...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

The first East German metal band (hailing from Leipzig) that scored a deal with a West German label! They signed to 1MF Recordz (home of Torchure, Assorted Heap, Blood Sacrosanct). Emerged from the 80-ish punk rock scene , the band developed into a rather unique, sometimes technical (German) thrash metal outfit. Excellent production by Michael Stötzel and (Torchure Sacrosanct, Assorted Heap). Remastered by the band and the booklet contains Extensive liner notes and rare pictures. The 5 track ep’ Thrief...’Ep (also Recorded at Dust-Music-Studios with Michael Stötzel September '90) is added as bonus to the album.




Yeah, it’s about the Tishvaisings here, whoever these folks were, the band changing their moniker several times, always revolving around that enigmatic name. Their beginnings were fairly rough, albeit quite inspired slabs of thrash with both more technical and doomy sparks. The EP was the culmination of those early strives which put the band in a niche of their own since they didn’t quite sound like anyone else out there, their style not quite compatible with the more serious direction the scene took in the late-80’s as the more complex moments were far from the dominant tendency.

On the album reviewed here the guys must have surprised even themselves as this is a captivating listen with again a fairly original sound that follows its own way which begins with an intro, a brilliant “acoustic vs. metallic” interpretation of the main theme from Dario Argento’s gothic horror masterpiece ”Suspiria”. A very alluring start which “Gotta Bad Taste” retains on all counts, a dark brooding shredder with echoes of early Celtic Frost and a few both melodic and technical quirks. The mean semi-declamatory deathy vocals are a nice addition to the eventful musical scenery which becomes both more intense and more diverse on “Katharsis”, the supposed title-track, a nice headbanger with a prominent bass presence and weird attempts at rap-like singing. “Backwoods” is a glorious progressive thrash opera, a diverse masterpiece worthy of Deathrow and late-80’s Destruction with superb elaborate developments, loads of riff-shifts and a couple of great melodic tunes.

A most stunning turn of events elevating the album on a new pedestal “Gore-Shriek of a Hunchback” simplifying the situation a bit with more orthodox ways of expression although the high energy from the preceding numbers is intact alongside several surreal less ordinary twists and the outstanding performance by the lead guitarist. “Midnitemeattrain” is a compelling blend of speed and technicality the stylish surges very similar to the ones on Destruction’s “Cracked Brain” with some of the Celtic Frost-esque stompiness brought back. “Total Sellout” moshes hard with a nice sense of melody displayed as well, the leads hitting another high amongst the fast-paced “skirmishes”. The semi-balladic atmospheric “Outburst” is the obligatory break, but watch out for “Headless”, a first-rate technical thrash delight, a most tantalizing way to finish this highly entertaining saga with a lot of wild bashing as well thrown amidst the more challenging labyrinthine riff-formulas.

Although the more ambitious arrangements are way more developed and prominent than on the band’s early works, it’s hard to place this opus strictly within the confines of the technical/progressive thrash wave that started in the guys’ homeland around the same time. The delivery follows its own mind as the band are not intent on stupefying the fanbase with the most dazzling intricate fretwork on the circuit; they bash with vigour when they feel like it, weave mazey riff puzzles at will, get lyrical on occasion… a lot has been provided for the listener who will wonder at how expertly all the separate motifs have been stitched together; a true work of art that definitely deserves a wider exposure, regardless of the hilariously unsightly cover.

The Tishvaisings came, saw and then decided to conquer another plane from the metal scene that seemed a more viable proposition in the 90’s, the industrial one. They regrouped under the name Think About Mutation and peppered the decade and beyond with hard-hitting industrial metal symphonies akin to the ones churned out by their compatriots Die Krupps and KMFDM. Any traces of this legendary art? Not very tangible to be honest; this arcane lore lies dormant somewhere deep, waiting to be rediscovered by the next batch of ironwork craftsmen.

Bayern



..::TRACK-LIST::..

1. Intro (Dedicated To Dario Argento) 1:48
2. Gotta Bad Taste 6:03
3. Katharsis 4:14
4. Backwoods 7:42
5. Gore-Shriek Of A Hunchback 5:19
6. Midnitemeattrain 4:13
7. Total Sellout 3:57
8. Outburst 3:46

Bonus Tracks: 'Thrief' EP 1990
9. Evil Dead 0:40
10. Headless 4:51
11. Hellraiser 00:30
12. Twenty Problems 02:33
13. Dirty Deal 03:49



..::OBSADA::..

Guitar, Vocal - Joey A. Vaising
Bass - Gogo Vaising
Drums - D.D. Vaising




https://www.youtube.com/watch?v=Zv2aPQOqtdY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

The first East German metal band (hailing from Leipzig) that scored a deal with a West German label! They signed to 1MF Recordz (home of Torchure, Assorted Heap, Blood Sacrosanct). Emerged from the 80-ish punk rock scene , the band developed into a rather unique, sometimes technical (German) thrash metal outfit. Excellent production by Michael Stötzel and (Torchure Sacrosanct, Assorted Heap). Remastered by the band and the booklet contains Extensive liner notes and rare pictures. The 5 track ep’ Thrief...’Ep (also Recorded at Dust-Music-Studios with Michael Stötzel September '90) is added as bonus to the album.




Yeah, it’s about the Tishvaisings here, whoever these folks were, the band changing their moniker several times, always revolving around that enigmatic name. Their beginnings were fairly rough, albeit quite inspired slabs of thrash with both more technical and doomy sparks. The EP was the culmination of those early strives which put the band in a niche of their own since they didn’t quite sound like anyone else out there, their style not quite compatible with the more serious direction the scene took in the late-80’s as the more complex moments were far from the dominant tendency.

On the album reviewed here the guys must have surprised even themselves as this is a captivating listen with again a fairly original sound that follows its own way which begins with an intro, a brilliant “acoustic vs. metallic” interpretation of the main theme from Dario Argento’s gothic horror masterpiece ”Suspiria”. A very alluring start which “Gotta Bad Taste” retains on all counts, a dark brooding shredder with echoes of early Celtic Frost and a few both melodic and technical quirks. The mean semi-declamatory deathy vocals are a nice addition to the eventful musical scenery which becomes both more intense and more diverse on “Katharsis”, the supposed title-track, a nice headbanger with a prominent bass presence and weird attempts at rap-like singing. “Backwoods” is a glorious progressive thrash opera, a diverse masterpiece worthy of Deathrow and late-80’s Destruction with superb elaborate developments, loads of riff-shifts and a couple of great melodic tunes.

A most stunning turn of events elevating the album on a new pedestal “Gore-Shriek of a Hunchback” simplifying the situation a bit with more orthodox ways of expression although the high energy from the preceding numbers is intact alongside several surreal less ordinary twists and the outstanding performance by the lead guitarist. “Midnitemeattrain” is a compelling blend of speed and technicality the stylish surges very similar to the ones on Destruction’s “Cracked Brain” with some of the Celtic Frost-esque stompiness brought back. “Total Sellout” moshes hard with a nice sense of melody displayed as well, the leads hitting another high amongst the fast-paced “skirmishes”. The semi-balladic atmospheric “Outburst” is the obligatory break, but watch out for “Headless”, a first-rate technical thrash delight, a most tantalizing way to finish this highly entertaining saga with a lot of wild bashing as well thrown amidst the more challenging labyrinthine riff-formulas.

Although the more ambitious arrangements are way more developed and prominent than on the band’s early works, it’s hard to place this opus strictly within the confines of the technical/progressive thrash wave that started in the guys’ homeland around the same time. The delivery follows its own mind as the band are not intent on stupefying the fanbase with the most dazzling intricate fretwork on the circuit; they bash with vigour when they feel like it, weave mazey riff puzzles at will, get lyrical on occasion… a lot has been provided for the listener who will wonder at how expertly all the separate motifs have been stitched together; a true work of art that definitely deserves a wider exposure, regardless of the hilariously unsightly cover.

The Tishvaisings came, saw and then decided to conquer another plane from the metal scene that seemed a more viable proposition in the 90’s, the industrial one. They regrouped under the name Think About Mutation and peppered the decade and beyond with hard-hitting industrial metal symphonies akin to the ones churned out by their compatriots Die Krupps and KMFDM. Any traces of this legendary art? Not very tangible to be honest; this arcane lore lies dormant somewhere deep, waiting to be rediscovered by the next batch of ironwork craftsmen.

Bayern



..::TRACK-LIST::..

1. Intro (Dedicated To Dario Argento) 1:48
2. Gotta Bad Taste 6:03
3. Katharsis 4:14
4. Backwoods 7:42
5. Gore-Shriek Of A Hunchback 5:19
6. Midnitemeattrain 4:13
7. Total Sellout 3:57
8. Outburst 3:46

Bonus Tracks: 'Thrief' EP 1990
9. Evil Dead 0:40
10. Headless 4:51
11. Hellraiser 00:30
12. Twenty Problems 02:33
13. Dirty Deal 03:49



..::OBSADA::..

Guitar, Vocal - Joey A. Vaising
Bass - Gogo Vaising
Drums - D.D. Vaising




https://www.youtube.com/watch?v=Zv2aPQOqtdY



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Yes, this is the same thrash metal band from the east coast that was one of the early signees with the then fledgling label, New Renaissance Records started by none other than Ann Boleyn. These guys released two albums, an EP and also had a couple of their tracks on the speed metal hell compilations back in the eighties which practically did not get them anywhere(while still drawing critical acclaim for being one of the first speed metal bands) and then vanished from the scene altogether. After a sabbatical of nearly 21 years, the trio is back again with this release titled “Infidel” and seems like this could have been on their eighties catalog. The feel of this album is pure old school and by no means utilizes any half step measures of the late 90s and post 2000. At War is back in business!!!!

Just like the previous two albums, the band uses the tried and tested formula of keeping the length of this one well within 35 minutes which in is fair enough for a speed metal band that uses a good dose of punk as well. The production is done pretty well alongside keeping the old school eighties feel intact. All the instruments can be easily distinguished from each other without any single instrument dominance, while the vocals are yet again vintage Motorhead style, though with a little more gruff and thrash edge. The songs in here are short and crisp, devoid of any sad as hell intros and background noise effects whereas the riff work is brilliant. Another thing likeable about this release is that the tuning is Standard E and not the drop D style that most bands follow these days.

As for the tracks, all of them blend along very well without giving any hint of falling apart at the seams. I feel no necessity of covering each and every track in detail but instead pick out a few that stick to my head prompting me to listen to them again. “Assassins” has that main riff that is some of the best I’ve heard in recent years and “Semper Fi” sort of reminded me of “Indulgence” era Nasty Savage without the insane wails of Nasty Ronnie and to an extent, Slayer in some of the guitar parts. The tracks that really stand out though are “At War” and “R.A.F”, filled with oodles of energy and a total war attitude that reminds newcomers of how thrash metal should be done. The closer “Rapechase” is a track that appeared on their debut album and also one of the “Speed Metal Hell” compilations and this in my opinion is an absolute banger of a song that could have given some of the big names back during the thrash boom a run for their money and fame.

Though some people out there would argue that this release is no different from what they did back in the eighties, and that the band has not matured at all after all these years. My take on this is that even though these guys sound dated, they’re still better off than all those bands who have taken an absolutely approach to their music. An example would be At War’s ex-label mates Sepultura who have transformed themselves beyond recognition. From a death/thrash hybrid to a total shitty sounding groove band, they’ve just made themselves look like clowns of a circus troupe. This trio on the other hand do not show any signs of compromising on their original sound and still show loyalty towards their fans with no intentions whatsoever of alienating them.

As far as the recommendation is concerned, I’d definitely go the extra mile to support these guys and bring them to the notice of the masses. Fans of yesteryear thrash, proto death and mid era Motorhead would find interest of significance here. This is the return of the war veterans.


Cravingforvenom



The best way to learn about thrash metal is, ironically, not through its big names. Most of the "Big Four" of thrash (Metallica, Megadeth, Anthrax, and Slayer) became big by straying from the genre. Metallica started writing radio hits; Megadeth tried to do likewise. Anthrax dabbled in rap, alt-metal, and rock. Only Slayer stayed mostly true to thrash, but they are so sui generis that they are almost their own genre. Thus, the so-called "second tier"-- bands that never made it big-- comprise thrash's true sound. These bands knock out machine-gun riffs and polka beats with no regard for the mainstream, and are often much more intense than the Big Four.

At War are one such band. Even when they began in the 1980s, they stood out from the thrash herd. They were from Virginia, not one of America's thrash epicenters (New York City, Los Angeles, the Bay Area). They also weren't pacifists. Much of 1980s thrash was a reaction to Reagan-era policies, with countless bands preaching the horrors of nuclear war. At War, however, were unabashed military supporters. They weren't necessarily right-wing conservatives; one of their songs advocated the separation of church and state. But they had friends and family in the military, and paid tribute to that history through their music. Thus, military imagery pervaded their artwork, and military sounds peppered their albums.

Like most of their thrash colleagues, At War stood down in the 1990s once grunge came along. But popular music is cyclical, and the past few years have seen a resurgence in thrash metal. New bands have sprung up to emulate old ones, many of whom have reunited. Thus, At War's new album Infidel feels both retro and contemporary. The band's straight-ahead approach has not changed. Paul Arnold's vocals remain commanding and rhythmic. Shawn Helsel's guitars still blend Motörhead with German thrash. Dave Stone's drums have the surprising subtlety they had in the 1980s. The band even retained old-school thrash producer Alex Perialas for this record. He elicited the band's strongest performances to date. The band has never sounded so tight, nor has it ever had such big production. Such precision and cleanliness is slightly odd for a band known for its rawness. The sound has power, though, and reflects the realities of recording in a more technologically advanced time.

War requires an enemy. For At War, that has shifted from Communists to Muslim fundamentalists. The cover of Infidel depicts an eagle-tattooed man facing down an army of Jihadists. "Want You Dead" features a chorus of "They want you dead/ Kuffar die!/ They want you dead/ Open your eyes!" This is hardly diplomatic, but metal is not diplomatic music. Infidel is a strong statement. Agreement with it is up to the listener.

Cosmo Lee



..::TRACK-LIST::..

1. Assassins
2. Semper Fi
3. Make Your Move
4. At War
5. Want You Dead
6. R.A.F.
7. Deceit
Lead Guitar [All Other Leads] - Shawn Helsel
Lead Guitar [First] - Adam Tranquilli
8. Vengeful Eyes
Lead Guitar [All Other Leads] - Shawn Helsel
Lead Guitar [Front And Back] - RikiLee
9. Rapechase



..::OBSADA::..

Paul Arnold - Bass, Vocals
Shawn Helsel - Guitars, Vocals (backing)
Dave Stone - Drums



https://www.youtube.com/watch?v=t1TM62pCCZ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Yes, this is the same thrash metal band from the east coast that was one of the early signees with the then fledgling label, New Renaissance Records started by none other than Ann Boleyn. These guys released two albums, an EP and also had a couple of their tracks on the speed metal hell compilations back in the eighties which practically did not get them anywhere(while still drawing critical acclaim for being one of the first speed metal bands) and then vanished from the scene altogether. After a sabbatical of nearly 21 years, the trio is back again with this release titled “Infidel” and seems like this could have been on their eighties catalog. The feel of this album is pure old school and by no means utilizes any half step measures of the late 90s and post 2000. At War is back in business!!!!

Just like the previous two albums, the band uses the tried and tested formula of keeping the length of this one well within 35 minutes which in is fair enough for a speed metal band that uses a good dose of punk as well. The production is done pretty well alongside keeping the old school eighties feel intact. All the instruments can be easily distinguished from each other without any single instrument dominance, while the vocals are yet again vintage Motorhead style, though with a little more gruff and thrash edge. The songs in here are short and crisp, devoid of any sad as hell intros and background noise effects whereas the riff work is brilliant. Another thing likeable about this release is that the tuning is Standard E and not the drop D style that most bands follow these days.

As for the tracks, all of them blend along very well without giving any hint of falling apart at the seams. I feel no necessity of covering each and every track in detail but instead pick out a few that stick to my head prompting me to listen to them again. “Assassins” has that main riff that is some of the best I’ve heard in recent years and “Semper Fi” sort of reminded me of “Indulgence” era Nasty Savage without the insane wails of Nasty Ronnie and to an extent, Slayer in some of the guitar parts. The tracks that really stand out though are “At War” and “R.A.F”, filled with oodles of energy and a total war attitude that reminds newcomers of how thrash metal should be done. The closer “Rapechase” is a track that appeared on their debut album and also one of the “Speed Metal Hell” compilations and this in my opinion is an absolute banger of a song that could have given some of the big names back during the thrash boom a run for their money and fame.

Though some people out there would argue that this release is no different from what they did back in the eighties, and that the band has not matured at all after all these years. My take on this is that even though these guys sound dated, they’re still better off than all those bands who have taken an absolutely approach to their music. An example would be At War’s ex-label mates Sepultura who have transformed themselves beyond recognition. From a death/thrash hybrid to a total shitty sounding groove band, they’ve just made themselves look like clowns of a circus troupe. This trio on the other hand do not show any signs of compromising on their original sound and still show loyalty towards their fans with no intentions whatsoever of alienating them.

As far as the recommendation is concerned, I’d definitely go the extra mile to support these guys and bring them to the notice of the masses. Fans of yesteryear thrash, proto death and mid era Motorhead would find interest of significance here. This is the return of the war veterans.


Cravingforvenom



The best way to learn about thrash metal is, ironically, not through its big names. Most of the "Big Four" of thrash (Metallica, Megadeth, Anthrax, and Slayer) became big by straying from the genre. Metallica started writing radio hits; Megadeth tried to do likewise. Anthrax dabbled in rap, alt-metal, and rock. Only Slayer stayed mostly true to thrash, but they are so sui generis that they are almost their own genre. Thus, the so-called "second tier"-- bands that never made it big-- comprise thrash's true sound. These bands knock out machine-gun riffs and polka beats with no regard for the mainstream, and are often much more intense than the Big Four.

At War are one such band. Even when they began in the 1980s, they stood out from the thrash herd. They were from Virginia, not one of America's thrash epicenters (New York City, Los Angeles, the Bay Area). They also weren't pacifists. Much of 1980s thrash was a reaction to Reagan-era policies, with countless bands preaching the horrors of nuclear war. At War, however, were unabashed military supporters. They weren't necessarily right-wing conservatives; one of their songs advocated the separation of church and state. But they had friends and family in the military, and paid tribute to that history through their music. Thus, military imagery pervaded their artwork, and military sounds peppered their albums.

Like most of their thrash colleagues, At War stood down in the 1990s once grunge came along. But popular music is cyclical, and the past few years have seen a resurgence in thrash metal. New bands have sprung up to emulate old ones, many of whom have reunited. Thus, At War's new album Infidel feels both retro and contemporary. The band's straight-ahead approach has not changed. Paul Arnold's vocals remain commanding and rhythmic. Shawn Helsel's guitars still blend Motörhead with German thrash. Dave Stone's drums have the surprising subtlety they had in the 1980s. The band even retained old-school thrash producer Alex Perialas for this record. He elicited the band's strongest performances to date. The band has never sounded so tight, nor has it ever had such big production. Such precision and cleanliness is slightly odd for a band known for its rawness. The sound has power, though, and reflects the realities of recording in a more technologically advanced time.

War requires an enemy. For At War, that has shifted from Communists to Muslim fundamentalists. The cover of Infidel depicts an eagle-tattooed man facing down an army of Jihadists. "Want You Dead" features a chorus of "They want you dead/ Kuffar die!/ They want you dead/ Open your eyes!" This is hardly diplomatic, but metal is not diplomatic music. Infidel is a strong statement. Agreement with it is up to the listener.

Cosmo Lee



..::TRACK-LIST::..

1. Assassins
2. Semper Fi
3. Make Your Move
4. At War
5. Want You Dead
6. R.A.F.
7. Deceit
Lead Guitar [All Other Leads] - Shawn Helsel
Lead Guitar [First] - Adam Tranquilli
8. Vengeful Eyes
Lead Guitar [All Other Leads] - Shawn Helsel
Lead Guitar [Front And Back] - RikiLee
9. Rapechase



..::OBSADA::..

Paul Arnold - Bass, Vocals
Shawn Helsel - Guitars, Vocals (backing)
Dave Stone - Drums



https://www.youtube.com/watch?v=t1TM62pCCZ4



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

DARK SYMPHONIES is honored to announce our continued cooperation with pre-DARKANE Swedish death metal act AGRETATOR to reissue their long out of print sophomore release "Distorted Logic". More experimental than "Delusions", "Distorted Logic" shows the band's natural progression which would lead to the inception of DARKANE!

Additionally, we will be including band's 1997 "Infected" Demo as well as the band's 2 DEMISE (pre-Agretator) demos "Prophesy" from 1991 and "Visions" from 1992. This is a must-have to see where Darkane started out, or just for fans of Death Metal in General!

This CD will be designed after the original 1996 self financed released release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia. Also included are brand new liner notes from original founding member and guitarist / vocalist Pierre Richter.

Additionally, a Japanese-style OBI-Strip will be included.

CD limited to 1000 copies worldwide! Stay away from BOOTLEGS! Support the band and official releases!!



This unique entity became much more known towards the end of the 90’s when they changed their name to Darkane, and when they started churning out releases on more regular bases. Those releases by all means have their moments, but the actual truth is that under the Agretator moniker the guys created much better music, more technical, more atmospheric, and with more heart and soul put into it. The full-length was an awesome display of talent, intricate thrash/death summing up the best from acts like Death, Pestilence, Invocator, and Sadus. It was only the fading interest in all things old school that prevented the guys from getting wider exposure.

They didn’t give up, though, and shot another effort two years later, the 5-tracker reviewed here. It was self-released, without proper label support, but was another splendid exhibition of musical dexterity. To the band’s fans’ surprise, though, the style is quite different from the blistering hyper-active one on the debut; it has mutated into a complex form of modern thrash, not much death metal anymore, one that sides with meisterwerks like Coroner’s “Grin”, Aftermath’s “Eyes of Tomorrow”, Aleister’s “Tribal Tech”, and early Meshuggah. “Chains of Retribution” is a dispassionate, still pretty atmospheric chugger with spastic speedier accumulations and hectic time-shifts, a not very predictable roller-coaster the semi-shouty death metal vocals ruling over the proceedings with fierce determination, with great leads serving the requisite doze of melodic “sanity”.

The title-track has a most logical quiet inauguration which alternates with jumpy robotic rhythms the contrasting symbiosis intercepted by a magnificent melodic lead section that gets repeated again towards the end assisting an enchanting choral inclusion, the surreal feel aggravated by tortured shouts splashed on the jolting, chuggy musical background. “Water” is a nice balladic instrumental the lead guitarist the main participant for the umpteenth time, and “Virtual Tragedy” is an outstanding futuristic technicaller the choppy riff-patterns quickly replaced by smattering speedy crescendos the latter the only overt reminder of the preceding full-length; twisted mazey guitars come to the fore mid-way before another passage of virtuous fast-tempos appears to wrap up this masterpiece. “Non-Human Level” is another highlight with listless gallops riding through a sterile mid-period Obliveon-esque scenery the vocals acquiring an authoritative, semi-declamatory timbre with stylish technical decisions galore plus a couple of atmospheric stops along the way which involve the bass more prominently as a finishing touch in league with alluring flamenco guitars; a unique musical combination adding more original nuances to this short, but utterly captivating affair.

This is a very appropriate transition the band changing the format, but preserving their creative flair all over, even managing to beat the debut in terms of out-of-the-box thinking and more audacious musicianship. It’s not as spaced out as, say, Pestilence’s “Spheres” or Atheist’s “Elements”, and not as overtly modernized as Invocator’s “Weave the Apocalypse”, to provide comparisons with the three brethren of the full-length, and consequently stays the closest to the band’s initially chosen style. There was certainly room for more abstract ways of expression, and those materialized more tangibly on the “Infected” demo three years later which contained three cuts of mechanical dry, djent-like rifforamas, an obvious nod to mid-period Meshuggah and to the industrial heritage of acts like Soulstorm, Puncture, and Grope.

The transformation to Darkane was complete by the end of the decade, and the guys haven’t looked back since. With six albums the band have managed to establish themselves on the forefront although it seems as though the magic from those “uncertain” times of distortions and delusions from the beginning will continue to elude them.

Bayern



..::TRACK-LIST::..

Agretator - Distorted Logic EP:
1. Chains Of Retribution 3:46
2. Distorted Logic 4:20
3. Water 3:07
4. Virtual Tragedy 4:06
5. Non-Human Level 5:29

Agretator - Infected Demo 1997:
6. Impure Inside 4:59
7. Inner Acts 5:42
8. Soul Divine 6:48

Demise - Visions Demo 1992:
9. Horizon Of Nothing 4:33
10. Critical Dimensions 4:01
11. The Inevitable 4:18

Demise - Prophesy Demo 1991:
12. Merciless Living 4:38
13. Prophecy 4:04
14. Cremation Of The Soul 3:41



..::OBSADA::..

Agretator:
Jörgen Löfberg - Bass
Pierre Richter - Guitars, Vocals
Peter Wildoer - Drums
Christofer Malmström - Guitars

Demise:
Jesper Granath - Bass (Tracks 12-14)
Christofer Malmström - Guitars (Tracks 9-11)
Jörgen Löfberg - Bass (Tracks 9-11)
Pierre Richter - Vocals, Guitars
Peter Wildoer -Drums




https://www.youtube.com/watch?v=CaVj3mJY7Wg



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

DARK SYMPHONIES is honored to announce our continued cooperation with pre-DARKANE Swedish death metal act AGRETATOR to reissue their long out of print sophomore release "Distorted Logic". More experimental than "Delusions", "Distorted Logic" shows the band's natural progression which would lead to the inception of DARKANE!

Additionally, we will be including band's 1997 "Infected" Demo as well as the band's 2 DEMISE (pre-Agretator) demos "Prophesy" from 1991 and "Visions" from 1992. This is a must-have to see where Darkane started out, or just for fans of Death Metal in General!

This CD will be designed after the original 1996 self financed released release, taking elements from the original layout with attention to detail, even down to the logo and typeface for a touch of nostalgia. Also included are brand new liner notes from original founding member and guitarist / vocalist Pierre Richter.

Additionally, a Japanese-style OBI-Strip will be included.

CD limited to 1000 copies worldwide! Stay away from BOOTLEGS! Support the band and official releases!!



This unique entity became much more known towards the end of the 90’s when they changed their name to Darkane, and when they started churning out releases on more regular bases. Those releases by all means have their moments, but the actual truth is that under the Agretator moniker the guys created much better music, more technical, more atmospheric, and with more heart and soul put into it. The full-length was an awesome display of talent, intricate thrash/death summing up the best from acts like Death, Pestilence, Invocator, and Sadus. It was only the fading interest in all things old school that prevented the guys from getting wider exposure.

They didn’t give up, though, and shot another effort two years later, the 5-tracker reviewed here. It was self-released, without proper label support, but was another splendid exhibition of musical dexterity. To the band’s fans’ surprise, though, the style is quite different from the blistering hyper-active one on the debut; it has mutated into a complex form of modern thrash, not much death metal anymore, one that sides with meisterwerks like Coroner’s “Grin”, Aftermath’s “Eyes of Tomorrow”, Aleister’s “Tribal Tech”, and early Meshuggah. “Chains of Retribution” is a dispassionate, still pretty atmospheric chugger with spastic speedier accumulations and hectic time-shifts, a not very predictable roller-coaster the semi-shouty death metal vocals ruling over the proceedings with fierce determination, with great leads serving the requisite doze of melodic “sanity”.

The title-track has a most logical quiet inauguration which alternates with jumpy robotic rhythms the contrasting symbiosis intercepted by a magnificent melodic lead section that gets repeated again towards the end assisting an enchanting choral inclusion, the surreal feel aggravated by tortured shouts splashed on the jolting, chuggy musical background. “Water” is a nice balladic instrumental the lead guitarist the main participant for the umpteenth time, and “Virtual Tragedy” is an outstanding futuristic technicaller the choppy riff-patterns quickly replaced by smattering speedy crescendos the latter the only overt reminder of the preceding full-length; twisted mazey guitars come to the fore mid-way before another passage of virtuous fast-tempos appears to wrap up this masterpiece. “Non-Human Level” is another highlight with listless gallops riding through a sterile mid-period Obliveon-esque scenery the vocals acquiring an authoritative, semi-declamatory timbre with stylish technical decisions galore plus a couple of atmospheric stops along the way which involve the bass more prominently as a finishing touch in league with alluring flamenco guitars; a unique musical combination adding more original nuances to this short, but utterly captivating affair.

This is a very appropriate transition the band changing the format, but preserving their creative flair all over, even managing to beat the debut in terms of out-of-the-box thinking and more audacious musicianship. It’s not as spaced out as, say, Pestilence’s “Spheres” or Atheist’s “Elements”, and not as overtly modernized as Invocator’s “Weave the Apocalypse”, to provide comparisons with the three brethren of the full-length, and consequently stays the closest to the band’s initially chosen style. There was certainly room for more abstract ways of expression, and those materialized more tangibly on the “Infected” demo three years later which contained three cuts of mechanical dry, djent-like rifforamas, an obvious nod to mid-period Meshuggah and to the industrial heritage of acts like Soulstorm, Puncture, and Grope.

The transformation to Darkane was complete by the end of the decade, and the guys haven’t looked back since. With six albums the band have managed to establish themselves on the forefront although it seems as though the magic from those “uncertain” times of distortions and delusions from the beginning will continue to elude them.

Bayern



..::TRACK-LIST::..

Agretator - Distorted Logic EP:
1. Chains Of Retribution 3:46
2. Distorted Logic 4:20
3. Water 3:07
4. Virtual Tragedy 4:06
5. Non-Human Level 5:29

Agretator - Infected Demo 1997:
6. Impure Inside 4:59
7. Inner Acts 5:42
8. Soul Divine 6:48

Demise - Visions Demo 1992:
9. Horizon Of Nothing 4:33
10. Critical Dimensions 4:01
11. The Inevitable 4:18

Demise - Prophesy Demo 1991:
12. Merciless Living 4:38
13. Prophecy 4:04
14. Cremation Of The Soul 3:41



..::OBSADA::..

Agretator:
Jörgen Löfberg - Bass
Pierre Richter - Guitars, Vocals
Peter Wildoer - Drums
Christofer Malmström - Guitars

Demise:
Jesper Granath - Bass (Tracks 12-14)
Christofer Malmström - Guitars (Tracks 9-11)
Jörgen Löfberg - Bass (Tracks 9-11)
Pierre Richter - Vocals, Guitars
Peter Wildoer -Drums




https://www.youtube.com/watch?v=CaVj3mJY7Wg



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

...a teraz wyobraźcie sobie że kurwa rok później nagrywają Dreamweaver, który jest jeszcze lepszy niż omawiane przed chwilą arcydzieło. To bodajże pierwszy koncept album w thrash metalu oparty na utworze The Way of Wyrd Briana Batesa opowiadającym o katolickim misjonarzu wysłanym by nawracać pogan. Martin Walkyier dał tu upust swojego umiłowania w dawne celtyckie wierzenia w swoich lirykach, które były bardzo długie i dorównywały długością tym Daniego Filtha. Zresztą - ten umalowany pan z kredek bardzo inspirował się dokonaniami Sabbat, więc o zaskoczeniu nie powinno być mowy.

No dobra, Dreamweaver wita nas fenomenalną okładką, co dzisiaj w świecie Eda Repki zdarza się thrashowym produkcjom bardzo, bardzo rzadko. A sama muzyka to thrash intensywny jak cholera, ale urozmaicony epickimi wstawkami, zwolnieniami, jest też jeden piękny utwór akustyczny Advent of Insanity. Utwory to perły, naszpikowane fantastycznymi riffami Sneapa (jedne z najlepszych w historii thrashu), wściekłymi wokalami Martina, a to co się w nich dzieje to magia. Sneap i Walkyier po czasie narzekali, że za dużo riffów tam upchnęli, z czym nie mogę się zgodzić. Wszystko się fantastycznie łączy, nie ma tu ani jednej zbędnej sekundy.
Jeśli debiut zasługiwał na 10/10, to Dreamweaver oceniłbym na 11/10.

Nucleator


Płyta jest absolutnie genialna!
'Dreamweaver' nie ma żadnych minusów. Jest to idealne pokazanie, jak robić metal, który jest jednocześnie klimatyczny i zachowuje ducha ciężkiej muzyki. Bez klawiszy i tym podobnych!
Przy każdym odtworzeniu tego albumu zastanawiam się, jak to możliwe, że Sabbat nie jest dziś kapelą wychwalaną pod niebiosa, lecz zupełnie zapomnianym bandem...

Wojciech Michalak


Pomysłowe riffy i przejścia, rozbudowane struktury utworów, wymyślne teksty, to jest coś, co zawsze jednoznacznie kojarzyło się zarówno z pierwszym, jak i drugim albumem Brytyjskiego Sabbat. To wszystko zostało przyobleczone w świetną produkcję, w której przestrzeni znalazły swoje wyraźne miejsce wszystkie instrumenty - w końcu Andy Sneap, co nie? Aczkolwiek „Dreamweaver” nie został w nią tak dobrze uzbrojony jak debiutancki krążek. Widać to zwłaszcza po gitarach solowych, które zostały trochę zbyt schowane z tyłu, ale warto przy tym nadmienić, że to jakoś nie razi to szczególnie.

Fakt iż jest to album koncepcyjny, narzucił nieco ograniczeń na muzykę i teksty. “Dreamweaver” został zainspirowany książką Briana Batesa The Way of Wyrd (która, o ile się orientuję, nadal nie ukazała się jeszcze w polskim przekładzie), w której akcja dzieje się w VI wieku w Anglii i koncentruje się wokół chrześcijańskiego mnicha poznającego tajemnice pogańskiego szamanizmu. Sabbat idealnie sportretował tę stylistykę i atmosferę niesamowitości pierwotnego mistycyzmu oraz poetyckiego sentymentalizmu, jednocześnie pędząc na piątym biegu z riffami ostrymi jak frisbee z żyletkami.

Zadziwiające jest to jak Sabbat potrafi być jednocześnie magiczny i poetycki, a zarazem pełen brutalności. Inteligentny thrash, który nie wpada w żadne progresje czy z dupy wzięte motywy, by pokazać złożoność i kunsztowność poszczególnych kompozycji.

Mimo iż zdecydowanie bardziej preferuję debiutanckie dzieło Brytyjczyków, to nie odmówię “Dreamweaverowi” klasy i artyzmu. Sabbat tu nie spuszcza swojej maestrii nawet na jotę i nadal poraża swoją biegłością wykuwania genialnej muzyki. Misterne i potężne kompozycje takie jak “Wildfire”, “Mythistory”, “The Best Enemies”, “The Clerical Conspiracy” i koncertowy klasyk w postaci “Do Dark Horses Dream of Nightmares? (ta gra słów!) to uderzenia mocne i błyskotliwe zarazem. Może nie jest to album, który znalazłby się w top 10 thrashu, ale na pewno stanowi silną pozycję, której niewiele zabrakłoby do takiego zestawienia.

Sterviss


There are very few records that have the power to blow you away on the first listen and repeatedly on every single subsequent listen. (And I've listened to it many hundreds of times since its release.) Without fail. Without exception. I used to feel the same about ...And Justice For All. But, I have to accept, that whereas Metallica's classic does have its longeurs in amidst the brilliance, Sabbat's Dreamweaver: Reflections of our Yesterdays does not.
This is the consummate metal album. Unsurpassed. Ever. So there. All other concept albums (that I have come across, at any rate) should never have been conceived! Sabbat's masterpiece is flawless from start to finish. Sure, it helps that the original source material (Brian Bates's The Way of Wyrd) is so astounding. But the true genius lies in Martin Walkyier's exquisite lyrics - which even he has struggled in later works to equal - and the incredible vocals/musicianship/licks/riffs/solos/sonic sorcery on display. Unlike too much music out there, in Dreamweaver, every single note played counts. Yes, there are plenty of `widdly-widdly' guitar runs. Usually such indulgences can mar an otherwise fine song (Eddie Van Halen - what DID you create?!) But here... every single `widdle', every single cymbal crash, every single bass pluck, every single lyric is pertinent, perfect, essential.

The story of earnest early Christian missionary Wat Brand (who goes native in a big way during his mission to convert pagans in the south of England) and the telling of it is utterly engrossing. The characters encountered on the way are compelling, the action swift and breathless, the denouement totally satisfying and totally magical. The album as a whole is a searingly intelligent critique of the doctrines and practices (especially the proselytizing abuses) of Christianity. Yet this is no unthinking, knee-jerk, devil-worshipping, black metal nonsense. Themes of love, tolerance, spiritual freedom and self-empowerment predominate in this quirky, original, often humorous and deadly serious narrative.

Chinhealer



..::TRACK-LIST::..

CD 2 - Dreamweaver (1989):
1. The Beginning Of The End (Intro)
2. The Clerical Conspiracy
3. Advent Of Insanity
4. Do Dark Horses Dream Of Nightmares
5. The Best Of Enemies
6. How Have The Mighty Fallen
7. Wildfire
8. Mythistory
9. Happy Never After (Outro)



..::OBSADA::..

Martin Walkyier - vocals
Andy Sneap - lead, rhythm and acoustic guitars
Simon Jones - rhythm and lead guitar
Frazer Craske - bass
Simon Negus - drums and percussion




https://www.youtube.com/watch?v=pUU0WMze1W8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

...a teraz wyobraźcie sobie że kurwa rok później nagrywają Dreamweaver, który jest jeszcze lepszy niż omawiane przed chwilą arcydzieło. To bodajże pierwszy koncept album w thrash metalu oparty na utworze The Way of Wyrd Briana Batesa opowiadającym o katolickim misjonarzu wysłanym by nawracać pogan. Martin Walkyier dał tu upust swojego umiłowania w dawne celtyckie wierzenia w swoich lirykach, które były bardzo długie i dorównywały długością tym Daniego Filtha. Zresztą - ten umalowany pan z kredek bardzo inspirował się dokonaniami Sabbat, więc o zaskoczeniu nie powinno być mowy.

No dobra, Dreamweaver wita nas fenomenalną okładką, co dzisiaj w świecie Eda Repki zdarza się thrashowym produkcjom bardzo, bardzo rzadko. A sama muzyka to thrash intensywny jak cholera, ale urozmaicony epickimi wstawkami, zwolnieniami, jest też jeden piękny utwór akustyczny Advent of Insanity. Utwory to perły, naszpikowane fantastycznymi riffami Sneapa (jedne z najlepszych w historii thrashu), wściekłymi wokalami Martina, a to co się w nich dzieje to magia. Sneap i Walkyier po czasie narzekali, że za dużo riffów tam upchnęli, z czym nie mogę się zgodzić. Wszystko się fantastycznie łączy, nie ma tu ani jednej zbędnej sekundy.
Jeśli debiut zasługiwał na 10/10, to Dreamweaver oceniłbym na 11/10.

Nucleator


Płyta jest absolutnie genialna!
'Dreamweaver' nie ma żadnych minusów. Jest to idealne pokazanie, jak robić metal, który jest jednocześnie klimatyczny i zachowuje ducha ciężkiej muzyki. Bez klawiszy i tym podobnych!
Przy każdym odtworzeniu tego albumu zastanawiam się, jak to możliwe, że Sabbat nie jest dziś kapelą wychwalaną pod niebiosa, lecz zupełnie zapomnianym bandem...

Wojciech Michalak


Pomysłowe riffy i przejścia, rozbudowane struktury utworów, wymyślne teksty, to jest coś, co zawsze jednoznacznie kojarzyło się zarówno z pierwszym, jak i drugim albumem Brytyjskiego Sabbat. To wszystko zostało przyobleczone w świetną produkcję, w której przestrzeni znalazły swoje wyraźne miejsce wszystkie instrumenty - w końcu Andy Sneap, co nie? Aczkolwiek „Dreamweaver” nie został w nią tak dobrze uzbrojony jak debiutancki krążek. Widać to zwłaszcza po gitarach solowych, które zostały trochę zbyt schowane z tyłu, ale warto przy tym nadmienić, że to jakoś nie razi to szczególnie.

Fakt iż jest to album koncepcyjny, narzucił nieco ograniczeń na muzykę i teksty. “Dreamweaver” został zainspirowany książką Briana Batesa The Way of Wyrd (która, o ile się orientuję, nadal nie ukazała się jeszcze w polskim przekładzie), w której akcja dzieje się w VI wieku w Anglii i koncentruje się wokół chrześcijańskiego mnicha poznającego tajemnice pogańskiego szamanizmu. Sabbat idealnie sportretował tę stylistykę i atmosferę niesamowitości pierwotnego mistycyzmu oraz poetyckiego sentymentalizmu, jednocześnie pędząc na piątym biegu z riffami ostrymi jak frisbee z żyletkami.

Zadziwiające jest to jak Sabbat potrafi być jednocześnie magiczny i poetycki, a zarazem pełen brutalności. Inteligentny thrash, który nie wpada w żadne progresje czy z dupy wzięte motywy, by pokazać złożoność i kunsztowność poszczególnych kompozycji.

Mimo iż zdecydowanie bardziej preferuję debiutanckie dzieło Brytyjczyków, to nie odmówię “Dreamweaverowi” klasy i artyzmu. Sabbat tu nie spuszcza swojej maestrii nawet na jotę i nadal poraża swoją biegłością wykuwania genialnej muzyki. Misterne i potężne kompozycje takie jak “Wildfire”, “Mythistory”, “The Best Enemies”, “The Clerical Conspiracy” i koncertowy klasyk w postaci “Do Dark Horses Dream of Nightmares? (ta gra słów!) to uderzenia mocne i błyskotliwe zarazem. Może nie jest to album, który znalazłby się w top 10 thrashu, ale na pewno stanowi silną pozycję, której niewiele zabrakłoby do takiego zestawienia.

Sterviss


There are very few records that have the power to blow you away on the first listen and repeatedly on every single subsequent listen. (And I've listened to it many hundreds of times since its release.) Without fail. Without exception. I used to feel the same about ...And Justice For All. But, I have to accept, that whereas Metallica's classic does have its longeurs in amidst the brilliance, Sabbat's Dreamweaver: Reflections of our Yesterdays does not.
This is the consummate metal album. Unsurpassed. Ever. So there. All other concept albums (that I have come across, at any rate) should never have been conceived! Sabbat's masterpiece is flawless from start to finish. Sure, it helps that the original source material (Brian Bates's The Way of Wyrd) is so astounding. But the true genius lies in Martin Walkyier's exquisite lyrics - which even he has struggled in later works to equal - and the incredible vocals/musicianship/licks/riffs/solos/sonic sorcery on display. Unlike too much music out there, in Dreamweaver, every single note played counts. Yes, there are plenty of `widdly-widdly' guitar runs. Usually such indulgences can mar an otherwise fine song (Eddie Van Halen - what DID you create?!) But here... every single `widdle', every single cymbal crash, every single bass pluck, every single lyric is pertinent, perfect, essential.

The story of earnest early Christian missionary Wat Brand (who goes native in a big way during his mission to convert pagans in the south of England) and the telling of it is utterly engrossing. The characters encountered on the way are compelling, the action swift and breathless, the denouement totally satisfying and totally magical. The album as a whole is a searingly intelligent critique of the doctrines and practices (especially the proselytizing abuses) of Christianity. Yet this is no unthinking, knee-jerk, devil-worshipping, black metal nonsense. Themes of love, tolerance, spiritual freedom and self-empowerment predominate in this quirky, original, often humorous and deadly serious narrative.

Chinhealer



..::TRACK-LIST::..

CD 2 - Dreamweaver (1989):
1. The Beginning Of The End (Intro)
2. The Clerical Conspiracy
3. Advent Of Insanity
4. Do Dark Horses Dream Of Nightmares
5. The Best Of Enemies
6. How Have The Mighty Fallen
7. Wildfire
8. Mythistory
9. Happy Never After (Outro)



..::OBSADA::..

Martin Walkyier - vocals
Andy Sneap - lead, rhythm and acoustic guitars
Simon Jones - rhythm and lead guitar
Frazer Craske - bass
Simon Negus - drums and percussion




https://www.youtube.com/watch?v=pUU0WMze1W8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Thrash metalowe szaleństwo od deski do deski!
Niczym grupa wściekłych nastolatków, tylko z wyrafinowaniem, które przychodzi z doświadczeniem...


Toronto, Ontario is the home base of Sacrifice. The Canadian thrash metal force has been at the forefront of Canadian heavy metal since their debut album “Torment in Fire” was released in 1986.
After putting out four full length albums, the band disbanded in 1993, but reunited in 2006. It was the original lineup that released a comeback album titled “The Ones I Condemn” in 2009, and it took a while for the guys to finish work on the next full-length.

With “Volume Six”, the journey continues and Sacrifice’s latest effort is another stunning thrash metal album that reflects oldschool metal. The original plan was to record an EP, but with a solid number of new songs, the band decided to record a new full-length album, and listening to “Volume Six” confirms that this was a good decision.

Screaming guitars, aggressive vocals and great solos create the magic of an album that sounds raw and untamed. Although the four guys are veterans of thrash metal, the album sounds fresh and has a very special dynamic. It’s songs like the massive opener “Comatose” that present a band fully committed to thrash metal. The song is a furious up-tempo and hits you right in the face.

With “Your Hunger for War”, the quartet has added a five-minute song to the track list, which shows the songwriting skills of the Toronto-based metal unit. In general, we are in front of another fast metal song that still has enough twists to keep the tension high.

Songs like “Incoming Mass Extinction” and “Lunar Eclipse” are the counterparts to the epic moments of the album. Clocking in at two minutes, both songs reflect the intense metal power of Sacrifice before “Black Hashish” unveils another epic moment of the album. A slower tempo and heavy riffing drive the song, showing that Sacrifice has more to offer than just full speed metal. “Black Hashish” is the compositional masterpiece of the album.

“Volume Six” is an excellent thrash metal album from a veteran band that has found a way to turn their shared passion for metal into an exciting release. Headbanging is guaranteed.

Markus



..::TRACK-LIST::..

1. Comatose
2. Antidote of Poison
3. Missile
4. Underneath Millennia
5. Your Hunger for War
6. Incoming Mass Extinction
7. Lunar Eclipse
8. Explode
9. Black Hashish
10. We Will Not Survive
11. Trapped in a World (Direct Action cover)



..::OBSADA::..

Bass - Scott Watts
Drums - Gus Pynn
Guitar - Joe Rico
Vocals, Guitar - Rob Urbinati




https://www.youtube.com/watch?v=kISqU7lqvp8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Thrash metalowe szaleństwo od deski do deski!
Niczym grupa wściekłych nastolatków, tylko z wyrafinowaniem, które przychodzi z doświadczeniem...


Toronto, Ontario is the home base of Sacrifice. The Canadian thrash metal force has been at the forefront of Canadian heavy metal since their debut album “Torment in Fire” was released in 1986.
After putting out four full length albums, the band disbanded in 1993, but reunited in 2006. It was the original lineup that released a comeback album titled “The Ones I Condemn” in 2009, and it took a while for the guys to finish work on the next full-length.

With “Volume Six”, the journey continues and Sacrifice’s latest effort is another stunning thrash metal album that reflects oldschool metal. The original plan was to record an EP, but with a solid number of new songs, the band decided to record a new full-length album, and listening to “Volume Six” confirms that this was a good decision.

Screaming guitars, aggressive vocals and great solos create the magic of an album that sounds raw and untamed. Although the four guys are veterans of thrash metal, the album sounds fresh and has a very special dynamic. It’s songs like the massive opener “Comatose” that present a band fully committed to thrash metal. The song is a furious up-tempo and hits you right in the face.

With “Your Hunger for War”, the quartet has added a five-minute song to the track list, which shows the songwriting skills of the Toronto-based metal unit. In general, we are in front of another fast metal song that still has enough twists to keep the tension high.

Songs like “Incoming Mass Extinction” and “Lunar Eclipse” are the counterparts to the epic moments of the album. Clocking in at two minutes, both songs reflect the intense metal power of Sacrifice before “Black Hashish” unveils another epic moment of the album. A slower tempo and heavy riffing drive the song, showing that Sacrifice has more to offer than just full speed metal. “Black Hashish” is the compositional masterpiece of the album.

“Volume Six” is an excellent thrash metal album from a veteran band that has found a way to turn their shared passion for metal into an exciting release. Headbanging is guaranteed.

Markus



..::TRACK-LIST::..

1. Comatose
2. Antidote of Poison
3. Missile
4. Underneath Millennia
5. Your Hunger for War
6. Incoming Mass Extinction
7. Lunar Eclipse
8. Explode
9. Black Hashish
10. We Will Not Survive
11. Trapped in a World (Direct Action cover)



..::OBSADA::..

Bass - Scott Watts
Drums - Gus Pynn
Guitar - Joe Rico
Vocals, Guitar - Rob Urbinati




https://www.youtube.com/watch?v=kISqU7lqvp8



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zespół VOMITVSANCTVS powstał wiosną 2023 r. w Ełku jako trio. Debiutancka płyta jest odzwierciedleniem pogardy dla kleru, wszelkich odmian religii oraz polityki. Pojawia się również problematyka wszechobecnej manipulacji, depresji i psychozy, którą wszyscy obserwują na co dzień.

'Przybywamy z mazurskiej otchłani przynosząc wam Dobrą Nowinę — nadchodzi Trójca Nieświęta, a wraz z nami rozpacz, ból i pożoga. Jesteśmy ropiejącą wydzieliną pogardy, jesteśmy VomitvsanctvS!'

Muzyka na debiutancki album została nagrana samodzielnie przez zespół, natomiast całość zmiksował i poddał masteringowi gitarzysta zespołu – Preacher. Logo zespołu wykonał Franciszek „Trommeslager” Skalski, natomiast za okładkę albumu odpowiada muzyk zespołu – Reverend. Za warstwę liryczną płyty odpowiadają: wokalista Ravenerd Pest oraz Marcin „Kira” Petruk – wokalista lubelskiej formacji Nihili i Oskar Adasiewicz. Autorami zdjęć zespołu jak i fotografii w booklecie są Jarosław Popławski i Bang Your Head Live Photography.



..::TRACK-LIST::..

1. Voices 04:07
2. Plaga 03:30
3. Reverend 03:19
4. Pestilence 05:18
5. redruM 03:53
6. Cathoslut 03:42
7. Zgnilizna 04:55
8. Secretion of Contempt 04:25



..::OBSADA::..

Bass, Vocals - Reverend Pest
Drums - Prophet
Guitar - Preacher




https://www.youtube.com/watch?v=iJc07Nz8sPc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Zespół VOMITVSANCTVS powstał wiosną 2023 r. w Ełku jako trio. Debiutancka płyta jest odzwierciedleniem pogardy dla kleru, wszelkich odmian religii oraz polityki. Pojawia się również problematyka wszechobecnej manipulacji, depresji i psychozy, którą wszyscy obserwują na co dzień.

'Przybywamy z mazurskiej otchłani przynosząc wam Dobrą Nowinę — nadchodzi Trójca Nieświęta, a wraz z nami rozpacz, ból i pożoga. Jesteśmy ropiejącą wydzieliną pogardy, jesteśmy VomitvsanctvS!'

Muzyka na debiutancki album została nagrana samodzielnie przez zespół, natomiast całość zmiksował i poddał masteringowi gitarzysta zespołu – Preacher. Logo zespołu wykonał Franciszek „Trommeslager” Skalski, natomiast za okładkę albumu odpowiada muzyk zespołu – Reverend. Za warstwę liryczną płyty odpowiadają: wokalista Ravenerd Pest oraz Marcin „Kira” Petruk – wokalista lubelskiej formacji Nihili i Oskar Adasiewicz. Autorami zdjęć zespołu jak i fotografii w booklecie są Jarosław Popławski i Bang Your Head Live Photography.



..::TRACK-LIST::..

1. Voices 04:07
2. Plaga 03:30
3. Reverend 03:19
4. Pestilence 05:18
5. redruM 03:53
6. Cathoslut 03:42
7. Zgnilizna 04:55
8. Secretion of Contempt 04:25



..::OBSADA::..

Bass, Vocals - Reverend Pest
Drums - Prophet
Guitar - Preacher




https://www.youtube.com/watch?v=iJc07Nz8sPc



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem w kropce. Dosłownie. Bo nie wiem, jak słowami oddać to, jak wybitna jest twórczość tego zespołu (poza małym wyjątkiem...). Zespół został założony w 1985 roku przez wokalistę Martina Walkyera i basistę Frazera Caske. Dołącza zaraz do nich Andy Sneap, gitarzysta, który w przyszłości zostanie cenionym producentem muzycznym. Wraz z Simonem Negusem za garami zaczęli grać i komponować.

Po wydaniu kilku demówek i singla wypluwają na świat debiut A History of a Time To Come. I kurwa, jak ktoś nie zna tego albumu, nie jest godzien uważać się za znawcę thrash metalu. Bo debiut Sabbat to po prostu doktorat z thrashu.

Jest tu wszystko - gitarowy nakurw jak choćby w A Cautionary Tale, mocarną perkusję, fenomenalne wokale Walkyiera, który potrafił śpiewać ostro i zadziornie, ale też potrafił wydobyć ze swoich strun głosowych mrok i niepokój. Same aranżacje utworów to mistrzostwo - posłuchajcie ostrego Hosanna in Excelsis, rytmicznego Horned is the Hunter czy zróżnicowanego For Those Who Died. Sneap co chwila serwuje fantastyczny riff bądź solo. Dodajmy do tego znakomite brzmienie oraz fantastyczną oprawę graficzną i mamy brylant.

Ha, a teraz wyobraźcie sobie że kurwa rok później nagrywają...
Ale o tym...

Nucleator


After a pair of demos and the "Blood for the Blood God" flexi-disc in White Dwarf magazine, it was only a matter of time before Sabbat birthed their first full-length masterpiece. That the amazing Noise Records signed the band comes as no surprise, they had possibly the best taste of any independent label in the 80s when it came to filling out their roster.

Thus, Sabbat released their debut, and one of the most impressive occult speed/thrash metal albums of its day. Martin Walkyier's vile vocal style is the perfect vehicle to steer the endless cavalry of well-constructed, intense riffing. I realize he got a little more diverse with Skyclad, but none of the goofy puns and limericks of that later project could touch his excellent lyrics and savage delivery in this band. His use of multiple styles really works in a conversational tone, from his snarls to his deeper, 'Chaos' voice.

A resounding intro piece leads into "A Cautionary Tale", an amazing Faustian track. Who could forget Walkyier's infernal sneering of: Bell, book and candle, candle, book, bell, forwards and backwards to damn me to Hell. "Hosanna in Excelsis" is an inspiration, charging piece about the revenge of the fallen angels upon Earth and Heaven, and it even reflects this in the lyrics, which are again unsurpassed in their delivery: Hark! The fallen Angels sing: Glory to Satan our King! The Holy Church we thus defied, the usurper crucified! set to an amazing, thrashing breakdown riff. "Behind the Crooked Cross" leers at you from behind its namesake, a crawling yet powerful track with some pickup speed metal. "Horned is the Hunter" is yet another excellent composition, with resonant acoustic intro which takes you to a sylvan glade before the chords erupt. "I for An Eye" features some cool harmonics over its opening riff, and is yet another track about the deception of the supposed path of divinity, as told to Lucifer as he was cast from Heaven, in total Paradise Lost style dialogue:

"For Those Who Died" is a tribute to the witches falsely burned at the stake. "A Dead Man's Robe" is an epic speed metal instrumental with a nice refrained, charging riff and subsequent breakdown. "The Church Bizarre" is a loving tribute to 'donations' to the pulpit. Religion and hypocrisy are such central subjects to this band, carrying through onto their 2nd album. But Sabbat handled it so well with Walkyier's mocking, clever lyrical explorations, it made the rest of the thrash/speed metal scene seem almost childlike and foolish by comparison. It's also clear that Martin was heavily inspired by classic English literature, a feat that would only be repeated once Cradle of Filth came along (a band who cites Sabbat as a major influence, it's not difficult to hear or see why, Dani also uses a mixture of snarls and grunts to deliver his classical and poetic lyrics). In fact I feel this record had a largely uncredited impact on the emerging black metal genre as a whole. The band has reunited since Walkyier left Skyclad, to do some reunion tours and festival. Who knows if we'll get a new album.

If there is one reason I can't give this album a perfect score, the mix of the album does not hold up for me particularly well, and I favor the 2nd album Dreamweaver ever so slightly for this reason. It's not bad but the guitars don't carry a lot of resounding power. Regardless, this is one of the best thrash/speed metal albums of the 20th century, cohesive and impressive. It's one of the albums that forever emblazoned my soul with the phrase 'Thrash Until Death'. Absolutely mandatory listening, as well as its successor.

autothrall



..::TRACK-LIST::..

CD 1 - History Of A Time To Come (1988):
1. Intro
2. A Cautionary Tale
3. Hosanna In Excelsis
4. Behind The Crooked Cross
5. Horned Is The Hunter
6. I For An Eye
7. For Those Who Died
8. A Dead Man's Robe
9. The Church Bizarre



..::OBSADA::..

Lead Guitar - Andy Sneap
Vocals - Martin Walkyier
Bass Guitar - Frazer Craske
Drums - Simon Negus



https://www.youtube.com/watch?v=2rvPynpLKAk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Jestem w kropce. Dosłownie. Bo nie wiem, jak słowami oddać to, jak wybitna jest twórczość tego zespołu (poza małym wyjątkiem...). Zespół został założony w 1985 roku przez wokalistę Martina Walkyera i basistę Frazera Caske. Dołącza zaraz do nich Andy Sneap, gitarzysta, który w przyszłości zostanie cenionym producentem muzycznym. Wraz z Simonem Negusem za garami zaczęli grać i komponować.

Po wydaniu kilku demówek i singla wypluwają na świat debiut A History of a Time To Come. I kurwa, jak ktoś nie zna tego albumu, nie jest godzien uważać się za znawcę thrash metalu. Bo debiut Sabbat to po prostu doktorat z thrashu.

Jest tu wszystko - gitarowy nakurw jak choćby w A Cautionary Tale, mocarną perkusję, fenomenalne wokale Walkyiera, który potrafił śpiewać ostro i zadziornie, ale też potrafił wydobyć ze swoich strun głosowych mrok i niepokój. Same aranżacje utworów to mistrzostwo - posłuchajcie ostrego Hosanna in Excelsis, rytmicznego Horned is the Hunter czy zróżnicowanego For Those Who Died. Sneap co chwila serwuje fantastyczny riff bądź solo. Dodajmy do tego znakomite brzmienie oraz fantastyczną oprawę graficzną i mamy brylant.

Ha, a teraz wyobraźcie sobie że kurwa rok później nagrywają...
Ale o tym...

Nucleator


After a pair of demos and the "Blood for the Blood God" flexi-disc in White Dwarf magazine, it was only a matter of time before Sabbat birthed their first full-length masterpiece. That the amazing Noise Records signed the band comes as no surprise, they had possibly the best taste of any independent label in the 80s when it came to filling out their roster.

Thus, Sabbat released their debut, and one of the most impressive occult speed/thrash metal albums of its day. Martin Walkyier's vile vocal style is the perfect vehicle to steer the endless cavalry of well-constructed, intense riffing. I realize he got a little more diverse with Skyclad, but none of the goofy puns and limericks of that later project could touch his excellent lyrics and savage delivery in this band. His use of multiple styles really works in a conversational tone, from his snarls to his deeper, 'Chaos' voice.

A resounding intro piece leads into "A Cautionary Tale", an amazing Faustian track. Who could forget Walkyier's infernal sneering of: Bell, book and candle, candle, book, bell, forwards and backwards to damn me to Hell. "Hosanna in Excelsis" is an inspiration, charging piece about the revenge of the fallen angels upon Earth and Heaven, and it even reflects this in the lyrics, which are again unsurpassed in their delivery: Hark! The fallen Angels sing: Glory to Satan our King! The Holy Church we thus defied, the usurper crucified! set to an amazing, thrashing breakdown riff. "Behind the Crooked Cross" leers at you from behind its namesake, a crawling yet powerful track with some pickup speed metal. "Horned is the Hunter" is yet another excellent composition, with resonant acoustic intro which takes you to a sylvan glade before the chords erupt. "I for An Eye" features some cool harmonics over its opening riff, and is yet another track about the deception of the supposed path of divinity, as told to Lucifer as he was cast from Heaven, in total Paradise Lost style dialogue:

"For Those Who Died" is a tribute to the witches falsely burned at the stake. "A Dead Man's Robe" is an epic speed metal instrumental with a nice refrained, charging riff and subsequent breakdown. "The Church Bizarre" is a loving tribute to 'donations' to the pulpit. Religion and hypocrisy are such central subjects to this band, carrying through onto their 2nd album. But Sabbat handled it so well with Walkyier's mocking, clever lyrical explorations, it made the rest of the thrash/speed metal scene seem almost childlike and foolish by comparison. It's also clear that Martin was heavily inspired by classic English literature, a feat that would only be repeated once Cradle of Filth came along (a band who cites Sabbat as a major influence, it's not difficult to hear or see why, Dani also uses a mixture of snarls and grunts to deliver his classical and poetic lyrics). In fact I feel this record had a largely uncredited impact on the emerging black metal genre as a whole. The band has reunited since Walkyier left Skyclad, to do some reunion tours and festival. Who knows if we'll get a new album.

If there is one reason I can't give this album a perfect score, the mix of the album does not hold up for me particularly well, and I favor the 2nd album Dreamweaver ever so slightly for this reason. It's not bad but the guitars don't carry a lot of resounding power. Regardless, this is one of the best thrash/speed metal albums of the 20th century, cohesive and impressive. It's one of the albums that forever emblazoned my soul with the phrase 'Thrash Until Death'. Absolutely mandatory listening, as well as its successor.

autothrall



..::TRACK-LIST::..

CD 1 - History Of A Time To Come (1988):
1. Intro
2. A Cautionary Tale
3. Hosanna In Excelsis
4. Behind The Crooked Cross
5. Horned Is The Hunter
6. I For An Eye
7. For Those Who Died
8. A Dead Man's Robe
9. The Church Bizarre



..::OBSADA::..

Lead Guitar - Andy Sneap
Vocals - Martin Walkyier
Bass Guitar - Frazer Craske
Drums - Simon Negus



https://www.youtube.com/watch?v=2rvPynpLKAk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Patrząc na okładkę drugiego pełnego krążka szwajcarskiego Messiah w życiu bym nie pomyślał, że może ona nieść z sobą całkiem sporą dawkę agresywnej muzyki. Jedynie to logo psuje sympatyczne odczucia jakie wywołuje ten niedźwiedź polarny na okładce. Tymczasem Szwajcarzy zdążyli już się pokazać światu ze swoim death/thrash metalem za sprawą albumu "Hymn To Abramelin", który moim zdaniem do interesujących nie należał.
"Extreme Cold Weather" przynosi stosunkowo niewielką porcję tego typu grania, a to głównie z tego powodu, że mamy tu jedynie siedem utworów (w tym dwa instrumentalne), które w sumie trwają około 26 minut. Nie da się ukryć, że w porównaniu do debiutanckiego albumu mamy tu spory krok do przodu - zwłaszcza w warstwie kompozycyjnej.

Analizę tego albumu należy jednak zacząć od jego brzmienia. Jest ono bardzo surowe i szorstkie, by nie powiedzieć, że album brzmi jakby był nagrywany w ciasnym pokoju. Ku mojemu zaskoczeniu pasuje ono do zawartości muzycznej. W porównaniu do debiutu mamy do czynienia z muzyką o wiele bardziej agresywną i ciężką. Ciężko jest porównać Messiah do czegokolwiek innego, gdyż z jednej strony jest to muzyka dość nieskomplikowana instrumentalnie, niosąca ze sobą sporą dawkę "rock'n'rollowego" grania, zaś z drugiej bezkompromisowo agresywna, bluźniercza i klimatyczna. Muzycy pokusili się nawet o stworzenie własnej wersji "Marszu Radeckiego", oryginalnie skomponowanego przez Johanna Straussa, który w wykonaniu Szwajcarów brzmi dość ciekawie. Bardzo ważnym elementem twórczości Messiah są także teksty, generalnie o tematyce antyklerykalnej. Znalazło się więc tu miejsce dla dwóch utworów - jednego poświęconego nienawiści do Jana Pawła II, zaś drugi poświęcony miłości odo Matki Teresy.

Z przykroąścią trzeba jednak powiedzieć, że choć Messiah na tym wydawnictwie uzyskał dość oryginalne brzmienie, to sama budowa utworów nie robi dobrego wrażenia. W zasadzie jedynym utworem, który od strony muzycznej zrobił na mnie wrażenie jest instrumentalny "Hyper Borea", który jest pełen dramaturgii i ciekawych zmian tempa. Pozostałe utwory raczej niczym twórczym nie zaskakują i szczerze mówiąc niewiele się w nich dzieje.

"Extreme Cold Weather" to bardzo specyficzna płyta, której siła tkwi właśnie w brzmieniu, nadającym jej specyficznego nastroju. Od strony instrumentalnej jest już wiele mniej ciekawie i niestety niedostatki kompozycyjne także są widoczne. Płyta ta powinna być raczej ciekawostką dla słuchacza, gdyż na tle ówczesnej konkurencji na pewno zwracała swoją uwagę, jednak to zdecydowanie za mało, aby powracać do niej regularnie.

Harlequin


If there is one thing that probably shot way over the heads of most people immersed in the early death metal craze it was that the style was actually capable of having a rather tongue-in-cheek outlook, much like its thrash metal cousin. Perhaps part of this lay in the fact that Switzerland's Messiah were something of an unknown in many quarters and still largely are with regards to their earliest offerings. While the debut could have only been considered mildly comedic, "Extreme Cold Weather" could be described as one of the most overtly funny death metal albums to come out of the mid 80s, and believe me when I say that there is no accounting for subtlety for this thing, from the random album cover of a polar bear stalking the tundra to the lyrically bizarre contents contained within.

In terms of its sonic properties, this album has a more polished production that actually serves to bring the band much closer to their latent theatrical quality that was hinted to previous via some strong Hellhammer and occasional Mercyful Fate influences. Here the guitars are a bit less crunchy and frosty and possessed of a warm, yet dark character that is just a tad bit too smooth for what was going on in Florida by this state of the game. Nevertheless, when dealing with the actual riff work, this album thrashes with almost the same level of intensity as its predecessor, making perhaps a little bit more room for consonant melody here and there, but "Johannes Paul Der Letzte" (a very unsubtle jab at John Paul II) and "Enjoy Yourself" speed along with comparable fury to the most intense offerings off of "Seven Churches", though dressed up with plenty of abrupt tempo shifts along the lines of thrash meets doom.

Be all this as it may, the band also has kept their tendency towards having a strong atmospheric element mixed with a clear sense of transition from one song to the next. In contrast to "Hymn To Abramelin", the clean balladic passages have more of a spacey, nostalgic character to them rather than a creepy, horror movie feel. The little ditty "Mother Theresa" showcases a band willing to employ jazzy strangeness along similar lines to what was heard on Maiden's "Strange World" in a slightly more outlandish way. Likewise, each break from one song to the next comes complete with a breath of arctic wind (as opposed to reverb-drenched voiceovers), and the technique factor has been ratcheted up pretty significantly. Particularly in the case of the longer instrumental "Hyper Borea", the guitar gymnastics between the various sections is pretty difficult to miss and definitely showcases a more organized approach than that of Possessed or Slayer on the lead soloing front.

Perhaps the greatest flaw of this album, apart from being a little bit too silly, is that the proper studio material is extremely short, falling about 2 minutes shorter than even the overly short "Reign In Blood". There is a series of live songs that come along as a bonus to try and compensate for the lack of new material, but from song 1-7, this feels more like a slightly longer than average EP and leaves the listener hungry for more. The songwriting here is actually a bit less chaotic than the debut, but a better sense of organization doesn't quite redress the aforementioned issues, not to mention that simply saying "John Paul sucks" is a bit less death metal than Nuclear Assault's desire to hang him from a tree. Nevertheless, those hungry for more of what was brewing in the dark and murky world of thrash infused embryonic death metal back at the beginning will find another worthy pickup here.

Hells Unicorn



..::TRACK-LIST::..

Capitle three (studio side)
1. Extreme Cold Weather 04:20
2. Enjoy Yourself 02:26
3. Johannes Paul der Letzte (Dedicated in Hate to Pope John Paul II)
04:02
4. Mother Theresa (Dedicated in Love to Mother Theresa) 01:32
5. Hyper Borea 05:42
6. Radezky March (We Hate to Be in the Army Now) 02:29
7. Nero 05:54

Capitle four (The Extreme Cold Weather live on European stage '87)
8. Hymn to Abramelin 01:10
9. Messiah (extra version) 03:08
10. Space Invaders 03:33
11. Thrashing Madness 02:10
12. Golden Dawn 05:46
13. The Last Inferno 02:56
14. Resurrection 02:50
15. Olé Perversus 02:30



..::OBSADA::..

R. 'Brögi' Broggi - Guitars, Synthesizers
R. 'Jazzi' Heer - Drums
Reto 'Tschösi' Kühne - Vocals, Bass




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Patrząc na okładkę drugiego pełnego krążka szwajcarskiego Messiah w życiu bym nie pomyślał, że może ona nieść z sobą całkiem sporą dawkę agresywnej muzyki. Jedynie to logo psuje sympatyczne odczucia jakie wywołuje ten niedźwiedź polarny na okładce. Tymczasem Szwajcarzy zdążyli już się pokazać światu ze swoim death/thrash metalem za sprawą albumu "Hymn To Abramelin", który moim zdaniem do interesujących nie należał.
"Extreme Cold Weather" przynosi stosunkowo niewielką porcję tego typu grania, a to głównie z tego powodu, że mamy tu jedynie siedem utworów (w tym dwa instrumentalne), które w sumie trwają około 26 minut. Nie da się ukryć, że w porównaniu do debiutanckiego albumu mamy tu spory krok do przodu - zwłaszcza w warstwie kompozycyjnej.

Analizę tego albumu należy jednak zacząć od jego brzmienia. Jest ono bardzo surowe i szorstkie, by nie powiedzieć, że album brzmi jakby był nagrywany w ciasnym pokoju. Ku mojemu zaskoczeniu pasuje ono do zawartości muzycznej. W porównaniu do debiutu mamy do czynienia z muzyką o wiele bardziej agresywną i ciężką. Ciężko jest porównać Messiah do czegokolwiek innego, gdyż z jednej strony jest to muzyka dość nieskomplikowana instrumentalnie, niosąca ze sobą sporą dawkę "rock'n'rollowego" grania, zaś z drugiej bezkompromisowo agresywna, bluźniercza i klimatyczna. Muzycy pokusili się nawet o stworzenie własnej wersji "Marszu Radeckiego", oryginalnie skomponowanego przez Johanna Straussa, który w wykonaniu Szwajcarów brzmi dość ciekawie. Bardzo ważnym elementem twórczości Messiah są także teksty, generalnie o tematyce antyklerykalnej. Znalazło się więc tu miejsce dla dwóch utworów - jednego poświęconego nienawiści do Jana Pawła II, zaś drugi poświęcony miłości odo Matki Teresy.

Z przykroąścią trzeba jednak powiedzieć, że choć Messiah na tym wydawnictwie uzyskał dość oryginalne brzmienie, to sama budowa utworów nie robi dobrego wrażenia. W zasadzie jedynym utworem, który od strony muzycznej zrobił na mnie wrażenie jest instrumentalny "Hyper Borea", który jest pełen dramaturgii i ciekawych zmian tempa. Pozostałe utwory raczej niczym twórczym nie zaskakują i szczerze mówiąc niewiele się w nich dzieje.

"Extreme Cold Weather" to bardzo specyficzna płyta, której siła tkwi właśnie w brzmieniu, nadającym jej specyficznego nastroju. Od strony instrumentalnej jest już wiele mniej ciekawie i niestety niedostatki kompozycyjne także są widoczne. Płyta ta powinna być raczej ciekawostką dla słuchacza, gdyż na tle ówczesnej konkurencji na pewno zwracała swoją uwagę, jednak to zdecydowanie za mało, aby powracać do niej regularnie.

Harlequin


If there is one thing that probably shot way over the heads of most people immersed in the early death metal craze it was that the style was actually capable of having a rather tongue-in-cheek outlook, much like its thrash metal cousin. Perhaps part of this lay in the fact that Switzerland's Messiah were something of an unknown in many quarters and still largely are with regards to their earliest offerings. While the debut could have only been considered mildly comedic, "Extreme Cold Weather" could be described as one of the most overtly funny death metal albums to come out of the mid 80s, and believe me when I say that there is no accounting for subtlety for this thing, from the random album cover of a polar bear stalking the tundra to the lyrically bizarre contents contained within.

In terms of its sonic properties, this album has a more polished production that actually serves to bring the band much closer to their latent theatrical quality that was hinted to previous via some strong Hellhammer and occasional Mercyful Fate influences. Here the guitars are a bit less crunchy and frosty and possessed of a warm, yet dark character that is just a tad bit too smooth for what was going on in Florida by this state of the game. Nevertheless, when dealing with the actual riff work, this album thrashes with almost the same level of intensity as its predecessor, making perhaps a little bit more room for consonant melody here and there, but "Johannes Paul Der Letzte" (a very unsubtle jab at John Paul II) and "Enjoy Yourself" speed along with comparable fury to the most intense offerings off of "Seven Churches", though dressed up with plenty of abrupt tempo shifts along the lines of thrash meets doom.

Be all this as it may, the band also has kept their tendency towards having a strong atmospheric element mixed with a clear sense of transition from one song to the next. In contrast to "Hymn To Abramelin", the clean balladic passages have more of a spacey, nostalgic character to them rather than a creepy, horror movie feel. The little ditty "Mother Theresa" showcases a band willing to employ jazzy strangeness along similar lines to what was heard on Maiden's "Strange World" in a slightly more outlandish way. Likewise, each break from one song to the next comes complete with a breath of arctic wind (as opposed to reverb-drenched voiceovers), and the technique factor has been ratcheted up pretty significantly. Particularly in the case of the longer instrumental "Hyper Borea", the guitar gymnastics between the various sections is pretty difficult to miss and definitely showcases a more organized approach than that of Possessed or Slayer on the lead soloing front.

Perhaps the greatest flaw of this album, apart from being a little bit too silly, is that the proper studio material is extremely short, falling about 2 minutes shorter than even the overly short "Reign In Blood". There is a series of live songs that come along as a bonus to try and compensate for the lack of new material, but from song 1-7, this feels more like a slightly longer than average EP and leaves the listener hungry for more. The songwriting here is actually a bit less chaotic than the debut, but a better sense of organization doesn't quite redress the aforementioned issues, not to mention that simply saying "John Paul sucks" is a bit less death metal than Nuclear Assault's desire to hang him from a tree. Nevertheless, those hungry for more of what was brewing in the dark and murky world of thrash infused embryonic death metal back at the beginning will find another worthy pickup here.

Hells Unicorn



..::TRACK-LIST::..

Capitle three (studio side)
1. Extreme Cold Weather 04:20
2. Enjoy Yourself 02:26
3. Johannes Paul der Letzte (Dedicated in Hate to Pope John Paul II)
04:02
4. Mother Theresa (Dedicated in Love to Mother Theresa) 01:32
5. Hyper Borea 05:42
6. Radezky March (We Hate to Be in the Army Now) 02:29
7. Nero 05:54

Capitle four (The Extreme Cold Weather live on European stage '87)
8. Hymn to Abramelin 01:10
9. Messiah (extra version) 03:08
10. Space Invaders 03:33
11. Thrashing Madness 02:10
12. Golden Dawn 05:46
13. The Last Inferno 02:56
14. Resurrection 02:50
15. Olé Perversus 02:30


..::OBSADA::..

R. 'Brögi' Broggi - Guitars, Synthesizers
R. 'Jazzi' Heer - Drums
Reto 'Tschösi' Kühne - Vocals, Bass




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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

A tu mamy do czynienia z jednym z ciekawszych zespołów, jakie wydała niemiecka scena thrash metalowa. A przecież kraj wurstów i oktoberfestów wydał ich niemałą ilość.

Członkowie bandu mieli niemałe ambicje, o czym najlepiej świadczy sama jego nazwa. Pozornie to tylko imię proroka z nomenklatury biblijnej, który wyprowadził Izraelitów z niewoli Egiptu. Jednak mianując w ten sposób swój zespól, panowie Ramon Bruchlers, Peter Vonderstein i Jochen Funders mieli na myśli to, że porwą fanów thrash metalu tak jak to zrobił Mojżesz z niewolnikami. Panowie zaczęli grać jeszcze w szkole średniej w Akwizgranie, ale pierwszy koncert dali w pobliskim mieście Stolberg.

Grupa szybko zyskała sobie uznanie fanów, jednak był to rok 1980, a wtedy żywot metalowej kapeli to nie były bimber i cukierki. Lokalna prasa nazwala Holy Moses "najgłośniejszą i najokropniejszą kapelą na świecie".

Punkt zwrotny kapeli to data 17 listopada 1981 roku. Wtedy to grupa zostaje zaproszona do otwierania koncertu Venom w Eindhoven. Holy Moses znowu zaczyna aktywnie działać, mimo to Vonderstein odchodzi i zostaje zastąpiony przez Paula Linzericha. Ważniejsza dla losów Holy Moses zmiana personalna dokonała się na stanowisku gitarzysty. W miejsce Fundersa wskoczył, grający wcześniej w Disaster, Andy Classen.

Pozostawała jednak jeszcze kwestia wokalisty. Przez krótki czas struny głosowe zdzierał tajemniczy Iggy, ale ze względu na dziwaczny, hipisowski wizerunek został wylany jeszcze przed końcem roku. Wtedy Classen przypomniał sobie, ze przecież w Disaster na basie grała jego dziewczyna, Sabina. Ta jednak była wkurzona na członków Holy Moses przez uwagę na zabranie jej lubego z Disaster i nie chciała absolutnie brać fuchy i śpiewać. Zmuszona do przyjścia na próbę, specjalnie śpiewała niezrozumiale i wulgarnie, by zniechęcić resztę zespołu. Przeliczyła się jednak, bo ci byli nią zachwyceni i od razu dali jej posadę.

Następne lata to działalność koncertowa oraz pomniejsze wydawnictwa, wśród których wyróżnić należy demo Walpurgisnight. Ponadto w 1983 roku Sabina i Andy pobrali się, dzięki czemu mogli po bożemu konsumować swój związek. Co ciekawe, w 1984 pani Classen odeszła z zespołu, lecz po kilku tygodniach wróciła i Holy Moses mogło przystąpić do nagrywania debiutanckiego krążka.

Queen of Siam ukazał się w 1986 roku tylko na winylu i został wyprodukowany przez basistę Ralpha Huberta z Mekong Delty. Muzyka na nim zawarta to thrash z silnymi wpływami heavy, jak na przykładowo Feel the Fire Overkill. Czuć tez wpływy punku, a w przypadku partii wokalnych Sabiny - Venom. Muzyka nie jest najwyższych lotów, ale jest parę naprawdę dobrych utworów. Najlepszy z nich to tytułowy, zadedykowany dziewczynie Bruchlersa, z nośnymi riffami i świetnym, choć oszczędnym solo.

Jest też rytmiczny Dear Little Friend, poświęcony Lemmy'emu Roadcrew z Andym za mikrofonem czy Walpurgisnight. Grupa nie ustrzegła się jednak wpadek - kompozycja Devil's Dancer jest chaotyczna i nieskładna, a na dodatek nudna. Niemniej był to dobry album, który miał wkład w niemiecką scenę metalową.

Nucleator


Sabina Classen wrote about this album, that in 1986 it was important to finish first or last in the soundcheck of German magazine Metal Hammer, cause either way, it meant to sell a lot of records. Well, they achieved their goal … and finished last.

Holy Moses were really lucky that the guys at Metal Hammer were probably the only ones who didn’t realize what a great album this was, and so “Queen Of Siam” sold really well and all the people who bought it could assure themselves of the quality of such soon-to-be-classics like “Roadcrew”, “Walpurgisnight” or the title track.

Although this album is full of great Speed/Thrash Metal songs, it was Sabina’s voice that stole the show and made this such a controversial and extreme output. Remember this was 1986 and there weren’t too many men around who “sang” like that, but it was unimaginable that a woman would be able to produce such sounds. Her singing is also the reason why this album qualifies for one of the very early Death Metal releases.

After this album Holy Moses would go on to play more technical thrash, while guitarist Andy Classen would become one of the hottest producers for Death and Black Metal bands.

Warpig



..::TRACK-LIST::..

1. Don’t Mess Around With The Bitch
3. Devils Dancer
4. Queen Of Siam
5. Roadcrew
6. Walpurgisnight
7. Bursting Rest
8. Dear Little Friend
9. Torches Of Hire

10. Walpurgisnight (Alternate Mix) (Bonus Track)



..::OBSADA::..

Sabina Classen - vocals
Andy Classen - guitar, lead vocals on 'Roadcrew'
Ramon Brüsseler - bass
Herbert Dreger - drums




https://www.youtube.com/watch?v=JZR6lrA1LfA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

A tu mamy do czynienia z jednym z ciekawszych zespołów, jakie wydała niemiecka scena thrash metalowa. A przecież kraj wurstów i oktoberfestów wydał ich niemałą ilość.

Członkowie bandu mieli niemałe ambicje, o czym najlepiej świadczy sama jego nazwa. Pozornie to tylko imię proroka z nomenklatury biblijnej, który wyprowadził Izraelitów z niewoli Egiptu. Jednak mianując w ten sposób swój zespól, panowie Ramon Bruchlers, Peter Vonderstein i Jochen Funders mieli na myśli to, że porwą fanów thrash metalu tak jak to zrobił Mojżesz z niewolnikami. Panowie zaczęli grać jeszcze w szkole średniej w Akwizgranie, ale pierwszy koncert dali w pobliskim mieście Stolberg.

Grupa szybko zyskała sobie uznanie fanów, jednak był to rok 1980, a wtedy żywot metalowej kapeli to nie były bimber i cukierki. Lokalna prasa nazwala Holy Moses "najgłośniejszą i najokropniejszą kapelą na świecie".

Punkt zwrotny kapeli to data 17 listopada 1981 roku. Wtedy to grupa zostaje zaproszona do otwierania koncertu Venom w Eindhoven. Holy Moses znowu zaczyna aktywnie działać, mimo to Vonderstein odchodzi i zostaje zastąpiony przez Paula Linzericha. Ważniejsza dla losów Holy Moses zmiana personalna dokonała się na stanowisku gitarzysty. W miejsce Fundersa wskoczył, grający wcześniej w Disaster, Andy Classen.

Pozostawała jednak jeszcze kwestia wokalisty. Przez krótki czas struny głosowe zdzierał tajemniczy Iggy, ale ze względu na dziwaczny, hipisowski wizerunek został wylany jeszcze przed końcem roku. Wtedy Classen przypomniał sobie, ze przecież w Disaster na basie grała jego dziewczyna, Sabina. Ta jednak była wkurzona na członków Holy Moses przez uwagę na zabranie jej lubego z Disaster i nie chciała absolutnie brać fuchy i śpiewać. Zmuszona do przyjścia na próbę, specjalnie śpiewała niezrozumiale i wulgarnie, by zniechęcić resztę zespołu. Przeliczyła się jednak, bo ci byli nią zachwyceni i od razu dali jej posadę.

Następne lata to działalność koncertowa oraz pomniejsze wydawnictwa, wśród których wyróżnić należy demo Walpurgisnight. Ponadto w 1983 roku Sabina i Andy pobrali się, dzięki czemu mogli po bożemu konsumować swój związek. Co ciekawe, w 1984 pani Classen odeszła z zespołu, lecz po kilku tygodniach wróciła i Holy Moses mogło przystąpić do nagrywania debiutanckiego krążka.

Queen of Siam ukazał się w 1986 roku tylko na winylu i został wyprodukowany przez basistę Ralpha Huberta z Mekong Delty. Muzyka na nim zawarta to thrash z silnymi wpływami heavy, jak na przykładowo Feel the Fire Overkill. Czuć tez wpływy punku, a w przypadku partii wokalnych Sabiny - Venom. Muzyka nie jest najwyższych lotów, ale jest parę naprawdę dobrych utworów. Najlepszy z nich to tytułowy, zadedykowany dziewczynie Bruchlersa, z nośnymi riffami i świetnym, choć oszczędnym solo.

Jest też rytmiczny Dear Little Friend, poświęcony Lemmy'emu Roadcrew z Andym za mikrofonem czy Walpurgisnight. Grupa nie ustrzegła się jednak wpadek - kompozycja Devil's Dancer jest chaotyczna i nieskładna, a na dodatek nudna. Niemniej był to dobry album, który miał wkład w niemiecką scenę metalową.

Nucleator


Sabina Classen wrote about this album, that in 1986 it was important to finish first or last in the soundcheck of German magazine Metal Hammer, cause either way, it meant to sell a lot of records. Well, they achieved their goal … and finished last.

Holy Moses were really lucky that the guys at Metal Hammer were probably the only ones who didn’t realize what a great album this was, and so “Queen Of Siam” sold really well and all the people who bought it could assure themselves of the quality of such soon-to-be-classics like “Roadcrew”, “Walpurgisnight” or the title track.

Although this album is full of great Speed/Thrash Metal songs, it was Sabina’s voice that stole the show and made this such a controversial and extreme output. Remember this was 1986 and there weren’t too many men around who “sang” like that, but it was unimaginable that a woman would be able to produce such sounds. Her singing is also the reason why this album qualifies for one of the very early Death Metal releases.

After this album Holy Moses would go on to play more technical thrash, while guitarist Andy Classen would become one of the hottest producers for Death and Black Metal bands.

Warpig



..::TRACK-LIST::..

1. Don’t Mess Around With The Bitch
3. Devils Dancer
4. Queen Of Siam
5. Roadcrew
6. Walpurgisnight
7. Bursting Rest
8. Dear Little Friend
9. Torches Of Hire

10. Walpurgisnight (Alternate Mix) (Bonus Track)



..::OBSADA::..

Sabina Classen - vocals
Andy Classen - guitar, lead vocals on 'Roadcrew'
Ramon Brüsseler - bass
Herbert Dreger - drums




https://www.youtube.com/watch?v=JZR6lrA1LfA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This baby is granted to take some serious doses from the listening time of dedicated thrash heads. Whereas Executioner's Song and Evil Invaders threatened to become repetitive in spite of their attack, which kicked out any wuss trying to face them, and Malicious Intent was a damn solid accomplishment with a more pummeling recording style, Custom Killing is Razor's most ambitious album ever, and their most colourful offer.

I will have to admit that Survival Of The Fittest didn't sound at first as a total winner, but from the second minute, boy, did I change my mind. Razor have an amazing sense of epicness and progression. Everything seems to be more dramatic and solemn than on their previous works, though the riffing style is recognizable enough, and very fast riffs galore. Maybe M-Bro isn't the ultimate deliverer of fills and rhythm changes, but he doesn't get lost in the fire of battle. Not to mention that the bass player ends the guitar riffs with his own special lines, although sometimes you just get the impression that he's trapped within a certain register.

All the songs are winners, actually, except Russian Ballet, which could've been spared (though that weird fade-out part in the ending is worth mentioning), and there aren't noticeable letdowns if it comes to the instrumental part. Forced Annihilation, Last Rites, Going Under and White Noise are definitive Razor classics, where the band doesn't cease to bring wonder upon the listener with the great pile of riffs and gallops and a few absolutely old-school sounding solos (without that wah-wah abuse found on Shotgun Justice's solos), and even Stace McLaren shows that he can actually SING!!!! Yes, ladies and gentlemen, he is alive and singing, and his vocal prowess is worth every bit of praise on Last Rites, washing the shit off Shootout, where he fails to impress. What about the lyrics? This needs to be taken into consideration. The lyrical themes are so varied. From the ol' angry thrash youngster, to meditations on the future of humanity and even medieval-flavored lyrics. Even the recording, with its unpolished aspects, remains adequate and somehow "intimate", if I could say so. Like a band in the rehearsal room, all alone against the non-underground suckers' ears, it appropriates the listener more to the band and to the music.

All in all, a quality and underestimated album from one of the top bands in thrash metal. Not a Spectrum Of Death or an Eternal Nightmare, if you ask me, but still a mandatory listen.

Cinedracusio



..::TRACK-LIST::..

1. Survival Of The Fittest 11:06
2. Shoutout 4:58
3. Forced Annihilation 5:03
4. Last Rites 11:05
5. Snake Eyes 3:39
6. White Noise 5:29
7. Going Under 4:05
8. Russian Ballet 0:35



..::OBSADA::..

Stace McLaren - vocals
Dave Carlo - guitars
Mike Campagnolo - bass
Mike Embro - drums



https://www.youtube.com/watch?v=YfxRTyy7fDk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

This baby is granted to take some serious doses from the listening time of dedicated thrash heads. Whereas Executioner's Song and Evil Invaders threatened to become repetitive in spite of their attack, which kicked out any wuss trying to face them, and Malicious Intent was a damn solid accomplishment with a more pummeling recording style, Custom Killing is Razor's most ambitious album ever, and their most colourful offer.

I will have to admit that Survival Of The Fittest didn't sound at first as a total winner, but from the second minute, boy, did I change my mind. Razor have an amazing sense of epicness and progression. Everything seems to be more dramatic and solemn than on their previous works, though the riffing style is recognizable enough, and very fast riffs galore. Maybe M-Bro isn't the ultimate deliverer of fills and rhythm changes, but he doesn't get lost in the fire of battle. Not to mention that the bass player ends the guitar riffs with his own special lines, although sometimes you just get the impression that he's trapped within a certain register.

All the songs are winners, actually, except Russian Ballet, which could've been spared (though that weird fade-out part in the ending is worth mentioning), and there aren't noticeable letdowns if it comes to the instrumental part. Forced Annihilation, Last Rites, Going Under and White Noise are definitive Razor classics, where the band doesn't cease to bring wonder upon the listener with the great pile of riffs and gallops and a few absolutely old-school sounding solos (without that wah-wah abuse found on Shotgun Justice's solos), and even Stace McLaren shows that he can actually SING!!!! Yes, ladies and gentlemen, he is alive and singing, and his vocal prowess is worth every bit of praise on Last Rites, washing the shit off Shootout, where he fails to impress. What about the lyrics? This needs to be taken into consideration. The lyrical themes are so varied. From the ol' angry thrash youngster, to meditations on the future of humanity and even medieval-flavored lyrics. Even the recording, with its unpolished aspects, remains adequate and somehow "intimate", if I could say so. Like a band in the rehearsal room, all alone against the non-underground suckers' ears, it appropriates the listener more to the band and to the music.

All in all, a quality and underestimated album from one of the top bands in thrash metal. Not a Spectrum Of Death or an Eternal Nightmare, if you ask me, but still a mandatory listen.

Cinedracusio



..::TRACK-LIST::..

1. Survival Of The Fittest 11:06
2. Shoutout 4:58
3. Forced Annihilation 5:03
4. Last Rites 11:05
5. Snake Eyes 3:39
6. White Noise 5:29
7. Going Under 4:05
8. Russian Ballet 0:35



..::OBSADA::..

Stace McLaren - vocals
Dave Carlo - guitars
Mike Campagnolo - bass
Mike Embro - drums



https://www.youtube.com/watch?v=YfxRTyy7fDk



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Klasyka niemieckiego Thrash/Death metalu.
'Misanthropy' to EP, która ukazała się w 1987 roku. Tutaj wznowienie z 2 dodatkowymi utworami z demo 1986.
Mastering: Patrick W. Engel (Temple Of Disharmony).



If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector lived through several line-up changes and phases of more or less activity, until they finally called it a day in 2003. That could have been the end of it, but if you scroll down a bit in the list of High Roller releases, you find Protector’s “Reanimated Homunculus” from 2013 – it was this album that marked the return of a band which today still is widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. In 2011, Protector's old and new vocalist Martin Missy decided to reanimate Protector with the help of his all-Swedish crew, who had won their spurs playing in “Martin Missy and the Protectors” since 2006. The original plan had been to stay a cover band and not to use the name Protector anymore – but constant dripping wears away the stone, so Missy eventually gave in to the fans’ craving to see the real Protector playing live again. Now as Protector are back on the scene for good, it only makes sense to re-issue their back catalgoue, starting with this little thorny gem:
In 1987, Protector released their debut EP “Misanthropy”, after having scored a deal with the then still quite young label Atom H. Martin Missy remembers that this was a bit of luck for the young band: “It was our first release on vinyl, and we released it about one year after the band had been formed. We were really lucky to find a record company that quickly. Today, this is usually not that easy for an unknown band.”
Before “Misanthropy”, Protector had brought out their demo which already showed a lot of what this band was up to: uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. “Misanthropy” as the band's first official release laid the base for their reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? A thrash metal band from Wolfsburg, some far out place in Lower Saxony? What about the German Big Four of Thrash? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, Protector made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a fierce, violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding.

“Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig, where the band had already recorded their two-track demo the year before. It was during this time that Protector established their first more or less stable line up. Martin remembers how he first got into the band: “In the summer of 1987, the band consisted of Michael Hasse (drums), Hansi Müller (guitar), Ede Belichmeier (bass) and myself on vocals. Michael and Hansi had formed the band in 1986 together with Michael Schnabel (bass). The biggest change was on the vocal position. Michael had recorded the vocals on the demo, but in the beginning of 1987, the band started to look for a guy who would focus on the vocals only. I don't know exactly why they decided to do so, but my guess is that Michael wanted to concentrate on the drums.”

The songwriting process for all releases with Martin Missy on vocals usually worked more or less after the same pattern: “Hansi, Michael and Ede put together the songs, and I wrote the lyrics afterwards. We wrote the six songs for the EP in the first months of 1987.” These six songs were the first steps in the realm of professional recording, and they were conceived in a very special way. Missy explains how this worked, and goes a bit into detail on how the sound of “Misanthropy” was created: “We only had recorded one demo before the EP. The style and the sound of the demo were extreme black/thrash metal. On “Misanthropy”, the sound and the songs were also raw, but they leant more towards thrash than black metal. My lyrics also weren't as satanic as they had been on the demo. Regarding the sound: I remember that we took some albums into the studio, so that the guys from White Line, who hadn't recorded any metal before Protector, could get an idea of what we wanted it to sound like. I'm not sure, but I think those records were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”. In the end, our EP sounded like none of these albums, but on the other hand it got a quite unique sound.” It definitely has, and isn’t it better to sound unique than to simply copy another band’s sound?

The reactions to “Misanthropy” were mixed: “We got a lot of positive resonance from the fans (by letters back then!) and the underground magazines. The bigger magazines were a little more sceptical about our brutal and aggressive style and sound.” Anyway: “Misanthropy” made people aware of this four-piece who lived close to the then still intact German Wall, far away from the Ruhr-Area, the famous heart of Teutonic thrash, so Protector made their first real footprint in the world of Metal: “We got ourselves a little bit known in the underground-scene. And it opened some doors for us so we could book concerts with Tankard and Messiah, among others.”

As Martin Missy is famous for his extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s unique evilness, it is all the more interesting to hear Missy’s special memories about the vocal recordings for “Misanthropy”: “I remember standing in the recording booth and talking to my band mates and the engineer between two takes. All of a sudden I saw through the window how everybody started to laugh in the mixing room. So I asked them what was so funny, which only made them laugh harder. After a while I realized that the engineer had manipulated my voice to make it sound like Mickey Mouse when it came through the speakers in the mixing room.

I also remember another incident, which was not as funny. When I started to record the vocals I suddenly realized that my voice didn't sound as brutal and dark as it had done on the rehearsal room-recordings we had recorded on cassette. Those recordings were done on a little cassette player, all the other instruments were superloud and I was singing over a box for a bass, so it was natural that the voice sounded totally evil on those old cassettes. Now in the studio, it was a completely different thing. Here everybody could hear my “real voice”, and it sounded fragile and weak. I remember the horror in our drummer's eyes as I started to sing, or better “squeak” in the recording-booth. Fortunately my voice changed after I had screamed for about half an hour. And the result (including some effects) was quite evil.”

For the High Roller re-release, nothing will be changed about the sound, which makes total sense given that “Misanthropy” is so very great just as it is: “The recording has been taken from a mint condition “Misanthropy”-EP. We had to do that because the original recording tapes don't exist anymore. I don't think that Patrick W. Engel from Temple of Disharmony, who does the mastering, has changed anything on the sound.”
That is right, the sound stays untouched, but the High Roller version of “Misanthropy” comes with a very special feature. Martin tells us what that will be: “To make the whole release as complete as possible, High Roller will also include the demo from 1986, which I think is a great thing to do. That way the fans can hear what Protector sounded like before the EP was recorded.”

Protector never got any more aggressive, sharp and shattering than on „Misanthropy”. Their following releases were no less evil, but more influenced by early death metal and with a gradually more doomy touch. Up to this day, “Misanthropy” still is Martin's favourite of all Protector releases: “Yes, it is still my favourite Protector recording. Partly because it was my first time in the studio, and partly because I really like the songs and the sound of the EP. We still play all of them live at our gigs with Protector today. And the layout for the front cover was drawn by me. I had hoped that the artist who painted our cover would make it look cooler and more powerful, but in the end it turned out almost exactly as my sketch, only in colour.”

Ulrike Schmitz


Hailing from Germany, Protector entered a bit late in the German thrash metal scene. Contrary to their country mates of Sodom, Destruction and Kreator, Protector started off only by 1986 and these other bands already had some albums and material out. However, despite being late, Protector had so much potential and they showed it with this EP. After releasing a two tracks demo in 1986, called "Protector of Death", drummer Michael Hasse decided to quit doing vocals and the band then decided to get a new "proper" singer. Martin Missy rejoined the band and became to be the last member of Protector of that era today. He brought a less evil, but more aggressive voice and tone to the band, and many different vocal styles that we can see in the first few Protector records. Their first official effort as a 4 man piece was the Misanthropy EP and was released in 1987, at a time that most German bands began to experiment other things then evil and maleficent thrash. The mini-album still succeeded in gaining attention because of its difference of what was going on at this time.

Despite many people thinking that the cover is cheap, Protector has never been a band with great album covers at all. At first, I wasn't that motivated to give the band a listen. Mainly because they felt so apart from the 80s German thrash scene. But I was terribly wrong in every way, Protector followed the roots of early Kreator, Sodom and especially on this record. Though, the band has developed their own style through the years after, evolving into a more death metal approach. Misanthropy is their more "thrashy" record and the best one if you ask me, this album is a pure German thrash attack, and among the most brutal releases from a thrash band of that time. The album features 6 tracks and have a running time of nearly 23 minutes, most songs also have an average length time of 3-4 minutes, a typical basic thrash record you might say ... But it is really not, the songwriting on this album is pretty damn cool and original, even at this point in 1987.

The most interesting thing on the album are the weird guitar riffs that we can notice on tracks such as "Agoraphobia", "The Mercenary" or "Holocaust". The song structures are not just some ordinary thrash that we see by hundreds, it's really unique and I personally never heard anything like this before Protector, which is a really cool thing to discover. Even at their debut release, the band managed to impress with its great musicianship, they brought a more technical aspect than Kreator and Sodom on their debut. But for an album of 80s extreme metal, Protector opted for a more cleaner and polished sound for that release. I can also tell that the production quality is top-notch for this kind of record, all the instruments are perfectly mixed and heard easily. The drums are absolutely insane, Michael Hasse was probably one of the greatest drummers of the German scene, his performance on the album and even the other Protector material is outstanding. There's a lot of variations on this EP though, each songs have a different unique structure and kind of riffs, making the listener a better motivation to give the album a full listen, rather than hearing one song and getting tired of it already, one thing for sure is this EP can give a plenty amount of headbanging moments.

Speaking of originality, Protector wasn't just special musically, but the lyrics content of Misanthropy is also different from what other bands of Germany were doing at their beginnings. While most bands were more focused into the occult and satanic concept, Protector was less oriented to those themes. The song "Kain and Abel" has the most interesting lyrics, especially because of its story-line base. Dealing mainly with subjects of death and destruction, mental issues and hatred against humans are also a part of the topics with the self-titled song "Misanthropy" and "Agoraphobia". The catchiness of all these songs is really impressive, it only took me a few listen to fully appreciate the whole EP.

I must say that since the time I got into Protector, I consider this mini-album as an essential piece of German thrash. There's absolutely no weak song either, they all have moments that a headbanger need to satisfy his lust of violence and brutality. Useless to tell how much I recommend such a good album to everyone who digs 80s violent thrash.

DesecratorJ



..::TRACK-LIST::..

1. Misanthropy 04:00
2. Holy Inquisition 03:23
3. Agoraphobia 04:14
4. The Mercenary 03:41
5. Kain And Abel 04:12
6. Holocaust 03:46

Bonus Tracks:
7. Protector Of Death (Original Demo 1986) 04:07
8. Apocalyptic Revolution (Original Demo 1986) 03:17



..::OBSADA::..

Martin Missy - Vocals
Hansi Müller - Guitars
Ede Belichmeier - Bass
Michael Hasse (R.I.P. 1994) - Drums



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Klasyka niemieckiego Thrash/Death metalu.
'Misanthropy' to EP, która ukazała się w 1987 roku. Tutaj wznowienie z 2 dodatkowymi utworami z demo 1986.
Mastering: Patrick W. Engel (Temple Of Disharmony).



If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector lived through several line-up changes and phases of more or less activity, until they finally called it a day in 2003. That could have been the end of it, but if you scroll down a bit in the list of High Roller releases, you find Protector’s “Reanimated Homunculus” from 2013 – it was this album that marked the return of a band which today still is widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. In 2011, Protector's old and new vocalist Martin Missy decided to reanimate Protector with the help of his all-Swedish crew, who had won their spurs playing in “Martin Missy and the Protectors” since 2006. The original plan had been to stay a cover band and not to use the name Protector anymore – but constant dripping wears away the stone, so Missy eventually gave in to the fans’ craving to see the real Protector playing live again. Now as Protector are back on the scene for good, it only makes sense to re-issue their back catalgoue, starting with this little thorny gem:
In 1987, Protector released their debut EP “Misanthropy”, after having scored a deal with the then still quite young label Atom H. Martin Missy remembers that this was a bit of luck for the young band: “It was our first release on vinyl, and we released it about one year after the band had been formed. We were really lucky to find a record company that quickly. Today, this is usually not that easy for an unknown band.”
Before “Misanthropy”, Protector had brought out their demo which already showed a lot of what this band was up to: uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. “Misanthropy” as the band's first official release laid the base for their reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? A thrash metal band from Wolfsburg, some far out place in Lower Saxony? What about the German Big Four of Thrash? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, Protector made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a fierce, violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding.

“Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig, where the band had already recorded their two-track demo the year before. It was during this time that Protector established their first more or less stable line up. Martin remembers how he first got into the band: “In the summer of 1987, the band consisted of Michael Hasse (drums), Hansi Müller (guitar), Ede Belichmeier (bass) and myself on vocals. Michael and Hansi had formed the band in 1986 together with Michael Schnabel (bass). The biggest change was on the vocal position. Michael had recorded the vocals on the demo, but in the beginning of 1987, the band started to look for a guy who would focus on the vocals only. I don't know exactly why they decided to do so, but my guess is that Michael wanted to concentrate on the drums.”

The songwriting process for all releases with Martin Missy on vocals usually worked more or less after the same pattern: “Hansi, Michael and Ede put together the songs, and I wrote the lyrics afterwards. We wrote the six songs for the EP in the first months of 1987.” These six songs were the first steps in the realm of professional recording, and they were conceived in a very special way. Missy explains how this worked, and goes a bit into detail on how the sound of “Misanthropy” was created: “We only had recorded one demo before the EP. The style and the sound of the demo were extreme black/thrash metal. On “Misanthropy”, the sound and the songs were also raw, but they leant more towards thrash than black metal. My lyrics also weren't as satanic as they had been on the demo. Regarding the sound: I remember that we took some albums into the studio, so that the guys from White Line, who hadn't recorded any metal before Protector, could get an idea of what we wanted it to sound like. I'm not sure, but I think those records were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”. In the end, our EP sounded like none of these albums, but on the other hand it got a quite unique sound.” It definitely has, and isn’t it better to sound unique than to simply copy another band’s sound?

The reactions to “Misanthropy” were mixed: “We got a lot of positive resonance from the fans (by letters back then!) and the underground magazines. The bigger magazines were a little more sceptical about our brutal and aggressive style and sound.” Anyway: “Misanthropy” made people aware of this four-piece who lived close to the then still intact German Wall, far away from the Ruhr-Area, the famous heart of Teutonic thrash, so Protector made their first real footprint in the world of Metal: “We got ourselves a little bit known in the underground-scene. And it opened some doors for us so we could book concerts with Tankard and Messiah, among others.”

As Martin Missy is famous for his extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s unique evilness, it is all the more interesting to hear Missy’s special memories about the vocal recordings for “Misanthropy”: “I remember standing in the recording booth and talking to my band mates and the engineer between two takes. All of a sudden I saw through the window how everybody started to laugh in the mixing room. So I asked them what was so funny, which only made them laugh harder. After a while I realized that the engineer had manipulated my voice to make it sound like Mickey Mouse when it came through the speakers in the mixing room.

I also remember another incident, which was not as funny. When I started to record the vocals I suddenly realized that my voice didn't sound as brutal and dark as it had done on the rehearsal room-recordings we had recorded on cassette. Those recordings were done on a little cassette player, all the other instruments were superloud and I was singing over a box for a bass, so it was natural that the voice sounded totally evil on those old cassettes. Now in the studio, it was a completely different thing. Here everybody could hear my “real voice”, and it sounded fragile and weak. I remember the horror in our drummer's eyes as I started to sing, or better “squeak” in the recording-booth. Fortunately my voice changed after I had screamed for about half an hour. And the result (including some effects) was quite evil.”

For the High Roller re-release, nothing will be changed about the sound, which makes total sense given that “Misanthropy” is so very great just as it is: “The recording has been taken from a mint condition “Misanthropy”-EP. We had to do that because the original recording tapes don't exist anymore. I don't think that Patrick W. Engel from Temple of Disharmony, who does the mastering, has changed anything on the sound.”
That is right, the sound stays untouched, but the High Roller version of “Misanthropy” comes with a very special feature. Martin tells us what that will be: “To make the whole release as complete as possible, High Roller will also include the demo from 1986, which I think is a great thing to do. That way the fans can hear what Protector sounded like before the EP was recorded.”

Protector never got any more aggressive, sharp and shattering than on „Misanthropy”. Their following releases were no less evil, but more influenced by early death metal and with a gradually more doomy touch. Up to this day, “Misanthropy” still is Martin's favourite of all Protector releases: “Yes, it is still my favourite Protector recording. Partly because it was my first time in the studio, and partly because I really like the songs and the sound of the EP. We still play all of them live at our gigs with Protector today. And the layout for the front cover was drawn by me. I had hoped that the artist who painted our cover would make it look cooler and more powerful, but in the end it turned out almost exactly as my sketch, only in colour.”

Ulrike Schmitz


Hailing from Germany, Protector entered a bit late in the German thrash metal scene. Contrary to their country mates of Sodom, Destruction and Kreator, Protector started off only by 1986 and these other bands already had some albums and material out. However, despite being late, Protector had so much potential and they showed it with this EP. After releasing a two tracks demo in 1986, called "Protector of Death", drummer Michael Hasse decided to quit doing vocals and the band then decided to get a new "proper" singer. Martin Missy rejoined the band and became to be the last member of Protector of that era today. He brought a less evil, but more aggressive voice and tone to the band, and many different vocal styles that we can see in the first few Protector records. Their first official effort as a 4 man piece was the Misanthropy EP and was released in 1987, at a time that most German bands began to experiment other things then evil and maleficent thrash. The mini-album still succeeded in gaining attention because of its difference of what was going on at this time.

Despite many people thinking that the cover is cheap, Protector has never been a band with great album covers at all. At first, I wasn't that motivated to give the band a listen. Mainly because they felt so apart from the 80s German thrash scene. But I was terribly wrong in every way, Protector followed the roots of early Kreator, Sodom and especially on this record. Though, the band has developed their own style through the years after, evolving into a more death metal approach. Misanthropy is their more "thrashy" record and the best one if you ask me, this album is a pure German thrash attack, and among the most brutal releases from a thrash band of that time. The album features 6 tracks and have a running time of nearly 23 minutes, most songs also have an average length time of 3-4 minutes, a typical basic thrash record you might say ... But it is really not, the songwriting on this album is pretty damn cool and original, even at this point in 1987.

The most interesting thing on the album are the weird guitar riffs that we can notice on tracks such as "Agoraphobia", "The Mercenary" or "Holocaust". The song structures are not just some ordinary thrash that we see by hundreds, it's really unique and I personally never heard anything like this before Protector, which is a really cool thing to discover. Even at their debut release, the band managed to impress with its great musicianship, they brought a more technical aspect than Kreator and Sodom on their debut. But for an album of 80s extreme metal, Protector opted for a more cleaner and polished sound for that release. I can also tell that the production quality is top-notch for this kind of record, all the instruments are perfectly mixed and heard easily. The drums are absolutely insane, Michael Hasse was probably one of the greatest drummers of the German scene, his performance on the album and even the other Protector material is outstanding. There's a lot of variations on this EP though, each songs have a different unique structure and kind of riffs, making the listener a better motivation to give the album a full listen, rather than hearing one song and getting tired of it already, one thing for sure is this EP can give a plenty amount of headbanging moments.

Speaking of originality, Protector wasn't just special musically, but the lyrics content of Misanthropy is also different from what other bands of Germany were doing at their beginnings. While most bands were more focused into the occult and satanic concept, Protector was less oriented to those themes. The song "Kain and Abel" has the most interesting lyrics, especially because of its story-line base. Dealing mainly with subjects of death and destruction, mental issues and hatred against humans are also a part of the topics with the self-titled song "Misanthropy" and "Agoraphobia". The catchiness of all these songs is really impressive, it only took me a few listen to fully appreciate the whole EP.

I must say that since the time I got into Protector, I consider this mini-album as an essential piece of German thrash. There's absolutely no weak song either, they all have moments that a headbanger need to satisfy his lust of violence and brutality. Useless to tell how much I recommend such a good album to everyone who digs 80s violent thrash.

DesecratorJ



..::TRACK-LIST::..

1. Misanthropy 04:00
2. Holy Inquisition 03:23
3. Agoraphobia 04:14
4. The Mercenary 03:41
5. Kain And Abel 04:12
6. Holocaust 03:46

Bonus Tracks:
7. Protector Of Death (Original Demo 1986) 04:07
8. Apocalyptic Revolution (Original Demo 1986) 03:17



..::OBSADA::..

Martin Missy - Vocals
Hansi Müller - Guitars
Ede Belichmeier - Bass
Michael Hasse (R.I.P. 1994) - Drums



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



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tsunami wrogości i przemyślanej, intymnie zdefiniowanej brutalności!
Mordercza otchłań kreatywnego antagonizmu, rytmicznie paraliżująca i dźwiękowo porywająca destrukcja!



Norwegian quartet Hellish Outcast are by now some very experienced musicians, having played together in this particular project for the past fifteen years. In that time, they have released a grand total of four physical discs: One Demo, one EP and two full-length albums. The newest of these is entitled Stay of Execution and is a very Thrash-inspired Death Metal album, divided into eleven individual tracks. All of these are built up around the same musical frame (muddy, persistent growls supported by consistent and powerful drums as well as distorted and catchy guitars and bas), and a conscious effort has obviously been made to connect one track to the others in order to create one whole, full album. This is most evident on Stay of Execution through the very fluid transitions between the tracks – Sure, they are still clearly great musical pieces in their own right and they are easily distinguishable from one another, yet it still makes sense to listen to the album from ”Partition of Lust” (the first track) chronologically towards ”The Wait” (the last), since they are coupled to one another just enough for them to fade into one another (more or less – not entirely). Overall, the eleven tracks serve to prove that Norway are more than capable of producing other types of metal bands than Black Metal (although I do not want to admit it; but, I digress) and producing it well. Sure, they might not have been able to break through into wide-spread fame, but after having listened to Stay of Execution a couple of times, I am sure that it is just a matter of time. Either that or I have been incredibly unlucky in my choice of concerts and festivals and somehow missed them every single time. Below you will find the track ”Torment”, which I will recommend any Thrash/Death Metal fans out there to listen to, as it gives a glimpse of what Hellish Outcast is capable of.

Metal Revolution



..::TRACK-LIST::..

1. Partition Of Lust
2. I Can No Longer See The Sun
3. Heresiarch
4. Hunter Supreme
5. Gods Of Fear
6. Leave
7. Machines
8. Stay Of Execution
9. Morbid Attraction
10. Torment
11. The Wait



..::OBSADA::..

Martin Legreid - Guitars, Vocals
Thebon - Vocals
Mads Lilletvedt - Drums
Max Morbid - Bass




https://www.youtube.com/watch?v=Hz4v9xDB46U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Tsunami wrogości i przemyślanej, intymnie zdefiniowanej brutalności!
Mordercza otchłań kreatywnego antagonizmu, rytmicznie paraliżująca i dźwiękowo porywająca destrukcja!



Norwegian quartet Hellish Outcast are by now some very experienced musicians, having played together in this particular project for the past fifteen years. In that time, they have released a grand total of four physical discs: One Demo, one EP and two full-length albums. The newest of these is entitled Stay of Execution and is a very Thrash-inspired Death Metal album, divided into eleven individual tracks. All of these are built up around the same musical frame (muddy, persistent growls supported by consistent and powerful drums as well as distorted and catchy guitars and bas), and a conscious effort has obviously been made to connect one track to the others in order to create one whole, full album. This is most evident on Stay of Execution through the very fluid transitions between the tracks – Sure, they are still clearly great musical pieces in their own right and they are easily distinguishable from one another, yet it still makes sense to listen to the album from ”Partition of Lust” (the first track) chronologically towards ”The Wait” (the last), since they are coupled to one another just enough for them to fade into one another (more or less – not entirely). Overall, the eleven tracks serve to prove that Norway are more than capable of producing other types of metal bands than Black Metal (although I do not want to admit it; but, I digress) and producing it well. Sure, they might not have been able to break through into wide-spread fame, but after having listened to Stay of Execution a couple of times, I am sure that it is just a matter of time. Either that or I have been incredibly unlucky in my choice of concerts and festivals and somehow missed them every single time. Below you will find the track ”Torment”, which I will recommend any Thrash/Death Metal fans out there to listen to, as it gives a glimpse of what Hellish Outcast is capable of.

Metal Revolution



..::TRACK-LIST::..

1. Partition Of Lust
2. I Can No Longer See The Sun
3. Heresiarch
4. Hunter Supreme
5. Gods Of Fear
6. Leave
7. Machines
8. Stay Of Execution
9. Morbid Attraction
10. Torment
11. The Wait



..::OBSADA::..

Martin Legreid - Guitars, Vocals
Thebon - Vocals
Mads Lilletvedt - Drums
Max Morbid - Bass




https://www.youtube.com/watch?v=Hz4v9xDB46U



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Żywioł, wściekłość i nieokiełznana agresja!


“Urm the Mad” was Protector’s sophomore album, recorded in the summer of 1989, again at the Phönix Studio in Bochum, where the four-piece from Wolfsburg had already recorded their killer full-length debut “Golem”. Still keeping the Golem-line up complete (though with some difficulties), Protector at that time consisted of Michael Hasse on drums, Hansi Müller on guitar, Ede Belichmeier on bass and Martin Missy on vocals, who had been in and out of the band and thus came a bit under stress once back in the game: “I had been out between march and early summer, so I wrote the lyrics to all the songs in a very short period of time.” That should not be the only change concerning the vocal position: “Urm the Mad” was to become the last album before the split in 2003 that features Martin Missy; he should be replaced by Olly Wiebel in December 1989. With this personal change still lying ahead of the band, the completion of “Urm the Mad” was decently celebrated: “I remember that a couple of friends from Wolfsburg came down to the studio in Bochum, and we had a big party after the recordings were all done.”

Protector did not change too much about their style – genre-defining early thrash/death – but one of the most notable things about “Urm the Mad” was the sound, as Martin remembers: “The album has a very special sound. It's hard for me to describe it, though, because I don’t know that much about the technical side of recording.” So what is it about the sound then? “Urm the Mad” is famous for its heavy, noisy, dirty sound, for its raw production that makes the music all the more evil and menacing, with guitars in the front and Martin’s unmistakeable vocals lying on the riffs like poisonous mould. “Urm the Mad” is thrash metal walking the sinister path of death – or, into death metal. Some say that this album is closer to Celtic Frost’s “To Mega Therion” than to standard 80’s thrash metal. Protector’s special blend of thrash and death metal has always set them apart from their compatriots and even inspired German metal tabloid Rock Hard to declare Protector to be “Germany’s hardest band” – and this in 1989, the year both Kreator’s “Extreme Aggression” and Sodom’s “Agent Orange” were released! To a big part this was due to the decision against playing even faster and even more technical than on the previous outputs “Misanthropy” and “Golem” – on “Urm the Mad” Protector still play mainly fast and energetic thrash, but the overall feel of the album is that of creeping, lurking evil – crawling along on frequently slowed down, heavy riffs and Martin Missy’s sick death-like growls which seem to come straight from the charnel house. “Urm the Mad” does not sport that “positive” aggression usually found in 80’s thrash; on the contrary, the album is grim, dark and desperate, but nonetheless brutal and extreme. Again, Protector’s contribution to the then-proliferating Teutonic thrash was mainly recognized within the underground scene, and the band’s expectations for “Urm the Mad” were not really met, as Martin recalls: “Protector had earlier that year mounted their first proper tour (with Wehrmacht) and played in front of thousands of enthusiastic fans in Katowice / Poland. The hopes where quite high that this record could be our big breakthrough; unfortunately it wasn't, but I think it definitely further established our name in the underground scene.” The “official” metal press played its own part in keeping Protector a bit below the radar: “We got pretty much the same response as we got for ‘Golem’: Good, positive feedback from our fans and ‘ok’-reviews from the bigger metal magazines.”

In the end, Martin Missy reveals the story behind the eponymous entity “Urm the Mad”: “I got the idea for the song ‘Urm the Mad’ while we were recording ‘Golem’ one year earlier. We were living in an apartment above the studio, and someone had stored a lot of magazines there. Among them I found a batch of Heavy Metal comics, some of them including a comic about Urm (“Urm le fou”, by Philippe Druillet). I liked the story so much that I decided to write some lyrics about it.”

Ulrike Schmitz



For whatever reason I don't tend to hear the name "Protector" mentioned all that often when people discuss early extreme metal (no, there's not a "proto-extreme" in this case; you're either in or you're out). However, I do think they are notably extreme enough to make the cut along with, say, other German luminaries such as Kreator, Destruction and Sodom (yes, those three once again). Perhaps it's worth noting that while those limelight-hogging trio largely gave up the extremity to their sound after their early records (with Sodom being the possible exception with their brief flirtation with death thrash on the Tapping the Vein album), Protector got a considerably harder-edge over time. Or, at least from what I've heard, they got heavier between their full-length debut, Golem, and this the ripping Urn the Mad.

What is present on this record is notably less typically thrashy than what came before; a frequent use of slower tempos, even murkier production and truly sick vocals from Martin Missy (who, despite having a name that makes him sound like a bit-part character in a sub-par King Diamond album, is a fucking excellent vocalist). So, I guess what I find interesting about Protector, then, is that instead of following a thrashier path on this record they lumbered towards some odd primordial death-like sound. It's still a thrash record, sure, but it feels notably darker, grimmer and generally lacks that "push people around in the mosh pit" vibe that is associated with late-80s thrash. If pressed, I'd certainly say that this is closer to Celtic Frost's To Mega Therion than whatever your own personal standard of "typical late-80s" thrash metal might be. So, that basically leaves us with a thrash record that will appeal to people who don't necessarily like Exodus or Metallica.

Missy's sepulchural vocals are perhaps the most deathy aspect to this record. I can't honestly say that I've heard a thrash vocalist sound so convincingly extreme as he does here. Just listen to the title-track - he's positively menancing! Urn... THE MAD! See, this is thrash metal for fans of Slowly We Rot. Okay, so maybe you're not impressed by convincing death/thrash in 1989? Considering that this was a year after Malleus Maleficarum and a handful of other death metal full-lengths (although, notably ones that are still very much thrash-flecked in tone), perhaps this is not such an impressive feat. Hell, I should probably note that the band aren't afraid to use blast-beats with the closer being a fifty-second grind-influenced piece. Nonetheless, Urn the Mad has a ripping vitality to it and certainly stands to be more than a mere historical footnote; it's very memorable but I wouldn't necessarily call it an obviously catchy record. The riffs themselves aren't particularly "hooky" and it doesn't have any catchy tracks like 'Space Cake' or 'Golem', and yet the combination of Missy's schizophrenic vocals - which do literally "leap out" at the listener at times - and Hansi Müller's rather austere riffing make for something that strangely atmospheric, if you can ever use such an adjective when describing thrash.

Basically, this is thrash metal that functions so well very as death metal that you'd be forgiven for mistaking it for its younger, even uglier brother. It has all the grey-skyed oppressive heaviness you could ask for and with Martin Missy's absolutely vile vocals it's an even more (un)attractive package. You can pick this up through the compilation Ominous Message of Brutality (a more fitting title you possibly couldn't find) and I strongly recommend doing so.

Acrobat



..::TRACK-LIST::..

1. Capitascism 5:42
2. Sliced, Hacked And Grinded 3:43
3. Nothing Has Changed 4:25
4. The Most Repugnant Antagonist Of Life 3:40
5. Quasimodo 3:44
6. Urm The Mad 3:41
7. Decadence 3:52
8. Atrocities 4:11
9. Molotow Cocktail 0:46

Bonus Tracks:
10. Kain And Abel (live) 4:07
11. Omnipresent Aggression (live) 3:45
12. The Mercenary (live) 3:18
13. Apocalyptic revelations (live) 3:26


Recorded August 1989 at Phoenix Studios, Bochum.

Tracks 10-13 are not credited on the back cover but only on compact disc.
Live bonus tracks recorded in Braunschweig, Germany on May 1st 1989.
Vocals on live tracks by Oliver Wiebel



..::OBSADA::..

Ede Belichmeier - Bass
Hansi Müller - Guitars
Michael Hasse (R.I.P. 1994) - Drums
Martin Missy - Vocals, Lyrics




https://www.youtube.com/watch?v=0xSIGvLlBf0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Żywioł, wściekłość i nieokiełznana agresja!


“Urm the Mad” was Protector’s sophomore album, recorded in the summer of 1989, again at the Phönix Studio in Bochum, where the four-piece from Wolfsburg had already recorded their killer full-length debut “Golem”. Still keeping the Golem-line up complete (though with some difficulties), Protector at that time consisted of Michael Hasse on drums, Hansi Müller on guitar, Ede Belichmeier on bass and Martin Missy on vocals, who had been in and out of the band and thus came a bit under stress once back in the game: “I had been out between march and early summer, so I wrote the lyrics to all the songs in a very short period of time.” That should not be the only change concerning the vocal position: “Urm the Mad” was to become the last album before the split in 2003 that features Martin Missy; he should be replaced by Olly Wiebel in December 1989. With this personal change still lying ahead of the band, the completion of “Urm the Mad” was decently celebrated: “I remember that a couple of friends from Wolfsburg came down to the studio in Bochum, and we had a big party after the recordings were all done.”

Protector did not change too much about their style – genre-defining early thrash/death – but one of the most notable things about “Urm the Mad” was the sound, as Martin remembers: “The album has a very special sound. It's hard for me to describe it, though, because I don’t know that much about the technical side of recording.” So what is it about the sound then? “Urm the Mad” is famous for its heavy, noisy, dirty sound, for its raw production that makes the music all the more evil and menacing, with guitars in the front and Martin’s unmistakeable vocals lying on the riffs like poisonous mould. “Urm the Mad” is thrash metal walking the sinister path of death – or, into death metal. Some say that this album is closer to Celtic Frost’s “To Mega Therion” than to standard 80’s thrash metal. Protector’s special blend of thrash and death metal has always set them apart from their compatriots and even inspired German metal tabloid Rock Hard to declare Protector to be “Germany’s hardest band” – and this in 1989, the year both Kreator’s “Extreme Aggression” and Sodom’s “Agent Orange” were released! To a big part this was due to the decision against playing even faster and even more technical than on the previous outputs “Misanthropy” and “Golem” – on “Urm the Mad” Protector still play mainly fast and energetic thrash, but the overall feel of the album is that of creeping, lurking evil – crawling along on frequently slowed down, heavy riffs and Martin Missy’s sick death-like growls which seem to come straight from the charnel house. “Urm the Mad” does not sport that “positive” aggression usually found in 80’s thrash; on the contrary, the album is grim, dark and desperate, but nonetheless brutal and extreme. Again, Protector’s contribution to the then-proliferating Teutonic thrash was mainly recognized within the underground scene, and the band’s expectations for “Urm the Mad” were not really met, as Martin recalls: “Protector had earlier that year mounted their first proper tour (with Wehrmacht) and played in front of thousands of enthusiastic fans in Katowice / Poland. The hopes where quite high that this record could be our big breakthrough; unfortunately it wasn't, but I think it definitely further established our name in the underground scene.” The “official” metal press played its own part in keeping Protector a bit below the radar: “We got pretty much the same response as we got for ‘Golem’: Good, positive feedback from our fans and ‘ok’-reviews from the bigger metal magazines.”

In the end, Martin Missy reveals the story behind the eponymous entity “Urm the Mad”: “I got the idea for the song ‘Urm the Mad’ while we were recording ‘Golem’ one year earlier. We were living in an apartment above the studio, and someone had stored a lot of magazines there. Among them I found a batch of Heavy Metal comics, some of them including a comic about Urm (“Urm le fou”, by Philippe Druillet). I liked the story so much that I decided to write some lyrics about it.”

Ulrike Schmitz



For whatever reason I don't tend to hear the name "Protector" mentioned all that often when people discuss early extreme metal (no, there's not a "proto-extreme" in this case; you're either in or you're out). However, I do think they are notably extreme enough to make the cut along with, say, other German luminaries such as Kreator, Destruction and Sodom (yes, those three once again). Perhaps it's worth noting that while those limelight-hogging trio largely gave up the extremity to their sound after their early records (with Sodom being the possible exception with their brief flirtation with death thrash on the Tapping the Vein album), Protector got a considerably harder-edge over time. Or, at least from what I've heard, they got heavier between their full-length debut, Golem, and this the ripping Urn the Mad.

What is present on this record is notably less typically thrashy than what came before; a frequent use of slower tempos, even murkier production and truly sick vocals from Martin Missy (who, despite having a name that makes him sound like a bit-part character in a sub-par King Diamond album, is a fucking excellent vocalist). So, I guess what I find interesting about Protector, then, is that instead of following a thrashier path on this record they lumbered towards some odd primordial death-like sound. It's still a thrash record, sure, but it feels notably darker, grimmer and generally lacks that "push people around in the mosh pit" vibe that is associated with late-80s thrash. If pressed, I'd certainly say that this is closer to Celtic Frost's To Mega Therion than whatever your own personal standard of "typical late-80s" thrash metal might be. So, that basically leaves us with a thrash record that will appeal to people who don't necessarily like Exodus or Metallica.

Missy's sepulchural vocals are perhaps the most deathy aspect to this record. I can't honestly say that I've heard a thrash vocalist sound so convincingly extreme as he does here. Just listen to the title-track - he's positively menancing! Urn... THE MAD! See, this is thrash metal for fans of Slowly We Rot. Okay, so maybe you're not impressed by convincing death/thrash in 1989? Considering that this was a year after Malleus Maleficarum and a handful of other death metal full-lengths (although, notably ones that are still very much thrash-flecked in tone), perhaps this is not such an impressive feat. Hell, I should probably note that the band aren't afraid to use blast-beats with the closer being a fifty-second grind-influenced piece. Nonetheless, Urn the Mad has a ripping vitality to it and certainly stands to be more than a mere historical footnote; it's very memorable but I wouldn't necessarily call it an obviously catchy record. The riffs themselves aren't particularly "hooky" and it doesn't have any catchy tracks like 'Space Cake' or 'Golem', and yet the combination of Missy's schizophrenic vocals - which do literally "leap out" at the listener at times - and Hansi Müller's rather austere riffing make for something that strangely atmospheric, if you can ever use such an adjective when describing thrash.

Basically, this is thrash metal that functions so well very as death metal that you'd be forgiven for mistaking it for its younger, even uglier brother. It has all the grey-skyed oppressive heaviness you could ask for and with Martin Missy's absolutely vile vocals it's an even more (un)attractive package. You can pick this up through the compilation Ominous Message of Brutality (a more fitting title you possibly couldn't find) and I strongly recommend doing so.

Acrobat



..::TRACK-LIST::..

1. Capitascism 5:42
2. Sliced, Hacked And Grinded 3:43
3. Nothing Has Changed 4:25
4. The Most Repugnant Antagonist Of Life 3:40
5. Quasimodo 3:44
6. Urm The Mad 3:41
7. Decadence 3:52
8. Atrocities 4:11
9. Molotow Cocktail 0:46

Bonus Tracks:
10. Kain And Abel (live) 4:07
11. Omnipresent Aggression (live) 3:45
12. The Mercenary (live) 3:18
13. Apocalyptic revelations (live) 3:26


Recorded August 1989 at Phoenix Studios, Bochum.

Tracks 10-13 are not credited on the back cover but only on compact disc.
Live bonus tracks recorded in Braunschweig, Germany on May 1st 1989.
Vocals on live tracks by Oliver Wiebel



..::OBSADA::..

Ede Belichmeier - Bass
Hansi Müller - Guitars
Michael Hasse (R.I.P. 1994) - Drums
Martin Missy - Vocals, Lyrics




https://www.youtube.com/watch?v=0xSIGvLlBf0



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Obcowanie z tym debiutem jest jak strzał prosto w ryja zakończony deptaniem jaj po upadku na podłogę!!!



'Summoned to Rise features some of the fastest, catchiest, darkest, meanest, smartest, most intricate thrash fucking metal to come down the pike in years. No letup. No duds. Just a fiery, eponymous opening volley. (...)' - Decibel Magazine

'Insane old school riffs for all your moshing needs, Jeff Hanneman style squealing solos (which made the hair on my arm stand up at points), brutal vocal deliveries that at times walk the line of really solid Death Metal vocals, and a ton of intense outstanding drumming throughout. Everything works on this album, from lyrical content, to the tone of the music, and of course that break neck pace the vast majority of the record offers.' - Hellbound.ca

'‘Summoned to Rise’ is a an all out assault that takes no prisoners! Fast songs, brutal thrash and death metal riffage and blast beats…..What more could you ask for?' - Metal Nexus



When is it appropriate to employ the term ‘supergroup’? Could it be in the instance of new Floridian act Create A Kill? Featuring members of Malevolent Creation, Gruesome and Solstice – this unstoppable supergroup was always gonna make an impact based on the line-up alone. However, little were our ears prepared for the onslaught that was to come on debut album Summoned To Rise. Not just in terms of pure fury, but also the sheer quality. The overall sound of Create A Kill is a perfect mesh of the previously-mentioned three bands, but with an unhealthy dose of Demolition Hammer injected into the death/thrash assault. This is raw, blistering, violent, nasty shit. And boy, do I love it!

Not only do these Floridians exhume pure malice, they do it in a way that’s weirdly accessible and…dare I say it…catchy! Hell, if the chorus to “Premeditated” hasn’t got you hooked after one playthrough, there’s something wrong with your brain. These memorable hooks provide moments of clarity amid the sheer maelstrom of this album. Riffs cut like razors, solos insanely channel their inner Kerry King, blast-beats pound at your brain – and the whole affair is wrapped in a chaotic vibe that just about keeps in control. The way everything sounds like it’s teetering on the edge of composure is exciting and irresistible. The varied vocal attack contributes to this massively. Although I’m unsure exactly which vocal style is performed by who, the combination of vile high shrieks, powerful low growls and Schuldiner-esque mids creates a real death/thrash party atmosphere.

The production quality is absolutely spot on, bringing back that raw, authentic early ’90s spirit. The cut-throat guitar tone is both grisly and fun, but the snappy bass/snare mix is utterly gorgeous. This is what Demolition Hammer’s Tortured Existence should have sounded like! Summoned To Rise is the definition of ‘all killer, no filler’. Every single cut delivers the madness at a blistering pace with not a second wasted. Even the mid-tempo segments are loaded with impact, such as the opening riffs to “Cold Blooded” and “Reap The Whirlwind”, or the verses in “Gauntlet Of Pain”. In fact, my favourite moments are the slower ilk which hit you like a fucking steamroller (see “Decimated” – what a sledgehammer of a track!). Structurally, this album flows beautifully – mixing the faster and slower sections, though never losing a single ounce of barbarism.

As previously stated, there are memorable hooks and standout moments abound on this album. These guys have a penchant for writing catchy death/thrash metal that doesn’t compromise the style or cheapen the brand. “Crave The Blade”, “Premeditated” and the hammering “Show Of Force” are all great examples of how this sub-genre can be accessible for newcomers whilst pleasing the elitists. However, the jewel in this record’s crown is the bonus track – dedicated to late Malevolent Creation frontman Bret Hoffman – “Flesh, Blood & Stone”. When Matt Harvey bellows out ‘FLESH AND GOLD AND BLOOD AND STEEL AND FUCKING STONE!!’, you know Bret himself would have been majorly proud of this LP. Create A Kill should be proud of this effort. Really proud. I cannot pinpoint any specific aspect that weakens it. Summoned To Rise is simply an incredible slice of no-holds-barred death/thrash metal that will have any fan of the genre headbanging like it’s 1989.

Larry6990



..::TRACK-LIST::..

1. Create A Kill 02:58
2. Cold Blooded 03:14
3. Crave the Blade 03:39
4. Decimate 04:57
5. Premeditated 03:18
6. Gauntlet of Pain 03:42
7. Praise the Beast 03:12
8. Reap the Whirlwind 04:27
9. The Sow is Mine 04:13
10. Show of Force 03:29



..::OBSADA::..

Gus Rios (Gruesome/Malevolent Creation) - Guitars/Bass/Drums
Alex Marquez (Solstice/Resurrection) - Vocals/Drums
Dirk Verbueren (Megadeth/Soilwork) - Drums
Tobias Gustafsson (Cut Up/Vomitory) - Drums
Matt Harvey (Exhumed) - Vocals
Daniel Gonzalez (Possessed) - Guitars




https://www.youtube.com/watch?v=7J6HXUtz_XA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Obcowanie z tym debiutem jest jak strzał prosto w ryja zakończony deptaniem jaj po upadku na podłogę!!!



'Summoned to Rise features some of the fastest, catchiest, darkest, meanest, smartest, most intricate thrash fucking metal to come down the pike in years. No letup. No duds. Just a fiery, eponymous opening volley. (...)' - Decibel Magazine

'Insane old school riffs for all your moshing needs, Jeff Hanneman style squealing solos (which made the hair on my arm stand up at points), brutal vocal deliveries that at times walk the line of really solid Death Metal vocals, and a ton of intense outstanding drumming throughout. Everything works on this album, from lyrical content, to the tone of the music, and of course that break neck pace the vast majority of the record offers.' - Hellbound.ca

'‘Summoned to Rise’ is a an all out assault that takes no prisoners! Fast songs, brutal thrash and death metal riffage and blast beats…..What more could you ask for?' - Metal Nexus



When is it appropriate to employ the term ‘supergroup’? Could it be in the instance of new Floridian act Create A Kill? Featuring members of Malevolent Creation, Gruesome and Solstice – this unstoppable supergroup was always gonna make an impact based on the line-up alone. However, little were our ears prepared for the onslaught that was to come on debut album Summoned To Rise. Not just in terms of pure fury, but also the sheer quality. The overall sound of Create A Kill is a perfect mesh of the previously-mentioned three bands, but with an unhealthy dose of Demolition Hammer injected into the death/thrash assault. This is raw, blistering, violent, nasty shit. And boy, do I love it!

Not only do these Floridians exhume pure malice, they do it in a way that’s weirdly accessible and…dare I say it…catchy! Hell, if the chorus to “Premeditated” hasn’t got you hooked after one playthrough, there’s something wrong with your brain. These memorable hooks provide moments of clarity amid the sheer maelstrom of this album. Riffs cut like razors, solos insanely channel their inner Kerry King, blast-beats pound at your brain – and the whole affair is wrapped in a chaotic vibe that just about keeps in control. The way everything sounds like it’s teetering on the edge of composure is exciting and irresistible. The varied vocal attack contributes to this massively. Although I’m unsure exactly which vocal style is performed by who, the combination of vile high shrieks, powerful low growls and Schuldiner-esque mids creates a real death/thrash party atmosphere.

The production quality is absolutely spot on, bringing back that raw, authentic early ’90s spirit. The cut-throat guitar tone is both grisly and fun, but the snappy bass/snare mix is utterly gorgeous. This is what Demolition Hammer’s Tortured Existence should have sounded like! Summoned To Rise is the definition of ‘all killer, no filler’. Every single cut delivers the madness at a blistering pace with not a second wasted. Even the mid-tempo segments are loaded with impact, such as the opening riffs to “Cold Blooded” and “Reap The Whirlwind”, or the verses in “Gauntlet Of Pain”. In fact, my favourite moments are the slower ilk which hit you like a fucking steamroller (see “Decimated” – what a sledgehammer of a track!). Structurally, this album flows beautifully – mixing the faster and slower sections, though never losing a single ounce of barbarism.

As previously stated, there are memorable hooks and standout moments abound on this album. These guys have a penchant for writing catchy death/thrash metal that doesn’t compromise the style or cheapen the brand. “Crave The Blade”, “Premeditated” and the hammering “Show Of Force” are all great examples of how this sub-genre can be accessible for newcomers whilst pleasing the elitists. However, the jewel in this record’s crown is the bonus track – dedicated to late Malevolent Creation frontman Bret Hoffman – “Flesh, Blood & Stone”. When Matt Harvey bellows out ‘FLESH AND GOLD AND BLOOD AND STEEL AND FUCKING STONE!!’, you know Bret himself would have been majorly proud of this LP. Create A Kill should be proud of this effort. Really proud. I cannot pinpoint any specific aspect that weakens it. Summoned To Rise is simply an incredible slice of no-holds-barred death/thrash metal that will have any fan of the genre headbanging like it’s 1989.

Larry6990



..::TRACK-LIST::..

1. Create A Kill 02:58
2. Cold Blooded 03:14
3. Crave the Blade 03:39
4. Decimate 04:57
5. Premeditated 03:18
6. Gauntlet of Pain 03:42
7. Praise the Beast 03:12
8. Reap the Whirlwind 04:27
9. The Sow is Mine 04:13
10. Show of Force 03:29



..::OBSADA::..

Gus Rios (Gruesome/Malevolent Creation) - Guitars/Bass/Drums
Alex Marquez (Solstice/Resurrection) - Vocals/Drums
Dirk Verbueren (Megadeth/Soilwork) - Drums
Tobias Gustafsson (Cut Up/Vomitory) - Drums
Matt Harvey (Exhumed) - Vocals
Daniel Gonzalez (Possessed) - Guitars




https://www.youtube.com/watch?v=7J6HXUtz_XA



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

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

Reedycja drugiego dużego albumu HELLIAS z 1993 roku, old schoolowe granie w stylu SLAYER, KREATOR, ASSASSIN, VENDETTA, NECRONOMICON, OVERKILL i innych Thrash’owych formacji z lat 80-tych!




Po przesłuchaniu kilku mniej lub bardziej rozczarowujących (z dwoma wyjątkami) nowości wracam do odgrzewania klasyków. Thrashing Madness Productions dba bez ustanku, by w tej materii coś się działo i co rusz proponuje nowe/stare materiały. Dziś zasiadłem do płyty, której nagrania rozpoczęto w majówkę 1993 roku w Gamma Studio w Krakowie. Mowa o płycie Blind Destiny zespołu Hellias.

Blind Destiny to drugi pełny album tej kapeli. Wszystkie te matexy posiadają już status kvltowy i nad tym raczej nie ma co dużo dywagować. Thrash/heavy metalowa załoga wystartowała w końcówce lat 80., załapując się na ostatki thrashowej manii i dając od siebie nową jakość na naszej scenie. Opisywany album wydany został w 1993 roku, czyli już w czasie, gdy wszyscy kierowali swój wzrok w kierunku „nowego” szaleństwa w postaci death metalu, i zapewne nie dostał tyle miłości, ile powinien. Dziś różnorodność gatunkowa jest czymś normalnym, kiedyś mody uderzały mocniej, zgniatając tych, którzy za nimi nie nadążali. Nie zmienia to absolutnie faktu, że Hellias nagrał album potężny, który ze srebrnego krążka brzmi po prostu zajebiście. Zawodowy thrash metal ubarwiony kilkoma zwolnieniami kipi witalnością, jadem i pięknym, staroszkolnym podejściem do tematu. Riffy – mieszanka wpływów sceny Bay Area z naszym polskim, tradycyjnym gniewem – proponują bardzo rytmiczne i agresywne rozwiązania, co w połączeniu z dobrymi partiami sekcji rytmicznej momentalnie zmusza do podrygiwania w ich takt. Słychać tu inspiracje muzyką Testament, Metalliki (okresu Ride the Lightning), Coronera czy naszego Kata (pewnie dlatego, że Kat także silnie wzorował się na starym Testamencie).

Materiał jest bardzo urozmaicony. Rozpoczynają go utwory szybsze, przechodzą w bardziej miarowe, a następnie w coś na kształt nawet balladowy. Zabiegi te dają płytę bogatą i pozbawioną monotonii. Wokalista Piotr Foreman Forys atakuje słuchacza swoim gniewnym krzykiem, ale na nim się nie zamyka, modulując głos na wiele sposobów i próbując nawet śpiewać, co dodaje całości dodatkowego kolorytu, a że płyta do najkrótszych nie należy, to zabieg ten uważam za jak najbardziej wskazany.

Jako bonus wytwórnia dołożyła cztery utwory w wersji live nagrane podczas Live Invasion Tour w 1990 roku w Chełmku. Utwory brzmią zaskakująco dobrze, nie ranią uszu sprzężeniami czy innymi „kwiatkami”, których by można się spodziewać po ówczesnych próbach recordingu koncertów, kiedy najnormalniej brakowało przyzwoitego sprzętu.

Blind Destiny to wyżyny polskiego thrashu. Gdy pominąć Kata, Dragon czy Wilczego Pająka nie pozostaje zbyt wiele kapel, które w tej materii mogą przychodzić do głowy, i uważam Hellias za band im równy. Sprawność muzyczna i dobre pomysły idą tu w parze z archaicznym soundem, który może burzyć budynki swą bezpośrednią mocą. Stanowczo polecam.

Brzeźnicki


Z kolejnym wznowieniem wyskoczyło Thrashing Madness Productions – tym razem sąsiadów z ich własnego podwórka, czyli Hellias. W sumie to już niewiele z katalogu tego zespołu zostało do wznowienia, ale póki co zajmijmy się reedycją „Blind Destiny”.

Thrash metal w 1993 roku wchodził już w fazę schyłkową, u nas też już nie wywoływał takich emocji o ile kojarzę, poza oczywiście najbardziej rozpoznawalnymi nazwami. Hellias natomiast trzymał się tego stylu, jedynie modyfikując go jeśli weźmiemy pod uwagę ich wcześniejsze materiały. „Closed in Fate Coffin” było jeszcze bowiem materiałem dość surowym i… lekko czerstwym?

„Blind Destiny” szło zdecydowanie dalej w thrash metalowe inspiracje i starała się mieć oko na to, co aktualnie się dzieje. Przynajmniej takie odnoszę wrażenie słuchając ich drugiego albumu – z jednej strony słychać tutaj echa Megadeth z „Countdown to Extinction”, z drugiej zespół z ciekawością łypie okiem na rodzący się nurt kombinowanego metalu. Daje to efekt taki, że z jednej strony ten krążek jest dość techniczny, z drugiej sporo tutaj groove’u, ale też zwolnień, niemal balladowych fragmentów lub atmosferycznych podchodów. Dostajemy więc płytę złożoną i dość ciekawą. O ile ktoś lubi tego typu granie – ja w thrash metalu jednakże szukam czegoś innego i stwierdzam, że ten album ma mocne, dobre momenty, ale ma też mielizny nudy.

Na dokładkę wrzucono cztery numerów z koncertu z 1989 roku. Zaskakująco, brzmi nieźle i pokazuje dobrze ówczesną kondycję Hellias – surowość i pasję, tak zespołu jak i publiki. Oczywiście, jak to w przypadku wznowień – dostajemy też stare zdjęcia kapeli, tym razem bez wywiadów i reprodukcji plakatów. Niemniej jednak wydanie, jak to zwykle, wygląda bardzo dobrze.

Więc co, do wydania zostało jeszcze tylko „Fakty” i można zamykać temat wznowień Hellias?

Oracle


Not exactly the definitive veterans on the Polish metal scene, this outfit hit the spotlight when their brand of dark brooding retro thrash was swiftly becoming obsolete. Under the circumstances, few were those who lent an ear to their debut “Closed in the Fate Coffin” when it came out in 1991. A real pity especially when said debut was a pretty cool mixture of intense blitzkrieg pieces and slower atmospheric excursions, an effective compendium with echoes of the Brits Deathwish and the Canadians Sacrifice.

Two years later the guys are back, and they mean old school business once again. However, the more laid-back atmospherics have taken the upper hand with the label “gothic thrash” now emerging as a pretty legitimate one, the final result coming close to Fear of God’s “Beyond the Veil”, only not as compellingly and coherently structured. But misleaders first, the title "Descent from the Cross", the opener, a sure-handed headbanger emitting loads of energy. The setting abruptly changes with the atmospheric semi-technical wonder "Written to Loss", the highlight here, a sure qualifier for the mentioned Fear of God magnum opus. So far so not so bad, but the lads’ gothic heart cries out for bigger expression, and before you know it you’re exposed to two dark poignant ballads (“The Rain”, “Depths”) which at least see the mean semi-declamatory vocalist acquire a surprisingly effective clean lyrical timbre. A profound change of scenery with these two, the guys try to recapture some thrashing ground with the intense mosher "Stones for the Man (The Last Leaves)" and the more controlled mid-paced shredder "Silence in My Brain", but the band’s hard-core fans would hardly be sold for this dynamic oasis. And they would be right to doubt their idols who march on with a couple of samey, somewhat monotonous gothic semi-thrashers the rude awakening arriving in the form of "No Devotion", another hyper-active proposition. This last one would have been a dignified epitaph, but the band ruin the finale by throwing in the bad groovy joke "Rap-Sody Drink", an absolutely unnecessary deviation having nothing to do whatsoever with the instilled dark officiant clout.

But even without this last awful filler, this effort leaves something to be desired. The distribution of the faster-paced material could have been done more adroitly; the middle is entirely occupied by the mentioned rowdy gothicers which pass by as one not very optimistic whole without creating too much drama. As those follow in quick succession, it’s hard for the fan to distinguish any more prominent features among them thus semi-ignoring their dark impact, waiting for the next-in-line more aggressive outburst. The thing is that said outbursts are sparingly offered, we’re talking an hour-long opus mind you, and don’t seem to have the desired rousing effect. It may have been even better if they were excluded thus leaving the gothic-ornated material to gel better and to form a more coherent dark saga.

Still, even in its more or less contrasting blend-shape, this effort has its moments; the atmosphere is here, the darkness is here, the pessimism is here… and it’s really intriguing to hear how the otherwise rough sinister singer turns to a more attached goth on those balladic moments. The guys were not looking for creating culminations here as the thrashy outtakes are by no means such; at the same time, one can’t take this recording as a genuinely transitional one as this is retro stuff through and through, no groove, no grunge, no aggro… and, truth be told, the atmospheric developments time and again were already present on the first instalment. There are no drastic innovations introduced; it’s just that the gothic/thrash symbiosis sounds a bit disparate, like the dark mellower side demands more space, but the more aggressive one resists with anything it has, trying to exercise authority whenever it has the opportunity.

Alas, neither fate nor destiny could stop the guys from falling into the groovy traps which occurred on “Fakty...”, the third charm, a tepid unimaginative post-thrash affair which closed the first chapter from their career in a seriously downbeat fashion. The reunion stint "A.D. Darkness" 13 years later was way more like it, a potent gothic/thrash/post-thrash conglomerate which took the best of the three styles for the production of a thrilling diverse ride. A really promising new beginning that was followed by a compilation album (“Twenty Fifth Year in the Abyss”) before the band defied destiny again by adding one more cardinal sin to the widely spread seven, with “Eight Cardinal Sins”. Not drastically different from the comeback saga, it offered a similar cocktail the guys sounding confident and by no means stale; there’s no doubt that the next fortune-telling exam is theirs for the taking/passing.

Bayer



..::TRACK-LIST::..

1. Blind Destiny (Intro) 1:02
2. Descent From The Cross 4:13
3. Written To Loss 4:39
4. King Of Revenge 3:59
5. The Rain 6:02
6. Depths 5:36
7. Stones For The Man (The Last Leaves) 4:26
8. Silence In My Brain 3:55
9. Golgotha 3:48
10. Disguise Of Torment 5:14
11. Let's Talk About Killing 3:50
12. Sentence Of... 4:45
13. No Devotion 4:23
14. Rap-sody Drink 2:56
15. Blind Destiny (Outro) 1:09

Bonus Tracks (Live '89)
16. Zamknięty W Trumnie Losu 1:31
17. Requiem Dla Grzesznika 4:07
18. Empty Cry 4:39
19. Król Umarłych Dusz 5:21



..::OBSADA::..

Vocals - Piotr Foreman Foryś
Guitar - Marek Galon Galary (tracks: 16 to 19), Paweł Goolary Góralczyk (tracks: 1 to 15), Piotr Lopez Czerski (tracks: 1 to 15)
Keyboards - Grzesiek Pulchny (tracks: 16 to 19)
Bass - Darek Darecki Łopata (tracks: 1 to 15), Rafał Dykta Mazur (tracks: 16 to 19)
Drums - Wojtek Wojna Wojnowski




https://www.youtube.com/watch?v=mA88SESipSM



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

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



..::OPIS::..

Reedycja debiutanckiego krążka Devastator z 2005 roku wzbogacona o nową oprawę graficzna oraz dwa bonusy, w sumie blisko 80 minut black/thrash metalu w stylu wczesnej Sepultury połączonej z Destroyer 666 i niemieckimi thrash metalowymi formacjami z lat 80-tych.



..::TRACK-LIST::..

1. The End 10:26
2. The Call To War 13:13
3. Battle Of Hate 6:31
4. Armageddon 9:15
5. Doom Of The Gods (Ragnarok) 11:45
6. Dead And Destroyed 9:31
7. Unholy Thrash Assault 12:04
8. Deny The Cross / Onslaught Of Angels (Bonus Track) 6:42


Tracks 1 to 7 recorded June 2004 at Mercury Studio in 20 hours.

Track 8 (Bonus Track) recorded Fall 2006 at Typhon Studio.
Originally appeared on the Devastator / Ampütator split Tape released in 2008 on Maltkross Productions.



..::OBSADA::..

Pest - Drums
Adrian - Guitars
Wulfnoth - Vocals
Lazdemon - Bass




https://www.youtube.com/watch?v=Ws0Nkv51ihw



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