient, arpeggiated leads (“Leech”) that I wish appeared more. Vocalist Roger Rivadeneira rounds out the quartet, shouting, growling, and screeching in a varied attack that demonstrates a willingness to experiment that was largely absent from Consume/Deny/Repent. In total, No/Más fires on all cylinders throughout No Peace, and never gives you a moment to come up for air.

With only twenty-two minutes on tap, No/Más leaves no room for inessential slop. And besides the half-minute intro flush with wall-of-sound static and indistinct yelling, they wildly succeed. As you’d expect from any decent grindy endeavor, no song pushes past its distilled essence, staying just long enough to rip and bludgeon before getting the fuck out of the way for the next track to exact its toll. No song eclipses the three-minute mark, and each exudes a rabid savagery that seethes with conviction. Additionally, No Peace sounds great—sure, the dynamic range scores low, but it’s exactly how this brand of overstimulating ass-kicking should sound. It’s well-mixed, abrasive, and highlights the rhythm section without sacrificing the sparse six-string fortitude. I wish there were a few more songs like “Leech,” partly because No/Más excels with the tunefulness, but also because I think it would address the biggest opportunity with No Peace—the compact composition allows little room for songs to establish unique flavors, leaving them to sometimes blur together. In the end, though, this is only a minor quibble, and there are many great moments to appreciate.

No/Más hasn’t redefined the DNA of deathgrind with No Peace, but they have contributed a worthy addition to its annals. Corrosive, pummeling bangers streamlined with minimal frills sum up to a blistering platter I’ve quite enjoyed. While I haven’t had the pleasure of seeing No/Más live, this crew boasts the hallmarks of a band that whips a crowd into a frenzy and ends with a broken bone or missing tooth. With twelve tracks running so lean, No Peace is helplessly easy to spin again and again. If they keep pumping out tunes this good, I can’t wait for what comes next. No más? No. Más.

Grin Reaper



..::TRACK-LIST::..

1. Foreign Threat 00:31
2. Manic 01:55
3. Overthrow 01:03
4. Blood Soaked Soil 01:55
5. Abolition (feat. Gobi Longobardi) 01:52
6. Leech 02:43
7. Act of Killing 01:06
8. Ley Indígena 01:48
9. Choke Point 02:05
10. Spineless 02:12
11. No Peace 01:54
12. Cycle of Sacrifice 02:44



..::OBSADA::..

Roger Rivadeneira - Vocals
John Letzkus - Guitar
Henry Everitt - Drums, Vocals
Joe Vasta - Bass

Additional vocals on Abolition by Gobi Longobardi



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


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

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


..::OPIS::..

'Holókauston' wynosi unikalne podejście zespołu, zbudowane wokół nisko strojonych gitar, ceremonialnych wokali i destrukcyjnych struktur rytmicznych, na jeszcze wyższy poziom intensywności.
Zachowując estetykę klasycznego black metalu, album na nowo analizuje gatunkowe rozumienie atmosfery, ciężaru i kompozycji z innej, mroczniejszej perspektywy.



The Age of Wrath is upon Us! At long last, Dark Descent Records presents "Holokauston", the follow-up to Bestia Arcana's acclaimed debut "To Anabainon ek tes Abyssu". Four aphotic hymns to the End-of -Days spoken in sepulchral tongues. Fever- dream oracles of howling gods. Dissonant paeans to mankind's ruin and the final triumph of Death. Who will withstand the Fires of Judgment? Our hands are full of Blood! Oh Lord, our hands are full of Blood!



Bestia Arcana is a band from Naas Alcameth (Nightbringer, Akhlys, Aoratos), so you can roughly guess what the listener will hear on Holókauston. To place Bestia Arcana amongst Naas' other bands in terms of sound, it can be said that they are most reminiscent of Nightbringer in terms of complexity and this epic, majestic vibe, but they are much more massive, chaotic and not as focused on the high leads. Instead they play with lower-pitched rhythm guitars.

But now to Holókauston: This album really has something of a mad, cacophonous sermon. This feeling is mainly created by the vocals. When it comes to vocals, you have to mention Ophis, who also contributed significant parts, especially on Terra Damnata. On this album, however, Ophis takes up a large part of the vocals, whose voice is less reminiscent of classic black metal screams than of operatic, absolutely insane chanting, which creates the aforementioned sermon vibe. Naas is also often heard on the album, but instead of his distinctive screams, he contributes his incantatory growls, which support Ophis very well.
Occasionally, very strong voice eaters are also used, which really make the singers sound like they are underwater.

Another important element are the guitars, which, as already mentioned, are tuned much lower than in Naas' other projects, consequently giving off a certain chaotic death metal vibe. The distortion on the guitars is sometimes so strong that it resembles an apocalyptic thunderstorm and sounds even more massive with a good pinch of reverb. But there are also some lead parts, which usually throw around dissonances with strangely large intervals between two notes.

Menthor's drumming supports the overall picture perfectly, or to be more precise, they actually help create it. Unbelievably powerful blast beats, evocative toms used a lot, a lot of midtempo and partly also funeral doom-like passages, which are so cruelly drawn out that it hurts. Grandiose!

The whole thing is supported by such a dense and powerful production, which is only capable of effectively producing these waves of pure chaos. The sound resembles a roll of thunder that penetrates the auditory canals.

Another highlight is the structure of the album: there are only four songs, but three of them are over 10 minutes long, resulting in a pleasant 41-minute listening experience that is over surprisingly quickly. The first two songs in particular form the most chaotic and massive elements on the entire album, sounding like a thousand portents of Armageddon being loudly spread.

Then comes a cut, Howling, and this presents itself much more subtle and atmospheric than the first two songs. The tempo is completely taken out, but it is played entirely in doom tempo. This song presents itself like a silent storm of death, quietly bringing the hours before the end. It creates a bit of a sense of foreshadowing of what is to come. And this turns out in the form of Iniquity, the last song, which skilfully combines all the elements once again, from the chaotic technical riffs and blast attacks of the first two songs and the beastly slow playing of Howling, but also brings along enough originality. Iniquity is the most epic song on the album, as it features some choir vocals on the one hand, and melodic orchestral samples on the other, which really give the song a doomsday feel. In addition, the song contains an absolutely disturbing dissonant lead part that is really intense. The album and the song ends with a beautiful sample and a melody, which could already be heard in the first half of the song and offers an excellent conclusion to this epic masterpiece.

As a rule, I can't say much about the lyrics: but here are some lines that are used so skilfully that they burn themselves into skulls: The "Term of all that liveth" quote from Golden Dawn, the often repeated "Our hands are full of blood, Oh lord" on Iniquity, the "Consumatum est (it is consumed) and the "The age of wrath is upon us, who will withstand the fires of judgment" on Hellmouth are just a few examples.

The album artworks are two of the best I have ever seen. Both the Chalice of Revelation, penned by David Herrerias with very beautiful colour gradients, the golden vessel and the prominent serpents, and second: the burning city on the digipack, which really immerses you in the end-time battle, could hang like an oil painting in a castle.

What else can be said about this: For me, Holókauston is one of the best black metal albums of all times, because it stands for itself above all. There is nothing that sounds like Holókauston, it cannot be compared to anything, and even within the Naas Alcameth discography, it shows itself to be unique.

John Baal


From the mystical forests of Colorado hail the three bringers of death. Naas Alcameth and Menthor strike again, in cooperation with a third anonymous member. Naas Alcameth's projects (Nightbringer, Akhlys, Aoratos) are widely known among the underground as some of the most unique, innovative and frightening black metal in the scene, each project Naas worked on proved his unmistakable ability to create mesmerizing sonic landscapes, exploring the occult and esoteric themes in their purest form.

While the aforementioned projects of Naas somewhat follow certain patterns and remain generally familiar, they always bring something new to the table and explore different esoteric themes, Bestia Arcana is no different in that regard, bringing an entirely different approach to their own, well recognizable black metal formula once again and expanding upon it.

"Holókauston" is composed of 4 massive tracks, each of them ranging from 8 to 11 minutes long, all brewed from the same formula, yet each of them presenting an entirely different and equally fascinating results, Bestia Arcana has enough to offer in each track to keep the listener invested in the music until the last minutes of the album. With both Naas' masterfully crafted compositions as well as spectacular vocal performance and the deadly, powerful and mesmerizing drumming of Menthor, "Holókauston" is a relentless, apocalyptic black metal offering that surpasses all expectations and reaches far beyond most conventional black metal and instead focuses on delivering their unique approach to the genre that is far more dark, relentless and well put than most of your pseudo "true" black metal.

The album opens with the most intense track on the album, "Hellmouth", which begins with the lone toll of the bell shortly followed by maniacal riffing and inhumanly precise and crushing blasting of the drums. The demented, narrative vocals begin to chant as everything unfolds into a bursting wall of orgasmic sonic explosion. The entire track is a bombastic soundscape filled with ferocious passages and adrenaline-inducing intensity that bounces between being extremely addictive yet delivering a haunting, dark and unpredictive dose of powerful and atmosphere-drenched black metal.

"Howling", a third track on the album, stands out the most out of all four tracks, as it is an 11 minute-long, slow, droning, you could say - Howling, invocation that is just as brutal and relentless as the rest of the fast-paced tracks. The slow, almost funeral doom-esque tempo of the track, combined with demented orations and deep, miserably sluggish guitar tones and drums, creates a truly oppressive atmosphere drowned in apocalyptic, frightening ambiance and droning movements. "Howling" is a powerful statement that delivers an incomprehensible weight and sets the dark tone for the entire album.

The album jumps between incredibly intense and tense, powerful black metal blasting and astonishingly deep, heavy passages that are more reminiscent of funeral doom, except with more dynamic and layers of atmosphere, drone and ambiance. What makes "Holókauston" great however is not what and how many elements it uses, because every band can throw all kind of noise in the mix and hope for the best, Bestia Arcana is strict and direct, every single sound on this album has its purpose and every time you listen to it, it is a journey that has its beginning and the end, it is an album that had a vision and a concept that was executed perfectly with no compromise, the way everything blends together and creates the demented, apocalyptic black metal sound that Bestia Arcana was able to produce is nothing short of a masterpiece and proves that there is still a lot of room for innovation in the genre.

In short, a must listen!

InTheShadowOfAThousandBeans



..::TRACK-LIST::..

1. Hellmouth 10:33
2. Obscurator 08:25
3. Howling 11:09
4. Iniquity 11:21



..::OBSADA::..

Naas Alcameth - Lyrics, Synthesizers, Vocals, Ambiance, Guitars, Songwriting, Bass
Menthor - Drums
Ophis - Vocals (lead), Lyrics

Guest, Vocals - T. Kaos



https://www.youtube.com/watch?v=fuWl3jTCmTk


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

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


..::OPIS::..

'Holókauston' wynosi unikalne podejście zespołu, zbudowane wokół nisko strojonych gitar, ceremonialnych wokali i destrukcyjnych struktur rytmicznych, na jeszcze wyższy poziom intensywności.
Zachowując estetykę klasycznego black metalu, album na nowo analizuje gatunkowe rozumienie atmosfery, ciężaru i kompozycji z innej, mroczniejszej perspektywy.



The Age of Wrath is upon Us! At long last, Dark Descent Records presents "Holokauston", the follow-up to Bestia Arcana's acclaimed debut "To Anabainon ek tes Abyssu". Four aphotic hymns to the End-of -Days spoken in sepulchral tongues. Fever- dream oracles of howling gods. Dissonant paeans to mankind's ruin and the final triumph of Death. Who will withstand the Fires of Judgment? Our hands are full of Blood! Oh Lord, our hands are full of Blood!



Bestia Arcana is a band from Naas Alcameth (Nightbringer, Akhlys, Aoratos), so you can roughly guess what the listener will hear on Holókauston. To place Bestia Arcana amongst Naas' other bands in terms of sound, it can be said that they are most reminiscent of Nightbringer in terms of complexity and this epic, majestic vibe, but they are much more massive, chaotic and not as focused on the high leads. Instead they play with lower-pitched rhythm guitars.

But now to Holókauston: This album really has something of a mad, cacophonous sermon. This feeling is mainly created by the vocals. When it comes to vocals, you have to mention Ophis, who also contributed significant parts, especially on Terra Damnata. On this album, however, Ophis takes up a large part of the vocals, whose voice is less reminiscent of classic black metal screams than of operatic, absolutely insane chanting, which creates the aforementioned sermon vibe. Naas is also often heard on the album, but instead of his distinctive screams, he contributes his incantatory growls, which support Ophis very well.
Occasionally, very strong voice eaters are also used, which really make the singers sound like they are underwater.

Another important element are the guitars, which, as already mentioned, are tuned much lower than in Naas' other projects, consequently giving off a certain chaotic death metal vibe. The distortion on the guitars is sometimes so strong that it resembles an apocalyptic thunderstorm and sounds even more massive with a good pinch of reverb. But there are also some lead parts, which usually throw around dissonances with strangely large intervals between two notes.

Menthor's drumming supports the overall picture perfectly, or to be more precise, they actually help create it. Unbelievably powerful blast beats, evocative toms used a lot, a lot of midtempo and partly also funeral doom-like passages, which are so cruelly drawn out that it hurts. Grandiose!

The whole thing is supported by such a dense and powerful production, which is only capable of effectively producing these waves of pure chaos. The sound resembles a roll of thunder that penetrates the auditory canals.

Another highlight is the structure of the album: there are only four songs, but three of them are over 10 minutes long, resulting in a pleasant 41-minute listening experience that is over surprisingly quickly. The first two songs in particular form the most chaotic and massive elements on the entire album, sounding like a thousand portents of Armageddon being loudly spread.

Then comes a cut, Howling, and this presents itself much more subtle and atmospheric than the first two songs. The tempo is completely taken out, but it is played entirely in doom tempo. This song presents itself like a silent storm of death, quietly bringing the hours before the end. It creates a bit of a sense of foreshadowing of what is to come. And this turns out in the form of Iniquity, the last song, which skilfully combines all the elements once again, from the chaotic technical riffs and blast attacks of the first two songs and the beastly slow playing of Howling, but also brings along enough originality. Iniquity is the most epic song on the album, as it features some choir vocals on the one hand, and melodic orchestral samples on the other, which really give the song a doomsday feel. In addition, the song contains an absolutely disturbing dissonant lead part that is really intense. The album and the song ends with a beautiful sample and a melody, which could already be heard in the first half of the song and offers an excellent conclusion to this epic masterpiece.

As a rule, I can't say much about the lyrics: but here are some lines that are used so skilfully that they burn themselves into skulls: The "Term of all that liveth" quote from Golden Dawn, the often repeated "Our hands are full of blood, Oh lord" on Iniquity, the "Consumatum est (it is consumed) and the "The age of wrath is upon us, who will withstand the fires of judgment" on Hellmouth are just a few examples.

The album artworks are two of the best I have ever seen. Both the Chalice of Revelation, penned by David Herrerias with very beautiful colour gradients, the golden vessel and the prominent serpents, and second: the burning city on the digipack, which really immerses you in the end-time battle, could hang like an oil painting in a castle.

What else can be said about this: For me, Holókauston is one of the best black metal albums of all times, because it stands for itself above all. There is nothing that sounds like Holókauston, it cannot be compared to anything, and even within the Naas Alcameth discography, it shows itself to be unique.

John Baal


From the mystical forests of Colorado hail the three bringers of death. Naas Alcameth and Menthor strike again, in cooperation with a third anonymous member. Naas Alcameth's projects (Nightbringer, Akhlys, Aoratos) are widely known among the underground as some of the most unique, innovative and frightening black metal in the scene, each project Naas worked on proved his unmistakable ability to create mesmerizing sonic landscapes, exploring the occult and esoteric themes in their purest form.

While the aforementioned projects of Naas somewhat follow certain patterns and remain generally familiar, they always bring something new to the table and explore different esoteric themes, Bestia Arcana is no different in that regard, bringing an entirely different approach to their own, well recognizable black metal formula once again and expanding upon it.

"Holókauston" is composed of 4 massive tracks, each of them ranging from 8 to 11 minutes long, all brewed from the same formula, yet each of them presenting an entirely different and equally fascinating results, Bestia Arcana has enough to offer in each track to keep the listener invested in the music until the last minutes of the album. With both Naas' masterfully crafted compositions as well as spectacular vocal performance and the deadly, powerful and mesmerizing drumming of Menthor, "Holókauston" is a relentless, apocalyptic black metal offering that surpasses all expectations and reaches far beyond most conventional black metal and instead focuses on delivering their unique approach to the genre that is far more dark, relentless and well put than most of your pseudo "true" black metal.

The album opens with the most intense track on the album, "Hellmouth", which begins with the lone toll of the bell shortly followed by maniacal riffing and inhumanly precise and crushing blasting of the drums. The demented, narrative vocals begin to chant as everything unfolds into a bursting wall of orgasmic sonic explosion. The entire track is a bombastic soundscape filled with ferocious passages and adrenaline-inducing intensity that bounces between being extremely addictive yet delivering a haunting, dark and unpredictive dose of powerful and atmosphere-drenched black metal.

"Howling", a third track on the album, stands out the most out of all four tracks, as it is an 11 minute-long, slow, droning, you could say - Howling, invocation that is just as brutal and relentless as the rest of the fast-paced tracks. The slow, almost funeral doom-esque tempo of the track, combined with demented orations and deep, miserably sluggish guitar tones and drums, creates a truly oppressive atmosphere drowned in apocalyptic, frightening ambiance and droning movements. "Howling" is a powerful statement that delivers an incomprehensible weight and sets the dark tone for the entire album.

The album jumps between incredibly intense and tense, powerful black metal blasting and astonishingly deep, heavy passages that are more reminiscent of funeral doom, except with more dynamic and layers of atmosphere, drone and ambiance. What makes "Holókauston" great however is not what and how many elements it uses, because every band can throw all kind of noise in the mix and hope for the best, Bestia Arcana is strict and direct, every single sound on this album has its purpose and every time you listen to it, it is a journey that has its beginning and the end, it is an album that had a vision and a concept that was executed perfectly with no compromise, the way everything blends together and creates the demented, apocalyptic black metal sound that Bestia Arcana was able to produce is nothing short of a masterpiece and proves that there is still a lot of room for innovation in the genre.

In short, a must listen!

InTheShadowOfAThousandBeans



..::TRACK-LIST::..

1. Hellmouth 10:33
2. Obscurator 08:25
3. Howling 11:09
4. Iniquity 11:21



..::OBSADA::..

Naas Alcameth - Lyrics, Synthesizers, Vocals, Ambiance, Guitars, Songwriting, Bass
Menthor - Drums
Ophis - Vocals (lead), Lyrics

Guest, Vocals - T. Kaos



https://www.youtube.com/watch?v=fuWl3jTCmTk


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

Genre: Thrash Metal/Hardcore
Country of artist (band): Poland
Year of release: 2026
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 33:45
Contains scans in the distribution content: no

Tracklist:
01. Intro
02. Zasolona Ziemia
03. Moderca
04. To Tam Gdzie Bóg Odwrócił Się Plecami
05. Walka O Tożsamość
06. Z Kołyski Do Grobu
07. Jestem Z Innego Świata
08. Kłamca

...( Info )...

Artist: Acid Drinkers
Title: P.E.E.P. Show
Year: 2016
Genre: Thrash Metal, Crossover
Country: Poland
Duration: 00:45:53
Format/Codec: MP3
Audio Bitrate: 320 kbps

...( TrackList )...

01. Let'em Bleed
02. Monkey Mosh
03. Sociopath
04. Become a Bitch
05. Thy Will Be Done
06. 50?! Don't Slow Down
07. The Cannibal
08. God Is (Isn't) Dead
09. Diamond Throats
10. Heavenly Hellfucker
11. After the Vulture

...( Info )...

Artist: Mastodon
Album: Marrow Deep
Release Date: 2026
Genre: Progressive Metal, Sludge Metal
Format: MP3
Bitrate: 320 kbps
Duration: 01:05:30

...( TrackList )...


01 - Barbarians Blood [00:04:37]
02 - Poisonous Weapons [00:05:00]
03 - Your Ghost Again [00:04:35]
04 - Snakes for Dinner [00:04:57]
05 - Out Like a Lamb [00:05:38]
06 - In the Ruins [00:05:37]
07 - They're Coming For You [00:05:14]
08 - Golden Spires [00:05:39]
09 - Moth and Bone [00:04:46]
10 - A Vampire's Demeanor [00:04:50]
11 - The Vanishing [00:06:43]
12 - The Three Fates [00:07:47]

...( Info )...

Artist: Kamelot
Album: Dark Asylum
Release Date: 2026
Genre: Symphonic Power Metal
Format: MP3
Bitrate: 320 kbps
Duration: 00:51:22

...( TrackList )...

01 - Sanctorium (feat. Ignacia Fernández) [00:01:39]
02 - Ashen World (feat. Ignacia Fernández) [00:04:13]
03 - Dark Asylum [00:04:39]
04 - Sanctuary (feat. Clémentine Delauney, Ignacia Fernández) [00:04:25]
05 - Nocte Veritas [00:00:47]
06 - One Last Masquerade (feat. Tobias Sammet) [00:04:40]
07 - Ivy, My Dear [00:04:34]
08 - Godlike Alchemy [00:03:06]
09 - The Sleeping Mind (Orphic Paradigm) [00:03:55]
10 - Kaleidoscope [00:03:52]
11 - Enigma (Think of Me) [00:04:56]
12 - Cassandra's Disease [00:03:29]
13 - Beneath the Moon (Tunglið) (feat. Rannveig Sif Sigurðardóttir, Sólveig Sara Leupold, Lea-Sophie Fischer) [00:02:06]
14 - The Puppet King [00:03:01]
15 - Sanctum Requiem [00:01:55]

...( Info )...

Artist: Pantera
Title: Vulgar Display of Power
Year: 1992
Genre: Rock
Style: Thrash, Heavy Metal, Groove Metal
Publisher (label): ATCO Records
Country: Europe
Duration: 00:52:52
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/192 kHz


...( TrackList )...


01. Mouth for War (00:03:56)
02. A New Level (00:03:58)
03. Walk (00:05:15)
04. Fucking Hostile (00:02:49)
05. This Love (00:06:33)
06. Rise (00:04:38)
07. No Good (Attack the Radical) (00:04:48)
08. Live in a Hole (00:05:01)
09. Regular People (Conceit) (00:05:28)
10. By Demons Be Driven (00:04:41)
11. Hollow (00:05:45)

Genre: Thrash/Heavy Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 01:02:45
Contains scans in the download: no

Tracklist:
01. Preludium
02. No Future
03. Factory Of Thoughts
04. Devil's Sion
05. Paranoia
06. Above The Clouds
07. The Last Rise
08. Believe In Nothing
09. Madness
10. Brainrot
11. Judgment Of The Jungle

Genre: Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 19:59
Contains scans in the download: No

Tracklist:
01. Genocide
02. 1939
03. Impact
04. Left Alone
05. Syberian

Genre: Death Metal
Country of Artist (Band): Poland
Year of Release: 2026
Audio Codec: MP3
Rip Type: Tracks
Audio Bitrate: 320 kbps
Duration: 51:15
Availability of scans in the distribution content: no

Tracklist:
01. Dirty World
02. Self - Destruction
03. We Forgor The Flash
04. Be With Me
05. Deprivation Of Animation
06. Courage
07. Judas Kiss
08. People - Vultures
09. Merciful Murder
10. No Hope, No Disappointment
11. ... For Justice And Truth
12. War.hate

Genre: Death Metal
Country of performer (group): Poland
Year of publication: 2026
Audio codec: MP3
Rip type: tracks
Audio bitrate: 320 kbps
Duration: 40:18
Availability of scans in the distribution content: no

Tracklist:
01. INRI
02. Kurwa
03. Mój Ołtarz
04.Chrzest
05. Nicość
06. Oko Slepca
07. Gdzie Tetragram Postradał Zmysły
08. Sublimium
09. Sześć Stygmatow
10. Zaplute Ścierwo (Calvaria cover)

...( Info )...

Artist: Metallica
Title: Kill 'Em All (2016 Remastered)
Year: 1983/2016
Genre: Rock
Style: Thrash, Speed ​​Metal
Publisher (label): Blackened
Country: US
Duration: 00:51:16
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/48 kHz


...( TrackList )...


01. Hit The Lights (00:04:16)
02. The Four Horsemen (00:07:13)
03. Motorbreath (00:03:08)
04. Jump In The Fire (00:04:41)
05. (Anesthesia) - Pulling Teeth (00:04:15)
06. Whiplash (00:04:09)
07. Phantom Lord (00:05:01)
08. No Remorse (00:06:27)
09. Seek & Destroy (00:06:55)
10. Metal Militia (00:05:11)

..::INFO::..

Finntroll to fiński zespół folkmetalowy, założony w Helsinkach w 1997. Zespół wykonuje skoczną, dynamiczną muzykę, łączącą elementy black metalu i fińskiej polki zwanej humppa. Mimo iż jest to fiński zespół, to teksty utworów są w języku szwedzkim, ponieważ ten język brzmi "cholernie trollowato" według Jamsena, założyciela zespołu, którego ojczystym językiem jest właśnie szwedzki. Finntroll został założony w 1997 roku przez Teemu Raimoranta (Somnium), gitarzystę zespołu Impaled Nazarene oraz Jana Jamsena (Katla). Ich pierwsze demo, Rivfader, zostało nagrane rok później, w 1998 r. Po nagraniu dema do zespołu dołączyli Samu Ruotsalainen (z Barathrum i Rapture), Samuli Ponsimaa, Henri Sorvali (z Moonsorrow) i Sami Uusitalo. Podpisany kontrakt z wytwórnią Spikefarm zaowocowało pierwszą płytą Midnattens Widunder wydaną w 1999 roku. Wstawka zawiera piąty album grupy Finntroll, którego oficjalna premiera miała miejsce 28 marca 2007. Album ten jest pierwszą płytą zawierającą wokal Mathiasa Lillmansa, który zastąpił Tapio Wilska w 2006. Wszystkie teksty utworów zostały napisane przez byłego wokalistę i założyciela zespołu Jana Jamsena.

Title: Ur Jordens Djup

Artist: Finntroll

Country: Finlandia

Year: 2007

Genre: Folk Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Gryning
2.Sang
3.Korpens Saga
4.Nedgang
5.Ur Djupet
6.Slagbroder
7.En Maktig Har
8.Ormhaxan
9.Maktens Spira
10.Under Tva Runor
11.Kvallning

...( Info )...

Artist: Marilyn Manson
Title: One Assassination Under God (Chapter 2)
Year: 2026
Genre: Rock
Style: Alternative Rock, Gothic Metal, Industrial Metal
Publisher (label): Nuclear Blast Records
Country: Worldwide
Duration: 00:43:04
Format/Codec: FLAC (tracks)
Audio Bitrate: Lossless [16-bit/44100Hz]


...( TrackList )...

01. Unalive (00:04:57)
02. Don't Answer The Door (00:04:27)
03. Front Toward Enemy (00:04:24)
04. All The Vilest Things (00:04:33)
05. None of the Suns (00:05:13)
06. Lucifer's Teardrop (00:04:36)
07. The Arsonist (00:04:04)
08. Exit Wound (00:04:38)
09. Enantiomorph (00:06:12)

...( Info )...

Artist: Metallica
Title: ...And Justice For All (2018 Remastered)
Year: 1988/2018
Genre: Rock
Style: Thrash, Heavy Metal
Publisher (label): Blackened Recordings / Universal Music
Duration: 01:05:24
Format/Codec: FLAC
Rip Type: Tracks
Audio Bitrate: Lossless
Bit Depth: 24 Bit/48 kHz

...( TrackList )...

01. Blackened (00:06:42)
02. ...And Justice For All (00:09:46)
03. Eye Of The Beholder (00:06:26)
04. One (00:07:26)
05. The Shortest Straw (00:06:35)
06. Harvester Of Sorrow (00:05:45)
07. The Frayed Ends Of Sanity (00:07:43)
08. To Live Is To Die (00:09:48)
09. Dyers Eve (00:05:13)