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



..::OPIS::..

https://www.youtube.com/watch?v=P_UTfdht5ss



With a sound characterized by epic atmospheres, progressive immersion and an old-school diehardness, "The Crimson Temple" marks the seventh installment from Greek trailblazers VARATHRON, known to be amongst the pioneers of the Hellenic Black Metal genre. The band's iconic vocalist Stefan Necroabyssious, who's been at VARATHRON's helm for the last 35 years, and whose "lust for unholy creations" has only ever gotten bigger and better, reflects, that "The Crimson Temple" has seen the band commit its unyielding devotion and uncompromising passion to every fine detail; from the album's meticulous production, mixing and mastering at Achilleas Kalantzis's Suncord Audiolab, to its rich visual side, designed and painted by Paolo Girardi.

"The album consists of 10 tracks in an epic, 46 minute ride into the depths of our deranged vision," comments band's leader Stefan. "As always, we shall never forget to express our eternal gratitude for your overwhelming support all these years. We are most eager to share everything with you!"

The opus arrives five years after "Patriarchs Of Evil"; a refreshing effort, which took many of the 2018's best-of hard rock & metal lists by storm, set the anticipation for "The Crimson Temple", and found VARATHRON's creative potential and musical zest on par with 1988 - the year it had all began. The band's line-up remains unchanged with Stefan Necroabyssious on vocals, Achilleas C on guitars & keyboards, Sotiris on guitars, Stratos on bass and Haris on drums.



Varathron needs very little introduction, one of the big three of Hellenic black metal alongside Rotting Christ and the late great Necromantia. The band’s story is well known, and for over 30 years, frontman Stefan Necroabyssious has kept this cult going strong. Near the end of 2023, the band will unleash their seventh opus 'The Crimson Temple', and with this, they continue to prove their standing and secure their legacy in the pantheon of Greek metal forevermore.

If you know Varathron, then you know what to expect of their brand of Hellenic black metal greatness. Triumphant riffing, epic atmospheres, melodies that evoke the classicism of the great Greek composers, and a strong reverence for the likes of Iron Maiden, Manowar, as well the great progressive and psychedelic Greek bands. On that note, this record is the band’s most epic and progressive yet. The melodies and use of keyboards and Gregorian styled choirs give the album that distinct Greek vibe and sound, but it also pushes the album into grandiose lengths, all the while the band still sound as dark and gritty as they did in 1993, albeit with a production that enriches and empowers their music.

While Necroabyssious is still the main man in the band, with his distinct demonic sermon like growls, a lot of praise has to be given to his bandmates and their longest running contributors guitarist and keyboardist Achilleas C. (who also produced the record) and the brothers guitarist Sotiris and drummer Haris, and alongside bassist since 2012, Stratos Kountouras. This lineup is as important to the band as Necroabyssious and this is the lineup responsible for the band’s best period since the early 90’s, and 'The Crimson Temple', alongside their 2018 masterpiece 'Patriarchs of Evil, can easily stand alongside the monuments that are 'His Majesty at the Swamp' and 'Walpurgisnacht'.

And speaking of the band’s lineup, to say their individual skills on their instruments are excellent would be to undersell them, so instead I’ll talk about what may be the album’s most striking moments, their use of traditional Hellenic instruments and elements. The intro track ‘Ascension’ is a very good first teaser of the album’s folk instrumentation, but then the band surprise you with the strings on ‘Hegemony of Chaos’ and later on the instrumental folk breakdowns on ‘Immortalis Regnum Diaboli’ and ‘To the Gods of Yore’ which are maddeningly danceable and catchy without betraying the band’s heaviness and darkness. The second to last track ‘Swamp King’ does that same folk breakdown but, instead of being danceable it sound mystical and contemplative. All that to say that the band masterfully incorporated traditional Hellenic music into their black metal, and do so seamlessly and perfectly in line with the rest of the music, and the track where all of it comes together in a glorious conclusion with more atmospheric flourishes is the closing track ‘Constellation of the Archons’, a seven and a half minute masterpiece of a song that perfectly encapsulates all of the album’s best moments, their folkish instrumentation, the classic metal riffing and solos, the arcane atmospheres and progressive leanings.

By the way, if all those eclectic elements sound a bit far fetched, the band still manage to have classic Hellenic black metal the way they do best and without bells and whistles to satisfy anyone in the black metal underground, so there’s no need to fret as the band expertly covered all their bases. And as such, there’s very little to nothing to complain here, Varathron are simply one of a kind, and are one of the very few bands that can take black metal and make it widescreen and don’t fail in the process.

TheSlayFer



..::TRACK-LIST::..

1. Ascension 01:50
2. Hegemony of Chaos 06:12
3. Crypts in the Mist 03:49
4. Cimmerian Priesthood 05:19
5. Sinners of the Crimson Temple 04:29
6. Immortalis Regnum Diaboli 03:52
7. To the Gods of Yore 05:04
8. Shrouds of the Miasmic Winds 04:48
9. Swamp King 03:53
10. Constellation of the Archons 07:34



..::OBSADA::..

Stefan Necroabyssious - Vocals
Achilleas C. - Guitars, Keyboards
Haris - Drums
Sotiris - Guitars
Stratos Kountouras - Bass




https://www.youtube.com/watch?v=ice_7QlnYzk



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

https://www.youtube.com/watch?v=P_UTfdht5ss



With a sound characterized by epic atmospheres, progressive immersion and an old-school diehardness, "The Crimson Temple" marks the seventh installment from Greek trailblazers VARATHRON, known to be amongst the pioneers of the Hellenic Black Metal genre. The band's iconic vocalist Stefan Necroabyssious, who's been at VARATHRON's helm for the last 35 years, and whose "lust for unholy creations" has only ever gotten bigger and better, reflects, that "The Crimson Temple" has seen the band commit its unyielding devotion and uncompromising passion to every fine detail; from the album's meticulous production, mixing and mastering at Achilleas Kalantzis's Suncord Audiolab, to its rich visual side, designed and painted by Paolo Girardi.

"The album consists of 10 tracks in an epic, 46 minute ride into the depths of our deranged vision," comments band's leader Stefan. "As always, we shall never forget to express our eternal gratitude for your overwhelming support all these years. We are most eager to share everything with you!"

The opus arrives five years after "Patriarchs Of Evil"; a refreshing effort, which took many of the 2018's best-of hard rock & metal lists by storm, set the anticipation for "The Crimson Temple", and found VARATHRON's creative potential and musical zest on par with 1988 - the year it had all began. The band's line-up remains unchanged with Stefan Necroabyssious on vocals, Achilleas C on guitars & keyboards, Sotiris on guitars, Stratos on bass and Haris on drums.



Varathron needs very little introduction, one of the big three of Hellenic black metal alongside Rotting Christ and the late great Necromantia. The band’s story is well known, and for over 30 years, frontman Stefan Necroabyssious has kept this cult going strong. Near the end of 2023, the band will unleash their seventh opus 'The Crimson Temple', and with this, they continue to prove their standing and secure their legacy in the pantheon of Greek metal forevermore.

If you know Varathron, then you know what to expect of their brand of Hellenic black metal greatness. Triumphant riffing, epic atmospheres, melodies that evoke the classicism of the great Greek composers, and a strong reverence for the likes of Iron Maiden, Manowar, as well the great progressive and psychedelic Greek bands. On that note, this record is the band’s most epic and progressive yet. The melodies and use of keyboards and Gregorian styled choirs give the album that distinct Greek vibe and sound, but it also pushes the album into grandiose lengths, all the while the band still sound as dark and gritty as they did in 1993, albeit with a production that enriches and empowers their music.

While Necroabyssious is still the main man in the band, with his distinct demonic sermon like growls, a lot of praise has to be given to his bandmates and their longest running contributors guitarist and keyboardist Achilleas C. (who also produced the record) and the brothers guitarist Sotiris and drummer Haris, and alongside bassist since 2012, Stratos Kountouras. This lineup is as important to the band as Necroabyssious and this is the lineup responsible for the band’s best period since the early 90’s, and 'The Crimson Temple', alongside their 2018 masterpiece 'Patriarchs of Evil, can easily stand alongside the monuments that are 'His Majesty at the Swamp' and 'Walpurgisnacht'.

And speaking of the band’s lineup, to say their individual skills on their instruments are excellent would be to undersell them, so instead I’ll talk about what may be the album’s most striking moments, their use of traditional Hellenic instruments and elements. The intro track ‘Ascension’ is a very good first teaser of the album’s folk instrumentation, but then the band surprise you with the strings on ‘Hegemony of Chaos’ and later on the instrumental folk breakdowns on ‘Immortalis Regnum Diaboli’ and ‘To the Gods of Yore’ which are maddeningly danceable and catchy without betraying the band’s heaviness and darkness. The second to last track ‘Swamp King’ does that same folk breakdown but, instead of being danceable it sound mystical and contemplative. All that to say that the band masterfully incorporated traditional Hellenic music into their black metal, and do so seamlessly and perfectly in line with the rest of the music, and the track where all of it comes together in a glorious conclusion with more atmospheric flourishes is the closing track ‘Constellation of the Archons’, a seven and a half minute masterpiece of a song that perfectly encapsulates all of the album’s best moments, their folkish instrumentation, the classic metal riffing and solos, the arcane atmospheres and progressive leanings.

By the way, if all those eclectic elements sound a bit far fetched, the band still manage to have classic Hellenic black metal the way they do best and without bells and whistles to satisfy anyone in the black metal underground, so there’s no need to fret as the band expertly covered all their bases. And as such, there’s very little to nothing to complain here, Varathron are simply one of a kind, and are one of the very few bands that can take black metal and make it widescreen and don’t fail in the process.

TheSlayFer



..::TRACK-LIST::..

1. Ascension 01:50
2. Hegemony of Chaos 06:12
3. Crypts in the Mist 03:49
4. Cimmerian Priesthood 05:19
5. Sinners of the Crimson Temple 04:29
6. Immortalis Regnum Diaboli 03:52
7. To the Gods of Yore 05:04
8. Shrouds of the Miasmic Winds 04:48
9. Swamp King 03:53
10. Constellation of the Archons 07:34



..::OBSADA::..

Stefan Necroabyssious - Vocals
Achilleas C. - Guitars, Keyboards
Haris - Drums
Sotiris - Guitars
Stratos Kountouras - Bass




https://www.youtube.com/watch?v=ice_7QlnYzk



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Agathocles to jedna ze światowych legend Grindcore. Zespół pochodzi z Belgii i jak się sami zaczęli określać, definiując własny styl, grają Mincecore - pierwotną surową minimalistyczną formę Grindcore'a, poruszającą w swych lirykach głównie tematy dotyczące problemów socjo-politycznych, anarchii, czy też nawiązujące do praw zwierząt, zanieczyszczenia środowiska, ekologii itp.

Odpowiedzialnych za inicjatywę powstania Agathocles było dwóch typów, znanych już w belgijskim podziemiu maniaków ekstremalnego grania oraz promotorów sceny Hardcore Punk, później Grindcore'a: Jan Frederickx oraz Erwin Vandenbergh, którzy oprócz wydawalnia zinów i licznych kompilacji udzielali się również kilka lat wcześniej w takich zespołach jak: Squadrons of Death, Dead oraz Extrem (totalny Crossover Grind Punk Hardcore-owy rozpierdol). Ich początkowe inspiracje muzyczne, to głównie muza takich zespołów jak: Lärm, Slayer, Bathory, Keizershof Disaster, czy Hellhammer. Do powyższego zestawu szybko dołączyły inne, akurat rozwijające swe skrzydła młode formacje jak: Napalm Death, Majesty, Terrorizer, Repulsion, Fear of God oraz Carcass.

Pioniere



..::TRACK-LIST::..

Agathocles
1. The Truth Begins Where Man Stops To Think 3:03
2. Sentimental Hypocrisy 1:10
3. Kill Your Fucking Idols 3:23
4. Birds (Poem)/Agarchy 1:54
5. Go Fucking Nihilist 1:43
6. Hatred Is The Cure 2:17
7. No Use.....(Hatred) 1:07
8. An Abstract 2:48
9. Black Ones (Poem)/Systemphobic 2:11
10. Anthropodislogical 1:48
11. Intro 'Sheep'/Non-Conformity (Lärm cover) 2:45
12. Miks Haluat Tapella (Rattus cover) 1:42
13. Cynical Weirdos 2:34
14. Hippie Cult 0:58
15. Provoked Behaviour 2:33

Anti-Death (Agathocles side project)
16. Anti-Death Part 1 1:25
17. Anti-Death Part 2 1:10
18. Anti-Death Part 3 1:01

Agathocles
19. Sieg Shit 3:09
20. Hatronomous 0:19
21. Hideous Headchopping 0:32
22. Bigheaded Bastards 2:19
23. Get Off Your Ass 1:09
24. Distrust And Abuse 1:10

Massagraf (Agathocles side project)
25. Throwing Away Crap 1:37
26. Floeren Aap 2:47
27. Bier 0:30
28. Fashion Scene 1:29

Agathocles
29. Intro 'Hail To Japan' 1:07
30. Labelisation 1:32
31. Fake Friend 1:40
32. Splattered Brains 1:13

Acoustic Grinder (Agathocles side project)
33. Catch The Fishhook 1:02

Agathocles
34. Faded Novelty 1:48
35. Senseless Trip 2:34
36. Here And Now 2:10
37. Is It Really Mine? 1:58
38. Insane 1:14
39. Television 1:38
40. Bigheaded Bastards 2:31
41. Sieg Shit 3:07

Tracks 1-4 originally released as the Agarchy 7".
Tracks 5-8 originally released as the No Use ... (Hatred) 7".
Tracks 9-10 originally released on the Social Genocide / Systemphobic split 7" with Social Genocide.
Track 11 recorded live in Buggenhout, Belgium, 5/1/92; track 12 recorded live in Zichem, Belgium, 8/92; track 13 recorded in 1992; all originally released on the Contra Las Multinacionales Asesinas Accion Directa / Starvation split 7" with Violent Headache.
Tracks 14-15 originally released on the Throne Of Apprehension / Provoked Behaviour split 7" with Man Is The Bastard.
Tracks 16-18 are previously unreleased.
Tracks 19-24 originally released as the Distrust And Abuse 7".
Tracks 25-28 recorded live in 1993; originally released as a Turbo Reanimacija / Massagraf 7".
Track 29 originally released on the Psycho / Hail To Japan split 7" with Psycho (10).
Track 30 recorded live in Eindhoven, Holland, 12/21/91; tracks 31 and 32 recorded live in Gierle, Belgium, 12/3/89; track 33 recorded live in Leipzig, Germany, 7/12/91; all originally released on the Psycho / Hail To Japan split 7" with Psycho (10).
Tracks 34-36 originally released on the Audiorrea / Agathocles split 7".
Tracks 37-39 originally released on the War Scars / Dethrone Christ split 7" with Kompost.
Tracks 40-41 originally released on the Live In Mannheim Germany / Live In Mannheim split 7" with Nyctophobic.



..::OBSADA::..

Backing Vocals - Boezie (tracks: 5, 7), Burt (tracks: 4), Hazie (tracks: 5, 7), Raf Vandeweyer (tracks: 4)
Bass - Burt (tracks: 25 to 28), Erwin (tracks: 1 to 4, 30), Jakke (3) (tracks: 31, 32), Jan (tracks: 5 to 12, 14 to 15, 19 to 24, 34 to 41)
Drums - Burt (tracks: 1 to 12, 14 to 24, 30, 34 to 41), Dave (tracks: 25 to 28), Erwin (tracks: 31, 32)
Guitar - Guy (3) (tracks: 31, 32), Jan (tracks: 1 to 4, 16 to 18, 30), Steve (tracks: 5 to 12, 14, 15, 19 to 28, 34 to 41)
Vocals - Burt (tracks: 25 to 28, 34 to 36), Erwin (tracks: 1 to 4), Jan (tracks: 1 to 12, 14 to 24, 30 to 41), Peels (2) (tracks: 25 to 28), Raf Vandeweyer (tracks: 30), Steve (tracks: 9, 10, 14, 15, 19 to 24, 34 to 36, 40, 41)




https://www.youtube.com/watch?v=9J3oN_W6QXU



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Agathocles to jedna ze światowych legend Grindcore. Zespół pochodzi z Belgii i jak się sami zaczęli określać, definiując własny styl, grają Mincecore - pierwotną surową minimalistyczną formę Grindcore'a, poruszającą w swych lirykach głównie tematy dotyczące problemów socjo-politycznych, anarchii, czy też nawiązujące do praw zwierząt, zanieczyszczenia środowiska, ekologii itp.

Odpowiedzialnych za inicjatywę powstania Agathocles było dwóch typów, znanych już w belgijskim podziemiu maniaków ekstremalnego grania oraz promotorów sceny Hardcore Punk, później Grindcore'a: Jan Frederickx oraz Erwin Vandenbergh, którzy oprócz wydawalnia zinów i licznych kompilacji udzielali się również kilka lat wcześniej w takich zespołach jak: Squadrons of Death, Dead oraz Extrem (totalny Crossover Grind Punk Hardcore-owy rozpierdol). Ich początkowe inspiracje muzyczne, to głównie muza takich zespołów jak: Lärm, Slayer, Bathory, Keizershof Disaster, czy Hellhammer. Do powyższego zestawu szybko dołączyły inne, akurat rozwijające swe skrzydła młode formacje jak: Napalm Death, Majesty, Terrorizer, Repulsion, Fear of God oraz Carcass.

Pioniere



..::TRACK-LIST::..

Agathocles
1. The Truth Begins Where Man Stops To Think 3:03
2. Sentimental Hypocrisy 1:10
3. Kill Your Fucking Idols 3:23
4. Birds (Poem)/Agarchy 1:54
5. Go Fucking Nihilist 1:43
6. Hatred Is The Cure 2:17
7. No Use.....(Hatred) 1:07
8. An Abstract 2:48
9. Black Ones (Poem)/Systemphobic 2:11
10. Anthropodislogical 1:48
11. Intro 'Sheep'/Non-Conformity (Lärm cover) 2:45
12. Miks Haluat Tapella (Rattus cover) 1:42
13. Cynical Weirdos 2:34
14. Hippie Cult 0:58
15. Provoked Behaviour 2:33

Anti-Death (Agathocles side project)
16. Anti-Death Part 1 1:25
17. Anti-Death Part 2 1:10
18. Anti-Death Part 3 1:01

Agathocles
19. Sieg Shit 3:09
20. Hatronomous 0:19
21. Hideous Headchopping 0:32
22. Bigheaded Bastards 2:19
23. Get Off Your Ass 1:09
24. Distrust And Abuse 1:10

Massagraf (Agathocles side project)
25. Throwing Away Crap 1:37
26. Floeren Aap 2:47
27. Bier 0:30
28. Fashion Scene 1:29

Agathocles
29. Intro 'Hail To Japan' 1:07
30. Labelisation 1:32
31. Fake Friend 1:40
32. Splattered Brains 1:13

Acoustic Grinder (Agathocles side project)
33. Catch The Fishhook 1:02

Agathocles
34. Faded Novelty 1:48
35. Senseless Trip 2:34
36. Here And Now 2:10
37. Is It Really Mine? 1:58
38. Insane 1:14
39. Television 1:38
40. Bigheaded Bastards 2:31
41. Sieg Shit 3:07

Tracks 1-4 originally released as the Agarchy 7".
Tracks 5-8 originally released as the No Use ... (Hatred) 7".
Tracks 9-10 originally released on the Social Genocide / Systemphobic split 7" with Social Genocide.
Track 11 recorded live in Buggenhout, Belgium, 5/1/92; track 12 recorded live in Zichem, Belgium, 8/92; track 13 recorded in 1992; all originally released on the Contra Las Multinacionales Asesinas Accion Directa / Starvation split 7" with Violent Headache.
Tracks 14-15 originally released on the Throne Of Apprehension / Provoked Behaviour split 7" with Man Is The Bastard.
Tracks 16-18 are previously unreleased.
Tracks 19-24 originally released as the Distrust And Abuse 7".
Tracks 25-28 recorded live in 1993; originally released as a Turbo Reanimacija / Massagraf 7".
Track 29 originally released on the Psycho / Hail To Japan split 7" with Psycho (10).
Track 30 recorded live in Eindhoven, Holland, 12/21/91; tracks 31 and 32 recorded live in Gierle, Belgium, 12/3/89; track 33 recorded live in Leipzig, Germany, 7/12/91; all originally released on the Psycho / Hail To Japan split 7" with Psycho (10).
Tracks 34-36 originally released on the Audiorrea / Agathocles split 7".
Tracks 37-39 originally released on the War Scars / Dethrone Christ split 7" with Kompost.
Tracks 40-41 originally released on the Live In Mannheim Germany / Live In Mannheim split 7" with Nyctophobic.



..::OBSADA::..

Backing Vocals - Boezie (tracks: 5, 7), Burt (tracks: 4), Hazie (tracks: 5, 7), Raf Vandeweyer (tracks: 4)
Bass - Burt (tracks: 25 to 28), Erwin (tracks: 1 to 4, 30), Jakke (3) (tracks: 31, 32), Jan (tracks: 5 to 12, 14 to 15, 19 to 24, 34 to 41)
Drums - Burt (tracks: 1 to 12, 14 to 24, 30, 34 to 41), Dave (tracks: 25 to 28), Erwin (tracks: 31, 32)
Guitar - Guy (3) (tracks: 31, 32), Jan (tracks: 1 to 4, 16 to 18, 30), Steve (tracks: 5 to 12, 14, 15, 19 to 28, 34 to 41)
Vocals - Burt (tracks: 25 to 28, 34 to 36), Erwin (tracks: 1 to 4), Jan (tracks: 1 to 12, 14 to 24, 30 to 41), Peels (2) (tracks: 25 to 28), Raf Vandeweyer (tracks: 30), Steve (tracks: 9, 10, 14, 15, 19 to 24, 34 to 36, 40, 41)




https://www.youtube.com/watch?v=9J3oN_W6QXU



SEED 14:30-23:00.
POLECAM!!!

..::INFO::..

Fleshgod Apocalypse to włoski zespół grający symphonic i technical death metal, założony w 2007 roku. Zespół Fleshgod Apocalypse powstał w kwietniu 2007 roku. W pierwszym składzie znaleźli się Cristiano Trionfera (z Promaetheus Unbound), Paolo „Hammer” Rossi (z Tyrannic Ethical Reconstruction), Francesco Struglia (z Promaetheus Unbound, Tyrannic Ethical Reconstruction) i Francesco Paoli (z Hour of Penance, Tyrannic Ethical Reconstruction). Pierwsze demo Promo '07 ukazało się w sierpniu 2007 roku[3]. Zawiera ono dwa utwory i zostało nagrane w 16th Cellar Studio, a wyprodukował je Stefano „Saul” Morabito. Te same utwory znalazły się również na splicie Da Vinci Death Code wydanym przez Ripper Tattoo Productions w 2008 roku. Wstawka zawiera szósty, najnowszy album zespołu.

Title: Opera

Artist: Fleshgod Apocalypse

Country: Włochy

Year: 2024

Genre: Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

..::TRACK-LIST::..

1.Ode To Art (De' Sepolcri)
2.I Can Never Die
3.Pendulum
4.Bloodclock
5.At War With My Soul
6.Morphine Waltz
7.Matricide 8.21
8.Per Aspera Ad
9.Till Death Do Us Apart

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



Piąty album wielkiego PLF! 17 zabójczych grindcore'owych utworów w klimacie starego NAPALM DEATH z wpływami klasycznego thrash metalu (KREATOR).



..::TRACK-LIST::..

1. Drowned In the Harbor 0:47
2. Anti-Humanistic Cull 1:05
3. Blare Of Interminable Tinnitus 0:23
4. Odious Demagoguery 1:32
5. Synaptic Nebula 1:12
6. Instant Urban Self-Interment 1:24
7. Dissolution Of Rights, Part 6 1:20
8. Lost In A Lethean Fog 0:49
9. Canisterized Comingled Ash 1:42
10. Eyes Of Corrupted Zeal 1:08
11. Splinter Cell Transit Bombing 0:44
12. Willingly Relegated To An Unremarkable Termination 1:09
13. Industry Of Convalescent Death 1:07
14. Pulsating Trepidation 1:04
15. Idealized Incomprehension 1:30
16. Gulf Coast Massacre 1:21
17. In The Clutches Of Unrepentant Ignorance 2:04



..::OBSADA::..

Drums - Bryan
Guitar, Vocals, Bass - Dave




https://www.youtube.com/watch?v=8_710mNEerw



SEED 14:30-23:00.
POLECAM!!!

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



Piąty album wielkiego PLF! 17 zabójczych grindcore'owych utworów w klimacie starego NAPALM DEATH z wpływami klasycznego thrash metalu (KREATOR).



..::TRACK-LIST::..

1. Drowned In the Harbor 0:47
2. Anti-Humanistic Cull 1:05
3. Blare Of Interminable Tinnitus 0:23
4. Odious Demagoguery 1:32
5. Synaptic Nebula 1:12
6. Instant Urban Self-Interment 1:24
7. Dissolution Of Rights, Part 6 1:20
8. Lost In A Lethean Fog 0:49
9. Canisterized Comingled Ash 1:42
10. Eyes Of Corrupted Zeal 1:08
11. Splinter Cell Transit Bombing 0:44
12. Willingly Relegated To An Unremarkable Termination 1:09
13. Industry Of Convalescent Death 1:07
14. Pulsating Trepidation 1:04
15. Idealized Incomprehension 1:30
16. Gulf Coast Massacre 1:21
17. In The Clutches Of Unrepentant Ignorance 2:04



..::OBSADA::..

Drums - Bryan
Guitar, Vocals, Bass - Dave




https://www.youtube.com/watch?v=8_710mNEerw



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Two-piece crusty grind band from Spain (members of Mobcharge, Proyecto Terror, Bastardos del Metal, Do it your hell, Kärnvapen Attack, Almax, Blockbastard, Disthroat). This is their awesome debut full length album. 40 songs!!!



..::TRACK-LIST::..

1. Nazi Bullshit 01:05
2. Abattoir 00:21
3. Dig Your Grave 00:48
4. Dispossession in a Asylum 01:19
5. Grindstars 00:31
6. Cuando Caigo (Denak) 01:30
7. Suppression 01:04
8. Ghetto 00:49
9. American Redneck 01:03
10. Vultures 00:03
11. Putrefied World 00:55
12. Humanity of Stupidity (S.O.B.) 00:31
13. Genocide Corporations 00:58
14. Sick Uncertainty 01:12
15. Starvation/Genocide (Arsedestroyer) 01:36
16. Radioactive Disaster 00:50
17. I Abstain 01:00
18. Confrontation 00:54
19. Lucid Fairytale (Napalm Death) 00:53
20. War as Crime 01:07
21. Ecclesiastical Ticks 01:00
22. Money Drug 00:08
23. Just Another Metal Band (Filthy Christians) 01:08
24. Consumism Compulsive 00:51
25. Metastasis 01:01
26. Skullcrusher 00:34
27. Nihilism (Violent Headache) 00:29
28. Patriot 00:18
29. Religion is Brainwashing 01:02
30. Raw Existence 01:12
31. Horrendous Slaughter (Sore Throat) 00:39
32. Slaughter on Earth 01:10
33. Fascism is not intelligence 00:17
34. Agonized Existence 00:57
35. Fuck Off and Die (Carcass Grinder) 01:28
36. Corrosive Brain 01:01
37. Rotten Christianity 00:54
38. Infected 01:10
39. Teachers (Agathocles) 01:17
40. Ashes of Death 00:48



..::OBSADA::..

Pablo - Guitars
Avellano - Bass, drums and vocals




https://www.youtube.com/watch?v=46dVT81lK8E



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Two-piece crusty grind band from Spain (members of Mobcharge, Proyecto Terror, Bastardos del Metal, Do it your hell, Kärnvapen Attack, Almax, Blockbastard, Disthroat). This is their awesome debut full length album. 40 songs!!!



..::TRACK-LIST::..

1. Nazi Bullshit 01:05
2. Abattoir 00:21
3. Dig Your Grave 00:48
4. Dispossession in a Asylum 01:19
5. Grindstars 00:31
6. Cuando Caigo (Denak) 01:30
7. Suppression 01:04
8. Ghetto 00:49
9. American Redneck 01:03
10. Vultures 00:03
11. Putrefied World 00:55
12. Humanity of Stupidity (S.O.B.) 00:31
13. Genocide Corporations 00:58
14. Sick Uncertainty 01:12
15. Starvation/Genocide (Arsedestroyer) 01:36
16. Radioactive Disaster 00:50
17. I Abstain 01:00
18. Confrontation 00:54
19. Lucid Fairytale (Napalm Death) 00:53
20. War as Crime 01:07
21. Ecclesiastical Ticks 01:00
22. Money Drug 00:08
23. Just Another Metal Band (Filthy Christians) 01:08
24. Consumism Compulsive 00:51
25. Metastasis 01:01
26. Skullcrusher 00:34
27. Nihilism (Violent Headache) 00:29
28. Patriot 00:18
29. Religion is Brainwashing 01:02
30. Raw Existence 01:12
31. Horrendous Slaughter (Sore Throat) 00:39
32. Slaughter on Earth 01:10
33. Fascism is not intelligence 00:17
34. Agonized Existence 00:57
35. Fuck Off and Die (Carcass Grinder) 01:28
36. Corrosive Brain 01:01
37. Rotten Christianity 00:54
38. Infected 01:10
39. Teachers (Agathocles) 01:17
40. Ashes of Death 00:48



..::OBSADA::..

Pablo - Guitars
Avellano - Bass, drums and vocals




https://www.youtube.com/watch?v=46dVT81lK8E



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Debiutancki album trio z Helsinek grającego morderczy grindcore w klimacie ROTTEN SOUND, NASUM i FULL OF HELL.



Fading Trail is today’s grinders. Have not heard of them? Well, their discography is a little thin, with only two releases to their name: today’s album, and a 2019 EP. The band, according to an interview on Aversionline, is mainly comprised of two people (Markus M. and Tomi P.), but rotates friends in and out to play parts and live shows. Count The Days is the band’s debut LP released by Everyday Hate. And oh, how it grinds.

If you like it when the first thing that springs to mind is, “Holy shit, that sounds like Nasum!” go, buy this now. Fading Trail has a very similar style of grind. It is something that cuts straight to the bone with every buzzsaw guitar string plucked. Fading Trail play just as tight and aggressively. It is something that really gets the blood flowing. And speaking of blood flow, the album opens on “Deprivation” with a quote from, I believe, Jeffery Dahmer. And with a band name like Fading Trail, and the album title Count The Days, the feeling of a (cold) case file comes to mind.

The band is off to the races once the quote closes out and they fire forward with that classic buzzsaw fury. Over ten tracks Fading Trail unrelentingly rip and tear. This is the kind of grind that walks that line between death metal and grindcore without falling into the deathgrind category. Fading Trail do throw us, besides some ugly tracks, some surprises. The guitar solos on tracks like “Chasm” and “Black Walls” absolutely shred. And the opening of “They’ll Take Everything” is pure fire. The whole track is, but the opening... goddamn!

Fading Trail also mix it up a little bit with “Crawl”, which goes straight death metal/grind as is the formula, but halfway through throws in some noise and sound clips, ending with a snippet of a Bill Hicks sketch. The final track, “Count the Days”, is an instrumental that acts kind of as a noise rock, jam track and takes things out in an interesting way.

Two years between a single EP and a full-length can seem like a bit for a newer band, especially with little new material teased in between, but we have Count The Days now. This album fires on all cylinders all the way through. I will say it again, if you like your grind with that death metal-tinged Nasum feel, then this needs to be in your ears. Total death metal/grinding fury. Get grinding on this!

Metal Injection



..::TRACK-LIST::..

1. Deprivation 02:22
2. Chasm 01:35
3. The Last One 02:16
4. Ruined 02:05
5. Across the Water 02:08
6. Black Walls 03:39
7. They'll Take Everything 01:51
8. Drawn Back In 02:12
9. Crawl 01:21
10. Count The Days 02:27



..::OBSADA::..

Markus Mandell - Guitars (lead)
Tomi P - Guitars, Bass, Drums, Vocals
Kari L - Vocals (backing)




https://www.youtube.com/watch?v=lU6H72_HGzM



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Debiutancki album trio z Helsinek grającego morderczy grindcore w klimacie ROTTEN SOUND, NASUM i FULL OF HELL.



Fading Trail is today’s grinders. Have not heard of them? Well, their discography is a little thin, with only two releases to their name: today’s album, and a 2019 EP. The band, according to an interview on Aversionline, is mainly comprised of two people (Markus M. and Tomi P.), but rotates friends in and out to play parts and live shows. Count The Days is the band’s debut LP released by Everyday Hate. And oh, how it grinds.

If you like it when the first thing that springs to mind is, “Holy shit, that sounds like Nasum!” go, buy this now. Fading Trail has a very similar style of grind. It is something that cuts straight to the bone with every buzzsaw guitar string plucked. Fading Trail play just as tight and aggressively. It is something that really gets the blood flowing. And speaking of blood flow, the album opens on “Deprivation” with a quote from, I believe, Jeffery Dahmer. And with a band name like Fading Trail, and the album title Count The Days, the feeling of a (cold) case file comes to mind.

The band is off to the races once the quote closes out and they fire forward with that classic buzzsaw fury. Over ten tracks Fading Trail unrelentingly rip and tear. This is the kind of grind that walks that line between death metal and grindcore without falling into the deathgrind category. Fading Trail do throw us, besides some ugly tracks, some surprises. The guitar solos on tracks like “Chasm” and “Black Walls” absolutely shred. And the opening of “They’ll Take Everything” is pure fire. The whole track is, but the opening... goddamn!

Fading Trail also mix it up a little bit with “Crawl”, which goes straight death metal/grind as is the formula, but halfway through throws in some noise and sound clips, ending with a snippet of a Bill Hicks sketch. The final track, “Count the Days”, is an instrumental that acts kind of as a noise rock, jam track and takes things out in an interesting way.

Two years between a single EP and a full-length can seem like a bit for a newer band, especially with little new material teased in between, but we have Count The Days now. This album fires on all cylinders all the way through. I will say it again, if you like your grind with that death metal-tinged Nasum feel, then this needs to be in your ears. Total death metal/grinding fury. Get grinding on this!

Metal Injection



..::TRACK-LIST::..

1. Deprivation 02:22
2. Chasm 01:35
3. The Last One 02:16
4. Ruined 02:05
5. Across the Water 02:08
6. Black Walls 03:39
7. They'll Take Everything 01:51
8. Drawn Back In 02:12
9. Crawl 01:21
10. Count The Days 02:27



..::OBSADA::..

Markus Mandell - Guitars (lead)
Tomi P - Guitars, Bass, Drums, Vocals
Kari L - Vocals (backing)




https://www.youtube.com/watch?v=lU6H72_HGzM



SEED 14:30-23:00.
POLECAM!!!

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



Holenderscy weterani grindcore vs nowa twarz na grind'owej mapie Holandii!

Edycja ściśle limitowana!


..::TRACK-LIST::..

..::OBSADA::..

My Minds Mine:
1. Scars Of Violence
2. Storm Detonation
3. Forsaken
4. Same order, new messiah
5. Sore Ripping Apocalypse

Shantia - Gutars
Bato - Bass
Rosco - Vocals
Ragnar - Drums


Sick Of Stupidity:
6. Putrification in progress
7. Oh My Guts
8. Welcome On Earth
9. Lost
10. Morbid Slayer
11. Incorrigible Dejection

Zoran - Vocals
Lemmy - Drums
13 - Vocals
Bruno Bakker - Guitars



https://www.youtube.com/watch?app=desktop&v=3OpLbq7eqCQ



SEED 14:30-23:00.
POLECAM!!!

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



Holenderscy weterani grindcore vs nowa twarz na grind'owej mapie Holandii!

Edycja ściśle limitowana!



..::TRACK-LIST::..

..::OBSADA::..

My Minds Mine:
1. Scars Of Violence
2. Storm Detonation
3. Forsaken
4. Same order, new messiah
5. Sore Ripping Apocalypse

Shantia - Gutars
Bato - Bass
Rosco - Vocals
Ragnar - Drums


Sick Of Stupidity:
6. Putrification in progress
7. Oh My Guts
8. Welcome On Earth
9. Lost
10. Morbid Slayer
11. Incorrigible Dejection

Zoran - Vocals
Lemmy - Drums
13 - Vocals
Bruno Bakker - Guitars



https://www.youtube.com/watch?app=desktop&v=3OpLbq7eqCQ



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Szwedzko-fiński grindcore'owy AFGRUND powraca z nową płytą nagraną przez założycieli i oryginalnych członków: Andy, Pat i Panu.'
The Dystopian' to czwarty album nagrany po sześcioletniej przerwie, na który składa się 11 utworów intensywnego szwedzkiego grindcore'a w stylu NASUM, ROTTEN SOUND, GADGET. Następcę wydanego w 2012 roku "The Age Of Dumb" nagrał, zmiksował i zmasterował Panu Posti w Mean Seed Labs w 2017 roku.


Na początku roku wydawało się, że nagrany po sześciu latach przerwy The Dystopian pozostanie bez wydawcy i przepadnie bez śladu, ale na szczęście z pomocną przyszedł Karol z Selfmadegod Records, dzięki któremu bez problemu (i tanio!) kupicie tę płytę. Chwała mu za to, bo takiego materiału absolutnie nie można zignorować. Muzycy Afgrund przygotowali tu porcję kapitalnego grzańska – The Dystopian to wybuchowy grind core zagrany w skandynawskim stylu (Nasum, Gadget, Rotten Sound) z domieszką takich dopierdalaczy jak Phobia, Antigama czy Pig Destroyer, więc każdy miłośnik szybkiego, urozmaiconego i precyzyjnie zagranego hałasu znajdzie tu sporo dla siebie. Intensywność muzyki nie budzi najmniejszych zastrzeżeń – riffy śmigają, wokaliści zdzierają gardła, a perkman nabija blasty niczym karabin maszynowy.
Na The Dystopian wyraźnie dominują wściekle agresywne partie, jednak wśród tego natłoku dźwięków znajdziemy również kilka niestandardowych zwrotów i zwolnień, kiedy na pierwszy plan wysuwa się gęsty klimat wkurwienia, sprzeciwu i zniechęcenia. Nie dość, że w takich fragmentach muzyka Afgrund zachowuje swój ciężar gatunkowy, to jeszcze mocniej uderza w słuchacza na poziomie emocjonalnym – w sam raz, żeby móc naładować baterie przed kolejnym dniem zmagania się z systemem tudzież przed zamachem na biuro zarządu w jakimś korpo. Zespół, nie wychodząc zbytnio poza grindowy kanon potrafił uczynić swój materiał świeżym i ożywczym. Spora w tym zasługa brzmienia, które w fachowej terminologii trudno określić inaczej niż jako zajebiste i doskonale dopasowane do charakteru muzyki. Dźwięk jest super przejrzysty i ostry jak żyleta, a przy tym ma dość głębi, żeby wgniatał również przy blastach. Wszystko fajnie, ale The Dystopian ma niestety jedną wadę, swoją drogą często spotykaną u grindowych płyt z wyższej półki – mija zbyt szybko. Wprawdzie 23 minuty to jeszcze nie tragedia, jednak człowiek byłby znacznie szczęśliwszy, gdyby krążek trwał przynajmniej pół godziny. Drugi minusik dotyczy wydania – we wkładce nie zobaczymy tekstów, a szkoda, bo Afgrund ewidentnie mają coś ważnego do przekazania. Zresztą nawet bez poezji przed nosem z klimatu i ładunku energetycznego The Dystopian łatwo wywnioskować, że nie jest to nic pozytywnego. Gorąco polecam!

demo


'The Dystopian is exactly what you’d want from a grindcore release in 2018. Mixing elements of old and new into a lethal concoction that’s best given a wide berth, this is an album that any fan of grindcore should be able to eagerly lap up. Highly recommended.' - Wonderboxmetal



..::TRACK-LIST::..

1. Limitless Source of Power 01:56
2. Ruttna 00:56
3. Re-Exordium 02:50
4. Callous 02:57
5. Royalty of Crust 00:56
6. Crossfire Agent 01:54
7. (Yet) Another Way to Kill 01:42
8. The Great Rift 03:14
9. Archaic Plague 01:52
10. Smasher of Skulls 02:25
11. Demise Strategy 02:44



..::OBSADA::..

Drums, Recorded By, Mixed By, Mastered By - Panu Posti
Vocals, Guitar - Andreas Baier, Patrik Howe




https://www.youtube.com/watch?v=8leU4kHhZQ4



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

Szwedzko-fiński grindcore'owy AFGRUND powraca z nową płytą nagraną przez założycieli i oryginalnych członków: Andy, Pat i Panu.'
The Dystopian' to czwarty album nagrany po sześcioletniej przerwie, na który składa się 11 utworów intensywnego szwedzkiego grindcore'a w stylu NASUM, ROTTEN SOUND, GADGET. Następcę wydanego w 2012 roku "The Age Of Dumb" nagrał, zmiksował i zmasterował Panu Posti w Mean Seed Labs w 2017 roku.


Na początku roku wydawało się, że nagrany po sześciu latach przerwy The Dystopian pozostanie bez wydawcy i przepadnie bez śladu, ale na szczęście z pomocną przyszedł Karol z Selfmadegod Records, dzięki któremu bez problemu (i tanio!) kupicie tę płytę. Chwała mu za to, bo takiego materiału absolutnie nie można zignorować. Muzycy Afgrund przygotowali tu porcję kapitalnego grzańska – The Dystopian to wybuchowy grind core zagrany w skandynawskim stylu (Nasum, Gadget, Rotten Sound) z domieszką takich dopierdalaczy jak Phobia, Antigama czy Pig Destroyer, więc każdy miłośnik szybkiego, urozmaiconego i precyzyjnie zagranego hałasu znajdzie tu sporo dla siebie. Intensywność muzyki nie budzi najmniejszych zastrzeżeń – riffy śmigają, wokaliści zdzierają gardła, a perkman nabija blasty niczym karabin maszynowy.
Na The Dystopian wyraźnie dominują wściekle agresywne partie, jednak wśród tego natłoku dźwięków znajdziemy również kilka niestandardowych zwrotów i zwolnień, kiedy na pierwszy plan wysuwa się gęsty klimat wkurwienia, sprzeciwu i zniechęcenia. Nie dość, że w takich fragmentach muzyka Afgrund zachowuje swój ciężar gatunkowy, to jeszcze mocniej uderza w słuchacza na poziomie emocjonalnym – w sam raz, żeby móc naładować baterie przed kolejnym dniem zmagania się z systemem tudzież przed zamachem na biuro zarządu w jakimś korpo. Zespół, nie wychodząc zbytnio poza grindowy kanon potrafił uczynić swój materiał świeżym i ożywczym. Spora w tym zasługa brzmienia, które w fachowej terminologii trudno określić inaczej niż jako zajebiste i doskonale dopasowane do charakteru muzyki. Dźwięk jest super przejrzysty i ostry jak żyleta, a przy tym ma dość głębi, żeby wgniatał również przy blastach. Wszystko fajnie, ale The Dystopian ma niestety jedną wadę, swoją drogą często spotykaną u grindowych płyt z wyższej półki – mija zbyt szybko. Wprawdzie 23 minuty to jeszcze nie tragedia, jednak człowiek byłby znacznie szczęśliwszy, gdyby krążek trwał przynajmniej pół godziny. Drugi minusik dotyczy wydania – we wkładce nie zobaczymy tekstów, a szkoda, bo Afgrund ewidentnie mają coś ważnego do przekazania. Zresztą nawet bez poezji przed nosem z klimatu i ładunku energetycznego The Dystopian łatwo wywnioskować, że nie jest to nic pozytywnego. Gorąco polecam!

demo


'The Dystopian is exactly what you’d want from a grindcore release in 2018. Mixing elements of old and new into a lethal concoction that’s best given a wide berth, this is an album that any fan of grindcore should be able to eagerly lap up. Highly recommended.' - Wonderboxmetal



..::TRACK-LIST::..

1. Limitless Source of Power 01:56
2. Ruttna 00:56
3. Re-Exordium 02:50
4. Callous 02:57
5. Royalty of Crust 00:56
6. Crossfire Agent 01:54
7. (Yet) Another Way to Kill 01:42
8. The Great Rift 03:14
9. Archaic Plague 01:52
10. Smasher of Skulls 02:25
11. Demise Strategy 02:44



..::OBSADA::..

Drums, Recorded By, Mixed By, Mastered By - Panu Posti
Vocals, Guitar - Andreas Baier, Patrik Howe




https://www.youtube.com/watch?v=8leU4kHhZQ4



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

'Heavenly Down', dziewiąta płyta działającego od ponad trzech dekad lat Sear Bliss, zarejestrowano w austriackim The Mushroom Studio pod okiem Viktora 'Maksa' Scheera.
Za mastering odpowiada doskonale rozpoznawalny w świecie muzyki metalowej, szwedzki muzyk i producent Dan Swäno i jego studio Unisound. Autorem okładki jest uznany belgijski artysta Kris Verwimp.


Dla wielbicieli krajobrazowego black metalu istna perełka!




Sear Bliss delivers their opus magnum after a 30 year long journey of epic darkness!

Welcome to a journey into space itself in which its divinity is formed by progressive components and blackened chaos: Sear Bliss’s “Heavenly Down”. Externally mighty and internally filling, Hungary’s metallic frontrunners once again apply their signature formula of conjoining elegance and evil; two separate worlds that flawlessly connect into one special entity of supreme distinction. A galactic quest in which Sear Bliss rewrites the rules of experimental metal is found within “Heavenly Down” and the trip is very exciting, believe us.

Though containing common Black Metal qualities, “Heavenly Down” shows a neat shape of Sear Bliss’s own originality mixed in with several usual endowments. As expected,
Sear Bliss preserves their blackened roots intact with epic tremolo picking sections, firing blastbeats, and András Nagy’s graceful shrieks, yet the use of beautiful clean guitars and majestic keyboards add to the already-mighty picture. But don’t fear for too much soft stuff, because there are some massive head-banging riffs that just shred your eyeballs out of their sockets. The harmony between two separate musical extremes is reached in precise unison, and such a joyous tension is never broken from its state of wonder; this is how Black Metal and empyrean moods are supposed to wed. During the voyage, Sear Bliss keeps the ride interesting with the band’s hidden weapon that seems a bit odd at first, but ends out working excellently: the trombone. Zoltán Pál‘s strange position in Sear Bliss is not that of a clueless musician hitting symphonic notes, but rather an individual that can intelligently wrap the trombone around the harsh guitars and ethereal surroundings superbly. The thing is, however, that the trombone takes absolute control of Sear Bliss’s music whenever the master permits its freedom: you’ll be enjoying a cool riffing section, and then a blast of brass just explodes like no other instrument. It’s truly a unique experience that needs to be heard to be believed.

Overall, we dare to say “Heavenly Down” is a fantastic album with countless incidents of atypical independence and atmospheric delight. Everything is solid as a rock, and the
consistent display of cosmic instrumentation definitely make this record a highlight in Sear Bliss’ discography. Those looking for something outside the musical norm will most
certainly appreciate “Heavenly Down” and its metaphysical significance as a Black Metal recording unlike most of the genre itself.

[Description]


In all these years of listening to black metal, as well as metal in general, it’s a seldom to come across an album so great that you literally become one with its magic, to the point where you just don’t know what happened, yet you know that it just left a big mark on your life. Somewhere around autumn of 2023, I had the chance to see the Hungarian black metal band Sear Bliss perform live, and oh boy what a night it was, because what I witnessed was just so powerful that it wasn’t just a regular concert, it was an adventure. A black metal band with brass instruments like euphonium and trombone, backed up by keyboards and even barytone, is by no means an easy feat to achieve, yet what they did was literally calling down the thunder all its might and glory. There were words of a new album coming out in 2024, which was teased through their live shows and social media around that time, and that got me pretty excited, because I had no clue what I was getting myself into. Come the year 2024, and now we are finally here, to witness the divine come down from the great heavens. Their ninth full-length album Heavenly Down is due to be released on June 28th, 2024 via Hammerheart Records, marking the band’s epic return after 8 years since the release of their previous album Letters from the Edge. The important question is: What hath become of me when I had stumbled upon the lady dressed in white, standing in the marshes as the tree spirits gaze from the distance? I can only say, that l did not know what stands before me, and little did I know that I would not return from this journey the same like before. If you are curious to know what stands underneath the holy sun, calling upon the divine, then you are most welcome to join me on this journey.

From the very first track “Infinite Grey”, we are slowly transcending into this spiritual experience, until the heavens storm down upon us with an otherworldly form of epic black metal, shrouded in pure mystery and heavy as the wrath of Mother Nature. The album has barely even started, and yet we are already starting off so strong with such incredible heaviness and such deadly but attractive beauty, which goes even further with melancholy on “Watershed” and then climbing higher into “The Upper World”, where you are left amazed and uncertain as to what will come next. At this point, you suddenly begin to realize that once you enter the unknown realm of Heavenly Down, there is no coming back, because you know you will not return from the journey the same as you were before. For a long time now, Sear Bliss has been known as “metal with horns”, stating the subtle fact that the music is dominated by the incredible inclusion of trombone work by Zoltán Pál, who had been pouring his amazing talents and delivering excellence since Grand Destiny from 2001, taking the band’s musicality to a whole another level and giving it a strong cinematic touch. A good example that demonstrates their brilliant musicality, while also giving a short break from black metal, is the track “Forgotten Deities”, a beautiful ambient instrumental that nicely builds the gap between the first and second half of the album. For real, this album doesn’t stop giving, it’s always good at keeping you on edge and curious as to what you might face next, and just when you thought that this album can’t get any more interesting, it’s not long after when you come across something mind-blowing. Just take a look at the epic ambient synth part on “The Winding Path”, continued by the awesome melodic section with trombones, or the heavy and powerful song “Chasm” in its entirety, and tell me that is not a work of art right there. You would be a fool to think that this album isn’t interesting or engaging at all, because that’s what Heavenly Down has been doing from start to finish, constantly delivering on every aspect. If there is one thing that this album also does great, it’s the fact that it gradually builds up the ultimate climax with every song, and once you experience the grand spectacle of “Feathers in Ashes”, you actually feel like you are becoming one with Mother Nature as the song swallows you entirely. Another important fact about this track is that it gives a great sense of closure, leaving this album with a grand payoff that really makes you feel that it was totally worth it.

The songwriting of Sear Bliss has always had a lot of progression and atmosphere, providing a variety of ideas that are nicely expressed through such complex but creative form of black metal instrumentation. If there is one significant thing about this album that stands out to me, it’s the fact that it’s got such an immense mesmerizing quality to it, where you are completely free of your mind and just witnessing greatness through your eyes, hardly believing what is going on right now. Atmosphere is definitely the strongest element of this album, and without a doubt its biggest highlight, especially due to the fact that you don’t exactly feel like you are listening to an album, but rather going on a spiritual journey to the infinite worlds beyond the one of your own, while embracing the blessings of the supreme divines. Pardon my expression, but to describe the overall experience of Heavenly Down word for word is so difficult, however I think it would be very reasonable to say that it’s the equivalent of an orgasm, because everything about this album was so incredibly executed that you just can’t tell what I love so much about it. As for the general musicality, besides the great melodies and guitar work, as well as the excellence of Zoltán Pál’s use of brass instruments, what also managed to get my attention are the dynamic bass lines of András Nagy, which adds so much layers to the music, while also complimenting the heavy riffs and the double-bass drums. If you are genuinely familiar with the previous works of Sear Bliss, you will undoubtedly love the album’s artwork, done by the talented and legendary Kris Verwimp, who had been providing such fantastic work since their debut album Phantoms in 1996, and this latest cover art is very faithful to the general art style that became quite synonymous with Sear Bliss. As for the production of Heavenly Down, the album has such a high quality and top-notch sound, bringing out every detail to its highest peak, which is no surprise considering that the mastering was done by the great and respected Swedish producer Dan Swanö, who had also worked on their previous albums Forsaken Symphony and Letters from the Edge, and he certainly nailed the final result.

What can I say about this album that hasn’t already been said? Words can’t describe how this album touched my soul from the moment I first heard it, because I was left so speechless that I literally thought I was having an out of body experience. Ever since I saw Sear Bliss perform live in my hometown last year, even then I was left without words, and once they teased the arrival of the new album, I was not prepared for the journey I was about to embark. Heavenly Down is a brilliant and magical album that shows a great example of epic and atmospheric black metal as a work of art, and I am not ashamed to call it a masterpiece because that’s what it is. The essence and the magic of their music is what many bands out there would wish they had, but what Sear Bliss achieved on this album, as well as their entire discography, it is a talent that you simply cannot replicate, and it would be a cardinal sin to criticize their master-crafted style and sound.

Vladimir Cokorilo



..::TRACK-LIST::..

1. Infinite Grey 06:16
2. Watershed 04:42
3. The Upper World 05:55
4. Heavenly Down 04:35
5. Forgotten Deities 04:10
6. The Winding Path 06:40
7. Chasm 05:16
8. Feathers In Ashes 06:36



..::OBSADA::..

Márton Kertész - Guitars
András Nagy - Bass, Guitars, Percussion (bangdrum), Synthesizers, Vocals, Lyrics
Zoltán Pál - Trombone, Vocals (backing)
Gyula Csejtey - Drums
Zoltán Vigh - Guitars




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



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

'Heavenly Down', dziewiąta płyta działającego od ponad trzech dekad lat Sear Bliss, zarejestrowano w austriackim The Mushroom Studio pod okiem Viktora 'Maksa' Scheera.
Za mastering odpowiada doskonale rozpoznawalny w świecie muzyki metalowej, szwedzki muzyk i producent Dan Swäno i jego studio Unisound. Autorem okładki jest uznany belgijski artysta Kris Verwimp.


Dla wielbicieli krajobrazowego black metalu istną perełka!




Sear Bliss delivers their opus magnum after a 30 year long journey of epic darkness!

Welcome to a journey into space itself in which its divinity is formed by progressive components and blackened chaos: Sear Bliss’s “Heavenly Down”. Externally mighty and internally filling, Hungary’s metallic frontrunners once again apply their signature formula of conjoining elegance and evil; two separate worlds that flawlessly connect into one special entity of supreme distinction. A galactic quest in which Sear Bliss rewrites the rules of experimental metal is found within “Heavenly Down” and the trip is very exciting, believe us.

Though containing common Black Metal qualities, “Heavenly Down” shows a neat shape of Sear Bliss’s own originality mixed in with several usual endowments. As expected,
Sear Bliss preserves their blackened roots intact with epic tremolo picking sections, firing blastbeats, and András Nagy’s graceful shrieks, yet the use of beautiful clean guitars and majestic keyboards add to the already-mighty picture. But don’t fear for too much soft stuff, because there are some massive head-banging riffs that just shred your eyeballs out of their sockets. The harmony between two separate musical extremes is reached in precise unison, and such a joyous tension is never broken from its state of wonder; this is how Black Metal and empyrean moods are supposed to wed. During the voyage, Sear Bliss keeps the ride interesting with the band’s hidden weapon that seems a bit odd at first, but ends out working excellently: the trombone. Zoltán Pál‘s strange position in Sear Bliss is not that of a clueless musician hitting symphonic notes, but rather an individual that can intelligently wrap the trombone around the harsh guitars and ethereal surroundings superbly. The thing is, however, that the trombone takes absolute control of Sear Bliss’s music whenever the master permits its freedom: you’ll be enjoying a cool riffing section, and then a blast of brass just explodes like no other instrument. It’s truly a unique experience that needs to be heard to be believed.

Overall, we dare to say “Heavenly Down” is a fantastic album with countless incidents of atypical independence and atmospheric delight. Everything is solid as a rock, and the
consistent display of cosmic instrumentation definitely make this record a highlight in Sear Bliss’ discography. Those looking for something outside the musical norm will most
certainly appreciate “Heavenly Down” and its metaphysical significance as a Black Metal recording unlike most of the genre itself.

[Description]


In all these years of listening to black metal, as well as metal in general, it’s a seldom to come across an album so great that you literally become one with its magic, to the point where you just don’t know what happened, yet you know that it just left a big mark on your life. Somewhere around autumn of 2023, I had the chance to see the Hungarian black metal band Sear Bliss perform live, and oh boy what a night it was, because what I witnessed was just so powerful that it wasn’t just a regular concert, it was an adventure. A black metal band with brass instruments like euphonium and trombone, backed up by keyboards and even barytone, is by no means an easy feat to achieve, yet what they did was literally calling down the thunder all its might and glory. There were words of a new album coming out in 2024, which was teased through their live shows and social media around that time, and that got me pretty excited, because I had no clue what I was getting myself into. Come the year 2024, and now we are finally here, to witness the divine come down from the great heavens. Their ninth full-length album Heavenly Down is due to be released on June 28th, 2024 via Hammerheart Records, marking the band’s epic return after 8 years since the release of their previous album Letters from the Edge. The important question is: What hath become of me when I had stumbled upon the lady dressed in white, standing in the marshes as the tree spirits gaze from the distance? I can only say, that l did not know what stands before me, and little did I know that I would not return from this journey the same like before. If you are curious to know what stands underneath the holy sun, calling upon the divine, then you are most welcome to join me on this journey.

From the very first track “Infinite Grey”, we are slowly transcending into this spiritual experience, until the heavens storm down upon us with an otherworldly form of epic black metal, shrouded in pure mystery and heavy as the wrath of Mother Nature. The album has barely even started, and yet we are already starting off so strong with such incredible heaviness and such deadly but attractive beauty, which goes even further with melancholy on “Watershed” and then climbing higher into “The Upper World”, where you are left amazed and uncertain as to what will come next. At this point, you suddenly begin to realize that once you enter the unknown realm of Heavenly Down, there is no coming back, because you know you will not return from the journey the same as you were before. For a long time now, Sear Bliss has been known as “metal with horns”, stating the subtle fact that the music is dominated by the incredible inclusion of trombone work by Zoltán Pál, who had been pouring his amazing talents and delivering excellence since Grand Destiny from 2001, taking the band’s musicality to a whole another level and giving it a strong cinematic touch. A good example that demonstrates their brilliant musicality, while also giving a short break from black metal, is the track “Forgotten Deities”, a beautiful ambient instrumental that nicely builds the gap between the first and second half of the album. For real, this album doesn’t stop giving, it’s always good at keeping you on edge and curious as to what you might face next, and just when you thought that this album can’t get any more interesting, it’s not long after when you come across something mind-blowing. Just take a look at the epic ambient synth part on “The Winding Path”, continued by the awesome melodic section with trombones, or the heavy and powerful song “Chasm” in its entirety, and tell me that is not a work of art right there. You would be a fool to think that this album isn’t interesting or engaging at all, because that’s what Heavenly Down has been doing from start to finish, constantly delivering on every aspect. If there is one thing that this album also does great, it’s the fact that it gradually builds up the ultimate climax with every song, and once you experience the grand spectacle of “Feathers in Ashes”, you actually feel like you are becoming one with Mother Nature as the song swallows you entirely. Another important fact about this track is that it gives a great sense of closure, leaving this album with a grand payoff that really makes you feel that it was totally worth it.

The songwriting of Sear Bliss has always had a lot of progression and atmosphere, providing a variety of ideas that are nicely expressed through such complex but creative form of black metal instrumentation. If there is one significant thing about this album that stands out to me, it’s the fact that it’s got such an immense mesmerizing quality to it, where you are completely free of your mind and just witnessing greatness through your eyes, hardly believing what is going on right now. Atmosphere is definitely the strongest element of this album, and without a doubt its biggest highlight, especially due to the fact that you don’t exactly feel like you are listening to an album, but rather going on a spiritual journey to the infinite worlds beyond the one of your own, while embracing the blessings of the supreme divines. Pardon my expression, but to describe the overall experience of Heavenly Down word for word is so difficult, however I think it would be very reasonable to say that it’s the equivalent of an orgasm, because everything about this album was so incredibly executed that you just can’t tell what I love so much about it. As for the general musicality, besides the great melodies and guitar work, as well as the excellence of Zoltán Pál’s use of brass instruments, what also managed to get my attention are the dynamic bass lines of András Nagy, which adds so much layers to the music, while also complimenting the heavy riffs and the double-bass drums. If you are genuinely familiar with the previous works of Sear Bliss, you will undoubtedly love the album’s artwork, done by the talented and legendary Kris Verwimp, who had been providing such fantastic work since their debut album Phantoms in 1996, and this latest cover art is very faithful to the general art style that became quite synonymous with Sear Bliss. As for the production of Heavenly Down, the album has such a high quality and top-notch sound, bringing out every detail to its highest peak, which is no surprise considering that the mastering was done by the great and respected Swedish producer Dan Swanö, who had also worked on their previous albums Forsaken Symphony and Letters from the Edge, and he certainly nailed the final result.

What can I say about this album that hasn’t already been said? Words can’t describe how this album touched my soul from the moment I first heard it, because I was left so speechless that I literally thought I was having an out of body experience. Ever since I saw Sear Bliss perform live in my hometown last year, even then I was left without words, and once they teased the arrival of the new album, I was not prepared for the journey I was about to embark. Heavenly Down is a brilliant and magical album that shows a great example of epic and atmospheric black metal as a work of art, and I am not ashamed to call it a masterpiece because that’s what it is. The essence and the magic of their music is what many bands out there would wish they had, but what Sear Bliss achieved on this album, as well as their entire discography, it is a talent that you simply cannot replicate, and it would be a cardinal sin to criticize their master-crafted style and sound.

Vladimir Cokorilo



..::TRACK-LIST::..

1. Infinite Grey 06:16
2. Watershed 04:42
3. The Upper World 05:55
4. Heavenly Down 04:35
5. Forgotten Deities 04:10
6. The Winding Path 06:40
7. Chasm 05:16
8. Feathers In Ashes 06:36



..::OBSADA::..

Márton Kertész - Guitars
András Nagy - Bass, Guitars, Percussion (bangdrum), Synthesizers, Vocals, Lyrics
Zoltán Pál - Trombone, Vocals (backing)
Gyula Csejtey - Drums
Zoltán Vigh - Guitars




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



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

At some point you run out of things to say about music. If one is merely a listener, that time comes around quickly. I’ve been messing with this rewrite for a long time now, but it really is pointless to. I like Phlebotomized’s “Skycontact” because it is weird and think you should too. It’s “vaguely alternative/hard-rock”, but in the end labels aren’t important, especially when the resulting vertigo is so pungent. “Skycontact” is naturally unique in a world of manufactured weird. The “water-elemental-infant-emerging-from-the-sea-vagina-amongst-musical-fish” cover art neatly sums the sensibility up. There might be some deeper meaning under said non-sequiturs, but depth is moot to ocean dwellers. Us terrestrials got too much dust in our cracks. Things are much better, down where it’s wetter. I reckon one might not want to come up for air ever again.

The work is broken into two parts: the first half features stand-alone songs, while the back half is a four-song cycle called ‘I Hope You Know’. There is also an Easter egg for the curious. The rear cover lists a different running time (7:24 minutes longer) than the apparent track-math concludes. Are these musicians just bad at addition, or is there a puzzle to solve? If you still play CD’s - hold the rewind button when you start up the disk. Your stereo will make angry noises, but you’ve now discovered ‘Dizz-tance’, a 7:24 minute secret instrumental. A little goodie like this was only possible in the analogue age. Warm feelings ensue. The track itself serves as an excellent preview to what will come next: lots of dynamic tempos, numerous sonic textures via electronic supplementation and a unique sense of urgency. The band also manages all this whist playing as tight as an anus on a cold morning.

The album proper comes out swinging with ‘Showstolesoul’. Mosh chords and gang-shouts will queue up the push-pit. But what’s this? An extended “Videodrome” sample concerning the reality warping effects of television? You would be correct. One may feel the urge to stick a needle through Debbie Harry’s nipple or maybe even fuck a TV. The whole vibe is off-center, but more importantly, hand-on-heart and present tense. Phlebotomized doesn’t gloss over their weaknesses either. There are still occasional awkward transitions (much less so than before). The clean vocals are also frail and can clash with the robust harsh growled outbursts. But for whatever reason, I absolutely adore them for how shaky they are. ‘Achin’ demonstrates this vocal awkwardness in its first verse but also smartly partners them with an equally fragile and wavering synth line. The lyrics are ambivalent and contradictory, not unlike ‘Come as You Are’, despite not learning as heavily upon flannel existentialism. There isn’t any roaring, but it also happens to be my favorite selection. I bring up that sense of urgency again, which is builds up during the various bridges and relents during quieter sections. The dynamism keeps everything moving forward.
The second instrumental ‘Sometimes,’ makes full use of Martin Post’s violin to set up a lonely mood that is then stretched over a durable rock pattern. The picked melody that pops up once the beat doubles up is ridiculously captivating and primes us for a crunchy outro. And the enigmatic sample “You’ll not be able to come back, but that’s okay, I don’t think you’ll ever want to” reminds us that we are all moving in a singular direction. And even if we can press rewind on the tape deck, you can’t replay the tape again for the first time. It is all extremely evocative, and I am sure many have drawn a lot from the record’s details. ‘I Lost My Cookies in the Disco’ finishes side one dramatically. It is a more “complete” selection in that it maintains a metallic predisposition, keeping the earlier left turns of the album to a minimum. The looming synth blares make the atmosphere feel unstable and ready to spill over. Again, a musical urgency pushes us towards feelings we might not understand. I’d also like to express my admiration for how forceful the harsh(er) vocals are, they are extremely passionate and illuminate the mournful lyrics and jagged riffage.

And finally, ‘I Hope You Know’ presents Phlebotomized at its most ambitious. Despite being in four parts, it plays as one 22-minute suite packed full of reflections, recurrences, and reconfigurations. The suite repeats musical passages and folds inwards and backwards onto itself multiple times with incredible naturalism and passion. It is just terrific. ‘A Cry in July’ begins with a metallic oscillating guitar riff (which will return) accompanied by some double bass in your face. Then it blooms into a beautiful synthetic soundscape. It feels like flying into a long-lost dream. I am not a musician, but somehow the longer format feels both carefully composed but just as natural as the first half. I could never hope to capture what is going on in true detail. Most of us are limited to the role of listeners, but I am still grateful to have the opportunity to hear something like this at all. All the directionalities presented feel natural and complete. The longer length allows for the group to juxtapose the multiple elements several times over and keep a listener hanging on the edge of their fingernails. The metal genomes are quite sporadic, but the musicality makes it heavy.

The thoughtful lyrics detail the regret and shame of the vocal protagonist after an undisclosed unforgivable act. Clean vocals and subdued instruments follow which in turn are followed by harsh vocals which make up the chorus. It really is easy to get lost with all the drama detailed in the lyrics and musical waterfireworks. I wrote in my original 12.5-year-old review that “Skycontact” is “like a series of quick paintings and drawings that were done by people who were totally inspired by something both whimsical and melancholy within them and simply allowed it to flow outwards”. While I still haven’t bested my predisposition to run-on sentences, I can repeat the same evaluation despite being a bit longer in the tooth. I think this record sums up why people rely on music. I haven’t even listened to the album in years, but it exists within me in a deeper state. Somewhere in the ocean of me there is a place where “Skycontact” plays eternally. I hope you know.

Arjunthebeast



..::TRACK-LIST::..

1. StoleShowSoul 8:22
2. Achin' 7:46
3. Sometimes 5:07
4. I Lost My Cookies In The Disco 7:33
5. Dizz-Tance 7:21
6. Hope You Know (In 4 Parts)
- A Cry In July 7:38
- Never Lose Hope 6:15
- Imagine This 4:25
- Out To You 3:55



..::OBSADA::..

Ben Quak - Keyboards, Piano
Dennis Geestman - Vocals
Jaro Stulrajter - Bass, Violin
Lawrence Payne - Drums, Vocals
Jordy Middelbosch - Guitars (rhythm)
Tom Palms - Guitars




https://www.youtube.com/watch?v=Z8THIS9lp0g



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

At some point you run out of things to say about music. If one is merely a listener, that time comes around quickly. I’ve been messing with this rewrite for a long time now, but it really is pointless to. I like Phlebotomized’s “Skycontact” because it is weird and think you should too. It’s “vaguely alternative/hard-rock”, but in the end labels aren’t important, especially when the resulting vertigo is so pungent. “Skycontact” is naturally unique in a world of manufactured weird. The “water-elemental-infant-emerging-from-the-sea-vagina-amongst-musical-fish” cover art neatly sums the sensibility up. There might be some deeper meaning under said non-sequiturs, but depth is moot to ocean dwellers. Us terrestrials got too much dust in our cracks. Things are much better, down where it’s wetter. I reckon one might not want to come up for air ever again.

The work is broken into two parts: the first half features stand-alone songs, while the back half is a four-song cycle called ‘I Hope You Know’. There is also an Easter egg for the curious. The rear cover lists a different running time (7:24 minutes longer) than the apparent track-math concludes. Are these musicians just bad at addition, or is there a puzzle to solve? If you still play CD’s - hold the rewind button when you start up the disk. Your stereo will make angry noises, but you’ve now discovered ‘Dizz-tance’, a 7:24 minute secret instrumental. A little goodie like this was only possible in the analogue age. Warm feelings ensue. The track itself serves as an excellent preview to what will come next: lots of dynamic tempos, numerous sonic textures via electronic supplementation and a unique sense of urgency. The band also manages all this whist playing as tight as an anus on a cold morning.

The album proper comes out swinging with ‘Showstolesoul’. Mosh chords and gang-shouts will queue up the push-pit. But what’s this? An extended “Videodrome” sample concerning the reality warping effects of television? You would be correct. One may feel the urge to stick a needle through Debbie Harry’s nipple or maybe even fuck a TV. The whole vibe is off-center, but more importantly, hand-on-heart and present tense. Phlebotomized doesn’t gloss over their weaknesses either. There are still occasional awkward transitions (much less so than before). The clean vocals are also frail and can clash with the robust harsh growled outbursts. But for whatever reason, I absolutely adore them for how shaky they are. ‘Achin’ demonstrates this vocal awkwardness in its first verse but also smartly partners them with an equally fragile and wavering synth line. The lyrics are ambivalent and contradictory, not unlike ‘Come as You Are’, despite not learning as heavily upon flannel existentialism. There isn’t any roaring, but it also happens to be my favorite selection. I bring up that sense of urgency again, which is builds up during the various bridges and relents during quieter sections. The dynamism keeps everything moving forward.
The second instrumental ‘Sometimes,’ makes full use of Martin Post’s violin to set up a lonely mood that is then stretched over a durable rock pattern. The picked melody that pops up once the beat doubles up is ridiculously captivating and primes us for a crunchy outro. And the enigmatic sample “You’ll not be able to come back, but that’s okay, I don’t think you’ll ever want to” reminds us that we are all moving in a singular direction. And even if we can press rewind on the tape deck, you can’t replay the tape again for the first time. It is all extremely evocative, and I am sure many have drawn a lot from the record’s details. ‘I Lost My Cookies in the Disco’ finishes side one dramatically. It is a more “complete” selection in that it maintains a metallic predisposition, keeping the earlier left turns of the album to a minimum. The looming synth blares make the atmosphere feel unstable and ready to spill over. Again, a musical urgency pushes us towards feelings we might not understand. I’d also like to express my admiration for how forceful the harsh(er) vocals are, they are extremely passionate and illuminate the mournful lyrics and jagged riffage.

And finally, ‘I Hope You Know’ presents Phlebotomized at its most ambitious. Despite being in four parts, it plays as one 22-minute suite packed full of reflections, recurrences, and reconfigurations. The suite repeats musical passages and folds inwards and backwards onto itself multiple times with incredible naturalism and passion. It is just terrific. ‘A Cry in July’ begins with a metallic oscillating guitar riff (which will return) accompanied by some double bass in your face. Then it blooms into a beautiful synthetic soundscape. It feels like flying into a long-lost dream. I am not a musician, but somehow the longer format feels both carefully composed but just as natural as the first half. I could never hope to capture what is going on in true detail. Most of us are limited to the role of listeners, but I am still grateful to have the opportunity to hear something like this at all. All the directionalities presented feel natural and complete. The longer length allows for the group to juxtapose the multiple elements several times over and keep a listener hanging on the edge of their fingernails. The metal genomes are quite sporadic, but the musicality makes it heavy.

The thoughtful lyrics detail the regret and shame of the vocal protagonist after an undisclosed unforgivable act. Clean vocals and subdued instruments follow which in turn are followed by harsh vocals which make up the chorus. It really is easy to get lost with all the drama detailed in the lyrics and musical waterfireworks. I wrote in my original 12.5-year-old review that “Skycontact” is “like a series of quick paintings and drawings that were done by people who were totally inspired by something both whimsical and melancholy within them and simply allowed it to flow outwards”. While I still haven’t bested my predisposition to run-on sentences, I can repeat the same evaluation despite being a bit longer in the tooth. I think this record sums up why people rely on music. I haven’t even listened to the album in years, but it exists within me in a deeper state. Somewhere in the ocean of me there is a place where “Skycontact” plays eternally. I hope you know.

Arjunthebeast



..::TRACK-LIST::..

1. StoleShowSoul 8:22
2. Achin' 7:46
3. Sometimes 5:07
4. I Lost My Cookies In The Disco 7:33
5. Dizz-Tance 7:21
6. Hope You Know (In 4 Parts)
- A Cry In July 7:38
- Never Lose Hope 6:15
- Imagine This 4:25
- Out To You 3:55



..::OBSADA::..

Ben Quak - Keyboards, Piano
Dennis Geestman - Vocals
Jaro Stulrajter - Bass, Violin
Lawrence Payne - Drums, Vocals
Jordy Middelbosch - Guitars (rhythm)
Tom Palms - Guitars




https://www.youtube.com/watch?v=Z8THIS9lp0g



SEED 14:30-23:00.
POLECAM!!!

...( Info )...

Album: Keeper of the Seven Keys, Pt. 2
Genre: Heavy-Metal, Power-Metal, Metal
Edition: Sanctuary Records
Source: https://www.qobuz.com/us-en/album/keeper-of-the-seven-keys-pt-2-helloween/fin179pvlwxmc
Duration: 00:54:56
Codec: FLAC 24/44.1
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01 - Invitation (2024 Remaster) [1:07]
02 - Eagle Fly Free (2024 Remaster) [5:11]
03 - You Always Walk Alone (2024 Remaster) [5:11]
04 - Rise and Fall (2024 Remaster) [4:23]
05 - Dr. Stein (2024 Remaster) [5:06]
06 - We Got the Right (2024 Remaster) [5:09]
07 - March of Time (2024 Remaster) [5:16]
08 - I Want Out (2024 Remaster) [4:42]
09 - Keeper of the Seven Keys (2024 Remaster) [13:38]
10 - Save Us (2024 Remaster) [5:15]

...( Info )...

Artist: Helloween
Album: Keeper of the Seven Keys, Pt. 1
Genre: Heavy-Metal, Power-Metal, Metal
Edition: Sanctuary Records
Source: https://www.qobuz.com/us-en/album/keeper-of-the-seven-keys-pt-1-helloween/zvsg7pieuomma
Duration: 00:37:10
Codec: FLAC 24/44.1
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01 - Initiation (2024 Remaster) [1:22]
02 - I'm Alive (2024 Remaster) [3:23]
03 - A Little Time (2024 Remaster) [4:01]
04 - Twilight of the Gods (2024 Remaster) [4:31]
05 - A Tale That Wasn't Right (2024 Remaster) [4:45]
06 - Future World (2024 Remaster) [4:03]
07 - Halloween (2024 Remaster) [13:19]
08 - Follow the Sign (2024 Remaster) [1:48]

...( Info )...

Artist: Flat Black
Album: Dark Side Of The Brain
Genre: Alternative Metal, Groove Metal
Label: Fearless Records
Duration: 00:50:15
Codec: FLAC 24/48
Bitrate: lossless|WEB-DL
Mix type: tracks



...( TrackList )...

01 - You Can Get Angry [4:29]
02 - Justice Will Be Done [3:41]
03 - Sideways [3:40]
04 - A Bit of Lightning [4:18]
05 - Unwanted [4:05]
06 - Home [3:16]
07 - Aureola [3:43]
08 - This Is Your Disrespect [3:53]
09 - For Some Nothing [3:26]
10 - The Dark Side of the Brain [4:12]
11 - The Villain [3:17]
12 - The Eyes of Youth [0:50]
13 - Tidal Wave [3:48]
14 - Let It Go [3:45]

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



..::OPIS::..

'Kiedy rozum śpi, budzą się demony' – pochodząca z amerykańskiego stanu Colorado formacja Akhlys kontynuuje mroczną odyseję na granicy jawy i snu. Moje nawiązanie do dzieła Francisco Goi nie jest przypadkowe: niespokojny sen jest głównym i nieodłącznym tematem tekstów zespołu. Tym razem jednym z naszych przewodników będzie Fobetor, personifikacja koszmarów z greckiej mitologii. Atmosferyczny, ale podany ze wściekłą mocą black metal Amerykanów, ponownie kusi i odpycha jednocześnie, otaczając słuchacza lepkimi mackami chaosu, które zabierają oddech.

Album House of the Black Geminus to śmiała kontynuacja obecnych już wcześniej wątków, zarówno tych muzycznych, jak i filozoficznych. Cierpiący na parasomnię lider zespołu, Naas Alcameth, prowadzi nas do krainy dusznych i niebezpiecznych snów. Sister Silence, Brother Sleep, Mother Darkness and Father Death – to wierni towarzysze sennej odysei. Czas, który powinien przynosić wytchnienie od codzienności, staje się udręką. I tym razem piekłem stają się rodzące się pod zamkniętymi oczami wizje, z pozoru efemeryczne, a przecież namacalne i bolesne w swych skutkach.

Potęga brzmienia Akhlys opiera się nie tyle ciężkich riffach, co wyrazistej produkcji, która uwypukla moc gitar i sekcji. Nie pojedyncze, wbijające się w pamięć zagrywki gitary będą nas mamić – choć paru „chwytliwych” momentów doszukamy się na albumie – a skomasowana ściana dźwięków, która nieco przytłacza. Kapela skutecznie buduje moc uderzenia, także, a może przede wszystkim, za sprawą studyjnych sztuczek. Hochsztaplerstwo? A może diaboliczny pakt z bogami władającymi koszmarami? Nie mam zatem potrzeby rozkładania muzyki Akhlys na czynniki pierwsze, gdy finał artystycznych poszukiwań jest druzgoczący w swym wyrazie.

Utwory na nowym albumie są długie, właściwie każdy z nich stanowi mini suitę, podaną z pewną dramaturgią i zmianami akcji. Pewnym przerywnikiem jest tylko instrumentalny numer Black Geminus, w którym może i formacja nieco pozwala nam się wyciszyć, ale nie uspokoić. Pozostajemy wciąż we wnętrzu koszmaru. Zespół ponownie korzysta zarówno z rozwiązań typowych dla metalu ekstremalnego (czasem podanego w nieco awangardowej formie), jak mrocznej elektroniki – zdarzało im się wypuścić wszak albumy w całości dark ambientowe. Ta inter-gatunkowość stanowiła od początku znak rozpoznawczy Akhlys. Nic się zatem nie zmienia. Tym razem pojawia się jednak sporo wątków industrialnych, które nawet jeśli nie dominują całości, to zdecydowanie wpływają na odbiór i wizje, jakie rodzą się w głowie słuchacza. Początek od razu umieszcza nas w nieco innym dźwiękowym kontekście: The Mask of Night-Speaking wita majestatycznym, podlanym elektroniką uderzeniem, które wiedzie ku post-apokaliptycznym pejzażom kina science-fiction. No właśnie. Słuchając albumu Amerykanów miałem mimowolne skojarzenia z zawartym w Niezwyciężonym Stanisława Lema pomysłem na ogromną i niszczycielską chmarę mikrobotów, która wywołuje mentalną destrukcję żywych organizmów. Najmocniejsze, najbardziej wyraziste fragmenty House of the Black Geminus z podobną, wykalkulowaną siłą oddziałują na słuchacza.

Nie chcę się nadmiernie zachwycać, ale z konfrontacji z bogiem koszmarów Amerykanie wyszli z tarczą. Akhlys jest oryginalnym i ważnym zespołem na scenie, nawet jeśli pozostaje w pewnym undergroundzie, a House of the Black Geminus to potwierdzenie wysokiej formy. Muzycy ponownie nie zawiedli, a do znanej formuły (także i wizualnej) dorzucili nowe elementy, co pozwala mieć nadzieję, że są jeszcze przestrzenie świeżych artystycznych eksploracji. Z pewnością album ten wędruje na moją krótką listę ciekawszych ekstremalnych, ale i klimatycznych płyt tego roku.

Być może wcześniejszymi produkcjami Naas Alcameth i załoga zdążyli mnie skutecznie omamić i w naturalny sposób dobrze im życzę. Póki co śnię wraz z Akhlys i nie chcę się przebudzić, choć widoki są tutaj koszmarne.

Paweł Lach


Nightmarish Black Metallers AKHLYS return with their fourth album of abyssal soundscapes. Set for release via Debemur Morti Productions on July 5th.

Dark ambience begins by setting a sense of dread, a feeling the band are extremely familiar with. Massive walls of riffing and percussion hit like a tidal wave of dense smog, filling the air with a potent sense of oppression. The intricate drumming and coarse guitars have a formidable power with those flares of dissonance that add to the unhinged, disquieting feeling that Akhlys have always portrayed. Convulsing with darkness as we await whatever spectral apparition they conjure, there is so much tension on the opening minutes of this album that pick up exactly where the wonderful “Melinoë” left us. Combining cascades of ethereal eeriness and bludgeoning force, there is such a vibrant impact to this record. Sometimes a doomy element allows room for breathing so that when blasting chaos ensues; it feels all the more extreme. The untamed instruments are met by equally vicious, snarling vocals as a demonic concoction comes together between all of the uncomfortable sounds. The utterly wild performance and crushing production feels like the band have forged on with total confidence from their previous works toward a goal they well understand. I am truly gripped.

Taking one of their most recognisable elements, those pulsating rhythms that have a hypnotic sway to them combined with frenzied dissonance, it feels like Akhlys have truly found their signature sound while never rested on their laurels. The feverish atmosphere and propelling forth of abyssal monstrosities is continually impressive and bewitching while there is not a moment you can feel relaxed. The tapestries of depraved terror which are woven will imprint upon the mind, never to be forgotten as it is such a clear and vivid horror which we witness here. Sometimes subtlety is key, but Akhlys take a much more forceful approach in delivering their chaotic and restless Black Metal savagery. Cutting every sense of calm like a rusted saw with some of the most inhuman sounds you could imagine, this is true power being harnessed with every malicious fibre screaming to inflict itself upon you. Every sanguineous moment is filled with a hunger, or thirst, for destruction. Each labyrinthine song, an opus of anxiety and trepidation, yet holding so much excitement to pull you further into the abyss. Howling from another world, I think most will find this an uneasy listen and yet you won’t be able to turn around or back away once you begin...

This is an undeniably punishing listen, but one with so much depth and intrigue that even the least dynamic moments feel complex and multi-faceted. It is human nature to be drawn to that we distrust or at least misunderstand, this feels like a perfect example of a danger that people shall flock to from curiosity and realise they are self-flagellating with sonic scythes that will scar them for life. When something so pugnacious can be so enchanting and evoke feelings of panic and ecstasy in equal measure it is certainly a special work of art. Akhlys walk the lines of hideous deformity and stunning beauty in a manner quite unlike anything else. Their malignant meditations inspire awe and will leave you aghast, shaken and salivating for more. Such is the masochistic nature of the extreme music lover. Up until its climax, this remains a chilling, warped, complex and terrifying listen that will simply throw you asunder or grip onto every fibre of your consciousness. Such a cathartic ritual provided by the band is clearly for a chosen elite, rather than a mass-market and that is the way Black Metal should remain for all time.

More frightful Black Metal magnificence from the lucid panic attack that is Akhlys. Their ghoulish soundscapes fit for the most dark corners of the mind being summoned to the foreground. If you revel in dissonance, extremity and bombardments of true evil; then this record is definitely for you. While it is definitely a modern take on Black Metal, it is a fantastic one that does not bastardise the genres spirit, rather takes it to new heights worth exploring. “House Of The Black Geminus” was a pleasure to witness.

Nattskog's Blog



..::TRACK-LIST::..

Act I: The Hearth
1. The Mask Of Night-Speaking
2. Maze Of Phobetor

Act II: The Cellar
3. Through The Abyssal Door
4. Black Geminus

Act III: The Attic
5. Sister Silence, Brother Sleep
6. Eye Of The Daemon - Daemon I




https://www.youtube.com/watch?v=qwI9O9fiNwM



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

'Kiedy rozum śpi, budzą się demony' – pochodząca z amerykańskiego stanu Colorado formacja Akhlys kontynuuje mroczną odyseję na granicy jawy i snu. Moje nawiązanie do dzieła Francisco Goi nie jest przypadkowe: niespokojny sen jest głównym i nieodłącznym tematem tekstów zespołu. Tym razem jednym z naszych przewodników będzie Fobetor, personifikacja koszmarów z greckiej mitologii. Atmosferyczny, ale podany ze wściekłą mocą black metal Amerykanów, ponownie kusi i odpycha jednocześnie, otaczając słuchacza lepkimi mackami chaosu, które zabierają oddech.

Album House of the Black Geminus to śmiała kontynuacja obecnych już wcześniej wątków, zarówno tych muzycznych, jak i filozoficznych. Cierpiący na parasomnię lider zespołu, Naas Alcameth, prowadzi nas do krainy dusznych i niebezpiecznych snów. Sister Silence, Brother Sleep, Mother Darkness and Father Death – to wierni towarzysze sennej odysei. Czas, który powinien przynosić wytchnienie od codzienności, staje się udręką. I tym razem piekłem stają się rodzące się pod zamkniętymi oczami wizje, z pozoru efemeryczne, a przecież namacalne i bolesne w swych skutkach.

Potęga brzmienia Akhlys opiera się nie tyle ciężkich riffach, co wyrazistej produkcji, która uwypukla moc gitar i sekcji. Nie pojedyncze, wbijające się w pamięć zagrywki gitary będą nas mamić – choć paru „chwytliwych” momentów doszukamy się na albumie – a skomasowana ściana dźwięków, która nieco przytłacza. Kapela skutecznie buduje moc uderzenia, także, a może przede wszystkim, za sprawą studyjnych sztuczek. Hochsztaplerstwo? A może diaboliczny pakt z bogami władającymi koszmarami? Nie mam zatem potrzeby rozkładania muzyki Akhlys na czynniki pierwsze, gdy finał artystycznych poszukiwań jest druzgoczący w swym wyrazie.

Utwory na nowym albumie są długie, właściwie każdy z nich stanowi mini suitę, podaną z pewną dramaturgią i zmianami akcji. Pewnym przerywnikiem jest tylko instrumentalny numer Black Geminus, w którym może i formacja nieco pozwala nam się wyciszyć, ale nie uspokoić. Pozostajemy wciąż we wnętrzu koszmaru. Zespół ponownie korzysta zarówno z rozwiązań typowych dla metalu ekstremalnego (czasem podanego w nieco awangardowej formie), jak mrocznej elektroniki – zdarzało im się wypuścić wszak albumy w całości dark ambientowe. Ta inter-gatunkowość stanowiła od początku znak rozpoznawczy Akhlys. Nic się zatem nie zmienia. Tym razem pojawia się jednak sporo wątków industrialnych, które nawet jeśli nie dominują całości, to zdecydowanie wpływają na odbiór i wizje, jakie rodzą się w głowie słuchacza. Początek od razu umieszcza nas w nieco innym dźwiękowym kontekście: The Mask of Night-Speaking wita majestatycznym, podlanym elektroniką uderzeniem, które wiedzie ku post-apokaliptycznym pejzażom kina science-fiction. No właśnie. Słuchając albumu Amerykanów miałem mimowolne skojarzenia z zawartym w Niezwyciężonym Stanisława Lema pomysłem na ogromną i niszczycielską chmarę mikrobotów, która wywołuje mentalną destrukcję żywych organizmów. Najmocniejsze, najbardziej wyraziste fragmenty House of the Black Geminus z podobną, wykalkulowaną siłą oddziałują na słuchacza.

Nie chcę się nadmiernie zachwycać, ale z konfrontacji z bogiem koszmarów Amerykanie wyszli z tarczą. Akhlys jest oryginalnym i ważnym zespołem na scenie, nawet jeśli pozostaje w pewnym undergroundzie, a House of the Black Geminus to potwierdzenie wysokiej formy. Muzycy ponownie nie zawiedli, a do znanej formuły (także i wizualnej) dorzucili nowe elementy, co pozwala mieć nadzieję, że są jeszcze przestrzenie świeżych artystycznych eksploracji. Z pewnością album ten wędruje na moją krótką listę ciekawszych ekstremalnych, ale i klimatycznych płyt tego roku.

Być może wcześniejszymi produkcjami Naas Alcameth i załoga zdążyli mnie skutecznie omamić i w naturalny sposób dobrze im życzę. Póki co śnię wraz z Akhlys i nie chcę się przebudzić, choć widoki są tutaj koszmarne.

Paweł Lach


Nightmarish Black Metallers AKHLYS return with their fourth album of abyssal soundscapes. Set for release via Debemur Morti Productions on July 5th.

Dark ambience begins by setting a sense of dread, a feeling the band are extremely familiar with. Massive walls of riffing and percussion hit like a tidal wave of dense smog, filling the air with a potent sense of oppression. The intricate drumming and coarse guitars have a formidable power with those flares of dissonance that add to the unhinged, disquieting feeling that Akhlys have always portrayed. Convulsing with darkness as we await whatever spectral apparition they conjure, there is so much tension on the opening minutes of this album that pick up exactly where the wonderful “Melinoë” left us. Combining cascades of ethereal eeriness and bludgeoning force, there is such a vibrant impact to this record. Sometimes a doomy element allows room for breathing so that when blasting chaos ensues; it feels all the more extreme. The untamed instruments are met by equally vicious, snarling vocals as a demonic concoction comes together between all of the uncomfortable sounds. The utterly wild performance and crushing production feels like the band have forged on with total confidence from their previous works toward a goal they well understand. I am truly gripped.

Taking one of their most recognisable elements, those pulsating rhythms that have a hypnotic sway to them combined with frenzied dissonance, it feels like Akhlys have truly found their signature sound while never rested on their laurels. The feverish atmosphere and propelling forth of abyssal monstrosities is continually impressive and bewitching while there is not a moment you can feel relaxed. The tapestries of depraved terror which are woven will imprint upon the mind, never to be forgotten as it is such a clear and vivid horror which we witness here. Sometimes subtlety is key, but Akhlys take a much more forceful approach in delivering their chaotic and restless Black Metal savagery. Cutting every sense of calm like a rusted saw with some of the most inhuman sounds you could imagine, this is true power being harnessed with every malicious fibre screaming to inflict itself upon you. Every sanguineous moment is filled with a hunger, or thirst, for destruction. Each labyrinthine song, an opus of anxiety and trepidation, yet holding so much excitement to pull you further into the abyss. Howling from another world, I think most will find this an uneasy listen and yet you won’t be able to turn around or back away once you begin...

This is an undeniably punishing listen, but one with so much depth and intrigue that even the least dynamic moments feel complex and multi-faceted. It is human nature to be drawn to that we distrust or at least misunderstand, this feels like a perfect example of a danger that people shall flock to from curiosity and realise they are self-flagellating with sonic scythes that will scar them for life. When something so pugnacious can be so enchanting and evoke feelings of panic and ecstasy in equal measure it is certainly a special work of art. Akhlys walk the lines of hideous deformity and stunning beauty in a manner quite unlike anything else. Their malignant meditations inspire awe and will leave you aghast, shaken and salivating for more. Such is the masochistic nature of the extreme music lover. Up until its climax, this remains a chilling, warped, complex and terrifying listen that will simply throw you asunder or grip onto every fibre of your consciousness. Such a cathartic ritual provided by the band is clearly for a chosen elite, rather than a mass-market and that is the way Black Metal should remain for all time.

More frightful Black Metal magnificence from the lucid panic attack that is Akhlys. Their ghoulish soundscapes fit for the most dark corners of the mind being summoned to the foreground. If you revel in dissonance, extremity and bombardments of true evil; then this record is definitely for you. While it is definitely a modern take on Black Metal, it is a fantastic one that does not bastardise the genres spirit, rather takes it to new heights worth exploring. “House Of The Black Geminus” was a pleasure to witness.

Nattskog's Blog



..::TRACK-LIST::..

Act I: The Hearth
1. The Mask Of Night-Speaking
2. Maze Of Phobetor

Act II: The Cellar
3. Through The Abyssal Door
4. Black Geminus

Act III: The Attic
5. Sister Silence, Brother Sleep
6. Eye Of The Daemon - Daemon I




https://www.youtube.com/watch?v=qwI9O9fiNwM



SEED 14:30-23:00.
POLECAM!!!

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


..::OPIS::..

For the first time on CD and LP in more than a decade, the Discordance Axis album "JouHou" is presented in its original format with multiple bonus tracks from their split with Plutocracy, Melt Banana, and an excerpt from a live show in Tokyo, 1997. Recorded by Bill T Miller, Jouhou is lean and relentless, with every bit of fat trimmed out of an 18 minute run time. Where other "grind" bands throttled back and settled into the scene niche, Discordance Axis continued in their own direction...as fast as humanly possible. Not for fans of anyone who thinks Dark Souls is too hard or has not been able to one-credit Radiant Silvergun.



..::TRACK-LIST::..

1. Vertigo Index 0:53
2. Panoptic 0:58
3. Aperture Of Pinholes 1:01
4. Information Sniper 0:41
5. Carcass Lottery 1:15
6. Come Apart Together, Come Together Alone 0:45
7. Rain Perimeter 0:53
8. A Broken Tomorrow 0:46
9. Attrition 0:26
10. Nikola Tesla 1:02
11. Flow My Tears The Policeman Said 0:52
12. Jouhou 0:48
13. Damage Style 0:51
14. Aether Scalpul 0:36
15. A Crack In The Cataracts 0:28
16. Numb(ers) 0:46
17. Ashtray Ballpoint 0:58
18. Typeface 1:10
19. Reciprocity 1:21
20. Reincarnation 1:17
21. Alzheimer 0:35
22. Flow My Tears The Policeman Said 0:51
23. Eye Gag 0:24
24. Area Trinity 1:11
25. Integer 1:03
26. Information Sniper 0:39
27. Amphetamine Hollow Tip 0:59
28. Tokyo 0:37
29. So Unfilial Rule 0:09
30. Junk Utopia 1:15
31. Continuity 1:26
32. One More Final-Live in Tokyo 1998 26:30

Tracks 1-20 recorded July-August 1996. Vocals Recorded and final mix at Trax East, September 1996.
Jouhou originally released on Devour Records, February 1997, edition of 2000.

Tracks 21-25 recorded and mixed at Trax East, April 1995.
Split EP with Plutocracy originally released on Slap A Ham Records Fall 1995, edition of 2000.

Tracks 26-31 recorded and mixed at Trax East, April 1995.
Melt-Banana / Discordance Axis split EP originally released by HG Fact Fall 1995, edition of 2000.

Track 32 recorded live in Tokyo 1998.



..::OBSADA::..

Jon Chang - Vocals, Lyrics
Dave Witte - Drums
Rob Marton - Guitars




https://www.youtube.com/watch?v=PGD4bGQort4



SEED 14:30-23:00.
POLECAM!!!

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



..::OPIS::..

For the first time on CD and LP in more than a decade, the Discordance Axis album "JouHou" is presented in its original format with multiple bonus tracks from their split with Plutocracy, Melt Banana, and an excerpt from a live show in Tokyo, 1997. Recorded by Bill T Miller, Jouhou is lean and relentless, with every bit of fat trimmed out of an 18 minute run time. Where other "grind" bands throttled back and settled into the scene niche, Discordance Axis continued in their own direction...as fast as humanly possible. Not for fans of anyone who thinks Dark Souls is too hard or has not been able to one-credit Radiant Silvergun.



..::TRACK-LIST::..

1. Vertigo Index 0:53
2. Panoptic 0:58
3. Aperture Of Pinholes 1:01
4. Information Sniper 0:41
5. Carcass Lottery 1:15
6. Come Apart Together, Come Together Alone 0:45
7. Rain Perimeter 0:53
8. A Broken Tomorrow 0:46
9. Attrition 0:26
10. Nikola Tesla 1:02
11. Flow My Tears The Policeman Said 0:52
12. Jouhou 0:48
13. Damage Style 0:51
14. Aether Scalpul 0:36
15. A Crack In The Cataracts 0:28
16. Numb(ers) 0:46
17. Ashtray Ballpoint 0:58
18. Typeface 1:10
19. Reciprocity 1:21
20. Reincarnation 1:17
21. Alzheimer 0:35
22. Flow My Tears The Policeman Said 0:51
23. Eye Gag 0:24
24. Area Trinity 1:11
25. Integer 1:03
26. Information Sniper 0:39
27. Amphetamine Hollow Tip 0:59
28. Tokyo 0:37
29. So Unfilial Rule 0:09
30. Junk Utopia 1:15
31. Continuity 1:26
32. One More Final-Live in Tokyo 1998 26:30

Tracks 1-20 recorded July-August 1996. Vocals Recorded and final mix at Trax East, September 1996.
Jouhou originally released on Devour Records, February 1997, edition of 2000.

Tracks 21-25 recorded and mixed at Trax East, April 1995.
Split EP with Plutocracy originally released on Slap A Ham Records Fall 1995, edition of 2000.

Tracks 26-31 recorded and mixed at Trax East, April 1995.
Melt-Banana / Discordance Axis split EP originally released by HG Fact Fall 1995, edition of 2000.

Track 32 recorded live in Tokyo 1998.



..::OBSADA::..

Jon Chang - Vocals, Lyrics
Dave Witte - Drums
Rob Marton - Guitars




https://www.youtube.com/watch?v=PGD4bGQort4



SEED 14:30-23:00.
POLECAM!!!

...( Info )...

Artist: Battlequest
Title: The Citadel
Year: 2024
Genre: Melodic, Power-Metal
Country: USA
Duration: 00:34:43
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Vanquish Evil (04:05)
02. The Citadel (04:54)
03. From Afar (04:19)
04. Lost Realms (03:52)
05. Break Of Day (03:11)
06. Remember Your Name (04:00)
07. Riders (04:15)
08. Darkness Calling (06:03)

...( Info )...

Artist: Saxon
Title: Hell, Fire and Damnation
Year: 2024
Genre: Heavy-Metal
Publisher (label): Militia Guard Music
Duration: 00:42:24
Format/Codec: FLAC
Rip type: Tracks
Audio bitrate: Lossless
Bit depth: 24 Bit/48 kHz


...( TrackList )...


01. The Prophecy
02. Hell, Fire And Damnation
03. Madame Guillotine
04. Fire And Steel
05. There's Something In Roswell
06. Kubla Khan And The Merchant Of Venice
07. Pirates Of The Airwaves
08. 1066
09. Witches Of Salem
10. Super Charger

...( Info )...

Artist: Sabaton
Title: Stories From The Western Front [EP]
Year: 2023
Genre: Power-metal, Heavy-metal
Country: Sweden
https://youtu.be/HgGhhnQB1gw
Duration: 00:27:49
Format/Codec: FLAC
Audio bitrate: Lossless|WEB-DL
Bit depth: 24-Bit - 48.0 kHz
Label: Nuclear Blast

...( TrackList )...

01. 1916 (3:37)
02. Great War (4:28)
03. Hellfighters (3:26)
04. The Price of a Mile (5:55)
05. Fields of Verdun (3:17)
06. Race to the Sea (3:47)
07. Devil Dogs (3:17)


Composition: Joakim Brodén – lead vocals, additional guitars (1999–present), keyboards (1999–2005, 2012–present) Pär Sundström – bass (1999–present), backing vocals (2012–present) Chris Rörland – guitars, backing vocals (2012–present) Hannes Van Dahl – drums, backing vocals (20 14–present) Tommy Johansson – guitars, backing vocals (2016–present)

...( Info )...

Artist: VA
Title: Nighthmare Vol. 02
Year: 2024
Genre: Metal, Death, Black, Heavy, Trash
Duration: 11:05:00
Format/Codec: MP3
Audio bitrate: 320 Kbps


...( TrackList )...

001. Horrorgraphy - Τhe Morning Gray (00:09:07)
002. Inadion - Refuse To Fear (00:04:18)
003. Visions Of Atlantis - Mercy (00:04:26)
004. Rage - End Of Illusions (00:03:49)
005. Dark Oath - Heroic I (00:04:45)
006. Daevar - Lilith's Lullaby (00:07:53)
007. Deviated Instinct - We Harvest Just Shadows (00:04:02)
008. Elvellon - Unbound (00:05:51)
009. If It Bleeds It Dies - Where Is Your God Now (00:04:10)
010. Beyond The Black - Raise Your Head (00:04:18)
011. The Grandmaster - I'm Alive (00:03:59)
012. Secret Sphere - J.'s Serenade (00:05:52)
013. Feedback Force - A Systems Die (00:04:01)
014. Die Ballista - From Their Bones (00:04:09)
015. Shaytan - Embers Glow (00:05:16)
016. Graywitch - God Of War (00:06:42)
017. Messiah - Acid Fish (00:04:58)
018. Amakusa - Postdrome (00:03:42)
019. Scolopendra - Panic Epidemic (00:05:27)
020. High On Fire - Lambsbread (00:05:45)
021. Doro - Best In Me (00:03:13)
022. Slice Of Sorrow - Take Me (00:03:01)
023. For I Am King - Bloodline (00:04:35)
024. Crownshift - Stellar Halo (00:05:18)
025. Beyond The Hate - The Plague Upon Us (00:04:25)
026. Kill The Lights - Scapegoat (00:03:35)
027. Deathropy - Uppercut (00:03:57)
028. Exhorder - Divide And Conquer (00:02:38)
029. Sigyn - Kneel (00:04:02)
030. Winterstorm - Overcome The Fear (00:03:05)
031. Metalite - free (00:03:40)
032. Lazy Bonez - Said And Done (00:04:24)
033. Black Pyre - The Pale (00:14:10)
034. Whitecross - Man In The Mirror (00:04:40)
035. Exit Eden - Alone (00:03:38)
036. Aventhur - Fractured Memories (00:07:39)
037. Kerry King - Where I Reign (00:03:51)
038. King - Crepuscular (00:04:19)
039. Brodequin - Tenaillement (00:02:53)
040. Bjørkø - Hooks In The Sky (00:06:09)
041. Ivory Tower - 60 Seconds (00:04:17)
042. Enslaved - Gangandi (00:07:11)
043. Midnight - Dungeon Lust (00:02:13)
044. Dominum - Better Shoot Yourself (00:03:28)
045. Iron Front - Intestinal Siphon (00:03:23)
046. Palehørse - Unravel (00:04:13)
047. Bronze - Fool (00:03:48)
048. Geezer - Acid Veins (00:04:28)
049. Isaak - The Whale (00:04:29)
050. Carnal Savagery - Reek Of Decomposing Flesh (00:02:50)
051. Nightrider - In The City (00:04:37)
052. Castle Rat - Dagger Dragger (00:04:02)
053. Judas Priest - Gates Of Hell (00:04:38)
054. Darkthrone - Howling Primitive Colonies (00:06:31)
055. Thirty Seconds To Mars - Avalanche (00:03:24)
056. Hypersonic - Ápeiron (00:01:43)
057. Sacrifix - Rotten (00:04:28)
058. Hammer King - Kingdom Of Hammers (00:04:19)
059. Saint Deamon - Heaven To Heart (00:05:12)
060. Bloodorn - Fear The Coming Wave (00:04:20)
061. Vipassi - Neon Rain (00:03:59)
062. Tygers Of Pan Tang - Euthanasia (00:03:52)
063. Apocalyptica - Dead Man's Eyes (00:06:41)
064. Innerload - Mater Tenebrarum (00:05:08)
065. Lords Of Black - Let It Burn (00:04:35)
066. Defects - Scapegoat (00:03:29)
067. Great Master - Final Revenge (00:04:37)
068. Theocracy - Liar, Fool, Or Messiah (00:07:37)
069. The Acid Machine - The Sky Opened (00:05:43)
070. Ethereal Flames - Desperate Girl (00:04:46)
071. Leaves' Eyes - In Eternity (00:03:40)
072. Interitus - Návrat (00:03:39)
073. Winterage - Metamorphosis, A Macabre Ritual (00:06:49)
074. Serenity - The Fall Of Man (00:03:42)
075. Niovel - Forsaken (00:06:10)
076. Inter Arma - New Heaven (00:07:29)
077. Drop Your Pants - Nine Tails (00:06:27)
078. Eregion - Kingdom Of Heaven (00:05:26)
079. Blood Red Throne - Split Tongue Sermon (00:04:10)
080. Voided - Warning (00:01:54)
081. Bragging Rights - Odyssey (00:07:23)
082. Monolithic Architecture - Conforming Covenants (00:06:23)
083. Ghost On Mars - Beyond The Mist (00:07:21)
084. Botanist - Aristolochia (00:04:32)
085. Her Last Sight - Careless (00:05:03)
086. Anette Olzon - Heed The Call (00:04:58)
087. Aoryst - Deterministic Chaos (00:06:30)
088. Kings Of Gehenna - The Enchantress (00:06:36)
089. Deadly Shadows - The Tree Of Sin (00:05:50)
090. While She Sleeps - Self Hell (00:04:40)
091. Cobrakill - Hungry Heart (00:04:09)
092. Severe Overbite - Another World (00:03:52)
093. The Enders - Shelter (00:06:10)
094. Coffins - Chain (00:02:51)
095. Severed Angel - From The Inside (00:03:18)
096. In Vain - Shadows Flap Their Black Wings (00:07:13)
097. Kickin Valentina - Gettin Off (00:03:52)
098. Esclavitud - Break The Chains (00:07:27)
099. Vitriol - Flood Of Predation (00:03:59)
100. Vitriol - Locked In Thine Frothing Wisdom (00:04:12)
101. Morbid Saint - Pine Tuxedo (00:04:45)
102. Prediction Of The Witch - Pain (00:03:13)
103. Desolus - System Shock (00:04:29)
104. Wade Black's Astronomica - Monster (00:05:59)
105. Nita Strauss - Surfacing (00:05:36)
106. Amaranthe - Re-Vision (00:03:05)
107. Burning Witches - The Lost Souls (00:04:52)
108. Lions At The Gate - Losing Hope (00:03:39)
109. Corsair - The Breath (00:03:43)
110. Adrenochrome - Neighbrophagist (00:03:59)
111. Lair - Black Well At Midday (00:07:25)
112. Bruce Dickinson - Face In The Mirror (00:04:08)
113. Advocacy - Unnamed (00:07:09)
114. Dyscordia - The Passenger (00:05:03)
115. Svalbard - Pillar In The Sand (00:04:18)
116. Svalbard - To Wilt Beneath The Weight (00:05:39)
117. Seid - Valknut (00:04:36)
118. Evolucija - Pale Rider (00:05:52)
119. Infected Rain - Enmity (00:05:46)
120. Dominia - Mary Jane (00:04:22)
121. Ronnie Romero - A Distant Shore (00:03:45)
122. Cradle Of Filth - The Death Of Love (00:07:53)
123. Diary Of Dreams - Malum (00:05:20)
124. Hideous Divinity - Quasi-Sentient (00:05:03)
125. Fate - Memories Won't Die (00:05:22)
126. Aborted, Matt Mcgachy - Hellbound (00:04:48)
127. Ignition - The Funeral (00:04:37)
128. Dvne - Summa Blasphemia (00:05:28)
129. Silence Of The Nemeta - The Silent Mountain (00:16:16)
130. Hitten - Prelude To Passion (00:01:24)
131. Weight Of Emptiness - The Awakening (00:06:41)
132. Killus - Holy Bible Xxv (00:04:04)
133. Ruststained - Crude Truth (00:04:51)
134. Couch Slut - Couch Slut Lewis (00:03:31)
135. Knocked Loose - Piece By Piece (00:02:51)