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Ostatnie 10 torrentów
Ostatnie 10 komentarzy
Wygląd torrentów:
Kategoria:
Muzyka
Gatunek:
Thrash Metal
Ilość torrentów:
32
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Debiutancki album powalającej thrash/crossover'owej załogi z Texasu! W składzie jeden z muzyków MAMMOTH GRINDER, HATRED SURGE! Dla fanów CRO-MAGS, VIO-LENCE, LEEWAY, EXODUS, NUCLEAR ASSAULT! Drawing from the sacred texts of the Cro-Mags, Vio-lence,Leeway, Exodus, and Nuclear Assault, Texas savages Power Trip have unleashed their debut album with Southern Lord. They leave in their wake a multitude of crushed generic and feeble contemporaries. POWER TRIP don’t emulate they properly channel the old-school energy of the old cross-over gods and add their own brand of modern thrash warfare. ""Manifest Decimation"" was recorded/produced by Arthur Rizk (War Hungry, Mother of Mercy, Inquistion). The recording is absolutely face-peeling and will ensure maximum head-banging from the hordes. ..::TRACK-LIST::.. 1. Manifest Decimation 04:33 2. Heretics Fork 04:02 3. Conditioned To Death 03:22 4. Murderers Row 03:52 5. Crossbreaker 03:46 6. Drown 04:45 7. Power Trip 03:52 8. Hammer Of Doubt 06:26 ..::OBSADA::.. Vocals - Riley Gale Lead Guitar, Rhythm Guitar, Bass - Blake Ibanez Bass - Chris Whetzel Drums, Guitar [Additional Leads] - Chris Ulsh https://www.youtube.com/watch?v=A1X2wg_hggA SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-08 12:42:51
Rozmiar: 82.86 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Debiutancki album powalającej thrash/crossover'owej załogi z Texasu! W składzie jeden z muzyków MAMMOTH GRINDER, HATRED SURGE! Dla fanów CRO-MAGS, VIO-LENCE, LEEWAY, EXODUS, NUCLEAR ASSAULT! Drawing from the sacred texts of the Cro-Mags, Vio-lence,Leeway, Exodus, and Nuclear Assault, Texas savages Power Trip have unleashed their debut album with Southern Lord. They leave in their wake a multitude of crushed generic and feeble contemporaries. POWER TRIP don’t emulate they properly channel the old-school energy of the old cross-over gods and add their own brand of modern thrash warfare. ""Manifest Decimation"" was recorded/produced by Arthur Rizk (War Hungry, Mother of Mercy, Inquistion). The recording is absolutely face-peeling and will ensure maximum head-banging from the hordes. ..::TRACK-LIST::.. 1. Manifest Decimation 04:33 2. Heretics Fork 04:02 3. Conditioned To Death 03:22 4. Murderers Row 03:52 5. Crossbreaker 03:46 6. Drown 04:45 7. Power Trip 03:52 8. Hammer Of Doubt 06:26 ..::OBSADA::.. Vocals - Riley Gale Lead Guitar, Rhythm Guitar, Bass - Blake Ibanez Bass - Chris Whetzel Drums, Guitar [Additional Leads] - Chris Ulsh https://www.youtube.com/watch?v=A1X2wg_hggA SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-08 12:39:13
Rozmiar: 273.02 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Voivod Sroivod. Nie łapię wizji progresywnego thrashu wg kanadyjskiej ekipy, natomiast Blind Illusion wielbię i czcę jak ojca swego i matkę swoją. A co to właściwie za ekipa? Ano w zespole udzielał się Larry LaLonde, gitarzysta Possessed i basista Les Claypool, którzy później spotkali się ponownie w jakimś Primus. Początki ślepej iluzji były jednak heavymetalowe, a głosu na pierwszych wydawnictwach z tamtego okresu udzielał David Godfrey. Ten jednak nie zagrzał tam miejsca na długo, a przez kolejne lata kalifornijska grupa była targana ciągłymi zmianami składu. W końcu jednak w szeregi zespołu wstąpiło 2/3 Primusa i w 1988 roku wydali album The Sane Asylum, pierdolone arcydzieło wypierdalające w kosmos lotem tnąco-koszącym. Thrashowe cięcia zostały pięknie splecione z motywami progresywnymi, a nawet jazzowymi. Wokale Marca Biedermanna przypominają nieco Jeffa Becerrę z okresu Beyond the Gates, świetnie tworząc mroczny, chłodny klimat bijący z wydawnictwa. Kompozycje skrzą się zmianami temp, nastroju, znakomitymi solówkami i partami podkreślającymi kunszt instrumentalistów. Takie Kamikaze to najlepsza thrashowa ballada ever, a takie Blood Shower czy Death Noise wyrywają z butów znakomitymi riffami. No właśnie, gitary - to, co goście na nich wyrabiają, zostawiają mnie z miną a la ten amerykański gówniarz z tego filmu, co leci w każde grudniowe święta. Nucleator What makes this album and this band unique? Well, there are quite a few things that should get your attention here. 1. Les Claypool was the bass player. 2. Larry LaLonde was one of the guitar players. 3. This album is pre-"Primus" material. 4. This is credited as the original thrash-progressive metal album. 5. It was produced by Metallica's Kirk Hammett. 6. It kicks major butt. With all of this going for it, why hasn't anyone made a bigger deal out of it? The vocals are sung by founder Marc Biedermann who sounds like he would have been your typical progressive metal singer if his voice hadn't already been thrashed. The album has this perfect attitude of being progressive rock's revenge to punk music as it plows under any punk band with an interesting trait, talent. While it has it's weaknesses such as not the best production in the world, it only makes it sound that much more authentic, almost like it was engineered in someone's basement. This really stands out on the track called "Kamikaze", which starts off a bit more mellow (compared to the preceding tracks) and Marc's vocals really suffer here and the mixing problems really show through. Even so, the guitar is brought to the fore, which is great, because you would almost swear you were listening to very early "Metallica" guitar solos at times. But then you get the thrash sound with "faster than the speed of light" drums and killer bass and guitar to match. Highlights that make this short album worthwhile are the track mentioned above along with "Death Noise", "Vicious Vision" and "Metamorphosis of a Monster", these songs are the most progressive as they wind there way through tempo shifts and meter changes, plus they show that this band was serious about making their crazy metal sound that was many steps above the typical hair-metal/pop-metal sounds that were around at the time. What ended up happening is an album that no one noticed would become the blueprint for future thrash metal and progressive metal bands to come, you know, the ones that are still out there even now. The things that keep this from being a masterpiece all have to do with the mixing and production. But if you can manage to make your way past this, which is actually not that hard to do if you listen to demos and early punk/thrash music a lot, then you may not even notice this. I really wish the bass and drums were mixed better, then this would have been an essential piece of work for Progressive Metal lovers. However, once you get used to the "lo-fi" mentality of it all, it really begins to grow on you. I really need to listen to the updated versions of this album (one released in 2007 and another in 2015) and see if they are any better, but I have managed to grow used to the sound on this album that I am afraid I will end up missing that more "garage" feeling that I have become used to when listening to this. One of these days, I will find a remastered copy, I'm sure, but I will still keep my original copy, which, by the way, is quite rare now. Unfortunately, the band would of course lose all of it's original members (except for Marc), and would have a hard time with making another album. It wouldn't be until 2010 before another album would be released, and the whole novelty of it all would be missing, along with the band line up. Sure there are rare demos out there to be found, but this album continues to be the one that needs to be heard, yet it continues to be ignored. With the legacy left behind by this band and this album, it is a shame that it is shunned by so many. Those that appreciate excellent raw talent will be able to see past the bad production and will listen to this excellent album with the respect it deserves. Of course, the longer tracks are the best, but I enjoy it all. You can't ignore the fact that this album and this band was extremely influential for progressive thrash metal. TCat ..::TRACK-LIST::.. 1. The Sane Asylum (1:37) 2. Blood Shower (3:53) 3. Vengeance is Mine (5:29) 4. Death Noise (7:08) 5. Kamakazi (5:06) 6. Smash the Crystal (3:29) 7. Vicious Visions (6:17) 8. Metamorphosis of a Monster (6:39) ..::OBSADA::.. Mark Biedermann - vocals, guitar Les Claypool - bass Larry Lalonde - guitar Mike Miner - drums https://www.youtube.com/watch?v=ZK4eKYVeu4g SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-01 12:02:31
Rozmiar: 93.55 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Voivod Sroivod. Nie łapię wizji progresywnego thrashu wg kanadyjskiej ekipy, natomiast Blind Illusion wielbię i czcę jak ojca swego i matkę swoją. A co to właściwie za ekipa? Ano w zespole udzielał się Larry LaLonde, gitarzysta Possessed i basista Les Claypool, którzy później spotkali się ponownie w jakimś Primus. Początki ślepej iluzji były jednak heavymetalowe, a głosu na pierwszych wydawnictwach z tamtego okresu udzielał David Godfrey. Ten jednak nie zagrzał tam miejsca na długo, a przez kolejne lata kalifornijska grupa była targana ciągłymi zmianami składu. W końcu jednak w szeregi zespołu wstąpiło 2/3 Primusa i w 1988 roku wydali album The Sane Asylum, pierdolone arcydzieło wypierdalające w kosmos lotem tnąco-koszącym. Thrashowe cięcia zostały pięknie splecione z motywami progresywnymi, a nawet jazzowymi. Wokale Marca Biedermanna przypominają nieco Jeffa Becerrę z okresu Beyond the Gates, świetnie tworząc mroczny, chłodny klimat bijący z wydawnictwa. Kompozycje skrzą się zmianami temp, nastroju, znakomitymi solówkami i partami podkreślającymi kunszt instrumentalistów. Takie Kamikaze to najlepsza thrashowa ballada ever, a takie Blood Shower czy Death Noise wyrywają z butów znakomitymi riffami. No właśnie, gitary - to, co goście na nich wyrabiają, zostawiają mnie z miną a la ten amerykański gówniarz z tego filmu, co leci w każde grudniowe święta. Nucleator What makes this album and this band unique? Well, there are quite a few things that should get your attention here. 1. Les Claypool was the bass player. 2. Larry LaLonde was one of the guitar players. 3. This album is pre-"Primus" material. 4. This is credited as the original thrash-progressive metal album. 5. It was produced by Metallica's Kirk Hammett. 6. It kicks major butt. With all of this going for it, why hasn't anyone made a bigger deal out of it? The vocals are sung by founder Marc Biedermann who sounds like he would have been your typical progressive metal singer if his voice hadn't already been thrashed. The album has this perfect attitude of being progressive rock's revenge to punk music as it plows under any punk band with an interesting trait, talent. While it has it's weaknesses such as not the best production in the world, it only makes it sound that much more authentic, almost like it was engineered in someone's basement. This really stands out on the track called "Kamikaze", which starts off a bit more mellow (compared to the preceding tracks) and Marc's vocals really suffer here and the mixing problems really show through. Even so, the guitar is brought to the fore, which is great, because you would almost swear you were listening to very early "Metallica" guitar solos at times. But then you get the thrash sound with "faster than the speed of light" drums and killer bass and guitar to match. Highlights that make this short album worthwhile are the track mentioned above along with "Death Noise", "Vicious Vision" and "Metamorphosis of a Monster", these songs are the most progressive as they wind there way through tempo shifts and meter changes, plus they show that this band was serious about making their crazy metal sound that was many steps above the typical hair-metal/pop-metal sounds that were around at the time. What ended up happening is an album that no one noticed would become the blueprint for future thrash metal and progressive metal bands to come, you know, the ones that are still out there even now. The things that keep this from being a masterpiece all have to do with the mixing and production. But if you can manage to make your way past this, which is actually not that hard to do if you listen to demos and early punk/thrash music a lot, then you may not even notice this. I really wish the bass and drums were mixed better, then this would have been an essential piece of work for Progressive Metal lovers. However, once you get used to the "lo-fi" mentality of it all, it really begins to grow on you. I really need to listen to the updated versions of this album (one released in 2007 and another in 2015) and see if they are any better, but I have managed to grow used to the sound on this album that I am afraid I will end up missing that more "garage" feeling that I have become used to when listening to this. One of these days, I will find a remastered copy, I'm sure, but I will still keep my original copy, which, by the way, is quite rare now. Unfortunately, the band would of course lose all of it's original members (except for Marc), and would have a hard time with making another album. It wouldn't be until 2010 before another album would be released, and the whole novelty of it all would be missing, along with the band line up. Sure there are rare demos out there to be found, but this album continues to be the one that needs to be heard, yet it continues to be ignored. With the legacy left behind by this band and this album, it is a shame that it is shunned by so many. Those that appreciate excellent raw talent will be able to see past the bad production and will listen to this excellent album with the respect it deserves. Of course, the longer tracks are the best, but I enjoy it all. You can't ignore the fact that this album and this band was extremely influential for progressive thrash metal. TCat ..::TRACK-LIST::.. 1. The Sane Asylum (1:37) 2. Blood Shower (3:53) 3. Vengeance is Mine (5:29) 4. Death Noise (7:08) 5. Kamakazi (5:06) 6. Smash the Crystal (3:29) 7. Vicious Visions (6:17) 8. Metamorphosis of a Monster (6:39) ..::OBSADA::.. Mark Biedermann - vocals, guitar Les Claypool - bass Larry Lalonde - guitar Mike Miner - drums https://www.youtube.com/watch?v=ZK4eKYVeu4g SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-01 11:58:46
Rozmiar: 298.13 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Nuclear Assault´s first full-length was released in 1986. Unbelievable, I was just 18 years old. But in contrast to me, it has not lost its juvenile appearance. Shit. In any case, all dams began to break as soon as the first tones of "Game Over" filled the room. Equipped with a perfect sound that combined power and pressure in a flawless manner, the band celebrated its very fresh kind of thrash metal. It was enriched with some elements of hardcore and punk, but any kind of primitiveness did not show up. The basic framework was definitely built by thrash. For example, the guitarists had the permission to perform some furious solos and the songs as a whole were not reduced to the essentials. Stormy high speed eruptions like "Radiation Sickness", insane outbursts of anger ("Hang the Pope") and dangerous mid-tempo numbers such as "Betrayal" merged harmoniously into the overall design. The songs of the first category played the dominant role. Driven by the precise drumming of Glenn Evans and the restless bass guitar of Danny Lilker, the band impressed with neckbreaking tracks. With the exception of the nonsensical "Mr. Softee Theme", every single song revealed an unstoppable force, albeit John Cyriis and his agents of steel did not play a part in this context. Especially the bass guitar benefitted from the highly effective sound of the vinyl. Lilker delivered the menacing element of Nuclear Assault´s sound so that there was nothing left to be desired in terms of heaviness and fierceness. But his bass performance was not the only trump card of the band. Despite its raging approach, the guys showed an unexpected talent in respect of writing catchy choruses. In unity with the sharp and edgy riffs, they led to an extremely explosive mixture. And there was a further surprising feature. Each and every song scored with a perfect flow. I was amazed to see that the band skimped on breaks without neglecting the necessary tension and liveliness. Every member of the group received song credits and if you think that I would like to call them perfect songwriters, then you are right. (Only two years later, I had to realize that they were not as perfect as I had thought.) Pieces like "After the Holocaust" or "Brain Death" would had been highlights on almost every other thrash album. But on "Game Over", they were just very good tracks which were surpassed by brilliant killers such as "Sin" or "Radiation Sickness", "Stranded in Hell" or "Vengeance". These fast-paced songs were belligerent, irresistible and glittered with the maximum degree of dynamic. But the entire debut distinguished itself through its individual character and its charisma. The visual design of the album went hand in hand with its excellent sonic content. Ed Repka, the undisputed grand master of cover artworks, had created an apocalyptic scenario. It marked one of his best works, in any event as long as we do not have to face this situation in reality. The inner sleeve collage payed tribute to the predominant trend of the mid-eighties and the varied lyrics were printed on the other side of the inner sleeve. "Brain Death", the final track, stood out because of the playtime of more than seven minutes. It marked a comparatively epic ending and served as the ultimate proof that Nuclear Assault belonged to the metal scene and not to the punk community. The instrumental part after the second chorus has often been blamed for repetitiveness since the release of the album. I understand this position. Nevertheless, I disagree. The song was neither too long nor boring and its repeatedly performed guitar lines were fantastic. With regard to all these strengths, this debut was and still is nothing less than a milestone. At the same time, it is the reason why I never lost the interest in the activities of the band. I am therefore delighted that they release a new four track EP in July. The teaser on Youtube sounds great and makes me curious for more. Nevertheless, one thing is certain. "Game Over", which was released on the same glorious day as "Reign in Blood", will remain unrivaled. However you look at it, the chemistry between the band members and the fascinating energy level cannot be reconstructed. 1986 is long ago. Felix 1666 1986 had some of the finest thrash albums of the 80's, that year saw the release of classics such as Master Of Puppets, Peace Sells, Reign In Blood, Possessed By Fire, Into The Dark Past, and Hate, Fear & Power. New York based thrash band Nuclear Assault however released one of the best albums that year. It was their debut "Game Over", released on Combat Records, let's see what this record has to offer... The record begins with the instrumental "Live, Suffer, Die" which contains some killer riffs. Guitarist and vocalist John Connelly is a fucking awesome vocalist, and is a riff machine. His vocals are among some of the most recognizable in all of thrash. Lead guitarist Anthony Bramante absolutely rips! His solos are fast, furious, and fit the music well. He along with Connelly are a awesome guitar duo. The bass legend Dan Lilker's bass is amazing here, especially on "Hang The Pope". His bass is highly audible, and he stands out. Drummer Glenn Evans does great on drums, he pounds those drums with such force, he also changes it up every now and then. Overall, he is good drummer. As for the highlights, "Betrayal" is definitely one of the best. The main riff is downright venomous, and Connelly's vocals are at it's best here when he sings these lines... "I always thought you were my friend But it seems that in the end You're a backstabbing fool I always trust you with me You're the mistress of deceit You're a backstabbing fool!" Those are actually all the lyrics for the song, Connelly sounds great on this track. "Hang The Pope" is only 46 seconds, but is one of the other highlights. HANG THE POPE, HANG THE POPE HANG HIM WITH A FUCKING ROPE! This song is arguably grindcore, after all Dan Lilker went on to play some grindcore in his band Extra Hot Sauce. "Brain Death is the album's epic, clocking in at 7 minutes! It begins with an amazing clean intro, followed with some fast riffs and awesome vocals. This track is packed full of riffs, there are many of them. This is a great way to close out the album. "Game Over" was one of the defining albums in thrash during the 80's. The album had some slight crossover influence, but overall this is old school thrash. The reason why I rate in 94% is because I feel that maybe one or two songs here are not so memorable. Overall this album is still a classic though, and I highly recommend it to fans of Anthrax, Stormtroopers of Death, Cryptic Slaughter, and Fatal Agent. ThrashFanatic ..::TRACK-LIST::.. Game Over 1. Live, Suffer, Die 1:08 2. Sin 3:25 3. Cold Steel 2:41 4. Betrayal 3:01 5. Radiation Sickness 2:49 6. Hang The Pope 0:46 7. After The Holocaust 3:44 8. Mr. Softee Theme 0:25 9. Stranded In Hell 3:39 10. Nuclear War 3:47 11. My America 0:29 12. Vengeance 2:51 13. Brain Death 7:16 The Plague 14. Game Over 2:38 15. Nightmares 3:57 16. Butt F**k 2:59 17. Justice 4:19 18. The Plague 4:55 19. Cross Of Iron 3:39 Half Live At The Hammersmith Odeon April 10th, 1989 20. Game Over 2:29 21. Nightmares 3:56 22. Butt Fuck 3:51 23. My America 0:38 24. Hang The Pope 0:49 ..::OBSADA::.. John Connelly - lead vocals, guitar Anthony Bramante - lead guitar Danny Lilker - bass Glenn Evans - drums Additional musicians: Chad McGloughlin - guest performance on 'Brain Death' https://www.youtube.com/watch?v=ZAkRecto-RY SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-01 10:31:51
Rozmiar: 164.96 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Nuclear Assault´s first full-length was released in 1986. Unbelievable, I was just 18 years old. But in contrast to me, it has not lost its juvenile appearance. Shit. In any case, all dams began to break as soon as the first tones of "Game Over" filled the room. Equipped with a perfect sound that combined power and pressure in a flawless manner, the band celebrated its very fresh kind of thrash metal. It was enriched with some elements of hardcore and punk, but any kind of primitiveness did not show up. The basic framework was definitely built by thrash. For example, the guitarists had the permission to perform some furious solos and the songs as a whole were not reduced to the essentials. Stormy high speed eruptions like "Radiation Sickness", insane outbursts of anger ("Hang the Pope") and dangerous mid-tempo numbers such as "Betrayal" merged harmoniously into the overall design. The songs of the first category played the dominant role. Driven by the precise drumming of Glenn Evans and the restless bass guitar of Danny Lilker, the band impressed with neckbreaking tracks. With the exception of the nonsensical "Mr. Softee Theme", every single song revealed an unstoppable force, albeit John Cyriis and his agents of steel did not play a part in this context. Especially the bass guitar benefitted from the highly effective sound of the vinyl. Lilker delivered the menacing element of Nuclear Assault´s sound so that there was nothing left to be desired in terms of heaviness and fierceness. But his bass performance was not the only trump card of the band. Despite its raging approach, the guys showed an unexpected talent in respect of writing catchy choruses. In unity with the sharp and edgy riffs, they led to an extremely explosive mixture. And there was a further surprising feature. Each and every song scored with a perfect flow. I was amazed to see that the band skimped on breaks without neglecting the necessary tension and liveliness. Every member of the group received song credits and if you think that I would like to call them perfect songwriters, then you are right. (Only two years later, I had to realize that they were not as perfect as I had thought.) Pieces like "After the Holocaust" or "Brain Death" would had been highlights on almost every other thrash album. But on "Game Over", they were just very good tracks which were surpassed by brilliant killers such as "Sin" or "Radiation Sickness", "Stranded in Hell" or "Vengeance". These fast-paced songs were belligerent, irresistible and glittered with the maximum degree of dynamic. But the entire debut distinguished itself through its individual character and its charisma. The visual design of the album went hand in hand with its excellent sonic content. Ed Repka, the undisputed grand master of cover artworks, had created an apocalyptic scenario. It marked one of his best works, in any event as long as we do not have to face this situation in reality. The inner sleeve collage payed tribute to the predominant trend of the mid-eighties and the varied lyrics were printed on the other side of the inner sleeve. "Brain Death", the final track, stood out because of the playtime of more than seven minutes. It marked a comparatively epic ending and served as the ultimate proof that Nuclear Assault belonged to the metal scene and not to the punk community. The instrumental part after the second chorus has often been blamed for repetitiveness since the release of the album. I understand this position. Nevertheless, I disagree. The song was neither too long nor boring and its repeatedly performed guitar lines were fantastic. With regard to all these strengths, this debut was and still is nothing less than a milestone. At the same time, it is the reason why I never lost the interest in the activities of the band. I am therefore delighted that they release a new four track EP in July. The teaser on Youtube sounds great and makes me curious for more. Nevertheless, one thing is certain. "Game Over", which was released on the same glorious day as "Reign in Blood", will remain unrivaled. However you look at it, the chemistry between the band members and the fascinating energy level cannot be reconstructed. 1986 is long ago. Felix 1666 1986 had some of the finest thrash albums of the 80's, that year saw the release of classics such as Master Of Puppets, Peace Sells, Reign In Blood, Possessed By Fire, Into The Dark Past, and Hate, Fear & Power. New York based thrash band Nuclear Assault however released one of the best albums that year. It was their debut "Game Over", released on Combat Records, let's see what this record has to offer... The record begins with the instrumental "Live, Suffer, Die" which contains some killer riffs. Guitarist and vocalist John Connelly is a fucking awesome vocalist, and is a riff machine. His vocals are among some of the most recognizable in all of thrash. Lead guitarist Anthony Bramante absolutely rips! His solos are fast, furious, and fit the music well. He along with Connelly are a awesome guitar duo. The bass legend Dan Lilker's bass is amazing here, especially on "Hang The Pope". His bass is highly audible, and he stands out. Drummer Glenn Evans does great on drums, he pounds those drums with such force, he also changes it up every now and then. Overall, he is good drummer. As for the highlights, "Betrayal" is definitely one of the best. The main riff is downright venomous, and Connelly's vocals are at it's best here when he sings these lines... "I always thought you were my friend But it seems that in the end You're a backstabbing fool I always trust you with me You're the mistress of deceit You're a backstabbing fool!" Those are actually all the lyrics for the song, Connelly sounds great on this track. "Hang The Pope" is only 46 seconds, but is one of the other highlights. HANG THE POPE, HANG THE POPE HANG HIM WITH A FUCKING ROPE! This song is arguably grindcore, after all Dan Lilker went on to play some grindcore in his band Extra Hot Sauce. "Brain Death is the album's epic, clocking in at 7 minutes! It begins with an amazing clean intro, followed with some fast riffs and awesome vocals. This track is packed full of riffs, there are many of them. This is a great way to close out the album. "Game Over" was one of the defining albums in thrash during the 80's. The album had some slight crossover influence, but overall this is old school thrash. The reason why I rate in 94% is because I feel that maybe one or two songs here are not so memorable. Overall this album is still a classic though, and I highly recommend it to fans of Anthrax, Stormtroopers of Death, Cryptic Slaughter, and Fatal Agent. ThrashFanatic ..::TRACK-LIST::.. Game Over 1. Live, Suffer, Die 1:08 2. Sin 3:25 3. Cold Steel 2:41 4. Betrayal 3:01 5. Radiation Sickness 2:49 6. Hang The Pope 0:46 7. After The Holocaust 3:44 8. Mr. Softee Theme 0:25 9. Stranded In Hell 3:39 10. Nuclear War 3:47 11. My America 0:29 12. Vengeance 2:51 13. Brain Death 7:16 The Plague 14. Game Over 2:38 15. Nightmares 3:57 16. Butt F**k 2:59 17. Justice 4:19 18. The Plague 4:55 19. Cross Of Iron 3:39 Half Live At The Hammersmith Odeon April 10th, 1989 20. Game Over 2:29 21. Nightmares 3:56 22. Butt Fuck 3:51 23. My America 0:38 24. Hang The Pope 0:49 ..::OBSADA::.. John Connelly - lead vocals, guitar Anthony Bramante - lead guitar Danny Lilker - bass Glenn Evans - drums Additional musicians: Chad McGloughlin - guest performance on 'Brain Death' https://www.youtube.com/watch?v=ZAkRecto-RY SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-09-01 10:27:55
Rozmiar: 562.35 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Kolejny amerykański zespół, o którym mało kto dzisiaj pamięta. Chociaż nie jest to dziwne, bo sformowali się w 1985 roku, a debiut Kill for Pleasure ukazał się dwa lata później, czyli tego samego roku co debiuty kapel z drugiej fali thrashu, m.in. Testament czy Death Angel. Inna sprawa jest taka, że longplay Blood Feast wyróżnia się na ich tle fatalnym brzmieniem, co było przypadłością kapel z New Renaissance Records. No słychać niestety, że produkowano płytę za równowartość chińskiej zupki w proszku i tamtejszego odpowiednika kultowej Amareny. Trzeba jednak oddać to, że grupa potrafiła zakląć w dźwiękach furię i agresję, która przebija z każdego utworu na krążku. Słowa uznania należą się gardłowemu Garry'emu Markovichovi, który zdziera swoje struny głosowe zawodowe, wyśpiewując teksty w super szybkich tempach niczym rozjuszony buhaj. Od strony instrumentalnej nie ma tu mowy o wirtuozerii, jest za to zarzynanie i nieustanna sieczka na najwyższych obrotach. Zaraz po wydaniu zespół słusznie zmienia wytwórnię na Colossal Records, ale co za tym idzie, porzucają świetne logo z krzyżem i rozdziawioną czachę, która szczerzyła się do tej pory z coverów ich materiałów. Zmieniła się także muzyka, czego dowodem drugie Chopping Block Blues. Brzmieniowo na plus, wreszcie słychać partie basowe, a reszta instrumentów też zyskała na selektywności. Blood Feast nie porzucił mordowania szybkimi riffami, ale aranżacyjnie kawałki są dużo bardziej wyrafinowane. Na uwagę zasługuje wykorzystanie klawiszy, które nadają często taką chorą atmosferę niczym z horrorów. Jest też na płycie cover mało znanej formacji punkowej Mighty Sphincter - Hitler Painted Roses. Wyszło ciekawie, choć nieco odstaje on na tle reszty materiału, widziałbym raczej go w bonusach albo na koniec płyty. Nucleator After the chaos that went on in Kill For Pleasure Blood Feast started heading in a more controlled & calm direction. Chopping Block Blues may not be as fast as the previous full length release but it’s an entertaining album none the less. Well to begin with the production on this album is great, it has a clear & controlled feel to it & is far from the barbarity that plagued Kill For Pleasure. Also this album has a few quirks to it in the production that I find slightly amusing, like the pre-chorus in Hunted, Stalked & Slain, with it’s warped and eerie feel. But musicianship is better this time around. The guitar work is slowed way down, but it’s taken a more technical step, not a huge step like Vendetta took, but it feels more intelligent than Kill For Pleasure. They’ve also gotten more controlled, but they still contain a decent amount of energy to keep one’s attention up, well except Hitler Painted Roses which I find a very dull cover tune. As for the solo work it’s decent, the best would be in Hunted, Stalked & Slain, with the darkened overtone & the speedy finish. That’s something I failed to mention before, the guitar when stacked up with their previous releases have this dark & sinister vibe to them, which I really dig personally. The rhythm section is decent as well. The percussion is fairly fast but is a bit undermixed, the bass as well. Their audible in most places but often you get these parts where it has a thin sound because of the undermixed rhythm section. But as for the vocals they’ve been toned down since their debut, Gary Markovitch took a more calm approach. Now he still has moments reminiscent of Kill For Pleasure but their mostly in the choruses of the songs. One other aspect of the music that is enjoy is the into/outro to the title track, with the Frenchmen yelling “Test the Guillotine!”. Chopping Block Blues is a good album with some minor faults that overall holds it back somewhat. But when compared to it predecessors this is quite the gem-89% TexanCycoThrasher ..::TRACK-LIST::.. 1. The Last Remains 2. Hunted, Stalked & Slain 3. Chopping Block Blues 4. Hitler Painted Roses 5. Dropping Like Flies 6. Born Innocent 7. Turn To Dust 8. The Chemically Imbalanced 9. Spasmodic 10. Remnants ..::OBSADA::.. Vocals - Gary Markovitch Bass - Louis Starita Drums - Kevin Kuzma Guitar - Mike Basden https://www.youtube.com/watch?v=Zd5QcDfsaNE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-08-21 17:23:07
Rozmiar: 101.80 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Kolejny amerykański zespół, o którym mało kto dzisiaj pamięta. Chociaż nie jest to dziwne, bo sformowali się w 1985 roku, a debiut Kill for Pleasure ukazał się dwa lata później, czyli tego samego roku co debiuty kapel z drugiej fali thrashu, m.in. Testament czy Death Angel. Inna sprawa jest taka, że longplay Blood Feast wyróżnia się na ich tle fatalnym brzmieniem, co było przypadłością kapel z New Renaissance Records. No słychać niestety, że produkowano płytę za równowartość chińskiej zupki w proszku i tamtejszego odpowiednika kultowej Amareny. Trzeba jednak oddać to, że grupa potrafiła zakląć w dźwiękach furię i agresję, która przebija z każdego utworu na krążku. Słowa uznania należą się gardłowemu Garry'emu Markovichovi, który zdziera swoje struny głosowe zawodowe, wyśpiewując teksty w super szybkich tempach niczym rozjuszony buhaj. Od strony instrumentalnej nie ma tu mowy o wirtuozerii, jest za to zarzynanie i nieustanna sieczka na najwyższych obrotach. Zaraz po wydaniu zespół słusznie zmienia wytwórnię na Colossal Records, ale co za tym idzie, porzucają świetne logo z krzyżem i rozdziawioną czachę, która szczerzyła się do tej pory z coverów ich materiałów. Zmieniła się także muzyka, czego dowodem drugie Chopping Block Blues. Brzmieniowo na plus, wreszcie słychać partie basowe, a reszta instrumentów też zyskała na selektywności. Blood Feast nie porzucił mordowania szybkimi riffami, ale aranżacyjnie kawałki są dużo bardziej wyrafinowane. Na uwagę zasługuje wykorzystanie klawiszy, które nadają często taką chorą atmosferę niczym z horrorów. Jest też na płycie cover mało znanej formacji punkowej Mighty Sphincter - Hitler Painted Roses. Wyszło ciekawie, choć nieco odstaje on na tle reszty materiału, widziałbym raczej go w bonusach albo na koniec płyty. Nucleator After the chaos that went on in Kill For Pleasure Blood Feast started heading in a more controlled & calm direction. Chopping Block Blues may not be as fast as the previous full length release but it’s an entertaining album none the less. Well to begin with the production on this album is great, it has a clear & controlled feel to it & is far from the barbarity that plagued Kill For Pleasure. Also this album has a few quirks to it in the production that I find slightly amusing, like the pre-chorus in Hunted, Stalked & Slain, with it’s warped and eerie feel. But musicianship is better this time around. The guitar work is slowed way down, but it’s taken a more technical step, not a huge step like Vendetta took, but it feels more intelligent than Kill For Pleasure. They’ve also gotten more controlled, but they still contain a decent amount of energy to keep one’s attention up, well except Hitler Painted Roses which I find a very dull cover tune. As for the solo work it’s decent, the best would be in Hunted, Stalked & Slain, with the darkened overtone & the speedy finish. That’s something I failed to mention before, the guitar when stacked up with their previous releases have this dark & sinister vibe to them, which I really dig personally. The rhythm section is decent as well. The percussion is fairly fast but is a bit undermixed, the bass as well. Their audible in most places but often you get these parts where it has a thin sound because of the undermixed rhythm section. But as for the vocals they’ve been toned down since their debut, Gary Markovitch took a more calm approach. Now he still has moments reminiscent of Kill For Pleasure but their mostly in the choruses of the songs. One other aspect of the music that is enjoy is the into/outro to the title track, with the Frenchmen yelling “Test the Guillotine!”. Chopping Block Blues is a good album with some minor faults that overall holds it back somewhat. But when compared to it predecessors this is quite the gem-89% TexanCycoThrasher ..::TRACK-LIST::.. 1. The Last Remains 2. Hunted, Stalked & Slain 3. Chopping Block Blues 4. Hitler Painted Roses 5. Dropping Like Flies 6. Born Innocent 7. Turn To Dust 8. The Chemically Imbalanced 9. Spasmodic 10. Remnants ..::OBSADA::.. Vocals - Gary Markovitch Bass - Louis Starita Drums - Kevin Kuzma Guitar - Mike Basden https://www.youtube.com/watch?v=Zd5QcDfsaNE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-08-21 17:19:50
Rozmiar: 338.01 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Ultimate Extreme Metal attack by Bio-Cancer, back with a Revengeance and coming to annihilate all Metal stages world wide! Bio-Cancer is an extreme thrash metal band based in Athens, Greece, formed in 2010, and was one of the leading acts in the emerging Thrash Metal scene of the early ‘10s in Greece. Since then, 2 full length albums have been released. The first one, “Ear Piercing Thrash” (2012) was released by Athens Thrash Attack Records, garnered huge attention from the global Thrash Metal scene, establishing the band’s following and got them recognized as one of the top Thrash Metal albums of the year in many lists. The second record “Tormenting The Innocent” (2015) was released by Candlelight Records and its reception was very favorable from fans and media alike. If you would begin to write these Greek speedsters off as another pseudo-crossover failure, then you are missing out on some incredibly tight and entertaining genuine Thrash Metal , written for the 21st century audience. On the front of live performances, Bio-Cancer have toured Europe multiple times, along with bands like Marduk, Origin, Immolation, Voivod etc. and have played many individual shows and festivals, in more than 30 countries around the world. In addition, Bio-Cancer has completed a month-long headline tour in China, being the first Greek metal band ever playing there. “Entertaining” really is the key word here. During the Covid-19 lockdowns and restrictions, Bio-Cancer used the downtime to complete the composition, recording and production of the 3rd full-length album. Bio-Cancer seem to fill every nook and cranny of their sound with subtle compositional devices which make a huge difference to the overall effect. A bass lick here, a drum fill there - it all adds up to a unique and memorable experience. Speaking of vocalist Lefteris; he puts on one hell of a performance here, completely balls-to-the-wall insane shrieks and a vitriolic lyrical delivery are the norm for this madman. In search of a unique style and identity, and wanting to escape from the strict old school Thrash Metal boundaries, the band created its most refined material yet. Original riffage, tuneful solos, a range of dynamics, and most importantly, a variation in pace. Death and Thrash Metal elements, combined with atmospheric and melodic parts, characterized by diverse tempos are the core parts of the 3rd full-length album, titled “Revengeance” and is by far the most mature piece of music Bio-Cancer has ever composed in 10+ years of existence. The production quality is stellar: the guitars and bass work together as one well-oiled machine, Tomek’s blast-beats are always highlighted superbly and the gang-shouts become an integral part of the compositions due to the gravitas given to them. The songs all have something that will make you want to come back and hear it again and again. ..::TRACK-LIST::.. 1. Citizen... Down! 05:05 2. 44 Days in Hell 06:35 3. Footprints on My Back 05:19 4. Revengeance 05:11 5. Dream Merchants 06:46 6. Swiping Life Away 04:54 7. Underdog (Against the Odds) 05:57 8. Bludgeoning Skullcrushing Mayhem 04:29 ..::OBSADA::.. Lefteris Hatziandreou - Vocals Thanasis Andreou - Guitars Stavros Marinos - Guitars, Backing Vocals Giannis Lagoutaris - Bass Guitar, Backing Vocals Tomek Solomonidis - Drums https://www.youtube.com/watch?v=doNAQ9eqlHo SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-08-17 08:36:24
Rozmiar: 103.25 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Ultimate Extreme Metal attack by Bio-Cancer, back with a Revengeance and coming to annihilate all Metal stages world wide! Bio-Cancer is an extreme thrash metal band based in Athens, Greece, formed in 2010, and was one of the leading acts in the emerging Thrash Metal scene of the early ‘10s in Greece. Since then, 2 full length albums have been released. The first one, “Ear Piercing Thrash” (2012) was released by Athens Thrash Attack Records, garnered huge attention from the global Thrash Metal scene, establishing the band’s following and got them recognized as one of the top Thrash Metal albums of the year in many lists. The second record “Tormenting The Innocent” (2015) was released by Candlelight Records and its reception was very favorable from fans and media alike. If you would begin to write these Greek speedsters off as another pseudo-crossover failure, then you are missing out on some incredibly tight and entertaining genuine Thrash Metal , written for the 21st century audience. On the front of live performances, Bio-Cancer have toured Europe multiple times, along with bands like Marduk, Origin, Immolation, Voivod etc. and have played many individual shows and festivals, in more than 30 countries around the world. In addition, Bio-Cancer has completed a month-long headline tour in China, being the first Greek metal band ever playing there. “Entertaining” really is the key word here. During the Covid-19 lockdowns and restrictions, Bio-Cancer used the downtime to complete the composition, recording and production of the 3rd full-length album. Bio-Cancer seem to fill every nook and cranny of their sound with subtle compositional devices which make a huge difference to the overall effect. A bass lick here, a drum fill there - it all adds up to a unique and memorable experience. Speaking of vocalist Lefteris; he puts on one hell of a performance here, completely balls-to-the-wall insane shrieks and a vitriolic lyrical delivery are the norm for this madman. In search of a unique style and identity, and wanting to escape from the strict old school Thrash Metal boundaries, the band created its most refined material yet. Original riffage, tuneful solos, a range of dynamics, and most importantly, a variation in pace. Death and Thrash Metal elements, combined with atmospheric and melodic parts, characterized by diverse tempos are the core parts of the 3rd full-length album, titled “Revengeance” and is by far the most mature piece of music Bio-Cancer has ever composed in 10+ years of existence. The production quality is stellar: the guitars and bass work together as one well-oiled machine, Tomek’s blast-beats are always highlighted superbly and the gang-shouts become an integral part of the compositions due to the gravitas given to them. The songs all have something that will make you want to come back and hear it again and again. ..::TRACK-LIST::.. 1. Citizen... Down! 05:05 2. 44 Days in Hell 06:35 3. Footprints on My Back 05:19 4. Revengeance 05:11 5. Dream Merchants 06:46 6. Swiping Life Away 04:54 7. Underdog (Against the Odds) 05:57 8. Bludgeoning Skullcrushing Mayhem 04:29 ..::OBSADA::.. Lefteris Hatziandreou - Vocals Thanasis Andreou - Guitars Stavros Marinos - Guitars, Backing Vocals Giannis Lagoutaris - Bass Guitar, Backing Vocals Tomek Solomonidis - Drums https://www.youtube.com/watch?v=doNAQ9eqlHo SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-08-17 08:32:43
Rozmiar: 347.36 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Po raz pierwszy za mikrofonem zabrakło Roberta Stankiewicza. W 2010 roku jego miejsce zajął Michał "Mish" Jarski, znany z Xanadu. Przed wydaniem "Out Of Anger" nastąpiła również zmiana na stanowisku basisty - Radosława Zwolińskiego zastąpił Jakub Kubasiński. W tak odmienionym składzie jesienią 2011 r. zespół wkroczył do ZED Studio aby nagrać nowy album. Płyta, która wybrzmiewa w głośnikach w pewien sposób różni się do poprzednich nagrań. Alastor wkracza w rejony bliższe nowoczesnemu hardcore’owi co w połączeniu z wokalem Misha daje niesamowity efekt. Michał potrafi płynnie przechodzić od melodyjnego śpiewu do growl’u, co urozmaica poszczególne kawałki. Oczywiście panowie nie zapomnieli o swoich thrashmetalowych korzeniach, które dalej stanowią główny szkielet kompozycji. Większość utworów utrzymana jest w szybkim tempie, wyjątkiem może być nieco wolniejszy, tytułowy, "Out of Anger (In Your Face)". Na płycie znajdziemy kawałki idealnie nadające się na występy przed publicznością. Doskonałym przykładem jest "Crawling" z częstymi zmianami tempa oraz zawierającym chóralnie wykrzyczany refren. "Hatemate" rozpoczyna się niemal metalcore’owym intro, aby po chwili ruszyć z miejsca mocnym, wspartym riffem jakby z southern metalowych okolic. Na albumie znalazły się również utwory, w których wystąpili goście. W nieźle zaaranżowanym "Real Face" pojawił się Bartosz "Barton" Szarka znany z Lostbone, natomiast w "Beaten" zespół wspomogli wokalista Adam "Baryła" Bryłka i gitarzysta Lech "Blackpitfather" Śmiechowicz na co dzień występujący w Horrorscope. Jedynym mankamentem "Out Of Anger" jest… wokalista. O ile, tak jak wcześniej wspomniałem, warsztatowo niczego nie można mu zarzucić, tak jeżeli chodzi o śpiewanie w języku angielskim, momentami Mishu zaczyna kaleczyć ten język. Przy jednokrotnym kontakcie z albumem nie stanowi to problemu, natomiast przy częstszym odtwarzaniu zaczyna to przeszkadzać. Nie zmienia to faktu, że na nowej płycie Alastor nie bierze jeńców. "Out Of Anger" jest esencją ciągłego rozwoju formacji, co tłumaczy zmiany w brzmieniu utworów. Krążek do wielokrotnego słuchania. Marcin Czostek Pozamiatali mnie tym albumem… Świetna produkcja na światowym poziomie (niezawodne ZED Studio), kipiące ciekawymi pomysłami i rozwiązaniami kompozycje – Alastor w nowym składzie przypomina się fanom thrashu w wielkim stylu. „Out of Anger” to pierwsza płyta w dyskografii bardzo zasłużonej – acz niedocenianej i mającej często „pod górkę” – kapeli z Kutna, na której nie śpiewa Robert Stankiewicz. Za mikrofonem stanął Mish Jarski, znany przede wszystkim z … progrockowej grupy Xanadu. Spokojnie: Mish wśród swoich wokalnych idoli wymienia Phila Anselmo, więc nie ma mowy o żadnym złagodzeniu stylu. Wręcz przeciwnie – tak ciężko i agresywnie Alastor nie brzmiał nigdy wcześniej. W końcu tytuł zobowiązuje… To co napisałem powyżej nie oznacza, że płyta jest jednowymiarowa, bądź monotonna Zespół umiejętnie żongluje nastrojami. „Beaten”, który z niesamowitą siłą wprowadza w ten materiał, otwiera akustyczny wstęp, spokojniejsze fragmenty fajnie urozmaicają też inne kawałki. Jarski również stara się różnicować swoje partie wokalne, sprawdza zarówno się w tych agresywnych, jak i zaśpiewanych „czystym” głosem. Nie ma sensu się rozpisywać… Alastor przygotował kawał zajebistej muzy, na „Out of Anger” nie bierze jeńców. Wypada znać! Robert Dłucik Taka marka jak Alastor wydaje się być może nie niezniszczalna, ale sądząc po materiale zawartym na ciągle jeszcze gorącym krążku zespołu – z pewnością porządnie wzmocniona i pewna siebie. Formacja przygotowała płytę o klasycznej długości – 8 utworów, niecałe 43 minuty, ale brzmiącą bardzo nowocześnie i niestroniącą od wykorzystywania także tych niekoniecznie tradycyjnie thrashowych schematów; przy tym nie sposób nie dostrzec wyraźnego, autorskiego szlifu – charakterystycznych zmian tempa czy solówek. Idealnie słychać takie mieszanie różnych patentów chociażby w „Out Of Anger (In Your Face)”, w tej kompozycji wyjątkowo duże wrażenie robi nagłe perkusyjne przejście i wkroczenie motorycznego, bujającego riffu, podbitego agresywną, masywną sekcją rytmiczną. Cofnijmy się jednak do początku listy utworów. Otwierający album „Beaten” po mylącym, delikatnym gitarowym wstępie atakuje perkusyjną kanonadą i miażdżącym gitarowym ciężarem. Tę najdłuższą na płycie kompozycję przecina odjechana, lecz melodyjna solówka, w ciekawy sposób przełamująca strukturę utworu. Świetny kawałek, pomimo długości z pewnością będzie koncertowym strzałem w dziesiątkę – szczególnie ze względu na wgniatające w ziemię, w połączeniu z niesamowitym groove’em, skandowanie. Jest to też pierwszy z dwóch fragmentów płyty, w którym udzielają się zaproszeni do nagrań goście. W „Beaten” są to dwaj członkowie thrashowego Horrorscope: wokalista Adam „Baryła” Bryłka i gitarzysta Lech „Blackpitfather” Śmiechowicz. „Look At Me”, utwór, który pojawił się w internecie kilka tygodni przed premierą „Out Of Anger”, to nieco bardziej klasycznie thrashowa kompozycja, szybka i na swój sposób przebojowa oraz… szalona – za sprawą trącących psychodelicznym klimatem gitarowych solówek. W „Real Face” słyszymy gościnnie udzielającego się Bartosza „Bartona” Szarka – jego growlowane partie wokalne tworzą zgrabny duet z czystym śpiewem Jarskiego. Ponadto ciężkie riffowanie równoważone jest wplecionymi w aranżację dźwiękami gitary akustycznej. Na miano „przeboju” zasługuje również „Righteous Kill” z zadziornym refrenem i odrobinę połamaną strukturą rytmiczną. Ostatni na liście „My Soul” oparty jest na jednym z najbardziej zapadających w pamięć riffów z „Out Of Anger”, kontrastującym z bardzo melodyjnymi zagrywkami gitarowymi. Ten dość mroczny, tajemniczy utwór zdobi piękna solówka, zagrana na akustycznym podkładzie – to prawdziwy aranżacyjny i kompozycyjny majstersztyk. Na koniec wspomnę jeszcze o brzmieniu – idealnym dla takiej muzyki: mięsistym i selektywnym, z naciskiem na świetnie nagraną perkusję i wyraźnie brzmiący bas. Dobrze, że Alastor nie uległ trendowi nakazującemu „spłaszczanie” partii gitary basowej – dzięki temu otrzymujemy materiał z jednej strony bardzo nowoczesny, z drugiej – nieodcinający się gwałtownie od starych, thrashowych standardów. Spójna, mroczna atmosfera całości i teksty dodatkowo przemawiają na korzyść „Out Of Anger”. Krótko mówiąc: znakomity powrót w nowym składzie. Dawid Josz ..::TRACK-LIST::.. 1. Beaten 2. Look at Me 3. Real Face 4. Crawling 5. Out of Anger (In Your Face) 6. Righteous Kill 7. Hatemate 8. My Soul ..::OBSADA::.. Sławomir Bryłka - Drums, Vocals (backing) Mariusz Matuszewski - Guitars, Vocals (backing) Mish Jarski - Vocals Jakub Kubasiński - Bass Artur 'Nacho' Banach - Guitars https://www.youtube.com/watch?v=hb7kqGJGwbM SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-07-12 11:13:26
Rozmiar: 99.14 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Po raz pierwszy za mikrofonem zabrakło Roberta Stankiewicza. W 2010 roku jego miejsce zajął Michał "Mish" Jarski, znany z Xanadu. Przed wydaniem "Out Of Anger" nastąpiła również zmiana na stanowisku basisty - Radosława Zwolińskiego zastąpił Jakub Kubasiński. W tak odmienionym składzie jesienią 2011 r. zespół wkroczył do ZED Studio aby nagrać nowy album. Płyta, która wybrzmiewa w głośnikach w pewien sposób różni się do poprzednich nagrań. Alastor wkracza w rejony bliższe nowoczesnemu hardcore’owi co w połączeniu z wokalem Misha daje niesamowity efekt. Michał potrafi płynnie przechodzić od melodyjnego śpiewu do growl’u, co urozmaica poszczególne kawałki. Oczywiście panowie nie zapomnieli o swoich thrashmetalowych korzeniach, które dalej stanowią główny szkielet kompozycji. Większość utworów utrzymana jest w szybkim tempie, wyjątkiem może być nieco wolniejszy, tytułowy, "Out of Anger (In Your Face)". Na płycie znajdziemy kawałki idealnie nadające się na występy przed publicznością. Doskonałym przykładem jest "Crawling" z częstymi zmianami tempa oraz zawierającym chóralnie wykrzyczany refren. "Hatemate" rozpoczyna się niemal metalcore’owym intro, aby po chwili ruszyć z miejsca mocnym, wspartym riffem jakby z southern metalowych okolic. Na albumie znalazły się również utwory, w których wystąpili goście. W nieźle zaaranżowanym "Real Face" pojawił się Bartosz "Barton" Szarka znany z Lostbone, natomiast w "Beaten" zespół wspomogli wokalista Adam "Baryła" Bryłka i gitarzysta Lech "Blackpitfather" Śmiechowicz na co dzień występujący w Horrorscope. Jedynym mankamentem "Out Of Anger" jest… wokalista. O ile, tak jak wcześniej wspomniałem, warsztatowo niczego nie można mu zarzucić, tak jeżeli chodzi o śpiewanie w języku angielskim, momentami Mishu zaczyna kaleczyć ten język. Przy jednokrotnym kontakcie z albumem nie stanowi to problemu, natomiast przy częstszym odtwarzaniu zaczyna to przeszkadzać. Nie zmienia to faktu, że na nowej płycie Alastor nie bierze jeńców. "Out Of Anger" jest esencją ciągłego rozwoju formacji, co tłumaczy zmiany w brzmieniu utworów. Krążek do wielokrotnego słuchania. Marcin Czostek Pozamiatali mnie tym albumem… Świetna produkcja na światowym poziomie (niezawodne ZED Studio), kipiące ciekawymi pomysłami i rozwiązaniami kompozycje – Alastor w nowym składzie przypomina się fanom thrashu w wielkim stylu. „Out of Anger” to pierwsza płyta w dyskografii bardzo zasłużonej – acz niedocenianej i mającej często „pod górkę” – kapeli z Kutna, na której nie śpiewa Robert Stankiewicz. Za mikrofonem stanął Mish Jarski, znany przede wszystkim z … progrockowej grupy Xanadu. Spokojnie: Mish wśród swoich wokalnych idoli wymienia Phila Anselmo, więc nie ma mowy o żadnym złagodzeniu stylu. Wręcz przeciwnie – tak ciężko i agresywnie Alastor nie brzmiał nigdy wcześniej. W końcu tytuł zobowiązuje… To co napisałem powyżej nie oznacza, że płyta jest jednowymiarowa, bądź monotonna Zespół umiejętnie żongluje nastrojami. „Beaten”, który z niesamowitą siłą wprowadza w ten materiał, otwiera akustyczny wstęp, spokojniejsze fragmenty fajnie urozmaicają też inne kawałki. Jarski również stara się różnicować swoje partie wokalne, sprawdza zarówno się w tych agresywnych, jak i zaśpiewanych „czystym” głosem. Nie ma sensu się rozpisywać… Alastor przygotował kawał zajebistej muzy, na „Out of Anger” nie bierze jeńców. Wypada znać! Robert Dłucik Taka marka jak Alastor wydaje się być może nie niezniszczalna, ale sądząc po materiale zawartym na ciągle jeszcze gorącym krążku zespołu – z pewnością porządnie wzmocniona i pewna siebie. Formacja przygotowała płytę o klasycznej długości – 8 utworów, niecałe 43 minuty, ale brzmiącą bardzo nowocześnie i niestroniącą od wykorzystywania także tych niekoniecznie tradycyjnie thrashowych schematów; przy tym nie sposób nie dostrzec wyraźnego, autorskiego szlifu – charakterystycznych zmian tempa czy solówek. Idealnie słychać takie mieszanie różnych patentów chociażby w „Out Of Anger (In Your Face)”, w tej kompozycji wyjątkowo duże wrażenie robi nagłe perkusyjne przejście i wkroczenie motorycznego, bujającego riffu, podbitego agresywną, masywną sekcją rytmiczną. Cofnijmy się jednak do początku listy utworów. Otwierający album „Beaten” po mylącym, delikatnym gitarowym wstępie atakuje perkusyjną kanonadą i miażdżącym gitarowym ciężarem. Tę najdłuższą na płycie kompozycję przecina odjechana, lecz melodyjna solówka, w ciekawy sposób przełamująca strukturę utworu. Świetny kawałek, pomimo długości z pewnością będzie koncertowym strzałem w dziesiątkę – szczególnie ze względu na wgniatające w ziemię, w połączeniu z niesamowitym groove’em, skandowanie. Jest to też pierwszy z dwóch fragmentów płyty, w którym udzielają się zaproszeni do nagrań goście. W „Beaten” są to dwaj członkowie thrashowego Horrorscope: wokalista Adam „Baryła” Bryłka i gitarzysta Lech „Blackpitfather” Śmiechowicz. „Look At Me”, utwór, który pojawił się w internecie kilka tygodni przed premierą „Out Of Anger”, to nieco bardziej klasycznie thrashowa kompozycja, szybka i na swój sposób przebojowa oraz… szalona – za sprawą trącących psychodelicznym klimatem gitarowych solówek. W „Real Face” słyszymy gościnnie udzielającego się Bartosza „Bartona” Szarka – jego growlowane partie wokalne tworzą zgrabny duet z czystym śpiewem Jarskiego. Ponadto ciężkie riffowanie równoważone jest wplecionymi w aranżację dźwiękami gitary akustycznej. Na miano „przeboju” zasługuje również „Righteous Kill” z zadziornym refrenem i odrobinę połamaną strukturą rytmiczną. Ostatni na liście „My Soul” oparty jest na jednym z najbardziej zapadających w pamięć riffów z „Out Of Anger”, kontrastującym z bardzo melodyjnymi zagrywkami gitarowymi. Ten dość mroczny, tajemniczy utwór zdobi piękna solówka, zagrana na akustycznym podkładzie – to prawdziwy aranżacyjny i kompozycyjny majstersztyk. Na koniec wspomnę jeszcze o brzmieniu – idealnym dla takiej muzyki: mięsistym i selektywnym, z naciskiem na świetnie nagraną perkusję i wyraźnie brzmiący bas. Dobrze, że Alastor nie uległ trendowi nakazującemu „spłaszczanie” partii gitary basowej – dzięki temu otrzymujemy materiał z jednej strony bardzo nowoczesny, z drugiej – nieodcinający się gwałtownie od starych, thrashowych standardów. Spójna, mroczna atmosfera całości i teksty dodatkowo przemawiają na korzyść „Out Of Anger”. Krótko mówiąc: znakomity powrót w nowym składzie. Dawid Josz ..::TRACK-LIST::.. 1. Beaten 2. Look at Me 3. Real Face 4. Crawling 5. Out of Anger (In Your Face) 6. Righteous Kill 7. Hatemate 8. My Soul ..::OBSADA::.. Sławomir Bryłka - Drums, Vocals (backing) Mariusz Matuszewski - Guitars, Vocals (backing) Mish Jarski - Vocals Jakub Kubasiński - Bass Artur 'Nacho' Banach - Guitars https://www.youtube.com/watch?v=hb7kqGJGwbM SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-07-12 11:09:36
Rozmiar: 329.14 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
Dla mnie osobiście, kultowa płyta niemieckich thrashers'ów! ..::OPIS::.. You maybe cannot imagine how much I turned happy when I found this album on cassette in a second hand shop. Assassin is a great band and this first album, The Upcoming Terror is definitely a cult in the thrash scene of the 80s. They might not be well-known as other bands are but surely their music worth more than a simple mention. The years in which this debut was put out were the years in which the thrash metal was reaching the top in inspiration and songwriting. The fury of the first wave was becoming also a bit more technical and mature if we want, without losing the original impact and pureness. In this album, the thrash metal and the classic speed metal clash together to create the first assault, “Forbidden Reality”. The introduction is dark and made of strange noises and explosions before the first, mid-paced riffs enter. The apocalyptic touch never fades away as we go on in intensity. The production is simple and direct, conserving the pureness for this great genre. The drums are inevitably 80s style so with a loud volume and hammering sounds, especially for the bass drums. The lead lines do a great work before the sudden up tempo restart. The guitars are now on fast palm muting riffs and shredded solo. The drums are always on speed but we can also remark a good way to switch of tempo. The vocals are the classical German thrash ones with that angry and raspy tonality. They are a sort of way between the ones by Mille and Schmier. The tremolo riffs are for the less impulsive parts, introducing the gloomy, heavy mid-paced sections. “Nemesis” has a truly schizophrenic and almost death/thrash beginning with few stops. The solos are intense as the music is, with lots of uncompromised shreds and fast notes. Fuck, the violence is something unbelievable here and the structures are also able to be catchy! I mean, the riffs have the facility to be always remembered even if the songs are so brutal. The speed metal elements can be found in bigger quantities in the following “Fight” and the classic Teutonic touch is always present. The galloping riffs on the mid-paced sections sound so damned heavy but the restarts are even blowing. “The Last Man” features a bass intro and the mid-paced progression follows darker paths with lots of dynamic restarts with terrific drums rolls to mosh the impossible. The frantic power of this band seems to know no limits and they like to massacre our ears. Changing the cassette side doesn’t bring variations and that’s better for my tastes. “Assassin”, however, is somehow more reflexive. The band now displays all its power and goodness on the arpeggios to create a melodic introduction. Soon the electric guitars enter as the melodic touch remains unvaried. This time the mid-paced progression is preferred but the refrain is more recognizable. “Holy Terror” returns to impulsive paces, taking the inspiration from the few, final restarts of the track before. The guitars are unstoppable…hooks, tremolos, palm muting and a long solo section by the end…unbelievable. This is straightforward brutality as the vocals set on truly nasty and schizophrenic tonalities to complete the entire scenario. “Bullets” features a long drums intro to follow on high speed up tempo. The brutality is again on tremendous levels as the refrain cannot come out from my mind. The mid-paced section contains the dark and apocalyptic solos. The final “Speed of Light” says everything by its title. The tremolo riffing is just viciously dark but with the palm muting they add more violence. The up tempo seems neverending. The dynamism and the completeness of these songs is something truly enviable. They always manages to put few more melodic inserts for the solos but the rest is incredibly vicious and compact and so it is for the 99,5% of this unmatchable album. Believe me, if you truly love thrash you cannot miss this one. This is intensity, this is attitude and this is pure THRASH. Christi ..::TRACK-LIST::.. 1. Forbidden Reality 5:37 2. Nemesis 3:56 3. Fight (To Stop The Tyranny) 2:33 4. The Last Man 6:59 5. Assassin 6:01 6. Holy Terror 4:59 7. Bullets 4:18 8. Speed Of Light 2:53 ..::OBSADA::.. Vocals - Robert Bass - Lulle Drums - Psycho Lead Guitar - Dinko, Scholli https://www.youtube.com/watch?v=4fMuoI2s3fE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-06-30 08:33:06
Rozmiar: 85.84 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
Dla mnie osobiście, kultowa płyta niemieckich thrashers'ów! ..::OPIS::.. You maybe cannot imagine how much I turned happy when I found this album on cassette in a second hand shop. Assassin is a great band and this first album, The Upcoming Terror is definitely a cult in the thrash scene of the 80s. They might not be well-known as other bands are but surely their music worth more than a simple mention. The years in which this debut was put out were the years in which the thrash metal was reaching the top in inspiration and songwriting. The fury of the first wave was becoming also a bit more technical and mature if we want, without losing the original impact and pureness. In this album, the thrash metal and the classic speed metal clash together to create the first assault, “Forbidden Reality”. The introduction is dark and made of strange noises and explosions before the first, mid-paced riffs enter. The apocalyptic touch never fades away as we go on in intensity. The production is simple and direct, conserving the pureness for this great genre. The drums are inevitably 80s style so with a loud volume and hammering sounds, especially for the bass drums. The lead lines do a great work before the sudden up tempo restart. The guitars are now on fast palm muting riffs and shredded solo. The drums are always on speed but we can also remark a good way to switch of tempo. The vocals are the classical German thrash ones with that angry and raspy tonality. They are a sort of way between the ones by Mille and Schmier. The tremolo riffs are for the less impulsive parts, introducing the gloomy, heavy mid-paced sections. “Nemesis” has a truly schizophrenic and almost death/thrash beginning with few stops. The solos are intense as the music is, with lots of uncompromised shreds and fast notes. Fuck, the violence is something unbelievable here and the structures are also able to be catchy! I mean, the riffs have the facility to be always remembered even if the songs are so brutal. The speed metal elements can be found in bigger quantities in the following “Fight” and the classic Teutonic touch is always present. The galloping riffs on the mid-paced sections sound so damned heavy but the restarts are even blowing. “The Last Man” features a bass intro and the mid-paced progression follows darker paths with lots of dynamic restarts with terrific drums rolls to mosh the impossible. The frantic power of this band seems to know no limits and they like to massacre our ears. Changing the cassette side doesn’t bring variations and that’s better for my tastes. “Assassin”, however, is somehow more reflexive. The band now displays all its power and goodness on the arpeggios to create a melodic introduction. Soon the electric guitars enter as the melodic touch remains unvaried. This time the mid-paced progression is preferred but the refrain is more recognizable. “Holy Terror” returns to impulsive paces, taking the inspiration from the few, final restarts of the track before. The guitars are unstoppable…hooks, tremolos, palm muting and a long solo section by the end…unbelievable. This is straightforward brutality as the vocals set on truly nasty and schizophrenic tonalities to complete the entire scenario. “Bullets” features a long drums intro to follow on high speed up tempo. The brutality is again on tremendous levels as the refrain cannot come out from my mind. The mid-paced section contains the dark and apocalyptic solos. The final “Speed of Light” says everything by its title. The tremolo riffing is just viciously dark but with the palm muting they add more violence. The up tempo seems neverending. The dynamism and the completeness of these songs is something truly enviable. They always manages to put few more melodic inserts for the solos but the rest is incredibly vicious and compact and so it is for the 99,5% of this unmatchable album. Believe me, if you truly love thrash you cannot miss this one. This is intensity, this is attitude and this is pure THRASH. Christi ..::TRACK-LIST::.. 1. Forbidden Reality 5:37 2. Nemesis 3:56 3. Fight (To Stop The Tyranny) 2:33 4. The Last Man 6:59 5. Assassin 6:01 6. Holy Terror 4:59 7. Bullets 4:18 8. Speed Of Light 2:53 ..::OBSADA::.. Vocals - Robert Bass - Lulle Drums - Psycho Lead Guitar - Dinko, Scholli https://www.youtube.com/watch?v=4fMuoI2s3fE SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-06-30 08:28:54
Rozmiar: 269.13 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Wbrew nazwie Sacrosanct nie pochodzi z Watykanu czy Włoch, ale z liberalnych Niderlandów. Powstał z inicjatywy dwóch członków tamtejszego Pestilence, perkusisty Marco Foddisa i gitarzysty Randy'ego Meinharda. Na efekty nie trzeba było długo czekać, bo już 2 lata później na rynku dostępny był debiut Truth Is - What Is. To kawał znakomitego technicznego thrashu, który bez problemu broni się do dziś. Zapomnijcie więc o biczowaniu dźwiękiem - Holendrzy postawili na złożone, wielowątkowe kompozycje, a szybsze zrywy pojawią się raptem parę razy. Muzyka pięknie zgrywa się z okładką, czuć faktycznie podczas słuchania taki apokaliptyczny klimat, w czym moim zdaniem zasługa pozbawionego plastiku brzmienia. Wokalista przypomina nieco gościa z Sacred Reich i Stacy'ego Andersena, jego szorstki sposób śpiewania dobrze się sprawdza. Niemniej ten album stoi riffami - no słychać, że grać potrafią i to lepiej niż Fred Durst. Nucleator Brutalny kiedy trzeba, różnorodny, energiczny i klasyczny! FA We have to be grateful for the fact that Randy Meinhard left Pestilence in the early stages thus providing the metal world with one more great act to enjoy. It’s not relevant to compare both outfits as they operated within different metal confines; and, Sacrosanct never managed to break out of the underground thus remaining in the annals of the great unsung heroes from the 90’s European underground. Meinhard simply had too much talent and ideas in abundance to continue residing in the shadow of the other band; he had to find other ways of expression, and here it was, the birth of Sacrosanct became a fact. The man also brought the drummer Marco Foddis from the Pestilence camp, but he only stayed around for the demo (“The Die is Cast”, 1989) recording which nicely introduced the band’s flamboyant technical thrash style, and also saw Meinhard partnering quite well with another gifted axeman, Michael Cerrone. Their collaboration reaches its peak on the album reviewed here, a standout piece of metal considered by some as a show-off vehicle for Meinhard. Although the man was indeed eager to show what he was capable of to whoever was interested with this first showing, this opus is much more than flashy dazzling guitarisms, providing the more energetic, more spastic analogue to “Recesses for the Depraved”, the band’s magnum opus. In this train of thought, it’s almost as compelling and absorbing and with its more vivid and flexible structures, it may even fascinate some fans more than the sophomore saga. “Dimensions of Violence” is a grand virtuous opening which unleashes stunning blitzkrieg riffs their vigour matched by the cool semi-death metal-ish vocals which keep up with them in a spat, semi-declamatory manner; impetuous gallops get introduced later to enhance the unique drama which becomes more appetizing on “Execrated (They Will Be)”, another fast-paced shredder with abrupt technical decisions and more rigorous galloping strides. “Skin to Skin” is a dense “riff to riff” arrangement with an early showing of the leads as the rhythm-section marches onward in a steady steam-roller fashion until a cool balladic interlude interrupts the “noise”. “The Sickened Thrill” is quick to show the guitar players’ masterful interaction before the song settles for more intense headbanging thrash with few stops from the roller-coaster. “Terminal Suicide” inaugurates hectic staccato riff-patterns being the next in line speedy piece with more frequent, both melodic and technical, stoppages along the way including a marvellous symbiosis between the two at the end. “Disputed Death” starts with a breath-taking quiet cut which grows into more hard-hitting passages and swirling screamy leads the guys preserving the brilliant technical show-off as a finale again. “The Die is Cast” is a superb technicaller, maybe showing that it was unfairly absent from the demo of the same title, with great stylish rhythms and stunning deathy accumulations which “fight” with the overflowing technical exuberance the whole time. “Catelepsy” carries on with the super-technical rifforama without forgetting about the fast-paced factor resulting in pleasant surprises for both the headbangers and the progressive metal lovers as both sides will savour the blazing leads which occupy more space here. “Injured” will “injure” everyone around with its lashing riffage partly betraying the hyper-active technicality presented earlier leaving all the “laurels” to the closing title-track which finds time for a serene balladic stroke before the engaging progressive thrashing resumes with some of the most outstanding intricate speedy “salads” this side of Helstar’s “Nosferatu”; but that's not all as later on one will come across more shining exploits with labyrinthine vortexes spiralling in and out of existence. Yes, this is an intentional display of talent, and that’s why it can’t possibly be anything short of amazing. The guy(s) were only too well aware of their abilities, and they had no intentions on keeping them buried. Besides, their approach was a fairly unique one not recalling any particular practitioner from the field, maybe the Germans Despair who were already in full swing at the time; and the Canadians Obliveon’s first steps into the arena (the debut “From This Day Forward” released the same year). Still, this masterpiece here was superior with more impressive guitar work the guys finding the right “recipe” to also make every composition memorable. It also opened “a valve” of creativity in their homeland which led to the emergence of other talents like Donor, Decision D, Altered Moves Two, Paralysis, Creepmime, Rhadamantys, etc. Suddenly Holland was the new Mecca of all things progressive and technical in metal rivalling their neighbour Germany every step of the way. Meinhard failed to keep his comrade Cerrone for one more spell; in a manner quite similar to him, Cerrone left his first “shelter” to embark on his own “crusade” with his new outfit Imperium which was a short stunt, but survived long enough to record “Too Short a Reason” (1993), an excellent slab of classic progressive power/thrash, their only legacy to the scene. Meinhard continued his ascension with the colossal “Recesses for the Depraved” before testing slower, doomy waters with the swansong “Tragic Intense” (also 1993), bidding farewell to his “love affair” with thrash which produced some of the most unforgettable moments from the history of the genre. Bayern ..::TRACK-LIST::.. 1. Dimension Of Violence 3:56 2. Execreted (They Will Be) 5:20 3. Skin To Skin 4:28 4. The Sickened Thrill 5:16 5. Terminal Suicide 4:27 6. Disputed Death 3:39 7. The Die Is Cast 4:57 8. Catalepsy 4:09 9. Injured 3:27 10. Truth Is - What Is 7:16 Bonus Tracks from the 'The Die Is Cast' demo (1989). 11. Prophecies 2:09 12. The Sickened Thrill 5:25 13. Injured 3:39 14. Disputed Death 3:55 ..::OBSADA::.. Bass - Remco Nijkamp Drums - Ronny Scholten Guitar - Michael Cerrone, Randy Meinhard Vocals - Michael Lucarelli https://www.youtube.com/watch?v=-p-D4UVtBRA SEED 14:30-23:00. POLECAM!!!
Seedów: 6
Komentarze: 0
Data dodania:
2024-06-16 12:05:57
Rozmiar: 146.60 MB
Peerów: 10
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Wbrew nazwie Sacrosanct nie pochodzi z Watykanu czy Włoch, ale z liberalnych Niderlandów. Powstał z inicjatywy dwóch członków tamtejszego Pestilence, perkusisty Marco Foddisa i gitarzysty Randy'ego Meinharda. Na efekty nie trzeba było długo czekać, bo już 2 lata później na rynku dostępny był debiut Truth Is - What Is. To kawał znakomitego technicznego thrashu, który bez problemu broni się do dziś. Zapomnijcie więc o biczowaniu dźwiękiem - Holendrzy postawili na złożone, wielowątkowe kompozycje, a szybsze zrywy pojawią się raptem parę razy. Muzyka pięknie zgrywa się z okładką, czuć faktycznie podczas słuchania taki apokaliptyczny klimat, w czym moim zdaniem zasługa pozbawionego plastiku brzmienia. Wokalista przypomina nieco gościa z Sacred Reich i Stacy'ego Andersena, jego szorstki sposób śpiewania dobrze się sprawdza. Niemniej ten album stoi riffami - no słychać, że grać potrafią i to lepiej niż Fred Durst. Nucleator Brutalny kiedy trzeba, różnorodny, energiczny i klasyczny! FA We have to be grateful for the fact that Randy Meinhard left Pestilence in the early stages thus providing the metal world with one more great act to enjoy. It’s not relevant to compare both outfits as they operated within different metal confines; and, Sacrosanct never managed to break out of the underground thus remaining in the annals of the great unsung heroes from the 90’s European underground. Meinhard simply had too much talent and ideas in abundance to continue residing in the shadow of the other band; he had to find other ways of expression, and here it was, the birth of Sacrosanct became a fact. The man also brought the drummer Marco Foddis from the Pestilence camp, but he only stayed around for the demo (“The Die is Cast”, 1989) recording which nicely introduced the band’s flamboyant technical thrash style, and also saw Meinhard partnering quite well with another gifted axeman, Michael Cerrone. Their collaboration reaches its peak on the album reviewed here, a standout piece of metal considered by some as a show-off vehicle for Meinhard. Although the man was indeed eager to show what he was capable of to whoever was interested with this first showing, this opus is much more than flashy dazzling guitarisms, providing the more energetic, more spastic analogue to “Recesses for the Depraved”, the band’s magnum opus. In this train of thought, it’s almost as compelling and absorbing and with its more vivid and flexible structures, it may even fascinate some fans more than the sophomore saga. “Dimensions of Violence” is a grand virtuous opening which unleashes stunning blitzkrieg riffs their vigour matched by the cool semi-death metal-ish vocals which keep up with them in a spat, semi-declamatory manner; impetuous gallops get introduced later to enhance the unique drama which becomes more appetizing on “Execrated (They Will Be)”, another fast-paced shredder with abrupt technical decisions and more rigorous galloping strides. “Skin to Skin” is a dense “riff to riff” arrangement with an early showing of the leads as the rhythm-section marches onward in a steady steam-roller fashion until a cool balladic interlude interrupts the “noise”. “The Sickened Thrill” is quick to show the guitar players’ masterful interaction before the song settles for more intense headbanging thrash with few stops from the roller-coaster. “Terminal Suicide” inaugurates hectic staccato riff-patterns being the next in line speedy piece with more frequent, both melodic and technical, stoppages along the way including a marvellous symbiosis between the two at the end. “Disputed Death” starts with a breath-taking quiet cut which grows into more hard-hitting passages and swirling screamy leads the guys preserving the brilliant technical show-off as a finale again. “The Die is Cast” is a superb technicaller, maybe showing that it was unfairly absent from the demo of the same title, with great stylish rhythms and stunning deathy accumulations which “fight” with the overflowing technical exuberance the whole time. “Catelepsy” carries on with the super-technical rifforama without forgetting about the fast-paced factor resulting in pleasant surprises for both the headbangers and the progressive metal lovers as both sides will savour the blazing leads which occupy more space here. “Injured” will “injure” everyone around with its lashing riffage partly betraying the hyper-active technicality presented earlier leaving all the “laurels” to the closing title-track which finds time for a serene balladic stroke before the engaging progressive thrashing resumes with some of the most outstanding intricate speedy “salads” this side of Helstar’s “Nosferatu”; but that's not all as later on one will come across more shining exploits with labyrinthine vortexes spiralling in and out of existence. Yes, this is an intentional display of talent, and that’s why it can’t possibly be anything short of amazing. The guy(s) were only too well aware of their abilities, and they had no intentions on keeping them buried. Besides, their approach was a fairly unique one not recalling any particular practitioner from the field, maybe the Germans Despair who were already in full swing at the time; and the Canadians Obliveon’s first steps into the arena (the debut “From This Day Forward” released the same year). Still, this masterpiece here was superior with more impressive guitar work the guys finding the right “recipe” to also make every composition memorable. It also opened “a valve” of creativity in their homeland which led to the emergence of other talents like Donor, Decision D, Altered Moves Two, Paralysis, Creepmime, Rhadamantys, etc. Suddenly Holland was the new Mecca of all things progressive and technical in metal rivalling their neighbour Germany every step of the way. Meinhard failed to keep his comrade Cerrone for one more spell; in a manner quite similar to him, Cerrone left his first “shelter” to embark on his own “crusade” with his new outfit Imperium which was a short stunt, but survived long enough to record “Too Short a Reason” (1993), an excellent slab of classic progressive power/thrash, their only legacy to the scene. Meinhard continued his ascension with the colossal “Recesses for the Depraved” before testing slower, doomy waters with the swansong “Tragic Intense” (also 1993), bidding farewell to his “love affair” with thrash which produced some of the most unforgettable moments from the history of the genre. Bayern ..::TRACK-LIST::.. 1. Dimension Of Violence 3:56 2. Execreted (They Will Be) 5:20 3. Skin To Skin 4:28 4. The Sickened Thrill 5:16 5. Terminal Suicide 4:27 6. Disputed Death 3:39 7. The Die Is Cast 4:57 8. Catalepsy 4:09 9. Injured 3:27 10. Truth Is - What Is 7:16 Bonus Tracks from the 'The Die Is Cast' demo (1989). 11. Prophecies 2:09 12. The Sickened Thrill 5:25 13. Injured 3:39 14. Disputed Death 3:55 ..::OBSADA::.. Bass - Remco Nijkamp Drums - Ronny Scholten Guitar - Michael Cerrone, Randy Meinhard Vocals - Michael Lucarelli https://www.youtube.com/watch?v=-p-D4UVtBRA SEED 14:30-23:00. POLECAM!!!
Seedów: 7
Komentarze: 0
Data dodania:
2024-06-16 12:02:34
Rozmiar: 462.08 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Kolejna zapomniana już ekipa z naszego podziemia przełomu lat 80-tych i 90-tych. Holy Battalion ze Sławna, bo o nich tu będzie mowa, wykonywał bardzo poprawny, chociaż nieco chaotyczny, thrash. Zespół miał na koncie tylko 3 materiały demo, pełnego albumu niestety się nie doczekali. Dwa pierwsze demka, które są tu głównym rozkładem jazdy, czyli "Cosmic War" oraz "Breaking the Face" są względem brzmienia praktycznie bliźniacze lub przynajmniej takiemu faktowi bliskie. Nie słychać tu w tej kwestii znaczącego progresu. W obu przypadkach mamy brzmienie dosyć toporne, dalekie od doskonałości, surowe, szorstkie (jak na demo przystało) i w tym przypadku śmiem twierdzić, iż nie do końca działające na korzyść samych kompozycji. Materiał z obu dem jest nieco połamany, sporo się tu dzieje, ale wisi nad tym wszystkim jakiś nieokreślony chaos, podczas słuchania mam wrażenie, że zagrany jest na ogromnym spontanie, ale czasem aż za bardzo, przez co można mieć wrażenie pewnych wykonawczych niedociągnięć/ bałaganu. No, ale może w tym jest metoda, taki urok i zero dyskusji. Zdaję sobie sprawę, że spokojnie znalazły by się osoby, które nie podzieliłyby tego zdania, cóż, takie moje subiektywne odczucia. Niemniej jednak udało mi się wyłapać w dwóch utworach bardzo ciekawe, czy świadome- nie wiem, odnośniki do poza thrashowej, metalowej klasyki w postaci NWOBHMowego Blitzkrieg ("March") czy Celtic Frost (początek "The Temple") wplecione w thrashowe metalowe łojenie w bardzo misterny sposób. Zamieszczone tu jako bonus demo "Mr. Dolly" z 1994 to już widoczny krok naprzód zarówno w brzmieniu jak i samych utworach, o wiele więcej tu świeżości i bardziej dojrzałego technicznie grania, ale wciąż nie do końca porywającego. Podsumowując, jakoś specjalnie Holy Battalion mnie nie zauroczył. Nie są to złe materiały, skąd, daleki jestem od takiej opinii, ale giną momentalnie w natłoku innych znacznie lepszych i bardziej oryginalnych (chociażby wplatające już w swą sztukę death metal, grające po sąsiedzku Slaughter z Koszalina, czy, jeszcze wtedy, słupski Betrayer). To po prostu dobre, żywiołowe, thrashowe granie bez specjalnych fajerwerków. Dla miłośników takiego właśnie grania jak i naszego undergroundu będzie to z pewnością niezła gratka i kolejny interesujący element historii naszej sceny. Co się tyczy samego wydania, to jak to już zwykłem mawiać, logo Thrashing Madness to wystarczająca rekomendacja, jednak płyta pochodzi z czasów kiedy owe krakowskie wydawnictwo wypuszczało cd jeszcze nieco skromniejsze, ale już wieszczące przyszły patos. Dla fanów tematu, pozycja warta polecenia. Przemysław Bukowski ..::TRACK-LIST::.. Cosmic War (Demo '89): 1. Intro 1:28 2. March 5:19 3. Circus 2:32 4. D.O.S.M. 4:20 5. Scorpion 3:54 6. Cosmic War 1:12 7. Holy Battalion 4:46 8. Outro 2:25 Breaking The Face (Demo '90): 9. Mission 3:14 10. Killer 1:09 11. The Temple 6:13 12. Sinner's Confession 5:14 13. Mag. Hell 0:35 14. The Ballad 5:28 15. Breaking The Face 5:57 16. Paranoid (Black Sabbath cover) 5:12 17. Run For Cover 0:38 18. Voices 1:22 Mr. Dolly (Demo 1994): 19. Game Of Day 3:11 20. I Think And Believe 3:23 21. Mr. Dolly 3:17 22. Sometimes Living 2:52 23. Who Is The Man 3:41 ..::OBSADA::.. Vocals, Bass - Dariusz Bolesta Drums - Henryk Kubała Guitar - Grzegorz Gerlach, Józef Jazdzewski (tracks: 'Breaking The Face' Demo), Piotr Piasecki (tracks: 'Mr. Dolly' Demo) https://www.youtube.com/watch?v=q90BsL1yz40 SEED 14:30-23:00. POLECAM!!!
Seedów: 7
Komentarze: 0
Data dodania:
2024-06-16 09:46:43
Rozmiar: 189.07 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Kolejna zapomniana już ekipa z naszego podziemia przełomu lat 80-tych i 90-tych. Holy Battalion ze Sławna, bo o nich tu będzie mowa, wykonywał bardzo poprawny, chociaż nieco chaotyczny, thrash. Zespół miał na koncie tylko 3 materiały demo, pełnego albumu niestety się nie doczekali. Dwa pierwsze demka, które są tu głównym rozkładem jazdy, czyli "Cosmic War" oraz "Breaking the Face" są względem brzmienia praktycznie bliźniacze lub przynajmniej takiemu faktowi bliskie. Nie słychać tu w tej kwestii znaczącego progresu. W obu przypadkach mamy brzmienie dosyć toporne, dalekie od doskonałości, surowe, szorstkie (jak na demo przystało) i w tym przypadku śmiem twierdzić, iż nie do końca działające na korzyść samych kompozycji. Materiał z obu dem jest nieco połamany, sporo się tu dzieje, ale wisi nad tym wszystkim jakiś nieokreślony chaos, podczas słuchania mam wrażenie, że zagrany jest na ogromnym spontanie, ale czasem aż za bardzo, przez co można mieć wrażenie pewnych wykonawczych niedociągnięć/ bałaganu. No, ale może w tym jest metoda, taki urok i zero dyskusji. Zdaję sobie sprawę, że spokojnie znalazły by się osoby, które nie podzieliłyby tego zdania, cóż, takie moje subiektywne odczucia. Niemniej jednak udało mi się wyłapać w dwóch utworach bardzo ciekawe, czy świadome- nie wiem, odnośniki do poza thrashowej, metalowej klasyki w postaci NWOBHMowego Blitzkrieg ("March") czy Celtic Frost (początek "The Temple") wplecione w thrashowe metalowe łojenie w bardzo misterny sposób. Zamieszczone tu jako bonus demo "Mr. Dolly" z 1994 to już widoczny krok naprzód zarówno w brzmieniu jak i samych utworach, o wiele więcej tu świeżości i bardziej dojrzałego technicznie grania, ale wciąż nie do końca porywającego. Podsumowując, jakoś specjalnie Holy Battalion mnie nie zauroczył. Nie są to złe materiały, skąd, daleki jestem od takiej opinii, ale giną momentalnie w natłoku innych znacznie lepszych i bardziej oryginalnych (chociażby wplatające już w swą sztukę death metal, grające po sąsiedzku Slaughter z Koszalina, czy, jeszcze wtedy, słupski Betrayer). To po prostu dobre, żywiołowe, thrashowe granie bez specjalnych fajerwerków. Dla miłośników takiego właśnie grania jak i naszego undergroundu będzie to z pewnością niezła gratka i kolejny interesujący element historii naszej sceny. Co się tyczy samego wydania, to jak to już zwykłem mawiać, logo Thrashing Madness to wystarczająca rekomendacja, jednak płyta pochodzi z czasów kiedy owe krakowskie wydawnictwo wypuszczało cd jeszcze nieco skromniejsze, ale już wieszczące przyszły patos. Dla fanów tematu, pozycja warta polecenia. Przemysław Bukowski ..::TRACK-LIST::.. Cosmic War (Demo '89): 1. Intro 1:28 2. March 5:19 3. Circus 2:32 4. D.O.S.M. 4:20 5. Scorpion 3:54 6. Cosmic War 1:12 7. Holy Battalion 4:46 8. Outro 2:25 Breaking The Face (Demo '90): 9. Mission 3:14 10. Killer 1:09 11. The Temple 6:13 12. Sinner's Confession 5:14 13. Mag. Hell 0:35 14. The Ballad 5:28 15. Breaking The Face 5:57 16. Paranoid (Black Sabbath cover) 5:12 17. Run For Cover 0:38 18. Voices 1:22 Mr. Dolly (Demo 1994): 19. Game Of Day 3:11 20. I Think And Believe 3:23 21. Mr. Dolly 3:17 22. Sometimes Living 2:52 23. Who Is The Man 3:41 ..::OBSADA::.. Vocals, Bass - Dariusz Bolesta Drums - Henryk Kubała Guitar - Grzegorz Gerlach, Józef Jazdzewski (tracks: 'Breaking The Face' Demo), Piotr Piasecki (tracks: 'Mr. Dolly' Demo) https://www.youtube.com/watch?v=q90BsL1yz40 SEED 14:30-23:00. POLECAM!!!
Seedów: 2
Komentarze: 0
Data dodania:
2024-06-16 09:45:28
Rozmiar: 407.39 MB
Peerów: 16
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Tym razem postanowiłem wziąć pod lupę niemiecki zespół ASSASSIN, który został założony w 1983 roku pod nazwą SATANICA, potem przekształconą ją w tą ostateczną. Kapela w latach 80 wydała dwa albumy, z czego „Interstellar Experience” z 1988 r wzbudził najbardziej kontrowersyjne i rozległe opinie, przy czym dominowały te negatywne i słuchając owego albumu ciężko to zrozumieć. Bo jest to kawał porządnego, agresywnego thrash metalu w stylu GRINDER, MORBID SAINT, czy też KREATOR. Był to krążek którą zamknął pewien okres zespołu, potem się rozpadli i kapela wróciła w 2005 roku z nowym albumem i działa po dzień dzisiejszy. „Internal Experience” to jak dla mnie jeden z ciekawszych albumów thrash metalowych z lat 80. Co mnie urzekło w tym albumie? To, że nie ma dłużyzn, dominują właściwie krótkie utwory, które łącznie trwają około 28 minut i to jest bez wątpienia zaleta tego albumu. Umiejętności muzyków i ich popisy są tutaj kolejnym ważnym czynnikiem, który przyczynia się do atrakcyjności albumu. Każdy z muzyków daje z siebie 100%, każdy z nich stawia na profesjonalizm. I tak Robert Gonella znakomicie sobie radzi z wokalem, śpiewając ostro, drapieżnie i bardzo klimatycznie, nie można mu odmówić specyficznej charyzmy. Na styl zespołu poza zadziornym wokalem, składa się również dynamiczna, mocna sekcja rytmiczna, która napędza cały materiał oraz ostre, dynamiczne i pełne agresji partie gitarowe, które są wygrywane przez kolejnych znakomitych muzyków, a mianowicie Dekić/Hoffmann. Jest agresja, jest brutalność, jest dynamika, jest złowieszczy klimat, jest i melodyjność. Każdy riff, każda solówka jest energiczna i zapadająca w pamięci, nie można mówić o jakiś przeciętnym graniu. Krótki i zwarty materiał to bez wątpienia to mocna strona tego albumu, no bo kto by chciał słuchać np. godzinnego materiału? Tutaj jest szybko, agresywnie i do przodu. Album otwiera agresywny, ale i melodyjny “Abstract War” w którym można usłyszeć pewne wyraźne wpływy wczesnego EXODUS. „Agd” jest jakby bardziej impulsywny utworem, pojawia się ciekawa linia melodyjna, przebojowy refren i spora dawka rytmiczności, zaś solówki gitarowe są tutaj bardzo energiczne i melodyjne. Maksimum szybkości, agresji zespół osiąga w “A Message To Survive” i tutaj sekcja rytmiczna pędzi szybko, gitary ryczą, wygrywają ciekawe melodie, ostre riffy i to wszystko brzmi wybornie, thrash metal pełną gębą. Solówki tutaj w nieco wolniejszym tempie brzmią również bardzo atrakcyjnie.“Pipeline” to cover rockowego THE CHANTAYS i jest to bardzo udany cover, bardziej melodyjny, jakby mający więcej wpływów hard rocka i tutaj tez jakby zmniejszono agresję, brutalność, a bardziej wyeksponowano melodyjność, rytmiczność czy tez przebojowość. Skoro jesteśmy przy instrumentalnych utworach znajdujących się na albumie, to należy wspomnieć także o tytułowym „Interstellar Experience” , który również stawia na melodyjność i atrakcyjne, urozmaicone partie gitarowe, te dwie kompozycje znakomicie odzwierciedlają poziom gry obu gitarzystów i jak dla mnie jest to bardzo wysoki poziom. “Resolution 588” to utwór który pod względem konstrukcji, rytmiczności, pokręconej melodii przypomina twórczość ANTHRAX i to z tych najlepszych dokonań. Natomiast taki “Junk Food” gdzie słychać pewne elementy hard rocka przypomina twórczość TANKARD. Całość zamyka kolejna szybka petarda, czyli „Baka” gdzie znów jest agresja, niezwykła rytmiczność, ale i ciekawe melodie. Czyżby zbyt duża agresji, zbyt szybkie tempo zraziło większość ludzi do tego albumu? Czyżby brutalny charakter i dynamika owego krążka miała negatywny wpływ na większość odbiorców? Być może. Ciężko mi to zrozumieć, bo ja mam wręcz odwrotnie. Nie potrafię tutaj wytknąć jakikolwiek minus. Jest szybki i zawarty materiał, który kipi energią, agresją, zadziornością. Mamy przeboje, który zapadają w pamięci, atrakcyjne melodie, energiczne pojedynki na solówki, a każda partia muzyków jest tutaj bardzo dopracowana przemyślana. Ten album to znakomite dzieło, które jest dopracowane pod względem technicznym jak i kompozytorskim. Pozycja obowiązkowa dla fanów agresywnego thrash metalu. PMW There are mysteries that abound when one contemplates the space beyond, including but not limited to the scope of the universe, what does existence exist, and why do many seem compelled to beat up on Assassin's often dismissed or outright maligned sophomore album. To be forthcoming, it is an inferior offering when matched against the sheer ferocity of The Upcoming Terror, the steel-clad tank division of a debut thrasher that arguably put them in the running for the fifth slot of a hypothetical Teutonic Big 5 just after Tankard, but the figurative albatross of mediocrity that is often hung around this album's neck doesn't really jive with what's actually going on musically speaking. Whether it be the album's sub-30 minute duration (as if Slayer's Reign In Blood didn't come out two years prior) or the occasional asides into comical territory as if Nuclear Assault should be compelled to sing either exclusively about politics and the environment or video games and pizza, these poor Dusseldorf-born thrash maniacs' 1988 studio LP Interstellar Experience is mysteriously the butt of dismissive criticism. But as the old X Files adage goes and much like the album's cover art, the truth is out there. When getting past the bizarre concept of one of Batman's arch rivals seemingly exile the caped crusader into an interstellar hallucination courtesy of his latest weaponized chemical concoction that adorns the cover, this is a strong, albeit somewhat brief showing for a late 80s thrash opus. Frequent reference is made to the "Pipeline" cover and the ode to high sugar and calorie cuisine "Junk Food" as examples of this album being a whiffle thrash dud after the heart of Sacred Reich's Surf Nicaragua or Death Angel's Frolic Through The Park, but in the auditory department the former functions as a well-crafted, punk leaning gimmick that amounts to a decent Nuclear Assault addition to what is largely a more Exodus-oriented romp, a sentiment that is further buoyed by the latter joke song being intense enough of a riff monster to pass for something out of the heavier side of the mid-80s. Truth be told, between the extremely raw and abrasive guitar tone and Robert Gonnella's almost perfect emulation of Schmier's snarling tone, a more apt description of how this album works is more along the lines of a slightly poorer man's Release From Agony rather than an outright late 80s pizza and beer thrash fest. Barring these two obvious aforementioned exceptions, the lion's share of this album functions on a frenetic and power-based level that is more in line with its immediate predecessor. Right out of the gate the riff-oriented brutality is laid down with a fast-paced explosion of militarized mayhem that is "Abstract War", reaching levels of carnage comparable to that of Eternal Devastation as flashy lead guitar and glassy bass runs paint over a high-octane mini-epic. Honestly, while the riff work and chaotic drumming are a staple of this album's magic, bassist Markus Ludwig all but steals the show with an array of rapid plucked bass runs that might have established him as thrash metal's answer to Joey Demaio if he'd done a couple outlandish bass solos and not dropped out of the metal scene at the end of the 80s. Though "Abstract War" basically ends up stealing the show by throwing everything at the listener but the kitchen sink right at the beginning, a couple of similarly frenzied thrashers like "AGD" and "Resolution 588" do a commendable job in pounding out the fury in the lead off song's shadow. Barring a minute of so of trippy, John Carpenter-inspired ambient keyboard noise during the tail end of the album's instrumental title song "Interstellar Experience", it's all a pretty conventional excursion through Teutonic thrash warfare that never lets up. Though the author of this review may stand almost alone in this assessment, Interstellar Experience is anything but a half-hearted fit of whiffle thrash pandering, and apart from the year that it was released there isn't really much of a rationale for supporting this claim. It may not venture as closely to death thrashing moroseness as the seminal offerings of Kreator, nor does it have any real traces of the initial blackness that Sodom brought to the table (despite several of Assassin's members collaborating with Mayhem's Euronymous and Necrobutcher on that one-off Checker Patrol project a couple years prior), but it's about as high octane as it gets as far as mainline late 80s thrash metal goes. About the only real strike against it is that it gets a bit too similar to Destruction and Necronomicon's signature sounds for comfort at times, so much so that a newcomer to this album could immediately mistake some of these songs for one of those two bands' material. All the same, it has a strong working class demeanor to it that would unfortunately be underscored by this band folding tent soon after due to their equipment being stolen and their being too broke to afford new gear. Maybe it was just the final straw, or maybe Deutsche Bank didn't trust five guys toting long hair and denim to pay back a loan, but as noted previously, the truth is out there. Hells Unicorn ..::TRACK-LIST::.. 1. Abstract War 2. Agd 3. A Message To Survive 4. Pipeline 5. Resolution 588 6. Junk Food 7. Interstellar Experience 8. Baka 9. Strange World ..::OBSADA::.. Michael Hoffmann - Guitars Robert Gonnella - Vocals Markus Ludwig - Bass Dinko Vekić - Guitars Frank Nellen - Drums https://www.youtube.com/watch?v=p0fcN4Cjo9I SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-06-14 19:41:02
Rozmiar: 78.99 MB
Peerów: 11
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Tym razem postanowiłem wziąć pod lupę niemiecki zespół ASSASSIN, który został założony w 1983 roku pod nazwą SATANICA, potem przekształconą ją w tą ostateczną. Kapela w latach 80 wydała dwa albumy, z czego „Interstellar Experience” z 1988 r wzbudził najbardziej kontrowersyjne i rozległe opinie, przy czym dominowały te negatywne i słuchając owego albumu ciężko to zrozumieć. Bo jest to kawał porządnego, agresywnego thrash metalu w stylu GRINDER, MORBID SAINT, czy też KREATOR. Był to krążek którą zamknął pewien okres zespołu, potem się rozpadli i kapela wróciła w 2005 roku z nowym albumem i działa po dzień dzisiejszy. „Internal Experience” to jak dla mnie jeden z ciekawszych albumów thrash metalowych z lat 80. Co mnie urzekło w tym albumie? To, że nie ma dłużyzn, dominują właściwie krótkie utwory, które łącznie trwają około 28 minut i to jest bez wątpienia zaleta tego albumu. Umiejętności muzyków i ich popisy są tutaj kolejnym ważnym czynnikiem, który przyczynia się do atrakcyjności albumu. Każdy z muzyków daje z siebie 100%, każdy z nich stawia na profesjonalizm. I tak Robert Gonella znakomicie sobie radzi z wokalem, śpiewając ostro, drapieżnie i bardzo klimatycznie, nie można mu odmówić specyficznej charyzmy. Na styl zespołu poza zadziornym wokalem, składa się również dynamiczna, mocna sekcja rytmiczna, która napędza cały materiał oraz ostre, dynamiczne i pełne agresji partie gitarowe, które są wygrywane przez kolejnych znakomitych muzyków, a mianowicie Dekić/Hoffmann. Jest agresja, jest brutalność, jest dynamika, jest złowieszczy klimat, jest i melodyjność. Każdy riff, każda solówka jest energiczna i zapadająca w pamięci, nie można mówić o jakiś przeciętnym graniu. Krótki i zwarty materiał to bez wątpienia to mocna strona tego albumu, no bo kto by chciał słuchać np. godzinnego materiału? Tutaj jest szybko, agresywnie i do przodu. Album otwiera agresywny, ale i melodyjny “Abstract War” w którym można usłyszeć pewne wyraźne wpływy wczesnego EXODUS. „Agd” jest jakby bardziej impulsywny utworem, pojawia się ciekawa linia melodyjna, przebojowy refren i spora dawka rytmiczności, zaś solówki gitarowe są tutaj bardzo energiczne i melodyjne. Maksimum szybkości, agresji zespół osiąga w “A Message To Survive” i tutaj sekcja rytmiczna pędzi szybko, gitary ryczą, wygrywają ciekawe melodie, ostre riffy i to wszystko brzmi wybornie, thrash metal pełną gębą. Solówki tutaj w nieco wolniejszym tempie brzmią również bardzo atrakcyjnie.“Pipeline” to cover rockowego THE CHANTAYS i jest to bardzo udany cover, bardziej melodyjny, jakby mający więcej wpływów hard rocka i tutaj tez jakby zmniejszono agresję, brutalność, a bardziej wyeksponowano melodyjność, rytmiczność czy tez przebojowość. Skoro jesteśmy przy instrumentalnych utworach znajdujących się na albumie, to należy wspomnieć także o tytułowym „Interstellar Experience” , który również stawia na melodyjność i atrakcyjne, urozmaicone partie gitarowe, te dwie kompozycje znakomicie odzwierciedlają poziom gry obu gitarzystów i jak dla mnie jest to bardzo wysoki poziom. “Resolution 588” to utwór który pod względem konstrukcji, rytmiczności, pokręconej melodii przypomina twórczość ANTHRAX i to z tych najlepszych dokonań. Natomiast taki “Junk Food” gdzie słychać pewne elementy hard rocka przypomina twórczość TANKARD. Całość zamyka kolejna szybka petarda, czyli „Baka” gdzie znów jest agresja, niezwykła rytmiczność, ale i ciekawe melodie. Czyżby zbyt duża agresji, zbyt szybkie tempo zraziło większość ludzi do tego albumu? Czyżby brutalny charakter i dynamika owego krążka miała negatywny wpływ na większość odbiorców? Być może. Ciężko mi to zrozumieć, bo ja mam wręcz odwrotnie. Nie potrafię tutaj wytknąć jakikolwiek minus. Jest szybki i zawarty materiał, który kipi energią, agresją, zadziornością. Mamy przeboje, który zapadają w pamięci, atrakcyjne melodie, energiczne pojedynki na solówki, a każda partia muzyków jest tutaj bardzo dopracowana przemyślana. Ten album to znakomite dzieło, które jest dopracowane pod względem technicznym jak i kompozytorskim. Pozycja obowiązkowa dla fanów agresywnego thrash metalu. PMW There are mysteries that abound when one contemplates the space beyond, including but not limited to the scope of the universe, what does existence exist, and why do many seem compelled to beat up on Assassin's often dismissed or outright maligned sophomore album. To be forthcoming, it is an inferior offering when matched against the sheer ferocity of The Upcoming Terror, the steel-clad tank division of a debut thrasher that arguably put them in the running for the fifth slot of a hypothetical Teutonic Big 5 just after Tankard, but the figurative albatross of mediocrity that is often hung around this album's neck doesn't really jive with what's actually going on musically speaking. Whether it be the album's sub-30 minute duration (as if Slayer's Reign In Blood didn't come out two years prior) or the occasional asides into comical territory as if Nuclear Assault should be compelled to sing either exclusively about politics and the environment or video games and pizza, these poor Dusseldorf-born thrash maniacs' 1988 studio LP Interstellar Experience is mysteriously the butt of dismissive criticism. But as the old X Files adage goes and much like the album's cover art, the truth is out there. When getting past the bizarre concept of one of Batman's arch rivals seemingly exile the caped crusader into an interstellar hallucination courtesy of his latest weaponized chemical concoction that adorns the cover, this is a strong, albeit somewhat brief showing for a late 80s thrash opus. Frequent reference is made to the "Pipeline" cover and the ode to high sugar and calorie cuisine "Junk Food" as examples of this album being a whiffle thrash dud after the heart of Sacred Reich's Surf Nicaragua or Death Angel's Frolic Through The Park, but in the auditory department the former functions as a well-crafted, punk leaning gimmick that amounts to a decent Nuclear Assault addition to what is largely a more Exodus-oriented romp, a sentiment that is further buoyed by the latter joke song being intense enough of a riff monster to pass for something out of the heavier side of the mid-80s. Truth be told, between the extremely raw and abrasive guitar tone and Robert Gonnella's almost perfect emulation of Schmier's snarling tone, a more apt description of how this album works is more along the lines of a slightly poorer man's Release From Agony rather than an outright late 80s pizza and beer thrash fest. Barring these two obvious aforementioned exceptions, the lion's share of this album functions on a frenetic and power-based level that is more in line with its immediate predecessor. Right out of the gate the riff-oriented brutality is laid down with a fast-paced explosion of militarized mayhem that is "Abstract War", reaching levels of carnage comparable to that of Eternal Devastation as flashy lead guitar and glassy bass runs paint over a high-octane mini-epic. Honestly, while the riff work and chaotic drumming are a staple of this album's magic, bassist Markus Ludwig all but steals the show with an array of rapid plucked bass runs that might have established him as thrash metal's answer to Joey Demaio if he'd done a couple outlandish bass solos and not dropped out of the metal scene at the end of the 80s. Though "Abstract War" basically ends up stealing the show by throwing everything at the listener but the kitchen sink right at the beginning, a couple of similarly frenzied thrashers like "AGD" and "Resolution 588" do a commendable job in pounding out the fury in the lead off song's shadow. Barring a minute of so of trippy, John Carpenter-inspired ambient keyboard noise during the tail end of the album's instrumental title song "Interstellar Experience", it's all a pretty conventional excursion through Teutonic thrash warfare that never lets up. Though the author of this review may stand almost alone in this assessment, Interstellar Experience is anything but a half-hearted fit of whiffle thrash pandering, and apart from the year that it was released there isn't really much of a rationale for supporting this claim. It may not venture as closely to death thrashing moroseness as the seminal offerings of Kreator, nor does it have any real traces of the initial blackness that Sodom brought to the table (despite several of Assassin's members collaborating with Mayhem's Euronymous and Necrobutcher on that one-off Checker Patrol project a couple years prior), but it's about as high octane as it gets as far as mainline late 80s thrash metal goes. About the only real strike against it is that it gets a bit too similar to Destruction and Necronomicon's signature sounds for comfort at times, so much so that a newcomer to this album could immediately mistake some of these songs for one of those two bands' material. All the same, it has a strong working class demeanor to it that would unfortunately be underscored by this band folding tent soon after due to their equipment being stolen and their being too broke to afford new gear. Maybe it was just the final straw, or maybe Deutsche Bank didn't trust five guys toting long hair and denim to pay back a loan, but as noted previously, the truth is out there. Hells Unicorn ..::TRACK-LIST::.. 1. Abstract War 2. Agd 3. A Message To Survive 4. Pipeline 5. Resolution 588 6. Junk Food 7. Interstellar Experience 8. Baka 9. Strange World ..::OBSADA::.. Michael Hoffmann - Guitars Robert Gonnella - Vocals Markus Ludwig - Bass Dinko Vekić - Guitars Frank Nellen - Drums https://www.youtube.com/watch?v=p0fcN4Cjo9I SEED 14:30-23:00. POLECAM!!!
Seedów: 2
Komentarze: 0
Data dodania:
2024-06-14 19:39:52
Rozmiar: 255.86 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Old Temple powraca do korzenie metalu i z nieukrywaną dumą prezentuje reedycje legendarnego zespołu Quo Vadis. Materiał który jest ważnym elementem polskiego podziemia. „Quo Vadis” jest jednym z pierwszych pełnych albumów Thrash / Death Metalu jaki powstał w Polsce. Debiut został ponownie wydany na jednym CD w dwóch wersjach językowych z tekstami po Polsku i Angielsku. Książeczka prócz tekstów wzbogacona została o archiwalne zdjęcia zespołu. Specjalnie na to wydawnictwo okładka skopiowana z obrazu jaki powstał na potrzeby pierwszego długograja. Pozycja obowiązkowa dla wszystkich fanów starego porządnego agresywnego Thrash / Death Metalu. Old Temple back to the roots of metal and proudly presents the re-editions of the legendary band Quo Vadis debut album. An album that is an important part of the Polish underground. "Quo Vadis" is one of the first full length Thrash / Death Metal album created in Poland. The debut was re-released on one CD in two language versions with Polish and English lyrics. Except lyrics booklet was enriched with archival bands photos. Especially for this release, the cover was copied from the original paint that was created for this album. Must have for all fans of the old aggressive Thrash / Death Metal. ..::TRACK-LIST::.. 1. NKWD 04:40 2. Monofobia 04:39 3. Wegetacja 03:30 4. ... Albo Nie Być 02:48 5. Kocham cię, Kochanie Moje (Maanam cover-live) 01:12 6. Trzy Szósteczki 04:15 7. Czerwone Prawo 02:50 8. Ból Istnienia 03:05 9. Quo Vadis 03:01 Bonus Tracks: 10. K.G.B. 04:42 11. Armyphoby 04:43 12. Vegetation 03:34 13. ... Or Not To Be 02:53 14. Three Little Sixes 04:18 15. Red Justice 02:54 16. Pain Of Existence 03:15 17. Quo Vadis 03:06 ..::OBSADA::.. Vocals, Bass - Tomasz Skaya Drums - Wojciech Słabicki Guitar - Jacek Gnieciecki, Mariusz Bączkiewicz https://www.youtube.com/watch?v=cfzyQ18Mgm8 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-05-17 16:55:41
Rozmiar: 144.86 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.
..::OPIS::.. Old Temple powraca do korzenie metalu i z nieukrywaną dumą prezentuje reedycje legendarnego zespołu Quo Vadis. Materiał który jest ważnym elementem polskiego podziemia. „Quo Vadis” jest jednym z pierwszych pełnych albumów Thrash / Death Metalu jaki powstał w Polsce. Debiut został ponownie wydany na jednym CD w dwóch wersjach językowych z tekstami po Polsku i Angielsku. Książeczka prócz tekstów wzbogacona została o archiwalne zdjęcia zespołu. Specjalnie na to wydawnictwo okładka skopiowana z obrazu jaki powstał na potrzeby pierwszego długograja. Pozycja obowiązkowa dla wszystkich fanów starego porządnego agresywnego Thrash / Death Metalu. Old Temple back to the roots of metal and proudly presents the re-editions of the legendary band Quo Vadis debut album. An album that is an important part of the Polish underground. "Quo Vadis" is one of the first full length Thrash / Death Metal album created in Poland. The debut was re-released on one CD in two language versions with Polish and English lyrics. Except lyrics booklet was enriched with archival bands photos. Especially for this release, the cover was copied from the original paint that was created for this album. Must have for all fans of the old aggressive Thrash / Death Metal. ..::TRACK-LIST::.. 1. NKWD 04:40 2. Monofobia 04:39 3. Wegetacja 03:30 4. ... Albo Nie Być 02:48 5. Kocham cię, Kochanie Moje (Maanam cover-live) 01:12 6. Trzy Szósteczki 04:15 7. Czerwone Prawo 02:50 8. Ból Istnienia 03:05 9. Quo Vadis 03:01 Bonus Tracks: 10. K.G.B. 04:42 11. Armyphoby 04:43 12. Vegetation 03:34 13. ... Or Not To Be 02:53 14. Three Little Sixes 04:18 15. Red Justice 02:54 16. Pain Of Existence 03:15 17. Quo Vadis 03:06 ..::OBSADA::.. Vocals, Bass - Tomasz Skaya Drums - Wojciech Słabicki Guitar - Jacek Gnieciecki, Mariusz Bączkiewicz https://www.youtube.com/watch?v=cfzyQ18Mgm8 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-05-17 16:50:17
Rozmiar: 467.37 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Back in the 80s, heavy metal was a genre mostly made by men and it was a bit difficult to find out some good bands with a female member in them, and even more difficult at vocals. The examples that now come to my mind are Znowhite (Nicole Lee), The Great Kat and these Détente. All the female vocalists I cited before are incredibly brutal and they keep high the flag of speed/thrash genre and in those cases I couldn’t even imagine those bands without their female vocalists because they were so personal and violent that you can’t go wrong even if the whole thing seems a bit strange. This band was one of the most overlooked realities in those years and, as always, now it’s a rare and wanted object for the most avid collectors and surely the sound is worthy of attention by any thrash metal fan. “Losers” is pure speed/thrash but with an incredible brutal sound, thanks also the extreme performance of our Dawn Crosby. She screams the impossible during all the songs and her rough tonality is very similar to Nicole Lee but even more extreme and suffered. The following “Russian Roulette” gives us the time to absorb the impact of the opener, showing mid paced patterns and heavy structures. The guitars riffs are always so raw and metallic, accompanied by hammering drums, especially if we talk about the loud snare drum. The solos are quite fast, alternating tremolo pickings and tapping technique to some less impulsive breaks where the dark melodies take the main part. The structures result easy to be listened and remembered, like the good and catchy refrain of “Holy Wars” (with a great guitar solo) and the old school speed metal riffs on the following, instrumental “Catalepsy”. Anyway, the music and the parts can vary quite often in a song and the impact is not always the main word; the structures are a good blend of speed restarts and some more mature breaks. The lead guitar plays an important role for the gloom atmosphere in “Shattered Illusions”, while the open chords parts are really old style with that not always too marked melody. Also the length helps in avoiding this album to be dispersive because, yes, the songs are good but not masterpieces. To mark out the sudden and mind-blowing speed restarts in “Life In Pain” and “Blood I Bleed”. “Widow’s Walk” signs some more melodic vocals by the refrain but the main role is once again by the incredible guitar solos and, surprisingly, we can also find a mid-paced song to close the album, “Vultures In The Sky”. All in all, a good, but forgotten, and sincere piece of burning speed/thrash metal with a good song writing and excellent solos. The Dawn’s vocals are perfect for the dramatic line that binds each and every song of this album with those dark melodies. Definitely worth a listen for the aficionados of this genre. Christi ..::TRACK-LIST::.. 1. Losers 2. Russian Roulette 3. It's Your Fate 4. Holy War 5. Catalepsy 6. Shattered Illusions 7. Life Is Pain 8. Blood I Bleed 9. Widows Walk 10. Vultures In The Sky ..::OBSADA::.. Steve Hochheiser - Bass Dennis Butler - Drums Caleb Quinn - Guitars Ross Robinson - Guitars Dawn Crosby (R.I.P. 1996) - Vocals https://www.youtube.com/watch?v=BCWvQwHM4O0 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-04-10 17:11:58
Rozmiar: 79.55 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Back in the 80s, heavy metal was a genre mostly made by men and it was a bit difficult to find out some good bands with a female member in them, and even more difficult at vocals. The examples that now come to my mind are Znowhite (Nicole Lee), The Great Kat and these Détente. All the female vocalists I cited before are incredibly brutal and they keep high the flag of speed/thrash genre and in those cases I couldn’t even imagine those bands without their female vocalists because they were so personal and violent that you can’t go wrong even if the whole thing seems a bit strange. This band was one of the most overlooked realities in those years and, as always, now it’s a rare and wanted object for the most avid collectors and surely the sound is worthy of attention by any thrash metal fan. “Losers” is pure speed/thrash but with an incredible brutal sound, thanks also the extreme performance of our Dawn Crosby. She screams the impossible during all the songs and her rough tonality is very similar to Nicole Lee but even more extreme and suffered. The following “Russian Roulette” gives us the time to absorb the impact of the opener, showing mid paced patterns and heavy structures. The guitars riffs are always so raw and metallic, accompanied by hammering drums, especially if we talk about the loud snare drum. The solos are quite fast, alternating tremolo pickings and tapping technique to some less impulsive breaks where the dark melodies take the main part. The structures result easy to be listened and remembered, like the good and catchy refrain of “Holy Wars” (with a great guitar solo) and the old school speed metal riffs on the following, instrumental “Catalepsy”. Anyway, the music and the parts can vary quite often in a song and the impact is not always the main word; the structures are a good blend of speed restarts and some more mature breaks. The lead guitar plays an important role for the gloom atmosphere in “Shattered Illusions”, while the open chords parts are really old style with that not always too marked melody. Also the length helps in avoiding this album to be dispersive because, yes, the songs are good but not masterpieces. To mark out the sudden and mind-blowing speed restarts in “Life In Pain” and “Blood I Bleed”. “Widow’s Walk” signs some more melodic vocals by the refrain but the main role is once again by the incredible guitar solos and, surprisingly, we can also find a mid-paced song to close the album, “Vultures In The Sky”. All in all, a good, but forgotten, and sincere piece of burning speed/thrash metal with a good song writing and excellent solos. The Dawn’s vocals are perfect for the dramatic line that binds each and every song of this album with those dark melodies. Definitely worth a listen for the aficionados of this genre. Christi ..::TRACK-LIST::.. 1. Losers 2. Russian Roulette 3. It's Your Fate 4. Holy War 5. Catalepsy 6. Shattered Illusions 7. Life Is Pain 8. Blood I Bleed 9. Widows Walk 10. Vultures In The Sky ..::OBSADA::.. Steve Hochheiser - Bass Dennis Butler - Drums Caleb Quinn - Guitars Ross Robinson - Guitars Dawn Crosby (R.I.P. 1996) - Vocals https://www.youtube.com/watch?v=BCWvQwHM4O0 SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-04-10 17:07:38
Rozmiar: 256.36 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Chemical Breath's second album from 1994.Technical Death/Thrash Metal from Belgium. More progerssive then their pure death metal ablum Fatal Exposure from 1992. “Values" contains no pure death metal. It is more tech-thrash. There are aspects of the earlier American technical thrash bands here (Watchtower, Forbidden, etc), and some influences from Chuck Schuldiner as Death was one of their main and early influences. The band's progress from death/thrash to technical thrash bears comparison with Sindrome, but in their own style / direction. Bonus to the album is the 1997 demo when guitar player Rene reformed the band for a brief time. Belgian thrash. Is there such a thing actually? Yes, there is, actually, and not only that, but the Belgians should be very proud for producing the first extreme (understand speed/proto-thrash) metal band in European metal history, alongside Venom; the name is almost as venomous: Acid. Building their style around Scorpions’ more aggressive, speed/thrash precursor material (“He’s a Woman, She’s a Man”, “Another Piece of Meat”, “Don’t Make no Promises”; “Steamrock Fever”, etc.), the band released their highly energetic self-titled debut in 1982 also taking another award home: for the first female-fronted metal act ever. And, of course, there were the guys from Crossfire who persevered through the early/mid-80's with three albums of decent "happy go lucky" power/speed metal not surprisingly moulded after the exploits of their German neighbours. The beginning was really promising, but later on in terms of productivity the Belgian thrash metal scene sank to the bottom of the list. The sound inaugurated by Acid proved contagious for Warhead who were quick to capitalize on it with two good albums. Cyclone took the early Germanic sound as a model for their debut “Brutal Destruction” before hitting the top with the excellent, more serious and complex, sophomore effort “Inferior to None”. Then Mekong Delta's Ralph Hubert discovered this "diamond" of a band named Target whose brilliant mathematical thrash remains one of the finest moments on the whole European metal scene, especially the triumphant "Master Project Genesis" (1988). With the culmination of the scene's development reached on the aforementioned album, what followed was a string of second rate bands who released a solitary effort in the late-80’s before disappearing: Black Shepherd, Asphyxia, Decadence, Evil Sinner, not leaving any lasting trace on the circuit. From this group only Drakkar are really worth mentioning with their inspired speed/thrashing effort “X-Rated”. When Chemical Breath appeared in the early-90's, the second wave of Belgian thrash started to form, and it started churning out higher quality albums: Patriarch did a good job with their Americanized power/thrash for a number of efforts; Channel Zero “channeled” the Bay-Area through their inspired self-titled debut before losing it for a succession of bland groovy albums; Yosh produced a cool speed/thrashing debut (“1991”) before elaborating it quite a bit on the very cool moody follow-up “Metaphors” (1995). And there were Exoto who already had their eye on the up-and-coming death metal hardly putting a foot wrong during their several demos and two full-lengths. Of the aforementioned group, it was only Exoto who could possibly match Chemical Breath in terms of aggression. The guys entered the scene “brutally” with the “Brutal Violation” demo which was just raw direct bash without much sense. However, just a few months later the band already showed their penchant for the less ordinary and technical with their other demo “Beyond Reality” which was quickly followed by the brilliant debut “Fatal Exposure” which combined the style and ferocity of Pestilence’s “Testimony of the Ancients”, Assorted Heap’s ”The Experience of Horror”, Sadus’ “Swallowed in Black”, and Invocator’s “Excursion Demise”. It converted this concoction into a more exuberantly technical “beast”, with more twists and turns, and with more blistering lead sections the latter close to overriding the riff-patterns at times even. Two years later the guys are back and if we exclude the gruff, unpolished shouty vocals, all the rest has been taken to new heights the rhythm-section now being more intense with a more accentuated edge as evident from the cutting opener “Inexplicable Being”. More atmospheric progressiveness will one come across on “Reduce Your Value” which will make you “increase your value” towards the progressive side of the genre. The swirling technical riffs on “Waiting the Miracles” will throw you towards Death’s “Human” and the Dutch Polluted Inheritance’s debut “Ecocide”, but expect your fillings to drop on the fast-paced passage near the end. “Message to the Mystic” will be a “message” to all past, present and future technical practitioners informing them that all they have a lot to learn before they catch up with those experts here; and I don’t even have to mention the great overlapping leads. The latter number a technicaller second to none, the other material tries to catch up, “A Core Undesired” with a portion of twisting speedy arrangements, “The Open Field” with dramatic build-ups on a pile of superbly-puzzling lashing technical riffs; “I Persist My Opinion” with a nice atmospheric break in the middle, among the raging head-spinning technicality surrounding it; the closing “Admiring Your Opponent” with a doze of spinning vortex-like guitars and a surprising memorable chorus which the hoarse vocals manage to pull out admirably. And that’s it; just over half an hour of some of the most stunning displays of musical genius from the 90’s, the way Atheist used to do it not far back, both length and music-wise. To these ears Belgium has never produced anything as compulsively masterful and inspiring as these over 30-min of pure musical magick. It’s not the most original creation by any stretch, it actually recalls quite a few past exploits, but the effortless execution and the impeccable command of the musical instruments (those leads will haunt you, I promise) make it a “breath” of its own its “value” even bigger in consideration of the time when it was released: the scene was barren, sparkles of classic genius were quickly extinguished with piles of angry groovisms. Even the mention of something technical or progressive caused waves of resentment by the new vogues which were ready to obliterate those attempts in their very spawning stage. Apparently they weren’t looking at Belgium at the time, the least likely place of all for something like that to spring up, and the guys were let to strike hard twice shattering the foundations of the established music laws, the cracks left later used by new forces to emerge (Unleashed Power, Mind-Ashes, Droys, Psycho Symphony, etc.). What are these masters doing now? It’s hard to tell, but the band leader Rene Rokx was determined to carry on, and he moved to Holland where he was seen for a short time with the death/thrashers Retribution, before joining the death metal stalwarts Callenish Circle, and later their “offspring” State: Chaos. He also had another short spell, with the power/thrash metal formation Form whose more complex style could have grown into something even more interesting if they hadn’t epitomized an angrier and groovier approach for their sophomore effort. In the end, after all has been said and done, the conclusion is that nothing beats a “breath” of “chemicals”, especially when they come from a “contaminated” place like Belgium. The radiation hasn’t spread very far yet, but some youngsters (Evil Shepherd (too many “shepherds” there; too many “sheep” as well probably…), Gae Bolga, In Chains, the brilliant technical thrashers From Beyond, the technical death metal wizards Prejudice, etc.) have shown their mutated teeth, more or less widely, and it would be interesting to see how far their ongoing metamorphosis will reach... bayern ..::TRACK-LIST::.. 1. Inexplicable Being 03:36 2. Reduce Your Value 05:13 3. Awaiting The Miracles 04:01 4. Message To The Mystic 04:24 5. A Core Undesired 04:41 6. The Open Field 04:17 7. I Persist My Opinion 03:01 8. Admiring Your Opponent 03:09 Bonus Tracks: 9. Selfcaged In Fear [Demo 1997] 05:22 10. Loss Of Perspectives [Demo 1997] 04:37 11. Collapse (Demo 1997) 06:20 12. Act Of Confidence [Demo 1997] 05:30 ..::OBSADA::.. Vocals, Lead Guitar, Bass On All Tracks - Alain Chernouh Drums – Andy Missotten Guitar, Acoustic Guitar - René Rokx https://www.youtube.com/watch?v=HegVlaj-tEc SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-04-07 10:52:35
Rozmiar: 133.12 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Chemical Breath's second album from 1994.Technical Death/Thrash Metal from Belgium. More progerssive then their pure death metal ablum Fatal Exposure from 1992. “Values" contains no pure death metal. It is more tech-thrash. There are aspects of the earlier American technical thrash bands here (Watchtower, Forbidden, etc), and some influences from Chuck Schuldiner as Death was one of their main and early influences. The band's progress from death/thrash to technical thrash bears comparison with Sindrome, but in their own style / direction. Bonus to the album is the 1997 demo when guitar player Rene reformed the band for a brief time. Belgian thrash. Is there such a thing actually? Yes, there is, actually, and not only that, but the Belgians should be very proud for producing the first extreme (understand speed/proto-thrash) metal band in European metal history, alongside Venom; the name is almost as venomous: Acid. Building their style around Scorpions’ more aggressive, speed/thrash precursor material (“He’s a Woman, She’s a Man”, “Another Piece of Meat”, “Don’t Make no Promises”; “Steamrock Fever”, etc.), the band released their highly energetic self-titled debut in 1982 also taking another award home: for the first female-fronted metal act ever. And, of course, there were the guys from Crossfire who persevered through the early/mid-80's with three albums of decent "happy go lucky" power/speed metal not surprisingly moulded after the exploits of their German neighbours. The beginning was really promising, but later on in terms of productivity the Belgian thrash metal scene sank to the bottom of the list. The sound inaugurated by Acid proved contagious for Warhead who were quick to capitalize on it with two good albums. Cyclone took the early Germanic sound as a model for their debut “Brutal Destruction” before hitting the top with the excellent, more serious and complex, sophomore effort “Inferior to None”. Then Mekong Delta's Ralph Hubert discovered this "diamond" of a band named Target whose brilliant mathematical thrash remains one of the finest moments on the whole European metal scene, especially the triumphant "Master Project Genesis" (1988). With the culmination of the scene's development reached on the aforementioned album, what followed was a string of second rate bands who released a solitary effort in the late-80’s before disappearing: Black Shepherd, Asphyxia, Decadence, Evil Sinner, not leaving any lasting trace on the circuit. From this group only Drakkar are really worth mentioning with their inspired speed/thrashing effort “X-Rated”. When Chemical Breath appeared in the early-90's, the second wave of Belgian thrash started to form, and it started churning out higher quality albums: Patriarch did a good job with their Americanized power/thrash for a number of efforts; Channel Zero “channeled” the Bay-Area through their inspired self-titled debut before losing it for a succession of bland groovy albums; Yosh produced a cool speed/thrashing debut (“1991”) before elaborating it quite a bit on the very cool moody follow-up “Metaphors” (1995). And there were Exoto who already had their eye on the up-and-coming death metal hardly putting a foot wrong during their several demos and two full-lengths. Of the aforementioned group, it was only Exoto who could possibly match Chemical Breath in terms of aggression. The guys entered the scene “brutally” with the “Brutal Violation” demo which was just raw direct bash without much sense. However, just a few months later the band already showed their penchant for the less ordinary and technical with their other demo “Beyond Reality” which was quickly followed by the brilliant debut “Fatal Exposure” which combined the style and ferocity of Pestilence’s “Testimony of the Ancients”, Assorted Heap’s ”The Experience of Horror”, Sadus’ “Swallowed in Black”, and Invocator’s “Excursion Demise”. It converted this concoction into a more exuberantly technical “beast”, with more twists and turns, and with more blistering lead sections the latter close to overriding the riff-patterns at times even. Two years later the guys are back and if we exclude the gruff, unpolished shouty vocals, all the rest has been taken to new heights the rhythm-section now being more intense with a more accentuated edge as evident from the cutting opener “Inexplicable Being”. More atmospheric progressiveness will one come across on “Reduce Your Value” which will make you “increase your value” towards the progressive side of the genre. The swirling technical riffs on “Waiting the Miracles” will throw you towards Death’s “Human” and the Dutch Polluted Inheritance’s debut “Ecocide”, but expect your fillings to drop on the fast-paced passage near the end. “Message to the Mystic” will be a “message” to all past, present and future technical practitioners informing them that all they have a lot to learn before they catch up with those experts here; and I don’t even have to mention the great overlapping leads. The latter number a technicaller second to none, the other material tries to catch up, “A Core Undesired” with a portion of twisting speedy arrangements, “The Open Field” with dramatic build-ups on a pile of superbly-puzzling lashing technical riffs; “I Persist My Opinion” with a nice atmospheric break in the middle, among the raging head-spinning technicality surrounding it; the closing “Admiring Your Opponent” with a doze of spinning vortex-like guitars and a surprising memorable chorus which the hoarse vocals manage to pull out admirably. And that’s it; just over half an hour of some of the most stunning displays of musical genius from the 90’s, the way Atheist used to do it not far back, both length and music-wise. To these ears Belgium has never produced anything as compulsively masterful and inspiring as these over 30-min of pure musical magick. It’s not the most original creation by any stretch, it actually recalls quite a few past exploits, but the effortless execution and the impeccable command of the musical instruments (those leads will haunt you, I promise) make it a “breath” of its own its “value” even bigger in consideration of the time when it was released: the scene was barren, sparkles of classic genius were quickly extinguished with piles of angry groovisms. Even the mention of something technical or progressive caused waves of resentment by the new vogues which were ready to obliterate those attempts in their very spawning stage. Apparently they weren’t looking at Belgium at the time, the least likely place of all for something like that to spring up, and the guys were let to strike hard twice shattering the foundations of the established music laws, the cracks left later used by new forces to emerge (Unleashed Power, Mind-Ashes, Droys, Psycho Symphony, etc.). What are these masters doing now? It’s hard to tell, but the band leader Rene Rokx was determined to carry on, and he moved to Holland where he was seen for a short time with the death/thrashers Retribution, before joining the death metal stalwarts Callenish Circle, and later their “offspring” State: Chaos. He also had another short spell, with the power/thrash metal formation Form whose more complex style could have grown into something even more interesting if they hadn’t epitomized an angrier and groovier approach for their sophomore effort. In the end, after all has been said and done, the conclusion is that nothing beats a “breath” of “chemicals”, especially when they come from a “contaminated” place like Belgium. The radiation hasn’t spread very far yet, but some youngsters (Evil Shepherd (too many “shepherds” there; too many “sheep” as well probably…), Gae Bolga, In Chains, the brilliant technical thrashers From Beyond, the technical death metal wizards Prejudice, etc.) have shown their mutated teeth, more or less widely, and it would be interesting to see how far their ongoing metamorphosis will reach... bayern ..::TRACK-LIST::.. 1. Inexplicable Being 03:36 2. Reduce Your Value 05:13 3. Awaiting The Miracles 04:01 4. Message To The Mystic 04:24 5. A Core Undesired 04:41 6. The Open Field 04:17 7. I Persist My Opinion 03:01 8. Admiring Your Opponent 03:09 Bonus Tracks: 9. Selfcaged In Fear [Demo 1997] 05:22 10. Loss Of Perspectives [Demo 1997] 04:37 11. Collapse (Demo 1997) 06:20 12. Act Of Confidence [Demo 1997] 05:30 ..::OBSADA::.. Vocals, Lead Guitar, Bass On All Tracks - Alain Chernouh Drums – Andy Missotten Guitar, Acoustic Guitar - René Rokx https://www.youtube.com/watch?v=HegVlaj-tEc SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-04-07 10:45:46
Rozmiar: 415.52 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Limitowany do 500 egzemplarzy, kapitalny, 80-minutowy zapis występu Metalliki w szwedzkim Goteborgu, 13 lutego 1987 roku! Ten koncert odbył się trzy dni po występie grupy w Katowicach - podsumowywał pierwszą europejską trasę z nowym wówczas basistą, Jasonem Newstedem! O ile katowicki występ istnieje na bootlegach w fatalnej jakości dźwieku, to Goteborg został transmitowany przez radio i w mojej ocenie obok Seattle 1989 (z oficjalnego boksu "Live Shit & Binge") jest to najlepszy i najlepiej nagrany koncert Metalliki, z całych lat 80-tych!!! Jakość dźwięku jest niemal idealna, zestaw nagrań pochodzi z pierwszych trzech albumów i jest jak marzenie! Trudno sobie wyobrazić lepszą setlistę! Zespół zagrał solidnie, czysto i nieco ostrzej niż na płytach, a wciąż selektywnie! Poza tym była to ostatnia trasa kiedy James Hetfield śpiewał w wyższej tonacji - juz dwa lata potem zaczął oszczędzać głos... Booklet zawiera kilkanaście bardzo fajnych zdjęć z tamtego okresu, m.in. grupowe z polskim Katem! To jest absolutna PETARDA!!! ..::TRACK-LIST::.. 1. Battery 4:24 2. Master Of Puppets 7:40 3. For Whom The Bell Tolls 4:13 4. Welcome Home (Sanitarium) 5:52 5. Ride The Lightning 6:19 6. Whiplash 3:44 7. The Thing That Should Not Be 5:30 8. Fade To Black 6:24 9. Seek And Destroy 6:36 10. Creeping Death 7:13 11. Riffs, Bits And Pieces 5:05 12. The Four Horseman 4:36 13. Am I Evil? 3:52 14. Damage Inc. 3:41 Bonus Track: 15. Blitzkrieg 3:49 Tracks 1-14 Recorded live at Frölundaborg, Göteborg, Sweden on 13th February 1987. Track 15 Recorded live at IJsselhallen, Zwolle, The Netherlands on 8th Februari,1987 while headlining the 1987 "AARDSHOK FESTIVAL". First 2 minutes of track 1 Recorded live at Monster Of Rock, Pforzheim, Germany on 30th August 1987. https://www.youtube.com/watch?v=jVgeon-OBxI SEED 14:30-23:00. POLECAM!!!
Seedów: 0
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Data dodania:
2024-03-31 10:05:32
Rozmiar: 185.38 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Limitowany do 500 egzemplarzy, kapitalny, 80-minutowy zapis występu Metalliki w szwedzkim Goteborgu, 13 lutego 1987 roku! Ten koncert odbył się trzy dni po występie grupy w Katowicach - podsumowywał pierwszą europejską trasę z nowym wówczas basistą, Jasonem Newstedem! O ile katowicki występ istnieje na bootlegach w fatalnej jakości dźwieku, to Goteborg został transmitowany przez radio i w mojej ocenie obok Seattle 1989 (z oficjalnego boksu "Live Shit & Binge") jest to najlepszy i najlepiej nagrany koncert Metalliki, z całych lat 80-tych!!! Jakość dźwięku jest niemal idealna, zestaw nagrań pochodzi z pierwszych trzech albumów i jest jak marzenie! Trudno sobie wyobrazić lepszą setlistę! Zespół zagrał solidnie, czysto i nieco ostrzej niż na płytach, a wciąż selektywnie! Poza tym była to ostatnia trasa kiedy James Hetfield śpiewał w wyższej tonacji - juz dwa lata potem zaczął oszczędzać głos... Booklet zawiera kilkanaście bardzo fajnych zdjęć z tamtego okresu, m.in. grupowe z polskim Katem! To jest absolutna PETARDA!!! ..::TRACK-LIST::.. 1. Battery 4:24 2. Master Of Puppets 7:40 3. For Whom The Bell Tolls 4:13 4. Welcome Home (Sanitarium) 5:52 5. Ride The Lightning 6:19 6. Whiplash 3:44 7. The Thing That Should Not Be 5:30 8. Fade To Black 6:24 9. Seek And Destroy 6:36 10. Creeping Death 7:13 11. Riffs, Bits And Pieces 5:05 12. The Four Horseman 4:36 13. Am I Evil? 3:52 14. Damage Inc. 3:41 Bonus Track: 15. Blitzkrieg 3:49 Tracks 1-14 Recorded live at Frölundaborg, Göteborg, Sweden on 13th February 1987. Track 15 Recorded live at IJsselhallen, Zwolle, The Netherlands on 8th Februari,1987 while headlining the 1987 "AARDSHOK FESTIVAL". First 2 minutes of track 1 Recorded live at Monster Of Rock, Pforzheim, Germany on 30th August 1987. https://www.youtube.com/watch?v=jVgeon-OBxI SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-03-31 10:02:00
Rozmiar: 600.29 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Crossover Thrash Metal band from Bydgoszcz, Poland. Wow! Technophobia’s opener bursts with an enormous vehemence out of the speakers. Wild and fresh, juvenile and careless, this is how a debut of churlish yobs must sound and the guys from Poland (and Mexico) have doubtlessly inhaled this essential rule. “Anti-Human Terror” offers thrash in its very raw form. Some crossover elements can also be found here, but don’t think of sometimes rather comparatively mild punk shouters like Agnostic Front. Technophobia like it fast and ultra-heavy and this is a weakness they share with the reviewer. The most punk-like detail is the short average length of the songs. Four tracks in eleven minutes leave no doubt, the quartet loves to reduce its songs to the essentials. No gram of fat here! Bone-dry riffing, the necessary iota of melody, furious (and very well produced) drums and more or less the maximum of aggression form an adequately uncompromising EP. It does not open a new chapter in the history of extreme thrash, but it releases a very high dose of energy. Are thee buildings still standing in the home town of the band? Don’t think so. But let’s get back to the EP. It holds solos that are not just there, but add a slightly melodic touch. Even the miniature track “No Solution” with its neckbreaking mid-tempo beginning and the insanely fast second part has something to say. Very old followers of the scene might think of Hallow’s Eve “Suicide” – well, here comes its much more violent successor. I already mentioned the good production of the drums, but the sharpness of the guitars is remarkable as well. The vocals also have found their right place in this in-your-face mix. Okay, they do not score with an overdose of charisma, but they express anger, fury and rebellion. Frankly, I do not expect much more when it comes to swashbuckling thrash infernos. The fact that the artwork features a martial bastard between Carnivore’s gas mask creatures and Sodom’s Knarrenheinz marks another appropriate detail. Given this package, I must say that eleven minutes are not enough to determine a huge potential. Anyway, the first step has been taken in an impressive manner. Those who like Götterdämmerung’s “Neuschwabenland” minus the “lame” title track (a very good song, to speak the truth) are well advised to lend an ear to “Anti-Human Terror”. Felix 1666 ..::TRACK-LIST::.. 1. Anti-Human Terror 03:45 2. Pandemic Fear 02:47 3. Red Heaven 02:47 4. No Solution 01:46 ..::OBSADA::.. Guitar - Kajetan Krzanowski Bass - Bartosz Pinkowski Vocals - Ozrata Masakrovich Drums - Piotr Rumiński https://www.youtube.com/watch?v=5LenuW2F6-Q SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-03-27 20:39:07
Rozmiar: 26.60 MB
Peerów: 0
Dodał: Fallen_Angel
Opis
...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...
..::OPIS::.. Crossover Thrash Metal band from Bydgoszcz, Poland. Wow! Technophobia’s opener bursts with an enormous vehemence out of the speakers. Wild and fresh, juvenile and careless, this is how a debut of churlish yobs must sound and the guys from Poland (and Mexico) have doubtlessly inhaled this essential rule. “Anti-Human Terror” offers thrash in its very raw form. Some crossover elements can also be found here, but don’t think of sometimes rather comparatively mild punk shouters like Agnostic Front. Technophobia like it fast and ultra-heavy and this is a weakness they share with the reviewer. The most punk-like detail is the short average length of the songs. Four tracks in eleven minutes leave no doubt, the quartet loves to reduce its songs to the essentials. No gram of fat here! Bone-dry riffing, the necessary iota of melody, furious (and very well produced) drums and more or less the maximum of aggression form an adequately uncompromising EP. It does not open a new chapter in the history of extreme thrash, but it releases a very high dose of energy. Are thee buildings still standing in the home town of the band? Don’t think so. But let’s get back to the EP. It holds solos that are not just there, but add a slightly melodic touch. Even the miniature track “No Solution” with its neckbreaking mid-tempo beginning and the insanely fast second part has something to say. Very old followers of the scene might think of Hallow’s Eve “Suicide” – well, here comes its much more violent successor. I already mentioned the good production of the drums, but the sharpness of the guitars is remarkable as well. The vocals also have found their right place in this in-your-face mix. Okay, they do not score with an overdose of charisma, but they express anger, fury and rebellion. Frankly, I do not expect much more when it comes to swashbuckling thrash infernos. The fact that the artwork features a martial bastard between Carnivore’s gas mask creatures and Sodom’s Knarrenheinz marks another appropriate detail. Given this package, I must say that eleven minutes are not enough to determine a huge potential. Anyway, the first step has been taken in an impressive manner. Those who like Götterdämmerung’s “Neuschwabenland” minus the “lame” title track (a very good song, to speak the truth) are well advised to lend an ear to “Anti-Human Terror”. Felix 1666 ..::TRACK-LIST::.. 1. Anti-Human Terror 03:45 2. Pandemic Fear 02:47 3. Red Heaven 02:47 4. No Solution 01:46 ..::OBSADA::.. Guitar - Kajetan Krzanowski Bass - Bartosz Pinkowski Vocals - Ozrata Masakrovich Drums - Piotr Rumiński https://www.youtube.com/watch?v=5LenuW2F6-Q SEED 14:30-23:00. POLECAM!!!
Seedów: 0
Komentarze: 0
Data dodania:
2024-03-27 20:34:04
Rozmiar: 88.44 MB
Peerów: 0
Dodał: Fallen_Angel
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