...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spotkałem się z wieloma opiniami, że ostatnie dzieło Diabolical Masquerade nie dość, że jest najlepszą płytą zespołu, to jest jednym z najlepszych albumów reprezentujących ekstremalną odmianę progresji. Znając jednak pierwsze trzy płyty i nie będąc specjalnie zachwycony nie wierzyłem tym opiniom.
Po przesłuchaniu płyty mogę się zgodzić z powyższą opinią jedynie połowicznie. Rzeczywiście jest to najlepsza płyta sygnowana logiem Diabolical Masquerade. Nie jest to jednak płyta, która w jakiś szczególny sposób zwróciła moją uwagę. "Death's Design" to jednak wielka ponad 40-minutowa suita podzielona na szereg pomniejszych utworów. Nie raz spotykałem płyty o podobnym charakterze i szczerze powiedziawszy wszystkie były lepsze od tej. Blackheim dalej hołduje wypracowanym przez siebie schematom. Jest więc nowocześnie, ale klimatycznie i ekstremalnie. Trochę mniej tu naleciałości w stylu Dimmu Borgir, ale za to mamy powrót do monotonii i powielania się. Nie pomaga nawet cała masa smyczków. Wiem, że albumy tego typu mają właśnie to do siebie, że mają klamrowy charakter i jakiś motyw przewodni zazwyczaj je spina, ale wydaje mi się, że tutaj za mało się dzieje, aby słuchacz dał się ponieść.

"Death's Design" to płyta poprawna, a nawet niezła. Nie zachęciła mnie ona jednak do kolejnego sięgnięcia po nią i póki co nie widzę inicjatywy ze swojej strony aby to się zmieniło.

Harlequin


An album that is as unique as it is amazing. Metal first, but highly innovative and diverse. Death, black and clean vocals, mellow and metal parts, electronic in moments, this album contains a wide spectrum of metal and prog landscapes. The quality of the songwriting is undeniable, and the execution is as good. The quantity of information here is phenomenal, so quite a few listens are recquired in order to digest it all. This album is not for the fainthearted, but the adventurous will be greatly rewarded. Truly a masterpiece, one of those one-of-a-kind albums you rarely come across (perhaps once every ten years).

Melomaniac


In 2001 Diabolical Masquerade, unfortunately, released their last EVER release. This was the magnificent "Death's Design". Comprising over 60 tracks, this release simply has to be inventive and progressive in order to keep the listener's attention. And believe me Blakkheim has succeeded in that perspective. The songs vary from very melodic black metal songs, albeit mostly without the fast drumming, to little 70s symphonic rock suits.

"Death's Design" was considered to be the official soundtrack to a horror film that never saw the light of day. The music here tells a story by itself, making the whole album feeling like a unique experience and in a way, a sort of musical journey.

Parts of songs are reoccurring quite often on the album thus connecting the whole album with each other. This makes the conceptual presence even bigger. The presence of Dan Swanö is easily noticeable; he has this typical sound when he plays keyboard and guitar, you immediately recognize him.

Being a bit of a fan of progressive metal, this release simply cannot be missing in your collection. It is one of the few truly progressive albums I know and there's things for anyone to like.

Tristan Mulders


The side project of Katatonia guitarist Anders Nystrom, Diabolical Masquerade would take a much different direction than the man's flagship band. Whereas Nystrom's may be most widely associated with doom metal or depressive rock, Diabolical Masquerade goes for a theatrical take on avant-garde black metal. Culminating in the project's final record, it is a shame that Diabolical Masquerade disbanded before a fifth release, but it is difficult to imagine a greater swansong from the band than this. With a host of classical musicians and guest artists taking part in 'Death's Design', Diabolical Masquerade has fashioned an album here that is every bit as ambitious as the other great albums in progressive metal. Self-styled as the soundtrack to some non-existent horror film, 'Death's Design' is a massive journey, every bit as cinematic as it is made out to be.

Although 'Death's Design' is split into a ridiculous amount of tracks, it is essentially one sprawling epic, much in the way of Edge Of Sanity's classic 'Crimson'. Think the black metal aspects of a band like Emperor fused with Opeth's melodic sensibilities, with the added vastness of a string section to give Diabolical Masquerade even more firepower. The first thing that arguably stands out about the record is the sheer amount of tracks it has, and this unnecessarily indulgent separation of what is otherwise a running piece of music may be the album's greatest flaw. With some tracks only being six seconds long, the sheer wonder and bewilderment as to why Blakkheim would have chopped up his masterpiece so haphazardly. From the perspective of listening to 'Death's Design' as a start-to-finish experience however, this does not affect the enjoyment, and it ultimately the only way one can go about listening to the record.

In terms of mood, things are very dark, but in a fairly different way than the sort of introspective darkness that Anders' band Katatonia conveys. Instead, the dark mood here is foreboding and very ominous; perfect for whatever imaginary film that this album could score. The entire album is tied together by a narrative and recurring musical themes; much like Edge Of Sanity's 'Crimson', once again. Most of the time, these ideas flow seamlessly from one another, each bringing a new dimension of fear or beauty to the album. Sometimes though, it does feel like Blakkheim and company forgot to add a transition here and there, or that some of the existing transitions could have been polished to lubricate the flow of the music. The musical ideas are almost constantly impressive however, so it is fairly difficult to let these minor flaws get in the way of the enjoyment.

Diabolical Masquerade has blown me away with this masterpiece of an album. Expect great things from this.

Conor Fynes


I love this album and never get tired of it because it has a taste of everything. It's like a party tray with a variety of different kinds of snacks, each with their own flavor and just the right amount.

The variety I am speaking of in this album is the levels of harmonies and extreme black metal throughout the 61 tracks of short tid bits of musical delight. You don't have too much of anything. The right amount of heavyiness and melody is spread out from begining to end. There's experimental noise, jazzy or melodic solos, upbeat rock, dark atmospheric metal, haunting melodies that will leave you breathless, and black metal.

At times, the album sounds like straight up horror movie suspense music, the kind you hear in a movie where the zombies or whatever are approaching and at others could be a beautiful medley, the kind you hear when the hero of a movie saves the day or comes to the rescue. The singing is mostly blood curdling vocals. Dan Swano's voice sometimes comes up in some tracks, it's beautiful and eerie at the same time, kind of like a Disney movie ballad from hell. The album is unique and perfect in it's own way with the oddly timed tracks, you don't get sick of anything cause everything is divided precisley short, the longest track is about two minutes.

The music sounds like it came out of a movie because, if you didn't know yet, it is an actual soundtrack to a film that unfortunatley was cancelled in production due to another movie with the same concept coming out, that movie was Final Destination, which you could say "stole" the whole concept of "death's design". The exact words, "death's design" were said in Final Destination, coincidence or blatant rip off, you be the judge.

I really wished the movie Death's Desgin was made, each track on this brilliant album was planned to be synchronized with each movie scene as the film would progress, hence the different moods and atmospheres the music creates to enhace the visual aspects you would view. Good thing the album was still made regardless of the movie never seeing the light of day......for now. The fate of the movie is still up in the air, but not sure if the album will still be used for it.

If you love this album, I'm sure you'll also like Sigh. They play a similar experimental black metal. Try listening to Sigh's Imagianry Sonicsacpe album if you haven't already. The style of music is quite similar to this. Dark at times then very beautiful and epic the next.

Megafury



..::TRACK-LIST::..

- 1:st MOVEMENT
1. Nerves in Rush (0:06)
2. Death Ascends - The Hunt (Part I) (0:15)
3. You Can't Hide Forever (0:23)
4. Right on Time for Murder - The Hunt (Part II) (1:31)

- 2:nd MOVEMENT
5. Conscious in No Materia (0:39)
6. A Different Plane (0:21)
7. Invisible to Us (0:40)
8. The One Who Hides a Face Inside (1:09)

- 3:rd MOVEMENT
9. ...And Don't Ever Listen to What It Says (0:56)
10. Revelation of the Puzzle (0:57)
11. Human Prophecy (0:20)
12. Where the Suffering Leads (0:18)

- 4:th MOVEMENT
13. The Remains of Galactic Expulsions (0:11)
14. With Panic in the Heart (0:22)
15. Out from the Dark (0:45)
16. Still Coming at You (0:29)
17. Out from a Deeper Dark (0:28)

- 5:th MOVEMENT
18. Spinning Back the Clocks (1:42)

- 6:th MOVEMENT
19. Soaring over Dead Rooms (2:18)

- 7:th MOVEMENT
20. The Enemy Is the Earth (0:35)
21. Recall (0:13)
22. All Exits Blocked (0:34)
23. The Memory Is Weak (0:11)
24. Struck at Random / Outermost Fear (0:19)
25. Sparks of Childhood Coming Back (0:27)

- 8:th MOVEMENT
26. Old People's Voodoo Seance (1:24)
27. Mary-Lee Goes Crazy (0:32)
28. Something Has Arrived (0:15)
29. Possession of the Voodoo Party (0:46)

- 9:th MOVEMENT
30. Not of Flesh, Not of Blood (0:50)
31. Intact with a Human Psyche (1:02)
32. Keeping Faith (1:06)

- 10:th MOVEMENT
33. Someone Knows What Scares You (0:29)
34. A Bad Case of Nerves (0:50)
35. The Inverted Dream / No Sleep in Peace (0:16)
36. Information (0:16)
37. Setting the Course (0:52)

- 11:th MOVEMENT
38. Ghost Inhabitants (0:49)
39. Fleeing from Town (1:01)
40. Overlooked Parts (0:50)

- 12:th MOVEMENT
41. A New Spark - Victory Theme (Part I) (0:48)
42. Hope - Victory Theme (Part II) (0:59)
43. Family Portraits - Victory Theme (Part III) (0:35)

- 13:th MOVEMENT
44. Smokes Starts to Churn (0:08)
45. Hesitant Behaviour (1:35)
46. A Hurricane of Rotten Air (0:18)

- 14:th MOVEMENT
47. Mastering the Clock (0:54)

- 15:th MOVEMENT
48. They Come, You Go (2:10)

- 16:th MOVEMENT
49. Haarad El Chamon (0:19)
50. The Egyptian Resort (0:34)
51. The Pyramid (0:23)
52. Frenzy Moods and Other Odditites (1:09)

- 17:th MOVEMENT
53. Still Part of the Design - The Hunt (Part III) (0:17)
54. Definite Departure (0:36)

- 18:th MOVEMENT
55. Returning to Haarad El Chamon (0:45)
56. Life Eater (0:32)
57. The Pulze (0:27)
58. The Defiled Feeds (0:36)

- 19:th MOVEMENT
59. The River in Space (0:56)
60. A Soulflight Back to Life (1:18)

- 20:th MOVEMENT
61. Instant Rebirth - Alternate Ending (0:05)



..::OBSADA::..

Diabolical Masquerade:
Blakkheim - rhythm (lead) acoustic and midi guitars, ambiances and vocals
Dan Swanö - Keyboards, ambiences and lead guitar solo on 'Keeping Faith' plus keyboard solo on 'A Hurricane Of Rotten Air' (Session musician)
Sean C. Bates - Drums and percussion (Session musician)
Ingmar Döhn - Bass guitar (Session musician)

The Maalten Quartet, Estonia:
Artieer Garsnek - violin #1
Jaak Gunst - violin #2
Heiki Schmolski - violin #3
Elmo Meltz - viola

Other Personnel:
AAG (Dag Swanö)[1] - Guitar solo on 'Possession Of The Voodoo Party', 'Frenzy Moods And Other Oddities', 'They Come, You Go', 'Still Part Of The Design - The Hunt (Part III)' and 'The Defiled Feeds'
Patrik Sesfors - jazz guitar on 'Overlooked Parts' and 'Mastering The Clock'
Konstantin Uweholst - cello
Jaari Fleger - grand piano




https://www.youtube.com/watch?v=h-s577-hx5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Spotkałem się z wieloma opiniami, że ostatnie dzieło Diabolical Masquerade nie dość, że jest najlepszą płytą zespołu, to jest jednym z najlepszych albumów reprezentujących ekstremalną odmianę progresji. Znając jednak pierwsze trzy płyty i nie będąc specjalnie zachwycony nie wierzyłem tym opiniom.
Po przesłuchaniu płyty mogę się zgodzić z powyższą opinią jedynie połowicznie. Rzeczywiście jest to najlepsza płyta sygnowana logiem Diabolical Masquerade. Nie jest to jednak płyta, która w jakiś szczególny sposób zwróciła moją uwagę. "Death's Design" to jednak wielka ponad 40-minutowa suita podzielona na szereg pomniejszych utworów. Nie raz spotykałem płyty o podobnym charakterze i szczerze powiedziawszy wszystkie były lepsze od tej. Blackheim dalej hołduje wypracowanym przez siebie schematom. Jest więc nowocześnie, ale klimatycznie i ekstremalnie. Trochę mniej tu naleciałości w stylu Dimmu Borgir, ale za to mamy powrót do monotonii i powielania się. Nie pomaga nawet cała masa smyczków. Wiem, że albumy tego typu mają właśnie to do siebie, że mają klamrowy charakter i jakiś motyw przewodni zazwyczaj je spina, ale wydaje mi się, że tutaj za mało się dzieje, aby słuchacz dał się ponieść.

"Death's Design" to płyta poprawna, a nawet niezła. Nie zachęciła mnie ona jednak do kolejnego sięgnięcia po nią i póki co nie widzę inicjatywy ze swojej strony aby to się zmieniło.

Harlequin


An album that is as unique as it is amazing. Metal first, but highly innovative and diverse. Death, black and clean vocals, mellow and metal parts, electronic in moments, this album contains a wide spectrum of metal and prog landscapes. The quality of the songwriting is undeniable, and the execution is as good. The quantity of information here is phenomenal, so quite a few listens are recquired in order to digest it all. This album is not for the fainthearted, but the adventurous will be greatly rewarded. Truly a masterpiece, one of those one-of-a-kind albums you rarely come across (perhaps once every ten years).

Melomaniac


In 2001 Diabolical Masquerade, unfortunately, released their last EVER release. This was the magnificent "Death's Design". Comprising over 60 tracks, this release simply has to be inventive and progressive in order to keep the listener's attention. And believe me Blakkheim has succeeded in that perspective. The songs vary from very melodic black metal songs, albeit mostly without the fast drumming, to little 70s symphonic rock suits.

"Death's Design" was considered to be the official soundtrack to a horror film that never saw the light of day. The music here tells a story by itself, making the whole album feeling like a unique experience and in a way, a sort of musical journey.

Parts of songs are reoccurring quite often on the album thus connecting the whole album with each other. This makes the conceptual presence even bigger. The presence of Dan Swanö is easily noticeable; he has this typical sound when he plays keyboard and guitar, you immediately recognize him.

Being a bit of a fan of progressive metal, this release simply cannot be missing in your collection. It is one of the few truly progressive albums I know and there's things for anyone to like.

Tristan Mulders


The side project of Katatonia guitarist Anders Nystrom, Diabolical Masquerade would take a much different direction than the man's flagship band. Whereas Nystrom's may be most widely associated with doom metal or depressive rock, Diabolical Masquerade goes for a theatrical take on avant-garde black metal. Culminating in the project's final record, it is a shame that Diabolical Masquerade disbanded before a fifth release, but it is difficult to imagine a greater swansong from the band than this. With a host of classical musicians and guest artists taking part in 'Death's Design', Diabolical Masquerade has fashioned an album here that is every bit as ambitious as the other great albums in progressive metal. Self-styled as the soundtrack to some non-existent horror film, 'Death's Design' is a massive journey, every bit as cinematic as it is made out to be.

Although 'Death's Design' is split into a ridiculous amount of tracks, it is essentially one sprawling epic, much in the way of Edge Of Sanity's classic 'Crimson'. Think the black metal aspects of a band like Emperor fused with Opeth's melodic sensibilities, with the added vastness of a string section to give Diabolical Masquerade even more firepower. The first thing that arguably stands out about the record is the sheer amount of tracks it has, and this unnecessarily indulgent separation of what is otherwise a running piece of music may be the album's greatest flaw. With some tracks only being six seconds long, the sheer wonder and bewilderment as to why Blakkheim would have chopped up his masterpiece so haphazardly. From the perspective of listening to 'Death's Design' as a start-to-finish experience however, this does not affect the enjoyment, and it ultimately the only way one can go about listening to the record.

In terms of mood, things are very dark, but in a fairly different way than the sort of introspective darkness that Anders' band Katatonia conveys. Instead, the dark mood here is foreboding and very ominous; perfect for whatever imaginary film that this album could score. The entire album is tied together by a narrative and recurring musical themes; much like Edge Of Sanity's 'Crimson', once again. Most of the time, these ideas flow seamlessly from one another, each bringing a new dimension of fear or beauty to the album. Sometimes though, it does feel like Blakkheim and company forgot to add a transition here and there, or that some of the existing transitions could have been polished to lubricate the flow of the music. The musical ideas are almost constantly impressive however, so it is fairly difficult to let these minor flaws get in the way of the enjoyment.

Diabolical Masquerade has blown me away with this masterpiece of an album. Expect great things from this.

Conor Fynes


I love this album and never get tired of it because it has a taste of everything. It's like a party tray with a variety of different kinds of snacks, each with their own flavor and just the right amount.

The variety I am speaking of in this album is the levels of harmonies and extreme black metal throughout the 61 tracks of short tid bits of musical delight. You don't have too much of anything. The right amount of heavyiness and melody is spread out from begining to end. There's experimental noise, jazzy or melodic solos, upbeat rock, dark atmospheric metal, haunting melodies that will leave you breathless, and black metal.

At times, the album sounds like straight up horror movie suspense music, the kind you hear in a movie where the zombies or whatever are approaching and at others could be a beautiful medley, the kind you hear when the hero of a movie saves the day or comes to the rescue. The singing is mostly blood curdling vocals. Dan Swano's voice sometimes comes up in some tracks, it's beautiful and eerie at the same time, kind of like a Disney movie ballad from hell. The album is unique and perfect in it's own way with the oddly timed tracks, you don't get sick of anything cause everything is divided precisley short, the longest track is about two minutes.

The music sounds like it came out of a movie because, if you didn't know yet, it is an actual soundtrack to a film that unfortunatley was cancelled in production due to another movie with the same concept coming out, that movie was Final Destination, which you could say "stole" the whole concept of "death's design". The exact words, "death's design" were said in Final Destination, coincidence or blatant rip off, you be the judge.

I really wished the movie Death's Desgin was made, each track on this brilliant album was planned to be synchronized with each movie scene as the film would progress, hence the different moods and atmospheres the music creates to enhace the visual aspects you would view. Good thing the album was still made regardless of the movie never seeing the light of day......for now. The fate of the movie is still up in the air, but not sure if the album will still be used for it.

If you love this album, I'm sure you'll also like Sigh. They play a similar experimental black metal. Try listening to Sigh's Imagianry Sonicsacpe album if you haven't already. The style of music is quite similar to this. Dark at times then very beautiful and epic the next.

Megafury



..::TRACK-LIST::..

- 1:st MOVEMENT
1. Nerves in Rush (0:06)
2. Death Ascends - The Hunt (Part I) (0:15)
3. You Can't Hide Forever (0:23)
4. Right on Time for Murder - The Hunt (Part II) (1:31)

- 2:nd MOVEMENT
5. Conscious in No Materia (0:39)
6. A Different Plane (0:21)
7. Invisible to Us (0:40)
8. The One Who Hides a Face Inside (1:09)

- 3:rd MOVEMENT
9. ...And Don't Ever Listen to What It Says (0:56)
10. Revelation of the Puzzle (0:57)
11. Human Prophecy (0:20)
12. Where the Suffering Leads (0:18)

- 4:th MOVEMENT
13. The Remains of Galactic Expulsions (0:11)
14. With Panic in the Heart (0:22)
15. Out from the Dark (0:45)
16. Still Coming at You (0:29)
17. Out from a Deeper Dark (0:28)

- 5:th MOVEMENT
18. Spinning Back the Clocks (1:42)

- 6:th MOVEMENT
19. Soaring over Dead Rooms (2:18)

- 7:th MOVEMENT
20. The Enemy Is the Earth (0:35)
21. Recall (0:13)
22. All Exits Blocked (0:34)
23. The Memory Is Weak (0:11)
24. Struck at Random / Outermost Fear (0:19)
25. Sparks of Childhood Coming Back (0:27)

- 8:th MOVEMENT
26. Old People's Voodoo Seance (1:24)
27. Mary-Lee Goes Crazy (0:32)
28. Something Has Arrived (0:15)
29. Possession of the Voodoo Party (0:46)

- 9:th MOVEMENT
30. Not of Flesh, Not of Blood (0:50)
31. Intact with a Human Psyche (1:02)
32. Keeping Faith (1:06)

- 10:th MOVEMENT
33. Someone Knows What Scares You (0:29)
34. A Bad Case of Nerves (0:50)
35. The Inverted Dream / No Sleep in Peace (0:16)
36. Information (0:16)
37. Setting the Course (0:52)

- 11:th MOVEMENT
38. Ghost Inhabitants (0:49)
39. Fleeing from Town (1:01)
40. Overlooked Parts (0:50)

- 12:th MOVEMENT
41. A New Spark - Victory Theme (Part I) (0:48)
42. Hope - Victory Theme (Part II) (0:59)
43. Family Portraits - Victory Theme (Part III) (0:35)

- 13:th MOVEMENT
44. Smokes Starts to Churn (0:08)
45. Hesitant Behaviour (1:35)
46. A Hurricane of Rotten Air (0:18)

- 14:th MOVEMENT
47. Mastering the Clock (0:54)

- 15:th MOVEMENT
48. They Come, You Go (2:10)

- 16:th MOVEMENT
49. Haarad El Chamon (0:19)
50. The Egyptian Resort (0:34)
51. The Pyramid (0:23)
52. Frenzy Moods and Other Odditites (1:09)

- 17:th MOVEMENT
53. Still Part of the Design - The Hunt (Part III) (0:17)
54. Definite Departure (0:36)

- 18:th MOVEMENT
55. Returning to Haarad El Chamon (0:45)
56. Life Eater (0:32)
57. The Pulze (0:27)
58. The Defiled Feeds (0:36)

- 19:th MOVEMENT
59. The River in Space (0:56)
60. A Soulflight Back to Life (1:18)

- 20:th MOVEMENT
61. Instant Rebirth - Alternate Ending (0:05)



..::OBSADA::..

Diabolical Masquerade:
Blakkheim - rhythm (lead) acoustic and midi guitars, ambiances and vocals
Dan Swanö - Keyboards, ambiences and lead guitar solo on 'Keeping Faith' plus keyboard solo on 'A Hurricane Of Rotten Air' (Session musician)
Sean C. Bates - Drums and percussion (Session musician)
Ingmar Döhn - Bass guitar (Session musician)

The Maalten Quartet, Estonia:
Artieer Garsnek - violin #1
Jaak Gunst - violin #2
Heiki Schmolski - violin #3
Elmo Meltz - viola

Other Personnel:
AAG (Dag Swanö)[1] - Guitar solo on 'Possession Of The Voodoo Party', 'Frenzy Moods And Other Oddities', 'They Come, You Go', 'Still Part Of The Design - The Hunt (Part III)' and 'The Defiled Feeds'
Patrik Sesfors - jazz guitar on 'Overlooked Parts' and 'Mastering The Clock'
Konstantin Uweholst - cello
Jaari Fleger - grand piano




https://www.youtube.com/watch?v=h-s577-hx5U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Legends of UK punk/metal SACRILEGE'S third album 'Turn Back Trilobite' including 12" with Demo and live sessions re-issued!



Sacrilege are an utterly essential act in UK metal history for three main reasons:

1) They were one of the first female-fronted outfits in metal history, probably second only to the Belgians Acid;
2) They were the first thrash metal band on UK soil alongside Onslaught;
3) They were the first modern doom metal practitioners in England, predating the doom metal hordes of the early-90’s.

A truly important entity that managed to carve their own individualistic sound from the get-go with this abrasive crust/punk/hardcore/thrash madness that was their debut. The sophomore continued consolidating their reputation as a less ordinary band the guys (and a girl) insisting on their hypnotic, monolithic mid-paced delivery without any unnecessary flourishes. Speed was out of the question, but one hardly needed it in this particular case as the band were the requisite antidote to the myriad fast-paced riffmongers with which the scene had started filling in.

The year is 1989, and Sacrilege’s third opus is a fact. What has changed on this trilobite, you may wonder? No change would have been perfect since the band had already established a fairly individualistic approach to the genre, with a loyal following… Well, there was no end to evolution, and here is the biggest surprise: this is a doom metal recording showing an obvious fascination with the works of the Swedish heroes Candlemass and Mercy, and of course the fathers of all things doom Black Sabbath. Not much left from their ultimately charming, unclean, rough dirgy thrash; the production has been polished down to the -D-, and “Father Time” is the officiant stomping opener with Lynda Simpson showing her more lyrical vocal side. More energetic gallops appear later to remind of the band’s past glories, but the dark doom-laden riffage remains unperturbed by those deviations. “Silent Dark” is doom at its most shining best, a hymn that would have been a highlight even on “Nightfall” (Candlemass), an enchanting symbiosis of melody and heaviness that relies on the gallop again for the more dynamic additive although later on more aggressive, nearly thrashy, rhythms make themselves heard. Not to worry as this is doom metal all the same with a more brutal engine akin to Candlemass’ “Ancient Dreams”.

“Soul Search” begins in a most alluring balladic manner with gorgeous melodic leads Simpson sounding more romantic and benevolent as the elegiac tone of this anthem is nowhere broken save for an isolated galloping raid near the end. “Awaken!” is the forgotten Sabbath track, most likely a leftover from “Sabbath Bloody Sabbath”, a frolic doomster at its most volatile, the staple gallops roaming around for the umpteenth time with great lead sections adding enchanting Oriental atmosphere to the proceedings. “Key to Nirvana” is the next in line outstanding piece, a steady steam-rolling mid-pacer without any fast-paced embellishments, the key to the 12-min behemoth “The Sea of Tranquillity” that follows which indeed has a most tranquil introduction, 2.5-min of serene balladisms before the doom hits, an elegiac mournful hymn with amazing leads, more balladic beauty, angelic Simpson behind the mike, and a spellbinding melodic epitaph. “Equinox” has the ungrateful task to close this saga after such a thoroughly depleting number, but the band pull themselves together for the last time to produce a closing antediluvian wrap-on with sudden Shrapnel-like lead pyrotechnics introduced mid-way which also inaugurate the speedy escapade that lasts till the end.

It took a crust/thrashcore outfit to remember the glorious past of British metal, and bring it up to the front in all its lustre. And not only, but even after all these years this album stands as one of the five finest products of the UK sizeable doom metal movement. It single-handedly elevated the doom consciousness in England in order to make acts like My Dying Bride, Cathedral, Serenity, Solitude, Mourn and Acrimony possible. They could have fitted so well into the tsunami of doom metal practitioners that started a mere few years later… I guess it was mission accomplished for them once the doom revolution was started, and they may have felt like they had nothing more to give to the metal world.

Some 25 years later Simpson and Co. are back, and although so far it’s been only compilations of old material that have been released, one should rest assured that whenever she/he needs a guide to take him/her from the Realms of Crust to the Mountains of Doom, these veterans will rise to the occasion, and will provide a map for this road least travelled down to the utmost detail.

Bayern



..::TRACK-LIST::..

1. Father Time (Beneath The Gaze) 5:50
2. Silent Dark 7:52
3. Soul Search 7:13
4. Awaken (Suryanamaskar) 5:31
5. Key To Nirvana 7:34
6. Into The Sea Of Tranquility (Parts I, II, III) 11:49
7. Equinox 6:45



..::OBSADA::..

Lynda (Tam) Simpson - Vocals, Lyrics, Songwriting
Damian Thompson - Guitars, Bass (tracks 2, 3), Songwriting
Frank Healy - Bass
Spikey T. Smith - Drums, Percussion




https://www.youtube.com/watch?v=Kcfd2PkzA1A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Legends of UK punk/metal SACRILEGE'S third album 'Turn Back Trilobite' including 12" with Demo and live sessions re-issued!



Sacrilege are an utterly essential act in UK metal history for three main reasons:

1) They were one of the first female-fronted outfits in metal history, probably second only to the Belgians Acid;
2) They were the first thrash metal band on UK soil alongside Onslaught;
3) They were the first modern doom metal practitioners in England, predating the doom metal hordes of the early-90’s.

A truly important entity that managed to carve their own individualistic sound from the get-go with this abrasive crust/punk/hardcore/thrash madness that was their debut. The sophomore continued consolidating their reputation as a less ordinary band the guys (and a girl) insisting on their hypnotic, monolithic mid-paced delivery without any unnecessary flourishes. Speed was out of the question, but one hardly needed it in this particular case as the band were the requisite antidote to the myriad fast-paced riffmongers with which the scene had started filling in.

The year is 1989, and Sacrilege’s third opus is a fact. What has changed on this trilobite, you may wonder? No change would have been perfect since the band had already established a fairly individualistic approach to the genre, with a loyal following… Well, there was no end to evolution, and here is the biggest surprise: this is a doom metal recording showing an obvious fascination with the works of the Swedish heroes Candlemass and Mercy, and of course the fathers of all things doom Black Sabbath. Not much left from their ultimately charming, unclean, rough dirgy thrash; the production has been polished down to the -D-, and “Father Time” is the officiant stomping opener with Lynda Simpson showing her more lyrical vocal side. More energetic gallops appear later to remind of the band’s past glories, but the dark doom-laden riffage remains unperturbed by those deviations. “Silent Dark” is doom at its most shining best, a hymn that would have been a highlight even on “Nightfall” (Candlemass), an enchanting symbiosis of melody and heaviness that relies on the gallop again for the more dynamic additive although later on more aggressive, nearly thrashy, rhythms make themselves heard. Not to worry as this is doom metal all the same with a more brutal engine akin to Candlemass’ “Ancient Dreams”.

“Soul Search” begins in a most alluring balladic manner with gorgeous melodic leads Simpson sounding more romantic and benevolent as the elegiac tone of this anthem is nowhere broken save for an isolated galloping raid near the end. “Awaken!” is the forgotten Sabbath track, most likely a leftover from “Sabbath Bloody Sabbath”, a frolic doomster at its most volatile, the staple gallops roaming around for the umpteenth time with great lead sections adding enchanting Oriental atmosphere to the proceedings. “Key to Nirvana” is the next in line outstanding piece, a steady steam-rolling mid-pacer without any fast-paced embellishments, the key to the 12-min behemoth “The Sea of Tranquillity” that follows which indeed has a most tranquil introduction, 2.5-min of serene balladisms before the doom hits, an elegiac mournful hymn with amazing leads, more balladic beauty, angelic Simpson behind the mike, and a spellbinding melodic epitaph. “Equinox” has the ungrateful task to close this saga after such a thoroughly depleting number, but the band pull themselves together for the last time to produce a closing antediluvian wrap-on with sudden Shrapnel-like lead pyrotechnics introduced mid-way which also inaugurate the speedy escapade that lasts till the end.

It took a crust/thrashcore outfit to remember the glorious past of British metal, and bring it up to the front in all its lustre. And not only, but even after all these years this album stands as one of the five finest products of the UK sizeable doom metal movement. It single-handedly elevated the doom consciousness in England in order to make acts like My Dying Bride, Cathedral, Serenity, Solitude, Mourn and Acrimony possible. They could have fitted so well into the tsunami of doom metal practitioners that started a mere few years later… I guess it was mission accomplished for them once the doom revolution was started, and they may have felt like they had nothing more to give to the metal world.

Some 25 years later Simpson and Co. are back, and although so far it’s been only compilations of old material that have been released, one should rest assured that whenever she/he needs a guide to take him/her from the Realms of Crust to the Mountains of Doom, these veterans will rise to the occasion, and will provide a map for this road least travelled down to the utmost detail.

Bayern



..::TRACK-LIST::..

1. Father Time (Beneath The Gaze) 5:50
2. Silent Dark 7:52
3. Soul Search 7:13
4. Awaken (Suryanamaskar) 5:31
5. Key To Nirvana 7:34
6. Into The Sea Of Tranquility (Parts I, II, III) 11:49
7. Equinox 6:45



..::OBSADA::..

Lynda (Tam) Simpson - Vocals, Lyrics, Songwriting
Damian Thompson - Guitars, Bass (tracks 2, 3), Songwriting
Frank Healy - Bass
Spikey T. Smith - Drums, Percussion




https://www.youtube.com/watch?v=Kcfd2PkzA1A



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Legenda australijskiego grindcore'a z muzykami FILTH i UNDINISM w składzie + nowy zespół Jasona z BLOOD DUSTER grający covery NAPALM DEATH ze 'Scum'.



..::TRACK-LIST::..

Kutabare
1. The Hearse Driver 3:31
2. Cannibalistic Hobo 3:52
3. Siege Of Power (Napalm Death cover) 3:33

Dead Root
4. Legend Of Robbo 1:38
5. Race To The Ground 1:25
6. Anus Vomit Mouth 1:12
7. Common Enemy (Napalm Death cover) 0:13

Track 7 is an Japanese Release Exclusive track.



..::OBSADA::..

Kutabare:
Bass [Low End] - Steve Undinism (tracks: 1 to 3)
Drums [Tempo] - Pete Limbspasm (tracks: 1 to 3)
Guitar [Shredding] - Sean Servantes (tracks: 1 to 3)
Vocals [Throat] - Mike FB (tracks: 1 to 3)

Dead Root:
Bass - Stampy (tracks: 4 to 7)
Drums - Hashman (tracks: 4 to 7)
Guitar, Vocals [Vox] - Bin Meat Bon Jovi (tracks: 4 to 7)




https://www.youtube.com/watch?v=-sp7jdE3Kf4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Legenda australijskiego grindcore'a z muzykami FILTH i UNDINISM w składzie + nowy zespół Jasona z BLOOD DUSTER grający covery NAPALM DEATH ze 'Scum'.



..::TRACK-LIST::..

Kutabare
1. The Hearse Driver 3:31
2. Cannibalistic Hobo 3:52
3. Siege Of Power (Napalm Death cover) 3:33

Dead Root
4. Legend Of Robbo 1:38
5. Race To The Ground 1:25
6. Anus Vomit Mouth 1:12
7. Common Enemy (Napalm Death cover) 0:13

Track 7 is an Japanese Release Exclusive track.



..::OBSADA::..

Kutabare:
Bass [Low End] - Steve Undinism (tracks: 1 to 3)
Drums [Tempo] - Pete Limbspasm (tracks: 1 to 3)
Guitar [Shredding] - Sean Servantes (tracks: 1 to 3)
Vocals [Throat] - Mike FB (tracks: 1 to 3)

Dead Root:
Bass - Stampy (tracks: 4 to 7)
Drums - Hashman (tracks: 4 to 7)
Guitar, Vocals [Vox] - Bin Meat Bon Jovi (tracks: 4 to 7)




https://www.youtube.com/watch?v=-sp7jdE3Kf4



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

...( Info )...
Artist: Turbo
Title Of Album: Blizny
Label: Mystic Production – MYSTCD 513
Country: Poland
Released: 2025
Genre: Heavy Metal, Thrash
Audio codec: Mp3 320 kbps

...( TrackList )...
01. Intro 2:16
02. Nowy Rozdział 4:05
03. W.W.W.W. 6:27
04. Łotr 6:36
05. Przyjdź Do Mnie 4:52
06. Magnetyczny Sen 4:34
07. Zawrót Głowy 4:31
08. Na Dno 4:36
09. Do Domu 5:11
10. Zwyczajnie Nie 6:35
11. Spokojny 2:20

Personnel:
  Backing Vocals – Bartosz Struszczyk
  Bass – Bogusz Rutkiewicz
  Drums – Mariusz Bobkowski
  Electric Guitar – Przemysław Niezgódzki
  Electric Guitar, Acoustic Guitar – Wojciech Hoffmann
  Lead Vocals, Acoustic Guitar – Tomasz Struszczyk
  Vocals – Piotr Cugowski (3), Wojtek Cugowski (9)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki krążek krakowskiego crossover'owego Terrordome . Płyta została zarejestrowana w Psychosound Recording Studio pod okiem zespołu i Simona Piotrowskiego. Na albumie znajduje się trzynaście utworów (w tym cover Nuclear Assault) trwających dwadzieścia osiem minut.

Chaos Vault:
Są pewne kapele, które lubię recenzować, pomimo tego, że raczej mnie nie zaskoczą zmianą stylistyczną. Albo spadkiem formy. W tym zacnym gronie znajduje się krakowski Terrordome.
Chłopaki w końcu spięli pośladki i wypuścili pełnowymiarowy debiut. Zwie się on „We’ll Show You Mosh, Bitch!”. I słowa kurwa mać dotrzymują. Nie ma w Polsce wielu zespołów, które grałyby crossover z taką werwą i zaangażowaniem jak Łapa i spółka. Zapierdalają jak teżewe, czy jak się to francuskie ustrojstwo nazywa, walą w mordę jak w dysfunkcyjnej rodzinie, kopią po dupie i wszystko co tylko możecie sobie wyobrazić. Terrordome w swoich kompozycjach nie stosuje zabiegu, jakim jest zwolnienie.Ta muzyka jest naprawdę odegrana na najwyższych obrotach, cała kipi energią. Oparta na najlepszych wzorcach DRI, S.O.D., Anthrax czy Nuclear Assault, którego numer notabene kapela skowerowała. Tylko dlaczego zmienili tytuł z „Hang The Pope” na „Hang The Cop”? Policjanty to często miłe ludzie, za to klechami kilka latarń bym przyozdobił, hehe. Nie ważne, Krakowiacy nie dają nam czasu na wytchnienie i zastanawianie się nad takimi błahymi sprawami, gdy dookoła lecą iskry. W zasadzie to nie jest muzyka na jakiś głębszy rozbiór, analizę i snucie filozoficznych rozważań, to po prostu czysta pieprzona adrenalina zamknięta w dwudziestu ośmiu minutach.
Terrordome obserwuję od ich samego początku w zasadzie i bardzo podoba mi się ścieżka, którą obrali. Znakomity debiut tylko to potwierdza. Good job.


'80s are back! The fastest crossover thrash rapes your ears and kicks your ass all over the place! 13 tracks of thrashing speed in the vein of Slayer, Cryptic Slaughter, Dark Angel, Razor, S.O.D. & Evildead. That is 'We'll Show You Mosh, Bitch!'.



..::TRACK-LIST::..

1. This Aggression Never Gives A Shit To The Society 00:34
2. Wish You Were Killed (Soloist - Paua) 02:32
3. Silence (While The Violence's On) 01:55
4. Thrash Till Deaf (Soloist - Uappa) 02:21
5. Bad Motherfucker 02:19
6. Blowjobber (Soloist - Paua, Uappa) 02:26
7. Chemicals Of Death/Urban Mutants 01:52
8. Emobodimental (Soloist - Paua) 02:22
9. New World's Evil (Soloist - Balitz) 02:31
10. Broken Government 01:42
11. Terrorized (Soloist - Balitz) 02:06
12. Hang The Cop 00:42
13. The Whole Audience Goes Full Blast! 05:11

Track 13 contains an untitled hidden track and has duration 5:11 in total in the file. The hidden track is a prank from the recording session and also includes a short reprise of track 13.1 at the end.

Track 12 is a little changed Nuclear Assault song 'Hang The Pope' taken from 'Game Over' album.



..::OBSADA::..

Bass, Vocals - Tom the Srom
Drums - Mekong Minetaur
Guitar - Paua Siffredi
Guitar, Vocals - Uappa Terror



https://www.youtube.com/watch?v=NQ5jlYdHBFI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Debiutancki krążek krakowskiego crossover'owego Terrordome . Płyta została zarejestrowana w Psychosound Recording Studio pod okiem zespołu i Simona Piotrowskiego. Na albumie znajduje się trzynaście utworów (w tym cover Nuclear Assault) trwających dwadzieścia osiem minut.

Chaos Vault:
Są pewne kapele, które lubię recenzować, pomimo tego, że raczej mnie nie zaskoczą zmianą stylistyczną. Albo spadkiem formy. W tym zacnym gronie znajduje się krakowski Terrordome.
Chłopaki w końcu spięli pośladki i wypuścili pełnowymiarowy debiut. Zwie się on „We’ll Show You Mosh, Bitch!”. I słowa kurwa mać dotrzymują. Nie ma w Polsce wielu zespołów, które grałyby crossover z taką werwą i zaangażowaniem jak Łapa i spółka. Zapierdalają jak teżewe, czy jak się to francuskie ustrojstwo nazywa, walą w mordę jak w dysfunkcyjnej rodzinie, kopią po dupie i wszystko co tylko możecie sobie wyobrazić. Terrordome w swoich kompozycjach nie stosuje zabiegu, jakim jest zwolnienie.Ta muzyka jest naprawdę odegrana na najwyższych obrotach, cała kipi energią. Oparta na najlepszych wzorcach DRI, S.O.D., Anthrax czy Nuclear Assault, którego numer notabene kapela skowerowała. Tylko dlaczego zmienili tytuł z „Hang The Pope” na „Hang The Cop”? Policjanty to często miłe ludzie, za to klechami kilka latarń bym przyozdobił, hehe. Nie ważne, Krakowiacy nie dają nam czasu na wytchnienie i zastanawianie się nad takimi błahymi sprawami, gdy dookoła lecą iskry. W zasadzie to nie jest muzyka na jakiś głębszy rozbiór, analizę i snucie filozoficznych rozważań, to po prostu czysta pieprzona adrenalina zamknięta w dwudziestu ośmiu minutach.
Terrordome obserwuję od ich samego początku w zasadzie i bardzo podoba mi się ścieżka, którą obrali. Znakomity debiut tylko to potwierdza. Good job.


'80s are back! The fastest crossover thrash rapes your ears and kicks your ass all over the place! 13 tracks of thrashing speed in the vein of Slayer, Cryptic Slaughter, Dark Angel, Razor, S.O.D. & Evildead. That is 'We'll Show You Mosh, Bitch!'.



..::TRACK-LIST::..

1. This Aggression Never Gives A Shit To The Society 00:34
2. Wish You Were Killed (Soloist - Paua) 02:32
3. Silence (While The Violence's On) 01:55
4. Thrash Till Deaf (Soloist - Uappa) 02:21
5. Bad Motherfucker 02:19
6. Blowjobber (Soloist - Paua, Uappa) 02:26
7. Chemicals Of Death/Urban Mutants 01:52
8. Emobodimental (Soloist - Paua) 02:22
9. New World's Evil (Soloist - Balitz) 02:31
10. Broken Government 01:42
11. Terrorized (Soloist - Balitz) 02:06
12. Hang The Cop 00:42
13. The Whole Audience Goes Full Blast! 05:11

Track 13 contains an untitled hidden track and has duration 5:11 in total in the file. The hidden track is a prank from the recording session and also includes a short reprise of track 13.1 at the end.

Track 12 is a little changed Nuclear Assault song 'Hang The Pope' taken from 'Game Over' album.



..::OBSADA::..

Bass, Vocals - Tom the Srom
Drums - Mekong Minetaur
Guitar - Paua Siffredi
Guitar, Vocals - Uappa Terror



https://www.youtube.com/watch?v=NQ5jlYdHBFI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Tavastland' jest dziki, potężny i pełen surowych emocji, z melodiami, które pozostaną z tobą na długo...

FA


Tavastland to historyczna prowincja południowej Finlandii, która zasłynęła krwawą rebelią przeciwko kościołowi katolickiemu w 1237 roku. Taki tytuł nosi nowa płyta Havukruunu i taki jest jej temat przewodni. Bardzo dobrze, bo pogański black metal powinien opowiadać nam o tego typu wydarzeniach.

Suomi black metal jest już na tyle charakterystyczny, że nie ma wątpliwości, z czym tu obcujemy. Słychać tu wpływy Ajattara czy Moonsorrow i brzmi to naprawdę dobrze. Niestety Tavastland nie do końca spełnił moje oczekiwania.

Po Uinuos Syömein Sota z 2020 roku zacierałem ręce, że oto mamy godnego następcę wczesnego Immortal czy legendy Bathory. Ale niestety zbyt duże były to oczekiwania. Owszem, słychać wyraźne echa Bathory ery Twilight Of The Gods na przykład w solidnym Kuoleman Oma, gdzie akustyczne gitary przeplatają się z marszowym tempem gitar i chórów całej armii wikingów. Całość, mimo że jest spójna, przejrzysta i naprawdę rzetelna, zostawia jednak pewien niedosyt.

Mam też niestety kilka uwag co do samego brzmienia płyty, a konkretnie gitar. Wydaje się ono spłaszczone, jakby nagrywane w plastykowym pudle. Brak im sprężystości i soczystości znanej z poprzednich albumów. Nie wiem, czy Stefa i Bootleg-Henkka chcieli brzmieć bardziej surowo, ale moim zdaniem wyszło im to tylko in minus. Jednak nie ma tego złego, bo perkusja i świdrujący bas robią genialną robotę. Riffy Humö żyją na Tavastland własnym życiem – brzmią niemal doskonale i nadają płycie unikatowego, bardzo spersonifikowanego brzmienia. Maskuje to nieco gorsze brzmienie gitar, do których nie mogę się przyzwyczaić mimo kilkukrotnego już przesłuchania.

Całość układa się w solidny kawał pagan black metalu, jaki lubię i jaki mi dotąd pasował w zespołach rodem z Finlandii. Słyszę tu patos i dumę, która aż wylewa się z głośników tytułowym Tavastland czy moim osobistym faworycie Unissakävijä. W końcu słychać tu Havukruunu, którzy mimo swojego dziedzictwa poszukują swojego własnego stylu. I za to należy im się mój szacunek.

Adam Pilachowski



After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir.

Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS!

Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people.

'-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.', says Stefa.



..::TRACK-LIST::..

1. Kuolematon Laulunhenki 07:10
2. Yönsynty 05:24
3. Havukruunu ja Talvenvarjo 05:54
4. Tavastland 05:24
5. Kuoleman Oma 06:17
6. Unissakävijä 06:38
7. Kun veri sekoittuu lumeen 05:58
8. De miseriis Fennorum 10:52



..::OBSADA::..

Stefa - Vocals (lead, choirs), Guitars, Keyboards, Percussion, Songwriting, Lyrics
Bootleg-Henkka - Guitars
Humö - Bass
Kostajainen - Drums, Percussion




https://www.youtube.com/watch?v=ksMR9u9rIPE



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Tavastland' jest dziki, potężny i pełen surowych emocji, z melodiami, które pozostaną z tobą na długo...

FA


Tavastland to historyczna prowincja południowej Finlandii, która zasłynęła krwawą rebelią przeciwko kościołowi katolickiemu w 1237 roku. Taki tytuł nosi nowa płyta Havukruunu i taki jest jej temat przewodni. Bardzo dobrze, bo pogański black metal powinien opowiadać nam o tego typu wydarzeniach.

Suomi black metal jest już na tyle charakterystyczny, że nie ma wątpliwości, z czym tu obcujemy. Słychać tu wpływy Ajattara czy Moonsorrow i brzmi to naprawdę dobrze. Niestety Tavastland nie do końca spełnił moje oczekiwania.

Po Uinuos Syömein Sota z 2020 roku zacierałem ręce, że oto mamy godnego następcę wczesnego Immortal czy legendy Bathory. Ale niestety zbyt duże były to oczekiwania. Owszem, słychać wyraźne echa Bathory ery Twilight Of The Gods na przykład w solidnym Kuoleman Oma, gdzie akustyczne gitary przeplatają się z marszowym tempem gitar i chórów całej armii wikingów. Całość, mimo że jest spójna, przejrzysta i naprawdę rzetelna, zostawia jednak pewien niedosyt.

Mam też niestety kilka uwag co do samego brzmienia płyty, a konkretnie gitar. Wydaje się ono spłaszczone, jakby nagrywane w plastykowym pudle. Brak im sprężystości i soczystości znanej z poprzednich albumów. Nie wiem, czy Stefa i Bootleg-Henkka chcieli brzmieć bardziej surowo, ale moim zdaniem wyszło im to tylko in minus. Jednak nie ma tego złego, bo perkusja i świdrujący bas robią genialną robotę. Riffy Humö żyją na Tavastland własnym życiem – brzmią niemal doskonale i nadają płycie unikatowego, bardzo spersonifikowanego brzmienia. Maskuje to nieco gorsze brzmienie gitar, do których nie mogę się przyzwyczaić mimo kilkukrotnego już przesłuchania.

Całość układa się w solidny kawał pagan black metalu, jaki lubię i jaki mi dotąd pasował w zespołach rodem z Finlandii. Słyszę tu patos i dumę, która aż wylewa się z głośników tytułowym Tavastland czy moim osobistym faworycie Unissakävijä. W końcu słychać tu Havukruunu, którzy mimo swojego dziedzictwa poszukują swojego własnego stylu. I za to należy im się mój szacunek.

Adam Pilachowski



After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir.

Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS!

Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people.

'-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.', says Stefa.



..::TRACK-LIST::..

1. Kuolematon Laulunhenki 07:10
2. Yönsynty 05:24
3. Havukruunu ja Talvenvarjo 05:54
4. Tavastland 05:24
5. Kuoleman Oma 06:17
6. Unissakävijä 06:38
7. Kun veri sekoittuu lumeen 05:58
8. De miseriis Fennorum 10:52



..::OBSADA::..

Stefa - Vocals (lead, choirs), Guitars, Keyboards, Percussion, Songwriting, Lyrics
Bootleg-Henkka - Guitars
Humö - Bass
Kostajainen - Drums, Percussion




https://www.youtube.com/watch?v=ksMR9u9rIPE



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

...( Info )...
Title: Catatonic Symphony
Artist: Raging Slayer
Year: 2025
Genre: Thrash-Metal
Country: Portugal

Duration: 00:42:27
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. From the Cross (06:00)
02. Symbols of Deceit (06:56)
03. To Suffer is to Breathe (05:19)
04. Ministry of Failure (06:03)
05. Catatonic Symphony (02:47)
06. Troops of Blind Deception (04:22)
07. Suicidal Wish Denied (05:10)
08. Unsolved War (05:44)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niemiecka legenda grind core'a powraca z nową kolekcją CD.
Przygotujcie się na ostry wpierdol!



This is just the pick me up I needed after all that forsaking of metal I just went through. But that's enough story time. Nyctophobic is one of the few, one of the true, asskissing blah blah.... anyways one of the most talented, long running and bullshit-free grind bands has put together this sweet compilation so I could hear some old favorites and some of the rarities for which my hands hath yearned every longly.

This album fucking rules and not only is the material great but there's a whole goddamn hour of it. That my friends, is a grind band that cares about its listeners. If you're a fan, then you will like it - there is no other way. Nyctophobic doesn't make hits and they don't make filler and whoever claims otherwise I challenge to a grindcore duel. And if you haven't liked Nyctophobic's brilliance in the past then this comp simply isn't for you. Even though this material is taken from a bunch of splits and such, the quality is great. Maybe not your Australian trendcore great, but it's - surprisingly - damn good. And of course there's miscellaneous clips from random sources spliced in here and there, the best from an episode of Bob Larson's (sic?) Jesus asslicking festival of a show. As for the music part (my personal favorite part of an album heh) Nyctophobic delivers an hour of straightforward, semi thrashy and all skull pummeling grind. No cyber drumming, none of that diahhreah vocal bullshit, no pig squeal theatrics, no forced brutality, etc. Just straightforward and top notch grind from the Germans that know how it's done.

Blast from the Past isn't some money making scheme of a compilation like many of your, and sadly some of my, favorite bands have put out. (motorhead, anyone?) ... this is a compilation for the fans. If you love Nyctophobic but haven't heard all their material (you probably haven't, don't lie) then by golly you are in Nyctophobic's thoughts. An hour of old school (but not too punky - punk sucks) grinding from one of the best.

goredisorder



..::TRACK-LIST::..

1. Narrowed Mind's Bleeding 1:57
2. Sterility 0:57
3. Neglect Of The Loss 2:10
4. Earthrise 1:10
5. Rapid Eye Movement 1:12
6. The Pain Of A Conquered Being 2:34
7. Denial 1:04
8. The Remaining Silence 1:50
9. Inner Manipulation 2:26
10. Deceiver (Napalm Death cover) 0:31
11. The Kill (Napalm Death cover) 0:15
12. Mindrape 2:46
13. Negligenced Respect 2:30
14. Responsibilities 1:59
15. My Soul's Lament 2:44
16. Suffer Life 3:22
17. The After-Life Experience 3:39
18. Far Beyond Reality 3:48
19. Opening Of A Dark Chapter (Intro) 1:00
20. Seeds Of Morbidity 2:15
21. Bloodfeast 3:12
22. The After-Life Experience 2:43
23. Negligenced Respect 2:25
24. My Soul's Lament 2:36
25. Far Beyond Reality 3:11
26. The After-Life Experience 2:48
27. Sterility 0:59

Collection of all non-album material by Nyctophobic, mastered and slightly re-edited including some unreleased tracks.
Tracks 1-3 taken from the split 7" with Exhumed
Tracks 5-8 taken from the split 7" with Entrails Massacre
Tracks 12-18 taken from the Four Ways to Misery CD
Tracks 19-24 taken from the Negligenced Respect 7"
Track 25 and 26 taken from the split 7" with Agathocles
Track 27 taken from the Tomb of Grind compilation 7"
Tracks 4, 9, 10 and 11 were previously unreleased



..::OBSADA::..

Bass - Markus
Drums - Tom
Guitar - Chris (tracks: 4 to 26), Markus (tracks: 1 to 3, 27), Martin (tracks: 1 to 18, 27), Ruben (tracks: 25, 26)
Vocals - Alex (tracks: 5 to 18), Zimbo (tracks: 1 to 3, 27), Stephen (tracks: 20 to 26)



https://www.youtube.com/watch?v=W95fHyX1ltE


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Niemiecka legenda grind core'a powraca z nową kolekcją CD.
Przygotujcie się na ostry wpierdol!



This is just the pick me up I needed after all that forsaking of metal I just went through. But that's enough story time. Nyctophobic is one of the few, one of the true, asskissing blah blah.... anyways one of the most talented, long running and bullshit-free grind bands has put together this sweet compilation so I could hear some old favorites and some of the rarities for which my hands hath yearned every longly.

This album fucking rules and not only is the material great but there's a whole goddamn hour of it. That my friends, is a grind band that cares about its listeners. If you're a fan, then you will like it - there is no other way. Nyctophobic doesn't make hits and they don't make filler and whoever claims otherwise I challenge to a grindcore duel. And if you haven't liked Nyctophobic's brilliance in the past then this comp simply isn't for you. Even though this material is taken from a bunch of splits and such, the quality is great. Maybe not your Australian trendcore great, but it's - surprisingly - damn good. And of course there's miscellaneous clips from random sources spliced in here and there, the best from an episode of Bob Larson's (sic?) Jesus asslicking festival of a show. As for the music part (my personal favorite part of an album heh) Nyctophobic delivers an hour of straightforward, semi thrashy and all skull pummeling grind. No cyber drumming, none of that diahhreah vocal bullshit, no pig squeal theatrics, no forced brutality, etc. Just straightforward and top notch grind from the Germans that know how it's done.

Blast from the Past isn't some money making scheme of a compilation like many of your, and sadly some of my, favorite bands have put out. (motorhead, anyone?) ... this is a compilation for the fans. If you love Nyctophobic but haven't heard all their material (you probably haven't, don't lie) then by golly you are in Nyctophobic's thoughts. An hour of old school (but not too punky - punk sucks) grinding from one of the best.

goredisorder



..::TRACK-LIST::..

1. Narrowed Mind's Bleeding 1:57
2. Sterility 0:57
3. Neglect Of The Loss 2:10
4. Earthrise 1:10
5. Rapid Eye Movement 1:12
6. The Pain Of A Conquered Being 2:34
7. Denial 1:04
8. The Remaining Silence 1:50
9. Inner Manipulation 2:26
10. Deceiver (Napalm Death cover) 0:31
11. The Kill (Napalm Death cover) 0:15
12. Mindrape 2:46
13. Negligenced Respect 2:30
14. Responsibilities 1:59
15. My Soul's Lament 2:44
16. Suffer Life 3:22
17. The After-Life Experience 3:39
18. Far Beyond Reality 3:48
19. Opening Of A Dark Chapter (Intro) 1:00
20. Seeds Of Morbidity 2:15
21. Bloodfeast 3:12
22. The After-Life Experience 2:43
23. Negligenced Respect 2:25
24. My Soul's Lament 2:36
25. Far Beyond Reality 3:11
26. The After-Life Experience 2:48
27. Sterility 0:59

Collection of all non-album material by Nyctophobic, mastered and slightly re-edited including some unreleased tracks.
Tracks 1-3 taken from the split 7" with Exhumed
Tracks 5-8 taken from the split 7" with Entrails Massacre
Tracks 12-18 taken from the Four Ways to Misery CD
Tracks 19-24 taken from the Negligenced Respect 7"
Track 25 and 26 taken from the split 7" with Agathocles
Track 27 taken from the Tomb of Grind compilation 7"
Tracks 4, 9, 10 and 11 were previously unreleased



..::OBSADA::..

Bass - Markus
Drums - Tom
Guitar - Chris (tracks: 4 to 26), Markus (tracks: 1 to 3, 27), Martin (tracks: 1 to 18, 27), Ruben (tracks: 25, 26)
Vocals - Alex (tracks: 5 to 18), Zimbo (tracks: 1 to 3, 27), Stephen (tracks: 20 to 26)



https://www.youtube.com/watch?v=W95fHyX1ltE


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Długo przyszło nam czekać na następcę prawdopodobnie najwybitniejszej metalowej płyty naszych czasów. Informacja o rychłej premierze kolejnego materiału francuskiej formacji natychmiastowo postawiła mnie na sztorc i pobudziła mój umysł do rozmyślań o tym, jaki kształt Synarchy Of Molten Bones przybierze. Od doprowadzającego gatunek na skraj perfekcji, klasycznego Si Monvmentvm Reqvires, Circvmspice przez kolejne materiały, które pokazały jak można ciekawej grać black bez gatunkowej transgresji, a poprzez zagęszczanie i komplikowanie muzycznej struktury, doprowadzając materiał do obłędnej kompleksowości i zawiłości – Deathspell zawsze zachwycało. Każde kolejne oblicze wtapiało w tę obsydianową formułę kolejne pomysły i rozwiązania, dzięki czemu permanentnie czuć było świeżość i brak zmęczenia formułą. Czy i tym razem udała się ta sztuka? I tak, i nie.

Odnoszę wrażenie, że cała debata wokół tej płyty toczy się wokół tematu, czy Deathspell Omega ciągle wytycza gatunkowi tory. Nie da się ukryć, że tym razem nowe lądy nie zostały odkryte, a świat nie zadrżał w posadach. Po pogodzeniu się z tą myślą (o ile pogodzenie się było potrzebne) można rozpocząć zgłębianie kolejnego albumu tych łebków. Trzeba zacząć od jednego: to najbardziej radykalne wydawnictwo Francuzów. Najbardziej "czyste", a jednocześnie najbardziej oddane chaosowi. Paracletus, który dla wielu był pierwszym kontaktem z zespołem, wprowadził do blackowej masy z jednej strony bardziej wybijające się na front, "przebojowe" riffy, a z drugiej bardziej post-rockowe operowanie dynamiką i nastrojem, sprawiając, że istotnie zwieńczenie Trylogii było ich najłatwiej przyswajalnym dziełem. Drought, które nastąpiło później sugerowało jeszcze pewniejszy krok w stronę przystępności.

W starciu z rzeczywistością nowe dzieło Mikko Aspy i spółki leży jednak znacznie bliżej Fas – Ite, Maledicti, In Ignem Aeternum, które swojego czasu zrobiło wrażenie (i robi nadal) swoim ortodoksyjnym podejściem do ujarzmiania gęstego, wściekłego chaosu; budowaniem fraktalnego, metalowego free jazzu. Synarchy Of Molten Bones niczym Apollin z okładki pędzi przed siebie i aż po ostatnie dźwięki trąb zniszczenia nie zatrzymuje się. Ten dziki gon to w zasadzie album z 2007 roku, pozbawiony niemal wszystkich przerywników, zwolnień. Kwintesencja wściekłego pogromu, nakładających się warstw kłujących gitar, bezlitośnie obijanych garów szatana. Mikromotywy utopione w hałasie i zgiełku ciągle występują w takiej ilości, że można by z nich zrobić przynajmniej kilka typowych, opartych na repetycji albumów. Mimo lat na scenie i setek zapatrzonych zespołów, to ciągle niepodrabialna i wyjątkowa muzyka. Brak wyraźnego postępu tego nie zmienia.

Inną kwestią, z całą pewnością dość znaczącą, jest teologiczno-filozoficzna otoczka wokół symboliki i tekstów zespołu. Nihil miał jednak rację, nie chcę odkrywać ideologii i jakkolwiek fascynujące może być poważne zgłębianie tak poważnych tematów, ja zajmuję się muzyką. Czym zatem jest black metal? Są to dwie siły atakujące te ciała krążące wokół siebie danego krążownika ciał w sferze... Nieważne. Deathspell Omega to nadal crème de la crème muzyki ekstremalnej każdej formy. Krzepiąca jest też myśl, że Synarchy Of Molten Bones przegrywa walkę o najlepszy black metalowy album roku z nikim innym jak z naszą swojską Furią, choć "od wygranej dzielą centymetry". No chyba, że wyłoni się jeszcze jakiś zawodnik, ale na ten moment go nie widzę. Z Bogiem.

P.S. Nie mogę pozbyć się wrażenie, że w 5:35 "Famished For Breath" padają słowa "jestem Bulbasaurem". Litości, zabijcie mnie.

Antoni Barszczak


Deathspell Omega poznałem stosunkowo późno. Otoczka tajemnicy wokół tego projektu i eksperymentalne podejście do gatunku przekonały mnie niemal natychmiast, przez co nagłą zapowiedź nowego wydawnictwa przyjąłem wyjątkowo entuzjastycznie. 8 listopada 2016 roku, pod skrzydłami Norma Evangelium Diaboli, Francuzi wydali na świat kolejnego potwora – The Synarchy of Molten Bones.

Następca Drought nie ma z nim wiele wspólnego. EPka z 2012 roku jest umiarkowanie spokojna, ułożona i pełna progresywnych wręcz elementów. Muzycy wykazali się jeszcze bardziej niż wcześniej swoją wszechstronnością zarówno kompozytorską, jak i wykonawczą. The Synarchy of Molten Bones natomiast jest czystym szaleństwem. Przepełnioną dysonansami, opętańczymi krzykami i lamentami, zaledwie półgodzinną wyprawą do piekła. W jedną stronę.

Album zaczyna się dość niepozornie. Nie ukrywam, że zraziła mnie wyjątkowo płaska i niepotrzebna wstawka symfoniczna. Po krótkim wstępie, rozpoczyna się nasza wyprawa w głąb chaosu. Wszelkie wątpliwości dotyczące kondycji projektu po tylu latach zostają rozwiane wśród niepokojących melodii i opętańczych wokali. Naprawdę rzadko przyznaję, że inwokacje brzmią autentycznie i stwarzają pozór maniakalnej, ekstatycznej wręcz momentalnie modlitwy. Ciężko jednoznacznie stwierdzić ile ścieżek szeptów, krzyków i pogłosów potrafimy usłyszeć. Mimo to, w kluczowych momentach wyłapanie słów nie stanowi problemu dla przeciętnego słuchacza. Inna sprawa, że gitary bardzo często skutecznie utrudniają ich odbiór. Są absorbujące, skupiają na sobie uwagę, próbując wywołać pewnego rodzaju trans. Brzmieniowo specjalnie się nie wyróżniają, jednak w całości brzmią niepokojąco i potężnie.

W sekcji rytmicznej jedynie bas może być wart szczególnej uwagi. Najprawdopodobniej zastosowano automat perkusyjny. Nie stanowi to jakiejkolwiek ujmy dla twórców, jednak ścieżki mogłyby być mniej powtarzalne. Z drugiej strony jednak, perkusja stanowi tutaj jedynie tło dla diabolicznych melodii i skutecznie dopełnia zniszczenia brutalnością nagłych przejść i nieoczywistych pauz. Ogromne brawa dla Khaosa za niebanalne aranżacje. Gitara basowa rzadko podąża za elektryczną, wybiera raczej skomplikowane wariacje na dany temat. Bardzo często w chaosie dysonansów, szaleńczych blastów i niezrozumiałych wokali , to bas przyciąga ucho, wyróżniając się nietuzinkową melodią. Samo jego brzmienie zasługuje na uwagę, nie bez powodu jest stosunkowo głośno wmiksowany w całość.

Teksty tym razem odnoszą się do odrodzenia ludzkości po upadku, nie tracąc swoich przesłanek ortodoksyjnego satanizmu teistycznego . Znając podejście członków projektu do konceptualności ich sztuki, oczywista wydaje mi się kontynuacja opowieści po symbolicznej apokalipsie z Drought.

Do produkcji nie mam zastrzeżeń, niestety poza orkiestracjami – brzmią koszmarnie sztucznie, jakby słuchało się młodocianego zespołu zainspirowanego Septic Flesh, jednak z budżetem wynoszącym kieszonkowe gitarzysty i wokalisty. A szkoda.

Wydawnictwo z początku może być trudne w odbiorze przez kakofoniczny natłok właściwie całego instrumentarium, jednak ciężko się od niego oderwać. Utwory przechodzą niemal niezauważalnie, ale po paru odsłuchach łatwo dostrzec granice i różnice między nimi. Fundamentalna różnica polega na coraz większym chaosie i wzrastaniu napięcia z utworu na utwór, które zostaje brutalnie przerwane zakończeniem.

Jak każdy album, tak i ten ma swoje słabe strony. Najważniejszą i jedyną znaczącą z nich jest niestety bardzo małe zróżnicowanie. Być może nie narzekałbym na to, gdyby nie wydawnictwo także francuskiego Plebeian Grandstand z kwietnia 2016 pod tytułem False Highs, True Lows. Również francuskie Celeste na tym polu zwycięża z blackmetalowym kultem. Mając styczność z taką muzyką po raz wtóry, powtarzalność po prostu razi.

The Synarchy of Molten Bones jest bardzo dobrym albumem. W żadnym stopniu nie jest nowatorski, ale trudno zaprzeczyć jego wartości na jakimkolwiek polu. Dla wielu może to być pierwszy kontakt z tego typu mathcorowym wręcz podejściem do black metalu, pełnym skomplikowanych rozwiązań rytmicznych i atonalnych gitar. Być może wydanie takiego dzieła przez powszechnie szanowany w środowisku projekt, otworzy słuchaczy na zdecydowanie bardziej nowoczesne formy ekstremy. Mam nadzieję, że muzycy dalej będą się rozwijać w tym kierunku, nie tracąc ani przemyślanego pozornego szaleństwa, ani mistycyzmu i wszechobecnej aury zagłady.

Czwarkiel


Now that's something I didn't see coming. Deathspell Omega returning with a release out of the blue in November was probably the news of the year for me and the fact that the new material was less than two months away was to say the least enthralling. The reaction of course was immense. I for starter's couldn't speak for a minute or two after learning of this. Even a scam leak appeared on YouTube later (and I admit falling for it) but quickly such illusions were shattered by the full album leak that took place in late October. It wasn't in the best possible environment and the conditions were anything but good, but I gave it a shot. Being with a bunch of other people I went out in the cold for some air and then I pressed the play button.

What happened next filled me with joy. What I was listening to wasn't just a DSO record, or an evolution of Drought in any case. It was a return to the form of FAS - Ite, Maledicti, in Ignem Aeternvm, an album that shaped black metal back in 2007. If anything though, this album is different in its own right, since most of those mid paced moments of FAS are gone. The Synarchy of Molten Bones is chaos in aural form, a truly visceral album with abysmal sound and unforgiving execution. From the first drum hit in the beginning of the title track to the spine chilling fanfare that wraps Internecine Iatrogenesis, the band destroys everything that stands in their way. Of course many things haven't changed despite the four years of complete silence that preceded. The band still works in utter secrecy, not sharing a single work until their work is done to the very end. When the album was announced even the cover art and song lengths were unveiled in a single post. In addition to that, the style of the artwork accompanying the release remains as it was before, personally reminding me of the Paracletus cover above anything else. On top of that, there still is no official information about who works with or in Deathspell Omega. That being said all names that I will reference from now on are either unconfirmed but surely true, or vague speculations of mine.

There were some moments when this all began that I was thinking about the tiny possibility of a direct link between this album and the previous trilogy of LP's. Discarding it didn't take long; the titles used in the trilogy were all written in Latin and they were all direct references to religious sources of knowledge such the Christian Bible and tradition. Apart from that the lyrical themes are a bit different than what they used to be, but I'll get on that later. Despite being sure of this album being a standalone effort (save for the case of it being another first part to another series of records) I can't help but admire the way that they managed to fit everything that they have done in the past decade in less then 30 minutes of playing time. From the furious tremolo picking to the jazz influenced chords, the dissonances and occasional melodies to some utterly rhythmical breakdowns, it's all there. There are points that sound like Converge on acid and moments that bring bands like Ved Buens Ende... and Virus to mind, and it all fits together in a way that hasn't been demonstrated before.

Another thing that caught my attention in the original NoEvDia post was the playing time; 29:12. I assumed it would be an EP, however the label insisted on calling it a full album. And I understand why. The turn in direction that DSO took is way too dense and spastic to be extended to, say, the 40th minute mark. The music in terms of intensity is unrivaled by anything that I can think of right now. The guitars still have that atonal touch to them even if at some points they seem to be returning to more simplistic roots. Hasjarl managed to pull an amazing result out of his efforts here, especially in the third track Onward Where Most with Ravin I May Meet, a track that constantly evolves and actually captures the essence of every release of the band since their breakthrough in 2004. All jokes aside I usually refer to this track as DSO in a nutshell.

The backbone of the music is very detailed as well as the guitars and vocals albeit I doubt that the band view the bass and drums as mere background for their music. Khaos truly shines here. His work on the bass is at least admirable, as he refuses to simply follow the guitars and adds more variation instead. There are on or two moments that only the bass can be heard and it's there that we get to hear the crispy and heavy tone that it has. As for the drums, this is the only time until now that I am almost sure that DSO are using a drum machine. I doubt any human being can pull such a performance off if we consider how relentless the drumming is for the most of the album's playing time. Finally, the additional instrumentation that graces the album (brass, orchestral percussion) add to the eerie atmosphere without sounding out of place in any case. The production is the only aspect of the album that I have no clue about. There is no question that it works perfectly but nobody knows who is behind the mixing and mastering of this masterwork. It could be Boban Milunovic again, as it was in FAS . There are also rumors that the studio engineer is the same person that has Carpenter Brut, a retrowave project that has received critical acclaim.

The lyrics evoke the image of humanity ending and arising again but this time, the archetypal human is made in likeness to Satan and not God. Once again the lyrics are beyond complex but they succeed in picturing the subject that's being analysed in the most vivid way possible. That is also a result of Mikko Aspa's amazing performance and multilayered vocals (additional vocals have been provided by S.V.E.S.T.'s Spica forthe Fremch parts). The vocals are mostly growling and snarling but every word digs its way into your mind, resting there and then growing up to the point that you'll be spending large amounts of time just comprehending the meaning of the lyrics. The opening words seem to be invoking some kind of healer or doctor that I guess is a metaphor for Satan wiping the false human race from the world and clearing the way for the uprising of the true heirs of his. Even the stunning album cover, which I presume that comes from Timo Ketola just from the looks of it, is a direct reference to the lyrics of the closing track; -But heaven! One arrow, anointed in the balm of Internecine Iatrogenesis, shall suffice!

Once again there is much to be studied, analysed and observed in the new Deathspell Omega record. I have been struck by its magnitude and I have no doubt that it is one of my favorite releases by them. And while nothing can overcome Paracletus and FAS for me, I feel that this is very close in terms of quality. I have a long way in front of me before I fully digest this, but trust me, it is worth it. I am urged to think what might come next (an EP if they follow the pattern?) but for now The Synarchy of Molten Bones is a reality and better than what I dared to hope for. I'll end my drivel here, but the album will get many more listens and praises from my side and I urge you to follow my lead.

DSOfan97



..::TRACK-LIST::..

1. The Synarchy Of Molten Bones 6:58
2. Famished For Breath 6:10
3. Onward Where Most With Ravin I May Meet 10:12
4. Internecine Iatrogenesis 5:52



..::OBSADA::..

Hasjarl - Guitars
Khaos - Bass
Mikko Aspa - Vocals




https://www.youtube.com/watch?v=_pa-gruFS1Q



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Długo przyszło nam czekać na następcę prawdopodobnie najwybitniejszej metalowej płyty naszych czasów. Informacja o rychłej premierze kolejnego materiału francuskiej formacji natychmiastowo postawiła mnie na sztorc i pobudziła mój umysł do rozmyślań o tym, jaki kształt Synarchy Of Molten Bones przybierze. Od doprowadzającego gatunek na skraj perfekcji, klasycznego Si Monvmentvm Reqvires, Circvmspice przez kolejne materiały, które pokazały jak można ciekawej grać black bez gatunkowej transgresji, a poprzez zagęszczanie i komplikowanie muzycznej struktury, doprowadzając materiał do obłędnej kompleksowości i zawiłości – Deathspell zawsze zachwycało. Każde kolejne oblicze wtapiało w tę obsydianową formułę kolejne pomysły i rozwiązania, dzięki czemu permanentnie czuć było świeżość i brak zmęczenia formułą. Czy i tym razem udała się ta sztuka? I tak, i nie.

Odnoszę wrażenie, że cała debata wokół tej płyty toczy się wokół tematu, czy Deathspell Omega ciągle wytycza gatunkowi tory. Nie da się ukryć, że tym razem nowe lądy nie zostały odkryte, a świat nie zadrżał w posadach. Po pogodzeniu się z tą myślą (o ile pogodzenie się było potrzebne) można rozpocząć zgłębianie kolejnego albumu tych łebków. Trzeba zacząć od jednego: to najbardziej radykalne wydawnictwo Francuzów. Najbardziej "czyste", a jednocześnie najbardziej oddane chaosowi. Paracletus, który dla wielu był pierwszym kontaktem z zespołem, wprowadził do blackowej masy z jednej strony bardziej wybijające się na front, "przebojowe" riffy, a z drugiej bardziej post-rockowe operowanie dynamiką i nastrojem, sprawiając, że istotnie zwieńczenie Trylogii było ich najłatwiej przyswajalnym dziełem. Drought, które nastąpiło później sugerowało jeszcze pewniejszy krok w stronę przystępności.

W starciu z rzeczywistością nowe dzieło Mikko Aspy i spółki leży jednak znacznie bliżej Fas – Ite, Maledicti, In Ignem Aeternum, które swojego czasu zrobiło wrażenie (i robi nadal) swoim ortodoksyjnym podejściem do ujarzmiania gęstego, wściekłego chaosu; budowaniem fraktalnego, metalowego free jazzu. Synarchy Of Molten Bones niczym Apollin z okładki pędzi przed siebie i aż po ostatnie dźwięki trąb zniszczenia nie zatrzymuje się. Ten dziki gon to w zasadzie album z 2007 roku, pozbawiony niemal wszystkich przerywników, zwolnień. Kwintesencja wściekłego pogromu, nakładających się warstw kłujących gitar, bezlitośnie obijanych garów szatana. Mikromotywy utopione w hałasie i zgiełku ciągle występują w takiej ilości, że można by z nich zrobić przynajmniej kilka typowych, opartych na repetycji albumów. Mimo lat na scenie i setek zapatrzonych zespołów, to ciągle niepodrabialna i wyjątkowa muzyka. Brak wyraźnego postępu tego nie zmienia.

Inną kwestią, z całą pewnością dość znaczącą, jest teologiczno-filozoficzna otoczka wokół symboliki i tekstów zespołu. Nihil miał jednak rację, nie chcę odkrywać ideologii i jakkolwiek fascynujące może być poważne zgłębianie tak poważnych tematów, ja zajmuję się muzyką. Czym zatem jest black metal? Są to dwie siły atakujące te ciała krążące wokół siebie danego krążownika ciał w sferze... Nieważne. Deathspell Omega to nadal crème de la crème muzyki ekstremalnej każdej formy. Krzepiąca jest też myśl, że Synarchy Of Molten Bones przegrywa walkę o najlepszy black metalowy album roku z nikim innym jak z naszą swojską Furią, choć "od wygranej dzielą centymetry". No chyba, że wyłoni się jeszcze jakiś zawodnik, ale na ten moment go nie widzę. Z Bogiem.

P.S. Nie mogę pozbyć się wrażenie, że w 5:35 "Famished For Breath" padają słowa "jestem Bulbasaurem". Litości, zabijcie mnie.

Antoni Barszczak


Deathspell Omega poznałem stosunkowo późno. Otoczka tajemnicy wokół tego projektu i eksperymentalne podejście do gatunku przekonały mnie niemal natychmiast, przez co nagłą zapowiedź nowego wydawnictwa przyjąłem wyjątkowo entuzjastycznie. 8 listopada 2016 roku, pod skrzydłami Norma Evangelium Diaboli, Francuzi wydali na świat kolejnego potwora – The Synarchy of Molten Bones.

Następca Drought nie ma z nim wiele wspólnego. EPka z 2012 roku jest umiarkowanie spokojna, ułożona i pełna progresywnych wręcz elementów. Muzycy wykazali się jeszcze bardziej niż wcześniej swoją wszechstronnością zarówno kompozytorską, jak i wykonawczą. The Synarchy of Molten Bones natomiast jest czystym szaleństwem. Przepełnioną dysonansami, opętańczymi krzykami i lamentami, zaledwie półgodzinną wyprawą do piekła. W jedną stronę.

Album zaczyna się dość niepozornie. Nie ukrywam, że zraziła mnie wyjątkowo płaska i niepotrzebna wstawka symfoniczna. Po krótkim wstępie, rozpoczyna się nasza wyprawa w głąb chaosu. Wszelkie wątpliwości dotyczące kondycji projektu po tylu latach zostają rozwiane wśród niepokojących melodii i opętańczych wokali. Naprawdę rzadko przyznaję, że inwokacje brzmią autentycznie i stwarzają pozór maniakalnej, ekstatycznej wręcz momentalnie modlitwy. Ciężko jednoznacznie stwierdzić ile ścieżek szeptów, krzyków i pogłosów potrafimy usłyszeć. Mimo to, w kluczowych momentach wyłapanie słów nie stanowi problemu dla przeciętnego słuchacza. Inna sprawa, że gitary bardzo często skutecznie utrudniają ich odbiór. Są absorbujące, skupiają na sobie uwagę, próbując wywołać pewnego rodzaju trans. Brzmieniowo specjalnie się nie wyróżniają, jednak w całości brzmią niepokojąco i potężnie.

W sekcji rytmicznej jedynie bas może być wart szczególnej uwagi. Najprawdopodobniej zastosowano automat perkusyjny. Nie stanowi to jakiejkolwiek ujmy dla twórców, jednak ścieżki mogłyby być mniej powtarzalne. Z drugiej strony jednak, perkusja stanowi tutaj jedynie tło dla diabolicznych melodii i skutecznie dopełnia zniszczenia brutalnością nagłych przejść i nieoczywistych pauz. Ogromne brawa dla Khaosa za niebanalne aranżacje. Gitara basowa rzadko podąża za elektryczną, wybiera raczej skomplikowane wariacje na dany temat. Bardzo często w chaosie dysonansów, szaleńczych blastów i niezrozumiałych wokali , to bas przyciąga ucho, wyróżniając się nietuzinkową melodią. Samo jego brzmienie zasługuje na uwagę, nie bez powodu jest stosunkowo głośno wmiksowany w całość.

Teksty tym razem odnoszą się do odrodzenia ludzkości po upadku, nie tracąc swoich przesłanek ortodoksyjnego satanizmu teistycznego . Znając podejście członków projektu do konceptualności ich sztuki, oczywista wydaje mi się kontynuacja opowieści po symbolicznej apokalipsie z Drought.

Do produkcji nie mam zastrzeżeń, niestety poza orkiestracjami – brzmią koszmarnie sztucznie, jakby słuchało się młodocianego zespołu zainspirowanego Septic Flesh, jednak z budżetem wynoszącym kieszonkowe gitarzysty i wokalisty. A szkoda.

Wydawnictwo z początku może być trudne w odbiorze przez kakofoniczny natłok właściwie całego instrumentarium, jednak ciężko się od niego oderwać. Utwory przechodzą niemal niezauważalnie, ale po paru odsłuchach łatwo dostrzec granice i różnice między nimi. Fundamentalna różnica polega na coraz większym chaosie i wzrastaniu napięcia z utworu na utwór, które zostaje brutalnie przerwane zakończeniem.

Jak każdy album, tak i ten ma swoje słabe strony. Najważniejszą i jedyną znaczącą z nich jest niestety bardzo małe zróżnicowanie. Być może nie narzekałbym na to, gdyby nie wydawnictwo także francuskiego Plebeian Grandstand z kwietnia 2016 pod tytułem False Highs, True Lows. Również francuskie Celeste na tym polu zwycięża z blackmetalowym kultem. Mając styczność z taką muzyką po raz wtóry, powtarzalność po prostu razi.

The Synarchy of Molten Bones jest bardzo dobrym albumem. W żadnym stopniu nie jest nowatorski, ale trudno zaprzeczyć jego wartości na jakimkolwiek polu. Dla wielu może to być pierwszy kontakt z tego typu mathcorowym wręcz podejściem do black metalu, pełnym skomplikowanych rozwiązań rytmicznych i atonalnych gitar. Być może wydanie takiego dzieła przez powszechnie szanowany w środowisku projekt, otworzy słuchaczy na zdecydowanie bardziej nowoczesne formy ekstremy. Mam nadzieję, że muzycy dalej będą się rozwijać w tym kierunku, nie tracąc ani przemyślanego pozornego szaleństwa, ani mistycyzmu i wszechobecnej aury zagłady.

Czwarkiel


Now that's something I didn't see coming. Deathspell Omega returning with a release out of the blue in November was probably the news of the year for me and the fact that the new material was less than two months away was to say the least enthralling. The reaction of course was immense. I for starter's couldn't speak for a minute or two after learning of this. Even a scam leak appeared on YouTube later (and I admit falling for it) but quickly such illusions were shattered by the full album leak that took place in late October. It wasn't in the best possible environment and the conditions were anything but good, but I gave it a shot. Being with a bunch of other people I went out in the cold for some air and then I pressed the play button.

What happened next filled me with joy. What I was listening to wasn't just a DSO record, or an evolution of Drought in any case. It was a return to the form of FAS - Ite, Maledicti, in Ignem Aeternvm, an album that shaped black metal back in 2007. If anything though, this album is different in its own right, since most of those mid paced moments of FAS are gone. The Synarchy of Molten Bones is chaos in aural form, a truly visceral album with abysmal sound and unforgiving execution. From the first drum hit in the beginning of the title track to the spine chilling fanfare that wraps Internecine Iatrogenesis, the band destroys everything that stands in their way. Of course many things haven't changed despite the four years of complete silence that preceded. The band still works in utter secrecy, not sharing a single work until their work is done to the very end. When the album was announced even the cover art and song lengths were unveiled in a single post. In addition to that, the style of the artwork accompanying the release remains as it was before, personally reminding me of the Paracletus cover above anything else. On top of that, there still is no official information about who works with or in Deathspell Omega. That being said all names that I will reference from now on are either unconfirmed but surely true, or vague speculations of mine.

There were some moments when this all began that I was thinking about the tiny possibility of a direct link between this album and the previous trilogy of LP's. Discarding it didn't take long; the titles used in the trilogy were all written in Latin and they were all direct references to religious sources of knowledge such the Christian Bible and tradition. Apart from that the lyrical themes are a bit different than what they used to be, but I'll get on that later. Despite being sure of this album being a standalone effort (save for the case of it being another first part to another series of records) I can't help but admire the way that they managed to fit everything that they have done in the past decade in less then 30 minutes of playing time. From the furious tremolo picking to the jazz influenced chords, the dissonances and occasional melodies to some utterly rhythmical breakdowns, it's all there. There are points that sound like Converge on acid and moments that bring bands like Ved Buens Ende... and Virus to mind, and it all fits together in a way that hasn't been demonstrated before.

Another thing that caught my attention in the original NoEvDia post was the playing time; 29:12. I assumed it would be an EP, however the label insisted on calling it a full album. And I understand why. The turn in direction that DSO took is way too dense and spastic to be extended to, say, the 40th minute mark. The music in terms of intensity is unrivaled by anything that I can think of right now. The guitars still have that atonal touch to them even if at some points they seem to be returning to more simplistic roots. Hasjarl managed to pull an amazing result out of his efforts here, especially in the third track Onward Where Most with Ravin I May Meet, a track that constantly evolves and actually captures the essence of every release of the band since their breakthrough in 2004. All jokes aside I usually refer to this track as DSO in a nutshell.

The backbone of the music is very detailed as well as the guitars and vocals albeit I doubt that the band view the bass and drums as mere background for their music. Khaos truly shines here. His work on the bass is at least admirable, as he refuses to simply follow the guitars and adds more variation instead. There are on or two moments that only the bass can be heard and it's there that we get to hear the crispy and heavy tone that it has. As for the drums, this is the only time until now that I am almost sure that DSO are using a drum machine. I doubt any human being can pull such a performance off if we consider how relentless the drumming is for the most of the album's playing time. Finally, the additional instrumentation that graces the album (brass, orchestral percussion) add to the eerie atmosphere without sounding out of place in any case. The production is the only aspect of the album that I have no clue about. There is no question that it works perfectly but nobody knows who is behind the mixing and mastering of this masterwork. It could be Boban Milunovic again, as it was in FAS . There are also rumors that the studio engineer is the same person that has Carpenter Brut, a retrowave project that has received critical acclaim.

The lyrics evoke the image of humanity ending and arising again but this time, the archetypal human is made in likeness to Satan and not God. Once again the lyrics are beyond complex but they succeed in picturing the subject that's being analysed in the most vivid way possible. That is also a result of Mikko Aspa's amazing performance and multilayered vocals (additional vocals have been provided by S.V.E.S.T.'s Spica forthe Fremch parts). The vocals are mostly growling and snarling but every word digs its way into your mind, resting there and then growing up to the point that you'll be spending large amounts of time just comprehending the meaning of the lyrics. The opening words seem to be invoking some kind of healer or doctor that I guess is a metaphor for Satan wiping the false human race from the world and clearing the way for the uprising of the true heirs of his. Even the stunning album cover, which I presume that comes from Timo Ketola just from the looks of it, is a direct reference to the lyrics of the closing track; -But heaven! One arrow, anointed in the balm of Internecine Iatrogenesis, shall suffice!

Once again there is much to be studied, analysed and observed in the new Deathspell Omega record. I have been struck by its magnitude and I have no doubt that it is one of my favorite releases by them. And while nothing can overcome Paracletus and FAS for me, I feel that this is very close in terms of quality. I have a long way in front of me before I fully digest this, but trust me, it is worth it. I am urged to think what might come next (an EP if they follow the pattern?) but for now The Synarchy of Molten Bones is a reality and better than what I dared to hope for. I'll end my drivel here, but the album will get many more listens and praises from my side and I urge you to follow my lead.

DSOfan97



..::TRACK-LIST::..

1. The Synarchy Of Molten Bones 6:58
2. Famished For Breath 6:10
3. Onward Where Most With Ravin I May Meet 10:12
4. Internecine Iatrogenesis 5:52



..::OBSADA::..

Hasjarl - Guitars
Khaos - Bass
Mikko Aspa - Vocals




https://www.youtube.com/watch?v=_pa-gruFS1Q



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Druga płyta Terrordome jest wyśmienita. Proporcje agresji i szybkości są bliskie perfekcji. Zadziwiający konglomerat nieujarzmionej pierwotnej dzikości z zaplanowanym mechanizmem metodycznej destrukcji słuchacza. Bardziej THRASH'owa płyta od debiutu choć na Waszym miejscu nie oczekiwałbym nadmiaru litości i zbytniego wyhamowania. Do tego pierwszorzędna produkcja i wysmakowana oprawa graficzna.

Brutalny crossover thrash dla fanów SLAYER, RAZOR, DARK ANGEL!



Nowy krążek krakowskiej kapeli Terrordome ujrzał światło dzienne już dosyć dawno, bo aż 5 miesięcy temu. Od tamtej pory co jakiś czas, z wielką radością odsłuchuję go od początku do końca i za każdym razem podoba mi się tak samo. Dlaczego? O tym dowiecie się za moment!

"Machete Justice" to drugi studyjny album Terrordome. Już sama okładka oraz tytuł albumu sugerują, że nie będzie to jakieś tam "pitu pitu", ale solidny kopniak prosto w twarz słuchającego... Nie jest to mylne pierwsze wrażenie - już pierwsze sekundy w tytułowym i zarazem pierwszym kawałku tego albumu są wypełnione szybkimi i brutalnymi riffami, czyli takie jakich spodziewałby się każdy, kto kiedykolwiek miał jakąś styczność z materiałem wesołego kwartetu z Krakowa.

I od razu, na samym początku pojawia się również pierwsze zaskoczenie! Tak nie brzmi Terrordome! Na szczęście zaskoczenie to jest jak najbardziej pozytywne - brzmieniowo "Maczeta" bije na głowę wszystkie poprzednie wydawnictwa Terrordome, a już nawet nie porównując jej do wcześniejszych osiągnięć kapeli, brzmi po prostu świetnie! Wszystkie instrumenty są dobrze słyszalne, nie trzeba bawić się w żadne equalizery, żeby usłyszeć partie basu czy trochę podbić wokal. Moim osobistym faworytem w thrash metalu, jeżeli chodzi o sound, jest Exodus z albumami takimi jak "Tempo Of The Damned", czy najnowszy "Blood In Blood Out". Jak widać w Polsce również mamy kapele, które potrafią tak zabrzmieć!

Kompozycyjnie nadal jest to dobry stary TRDM, co oczywiście oznacza ciągły nakurw, jednak i w tej materii można zauważyć wyższość tego krążka nad innymi wydawnictwami kapeli. Po pierwsze - utwory są teraz trochę bardziej zróżnicowane - nie jest to już granie na maxa przez całe pół godziny - usłyszymy tu trochę wolniejsze partie, np. klimatyczne, mroczne intro do "Evil Monk" czy stopniowo nabierający energii "Terror Thrash Killing Machine". Solówki nie są już zagrane "na pałę do przodu", teraz są bardziej przemyślane, melodyjne, powiedziałbym nawet, że czuć w nich lekką finezję, chociaż to ryzykowne stwierdzenie w stosunku do akurat tego konkretnego zespołu... Kolejnym elementem, który również uległ zdecydowanej poprawie są wokale Uappy. O ile wcześniej był to dla mnie najsłabszy element całego zespołu, teraz z kolei stanowią bardzo dobrą całość z resztą zespołu i, przede wszystkim, są zaśpiewane wyraźnie, nie tracąc przy tym swojej mocy i agresji. Poza solowymi partiami mamy również chórki, które sprawiają, że "Back To The '80s" bardzo szybko wpada w ucho i to dzięki nim stał się on moim ulubionym numerem spośród 11 utworów znajdujących się na "Machete Justice". Całość w bardzo dobrym stylu zamyka bonusowy "Exomedley", czyli, jak nie trudno się domyślić, utwór powstały z połączenia kilku riffów wiadomego zespołu, w którym to znowu zostałem pozytywnie zaskoczony partiami wokalnymi.

Mam nadzieję, że po przeczytaniu tej recenzji "Machete Justice" na stałe zagości na waszej playliście, tym bardziej, że cały album jest dostępny do odsłuchania na oficjalnym kanale Terrordome na YouTube, podobnie zresztą jak poprzednie wydawnictwa. Żadnych wad nie opisałem, bo i po co ich na siłę szukać. Drugi krążek krakowskiej formacji jest szybki i brutalny, nagrany dla fanów thrashu, jednak jestem w stanie stwierdzić, że spodoba się on nie tylko tej grupie metalowców, która nosi katany i białe hajtopy, bo jest po prostu bardzo dobry.

Loq



..::TRACK-LIST::..

1. Machete Justice
2. Crocodile
3. Give Me Back My Money
4. Nocturnal Emission
5. Terror Thrash Killing Machine
6. Human Wreckage
7. Favourite Sport: Mosh
8. Italian Stallion
9. Back to the ‘80s
10. Evil Monk
11. Welcome to the Bangbus

12. CD (Defense Records, 11.2021, RE) + bonusowy utwór 'Pussy Drivers'



..::OBSADA::..

Uappa Terror - Guitars, Vocals
Paua Siffredi - Guitars
De Kapitzator - Bass, Vocals (additional)
Murgrabia Mekong - Drums

Gościnne wokale w 'Back to the ’80s' - Tom the Srom.
Gościnne wokale - Rafał 'Don Vito' Halamoda.




https://www.youtube.com/watch?v=C9eXVGJFelo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Druga płyta Terrordome jest wyśmienita. Proporcje agresji i szybkości są bliskie perfekcji. Zadziwiający konglomerat nieujarzmionej pierwotnej dzikości z zaplanowanym mechanizmem metodycznej destrukcji słuchacza. Bardziej THRASH'owa płyta od debiutu choć na Waszym miejscu nie oczekiwałbym nadmiaru litości i zbytniego wyhamowania. Do tego pierwszorzędna produkcja i wysmakowana oprawa graficzna.

Brutalny crossover thrash dla fanów SLAYER, RAZOR, DARK ANGEL!



Nowy krążek krakowskiej kapeli Terrordome ujrzał światło dzienne już dosyć dawno, bo aż 5 miesięcy temu. Od tamtej pory co jakiś czas, z wielką radością odsłuchuję go od początku do końca i za każdym razem podoba mi się tak samo. Dlaczego? O tym dowiecie się za moment!

"Machete Justice" to drugi studyjny album Terrordome. Już sama okładka oraz tytuł albumu sugerują, że nie będzie to jakieś tam "pitu pitu", ale solidny kopniak prosto w twarz słuchającego... Nie jest to mylne pierwsze wrażenie - już pierwsze sekundy w tytułowym i zarazem pierwszym kawałku tego albumu są wypełnione szybkimi i brutalnymi riffami, czyli takie jakich spodziewałby się każdy, kto kiedykolwiek miał jakąś styczność z materiałem wesołego kwartetu z Krakowa.

I od razu, na samym początku pojawia się również pierwsze zaskoczenie! Tak nie brzmi Terrordome! Na szczęście zaskoczenie to jest jak najbardziej pozytywne - brzmieniowo "Maczeta" bije na głowę wszystkie poprzednie wydawnictwa Terrordome, a już nawet nie porównując jej do wcześniejszych osiągnięć kapeli, brzmi po prostu świetnie! Wszystkie instrumenty są dobrze słyszalne, nie trzeba bawić się w żadne equalizery, żeby usłyszeć partie basu czy trochę podbić wokal. Moim osobistym faworytem w thrash metalu, jeżeli chodzi o sound, jest Exodus z albumami takimi jak "Tempo Of The Damned", czy najnowszy "Blood In Blood Out". Jak widać w Polsce również mamy kapele, które potrafią tak zabrzmieć!

Kompozycyjnie nadal jest to dobry stary TRDM, co oczywiście oznacza ciągły nakurw, jednak i w tej materii można zauważyć wyższość tego krążka nad innymi wydawnictwami kapeli. Po pierwsze - utwory są teraz trochę bardziej zróżnicowane - nie jest to już granie na maxa przez całe pół godziny - usłyszymy tu trochę wolniejsze partie, np. klimatyczne, mroczne intro do "Evil Monk" czy stopniowo nabierający energii "Terror Thrash Killing Machine". Solówki nie są już zagrane "na pałę do przodu", teraz są bardziej przemyślane, melodyjne, powiedziałbym nawet, że czuć w nich lekką finezję, chociaż to ryzykowne stwierdzenie w stosunku do akurat tego konkretnego zespołu... Kolejnym elementem, który również uległ zdecydowanej poprawie są wokale Uappy. O ile wcześniej był to dla mnie najsłabszy element całego zespołu, teraz z kolei stanowią bardzo dobrą całość z resztą zespołu i, przede wszystkim, są zaśpiewane wyraźnie, nie tracąc przy tym swojej mocy i agresji. Poza solowymi partiami mamy również chórki, które sprawiają, że "Back To The '80s" bardzo szybko wpada w ucho i to dzięki nim stał się on moim ulubionym numerem spośród 11 utworów znajdujących się na "Machete Justice". Całość w bardzo dobrym stylu zamyka bonusowy "Exomedley", czyli, jak nie trudno się domyślić, utwór powstały z połączenia kilku riffów wiadomego zespołu, w którym to znowu zostałem pozytywnie zaskoczony partiami wokalnymi.

Mam nadzieję, że po przeczytaniu tej recenzji "Machete Justice" na stałe zagości na waszej playliście, tym bardziej, że cały album jest dostępny do odsłuchania na oficjalnym kanale Terrordome na YouTube, podobnie zresztą jak poprzednie wydawnictwa. Żadnych wad nie opisałem, bo i po co ich na siłę szukać. Drugi krążek krakowskiej formacji jest szybki i brutalny, nagrany dla fanów thrashu, jednak jestem w stanie stwierdzić, że spodoba się on nie tylko tej grupie metalowców, która nosi katany i białe hajtopy, bo jest po prostu bardzo dobry.

Loq



..::TRACK-LIST::..

1. Machete Justice
2. Crocodile
3. Give Me Back My Money
4. Nocturnal Emission
5. Terror Thrash Killing Machine
6. Human Wreckage
7. Favourite Sport: Mosh
8. Italian Stallion
9. Back to the ‘80s
10. Evil Monk
11. Welcome to the Bangbus

12. CD (Defense Records, 11.2021, RE) + bonusowy utwór 'Pussy Drivers'



..::OBSADA::..

Uappa Terror - Guitars, Vocals
Paua Siffredi - Guitars
De Kapitzator - Bass, Vocals (additional)
Murgrabia Mekong - Drums

Gościnne wokale w 'Back to the ’80s' - Tom the Srom.
Gościnne wokale - Rafał 'Don Vito' Halamoda.




https://www.youtube.com/watch?v=C9eXVGJFelo



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Within the Prophecy' jest jednym z niewielu albumów, które posiadają naprawdę wyjątkowe cechy.
Przypuszczam, że sam Szatan wymienia ten album w swojej gorącej pierwszej dziesiątce!

FA


Sacrilege are a very unique band. They formed in 1984 in Birmingham, England, the birthplace of Black Sabbath. It makes perfect sense that Sacrilege were influenced by Sabbath a great deal, considering that the riffs are heavy and doom inspired. Sacrilege started out as a crust punk influenced band but soon dropped most crust influence in favor of thrash/doom. The band signed to Under One Flag and released their sophomore effort titled "Within the Prophecy" in 1987. Let's take a look at this underrated classic!

So the album opens with "Sight Of The Wise" which contains a fuck ton of heavy riffs right off the bat! Guitarist Damian Thompson's riffs are downtuned, very heavy, and they can be very fast at times. His solos are killer too. The riffs are varied, and the clean guitar section on "Winds Of Vengeance" is just beautiful. Especially when the distorted parts come in, then it reminds me of Sabbath. Thompson does a fantastic job on this record. He also recorded the bass, but it is sadly buried under the mix. It's a shame, because the bass could of easily added to the riffs and flow of the songs. Vocalist Lynda "Tam" Simpson is one of my favorite female thrash vocalists of all time. She has a aggressive edge to her vocals, but maintains the slight melodic characteristics of female vocals. Her best performance on the album in my opinion is on "The Captive". Overall, she adds to the unique sound of the record. Drummer Andy Baker is a decent drummer. He's not the best drummer ever, but he does a good job. His double bass is fairly audible, and he goes hard during those fast parts. Overall, he does pretty well.

As for recommended tracks, well "Winds Of Vengeance" is one of the highlights for sure. Especially that aforementioned clean interlude which is bound to give you intense frission. "The Fear Within" has some killer riffs, and Tam's vocals are very good on this particular track. The ultimate masterpiece on the record though is "Search Eternal", a epic 10 minute monster with some amazing guitar work, amazing vocals, and a absolutely legendary finale. Near the end of the track, the clean guitar serves as a counterpart to the distorted guitar, and it sounds amazing. That part is definitely one of my favorite parts of the song.

Overall, Sacrilege were an amazing doom thrash band that was sadly left behind. There are many who know about them, but I sadly don't see them get mentioned by thrash fans that often. Within The Prophecy just got remastered on CD and vinyl, so hopefully this album will get some new found appreciation among thrash fans. I recommend this to fans of Black Sabbath, Witchfinder General, Dark Angel, Znowhite, and Holy Moses.


ThrashFanatic



..::TRACK-LIST::..

1. Sight Of The Wise 6:52
2. The Captive 4:18
3. Winds Of Vengeance 7:27
4. Spirit Cry 3:58
5. Flight Of The Nazgul 6:21
6. The Fear Within 5:05
7. Search Eternal 10:51

Bonus Tracks:
8. Insurrection (Taken From Speed Kills III Compilation 1987) 3:45
9. Search Eternal (Demo 1986) 6:37
10. The Fear Within (Demo 1986) 4:35
11. Winds Of Vengeance (Demo 1986) 7:07
12. Insurrection (Demo 1986) 4:05



..::OBSADA::..

Vocals - Lynda (Tam) Simpson
Bass - Tony May
Drums - Andrew Baker
Guitar - Damian Thompson




https://www.youtube.com/watch?v=slhNhyYd7Z4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

'Within the Prophecy' jest jednym z niewielu albumów, które posiadają naprawdę wyjątkowe cechy.
Przypuszczam, że sam Szatan wymienia ten album w swojej gorącej pierwszej dziesiątce!

FA


Sacrilege are a very unique band. They formed in 1984 in Birmingham, England, the birthplace of Black Sabbath. It makes perfect sense that Sacrilege were influenced by Sabbath a great deal, considering that the riffs are heavy and doom inspired. Sacrilege started out as a crust punk influenced band but soon dropped most crust influence in favor of thrash/doom. The band signed to Under One Flag and released their sophomore effort titled "Within the Prophecy" in 1987. Let's take a look at this underrated classic!

So the album opens with "Sight Of The Wise" which contains a fuck ton of heavy riffs right off the bat! Guitarist Damian Thompson's riffs are downtuned, very heavy, and they can be very fast at times. His solos are killer too. The riffs are varied, and the clean guitar section on "Winds Of Vengeance" is just beautiful. Especially when the distorted parts come in, then it reminds me of Sabbath. Thompson does a fantastic job on this record. He also recorded the bass, but it is sadly buried under the mix. It's a shame, because the bass could of easily added to the riffs and flow of the songs. Vocalist Lynda "Tam" Simpson is one of my favorite female thrash vocalists of all time. She has a aggressive edge to her vocals, but maintains the slight melodic characteristics of female vocals. Her best performance on the album in my opinion is on "The Captive". Overall, she adds to the unique sound of the record. Drummer Andy Baker is a decent drummer. He's not the best drummer ever, but he does a good job. His double bass is fairly audible, and he goes hard during those fast parts. Overall, he does pretty well.

As for recommended tracks, well "Winds Of Vengeance" is one of the highlights for sure. Especially that aforementioned clean interlude which is bound to give you intense frission. "The Fear Within" has some killer riffs, and Tam's vocals are very good on this particular track. The ultimate masterpiece on the record though is "Search Eternal", a epic 10 minute monster with some amazing guitar work, amazing vocals, and a absolutely legendary finale. Near the end of the track, the clean guitar serves as a counterpart to the distorted guitar, and it sounds amazing. That part is definitely one of my favorite parts of the song.

Overall, Sacrilege were an amazing doom thrash band that was sadly left behind. There are many who know about them, but I sadly don't see them get mentioned by thrash fans that often. Within The Prophecy just got remastered on CD and vinyl, so hopefully this album will get some new found appreciation among thrash fans. I recommend this to fans of Black Sabbath, Witchfinder General, Dark Angel, Znowhite, and Holy Moses.


ThrashFanatic



..::TRACK-LIST::..

1. Sight Of The Wise 6:52
2. The Captive 4:18
3. Winds Of Vengeance 7:27
4. Spirit Cry 3:58
5. Flight Of The Nazgul 6:21
6. The Fear Within 5:05
7. Search Eternal 10:51

Bonus Tracks:
8. Insurrection (Taken From Speed Kills III Compilation 1987) 3:45
9. Search Eternal (Demo 1986) 6:37
10. The Fear Within (Demo 1986) 4:35
11. Winds Of Vengeance (Demo 1986) 7:07
12. Insurrection (Demo 1986) 4:05



..::OBSADA::..

Vocals - Lynda (Tam) Simpson
Bass - Tony May
Drums - Andrew Baker
Guitar - Damian Thompson




https://www.youtube.com/watch?v=slhNhyYd7Z4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koncert z wczesnego okresu działalności Paradise Lost zarejestrowany w Bradford w 1989 roku niedługo po premierze pierwszej płyty "Lost Paradise".

Live Death features UK Doom legends Paradise Lost performing tracks from its classic debut album in Bradford in 1989.
An early showcase of the band's raw potential.



"Live Death" is 30 something minutes of a Lost Paradise live performance at the end of '89. The UK death-doom band is playing "Internal Torment" from the demos, as well as nearly every track that would end up on the full length with the exception of the intro and the last song "Lost Paradise." Wouldn't it be great if every band could do this?

With the group's sluggish tempos, certain aspects are more discernible than other extreme metal live material from that period (that is if it actually got filmed when cameras were expensive) where most other bands where pummeling the microphones with speed. The sound is also fed through the mixing board, so each instrument has its own track. The vocal volume is raised and doesn't get buried by any of the other instruments. The drum sound is audible with the toms and cymbals coming through and with both bass drums being accounted for. The guitars are both low in volume and tuning, resulting in some areas that sound like an indistinguishable deeper buzz if you're not familiar with the ins and outs of the songs. Though there are plenty of lead-like rhythms and solos that are going with melody, which can be detected with the most clarity.

This is set up with a multiple camera view, so each of the 5 band members gets equal coverage, though with the crowd only getting only brief, faraway shots. There are wider angles as well as close-ups, and fortunately no dated camera features or techniques, like inverted coloring, wild zoom-ins (to a bare minimum), or anything else that would be distracting. There aren't even song titles on the screen. The band at that point looks reasonably young and full of assorted individuals; like each person comes with their own movements and slightly varied all-black clothing instead of behaving as a synchronized unit. As if they could be mistaken for guys attending the show than playing in it, so there's no real mysteriousness in that sense that would translate from the music to their presence.

They say wearing black on camera makes a person appear thin, well, Nick Holmes looks like he could be used as an extra weight to a body builder's warm up bench press without strain or sweat being broken. There's some banter at various points, such as growls used to indiscriminately speak to the audience in between songs, "I want to die, errgghh." "Is this slow enough for you?" There are a few random laughs into the microphone as the music is still playing, as well as this strange movement with punches in the air with one hand still grasping the mic, as well as some goofy jumping hops (fortunately that dies down). Otherwise, he uses a tensed arm and has a face buried in hair, as if it pains him to do the distorted voice or he's able to lose himself in the music. The two guitarists rack up the standstill headbanging totals (Aaron Aedy looks like a sinewy Adrien Brody), while the bassist seems energetic by fingering the strings and throwing in a few headbangs with the periodic look up to see if everybody's still there. He reminds me of Malcolm Young, due to his stance and look. The drummer has a bigger drum set than you typically see for underground death metal, due to having to lug the thing around in a tour van. There's five full sized toms, two bass drums and only two crash cymbals for him to pound away at and join in with fills. At one point he drops his stick but with his right hand still working and his left grabbing another.

The "Live Death" DVD is more of a treat for someone who didn't get into Paradise Lost's albums after their first full length, as there's no diversity here and the band is full of a grotesque nature that's a few train stops away from light steps and grace. This is a snap shot of that period complete with hi-tops, bangs and Nihilist and Nirvana shirts. The music juggles both aggression and atmosphere. Though this isn't a furious thrash band or a straight whirlwind of death metal. The aggressive side works in context, you get to see five busy-body blokes on stage attempting to translate the energetic areas of their composition through their movements. But attempting to get hooked into a mood here (the alternating colored DJ lights don't count) in the gradually paced sections isn't the same as listening to the album and using your imagination, as the band on stage in full view are musically there but visually aren't adding anything that would enhance the experience into another level, not to mention Nick Holmes' movements in a few areas seem more rambunctious and tongue in cheek. You could still tell the band had their songs down as they are playing musically tight with only a few parts that are rough around the edges.

Byrgan



..::TRACK-LIST::..

Saturday 4th November 1989, Bradford Queen's Hall, UK.

1. Deadly Inner Sense 3:23
2. Frozen Illusion 5:39
3. Breeding Fear 4:33
4. Paradise Lost 5:41
5. Our Saviour 5:50
6. Rotting Misery 5:34
7. Internal Torment 6:03



..::OBSADA::..

Vocals - Nick Holmes
Bass - Stephen Edmondson
Drums - Matthew Archer
Lead Guitar - Gregor Mackintosh
Rhythm Guitar - Aaron Aedy




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Koncert z wczesnego okresu działalności Paradise Lost zarejestrowany w Bradford w 1989 roku niedługo po premierze pierwszej płyty "Lost Paradise".

Live Death features UK Doom legends Paradise Lost performing tracks from its classic debut album in Bradford in 1989.
An early showcase of the band's raw potential.



"Live Death" is 30 something minutes of a Lost Paradise live performance at the end of '89. The UK death-doom band is playing "Internal Torment" from the demos, as well as nearly every track that would end up on the full length with the exception of the intro and the last song "Lost Paradise." Wouldn't it be great if every band could do this?

With the group's sluggish tempos, certain aspects are more discernible than other extreme metal live material from that period (that is if it actually got filmed when cameras were expensive) where most other bands where pummeling the microphones with speed. The sound is also fed through the mixing board, so each instrument has its own track. The vocal volume is raised and doesn't get buried by any of the other instruments. The drum sound is audible with the toms and cymbals coming through and with both bass drums being accounted for. The guitars are both low in volume and tuning, resulting in some areas that sound like an indistinguishable deeper buzz if you're not familiar with the ins and outs of the songs. Though there are plenty of lead-like rhythms and solos that are going with melody, which can be detected with the most clarity.

This is set up with a multiple camera view, so each of the 5 band members gets equal coverage, though with the crowd only getting only brief, faraway shots. There are wider angles as well as close-ups, and fortunately no dated camera features or techniques, like inverted coloring, wild zoom-ins (to a bare minimum), or anything else that would be distracting. There aren't even song titles on the screen. The band at that point looks reasonably young and full of assorted individuals; like each person comes with their own movements and slightly varied all-black clothing instead of behaving as a synchronized unit. As if they could be mistaken for guys attending the show than playing in it, so there's no real mysteriousness in that sense that would translate from the music to their presence.

They say wearing black on camera makes a person appear thin, well, Nick Holmes looks like he could be used as an extra weight to a body builder's warm up bench press without strain or sweat being broken. There's some banter at various points, such as growls used to indiscriminately speak to the audience in between songs, "I want to die, errgghh." "Is this slow enough for you?" There are a few random laughs into the microphone as the music is still playing, as well as this strange movement with punches in the air with one hand still grasping the mic, as well as some goofy jumping hops (fortunately that dies down). Otherwise, he uses a tensed arm and has a face buried in hair, as if it pains him to do the distorted voice or he's able to lose himself in the music. The two guitarists rack up the standstill headbanging totals (Aaron Aedy looks like a sinewy Adrien Brody), while the bassist seems energetic by fingering the strings and throwing in a few headbangs with the periodic look up to see if everybody's still there. He reminds me of Malcolm Young, due to his stance and look. The drummer has a bigger drum set than you typically see for underground death metal, due to having to lug the thing around in a tour van. There's five full sized toms, two bass drums and only two crash cymbals for him to pound away at and join in with fills. At one point he drops his stick but with his right hand still working and his left grabbing another.

The "Live Death" DVD is more of a treat for someone who didn't get into Paradise Lost's albums after their first full length, as there's no diversity here and the band is full of a grotesque nature that's a few train stops away from light steps and grace. This is a snap shot of that period complete with hi-tops, bangs and Nihilist and Nirvana shirts. The music juggles both aggression and atmosphere. Though this isn't a furious thrash band or a straight whirlwind of death metal. The aggressive side works in context, you get to see five busy-body blokes on stage attempting to translate the energetic areas of their composition through their movements. But attempting to get hooked into a mood here (the alternating colored DJ lights don't count) in the gradually paced sections isn't the same as listening to the album and using your imagination, as the band on stage in full view are musically there but visually aren't adding anything that would enhance the experience into another level, not to mention Nick Holmes' movements in a few areas seem more rambunctious and tongue in cheek. You could still tell the band had their songs down as they are playing musically tight with only a few parts that are rough around the edges.

Byrgan



..::TRACK-LIST::..

Saturday 4th November 1989, Bradford Queen's Hall, UK.

1. Deadly Inner Sense 3:23
2. Frozen Illusion 5:39
3. Breeding Fear 4:33
4. Paradise Lost 5:41
5. Our Saviour 5:50
6. Rotting Misery 5:34
7. Internal Torment 6:03



..::OBSADA::..

Vocals - Nick Holmes
Bass - Stephen Edmondson
Drums - Matthew Archer
Lead Guitar - Gregor Mackintosh
Rhythm Guitar - Aaron Aedy




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



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

...( Info )...
Title: Wrath And Ruin [2CD Deluxe Edition]
Artist: Warbringer
Year: 2025
Genre: Thrash-Metal
Country: USA

Duration: 01:53:32
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
CD1 - Wrath And Ruin
01. The Sword And The Cross [06:07]
02. A Better World [03:45]
03. Neuromancer [05:28]
04. The Jackhammer [03:15]
05. Through A Glass, Darkly [04:58]
06. Strike From The Sky [03:44]
07. Cage Of Air [06:50]
08. The Last of My Kind [06:02]

CD2 - Ravaging Europe 2023
01. Firepower Kills (Live in Budapest, Hungary - April 7th, 2023) [05:46]
02. The Black Hand Reaches Out (Live in Budapest, Hungary - April 7th, 2023) [04:22]
03. Crushed Beneath the Tracks (Live in Nantes, France - April 20th, 2023) [04:16]
04. Living Weapon (Live in Budapest, Hungary - April 7th, 2023) [04:49]
05. Woe to the Vanquished (Live in Budapest, Hungary - April 7th, 2023) [04:44]
06. Living in a Whirlwind (Live in Budapest, Hungary - April 7th, 2023) [04:06]
07. Guitar Solo-Outer Reaches (Live in Nantes, France - April 20th, 2023) [05:15]
08. Shellfire (Live in Munich, Germany - April 5th, 2023) [04:08]
09. Descending Blade (Live in Krakow, Poland - April 4th, 2023) [04:55]
10. Hunter-Seeker (Live in Krakow, Poland - April 4th, 2023) [04:18]
11. Defiance of Fate (Live in Budapest, Hungary - April 7th, 2023) [07:12]
12. Silhouettes (Live in Nantes, France - April 20th, 2023) [04:35]
13. Remain Violent (Live in Budapest, Hungary - April 7th, 2023) [04:02]
14. Combat Shock (Live in Budapest, Hungary - April 7th, 2023) [05:17]
15. Total War (Live in Budapest, Hungary - April 7th, 2023) [05:29]

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja drugiego (i zarazem ostatniego) pełnego albumu VECTOM oryginalnie wydanego w 1986 roku. Niecałe 38 minut old school speed / thrash metalu.
Limitowane do 500 sztuk wydanie slipcase CD z plakatem



In any sub-genre of metal, there is always one band that many will point to and say something along the lines of, "This sounds generic, so it's one of the worst things ever." For mid-80s speed metal, the short-lived German outfit known as Vectom seems to be one of the more popular whipping boys, though this sentiment seems to be more triggered by the evil KKK looking guys on the album cover than anything else because the actual contents of their albums have tended to be fairly solid, if maybe coming up short on taking risks. But one area where there tends to be a consensus is that Rules Of Mystery, the band's second LP in as many years, is a step up from its predecessor. Everything is just a bit more polished this time around, from the songwriting to the production quality, with the only real reduction being the smaller number of evil characters resembling icons of American racism adoring the cover.

Precision is more of a factor for Vectom this time around, as the arrangement has gotten a bit tighter and the stylistic leanings of the songwriting, while still mostly nestled in speed metal cliche, has also taken on a power metal oriented approach to chorus creation and melodic instrumental underpinnings, not to mention a more thrashing feel at times. Occasional trace lead guitar melody drones pop in and out from time to time, perhaps most notably on "Dipsomania" to complement a more symmetrical songwriting structure that leans towards Iron Maiden. Similarly, while sporting a couple faster Judas Priest oriented spurts, "Why Am I Alive" has all the mid-paced, galloping chug riffing meat and potatoes of a slower paced Metallica or Testament song. Truth be told, this album listens pretty close to a poor man's The Legacy with a vocalist that has more of a classic punk-persona with a German accent.

Barring the few aforementioned exceptions where things are a bit more restrained and catchy, much of this album tends towards a mix of flashing speed and punchy thrashing riffs. The speed metal stock and trade of this band that ruled their debut is heard yet again on straight-line speeders such as "Prisoner's Back" and "Outlaw", following the typical German model that is best represented in the early Kai Hansen days of Helloween. On the other hand, "Elixier Of Death" and "Evil Run" carry the closing end of this song on more of a thrashing note, conjuring up some similarities to Tankard's Zombie Attack, while "Feelings Of Freedom" manages some impressive bass work and some mid-paced riff work right out of the early Metallica playbook. This whole album manages to capitalize on Ralf Simon's impressive speed picked bass work by putting him fairly high in the mix, enough to hold a candle to what Joey Demaio brought to early Manowar.

The accusation lobbed at this band of being generic has some truth to it, as it is very possible for a novice in mid-80s metal to confuse this with any number of noteworthy early German speed acts and even some of the earliest thrash output of the Bay Area scene circa 1983-85, but the charge has been exaggerated by many to the point of unintentional parody. Sure, the band didn't really add anything substantial to the sizable scene that was in place where they put out their material, but that alone doesn't a good album from a poor one. The imagery is kinda comical, and at times the music inadvertently plays into that, but the competency factor is definitely there and the fun factor is close behind it. There are better speed metal bands from the era in question, but Vectom's Rules Of Mystery is far from the worst.

hells unicorn



..::TRACK-LIST::..

1. Der Anfang 0:09
2. Prisoner's Back 3:09
3. Dipsomania 4:28
4. Metallic War 4:45
5. Why Am I Alive 4:10
6. Outlaw 3:43
7. Feelings Of Freedom 3:49
8. Elixier Of Death 4:24
9. Caught By Insanity 3:31
10. Evil Run 5:25
11. This Is The End 0:14



..::OBSADA::..

Lead Guitar - Horst Götz, Stefan Kroll
Vocals - Christian Bucher
Bass - Ralf Simon
Drums - Wolfgang Sonhütter



https://www.youtube.com/watch?v=wgFY4h5jqcA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja drugiego (i zarazem ostatniego) pełnego albumu VECTOM oryginalnie wydanego w 1986 roku. Niecałe 38 minut old school speed / thrash metalu.
Limitowane do 500 sztuk wydanie slipcase CD z plakatem



In any sub-genre of metal, there is always one band that many will point to and say something along the lines of, "This sounds generic, so it's one of the worst things ever." For mid-80s speed metal, the short-lived German outfit known as Vectom seems to be one of the more popular whipping boys, though this sentiment seems to be more triggered by the evil KKK looking guys on the album cover than anything else because the actual contents of their albums have tended to be fairly solid, if maybe coming up short on taking risks. But one area where there tends to be a consensus is that Rules Of Mystery, the band's second LP in as many years, is a step up from its predecessor. Everything is just a bit more polished this time around, from the songwriting to the production quality, with the only real reduction being the smaller number of evil characters resembling icons of American racism adoring the cover.

Precision is more of a factor for Vectom this time around, as the arrangement has gotten a bit tighter and the stylistic leanings of the songwriting, while still mostly nestled in speed metal cliche, has also taken on a power metal oriented approach to chorus creation and melodic instrumental underpinnings, not to mention a more thrashing feel at times. Occasional trace lead guitar melody drones pop in and out from time to time, perhaps most notably on "Dipsomania" to complement a more symmetrical songwriting structure that leans towards Iron Maiden. Similarly, while sporting a couple faster Judas Priest oriented spurts, "Why Am I Alive" has all the mid-paced, galloping chug riffing meat and potatoes of a slower paced Metallica or Testament song. Truth be told, this album listens pretty close to a poor man's The Legacy with a vocalist that has more of a classic punk-persona with a German accent.

Barring the few aforementioned exceptions where things are a bit more restrained and catchy, much of this album tends towards a mix of flashing speed and punchy thrashing riffs. The speed metal stock and trade of this band that ruled their debut is heard yet again on straight-line speeders such as "Prisoner's Back" and "Outlaw", following the typical German model that is best represented in the early Kai Hansen days of Helloween. On the other hand, "Elixier Of Death" and "Evil Run" carry the closing end of this song on more of a thrashing note, conjuring up some similarities to Tankard's Zombie Attack, while "Feelings Of Freedom" manages some impressive bass work and some mid-paced riff work right out of the early Metallica playbook. This whole album manages to capitalize on Ralf Simon's impressive speed picked bass work by putting him fairly high in the mix, enough to hold a candle to what Joey Demaio brought to early Manowar.

The accusation lobbed at this band of being generic has some truth to it, as it is very possible for a novice in mid-80s metal to confuse this with any number of noteworthy early German speed acts and even some of the earliest thrash output of the Bay Area scene circa 1983-85, but the charge has been exaggerated by many to the point of unintentional parody. Sure, the band didn't really add anything substantial to the sizable scene that was in place where they put out their material, but that alone doesn't a good album from a poor one. The imagery is kinda comical, and at times the music inadvertently plays into that, but the competency factor is definitely there and the fun factor is close behind it. There are better speed metal bands from the era in question, but Vectom's Rules Of Mystery is far from the worst.

hells unicorn



..::TRACK-LIST::..

1. Der Anfang 0:09
2. Prisoner's Back 3:09
3. Dipsomania 4:28
4. Metallic War 4:45
5. Why Am I Alive 4:10
6. Outlaw 3:43
7. Feelings Of Freedom 3:49
8. Elixier Of Death 4:24
9. Caught By Insanity 3:31
10. Evil Run 5:25
11. This Is The End 0:14



..::OBSADA::..

Lead Guitar - Horst Götz, Stefan Kroll
Vocals - Christian Bucher
Bass - Ralf Simon
Drums - Wolfgang Sonhütter



https://www.youtube.com/watch?v=wgFY4h5jqcA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mamy do czynienia ze 100% staromodnym black metalem, bardziej rytualnym, ale mniej brutalnym. Mistyczna atmosfera budowana jest za pomocą powolnych kompozycji, a nie za pomocą klawiszy. Wokale są bardziej narracyjne i idą w parze z satanistyczną i pogańską treścią tekstów. Amen Corner od lat konsekwentnie służy undergroundowi, a ich nowe dzieło to kolejny czysty i szczery depozyt duszy!



Hammerheart Records is proud to announce the European release for Amen Corner’s “Written by the Devil” on CD and LP, under licence from Metal Army Records! Amen Corner, one of Brazil’s Underground legends, is back with a new album “Written By The Devil”. Old school in body, mind and spirit this album tell us one thing: Death is imminent!



Amen Corner reaches the impressive milestone of seven Full-length, I've been following their releases for many years, but in Written by the Devil something would be different (and it was). Speaking about the past, Fall, Ascension, Domination from 1993 was a milestone and despite being an absolute classic, for me Iachol Ve Tehilá managed to climb the highest step in his discography, there are several reasons, but we will leave the details of this album for another opportunity, the EP from 1999 Darken in Quir Haresete closed the first phase (we can say it this way) establishing the name Amen Corner as a reference in Brazil. Only in 2007 with Lucification did they reappear, completely reformulated and with a sound that did not refer to the past, we can say that this work represented the second phase.

The triumphant return was with the excellent album Leviathan Destroyer, marking the return of Sucoth Benoth to his old home with his characteristic vocals. Chri$t Worldwide Corporation continued the saga with a high level of creation, it was an album that remained inside the cd-player for several days in a row, it came accompanied by a DVD with a documentary and historical recordings showing the great importance they had in Brazil. Under the Whip and the Crown came in the same four-year hiatus as the previous album, this is perhaps an album that lacked something, not musically speaking, but the impression I had is that they didn't elevate this work to the promotion it should have. This was something that was not lacking in this new work, Written by the Devil has inspired compositions, we can give the main merit to Murmúrio, the main composer since the early days, the album captivates from its intro followed by the powerful The War of the Antichrist, the third track The Protectors has a lyric that refer to an inspiration from King Diamond, interesting, lyric that differentiate from all the others. The fourth track Fall and Ascension is one of the most beautiful tracks ever composed by them, melancholic, sad, depressive, the guitar lines emerge all these feelings, having a rhythmic elevation at the end, a magnificent work in just over seven minutes, this track closes side A.

Signal from Beyond opens side B, it starts like the beginning of a nightmare, with Tenebrae Aarseth (drums) having a great highlight and importance in the change of pace of this track, ending once again with emphasis on the guitar lines, which walk in a disbelieving way followed by a saddened vocal. Next comes Inferno, which is one of the heaviest tracks on the album, followed by the title track, which ends up being another great highlight of this work, with precise breaks in the tempo, a fast and powerful chorus. The Splendor of Your Presence shows how competent Amen Corner is in creation, they transformed a relatively simple lyric into an excellent track, here we highlight Fernando Grommtt (bass), who was responsible for the composition, leaving his mark in the best way. Lúcifer, a Suprema Luz da Manhã closes the record, as we can infer, lyrics in Portuguese composed by Baal Seth Penitent (Torches of Nero), it is a prayer/narration with a perfect sound base to close this somewhat surprising album.

While many live only in the past, Amen Corner shows that the power of creation has not yet run out, after more than 30 years they managed to create one of the best albums in their history. Endless war, ideological wars!!!

Samir Souza (Crush the Cross zine)



..::TRACK-LIST::..

1. Intro
2. The War of the Antichrist
3. The Protectors
4. Fall and Ascension
5. Signal from Beyond
6. Inferno
7. Written By the Devil
8. The Splendor of Your Presence
9. Lúcifer, a Suprema Luz Da Manhã



..::OBSADA::..

Murmúrio - Guitars
Fernando - Bass
Sucoth Benoth - Vocals
Tenebrae Aarseth - Drums





https://www.youtube.com/watch?v=UxPhZzMZn5c



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Mamy do czynienia ze 100% staromodnym black metalem, bardziej rytualnym, ale mniej brutalnym. Mistyczna atmosfera budowana jest za pomocą powolnych kompozycji, a nie za pomocą klawiszy. Wokale są bardziej narracyjne i idą w parze z satanistyczną i pogańską treścią tekstów. Amen Corner od lat konsekwentnie służy undergroundowi, a ich nowe dzieło to kolejny czysty i szczery depozyt duszy!



Hammerheart Records is proud to announce the European release for Amen Corner’s “Written by the Devil” on CD and LP, under licence from Metal Army Records! Amen Corner, one of Brazil’s Underground legends, is back with a new album “Written By The Devil”. Old school in body, mind and spirit this album tell us one thing: Death is imminent!



Amen Corner reaches the impressive milestone of seven Full-length, I've been following their releases for many years, but in Written by the Devil something would be different (and it was). Speaking about the past, Fall, Ascension, Domination from 1993 was a milestone and despite being an absolute classic, for me Iachol Ve Tehilá managed to climb the highest step in his discography, there are several reasons, but we will leave the details of this album for another opportunity, the EP from 1999 Darken in Quir Haresete closed the first phase (we can say it this way) establishing the name Amen Corner as a reference in Brazil. Only in 2007 with Lucification did they reappear, completely reformulated and with a sound that did not refer to the past, we can say that this work represented the second phase.

The triumphant return was with the excellent album Leviathan Destroyer, marking the return of Sucoth Benoth to his old home with his characteristic vocals. Chri$t Worldwide Corporation continued the saga with a high level of creation, it was an album that remained inside the cd-player for several days in a row, it came accompanied by a DVD with a documentary and historical recordings showing the great importance they had in Brazil. Under the Whip and the Crown came in the same four-year hiatus as the previous album, this is perhaps an album that lacked something, not musically speaking, but the impression I had is that they didn't elevate this work to the promotion it should have. This was something that was not lacking in this new work, Written by the Devil has inspired compositions, we can give the main merit to Murmúrio, the main composer since the early days, the album captivates from its intro followed by the powerful The War of the Antichrist, the third track The Protectors has a lyric that refer to an inspiration from King Diamond, interesting, lyric that differentiate from all the others. The fourth track Fall and Ascension is one of the most beautiful tracks ever composed by them, melancholic, sad, depressive, the guitar lines emerge all these feelings, having a rhythmic elevation at the end, a magnificent work in just over seven minutes, this track closes side A.

Signal from Beyond opens side B, it starts like the beginning of a nightmare, with Tenebrae Aarseth (drums) having a great highlight and importance in the change of pace of this track, ending once again with emphasis on the guitar lines, which walk in a disbelieving way followed by a saddened vocal. Next comes Inferno, which is one of the heaviest tracks on the album, followed by the title track, which ends up being another great highlight of this work, with precise breaks in the tempo, a fast and powerful chorus. The Splendor of Your Presence shows how competent Amen Corner is in creation, they transformed a relatively simple lyric into an excellent track, here we highlight Fernando Grommtt (bass), who was responsible for the composition, leaving his mark in the best way. Lúcifer, a Suprema Luz da Manhã closes the record, as we can infer, lyrics in Portuguese composed by Baal Seth Penitent (Torches of Nero), it is a prayer/narration with a perfect sound base to close this somewhat surprising album.

While many live only in the past, Amen Corner shows that the power of creation has not yet run out, after more than 30 years they managed to create one of the best albums in their history. Endless war, ideological wars!!!

Samir Souza (Crush the Cross zine)



..::TRACK-LIST::..

1. Intro
2. The War of the Antichrist
3. The Protectors
4. Fall and Ascension
5. Signal from Beyond
6. Inferno
7. Written By the Devil
8. The Splendor of Your Presence
9. Lúcifer, a Suprema Luz Da Manhã



..::OBSADA::..

Murmúrio - Guitars
Fernando - Bass
Sucoth Benoth - Vocals
Tenebrae Aarseth - Drums





https://www.youtube.com/watch?v=UxPhZzMZn5c



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

...( Info )...

Artist: Dream Theater
Album: Parasomnia
Country: USA
Genre: Progressive Metal
Release: 2025
Duration: 1:22:41 + 1:11:21
Quality: Mp3, CBR 320 kbps
Size: 359 mb


...( Opis )...

Legenda progresywnego metalu wraca w kultowym składzie! Szesnasty album studyjny nagrali: James LaBrie (wokal), John Petrucci (gitara), John Myung (bas), Jordan Rudess (klawisze) i Mike Portnoy (perkusja). Za produkcję odpowiedzialny jest Petrucci. Za konsoletą inżyniera dźwięku zasiadł James „Jimmy T” Meslina, a miksem zajął się Andy Sneap. Hugh Syme powraca, aby znów wykorzystać swoją kreatywną wizję przy stworzeniu okładki. Otrzymujemy ponad siedemdziesiąt minut zajmującego konceptu o tematyce zaburzeń snu, czyli właśnie parasomnii. Osoby dotknięte parasomnią mogą doświadczać między innymi: koszmarów sennych, nocnych lęków, lunatykowania, zgrzytania zębami, mówienia przez sen, czy paraliżu sennego.


...( TrackList )...

Disc 1:
1. In the Arms of Morpheus
2. Night Terror
3. A Broken Man
4. Dead Asleep
5. Midnight Messiah
6. Are We Dreaming?
7. Bend the Clock
8. The Shadow Man Incident

utwory dodatkowe:
9. Night Terror (radio edit)
10. Midnight Messiah (radio edit)


Disc 2 (wersje instrumentalne):
1. In the Arms of Morpheus
2. Night Terror
3. A Broken Man
4. Dead Asleep
5. Midnight Messiah
6. Are We Dreaming?
7. Bend the Clock
8. The Shadow Man Incident

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja klasycznej epki Marduk wydana w 2013 roku przez Osmose prod.

Z początku było to tylko demo (1991), lecz w roku 1995 pod nakładem Osmose Productions została wyprodukowana wersja CD.



..::TRACK-LIST::..

1 Intro/Fuck Me Jesus 0:44
2 Departure From The Mortals 3:18
3 The Black... 4:05
4 Within The Abyss 3:39
5 Outro/Shut Up And Suffer 1:00



..::OBSADA::..

Andreas Axelsson - vocals
Morgan Steinmeyer Håkansson - guitar
Rikard Kalm - bass
Joakim Göthberg - drums, vocals

Dan Swanö - mixing



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja klasycznej epki Marduk wydana w 2013 roku przez Osmose prod.

Z początku było to tylko demo (1991), lecz w roku 1995 pod nakładem Osmose Productions została wyprodukowana wersja CD.



..::TRACK-LIST::..

1 Intro/Fuck Me Jesus 0:44
2 Departure From The Mortals 3:18
3 The Black... 4:05
4 Within The Abyss 3:39
5 Outro/Shut Up And Suffer 1:00



..::OBSADA::..

Andreas Axelsson - vocals
Morgan Steinmeyer Håkansson - guitar
Rikard Kalm - bass
Joakim Göthberg - drums, vocals

Dan Swanö - mixing



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



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