...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Klasyczny 1992 LP na nowo zremasteryzowany i wydany po raz pierwszy na srebrnym krążku! Poza 'Cliche' płyta zawiera także 'Pressure' 1998 LP!



..::TRACK-LIST::..

'Cliché' LP (1992):
1. Lack Of Personality 2:29
2. Theatric Symbolisation Of Life 4:10
3. Labelisation 1:32
4. Lay Off Me 0:29
5. Like An Ivy (Poem) / Suffocation 4:36
6. Sentimental Hypocrisy 1:24
7. Non-Conformity (Lärm cover) 2:35
8. Kill Your Idols 3:34
9. Consuming Endoderm Pus 1:03
10. The Accident 0:53
11. What A Nerve 4:57
12. Agarchy 1:44
13. Teachers 1:22
14. Treshold To Senility 1:54
15. Alternative - Another Trend 3:06


'Pressure' LP (1998):
16. Common Case 2:04
17. Hell On Wheels 1:08
18. War Or Welfare? 1:56
19. Small Kids, Big Trend 1:25
20. Pushed Too Far 1:20
21. Pressure 1:46
22. Empty Words 1:49
23. Imagine 1:55
24. Bread And Blood Games 1:14
25. Living On Trash 1:12
26. Turn A Blind Eye 1:39


Songs 1-15 recorded on 1st of May 1992 in Buggenhout, Belgium and originally released on the 'Cliché?' LP in 1992.

Songs 16-26 recorded in April 1998 in Zichem, Belgium and originally released on the Agathocles / Deadmocracy split LP in 1998. The Agathocles-side of that release was called 'Pressure'.




https://www.youtube.com/watch?v=AlfMoV6nE5U&list=OLAK5uy_mW-dK6slqz0NwwQn5iB70p3GtF5cKT3Ig&index=2



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Klasyczny 1992 LP na nowo zremasteryzowany i wydany po raz pierwszy na srebrnym krążku! Poza 'Cliche' płyta zawiera także 'Pressure' 1998 LP!



..::TRACK-LIST::..

'Cliché' LP (1992):
1. Lack Of Personality 2:29
2. Theatric Symbolisation Of Life 4:10
3. Labelisation 1:32
4. Lay Off Me 0:29
5. Like An Ivy (Poem) / Suffocation 4:36
6. Sentimental Hypocrisy 1:24
7. Non-Conformity (Lärm cover) 2:35
8. Kill Your Idols 3:34
9. Consuming Endoderm Pus 1:03
10. The Accident 0:53
11. What A Nerve 4:57
12. Agarchy 1:44
13. Teachers 1:22
14. Treshold To Senility 1:54
15. Alternative - Another Trend 3:06


'Pressure' LP (1998):
16. Common Case 2:04
17. Hell On Wheels 1:08
18. War Or Welfare? 1:56
19. Small Kids, Big Trend 1:25
20. Pushed Too Far 1:20
21. Pressure 1:46
22. Empty Words 1:49
23. Imagine 1:55
24. Bread And Blood Games 1:14
25. Living On Trash 1:12
26. Turn A Blind Eye 1:39


Songs 1-15 recorded on 1st of May 1992 in Buggenhout, Belgium and originally released on the 'Cliché?' LP in 1992.

Songs 16-26 recorded in April 1998 in Zichem, Belgium and originally released on the Agathocles / Deadmocracy split LP in 1998. The Agathocles-side of that release was called 'Pressure'.




https://www.youtube.com/watch?v=AlfMoV6nE5U&list=OLAK5uy_mW-dK6slqz0NwwQn5iB70p3GtF5cKT3Ig&index=2



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Diabolical Masquerade to solowy projekt Blakkheima z Katatonii. Powołał go do życia w 1993 roku, a pierwszy album „Ravendusk In My Heart” ukazał się w 1996. Jest to solidna dawka melodyjnego, ale też ostrego i intensywnego black metalu. Czuć tutaj wściekłość i bezkompromisowość, co odróżnia go od nawet pierwotnych poczynań jego macierzystego zespołu.

Mimo klawiszy i plastyczności gitar, przekaz jest więc cięty i elektryzujący. Riffy smagają niczym pejcz, a wokal jest bardzo wrzaskliwy i gardłowy. Tym bardziej więc trzeba docenić, że Blackheim umiał to poukładać w tak fascynującą harmonię. Cała płyta jest pełną niespodzianek podróżą w ciemny, magiczny świat. Nie uświadczymy tu przebojów, ale co i rusz napotykamy na jakiś powalający motyw, fantastyczny fragment prowadzony przez płynące gitary lub dominujący wokal. Oba te elementy się uzupełniają i są znakomite. Tak się drzeć zachowując melodykę i śpiewność tekstu to trzeba umieć. No i trzeba umieć odpowiednio to skomponować. Nawet te szybkie i nawalające gradem momenty mają swój muzyczny urok. Sprawdźcie choćby początek miażdżącego, zróżnicowanego i total zajebistego "The Sphere In Blackheim's Castle" albo „Blackheim’s Forest Kept The Season Forever”. Ten drugi też co to jest za numer. Tyle się w nim dzieje i przez cały czas trzyma w napięciu. Ale to tylko przykłady i nie powinienem tu nic wyróżniać. Poszczególne utwory to tylko kolejne epizody tej wędrówki przez te szkarłatno-czarne krajobrazy. Jest w tym taki tajemniczy urok, jakaś mroczna, lecz pełna wdzięku poezja oraz podniosła epickość budowana przez podkłady klawiszowe, teksty mówione i lżejsze zwolnienia. Diabolical Masquerade emanuje niesamowitą energią, ale też bogactwem form, treści i mistyczną otoczką. Dużo tu też dodatkowych smaczków jak heavy metalowe gitary w „Blackheim’s Hunt For Nocturnal Grace” i wokale w „Under The Banner Of Sentiel”. Te drugie autorstwa Dana Swanö z Edge Of Sanity, Pan-Thy-Monium i miliona innych kapel. Jest też krótki numer akustyczny „Beyond The Spirituals Moon”.

Patrząc na tytuły utworów można wywnioskować, że Blackheim stworzył płytę o sobie. Sam stał się bohaterem jakiejś złowrogiej intrygi, ale jakiej, tego niestety nie przytoczę. Okładka do kasety Mystic Production nie zawiera bowiem tekstów. Tak wiem, że można przeczytać w internecie, ale ja tego nie robię. Piszę o tym co zostało wydane. Po liryki można więc sięgnąć we własnym zakresie, a ja zachęcam do odkrycia muzyki. Doskonała, zatarta kurzem płyta, z duchem starych czasów.

Wujas


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



Dark debut album of atmospheric black metal from Katatonia’s Blackheim.

“A work of considerable depth and power” – Metal Archives

Diabolical Masquerade was the solo-project launched by Katatonia mastermind Anders Blackheim Nyström.

Ravendusk In My Heart was originally released in 1996 and stands as a startling debut of fantastic imagery, shaped by accomplished atmospherics mixed with cold black metal, bringing to mind the early works of Emperor, all brought to life with deeply imaginative tales of fantasy from Blackheim’s realm.

The album was recorded at Unisound Studio in September 1995. It was produced by Dan Swano & Blackheim, and mixed by Dan Swano (familiar for his work with Opeth, Dissection, Marduk, etc)



This debut album was the start of a long and successful career for Blackheim with Diabolical Masquerade. It certainly stirred great excitement within me for what was to come on subsequent albums. I’ve always enjoyed one-man projects greatly, as it’s always interesting to see the uniform influence of one person with singular ideas for each instrument. There is never conflict of composition, and often the musical result is organic and tight. Blackheim is no different, showing immense talent on “Ravendusk…” and proving his worth as a black metal composer, with some help from Dan Swano.

This album looks great on paper, being a debut from a one-man side project of Katatonia. I harbored great expectations for Diabolical Masquerade, and for “Ravendusk in my Heart” in particular, I was sure Blackheim would show his steel by writing some good music. He did not disappoint. This is an ice-cold chunk of black metal, showcasing much versatility in songwriting. Although it is a blueprint for all we know black metal to be, this album is very unique, and distinctive in its own style. Nothing else sounds like Diabolical Masquerade, which is quite an achievement considering the vast amount of BM artists out there.

“Ravendusk in my Heart” shows much experimentation. Clearly Blackheim was still crafting the sound of Diabolical Masquerade, still building on what would become DM as we know it today. That makes for a very curious listening experience here. All the songs are different, both in structure and in general feel. There is even a short instrumental interlude with melodic clean guitarwork. The songs never feel formulaic, each one is an idea all on its own, not merely a continuation or a filler.

The standout component of the excellent songwriting is the guitars, coldly channeling black metal elements from the immortal tremolo riff to clean, atmospheric interludes. At times, the guitar work is fast and aggressive, but mostly it leans in favor of atmospheric BM. The slower riffs are the memorable ones here, with decent melodies dark enough to feel at home with the cold production. The distortion is thin, and the cleans are rich and warm, distinctly black metal. However, Blackheim incorporated death, thrash and even doom metal elements when writing the guitars on “Ravendusk…”. The drums sound very thin and cold, somewhat distant from the other instruments. The drums weren’t written to stand out here, typical blastbeats and double-times drive most of the album.

The only instrument that really stands out is the guitaring, but this isn’t an album made to impress with musical prowess. All the instruments blend together instead of standing out, this album is all about atmosphere. It is very dark, and yet paradoxically melodic at times, rising and falling incessantly. The album never drags or becomes monotonous, the constant change of the innovative composition keeps you listening compulsively. This is, however, a very unique atmospheric album in terms of mood. The album as a whole feels very desolate, very solitary. I find myself enjoying “Ravendusk…” most when listening alone. The atmosphere is somewhat depressing at times, and without attentive listening, much of the depth is lost. The experience is different in solitude, for you are most receptive when you are alone, picking up all the nuances adding to the personal feel of the album, as Blackheim intended.

This is an album meant to be a private experience, just as creating it was for Blackheim. This is possibly Diabolical Masquerade’s best album, with diversity in all songs and incredible mood. A definite black metal classic that’s sure to rack up a formidable play count in your collection. “Ravendusk in my Heart” is fantastic.

XuL Excelsi



..::TRACK-LIST::..

1. The Castle Of Blackheim 07:15
2. Blackheim`s Quest To Bring Back The Stolen Autumn 06:18
3. Beyond The Spiritual Moon 00:57
4. The Sphere In Blackheim`s Shrine 03:33
5. Under The Banner Of The Sentinel ['Heavy Metal' Vocals] - Dan Swanö
03:15
6. Blackheim`s Forest Kept The Seasons Forever 06:10
7. The Darkblue Seajourneys Of The Sentinel 05:03
8. Blackheim`s Hunt For Nocturnal Grace 07:47
9. Ravendusk In My Heart 02:08



..::OBSADA::..

Electric Guitar, Acoustic Guitar, Bass, Drum Programming, Keyboards, Effects, Vocals – Blackheim
Illustration [Diabolical Masquerade Logo] - Blackheim

Drum Programming - Dan Swanö




https://www.youtube.com/watch?v=tVPvAFUt4WU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Diabolical Masquerade to solowy projekt Blakkheima z Katatonii. Powołał go do życia w 1993 roku, a pierwszy album „Ravendusk In My Heart” ukazał się w 1996. Jest to solidna dawka melodyjnego, ale też ostrego i intensywnego black metalu. Czuć tutaj wściekłość i bezkompromisowość, co odróżnia go od nawet pierwotnych poczynań jego macierzystego zespołu.

Mimo klawiszy i plastyczności gitar, przekaz jest więc cięty i elektryzujący. Riffy smagają niczym pejcz, a wokal jest bardzo wrzaskliwy i gardłowy. Tym bardziej więc trzeba docenić, że Blackheim umiał to poukładać w tak fascynującą harmonię. Cała płyta jest pełną niespodzianek podróżą w ciemny, magiczny świat. Nie uświadczymy tu przebojów, ale co i rusz napotykamy na jakiś powalający motyw, fantastyczny fragment prowadzony przez płynące gitary lub dominujący wokal. Oba te elementy się uzupełniają i są znakomite. Tak się drzeć zachowując melodykę i śpiewność tekstu to trzeba umieć. No i trzeba umieć odpowiednio to skomponować. Nawet te szybkie i nawalające gradem momenty mają swój muzyczny urok. Sprawdźcie choćby początek miażdżącego, zróżnicowanego i total zajebistego "The Sphere In Blackheim's Castle" albo „Blackheim’s Forest Kept The Season Forever”. Ten drugi też co to jest za numer. Tyle się w nim dzieje i przez cały czas trzyma w napięciu. Ale to tylko przykłady i nie powinienem tu nic wyróżniać. Poszczególne utwory to tylko kolejne epizody tej wędrówki przez te szkarłatno-czarne krajobrazy. Jest w tym taki tajemniczy urok, jakaś mroczna, lecz pełna wdzięku poezja oraz podniosła epickość budowana przez podkłady klawiszowe, teksty mówione i lżejsze zwolnienia. Diabolical Masquerade emanuje niesamowitą energią, ale też bogactwem form, treści i mistyczną otoczką. Dużo tu też dodatkowych smaczków jak heavy metalowe gitary w „Blackheim’s Hunt For Nocturnal Grace” i wokale w „Under The Banner Of Sentiel”. Te drugie autorstwa Dana Swanö z Edge Of Sanity, Pan-Thy-Monium i miliona innych kapel. Jest też krótki numer akustyczny „Beyond The Spirituals Moon”.

Patrząc na tytuły utworów można wywnioskować, że Blackheim stworzył płytę o sobie. Sam stał się bohaterem jakiejś złowrogiej intrygi, ale jakiej, tego niestety nie przytoczę. Okładka do kasety Mystic Production nie zawiera bowiem tekstów. Tak wiem, że można przeczytać w internecie, ale ja tego nie robię. Piszę o tym co zostało wydane. Po liryki można więc sięgnąć we własnym zakresie, a ja zachęcam do odkrycia muzyki. Doskonała, zatarta kurzem płyta, z duchem starych czasów.

Wujas


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



Dark debut album of atmospheric black metal from Katatonia’s Blackheim.

“A work of considerable depth and power” – Metal Archives

Diabolical Masquerade was the solo-project launched by Katatonia mastermind Anders Blackheim Nyström.

Ravendusk In My Heart was originally released in 1996 and stands as a startling debut of fantastic imagery, shaped by accomplished atmospherics mixed with cold black metal, bringing to mind the early works of Emperor, all brought to life with deeply imaginative tales of fantasy from Blackheim’s realm.

The album was recorded at Unisound Studio in September 1995. It was produced by Dan Swano & Blackheim, and mixed by Dan Swano (familiar for his work with Opeth, Dissection, Marduk, etc)



This debut album was the start of a long and successful career for Blackheim with Diabolical Masquerade. It certainly stirred great excitement within me for what was to come on subsequent albums. I’ve always enjoyed one-man projects greatly, as it’s always interesting to see the uniform influence of one person with singular ideas for each instrument. There is never conflict of composition, and often the musical result is organic and tight. Blackheim is no different, showing immense talent on “Ravendusk…” and proving his worth as a black metal composer, with some help from Dan Swano.

This album looks great on paper, being a debut from a one-man side project of Katatonia. I harbored great expectations for Diabolical Masquerade, and for “Ravendusk in my Heart” in particular, I was sure Blackheim would show his steel by writing some good music. He did not disappoint. This is an ice-cold chunk of black metal, showcasing much versatility in songwriting. Although it is a blueprint for all we know black metal to be, this album is very unique, and distinctive in its own style. Nothing else sounds like Diabolical Masquerade, which is quite an achievement considering the vast amount of BM artists out there.

“Ravendusk in my Heart” shows much experimentation. Clearly Blackheim was still crafting the sound of Diabolical Masquerade, still building on what would become DM as we know it today. That makes for a very curious listening experience here. All the songs are different, both in structure and in general feel. There is even a short instrumental interlude with melodic clean guitarwork. The songs never feel formulaic, each one is an idea all on its own, not merely a continuation or a filler.

The standout component of the excellent songwriting is the guitars, coldly channeling black metal elements from the immortal tremolo riff to clean, atmospheric interludes. At times, the guitar work is fast and aggressive, but mostly it leans in favor of atmospheric BM. The slower riffs are the memorable ones here, with decent melodies dark enough to feel at home with the cold production. The distortion is thin, and the cleans are rich and warm, distinctly black metal. However, Blackheim incorporated death, thrash and even doom metal elements when writing the guitars on “Ravendusk…”. The drums sound very thin and cold, somewhat distant from the other instruments. The drums weren’t written to stand out here, typical blastbeats and double-times drive most of the album.

The only instrument that really stands out is the guitaring, but this isn’t an album made to impress with musical prowess. All the instruments blend together instead of standing out, this album is all about atmosphere. It is very dark, and yet paradoxically melodic at times, rising and falling incessantly. The album never drags or becomes monotonous, the constant change of the innovative composition keeps you listening compulsively. This is, however, a very unique atmospheric album in terms of mood. The album as a whole feels very desolate, very solitary. I find myself enjoying “Ravendusk…” most when listening alone. The atmosphere is somewhat depressing at times, and without attentive listening, much of the depth is lost. The experience is different in solitude, for you are most receptive when you are alone, picking up all the nuances adding to the personal feel of the album, as Blackheim intended.

This is an album meant to be a private experience, just as creating it was for Blackheim. This is possibly Diabolical Masquerade’s best album, with diversity in all songs and incredible mood. A definite black metal classic that’s sure to rack up a formidable play count in your collection. “Ravendusk in my Heart” is fantastic.

XuL Excelsi



..::TRACK-LIST::..

1. The Castle Of Blackheim 07:15
2. Blackheim`s Quest To Bring Back The Stolen Autumn 06:18
3. Beyond The Spiritual Moon 00:57
4. The Sphere In Blackheim`s Shrine 03:33
5. Under The Banner Of The Sentinel ['Heavy Metal' Vocals] - Dan Swanö
03:15
6. Blackheim`s Forest Kept The Seasons Forever 06:10
7. The Darkblue Seajourneys Of The Sentinel 05:03
8. Blackheim`s Hunt For Nocturnal Grace 07:47
9. Ravendusk In My Heart 02:08



..::OBSADA::..

Electric Guitar, Acoustic Guitar, Bass, Drum Programming, Keyboards, Effects, Vocals – Blackheim
Illustration [Diabolical Masquerade Logo] - Blackheim

Drum Programming - Dan Swanö




https://www.youtube.com/watch?v=tVPvAFUt4WU



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Trzecia duża płyta długodystansowców z Kanady.
16 morderczych grindcore'owych utworów w stylu wielkiego DAHMER!!!



..::TRACK-LIST::..

1. Intro 00:54
2. First Victim 02:45
3. Feed On Fear 02:21
4. Blind Fear 02:54
5. Wolfgang Priklopil 03:14
6. Best Selling Killer 01:45
7. Richard Blass 01:32
8. The Hunter 03:34
9. Sociopathic Worm 03:44
10. Mehmet Ali Agca 01:18
11. Colosse Plamondon 00:40
12. Random Killings 03:51
13. Clifford Orgy (Guest, Vocals Crocko) 01:19
14. Sy Tuan Tran (free) 01:16
15. Senseless Gorecrap 03:23
16. Outro 01:35



..::OBSADA::..

Steve - Vocals
Jack - Guitars
Fred - Guitars
Dan-Charge - Drums, Vocals



https://www.youtube.com/watch?v=WpnSjoH13eg


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Trzecia duża płyta długodystansowców z Kanady.
16 morderczych grindcore'owych utworów w stylu wielkiego DAHMER!!!



..::TRACK-LIST::..

1. Intro 00:54
2. First Victim 02:45
3. Feed On Fear 02:21
4. Blind Fear 02:54
5. Wolfgang Priklopil 03:14
6. Best Selling Killer 01:45
7. Richard Blass 01:32
8. The Hunter 03:34
9. Sociopathic Worm 03:44
10. Mehmet Ali Agca 01:18
11. Colosse Plamondon 00:40
12. Random Killings 03:51
13. Clifford Orgy (Guest, Vocals Crocko) 01:19
14. Sy Tuan Tran (free) 01:16
15. Senseless Gorecrap 03:23
16. Outro 01:35



..::OBSADA::..

Steve - Vocals
Jack - Guitars
Fred - Guitars
Dan-Charge - Drums, Vocals



https://www.youtube.com/watch?v=WpnSjoH13eg


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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Debiutanckie demo wznowione na CD, z bonusowymi nagraniami z próby.


..::OPIS::..

Zmora to kapela stażem już niemłoda i znana dobrze wielbicielom podziemnego black metalu w naszym kraju. Jest to zespół raczej charakterystyczny, trzymający się dość sztywno wytyczonych sobie już na początku ram, więc jeśli ktoś sprawdzi i polubi którykolwiek z ich materiałów, to może też śmiało sięgać po pozostałe. Ten ich specyficzny styl, bo tak to chyba można już nazwać, został wyznaczony te kilkanaście lat temu, na pierwszej demówce, którą tutaj właśnie wznowiło nam Werewolf Promotion. Materiał ten, wydany pierwotnie na kasecie zawierał dwie średniej długości kompozycje i swoiste outro, na które składały się odgłosy padającego deszczu, klawisze i dzwony kościelne. Jak już wyżej wspomniałem te dwie kompozycje już wtedy wskazywały kierunek w jakim Zmora chciała podążać, czyli wolnego, bardzo klimatycznego, momentami nawet doomowatego black metalu. Tu nie liczy się szybkość, a mroczna aura i wisielcza atmosfera. Tytułowa „noc” i „przeklęte wichry” są tu wręcz namacalne, ukazywane przez bardzo sugestywny klimat. Cóż, moim zdaniem jest to granie z gatunku „love it or hate it”, innej drogi chyba nie ma. Taki mroźny, pełen zadumy i surowizny klimat po prostu trzeba poczuć… Druga część tego płytowego wznowienia to nie lada gratka – reh z 2012 roku z trzema kompozycjami. Dwie z nich to oczywiście kawałki z tej demówki, a tym trzecim jest utwór „Fala Zimnej, Wiecznej Nocy”, który później znalazł się na debiutanckim krążku „Popioły tego świata”. Brzmi to wszystko oczywiście bardzo surowo, ale dzięki temu jeszcze bardziej autentycznie. Nie jest to na szczęście żadne bzyczenie z kibla, w którym ciężko wyłapać poszczególne dźwięki, a rasowy piwniczny black metal z wysuniętą do przodu perkusją i tymi charakterystycznymi, zawodzącymi wokalami. Naprawdę dobrze się tego słucha! Jeśli ktoś lubi Zmorę i nie miał wcześniej możliwości dorwania tej demówki na kasecie to teraz jest świetna okazja...

Prezes


https://www.youtube.com/watch?v=8l_25o28mmI



..::TRACK-LIST::..

1. Trupia Biel I Czerwień Krwi
2. Wichry Przepełnione Jękami
3. Roznosiciele Zarazy

Nagranie z próby 19 maja 2012 roku:
4. Trupia Biel I Czerwień Krwi
5. Wichry Przepełnione Jękami
6. Fala Zimnej, Wiecznej Nocy



https://www.youtube.com/watch?v=0gOL1VfEL-Y



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



Debiutanckie demo wznowione na CD, z bonusowymi nagraniami z próby.


..::OPIS::..

Zmora to kapela stażem już niemłoda i znana dobrze wielbicielom podziemnego black metalu w naszym kraju. Jest to zespół raczej charakterystyczny, trzymający się dość sztywno wytyczonych sobie już na początku ram, więc jeśli ktoś sprawdzi i polubi którykolwiek z ich materiałów, to może też śmiało sięgać po pozostałe. Ten ich specyficzny styl, bo tak to chyba można już nazwać, został wyznaczony te kilkanaście lat temu, na pierwszej demówce, którą tutaj właśnie wznowiło nam Werewolf Promotion. Materiał ten, wydany pierwotnie na kasecie zawierał dwie średniej długości kompozycje i swoiste outro, na które składały się odgłosy padającego deszczu, klawisze i dzwony kościelne. Jak już wyżej wspomniałem te dwie kompozycje już wtedy wskazywały kierunek w jakim Zmora chciała podążać, czyli wolnego, bardzo klimatycznego, momentami nawet doomowatego black metalu. Tu nie liczy się szybkość, a mroczna aura i wisielcza atmosfera. Tytułowa „noc” i „przeklęte wichry” są tu wręcz namacalne, ukazywane przez bardzo sugestywny klimat. Cóż, moim zdaniem jest to granie z gatunku „love it or hate it”, innej drogi chyba nie ma. Taki mroźny, pełen zadumy i surowizny klimat po prostu trzeba poczuć… Druga część tego płytowego wznowienia to nie lada gratka – reh z 2012 roku z trzema kompozycjami. Dwie z nich to oczywiście kawałki z tej demówki, a tym trzecim jest utwór „Fala Zimnej, Wiecznej Nocy”, który później znalazł się na debiutanckim krążku „Popioły tego świata”. Brzmi to wszystko oczywiście bardzo surowo, ale dzięki temu jeszcze bardziej autentycznie. Nie jest to na szczęście żadne bzyczenie z kibla, w którym ciężko wyłapać poszczególne dźwięki, a rasowy piwniczny black metal z wysuniętą do przodu perkusją i tymi charakterystycznymi, zawodzącymi wokalami. Naprawdę dobrze się tego słucha! Jeśli ktoś lubi Zmorę i nie miał wcześniej możliwości dorwania tej demówki na kasecie to teraz jest świetna okazja...

Prezes


https://www.youtube.com/watch?v=8l_25o28mmI



..::TRACK-LIST::..

1. Trupia Biel I Czerwień Krwi
2. Wichry Przepełnione Jękami
3. Roznosiciele Zarazy

Nagranie z próby 19 maja 2012 roku:
4. Trupia Biel I Czerwień Krwi
5. Wichry Przepełnione Jękami
6. Fala Zimnej, Wiecznej Nocy



https://www.youtube.com/watch?v=0gOL1VfEL-Y



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

...( Info )...

Artist: Krud
Title: Krud II
Year: 2024
Genre: Groove-Metal
Country: Germany
Duration: 00:40:11
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. We Are Legion 04:18
02. Mankind 04:56
03. Dead To Me 02:58
04. Lies Rise 04:39
05. Unbound 02:51
06. Breeding Terror 04:32
07. Cell 666 04:07
08. Rust 03:51
09. All Or Nothing 03:35
10. Pit Of Snakes 04:21

..::INFO::..

Trivium to amerykański zespół założony w 1999 roku w Orlando na Florydzie. Wykonywana przez zespół muzyka określana jest jako thrash metal, heavy metal, melodic death metal, groove metal, metalcore oraz metal progresywny. Liderem formacji oraz autorem wszystkich tekstów jest Matthew Kiichi Heafy - Amerykanin pochodzenia japońskiego. Nazwa grupy wywodzi się z języka łacińskiego. Trivium w okresie późnej starożytności oraz średniowiecza było, obok quadrivium, podgrupą siedmiu sztuk wyzwolonych. Obejmowało trzy nauki: gramatykę, retorykę oraz logikę. Członkowie zespołu uznają, że obrazuje to ich zainteresowanie różnymi gatunkami muzycznymi. Trivium nagrało dziesięć albumów studyjnych. Zespół słynie z dużej liczby występów. 12 czerwca 2006 roku brytyjski magazyn „Metal Hammer” na gali Golden God Awards uznał grupę za najlepiej koncertujący zespół w bieżącym roku. Tego samego dnia Matt Heafy otrzymał tytuł „Golden God”, a Travis Smith wygrał w kategorii „najlepszy perkusista”. Wstawka zawiera album zawierający nowe aranżacje utworów z pierwszej płyty zespołu plus kilka nowych utworów.

Title: Ember to Inferno Ab Initio

Artist: Trivium

Country: USA

Year: 2016

Genre: Metal

Format / Codec: MP3
Audio bitrate: 320 Kbps

...( TrackList ) ...
1-1.Inception: The Bleeding Skies
1-2.Pillars Of Serpents
1-3.If I Could Collapse The Masses
1-4.Fugue (A Revelation)
1-5.Requiem
1-6.Ember To Inferno
1-7.Ashes
1-8.To Burn The Eye
1-9.Falling To Grey
1-10.My Hatred
1-11.When All Light Dies
1-12.A View Of Burning Empires
2-1.Pain
2-2.Thrust
2-3.Lake Of Fire
2-4.To Burn The Eye
2-5.Requiem
2-6.Fugue
2-7.My Hatred
2-8.The Storm
2-9.Sworn
2-10.Demon
2-11.Like Light To The Flies
2-12.Blinding Tears Will Break The Skies
2-13.The Deceived

...( Info )...

Artist: Tactic
Title: Tools Of The Trade
Year: 2024
Genre: Heavy, Speed-Metal
Country: USA
Duration: 00:54:15
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

1. Coward 04:31
2. Tactic 06:39
3. The Devil's Inception 03:14
4. Tools of the Trade 06:10
5. August, 1958 09:18
6. Survivor 04:42
7. Awakening 07:45
8. World of Chaos 11:56

...( Info )...

Artist: Tinnitus Attack
Title: Six Sick Sins
Year: 2024
Genre: Heavy, Thrash-Metal
Country: Germany
Duration: 00:39:15
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

1. Arrival 01:05
2. The Arbitrator 02:34
3. Insane from Suffering 04:57
4. Kristallnacht 04:43
5. Baby Division 05:58
6. Toxic Toybox 04:27
7. Terrarism 04:50
8. Perpetual Perpetrator 04:17
9. Sonic Annihilator 05:53
10. Judgement 00:57

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Unleash the Archers wyprodukowali kolejny świetny album, który płynie sobie bez wkurwienia od początku do końca. Udało im się to osiągnąć dzięki wyjściu poza swoją strefę komfortu i stworzeniu czegoś, co wyróżnia się na rynku.
Takie jest moje zdanie...



..::TRACK-LIST::..

1. Human Era 05:40
2. Ph4/NT0mA 06:30
3. Buried In Code 03:39
4. The Collective 05:53
5. Green & Glass 05:30
6. Gods In Decay 05:02
7. Give It Up Or Give It All 07:35
8. Ghosts In The Mist 05:46
9. Seeking Vengeance 05:22
10. Blood Empress 05:10



..::OBSADA::..

Drums - Scott Buchanan
Vocals - Brittney Slayes
Guitars, Vocals - Grant Truesdell
Guitars, Vocals - Andrew Saunders
Bass - Nicholas Miller



https://www.youtube.com/watch?v=Xx5Le0L7rOs



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Unleash the Archers wyprodukowali kolejny świetny album, który płynie sobie bez wkurwienia od początku do końca. Udało im się to osiągnąć dzięki wyjściu poza swoją strefę komfortu i stworzeniu czegoś, co wyróżnia się na rynku.
Takie jest moje zdanie...



..::TRACK-LIST::..

1. Human Era 05:40
2. Ph4/NT0mA 06:30
3. Buried In Code 03:39
4. The Collective 05:53
5. Green & Glass 05:30
6. Gods In Decay 05:02
7. Give It Up Or Give It All 07:35
8. Ghosts In The Mist 05:46
9. Seeking Vengeance 05:22
10. Blood Empress 05:10



..::OBSADA::..

Drums - Scott Buchanan
Vocals - Brittney Slayes
Guitars, Vocals - Grant Truesdell
Guitars, Vocals - Andrew Saunders
Bass - Nicholas Miller



https://www.youtube.com/watch?v=Xx5Le0L7rOs



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

...( Info )...

Artist: Hellias
Album: Closed In The Fate Coffin & Noc Potępienia
Genre: Thrash Metal
Media: CD
Country of disc (release): Poland
Year of publication: 2015
Publisher (label): Thrashing Madness
Catalog number: 2015
Country of artist (band): Poland
Audio codec: FLAC (*.flac)
Rip type: image+.cue
Duration: 01:16:37
Source: own rip


...( TrackList )...

Closed In The Fate Coffin

01 Closed In The Fate Coffin
02 Dark Exile
03 The Pray II
04 Empty Cry
05 Beat The Flame
06 The Pray I
07 Mind Deformity
08 The Pray III
09 Golgotha
10 Sentence Of...
11 Queen Of Death

Noc Potępienia E.P.

12 Intro
13 Wojownik Zla
14 Kona Bog
15 Noc Potępienia
16 Piekielna Czerń
17 Cień Płomienia
18 Modlitwa I

Bonus:demo & live recordings from 1988

19 Potępiony II
20 Królowa Śmierci
21 Wilcze Kły
22 Ognisty Demon

...( Info )...

Artist: Hellias
Album: Eight Cardinal Sins
Genre: Thrash Metal
Media: CD
Country of disc (release): Poland
Year of publication: 2017
Publisher (label): Thrashing Madness
Catalog number: 2017
Country of artist (band): Poland
Audio codec: FLAC (*.flac)
Rip type: image+.cue
Duration: 54:54
Source: own rip

...( TrackList )...

01 Intro
02 Devilish Circle
03 Eight Cardinal Sins
04 Ant Democracy
05 Mental Violence
06 Angels Make War
07 Deliverance
08 Pair Of Sparks
09 Twelve Angry Man
10 Baader Meinhof
11 Sin City (AC/DC Cover)
12 Judas The King

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Potężna energia, chwytliwe power metalowe melodie , gustowny growl i potężne cleany.
Mnóstwo mocy!



Incredible.

It’s the only word that can describe this new Unleash the Archers album. I’ve been a fan of theirs since first hearing “General of the Dark Army” way back when, and they’ve been steadily getting better and more refined. Even knowing that, I wasn’t prepared for Abyss to blow me away like it did. This is hands-down one of the best albums I’ve heard all year, and I’d argue it’s the best in the band’s catalog by a long shot.

Abyss picks up thousands of years after the end of Apex with The Immortal awakening to a changed world under the control of The Matriarch, the previous album’s antagonist. Finding himself removed from his Apex- his mountain sanctuary- and aboard a starship or space station of some sort, he sets off to explore and eventually face down his old foe. In keeping with this new sci-fi setting, the band has massively updated their sound and in doing so have crafted their most powerful and compelling album to date.

Elements of science fantasy has always been present in the band’s lyrics (seriously, just take a look at their album covers), but Abyss marks the first time they’re truly reflected in the music itself. This is most obvious with the addition of retrowave synths, but moreover, there’s a sense of wonder and breathless anticipation in the music that’s inherent to idea of adventuring into the unknown. I can already hear some of you groaning at the prospect of facing Gloryhammer levels of power metal cheese, but trust me when I say Unleash the Archers sells it in a way that few bands can. The Immortal’s journey is played straight and serious, and for all its starry-eyed adventurous trappings, they instill each song with the gravity that’s needed to make such a concept work. There’s a melancholy undercurrent throughout that reflects the protagonist’s sense of isolation and loneliness that’s masterfully interwoven with upbeat melodies and soaring choruses. Abyss is an inversion of Apex in that regard (as well as in name and story progression), and the generally more positive tone and lack of a total downer ending makes it much easier to get into in my opinion.

This very particular atmosphere, combined with some exploration of musical ideas well outside the band’s comfort zone and general smarter songwriting, elevate this album to heights even its predecessor didn’t achieve. The title track shows off the band’s newfound penchant for the unexpected, going down when you expect them to go up, taking a major turn when you expect them to go somewhere darker, perfectly reflected in that opening synth melody. Their fondness for big arena anthems is ever intact, but “Through Stars” is the first time they’ve done it where I’ve felt it wasn’t at all clunky or shoehorned in; it always felt a little hamfisted on their older albums (even the better uses of it like on “Tonight We Ride“), but it feels natural this time. Their metalcore-tinged roots still show as well, and they’re also better integrated than ever, as the one real breakdown comes partway through “Faster Than Light” to make room for a stellar guitar melody. Perhaps the biggest departure comes in “Legacy,” which is built around a massive, bright, blackgazey chord progression and features some beautiful call and response vocals. It’s not until six tracks in with to-the-point headbanger “Soulbound” that the band truly feels like they’re back in familiar territory, and even then it’s much stronger than anything from their preceding output.

On top of the album’s flawless pacing and song-to-song variety, the performances are nigh-flawless. Brittney Slayes may not engage in as many piercing wails as she once did, but this allows for a much more nuanced and dynamic delivery that can’t be done when belting everything. The screams, previously a weak point in the band’s music, are much more robust than ever before, a far cry from the thin and frail rasp on older albums. The instrumental work is all incredibly tight, and the guitar solos in particular are clean and flashy as all hell; compare it to 2015’s Time Stands Still, and the difference is night and day. These guys have leveled up so much in the past five years it’s unreal.

At risk of sounding like I’m just jerking the band off at this point, Abyss also has some of the best production I’ve ever heard on a metal album. I’m talking less about the mix and master here (though that’s also excellent) than the actual production elements, the icing on the musical cake so to speak. The subtle touches of synth in certain places gives it a lot of texture, and that aforementioned call and response vocal line in “Legacy” was truly inspired. Everything, every additional layer of vocal harmonies or guitar leads, lend itself to making this album feel huge and cinematic, to drawing you into the world and tale that the band has created.

Every listen of Abyss has brought me goosebumps; whenever the final notes of “Afterlife” roll around, I have to sit back and bask in what I just witnessed. Unleash the Archers have crafted something truly special with this album- it is a masterpiece through and through, and one of the finest metal albums I’ve had the pleasure of experiencing.

shiningspear


Unleash The Archers have been solidifying a remarkable reputation over the last couple of years, since the release of their majestic previous output “Apex”. The new record “Abyss” is not only a musical follow up but also a sequel to the story line of its predecessor, and hence it had to live up to the same prestigious standard. The Canadians show no difficulty tackling this mission, delivering yet another captivating album full of memorable tracks, while also renewing and staying diverse in their delivery. So far, the band hasn’t offered any detailed explanations of the story as was the case for “Apex”, but if you know the events of that record, you can put together by yourself a lot of what happens on “Abyss”. What’s certain is that the bitter end of the last chapter in the tale is now followed by a turn of events that will see the protagonist known as The Immortal shed his curse and defeat the evil Matriarch. It’s still unclear to me exactly how the narrative evolves, but it is a bit more abstract and focuses more on the inner conflict of the protagonist and his connection with a new character who is key in turning around the course of events. If you’re a geek about metal stories look into the Apex - Abyss lore because it’s a really cool piece of fiction. But on to the music.

The positive shift of the narrative dictates for a different sound and vibe compared to the previous record. “Abyss” sounds more glorious, adventurous and hopeful as opposed to the martial and somewhat bitter tone of its baby brother. The sound isn’t quite as raw and gritty offering instead a more polished and clean approach with a sci-fi retro aesthetic (see the cover art) and what I felt were even some Japanese flavors (Soulbound, Afterlife). This means that the guitar tones are less harsh, there is a little bit less screaming, and there are tons of optimistic sounding melodies both in guitars and vocals. The mix is brilliant, offering a penetrating depth to the bass and drums, and well refined textures to the guitars and surrounding samples. The actual composition keeps a structural identity very similar to what UtA have been doing to date, relying on songs with straightforward structures and memorable choruses and themes, this time pushing their penchant for hooks and anthemic melodies as far as it’s ever been. The band excels at creating an immersive and captivating almost movie like atmosphere, further feeding you songs that will become glued to you and haunt you through the day with a sweet long lasting aftertaste.

One thing I always liked about UtA that I don’t often find in power metal is just how well executed their drum section is. Scott has fast driven double kicks and snare patterns used frequently, but they are efficiently spiced up with cool transitions and a sense of groove that breaks the dynamic, not allowing the songs to become stale, and giving us a bunch of tasty hammering headbang parts in return. The two guitars work together with great effect, riffing eloquently and consistently through both faster galloped muted sections and the aforementioned bangers that allow for a more meaty sound. However it’s the stellar quality of the leads that allows the guitars to shine as Grant Truesdell and Andrew Kingsley love dueling with two part solos that seem to always build up to either a climax or a break in the songs. The bass is more of a functional instrument, delivering the low end alongside the guitars not flashing out much. Since the departure of Nikko Whitworth, the band doesn’t currently have a bassist in the line-up which probably led to this simpler approach. And on top of the instrumental, Brittney Slayes slayes the vocal lines, with her patented consistent belting of lengthy notes and smooth vibratos. You can also expect a couple of high notes reminiscent of Tonight We Ride at some points in the record. Yet it’s the clever structure of the lyrics, offering a cohesive flow to the vocal lines as well as great wordplay that really makes her performance shine.

With all this in mind, you may find that hurtling through space at hyperspeed, and listening to UtA are somewhat similar experiences, and since hurtling through space seems to actually occur in the story (see “Faster than Light”), that stands as a testament to how successful the band was with this record. But with the overall vibe of the music working wonders, they actually still kept focus on making different songs that will stand out on their own. After a gradual build-up in “Waking Dream”, you have the classic power metal runners like the title track, “Soulbound” or “Faster than Light”, a couple of classic rock tinged slower tracks in “Through Stars” and “Carry The Flame” and an epic anthem in closing track “Afterlife” that reminds a bit of the band’s 2019 cover of “Northwest Passage”. The epic multifaceted “The Wind That Shapes the Land” is a stand-out among stand-outs and, the angry “Return to Me” is more similar to “Apex” tracks, depicting The Matriarch throwing a hissy fit, and probably the most special track on the record is “Legacy”. This one is a total tribute to Devin Townsend with the blasting drums, the choir effect of layered vocals and a general massive wall of sound, offering the best surprise for yours truly and his prog affinity. It’s safe to say that this album has exceeded my expectations and probably did the same for many others so if you feel like diving into the “Abyss”, check it out at Napalm Records and Bandcamp.

Enjoy!

Livingwave17



..::TRACK-LIST::..

1. Waking Dream 03:45
2. Abyss 06:44
3. Through Stars 05:34
4. Legacy 05:26
5. Return to Me 05:34
6. Soulbound 03:54
7. Faster Than Light 05:11
8. The Wind that Shapes the Land 08:36
9. Carry the Flame 04:42
10. Afterlife 07:30



..::OBSADA::..

Brittney Slayes - clean vocals
Andrew Kingsley - guitars, clean vocals on 'Carry the Flame', synthesizer, production
Grant Truesdell - guitars, unclean vocals
Scott Buchanan - drums

Session members and guests:
Benjamin Arscott - bass
Francesco Ferrini (Fleshgod Apocalypse) - orchestrations on 'Afterlife'




https://www.youtube.com/watch?v=1bGmjnkDTTI



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI



..::OPIS::..

Potężna energia, chwytliwe power metalowe melodie , gustowny growl i potężne cleany.
Mnóstwo mocy!



Incredible.

It’s the only word that can describe this new Unleash the Archers album. I’ve been a fan of theirs since first hearing “General of the Dark Army” way back when, and they’ve been steadily getting better and more refined. Even knowing that, I wasn’t prepared for Abyss to blow me away like it did. This is hands-down one of the best albums I’ve heard all year, and I’d argue it’s the best in the band’s catalog by a long shot.

Abyss picks up thousands of years after the end of Apex with The Immortal awakening to a changed world under the control of The Matriarch, the previous album’s antagonist. Finding himself removed from his Apex- his mountain sanctuary- and aboard a starship or space station of some sort, he sets off to explore and eventually face down his old foe. In keeping with this new sci-fi setting, the band has massively updated their sound and in doing so have crafted their most powerful and compelling album to date.

Elements of science fantasy has always been present in the band’s lyrics (seriously, just take a look at their album covers), but Abyss marks the first time they’re truly reflected in the music itself. This is most obvious with the addition of retrowave synths, but moreover, there’s a sense of wonder and breathless anticipation in the music that’s inherent to idea of adventuring into the unknown. I can already hear some of you groaning at the prospect of facing Gloryhammer levels of power metal cheese, but trust me when I say Unleash the Archers sells it in a way that few bands can. The Immortal’s journey is played straight and serious, and for all its starry-eyed adventurous trappings, they instill each song with the gravity that’s needed to make such a concept work. There’s a melancholy undercurrent throughout that reflects the protagonist’s sense of isolation and loneliness that’s masterfully interwoven with upbeat melodies and soaring choruses. Abyss is an inversion of Apex in that regard (as well as in name and story progression), and the generally more positive tone and lack of a total downer ending makes it much easier to get into in my opinion.

This very particular atmosphere, combined with some exploration of musical ideas well outside the band’s comfort zone and general smarter songwriting, elevate this album to heights even its predecessor didn’t achieve. The title track shows off the band’s newfound penchant for the unexpected, going down when you expect them to go up, taking a major turn when you expect them to go somewhere darker, perfectly reflected in that opening synth melody. Their fondness for big arena anthems is ever intact, but “Through Stars” is the first time they’ve done it where I’ve felt it wasn’t at all clunky or shoehorned in; it always felt a little hamfisted on their older albums (even the better uses of it like on “Tonight We Ride“), but it feels natural this time. Their metalcore-tinged roots still show as well, and they’re also better integrated than ever, as the one real breakdown comes partway through “Faster Than Light” to make room for a stellar guitar melody. Perhaps the biggest departure comes in “Legacy,” which is built around a massive, bright, blackgazey chord progression and features some beautiful call and response vocals. It’s not until six tracks in with to-the-point headbanger “Soulbound” that the band truly feels like they’re back in familiar territory, and even then it’s much stronger than anything from their preceding output.

On top of the album’s flawless pacing and song-to-song variety, the performances are nigh-flawless. Brittney Slayes may not engage in as many piercing wails as she once did, but this allows for a much more nuanced and dynamic delivery that can’t be done when belting everything. The screams, previously a weak point in the band’s music, are much more robust than ever before, a far cry from the thin and frail rasp on older albums. The instrumental work is all incredibly tight, and the guitar solos in particular are clean and flashy as all hell; compare it to 2015’s Time Stands Still, and the difference is night and day. These guys have leveled up so much in the past five years it’s unreal.

At risk of sounding like I’m just jerking the band off at this point, Abyss also has some of the best production I’ve ever heard on a metal album. I’m talking less about the mix and master here (though that’s also excellent) than the actual production elements, the icing on the musical cake so to speak. The subtle touches of synth in certain places gives it a lot of texture, and that aforementioned call and response vocal line in “Legacy” was truly inspired. Everything, every additional layer of vocal harmonies or guitar leads, lend itself to making this album feel huge and cinematic, to drawing you into the world and tale that the band has created.

Every listen of Abyss has brought me goosebumps; whenever the final notes of “Afterlife” roll around, I have to sit back and bask in what I just witnessed. Unleash the Archers have crafted something truly special with this album- it is a masterpiece through and through, and one of the finest metal albums I’ve had the pleasure of experiencing.

shiningspear


Unleash The Archers have been solidifying a remarkable reputation over the last couple of years, since the release of their majestic previous output “Apex”. The new record “Abyss” is not only a musical follow up but also a sequel to the story line of its predecessor, and hence it had to live up to the same prestigious standard. The Canadians show no difficulty tackling this mission, delivering yet another captivating album full of memorable tracks, while also renewing and staying diverse in their delivery. So far, the band hasn’t offered any detailed explanations of the story as was the case for “Apex”, but if you know the events of that record, you can put together by yourself a lot of what happens on “Abyss”. What’s certain is that the bitter end of the last chapter in the tale is now followed by a turn of events that will see the protagonist known as The Immortal shed his curse and defeat the evil Matriarch. It’s still unclear to me exactly how the narrative evolves, but it is a bit more abstract and focuses more on the inner conflict of the protagonist and his connection with a new character who is key in turning around the course of events. If you’re a geek about metal stories look into the Apex - Abyss lore because it’s a really cool piece of fiction. But on to the music.

The positive shift of the narrative dictates for a different sound and vibe compared to the previous record. “Abyss” sounds more glorious, adventurous and hopeful as opposed to the martial and somewhat bitter tone of its baby brother. The sound isn’t quite as raw and gritty offering instead a more polished and clean approach with a sci-fi retro aesthetic (see the cover art) and what I felt were even some Japanese flavors (Soulbound, Afterlife). This means that the guitar tones are less harsh, there is a little bit less screaming, and there are tons of optimistic sounding melodies both in guitars and vocals. The mix is brilliant, offering a penetrating depth to the bass and drums, and well refined textures to the guitars and surrounding samples. The actual composition keeps a structural identity very similar to what UtA have been doing to date, relying on songs with straightforward structures and memorable choruses and themes, this time pushing their penchant for hooks and anthemic melodies as far as it’s ever been. The band excels at creating an immersive and captivating almost movie like atmosphere, further feeding you songs that will become glued to you and haunt you through the day with a sweet long lasting aftertaste.

One thing I always liked about UtA that I don’t often find in power metal is just how well executed their drum section is. Scott has fast driven double kicks and snare patterns used frequently, but they are efficiently spiced up with cool transitions and a sense of groove that breaks the dynamic, not allowing the songs to become stale, and giving us a bunch of tasty hammering headbang parts in return. The two guitars work together with great effect, riffing eloquently and consistently through both faster galloped muted sections and the aforementioned bangers that allow for a more meaty sound. However it’s the stellar quality of the leads that allows the guitars to shine as Grant Truesdell and Andrew Kingsley love dueling with two part solos that seem to always build up to either a climax or a break in the songs. The bass is more of a functional instrument, delivering the low end alongside the guitars not flashing out much. Since the departure of Nikko Whitworth, the band doesn’t currently have a bassist in the line-up which probably led to this simpler approach. And on top of the instrumental, Brittney Slayes slayes the vocal lines, with her patented consistent belting of lengthy notes and smooth vibratos. You can also expect a couple of high notes reminiscent of Tonight We Ride at some points in the record. Yet it’s the clever structure of the lyrics, offering a cohesive flow to the vocal lines as well as great wordplay that really makes her performance shine.

With all this in mind, you may find that hurtling through space at hyperspeed, and listening to UtA are somewhat similar experiences, and since hurtling through space seems to actually occur in the story (see “Faster than Light”), that stands as a testament to how successful the band was with this record. But with the overall vibe of the music working wonders, they actually still kept focus on making different songs that will stand out on their own. After a gradual build-up in “Waking Dream”, you have the classic power metal runners like the title track, “Soulbound” or “Faster than Light”, a couple of classic rock tinged slower tracks in “Through Stars” and “Carry The Flame” and an epic anthem in closing track “Afterlife” that reminds a bit of the band’s 2019 cover of “Northwest Passage”. The epic multifaceted “The Wind That Shapes the Land” is a stand-out among stand-outs and, the angry “Return to Me” is more similar to “Apex” tracks, depicting The Matriarch throwing a hissy fit, and probably the most special track on the record is “Legacy”. This one is a total tribute to Devin Townsend with the blasting drums, the choir effect of layered vocals and a general massive wall of sound, offering the best surprise for yours truly and his prog affinity. It’s safe to say that this album has exceeded my expectations and probably did the same for many others so if you feel like diving into the “Abyss”, check it out at Napalm Records and Bandcamp.

Enjoy!

Livingwave17



..::TRACK-LIST::..

1. Waking Dream 03:45
2. Abyss 06:44
3. Through Stars 05:34
4. Legacy 05:26
5. Return to Me 05:34
6. Soulbound 03:54
7. Faster Than Light 05:11
8. The Wind that Shapes the Land 08:36
9. Carry the Flame 04:42
10. Afterlife 07:30



..::OBSADA::..

Brittney Slayes - clean vocals
Andrew Kingsley - guitars, clean vocals on 'Carry the Flame', synthesizer, production
Grant Truesdell - guitars, unclean vocals
Scott Buchanan - drums

Session members and guests:
Benjamin Arscott - bass
Francesco Ferrini (Fleshgod Apocalypse) - orchestrations on 'Afterlife'




https://www.youtube.com/watch?v=1bGmjnkDTTI



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

...( Info )...

Artist: Hellias
Album: Twenty Fifth Year in the Abyss
Genre: Thrash Metal
Media: CD
Country of disc (release): Poland
Year of publication: 2013
Publisher (label): Mavoy Music
Catalog number: MM 01
Country of artist (band): Poland
Audio codec: FLAC (*.flac)
Rip type: image+.cue
Duration: 01:15:57
Source: own rip

...( TrackList )...

01. Intro - Twenty Fifth Year in the Abyss
02. Beat of Flame
03. Mind Deformity
04. Renegades of Fortune
05. Golgotha
06. Facts
07. A. D. Darkness
08. The Damned
09. Descent from the Cross
10. The Pray Pt. I
11. Hellish Black
12. The Rain
13. A. D. Martyrology
14. Jackal
15. Written to Loss
16. Vampire
17. Sentence of...
18. No Devotion

...( Info )...

Artist: Undertakker
Title: Welcome
Year: 2024
Genre: Heavy-Metal
Country: International
Duration: 00:49:29
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Ready to Kill
02. Welcome
03. Rest in Peace
04. Justice
05. Protected by Odin
06. Viper
07. Damned Time
08. Evil Portrait
09. The God of Heavy Metal

...( Info )...

Artist: Helloween
Title: Live At Budokan
Year: 2024
Genre: Speed, Heavy, Power-Metal
Country: Germany
Duration: 02:00:58
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01 – Orbit (Live at Budokan 2023)
02 – Skyfall (Live at Budokan 2023)
03 – Eagle Fly Free (Live at Budokan 2023)
04 – Mass Pollution (Live at Budokan 2023)
05 – Future World (Live at Budokan 2023)
06 – Power (Live at Budokan 2023)
07 – Save Us (Live at Budokan 2023)
08 – Kai’s MedleyWalls Of Jericho Metal Invaders Victim Of Fate Gorgar Ride The Sky Heavy Metal (Is The Law) (Live at Budokan 2023)
09 – Forever And One (Neverland) (Live at Budokan 2023)
10 – Best Time (Live at Budokan 2023)
11 – Dr. Stein (Live at Budokan 2023)
12 – How Many Tears (Live at Budokan 2023)
13 – Perfect Gentleman (Live at Budokan 2023)
14 – Keeper Of The Seven Keys (Live at Budokan 2023)
15 – I Want Out (Live at Budokan 2023)

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Początki białostockiego zespołu HERMH sięgają 1993 roku.
W 1994 roku formacja nagrała i wydała swoje pierwsze demo „Oremus Peccatum (Refaim)„, a rok później ukazała się kolejna demówka – „Crying Crowns Of Trees” (gościnnie Adam „Nergal” Darski). Obydwa dema znalazły się na kompilacji „Echo” (1995). W 1996 roku ukazuje się „Taran„, czyli pierwszy studyjny album Białostoczan. W tym samym roku kapela podpisała kontrakt płytowy z renomowaną polską wytwórnią Pagan Records i 1997 wydała album „Angeldemon„, który był dużym krokiem naprzód w stosunku do poprzednich produkcji. Niestety w 1998 roku zespół rozpadł się, a wokalista Bart w 2003 roku wznowił działalność, którego skład uzupełnili muzycy takich grup jak Abused Majesty i Asgaard.

Po reaktywacji zespół dowodzony przez Bartka Krysiuka wydał EPki „Before the Eden – Awaiting the Fire” (2004) i „After the Fire – Ashes” (200), DVD „The Spiritual Nation Born” (2008) oraz albumy: „Eden’s Fire” (2006) oraz „Cold Blood Messiah” pod banderą renomowanej Mystic Production. W swej twórczości grupa nawiązuje do mitologii oraz historii wampiryzmu i mistycyzmu. Podczas działalności, zespół HERMH zagrał mnóstwo koncertów, między innymi z Vader, Behemoth, Asgaard, Closterkeller, Artrosis czy też Virgin Snatch i Blindead. W 2005 roku grupa wystąpiła na małej scenie prestiżowego festiwalu Metalmania. Po ostatnich koncertowych występach w 2013 roku, białostocka grupa przeszła w stan hibernacji.

Po 30 latach, Via Nocturna wydała kultowe demo podlaskich black metalowców z HERMH. „Oremus Peccatum (Refaim)” i ukazało się jako 6-panelowy digipak CD oraz ściśle limitowana do 44 sztuk biała kaseta. Muzyka na to wydawnictwo została ponownie poddana masteringowi w Hertz Studio przez braci Wiesławskich w 2006 roku. Za nową oprawę graficzną reedycji odpowiada Diana Sawicka z What the Moon Brings. Do sprzedaży trafiła również okolicznościowa koszulka. Premiera reedycji - 13 grudnia 2024 roku.



..::TRACK-LIST::..

1. Fallen Ancient Babiloon
2. Neverending War (Intro by Cemetary of Scream)
3. The Burning Bush
4. Troubled Outlines



..::OBSADA::..

Bart - wokal
Tom - gitara prowadząca, gitara akustyczna
Mark - klawisze
Bartek - gitara rytmiczna
Maciek - perkusja
Pieczara - bas (sesyjnie)



https://www.youtube.com/watch?v=SgXC6pSWYso



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Początki białostockiego zespołu HERMH sięgają 1993 roku.
W 1994 roku formacja nagrała i wydała swoje pierwsze demo „Oremus Peccatum (Refaim)„, a rok później ukazała się kolejna demówka – „Crying Crowns Of Trees” (gościnnie Adam „Nergal” Darski). Obydwa dema znalazły się na kompilacji „Echo” (1995). W 1996 roku ukazuje się „Taran„, czyli pierwszy studyjny album Białostoczan. W tym samym roku kapela podpisała kontrakt płytowy z renomowaną polską wytwórnią Pagan Records i 1997 wydała album „Angeldemon„, który był dużym krokiem naprzód w stosunku do poprzednich produkcji. Niestety w 1998 roku zespół rozpadł się, a wokalista Bart w 2003 roku wznowił działalność, którego skład uzupełnili muzycy takich grup jak Abused Majesty i Asgaard.

Po reaktywacji zespół dowodzony przez Bartka Krysiuka wydał EPki „Before the Eden – Awaiting the Fire” (2004) i „After the Fire – Ashes” (200), DVD „The Spiritual Nation Born” (2008) oraz albumy: „Eden’s Fire” (2006) oraz „Cold Blood Messiah” pod banderą renomowanej Mystic Production. W swej twórczości grupa nawiązuje do mitologii oraz historii wampiryzmu i mistycyzmu. Podczas działalności, zespół HERMH zagrał mnóstwo koncertów, między innymi z Vader, Behemoth, Asgaard, Closterkeller, Artrosis czy też Virgin Snatch i Blindead. W 2005 roku grupa wystąpiła na małej scenie prestiżowego festiwalu Metalmania. Po ostatnich koncertowych występach w 2013 roku, białostocka grupa przeszła w stan hibernacji.

Po 30 latach, Via Nocturna wydała kultowe demo podlaskich black metalowców z HERMH. „Oremus Peccatum (Refaim)” i ukazało się jako 6-panelowy digipak CD oraz ściśle limitowana do 44 sztuk biała kaseta. Muzyka na to wydawnictwo została ponownie poddana masteringowi w Hertz Studio przez braci Wiesławskich w 2006 roku. Za nową oprawę graficzną reedycji odpowiada Diana Sawicka z What the Moon Brings. Do sprzedaży trafiła również okolicznościowa koszulka. Premiera reedycji - 13 grudnia 2024 roku.



..::TRACK-LIST::..

1. Fallen Ancient Babiloon
2. Neverending War (Intro by Cemetary of Scream)
3. The Burning Bush
4. Troubled Outlines



..::OBSADA::..

Bart - wokal
Tom - gitara prowadząca, gitara akustyczna
Mark - klawisze
Bartek - gitara rytmiczna
Maciek - perkusja
Pieczara - bas (sesyjnie)



https://www.youtube.com/watch?v=SgXC6pSWYso



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

...( Info )...
Title: The Dawning Of The Son
Artist: Desert Near The End
Year: 2022
Genre: Power, Thrash-Metal
Country: Greece
Label: Boersma Records

Duration: 00:42:43
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01 - Break The Chains [00:04:56]
02 - Rise For Dominion [00:04:02]
03 - A Wolf Amongst Lions [00:04:23]
04 - Iron Rain [00:04:10]
05 - I Am Hell And Hell Is Me [00:06:48]
06 - Wound My Way [00:05:03]
07 - Obsidian Angel [00:06:33]
08 - Beyond The Gates [00:06:44]

...( Info )...
Title: Tides of Time
Artist: Desert Near The End
Year: 2024
Genre: Power, Thrash-Metal
Country: Greece

Duration: 00:56:17
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
1. City of Eternal Flame 07:44
2. Ascension 05:23
3. Oceans of Time 05:50
4. Children of Lethe 06:52
5. Half-Learned and Long Forgotten 05:59
6. Sunset Fields 05:13
7. Burn Like the Sun, Shine Like the Dawn 07:04
8. Damnation 07:46
9. In the North of Every Man's Heart.. 04:22

Lineup:
Alexandros Papandreou – Vocals
Spyros Vasilakis – Guitars
Jason Ioakeim – Guitars
Akis Prasinikas – Bass
Stelios Pepinidis – Drums

...( Info )...
Title: Profane
Artist: Klatter
Year: 2024
Genre: Thrash-Metal
Country: Portugal

Duration: 00:37:22
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Truth 03:44
02. Profane 04:09
03. Uncertainty 04:30
04. Utopia 05:21
05. The Run 06:06
06. Submerso 01:17
07. Dark Tear 05:26
08. Deadweight 06:46

...( Info )...
Title: Awaken The Chaos
Artist: Chainmorder
Year: 2024
Genre: Death, Thrash-Metal
Country: Finland

Duration: 00:43:34
Format/Codec: MP3
Audio bitrate: 320 kbps

...( TrackList )...
01. Intro 00:42
02. Awaken Sundown 04:11
03. Bite The Hand 03:23
04. Life Vs. Hate 04:17
05. I Will Not Fall 05:02
06. Insaned 03:26
07. Us The Forcefed 05:14
08. I Have Seen 05:30
09. Burn It Down 03:20
10. Forever Dying 03:38
11. Embrace The Chaos 04:46

...( Info )...

Artist: Helloween
Album: Live At Budokan
Genre: Heavy Power Metal
Publishing: Reigning Phoenix Music
Source: qobuz
Duration: 02:00:58
Codec: FLAC 24/44.1
Bitrate: Lossless|WEB-DL
Rip type: tracks


...( TrackList )...

01. Orbit (Live) (1:59)
02. Skyfall (Live) (12:52)
03. Eagle Fly Free (Live) (8:04)
04. Mass Pollution (Live) (4:58)
05. Future World (Live) (5:05)
06. Power (Live) (4:26)
07. Save Us (Live) (5:17)
08. Kai's Medley (Live) (16:07)
09. Forever And One (Neverland) (Live) (4:46)
10. Best Time (Live) (5:04)
11.Dr. Stein (Live) (5:55)
12. How Many Tears (Live) (12:21)
13. Perfect Gentleman (Live) (4:54)
14. Keeper Of The Seven Keys (Live) (20:46)
15. I Want Out (Live) (8:24)

...( TrackList )......( Info )...

Artist: Akronya
Title: Hara
Year: 2024
Genre: Post-Metal
Country: Italy
Duration: 00:55:33
Format/Codec: MP3
Audio bitrate: 320 kbps


...( TrackList )...

01. Bound By Chains 02:41
02. When The Big Sun 08:33
03. Bios & Zoe 07:42
04. Inward Eye 07:12
05. Forgetful 08:22
06. The Cruelest Age 05:25
07. Shantih 07:20
08. Before My Helpless Sight 08:18

...( Info )...

Artist: Dark Lightning
Album: The Demons We Create
Germany
Release date: 2024-12-06
Genre: Symphonic Metal
Format: FLAC (tracks)
Bitrate: 823-1016 kbps
Duration: 00:54:13


...( TrackList )...
01. Glimpse of Freedom [00:01:09]
02. Trapped Forever [00:04:31]
03. The Unknown Mind [00:04:33]
04. Into the Night Sky [00:03:10]
05. Hall of Tears [00:05:00]
06. Take Off [00:04:01]
07. The Lonely Ruler [00:05:38]
08. Solace in My Solitude [00:04:48]
09. Born Without a Heart [00:04:38]
10. Beautiful Beast [00:04:17]
11. Quest for Light [00:03:11]
12. The Demons We Create [00:09:12]