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


..::OPIS::..

Kiedy to trzy i pół roku temu ukazał się debiutancki krążek Hellfuck, pomyślałem, że to taki jednorazowy wybryk kilku znanych na krajowej scenie muzyków, oddających w ten sposób hołd dla starego, teutońskiego thrashu, przy którym zapewne dorastali. Jednocześnie miałem nadzieję, że się mylę, zwłaszcza że „Diabolic Slaughter” mocno mną pozamiatał, i wracałem do tej płyty z wielką przyjemnością. Najwyraźniej Pan Szatan wysłuchał mojej cichej prośby, i szepnął Skullripperowi i spółce do ucha, by wbić kolejne dziewięć gwoździ w wiszące na krzyży ciało bożego syna. Aby szło to sprawniej i z większą mocą, podkusił także do wstąpienia w szeregi wspomnianych bluźnierców specjalistę od prac fizycznych, czyli Zbysia „Inferno” Promińskiego. W efekcie, za niecały miesiąc, świat nawiedzi drugi piekielny bękart, przynosząc ze sobą nieco ponad pół godziny muzyki. Muzyki będącej bezpośrednią kontynuacją debiutu, albo, innymi słowy, wariacją na temat Kreator / Destruction po końskich sterydach. Tutaj nie ma co fantazjować, czy snuć opowieści z krainy mchu i paproci. Na „9 Nails Hammered into the Flesh of God” panowie napierdalają dokładnie tak, jak chciałoby się, by dziś napierdalała ekipa Petrozzy. Bo to, co odpierdala legenda thrash metalu przez ostatnie dwadzieścia lat, a zwłaszcza na dwóch ostatnich albumach, woła o pomstę do piekła. Płytę Hellfuck powinno się wysłać do weganina z Essen, co by se dziadek przypomniał stare czasy, kiedy to słowo „kompromis” było mu obce. Mamy na tej płycie mnóstwo fantastycznych, choć kompletnie nieoryginalnych riffów, świetne, wkurwione wokale o barwie bardzo zbliżonej do oryginału, niezłe, staroszkolne solówki, i fenomenalną sekcję rytmiczną, na temat której nawet nie będę się rozpisywał, bo powiedzieć, że „Inferno rozjebał”, to jak nie powiedzieć nic. Żeby jednak nie było, że Hellfuck jest jedynie wściekłym klonem Kreator, podkreślić należy występują na tym krążku także elementy nieoczywiste. A do takich zaliczyć na pewno można partie klawiszy. Co prawda bardzo oszczędne, stosowane jako subtelny dodatek, i schowane w tle, jednak dodające kapkę odmienności od pierwowzoru. W kilku miejscach pojawiają się także ślady, których nie jestem w stanie stuprocentowo zidentyfikować. Chodzi mi o płynące niczym rozmyty śpiew syren, czy też pośmiertny zaśpiew potępionych duchów głosy pojawiające się choćby w „Master of Decaying World” czy „Destroyer of Heaven”. Zakładam, że to mimo wszystko syntezatory, choć nie zdziwiłbym się, gdyby były to wokale przepuszczone przez jakiś kosmiczny efekt. Czymkolwiek są, robią spore wrażenie. Nie ma na tym albumie fragmentów słabszych. Wszystko tutaj chodzi na poziomie podobnym do tempa samych kompozycji, czyniąc „9 Nails Hammered into the Flesh of God” prawdziwą laską dynamitu z odpalonym krótkim lontem. Na chuj komu Kreator, skoro mamy Hellfuck. Po raz drugi pozamiatane!

jesusatan


Recenzję Hellfuck możnaby zapisać dwoma zdaniami. „Mamy Kreatora w domu. I jest obecnie lepszy niż ten oryginalny”. Ale przecież po tak szacownej redakcji jak nasza na pewno oczekujecie przynajmniej trzech akapitów.

Lecimy więc – „9 Nails Hammered into the Flesh of God” jest oczywiście kontynuacją zamysłu z „Diabolic Slaughter”. Czyli dobrzy i uznani muzycy polskiej sceny uznali, że chcą ponapierdalać thrash metal wzorowany na twórcach „Coma of Souls” i „Pleasure to Kill”. Jak najbardziej podoba mi się to podejście, gdyż jak już napisałem, od dwóch dekad płyty Mille i ekipy ssą straszliwie. Hellfuck zaś bez większej spiny przynosi nam właśnie garść riffów które spokojnie mogłyby znaleźć się na każdej z pierwszych siedmiu płyt Niemców. Nie mają większej pretensji do wychodzenia poza ten schemat, ba! Nawet by wzorować się na innych kapelach. Hellfuck to brzmi niemal jak tribute band. Odnoszę wrażenie, że o ile na wcześniejszej płycie zespół wzorował się generalnie na niemieckiej scenie thrash metalowej, o tyle „9 Nails Hammered into the Flesh of God” jest już ściśle ukierunkowane. Czy to dobrze?

Nie mam z tym problemu. Te kawałki zostały skomponowane i odegrane zachowując ogień, jaki buchał z muzyki Kreator w pierwszych latach ich istnienia (oraz na „Violent Revolution”). Skoro od ponad dwóch dekad Kreator nie wydał niczego interesującego, można spróbować substytutu. Wiem, brzydko to brzmi. Natomiast chyba ani zespół, ani słuchacze nie mają tutaj złudzeń – wszyscy będę tak o nich mówić. Ja na przykład nie mówię tego złośliwie – Hellfuck doskonale spełnia swoją rolę. Jako takiego słucham ich z zadowoleniem, gdyż oczekiwałem kreatorowego thrash metalu i go dostałem.

A jako, że próbowałem odsłuchać najnowszy krążek Kreator i poległem powiem Wam jedno. Pierdolcie Mille i jego kopiuj – wklej muzykę. Kupcie sobie Hellfuck.

Oracle



..::TRACK-LIST::..

1. Self-Cheat Absolution 02:36
2. Master of Decaying World 03:17
3. The Final Nuclear Gaze 03:18
4. Rebel Desecration 03:49
5. Wonderful Stench of Death 03:40
6. The Scourge of Existence 03:13
7. Destroyer of Heaven 02:46
8. Holy Whore's Prayer 04:01
9. The Temple of Deceit Burns Bright 05:14



..::OBSADA::..

Skullripper - Vocal, Guitar
Nelek - Guitar
Armagog - Bass
Inferno - Drums




https://www.youtube.com/watch?v=hcG9QgBSCbI



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

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


..::OPIS::..

Kiedy to trzy i pół roku temu ukazał się debiutancki krążek Hellfuck, pomyślałem, że to taki jednorazowy wybryk kilku znanych na krajowej scenie muzyków, oddających w ten sposób hołd dla starego, teutońskiego thrashu, przy którym zapewne dorastali. Jednocześnie miałem nadzieję, że się mylę, zwłaszcza że „Diabolic Slaughter” mocno mną pozamiatał, i wracałem do tej płyty z wielką przyjemnością. Najwyraźniej Pan Szatan wysłuchał mojej cichej prośby, i szepnął Skullripperowi i spółce do ucha, by wbić kolejne dziewięć gwoździ w wiszące na krzyży ciało bożego syna. Aby szło to sprawniej i z większą mocą, podkusił także do wstąpienia w szeregi wspomnianych bluźnierców specjalistę od prac fizycznych, czyli Zbysia „Inferno” Promińskiego. W efekcie, za niecały miesiąc, świat nawiedzi drugi piekielny bękart, przynosząc ze sobą nieco ponad pół godziny muzyki. Muzyki będącej bezpośrednią kontynuacją debiutu, albo, innymi słowy, wariacją na temat Kreator / Destruction po końskich sterydach. Tutaj nie ma co fantazjować, czy snuć opowieści z krainy mchu i paproci. Na „9 Nails Hammered into the Flesh of God” panowie napierdalają dokładnie tak, jak chciałoby się, by dziś napierdalała ekipa Petrozzy. Bo to, co odpierdala legenda thrash metalu przez ostatnie dwadzieścia lat, a zwłaszcza na dwóch ostatnich albumach, woła o pomstę do piekła. Płytę Hellfuck powinno się wysłać do weganina z Essen, co by se dziadek przypomniał stare czasy, kiedy to słowo „kompromis” było mu obce. Mamy na tej płycie mnóstwo fantastycznych, choć kompletnie nieoryginalnych riffów, świetne, wkurwione wokale o barwie bardzo zbliżonej do oryginału, niezłe, staroszkolne solówki, i fenomenalną sekcję rytmiczną, na temat której nawet nie będę się rozpisywał, bo powiedzieć, że „Inferno rozjebał”, to jak nie powiedzieć nic. Żeby jednak nie było, że Hellfuck jest jedynie wściekłym klonem Kreator, podkreślić należy występują na tym krążku także elementy nieoczywiste. A do takich zaliczyć na pewno można partie klawiszy. Co prawda bardzo oszczędne, stosowane jako subtelny dodatek, i schowane w tle, jednak dodające kapkę odmienności od pierwowzoru. W kilku miejscach pojawiają się także ślady, których nie jestem w stanie stuprocentowo zidentyfikować. Chodzi mi o płynące niczym rozmyty śpiew syren, czy też pośmiertny zaśpiew potępionych duchów głosy pojawiające się choćby w „Master of Decaying World” czy „Destroyer of Heaven”. Zakładam, że to mimo wszystko syntezatory, choć nie zdziwiłbym się, gdyby były to wokale przepuszczone przez jakiś kosmiczny efekt. Czymkolwiek są, robią spore wrażenie. Nie ma na tym albumie fragmentów słabszych. Wszystko tutaj chodzi na poziomie podobnym do tempa samych kompozycji, czyniąc „9 Nails Hammered into the Flesh of God” prawdziwą laską dynamitu z odpalonym krótkim lontem. Na chuj komu Kreator, skoro mamy Hellfuck. Po raz drugi pozamiatane!

jesusatan


Recenzję Hellfuck możnaby zapisać dwoma zdaniami. „Mamy Kreatora w domu. I jest obecnie lepszy niż ten oryginalny”. Ale przecież po tak szacownej redakcji jak nasza na pewno oczekujecie przynajmniej trzech akapitów.

Lecimy więc – „9 Nails Hammered into the Flesh of God” jest oczywiście kontynuacją zamysłu z „Diabolic Slaughter”. Czyli dobrzy i uznani muzycy polskiej sceny uznali, że chcą ponapierdalać thrash metal wzorowany na twórcach „Coma of Souls” i „Pleasure to Kill”. Jak najbardziej podoba mi się to podejście, gdyż jak już napisałem, od dwóch dekad płyty Mille i ekipy ssą straszliwie. Hellfuck zaś bez większej spiny przynosi nam właśnie garść riffów które spokojnie mogłyby znaleźć się na każdej z pierwszych siedmiu płyt Niemców. Nie mają większej pretensji do wychodzenia poza ten schemat, ba! Nawet by wzorować się na innych kapelach. Hellfuck to brzmi niemal jak tribute band. Odnoszę wrażenie, że o ile na wcześniejszej płycie zespół wzorował się generalnie na niemieckiej scenie thrash metalowej, o tyle „9 Nails Hammered into the Flesh of God” jest już ściśle ukierunkowane. Czy to dobrze?

Nie mam z tym problemu. Te kawałki zostały skomponowane i odegrane zachowując ogień, jaki buchał z muzyki Kreator w pierwszych latach ich istnienia (oraz na „Violent Revolution”). Skoro od ponad dwóch dekad Kreator nie wydał niczego interesującego, można spróbować substytutu. Wiem, brzydko to brzmi. Natomiast chyba ani zespół, ani słuchacze nie mają tutaj złudzeń – wszyscy będę tak o nich mówić. Ja na przykład nie mówię tego złośliwie – Hellfuck doskonale spełnia swoją rolę. Jako takiego słucham ich z zadowoleniem, gdyż oczekiwałem kreatorowego thrash metalu i go dostałem.

A jako, że próbowałem odsłuchać najnowszy krążek Kreator i poległem powiem Wam jedno. Pierdolcie Mille i jego kopiuj – wklej muzykę. Kupcie sobie Hellfuck.

Oracle



..::TRACK-LIST::..

1. Self-Cheat Absolution 02:36
2. Master of Decaying World 03:17
3. The Final Nuclear Gaze 03:18
4. Rebel Desecration 03:49
5. Wonderful Stench of Death 03:40
6. The Scourge of Existence 03:13
7. Destroyer of Heaven 02:46
8. Holy Whore's Prayer 04:01
9. The Temple of Deceit Burns Bright 05:14



..::OBSADA::..

Skullripper - Vocal, Guitar
Nelek - Guitar
Armagog - Bass
Inferno - Drums




https://www.youtube.com/watch?v=hcG9QgBSCbI



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

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


..::OPIS::..

Paradox was formed in Würzburg in 1986 by two young musicians, Charly Steinhauer and Axel Blaha. Both of them were founding members of German metal bands Overkill, Venom and Warhead since 1981. Early 1986 they finally changed the band name to PARADOX. In July 1986, the band recorded a demo, drawing the attention of Roadrunner Records. In 1987, PARADOX recorded their second demo "Mystery" which was a success for the band, with the German press calling it the best demo of the year. In the same year, the band started recording their first album ‘Product of Imagination’ for RoadRunner records.

The debut album was an enormous success in Germany, with Metal Hammer recognising it as the best German debut after ‘Walls of Jericho’ by Helloween. The album ‘Mystery Demo 1987 - Deluxe edition’ contains the pre Paradox demos from 1985 and 1983, 16 tracks in total. Cover artwork by Thomas Pinheiro (Possessed, Hirax, Malevolent Creation). Extensive liner notes with founding member Charlie Steinhauer and tonns of pictures from the 1981 – 1987 era. Paradox still exists up till today and has released 8 full length albums and a handful of singles / ep’s.



..::TRACK-LIST::..

Mystery Demo 87:
1. Asturbias / Beyond Space 06:29
2. Mystery 05:32
3. Execution / Invasion 05:52
4. Kill That Beast 04:49
5. Product of Imagination 07:33
6. Wotan (Der Wahnwitzige) 00:19
7. Death, Screaming and Pain (recorded live at 1.2.87) 05:23

Pre-Paradox Rehearsal Demo 1985:
8. Iron Horse 06:54
9. Kill that Beast 04:50
10. The Soldier 03:47
11. Sacrifice 03:32
12. Execution 03:30
13. No Place to Survive 04:23

Pre-Paradox Rehearsal Demo 1983:
14. Burn 03:47
15. Murders 04:15
16. 747 Strangers in the Night (Saxon cover) 04:58



..::OBSADA::..

Roland Stahl - Bass
Axel Blaha (R.I.P. 2023) - Drums
Markus Spyth - Guitars
Charly Steinhauer - Vocals, Guitars



https://www.youtube.com/watch?v=ZsLjcAxFBW0


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

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


..::OPIS::..

Paradox was formed in Würzburg in 1986 by two young musicians, Charly Steinhauer and Axel Blaha. Both of them were founding members of German metal bands Overkill, Venom and Warhead since 1981. Early 1986 they finally changed the band name to PARADOX. In July 1986, the band recorded a demo, drawing the attention of Roadrunner Records. In 1987, PARADOX recorded their second demo "Mystery" which was a success for the band, with the German press calling it the best demo of the year. In the same year, the band started recording their first album ‘Product of Imagination’ for RoadRunner records.

The debut album was an enormous success in Germany, with Metal Hammer recognising it as the best German debut after ‘Walls of Jericho’ by Helloween. The album ‘Mystery Demo 1987 - Deluxe edition’ contains the pre Paradox demos from 1985 and 1983, 16 tracks in total. Cover artwork by Thomas Pinheiro (Possessed, Hirax, Malevolent Creation). Extensive liner notes with founding member Charlie Steinhauer and tonns of pictures from the 1981 – 1987 era. Paradox still exists up till today and has released 8 full length albums and a handful of singles / ep’s.



..::TRACK-LIST::..

Mystery Demo 87:
1. Asturbias / Beyond Space 06:29
2. Mystery 05:32
3. Execution / Invasion 05:52
4. Kill That Beast 04:49
5. Product of Imagination 07:33
6. Wotan (Der Wahnwitzige) 00:19
7. Death, Screaming and Pain (recorded live at 1.2.87) 05:23

Pre-Paradox Rehearsal Demo 1985:
8. Iron Horse 06:54
9. Kill that Beast 04:50
10. The Soldier 03:47
11. Sacrifice 03:32
12. Execution 03:30
13. No Place to Survive 04:23

Pre-Paradox Rehearsal Demo 1983:
14. Burn 03:47
15. Murders 04:15
16. 747 Strangers in the Night (Saxon cover) 04:58



..::OBSADA::..

Roland Stahl - Bass
Axel Blaha (R.I.P. 2023) - Drums
Markus Spyth - Guitars
Charly Steinhauer - Vocals, Guitars



https://www.youtube.com/watch?v=ZsLjcAxFBW0


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

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


..::OPIS::..

Death Parade was recorded in November 2016, however, it was released much later, on the 1st of July, 2017. The band decided to take a completely different approach to recording and production from the debut EP, with no-editing, no triggers, and almost raw sound, resembling a live recording. There were no vocal overdubs or guitar overdubs except for the stereo recording of the left and the right guitar channel. The album was first self-released, however, in 2018, the band signed with the Mexican label IBDC and a CD rerelease was issued.



..::TRACK-LIST::..

1. Madman's Overture (feat. Dan Brudar of Marrow of Salvation) 00:57
2. Death Parade 05:08
3. Fake (feat. Dača of Nadimač) 04:19
4. Random Act of Violence 02:48
5. I, Icarus 04:43
6. When the Eyes Turn Inwards 03:28
7. Die Hard 04:44
8. Soul Funeral 04:14
9. NWO (feat. Dan Brudar of Marrow of Salvation) 02:05
10. Ministry of Propaganda 03:22
11. Headless Horseman 04:22
12. Warth Child 04:03
13. Thrill for Speed 03:43
14. Mistress of the Night 03:39
15. Stand up and Fight (Exciter cover) 02:33



..::OBSADA::..

Elio Rigonat - Vocals & Guitar
Savo Kraljević - Bass & Backing Vocals
Sergei Radan - Drums & Backing Vocals




https://www.youtube.com/watch?v=QfdZaZ_ERD8



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

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


..::OPIS::..

Death Parade was recorded in November 2016, however, it was released much later, on the 1st of July, 2017. The band decided to take a completely different approach to recording and production from the debut EP, with no-editing, no triggers, and almost raw sound, resembling a live recording. There were no vocal overdubs or guitar overdubs except for the stereo recording of the left and the right guitar channel. The album was first self-released, however, in 2018, the band signed with the Mexican label IBDC and a CD rerelease was issued.



..::TRACK-LIST::..

1. Madman's Overture (feat. Dan Brudar of Marrow of Salvation) 00:57
2. Death Parade 05:08
3. Fake (feat. Dača of Nadimač) 04:19
4. Random Act of Violence 02:48
5. I, Icarus 04:43
6. When the Eyes Turn Inwards 03:28
7. Die Hard 04:44
8. Soul Funeral 04:14
9. NWO (feat. Dan Brudar of Marrow of Salvation) 02:05
10. Ministry of Propaganda 03:22
11. Headless Horseman 04:22
12. Warth Child 04:03
13. Thrill for Speed 03:43
14. Mistress of the Night 03:39
15. Stand up and Fight (Exciter cover) 02:33



..::OBSADA::..

Elio Rigonat - Vocals & Guitar
Savo Kraljević - Bass & Backing Vocals
Sergei Radan - Drums & Backing Vocals




https://www.youtube.com/watch?v=QfdZaZ_ERD8



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

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


..::OPIS::..

Nie sądziłem, że kiedykolwiek dane mi będzie usłyszeć nowe nagrania belgijskiego CYCLONE. W latach 80 zasłuchiwałem się bezgranicznie w dźwiękach wybrzmiewających z debiutanckiego albumu „Brutal Destruction” (Roadrunner Records 1986 r). Nie było to nic wybitnego, ot pół godzinki surowego i prostego thrash metalu. Niestety, po drugim, bardzo obiecującym albumie „Interior To None” (Justice Records 1990 r) poszli do piachu. Wielka to była szkoda, przynajmniej dla mnie, bo ten ich thrash metal strasznie mi siadł.

Mija 35 lat i jest nowy materiał. Zaskoczyli mnie, najzwyczajniej w świecie zrobili mi niespodziankę. A ja lubię takie niespodzianki. Nie jest to duży album, ale lepsze pięć utworów niż nic.

„Know Unto God” to zaledwie 20 minut muzyki z wypolerowanym brzmieniem i thrashową motoryką. Brzmi to bardzo nowocześnie, nie ma się tak naprawdę do czego przyczepić. Oczywiście można pomarudzić, że to wszystko było przerabiane miliony razy. Tutaj nie ma żadnego nowego riffu. Jest to thrash metal starej daty, grany dla takich, grzecznie mówiąc, niemłodych pierdzieli jak ja.

CYCLONE nie musi już nic udowadniać, oni wrócili z czystych i jasnych pobudek, chcą grać i dobrze się przy tym bawić. W ich muzyce czuć radość z grania, bez presji i napinania muskułów.

Z oryginalnego składu ostał się tylko niezmordowany Guido Gevels, reszta to młoda gwardia. I właśnie ta młoda gwardia tchnęła w trupa nowe życie. Wokalnie Guido radzi sobie bardzo dobrze, głos mu się nie zestarzał. Reszta też trzyma wysoki poziom.

Myślę, że ta EPka to tylko taka niewinna przystawka przed daniem głównym, które mam nadzieję w niedalekiej przyszłości zaserwują wygłodniałym fanom.

Materiał żre aż miło, sprawdzone patenty z lat 90 doskonale uzupełniają się z nowoczesnym soundem. Nie ukrywam, zaostrzyli mi apetyt tym krótkim materiałem. Nie pozostało mi nic innego, jak uzbroić się w cierpliwość i wyczekiwać nowej płyty.



Cyclone is a thrash metal band from Europe that returns with new material. “Known Unto God” is the title of an EP due to hit the shelves in early February.

Hailing from Belgium, Cyclone formed in 1981. Their debut album, released via Roadrunner Records, was their first statement as a band. This was in 1986, when thrash metal first reached a pinnacle. Cyclone released one more album before disbanding in 1993.

In 2019, founding member Guido Gevels revived the band with a new line-up. The aggressive thrash metal that defined the band’s debut album remains at the core of their sound. Cyclone’s approach in 2026 is straightforward. The band doesn’t lose direction by overloading their music with twists and gimmicks. Instead, “Known Unto God” features blistering thrash metal songs. “Eliminate”, the opener, is one such song that hits the bullseye. It’s a sonic slap in the face.

The title track, inspired by inscriptions at the Flanders Fields military cemetery, is a grooving thrash metal song with a massive riff and rough vocals. The vocalist’s style was already a strong factor on the “Brutal Destruction” debut, and this new release builds on that strength.

“Nothing Is Real” is a highlight of this release. It is a dark and sinister song that draws its intensity from a mesmerising riff. It is a vigorous, gloomy song that hits you with steamroller intensity. Cyclone demonstrate that heaviness is not a question of pace. This mid-tempo headbanger showcases the essence of thrash metal, maintaining a recurring motif throughout.

“The Truth Lies” is a fast and furious album closer that marks the return of one of Europe’s most influential thrash metal bands. A vintage vibe, massive density and powerful production define “Known Unto God”, and welcome back Cyclone.

Markus



..::TRACK-LIST::..

1. Eliminate 03:33
2. Known Unto God 04:12
3. I Fear Myself 04:30
4. Nothing is Real 05:20
5. The Truth Lies 02:48



..::OBSADA::..

Jesse Van den Bossche - Guitars (rhythm)
Vincent Heyman - Bass
Gabriel Deschamps - Drums
Guido Gevels - Vocals
Maxime Deschamps - Guitars (lead)



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


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

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


..::OPIS::..

Nie sądziłem, że kiedykolwiek dane mi będzie usłyszeć nowe nagrania belgijskiego CYCLONE. W latach 80 zasłuchiwałem się bezgranicznie w dźwiękach wybrzmiewających z debiutanckiego albumu „Brutal Destruction” (Roadrunner Records 1986 r). Nie było to nic wybitnego, ot pół godzinki surowego i prostego thrash metalu. Niestety, po drugim, bardzo obiecującym albumie „Interior To None” (Justice Records 1990 r) poszli do piachu. Wielka to była szkoda, przynajmniej dla mnie, bo ten ich thrash metal strasznie mi siadł.

Mija 35 lat i jest nowy materiał. Zaskoczyli mnie, najzwyczajniej w świecie zrobili mi niespodziankę. A ja lubię takie niespodzianki. Nie jest to duży album, ale lepsze pięć utworów niż nic.

„Know Unto God” to zaledwie 20 minut muzyki z wypolerowanym brzmieniem i thrashową motoryką. Brzmi to bardzo nowocześnie, nie ma się tak naprawdę do czego przyczepić. Oczywiście można pomarudzić, że to wszystko było przerabiane miliony razy. Tutaj nie ma żadnego nowego riffu. Jest to thrash metal starej daty, grany dla takich, grzecznie mówiąc, niemłodych pierdzieli jak ja.

CYCLONE nie musi już nic udowadniać, oni wrócili z czystych i jasnych pobudek, chcą grać i dobrze się przy tym bawić. W ich muzyce czuć radość z grania, bez presji i napinania muskułów.

Z oryginalnego składu ostał się tylko niezmordowany Guido Gevels, reszta to młoda gwardia. I właśnie ta młoda gwardia tchnęła w trupa nowe życie. Wokalnie Guido radzi sobie bardzo dobrze, głos mu się nie zestarzał. Reszta też trzyma wysoki poziom.

Myślę, że ta EPka to tylko taka niewinna przystawka przed daniem głównym, które mam nadzieję w niedalekiej przyszłości zaserwują wygłodniałym fanom.

Materiał żre aż miło, sprawdzone patenty z lat 90 doskonale uzupełniają się z nowoczesnym soundem. Nie ukrywam, zaostrzyli mi apetyt tym krótkim materiałem. Nie pozostało mi nic innego, jak uzbroić się w cierpliwość i wyczekiwać nowej płyty.



Cyclone is a thrash metal band from Europe that returns with new material. “Known Unto God” is the title of an EP due to hit the shelves in early February.

Hailing from Belgium, Cyclone formed in 1981. Their debut album, released via Roadrunner Records, was their first statement as a band. This was in 1986, when thrash metal first reached a pinnacle. Cyclone released one more album before disbanding in 1993.

In 2019, founding member Guido Gevels revived the band with a new line-up. The aggressive thrash metal that defined the band’s debut album remains at the core of their sound. Cyclone’s approach in 2026 is straightforward. The band doesn’t lose direction by overloading their music with twists and gimmicks. Instead, “Known Unto God” features blistering thrash metal songs. “Eliminate”, the opener, is one such song that hits the bullseye. It’s a sonic slap in the face.

The title track, inspired by inscriptions at the Flanders Fields military cemetery, is a grooving thrash metal song with a massive riff and rough vocals. The vocalist’s style was already a strong factor on the “Brutal Destruction” debut, and this new release builds on that strength.

“Nothing Is Real” is a highlight of this release. It is a dark and sinister song that draws its intensity from a mesmerising riff. It is a vigorous, gloomy song that hits you with steamroller intensity. Cyclone demonstrate that heaviness is not a question of pace. This mid-tempo headbanger showcases the essence of thrash metal, maintaining a recurring motif throughout.

“The Truth Lies” is a fast and furious album closer that marks the return of one of Europe’s most influential thrash metal bands. A vintage vibe, massive density and powerful production define “Known Unto God”, and welcome back Cyclone.

Markus



..::TRACK-LIST::..

1. Eliminate 03:33
2. Known Unto God 04:12
3. I Fear Myself 04:30
4. Nothing is Real 05:20
5. The Truth Lies 02:48



..::OBSADA::..

Jesse Van den Bossche - Guitars (rhythm)
Vincent Heyman - Bass
Gabriel Deschamps - Drums
Guido Gevels - Vocals
Maxime Deschamps - Guitars (lead)



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


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

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


..::OPIS::..

Wznowienie pierwszego demo z 1986 roku + jako bonus trzy dodatkowe utwory. Kultowy techniczny thrash metal z USA!


The original 1986 Toxik Wasteland demo, remastered in 2019 with unreleased tracks



..::TRACK-LIST::..

Demo 'Wasteland 1986'
1. Heart Attack 4:52
2. Haunted Earth 3:57
3. False Prophets 2:32
4. Wasteland 5:13
5. Skippy Windshield 0:04

Unreleased Songs:
6. Straight Razor 2:30
7. Finer Points Of Tragedy 5:06
8. Lost World (Instrumental Demo Version) 4:02



..::OBSADA::..

Bass - Brian Bonini (tracks: 6 to 8), Lee Erwin (tracks: 1 to 5)
Drums - Tad Leger
Guitar [Guitars] - Josh Christian
Vocals - Mike Sanders



https://www.youtube.com/watch?v=p7EGH2QGPh0



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

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


..::OPIS::..

Wznowienie pierwszego demo z 1986 roku + jako bonus trzy dodatkowe utwory. Kultowy techniczny thrash metal z USA!


The original 1986 Toxik Wasteland demo, remastered in 2019 with unreleased tracks



..::TRACK-LIST::..

Demo 'Wasteland 1986'
1. Heart Attack 4:52
2. Haunted Earth 3:57
3. False Prophets 2:32
4. Wasteland 5:13
5. Skippy Windshield 0:04

Unreleased Songs:
6. Straight Razor 2:30
7. Finer Points Of Tragedy 5:06
8. Lost World (Instrumental Demo Version) 4:02



..::OBSADA::..

Bass - Brian Bonini (tracks: 6 to 8), Lee Erwin (tracks: 1 to 5)
Drums - Tad Leger
Guitar [Guitars] - Josh Christian
Vocals - Mike Sanders



https://www.youtube.com/watch?v=p7EGH2QGPh0



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

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


..::OPIS::..

Paradox was formed in Würzburg in 1986 by two young musicians, Charly Steinhauer and Axel Blaha. Both of them were founding members of German metal bands Overkill, Venom and Warhead since 1981. Early 1986 they finally changed the band name to PARADOX. In July 1986, the band recorded a demo, drawing the attention of Roadrunner Records. In 1987, PARADOX recorded their second demo "Mystery" which was a success for the band. The German press calling it the best demo of the year. In the same year, the band started recording their first album ‘Product of Imagination’ for Road Runner. The debut album was an enormous success in Germany, with Metal Hammer recognising it as the best German debut after ‘Walls of Jericho’ by Helloween. The album Demo 1986 Deluxe edition contains the pre Paradox demo from 1984, 17 tracks in total. Cover artwork by Thomas Pinheiro (Possessed, Hirax, Malevolent Creation). Extensive liner notes with founding member Charlie Steinhauer and tonns of pictures from the 1981 – 1987 era.



..::TRACK-LIST::..

Demo 86
1. Opening Theme (instrumental) 2:29
2. Pray To The Godz Of Wrath 4:56
3. Kill That Beast 4:53
4. Paradox 5:45
5. Execution (Instrumental) 3:16
6. Death, Screaming And Pain 5:49
7. No Place To Survive 3:44
8. Victims Of Hell (bonus track)
9. Beware The Darkness (bonus track)
10. At Night Ever Twice (bonus track)
11. The Fox (bonus track)
12. Tears Of Repentance (bonus track)
13. Outro (bonus track)

Pre-Paradox Rehearsal Demo 1984:
14. Sacrifice (version 1984)
15. Die By The Sword
16. Fight The Death
17. Ace Of Spades (Motörhead cover)



..::OBSADA::..

Roland Stahl - Bass
Axel Blaha (R.I.P. 2023) - Drums
Jochen Glöggler - Guitars
Charly Steinhauer - Vocals, Guitars




https://www.youtube.com/watch?v=gq28o3FlW6s



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

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


..::OPIS::..

Paradox was formed in Würzburg in 1986 by two young musicians, Charly Steinhauer and Axel Blaha. Both of them were founding members of German metal bands Overkill, Venom and Warhead since 1981. Early 1986 they finally changed the band name to PARADOX. In July 1986, the band recorded a demo, drawing the attention of Roadrunner Records. In 1987, PARADOX recorded their second demo "Mystery" which was a success for the band. The German press calling it the best demo of the year. In the same year, the band started recording their first album ‘Product of Imagination’ for Road Runner. The debut album was an enormous success in Germany, with Metal Hammer recognising it as the best German debut after ‘Walls of Jericho’ by Helloween. The album Demo 1986 Deluxe edition contains the pre Paradox demo from 1984, 17 tracks in total. Cover artwork by Thomas Pinheiro (Possessed, Hirax, Malevolent Creation). Extensive liner notes with founding member Charlie Steinhauer and tonns of pictures from the 1981 – 1987 era.



..::TRACK-LIST::..

Demo 86
1. Opening Theme (instrumental) 2:29
2. Pray To The Godz Of Wrath 4:56
3. Kill That Beast 4:53
4. Paradox 5:45
5. Execution (Instrumental) 3:16
6. Death, Screaming And Pain 5:49
7. No Place To Survive 3:44
8. Victims Of Hell (bonus track)
9. Beware The Darkness (bonus track)
10. At Night Ever Twice (bonus track)
11. The Fox (bonus track)
12. Tears Of Repentance (bonus track)
13. Outro (bonus track)

Pre-Paradox Rehearsal Demo 1984:
14. Sacrifice (version 1984)
15. Die By The Sword
16. Fight The Death
17. Ace Of Spades (Motörhead cover)



..::OBSADA::..

Roland Stahl - Bass
Axel Blaha (R.I.P. 2023) - Drums
Jochen Glöggler - Guitars
Charly Steinhauer - Vocals, Guitars




https://www.youtube.com/watch?v=gq28o3FlW6s



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

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


..::OPIS::..

"The Balkan country of Serbia has been described as bedraggled yet thriving… a place of much beauty that is also war-torn and toxic. Such a perfectly poetic breeding ground for thrash and speed metal, wielded by the landlocked nation’s strongest, KOBOLD.
The band is set to release their third full-length album “Technofascism” on Jackhammer Music and it promises to be their heaviest and most ambitious. No small feat for this trio that has developed a new vicious approach to the metal they love. It is a fresh take on speed and thrash that draws from the elders (Exodus, Mercyful Fate, Anthrax) but forces the music to evolve. Fans will also hear a heavy German influence (Living Death, Kreator). The riffs are fast and brutal, heavy and technical that can at times amaze! Killer drumming, and shredding riffs and bass. On top of that... real live solos that would make Kirk Hammett and Gary Holt proud. Guitars are handled expertly by Elio Rigonat, who also sings with amazing ferocity. He has an uncanny ability to utilize almost three different voices to terrorize the listener, including a higher range John Connelly (Nuclear Assault) attack that really sets him apart. Why do we keep naming all these bands?!?!? Because KOBOLD is difficult to acutely describe, and that’s what makes them great! They’re truly unique and in the ranks of Arch Enemy and Toxic Holocaust. Hellishly great!
“Technofascism” also promises numerous special guests from the Serbian metal, punk and hardcore scene."



After Kobold's first two efforts Death Parade and Masterpace were like night and day, it would be a tragicomic circumstance for the crucial third effort to fade back into mediocrity, especially after the incredible heights reached by the sophomore. Luckily, Elio Rigonat's crew seemed totally unstoppable, by now, after finding its footing. Technofascism, released in 2022, cemented the band's position as one of those so unpredictable they're always, always worth a listen whatever they do... it surely helps that what they do is badass, most of the time.

Now, it's natural to fear some disappointment after a brilliant record, and Technofascism does represent a tiny step below its predecessor, although it isn't meant to say that the band's incredible upward trajectory had suddenly halted, as much as I think Masterpace managed to effectively and awesomely fuck up your mind in a more concise time – but man, we still get a delicious mass of unhinged thrash, extreme influences, electronic elements, manic vocals, and cryptic lyrics. More specifically, the first three songs after the intro are deflagrating. 'Into Purgatory' might not be on par with 'Masterpace', although I'd be hard pressed to find a song that does, but delivers another blow to the listener's head like it's really picking up where said album left off, after having built an awesome intro upon the famous The Warriors sample (although I now feel extremely dumb since I don't remember where else I've already heard it). 'Empire - It Is Us' and 'Soul Cacophony' double down on the matter, arguably ending up amongst their most viscerally angry tracks ever, before abandoning the pure thrash component until 'Death by Life' appears later on, and I won't accept any complaints about a song starting with a South Park sample.

Another point of contention might be the choice of adding several guest vocalists to Rigonat's already histrionic delivery, which might be a bit too much to stomach in some instances – although it definitely has its advantages when he's joined by some lower, guttural growler (like especially 'Empire - It Is Us' showcases brilliantly) – and, most of all, creates an even more stark contrast from song to song, and Kobold aren't exactly one-trick ponies on their own. That also means we get some of their most deranged, schizophrenic material ever, like 'Neosynthesis' employing the 'proper' clean vocals of a post-rock artist alternating with merciless, brutal accelerations, or the demented Satellites-era Celldweller-style electronic intro of 'Seven Tongues of God'. I can't say each and every idea hits the mark, like, I'm not necessarily a fan of the clean vocals used on the otherwise unforgiving 'Virus', nor I was fond of closer 'Ketamine' (which hosts the current Gorgoroth vocalist), and some songs being cut off rather abruptly left a bitter aftertaste after all those cool extended endings on the previous outing – yet, for every episode not winning me over, there are dozens I fell in love with, so this is why I say they always deliver. It's simply hard not to be impressed by their music.

Technofascism is perhaps the Kobold album where the 'avant-garde' tag is most justified, for better or worse. The fact that the guys made a couple of albums that are even better than this one isn't much of a detriment to it, but rather the proof that they deserve to be in the upper echelon of the genre... wait, if we still can consider this thrash?

-review written for the 13th Diamhea Memorial Review Challenge – may you rest in peace, Chris.

TheBurningOfSodom



..::TRACK-LIST::..

1. Hatred Speedfuck (feat. D. & M.) 01:37
2. Into Purgatory (feat. Sloba of Toxic Trace & Haste) 04:48
3. Empire - It Is Us (feat. Dujke of Scaffold) 06:22
4. Soul Cacophony (feat. Gibu of BG Bagra) 04:19
5. Technofascism (feat. Dan Brudar & Krvavi) 05:35
6. Neosynthesis (feat. Nikodinovski of Consecration) 05:17
7. Seven Tongues Of God (feat. Dača of Nadimač) 04:29
8. Death By Life (feat. Petar of Blankfile) 04:20
9. Virus (feat. Lazar of Rapidforce & KxK) 05:24
10. Ketamine (feat. S. of Nadsvest & Gorgoroth) 04:29



..::OBSADA::..

Elio Rigonat - Guitars (lead), Vocals
Stefan 'Edwin Pickett' Stanojević - Bass
Pavle 'Yopa' Simić - Drums




https://www.youtube.com/watch?v=BqkdN9uIV0k



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

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


..::OPIS::..

"The Balkan country of Serbia has been described as bedraggled yet thriving… a place of much beauty that is also war-torn and toxic. Such a perfectly poetic breeding ground for thrash and speed metal, wielded by the landlocked nation’s strongest, KOBOLD.
The band is set to release their third full-length album “Technofascism” on Jackhammer Music and it promises to be their heaviest and most ambitious. No small feat for this trio that has developed a new vicious approach to the metal they love. It is a fresh take on speed and thrash that draws from the elders (Exodus, Mercyful Fate, Anthrax) but forces the music to evolve. Fans will also hear a heavy German influence (Living Death, Kreator). The riffs are fast and brutal, heavy and technical that can at times amaze! Killer drumming, and shredding riffs and bass. On top of that... real live solos that would make Kirk Hammett and Gary Holt proud. Guitars are handled expertly by Elio Rigonat, who also sings with amazing ferocity. He has an uncanny ability to utilize almost three different voices to terrorize the listener, including a higher range John Connelly (Nuclear Assault) attack that really sets him apart. Why do we keep naming all these bands?!?!? Because KOBOLD is difficult to acutely describe, and that’s what makes them great! They’re truly unique and in the ranks of Arch Enemy and Toxic Holocaust. Hellishly great!
“Technofascism” also promises numerous special guests from the Serbian metal, punk and hardcore scene."



After Kobold's first two efforts Death Parade and Masterpace were like night and day, it would be a tragicomic circumstance for the crucial third effort to fade back into mediocrity, especially after the incredible heights reached by the sophomore. Luckily, Elio Rigonat's crew seemed totally unstoppable, by now, after finding its footing. Technofascism, released in 2022, cemented the band's position as one of those so unpredictable they're always, always worth a listen whatever they do... it surely helps that what they do is badass, most of the time.

Now, it's natural to fear some disappointment after a brilliant record, and Technofascism does represent a tiny step below its predecessor, although it isn't meant to say that the band's incredible upward trajectory had suddenly halted, as much as I think Masterpace managed to effectively and awesomely fuck up your mind in a more concise time – but man, we still get a delicious mass of unhinged thrash, extreme influences, electronic elements, manic vocals, and cryptic lyrics. More specifically, the first three songs after the intro are deflagrating. 'Into Purgatory' might not be on par with 'Masterpace', although I'd be hard pressed to find a song that does, but delivers another blow to the listener's head like it's really picking up where said album left off, after having built an awesome intro upon the famous The Warriors sample (although I now feel extremely dumb since I don't remember where else I've already heard it). 'Empire - It Is Us' and 'Soul Cacophony' double down on the matter, arguably ending up amongst their most viscerally angry tracks ever, before abandoning the pure thrash component until 'Death by Life' appears later on, and I won't accept any complaints about a song starting with a South Park sample.

Another point of contention might be the choice of adding several guest vocalists to Rigonat's already histrionic delivery, which might be a bit too much to stomach in some instances – although it definitely has its advantages when he's joined by some lower, guttural growler (like especially 'Empire - It Is Us' showcases brilliantly) – and, most of all, creates an even more stark contrast from song to song, and Kobold aren't exactly one-trick ponies on their own. That also means we get some of their most deranged, schizophrenic material ever, like 'Neosynthesis' employing the 'proper' clean vocals of a post-rock artist alternating with merciless, brutal accelerations, or the demented Satellites-era Celldweller-style electronic intro of 'Seven Tongues of God'. I can't say each and every idea hits the mark, like, I'm not necessarily a fan of the clean vocals used on the otherwise unforgiving 'Virus', nor I was fond of closer 'Ketamine' (which hosts the current Gorgoroth vocalist), and some songs being cut off rather abruptly left a bitter aftertaste after all those cool extended endings on the previous outing – yet, for every episode not winning me over, there are dozens I fell in love with, so this is why I say they always deliver. It's simply hard not to be impressed by their music.

Technofascism is perhaps the Kobold album where the 'avant-garde' tag is most justified, for better or worse. The fact that the guys made a couple of albums that are even better than this one isn't much of a detriment to it, but rather the proof that they deserve to be in the upper echelon of the genre... wait, if we still can consider this thrash?

-review written for the 13th Diamhea Memorial Review Challenge – may you rest in peace, Chris.

TheBurningOfSodom



..::TRACK-LIST::..

1. Hatred Speedfuck (feat. D. & M.) 01:37
2. Into Purgatory (feat. Sloba of Toxic Trace & Haste) 04:48
3. Empire - It Is Us (feat. Dujke of Scaffold) 06:22
4. Soul Cacophony (feat. Gibu of BG Bagra) 04:19
5. Technofascism (feat. Dan Brudar & Krvavi) 05:35
6. Neosynthesis (feat. Nikodinovski of Consecration) 05:17
7. Seven Tongues Of God (feat. Dača of Nadimač) 04:29
8. Death By Life (feat. Petar of Blankfile) 04:20
9. Virus (feat. Lazar of Rapidforce & KxK) 05:24
10. Ketamine (feat. S. of Nadsvest & Gorgoroth) 04:29



..::OBSADA::..

Elio Rigonat - Guitars (lead), Vocals
Stefan 'Edwin Pickett' Stanojević - Bass
Pavle 'Yopa' Simić - Drums




https://www.youtube.com/watch?v=BqkdN9uIV0k



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

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


..::OPIS::..

NO TRENDS! A FEAST FOR 80S THRASH METAL MANIACS!

Hailing from Singapore, old-school thrash metal defender BLOODSTONE formed in 2004 with a passion for early 80's extreme metal.

Written during COVID-19, the sophomore album is titled "Electrocution" and is more aggressive, straightforward, and ravaging than the band's previous releases. The lyrics revolve around politics, capital punishment, and war, expressing their disgruntlement, disillusionment, and frustration with modernity and the system.



..::TRACK-LIST::..

1. Beyond Death 03:21
2. The Narcissist 02:46
3. Hellbound 04:43
4. Arise 04:22
5. Parasite 04:07
6. Meat Grinder 04:41
7. Immortalize 04:19
8. Electrocution 03:34
9. Born to Lose, Out to Lunch 04:27
10. Highwayman 02:59



..::OBSADA::..

Bass - H.J. Possessed
Drums - Aditya Batura
Lead Guitar - Cliff Jaded
Lead Guitar, Vocals - Qadir M. Thunder




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



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

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


..::OPIS::..

NO TRENDS! A FEAST FOR 80S THRASH METAL MANIACS!

Hailing from Singapore, old-school thrash metal defender BLOODSTONE formed in 2004 with a passion for early 80's extreme metal.

Written during COVID-19, the sophomore album is titled "Electrocution" and is more aggressive, straightforward, and ravaging than the band's previous releases. The lyrics revolve around politics, capital punishment, and war, expressing their disgruntlement, disillusionment, and frustration with modernity and the system.



..::TRACK-LIST::..

1. Beyond Death 03:21
2. The Narcissist 02:46
3. Hellbound 04:43
4. Arise 04:22
5. Parasite 04:07
6. Meat Grinder 04:41
7. Immortalize 04:19
8. Electrocution 03:34
9. Born to Lose, Out to Lunch 04:27
10. Highwayman 02:59



..::OBSADA::..

Bass - H.J. Possessed
Drums - Aditya Batura
Lead Guitar - Cliff Jaded
Lead Guitar, Vocals - Qadir M. Thunder




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



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

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


..::OPIS::..

Toxik się reaktywował i od jakiegoś czasu dochodzą mnie pogłoski o nowym albumie. Nie wiem, czy powinienem się z tego cieszyć — 24 lata poza biznesem to jednak sporo — bo doświadczenie pokazuje, że mało który zespół wychodzi z konfrontacji z czasem obronną ręką. W pełnym napięcia oczekiwaniu na rozwój wydarzeń można jednak śmiało sięgnąć po jedno z dzieł wcześniejszych, a mianowicie Think This. Zmian w muzyce za wiele nie ma, co akurat nie przeszkadza, i całość w dalszym ciągu na kilometr jedzie szybkim, melodyjnym, a zarazem technicznym thrashem. Me gusta! Coś niecoś się jednak pozmieniało, bo dodano klawisze (których akurat specjalnie nie słychać) i skorzystano z usług innego gardłowego, a mianowicie Charlesa Sabina, który okazał się znajomkiem muzyków, a poza tym wirtualnie nie istnieje. Mimo tego radzi se chłopina wybornie i wyśpiewuje swoje partie z niesamowita mocą, pasją i zadziornością. Klasą samą w sobie jest utwór pt. „Spontaneous”, w którym wspina się na wyżyny swoich talentów i umiejętności. Nie zawodzi oczywiście Josh Christian, który robi z gitarą rzeczy tak niesamowite, że najbardziej hard-core’owi jogini mogliby się poczuć zawstydzeni. Tak po prawdzie, to w każdym z utworów zapodaje, na spółkę z Johnem Donnellym (nowym nabytkiem dla zagęszczenia materiału), mniej lub bardziej rozwalające zagrywki, wśród których mi najbardziej podchodzą te z „WIr NJn8/In God” oraz „Machine Dream”. Ponownie – klasa sama w sobie. Mam jednak nieodparte wrażenie, ze krążek wchodzi nieco trudniej niż debiut, nie jest tak klarowny, więcej w nim udziwnień i połamanych struktur, mniej natomiast spójności. Globalnie patrząc „World Circus” podchodzi mi bardziej, aczkolwiek Think This potrafi nie schodzić z tapety przez długie dni, pod warunkiem oczywiście, że się na owej tapecie pojawi. I w tym upatruje właśnie główną bolączkę wydawnictwa – łatwiej mi sięgnąć po inne. Niemniej jednak Think This jest albumem bardzo dobrym, oferującym mnóstwo najwyższej próby gitarowych zagrywek i potrafiącym przytrzymać przy playerze przez długie godziny – a wszak o to w muzyce chodzi. Można więc śmiało rozbić skarbonkę i zakupić rzeczony album.

deaf


Months back I was searching for a band that contained helium high pitched clean vocals, fast intense technical guitar riffs and political/social issues lyrics.

I have found it! One has to sit there and think why is this band practically unknown? This album was made by geniuses and it's the closest to perfection you can get. Even the whole idea behind the music (although some may not agree) but to me this is far from fantasy I literally think these guys spoke the truth as far as the politics and problems with society goes. Also the production in my opinion is almost spot on, the guitar leads lack that crunchy warm sound that we all like, it sounds cold and like it's played in echo. But I guess if you're going to aim for the classical lightning fast playing it is perfect.

The vocals are what I dig the most on this album, Charles Sabin really has a great range. When you listen carefully you can tell he doesn't force it. In fact it sounds like his voice comes out easily with no effort, yet at the same time very powerful. He uses both cheat and head voice or mixed voice. He can make his head register sound almost identical to his chest voice which is really amazing and difficult to do. The vocals really don't sound thrash metal, in fact it sounds more like a hair metal vocalist joined a thrash metal band, but it is perfect for this album and it's what I really was looking for.

The instrumentation is absolutely incredible, the guitar riffs are absolutely amazing. Try learning a riff like the one in Machine Dream, I dare you. If you're a somewhat good guitar player it will take you months to learn. I wonder if Josh Christian and John Donnelly both created the riffs together or if Josh created them and then showed them to John. Either way they are awesome. I often think that Josh Christian is the most underrated guitarist in metal history. Every time I meet someone who has heard of Toxik they say Josh Christian is one of the best metal guitarist they have even heard. The leads are beyond amazing, It's every guitarists dream to reach Christian's level. Every song contains an amazing long guitar solo sometimes even a little acoustic classical guitar break here and there. Josh Christian pretty much mixes every style of playing possible in his solos, classical, blues scales, jazz you name it, puts them all together with extreme accuracy and speed yet at the same time not too exaggerated. In other words his playing is very technical and technically perfect. The bass playing always gets over shadowed by the guitar and drums but if you're a bass playing you'll love Brain Bonini's playing. Awesome technical bass playing that even sometimes when the guitar does a few fast notes between beat signatures the bass notes follow the guitar at exact speed which is amazing. Tag Leger's drum playing is very intense fast and technical, the perfect drummer for this album in my opinion, lots of strange beat signatures and awesome double bass drumming thrown it.

If you like highly technical thrash metal with awesome helium high vocals this is a must have. No this is a must have for every metal fan. NO better yet! this is a must have for music fans in general. This is the closest to perfection you can get.

VinnieDaBeast



This album here is one of the few albums that is absolutely perfect and nothing can change that. It is perfect from start to finish with amazing technical skill on all on the instruments, especially the guitar. The guitarist, Josh Christian, is an underrated guitar god and quite possibly the best guitarist in all of thrash metal. This album is full of great solos and amazing riffs with a great jazzy vocalist. The old advertisements and other voices used on this album are pure genius and gives this album perfect flow.

The album starts off with the title track, "Think This", which features a very creative and melodic entrance that you hear again on the last track "Think That". The transition between tracks is excellent because when it goes to a new track it makes the sound of changing the channel on an old tv set. My favorite track on the album "War NJN8/ In God" because of its amazing entrance, though all the entrances on the album are incredible, but this track starts with an emotional solo and then transfers to some great riffage backed Sabin's amazing voice. The best guitar solo on the album would have to either be the solo in "Black and White" or the one in "Machine Dream" because both of those solos make my jaw drop every time I hear them. However, there is also the amazing acoustic moment of "Shotgun Logic" that is slow yet so emotional and perfect.

As I have said before, this album is perfect. You will hear a lot of neo-classical shred-style solos on this album along with great technical thrash riffing with powerful bass and drums to back it up, therefore making this album a must-have for any lover of thrash or guitar.

606thecliff



..::TRACK-LIST::..

1. Think This
2. Greed
3. Spontaneous
4. There Stood The Fence
5. Black and White
6. Technical Arrogance
7. WIr NJnB/In God
8. Machine Dream
9. Out On The Tiles
10. Shotgun Logic
11. Time After Time
12. Think That



..::OBSADA::..

John Donnelly - Guitars, Keyboards, Vocals (backing)
Brian Bonini - Bass, Keyboards, Vocals (backing)
Charles Sabin - Vocals
Tad Leger - Drums, Vocals (backing)
Josh Christian - Guitars, Vocals (backing)




https://www.youtube.com/watch?v=j8SCgXV_ckk



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

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


..::OPIS::..

Toxik się reaktywował i od jakiegoś czasu dochodzą mnie pogłoski o nowym albumie. Nie wiem, czy powinienem się z tego cieszyć — 24 lata poza biznesem to jednak sporo — bo doświadczenie pokazuje, że mało który zespół wychodzi z konfrontacji z czasem obronną ręką. W pełnym napięcia oczekiwaniu na rozwój wydarzeń można jednak śmiało sięgnąć po jedno z dzieł wcześniejszych, a mianowicie Think This. Zmian w muzyce za wiele nie ma, co akurat nie przeszkadza, i całość w dalszym ciągu na kilometr jedzie szybkim, melodyjnym, a zarazem technicznym thrashem. Me gusta! Coś niecoś się jednak pozmieniało, bo dodano klawisze (których akurat specjalnie nie słychać) i skorzystano z usług innego gardłowego, a mianowicie Charlesa Sabina, który okazał się znajomkiem muzyków, a poza tym wirtualnie nie istnieje. Mimo tego radzi se chłopina wybornie i wyśpiewuje swoje partie z niesamowita mocą, pasją i zadziornością. Klasą samą w sobie jest utwór pt. „Spontaneous”, w którym wspina się na wyżyny swoich talentów i umiejętności. Nie zawodzi oczywiście Josh Christian, który robi z gitarą rzeczy tak niesamowite, że najbardziej hard-core’owi jogini mogliby się poczuć zawstydzeni. Tak po prawdzie, to w każdym z utworów zapodaje, na spółkę z Johnem Donnellym (nowym nabytkiem dla zagęszczenia materiału), mniej lub bardziej rozwalające zagrywki, wśród których mi najbardziej podchodzą te z „WIr NJn8/In God” oraz „Machine Dream”. Ponownie – klasa sama w sobie. Mam jednak nieodparte wrażenie, ze krążek wchodzi nieco trudniej niż debiut, nie jest tak klarowny, więcej w nim udziwnień i połamanych struktur, mniej natomiast spójności. Globalnie patrząc „World Circus” podchodzi mi bardziej, aczkolwiek Think This potrafi nie schodzić z tapety przez długie dni, pod warunkiem oczywiście, że się na owej tapecie pojawi. I w tym upatruje właśnie główną bolączkę wydawnictwa – łatwiej mi sięgnąć po inne. Niemniej jednak Think This jest albumem bardzo dobrym, oferującym mnóstwo najwyższej próby gitarowych zagrywek i potrafiącym przytrzymać przy playerze przez długie godziny – a wszak o to w muzyce chodzi. Można więc śmiało rozbić skarbonkę i zakupić rzeczony album.

deaf


Months back I was searching for a band that contained helium high pitched clean vocals, fast intense technical guitar riffs and political/social issues lyrics.

I have found it! One has to sit there and think why is this band practically unknown? This album was made by geniuses and it's the closest to perfection you can get. Even the whole idea behind the music (although some may not agree) but to me this is far from fantasy I literally think these guys spoke the truth as far as the politics and problems with society goes. Also the production in my opinion is almost spot on, the guitar leads lack that crunchy warm sound that we all like, it sounds cold and like it's played in echo. But I guess if you're going to aim for the classical lightning fast playing it is perfect.

The vocals are what I dig the most on this album, Charles Sabin really has a great range. When you listen carefully you can tell he doesn't force it. In fact it sounds like his voice comes out easily with no effort, yet at the same time very powerful. He uses both cheat and head voice or mixed voice. He can make his head register sound almost identical to his chest voice which is really amazing and difficult to do. The vocals really don't sound thrash metal, in fact it sounds more like a hair metal vocalist joined a thrash metal band, but it is perfect for this album and it's what I really was looking for.

The instrumentation is absolutely incredible, the guitar riffs are absolutely amazing. Try learning a riff like the one in Machine Dream, I dare you. If you're a somewhat good guitar player it will take you months to learn. I wonder if Josh Christian and John Donnelly both created the riffs together or if Josh created them and then showed them to John. Either way they are awesome. I often think that Josh Christian is the most underrated guitarist in metal history. Every time I meet someone who has heard of Toxik they say Josh Christian is one of the best metal guitarist they have even heard. The leads are beyond amazing, It's every guitarists dream to reach Christian's level. Every song contains an amazing long guitar solo sometimes even a little acoustic classical guitar break here and there. Josh Christian pretty much mixes every style of playing possible in his solos, classical, blues scales, jazz you name it, puts them all together with extreme accuracy and speed yet at the same time not too exaggerated. In other words his playing is very technical and technically perfect. The bass playing always gets over shadowed by the guitar and drums but if you're a bass playing you'll love Brain Bonini's playing. Awesome technical bass playing that even sometimes when the guitar does a few fast notes between beat signatures the bass notes follow the guitar at exact speed which is amazing. Tag Leger's drum playing is very intense fast and technical, the perfect drummer for this album in my opinion, lots of strange beat signatures and awesome double bass drumming thrown it.

If you like highly technical thrash metal with awesome helium high vocals this is a must have. No this is a must have for every metal fan. NO better yet! this is a must have for music fans in general. This is the closest to perfection you can get.

VinnieDaBeast



This album here is one of the few albums that is absolutely perfect and nothing can change that. It is perfect from start to finish with amazing technical skill on all on the instruments, especially the guitar. The guitarist, Josh Christian, is an underrated guitar god and quite possibly the best guitarist in all of thrash metal. This album is full of great solos and amazing riffs with a great jazzy vocalist. The old advertisements and other voices used on this album are pure genius and gives this album perfect flow.

The album starts off with the title track, "Think This", which features a very creative and melodic entrance that you hear again on the last track "Think That". The transition between tracks is excellent because when it goes to a new track it makes the sound of changing the channel on an old tv set. My favorite track on the album "War NJN8/ In God" because of its amazing entrance, though all the entrances on the album are incredible, but this track starts with an emotional solo and then transfers to some great riffage backed Sabin's amazing voice. The best guitar solo on the album would have to either be the solo in "Black and White" or the one in "Machine Dream" because both of those solos make my jaw drop every time I hear them. However, there is also the amazing acoustic moment of "Shotgun Logic" that is slow yet so emotional and perfect.

As I have said before, this album is perfect. You will hear a lot of neo-classical shred-style solos on this album along with great technical thrash riffing with powerful bass and drums to back it up, therefore making this album a must-have for any lover of thrash or guitar.

606thecliff



..::TRACK-LIST::..

1. Think This
2. Greed
3. Spontaneous
4. There Stood The Fence
5. Black and White
6. Technical Arrogance
7. WIr NJnB/In God
8. Machine Dream
9. Out On The Tiles
10. Shotgun Logic
11. Time After Time
12. Think That



..::OBSADA::..

John Donnelly - Guitars, Keyboards, Vocals (backing)
Brian Bonini - Bass, Keyboards, Vocals (backing)
Charles Sabin - Vocals
Tad Leger - Drums, Vocals (backing)
Josh Christian - Guitars, Vocals (backing)




https://www.youtube.com/watch?v=j8SCgXV_ckk



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

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


..::OPIS::..

Dawno temu, gdy internet był w powijakach, były (a czasem wciąż są) niektóre stronki internetowe, co to wrzucały nieraz pełne albumy w kiepskiej jakości. Czy ktoś pamięta taki format pliku „.rm”? Było to coś wręcz okropnego, ale właśnie w takiej wersji usłyszałem po raz pierwszy ten klasyk. I była to niestety angielska wersja z Kupczykiem na wokalu, o której szkoda słów, bo efekt końcowy wyszedł tragicznie.

Bo oryginalna wersja zaśpiewana przez Marka po polsku miała dokładnie to, co sprawia, że dobre instrumentarium jest podnoszone na wyższy poziom – charyzmę, siłę, moc, pomysł na siebie oraz pewną dozę diabelstwa, co może nieco stać w sprzeczności z przesłaniem Dragona, ale pomińmy może tą kwestię.

Wydani przez badziewną wytwórnię, której nie warto wymieniać z nazwy, a której szefu robił wszystko, aby zniszczyć scenę Metalową w Polsce, zespół nagrał stylistycznie wczesny Death/Thrash (bardziej to drugie), charakterystyczny dla roku 1987. I jest to dla mnie zdecydowanie jedna z najważniejszych płyt, jakie kiedykolwiek w życiu słyszałem. Nie ocalał nikt.

Techniczne, precyzyjne, ostre jak brzytwa gitary. Genialne, unikatowe motywy, które wg mnie przeszły do historii (a jeśli nie, to zdecydowanie powinny). Zwłaszcza pierwsza połowa płyty to jest potężny cios za ciosem niebanalnych i konkretnie rozbudowanych kompozycji, co zdarza się tylko najlepszym zespołom. Zapewniam was, że jak je raz usłyszycie, to będziecie je pamiętać aż do końca życia, nawet jeśli dostaniecie Alzheimera. I tak w sumie, to nie ma co się rozpisywać bardziej – po prostu pełna klasa kompozycyjna, mało komu dostępna.

Wielka tylko szkoda, że nie nagrano na ten album ponownie „Demonów Wojny”, bo wg mnie był to chyba najlepszy utwór Dragona wszechczasów, ale nie można mieć wszystkiego. Generalnie pierwsze 4 płyty tej formacji należy jak najbardziej znać na pamięć, z naciskiem na pierwsze dwie.

mutant


I hope that this review shall remind you – and to some, this review will probably only introduce – an album, which I think is quite forgotten nowadays. So maybe it is a time to bring attention to it again, as it deserves it totally! Personally I consider this debut album of Dragon as one of the best Polish albums recorded in the 80’s and more so, together with Kat’s “Oddech wymarłych swiatów” (which will always be my number one of the 80’s!), it is in my top two. So, here I have this old vinyl version released by Wifon and every time I play it, it is just a pure slaughter! Of course some may prefer the English version of “Horda Goga”, titled “Horde of Gog”, which was released a year later … but I guess it doesn’t matter. Actually I’m thinking and really I can’t remember if I have ever even heard the English version? Why bother? Well, interesting fact about both versions is that each was recorded with a different vocalist - “Horde of Gog” was recorded with Grzegorz Kupczyk from Turbo, not by Marek Wojcieski, who you can hear on “Horda Goga”. More so, the rumour says that the band didn’t even know that the label made Kupczyk record English versions of the vocals hehe! Hardly believable these days, but back in the 80’s everything was possible. So, I don’t even care about “Horde of Gog”, I just play “Horda Goga” and enjoy some truly awesome songs! And trust me, there are nine killer tunes on this vinyl!

First thing, which you’ll notice is the total old school artwork! It is typical 80’s heavy metal cover, you know… dragons, executioners, death… All these fantasy artworks look killer though! And then the music! “Horda Goga” is a thrash / death metal masterpiece, bursting with aggression and energy, with killer, razor sharp riffs, which will cut you deep and great atmosphere, characteristic for these early extreme metal records. And especially in Poland, such sort of thrash / death had its own charm and was something very characteristic, something what later was never repeated… You know, listen to the early demo recordings of such Vader, Armagedon, Merciless Death, Thanatos or Megaslaughter – they all have something in common. They were unique in their own way, with the typical raw Polish production, killer thrashing riffs mixed with early death metal aggression, fantastic harsh vocals… And “Horda Goga” is another fine and exact example for that! More so (as I already mentioned) for me it is together with “Oddech wymarłych swiatów”, the best 80’s Polish metal album! So amazing!

When you listen to “Horda Goga” today you feel how archaic this LP is! This is a real relict of the ancient times, of the early extreme metal scene and you know, today no one plays like this anymore. Show me a band, who would have such sound, such riffs and ideas and more so, who would have vocals like that! Because vocals on “Horda Goga” are of the best and most characteristic things of it! Marek Wojcieski did excellent job here, singing some brilliant parts and mixing harsh screams, growls with clean vocals… Clean vocals, used mainly in choruses, are something, what you’ll remember especially. They sound bloody awesome. Wojcieski sometimes reminds me Roman Kostrzewski, but it is just another quality. And the effect is amazing, if you listen to such songs as “Wieczne odpoczywanie, “Beliar” or “Armagedon”. Musically, you can think of the 80’s thrash metal, of bands like Kat, Turbo, Merciless Death, mixed with some Possessed, “Show No Mercy” era Slayer, some vintage Metallica and the German monsters like Kreator and Destruction… Finally there’s also a feeling, which reminds me some South American extreme bands from late 80’s / early 90’s! But here it is aggressive thrash / death metal played in the East European way! But it is not just that! The arrangements, song structures are just impossibly good. A lot of killer riffs, which are aggressive, but often also melodic, so they remind me even some early Metallica (like the opening theme in “Here Comes the Dragon”)… The whole stuff is wonderfully composed, sounds perfect and it’s also memorable as hell; you’ll remember some of these choruses immediately and sing them next time! Personally I like song titled “Beliar” the most, because it seems to be the most vicious and dark track, with killer chorus: “Beliar – sługa Diabła!!!”. Damn good! “Kapłani zdrady” also belongs to these faster and more aggressive tunes, finally also “Wieczne odpoczywanie”, “Armagedon” (that opening theme actually reminds me some epic Bathory hehe! I LOVE IT!) are phenomenal. But all songs are killer, really.


“Horda Goga” is the best achievement of Dragon, in my opinion. Although back in the early 90’s I was more a fan of “Fallen Angel”, but nowadays this album bores me a little and is just not as good as “Horda Goga”. So, I totally recommend you listening to this Dragon debut LP, as it is unique and amazing piece of thrash death metal, one which just must be in your collection. To get the vinyl is very simple and cheap, so what are you waiting for?

dismember marcin



..::TRACK-LIST::..

1. Kapłani Zdrady 04:13
2. Siedem Czasz Gniewu 05:22
3. Wieczne Odpoczywanie 04:57
4. Beliar 05:24
5. Horda Goga 04:19
6. Cervezza 01:30
7. Niewinna Krew 04:39
8. Dragon 05:15
9. Armageddon 04:22

Recorded and mixed in February 1988 at Studio Giełda, Poznań, Poland



..::OBSADA::..

Marek Wojcieski - vocal
Jarek 'Gronoss' Gronowski - guitar
Leszek 'Spider' Jakubowski - guitar
Krzysztof 'Ziga' Nowak - bass
Krystian 'Bomber' Bytom - drums



https://www.youtube.com/watch?v=Kdm6Jgvcsn8



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

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


..::OPIS::..

Dawno temu, gdy internet był w powijakach, były (a czasem wciąż są) niektóre stronki internetowe, co to wrzucały nieraz pełne albumy w kiepskiej jakości. Czy ktoś pamięta taki format pliku „.rm”? Było to coś wręcz okropnego, ale właśnie w takiej wersji usłyszałem po raz pierwszy ten klasyk. I była to niestety angielska wersja z Kupczykiem na wokalu, o której szkoda słów, bo efekt końcowy wyszedł tragicznie.

Bo oryginalna wersja zaśpiewana przez Marka po polsku miała dokładnie to, co sprawia, że dobre instrumentarium jest podnoszone na wyższy poziom – charyzmę, siłę, moc, pomysł na siebie oraz pewną dozę diabelstwa, co może nieco stać w sprzeczności z przesłaniem Dragona, ale pomińmy może tą kwestię.

Wydani przez badziewną wytwórnię, której nie warto wymieniać z nazwy, a której szefu robił wszystko, aby zniszczyć scenę Metalową w Polsce, zespół nagrał stylistycznie wczesny Death/Thrash (bardziej to drugie), charakterystyczny dla roku 1987. I jest to dla mnie zdecydowanie jedna z najważniejszych płyt, jakie kiedykolwiek w życiu słyszałem. Nie ocalał nikt.

Techniczne, precyzyjne, ostre jak brzytwa gitary. Genialne, unikatowe motywy, które wg mnie przeszły do historii (a jeśli nie, to zdecydowanie powinny). Zwłaszcza pierwsza połowa płyty to jest potężny cios za ciosem niebanalnych i konkretnie rozbudowanych kompozycji, co zdarza się tylko najlepszym zespołom. Zapewniam was, że jak je raz usłyszycie, to będziecie je pamiętać aż do końca życia, nawet jeśli dostaniecie Alzheimera. I tak w sumie, to nie ma co się rozpisywać bardziej – po prostu pełna klasa kompozycyjna, mało komu dostępna.

Wielka tylko szkoda, że nie nagrano na ten album ponownie „Demonów Wojny”, bo wg mnie był to chyba najlepszy utwór Dragona wszechczasów, ale nie można mieć wszystkiego. Generalnie pierwsze 4 płyty tej formacji należy jak najbardziej znać na pamięć, z naciskiem na pierwsze dwie.

mutant


I hope that this review shall remind you – and to some, this review will probably only introduce – an album, which I think is quite forgotten nowadays. So maybe it is a time to bring attention to it again, as it deserves it totally! Personally I consider this debut album of Dragon as one of the best Polish albums recorded in the 80’s and more so, together with Kat’s “Oddech wymarłych swiatów” (which will always be my number one of the 80’s!), it is in my top two. So, here I have this old vinyl version released by Wifon and every time I play it, it is just a pure slaughter! Of course some may prefer the English version of “Horda Goga”, titled “Horde of Gog”, which was released a year later … but I guess it doesn’t matter. Actually I’m thinking and really I can’t remember if I have ever even heard the English version? Why bother? Well, interesting fact about both versions is that each was recorded with a different vocalist - “Horde of Gog” was recorded with Grzegorz Kupczyk from Turbo, not by Marek Wojcieski, who you can hear on “Horda Goga”. More so, the rumour says that the band didn’t even know that the label made Kupczyk record English versions of the vocals hehe! Hardly believable these days, but back in the 80’s everything was possible. So, I don’t even care about “Horde of Gog”, I just play “Horda Goga” and enjoy some truly awesome songs! And trust me, there are nine killer tunes on this vinyl!

First thing, which you’ll notice is the total old school artwork! It is typical 80’s heavy metal cover, you know… dragons, executioners, death… All these fantasy artworks look killer though! And then the music! “Horda Goga” is a thrash / death metal masterpiece, bursting with aggression and energy, with killer, razor sharp riffs, which will cut you deep and great atmosphere, characteristic for these early extreme metal records. And especially in Poland, such sort of thrash / death had its own charm and was something very characteristic, something what later was never repeated… You know, listen to the early demo recordings of such Vader, Armagedon, Merciless Death, Thanatos or Megaslaughter – they all have something in common. They were unique in their own way, with the typical raw Polish production, killer thrashing riffs mixed with early death metal aggression, fantastic harsh vocals… And “Horda Goga” is another fine and exact example for that! More so (as I already mentioned) for me it is together with “Oddech wymarłych swiatów”, the best 80’s Polish metal album! So amazing!

When you listen to “Horda Goga” today you feel how archaic this LP is! This is a real relict of the ancient times, of the early extreme metal scene and you know, today no one plays like this anymore. Show me a band, who would have such sound, such riffs and ideas and more so, who would have vocals like that! Because vocals on “Horda Goga” are of the best and most characteristic things of it! Marek Wojcieski did excellent job here, singing some brilliant parts and mixing harsh screams, growls with clean vocals… Clean vocals, used mainly in choruses, are something, what you’ll remember especially. They sound bloody awesome. Wojcieski sometimes reminds me Roman Kostrzewski, but it is just another quality. And the effect is amazing, if you listen to such songs as “Wieczne odpoczywanie, “Beliar” or “Armagedon”. Musically, you can think of the 80’s thrash metal, of bands like Kat, Turbo, Merciless Death, mixed with some Possessed, “Show No Mercy” era Slayer, some vintage Metallica and the German monsters like Kreator and Destruction… Finally there’s also a feeling, which reminds me some South American extreme bands from late 80’s / early 90’s! But here it is aggressive thrash / death metal played in the East European way! But it is not just that! The arrangements, song structures are just impossibly good. A lot of killer riffs, which are aggressive, but often also melodic, so they remind me even some early Metallica (like the opening theme in “Here Comes the Dragon”)… The whole stuff is wonderfully composed, sounds perfect and it’s also memorable as hell; you’ll remember some of these choruses immediately and sing them next time! Personally I like song titled “Beliar” the most, because it seems to be the most vicious and dark track, with killer chorus: “Beliar – sługa Diabła!!!”. Damn good! “Kapłani zdrady” also belongs to these faster and more aggressive tunes, finally also “Wieczne odpoczywanie”, “Armagedon” (that opening theme actually reminds me some epic Bathory hehe! I LOVE IT!) are phenomenal. But all songs are killer, really.


“Horda Goga” is the best achievement of Dragon, in my opinion. Although back in the early 90’s I was more a fan of “Fallen Angel”, but nowadays this album bores me a little and is just not as good as “Horda Goga”. So, I totally recommend you listening to this Dragon debut LP, as it is unique and amazing piece of thrash death metal, one which just must be in your collection. To get the vinyl is very simple and cheap, so what are you waiting for?

dismember marcin



..::TRACK-LIST::..

1. Kapłani Zdrady 04:13
2. Siedem Czasz Gniewu 05:22
3. Wieczne Odpoczywanie 04:57
4. Beliar 05:24
5. Horda Goga 04:19
6. Cervezza 01:30
7. Niewinna Krew 04:39
8. Dragon 05:15
9. Armageddon 04:22

Recorded and mixed in February 1988 at Studio Giełda, Poznań, Poland



..::OBSADA::..

Marek Wojcieski - vocal
Jarek 'Gronoss' Gronowski - guitar
Leszek 'Spider' Jakubowski - guitar
Krzysztof 'Ziga' Nowak - bass
Krystian 'Bomber' Bytom - drums



https://www.youtube.com/watch?v=Kdm6Jgvcsn8



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

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


..::OPIS::..

Debiutancki album amerykańskiego RITUAL SACRIFICE nagrany w 1995 roku i wydany po 25 latach za sprawą VIC RECORDS.
13 utworów wściekłego i technicznego thrash metalu w klimacie CYNIC, FALSE PROPHET, SLAYER, DARK ANGEL... "When Hope Is Pain" został nagrany w Triad Studio z producentem Tonym Ricci (GODLESS RISING, VITAL REMAINS).



Rhode Island’s Ritual Sacrifice was formed in 1988 and released five demo’s from 1989 to 1994. The band recorded their debut album "When Hope Is Pain" in 1995. Due to their label going out of business, it went unreleased until now. The album ’When Hope is Pain’ contains 13 furious and rather technical thrash metal songs. Ritual Sacrifice has always been compared to bands as Cynic and False Prophet and of course Slayer and Dark Angel. ‘When Hope Is Pain’ was recorded at Triad Studios with Tony Ricci (Godless Rising, Vital Remains). The album contains extensive liner notes from lead guitar player Bill Pincins. Guitar player Mike Longworth played with Prong for 15 years (as bassplayer) after Ritual Sacrifice split up in 1996.



..::TRACK-LIST::..

1. When Hope Is Pain 3:48
2. Once Precious Life 2:48
3. Inhuman 3:19
4. The Shape Of Rage 3:19
5. Drop Dead 3:43
6. Empty Churches 3:36
7. Where Is God ? 3:15
8. Speaking In Tongues 1:11
9. Sleep Without Dreams 3:39
10. Less Than Nothing 3:49
11. This Other Self 1:10
12. Final Exit 3:32
13. Open Wound 3:20

Recorded in 1995 at Triad Studios, Warwick, Rhode Island.

Meant to be released in 1995 on Massacre Records. Remained unreleased because the label decided to focus on different music styles than what the band was playing



..::OBSADA::..

Lead Guitar - Bill Pincins, Mike Longworth
Vocals, Lyrics By - Jim Otis
Bass - Robert Schultze
Drums - Johh Skaare




https://www.youtube.com/watch?v=-Fwa5S8WrNk



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

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


..::OPIS::..

Debiutancki album amerykańskiego RITUAL SACRIFICE nagrany w 1995 roku i wydany po 25 latach za sprawą VIC RECORDS.
13 utworów wściekłego i technicznego thrash metalu w klimacie CYNIC, FALSE PROPHET, SLAYER, DARK ANGEL... "When Hope Is Pain" został nagrany w Triad Studio z producentem Tonym Ricci (GODLESS RISING, VITAL REMAINS).



Rhode Island’s Ritual Sacrifice was formed in 1988 and released five demo’s from 1989 to 1994. The band recorded their debut album "When Hope Is Pain" in 1995. Due to their label going out of business, it went unreleased until now. The album ’When Hope is Pain’ contains 13 furious and rather technical thrash metal songs. Ritual Sacrifice has always been compared to bands as Cynic and False Prophet and of course Slayer and Dark Angel. ‘When Hope Is Pain’ was recorded at Triad Studios with Tony Ricci (Godless Rising, Vital Remains). The album contains extensive liner notes from lead guitar player Bill Pincins. Guitar player Mike Longworth played with Prong for 15 years (as bassplayer) after Ritual Sacrifice split up in 1996.



..::TRACK-LIST::..

1. When Hope Is Pain 3:48
2. Once Precious Life 2:48
3. Inhuman 3:19
4. The Shape Of Rage 3:19
5. Drop Dead 3:43
6. Empty Churches 3:36
7. Where Is God ? 3:15
8. Speaking In Tongues 1:11
9. Sleep Without Dreams 3:39
10. Less Than Nothing 3:49
11. This Other Self 1:10
12. Final Exit 3:32
13. Open Wound 3:20

Recorded in 1995 at Triad Studios, Warwick, Rhode Island.

Meant to be released in 1995 on Massacre Records. Remained unreleased because the label decided to focus on different music styles than what the band was playing



..::OBSADA::..

Lead Guitar - Bill Pincins, Mike Longworth
Vocals, Lyrics By - Jim Otis
Bass - Robert Schultze
Drums - Johh Skaare




https://www.youtube.com/watch?v=-Fwa5S8WrNk



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

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


..::OPIS::..

To album koncepcyjny przedstawiający powstanie wszechświata, ale także trajektorię człowieka i jego ograniczeń we wszechświecie, z zaskakująco optymistycznym zakończeniem.
Gdybym miał nawiązać do innego zespołu, najbliżej byłby Voivod - oba zespoły mają bardzo charakterystyczny, progresywny styl.
DBC unika jednak niektórych bardziej psychodelicznych i noise/grindowych wpływów wczesnego Voivod na rzecz bardzo precyzyjnego, technicznego thrashu.
Swietny materiał!

FA


“Dad Brain Cells” my ass; the music presented on the album reviewed here can only increase your brain capacity. I still suspect Einstein and the other geniuses from the distant past had somehow had access to music of the kind, one to enhance their intellectual abilities and propel them to other unfathomable dimensions.

A lot of the speed/thrashing bashers (Destruction, Deathrow, Living Death, Voivod, etc.) from the mid-80’s stopped to look around at some stage, asking themselves whether they really liked this interesting primal noise they were producing… or they were actually capable of creating much more engaging and challenging music. Our “brain donors” here were one of them. It’s not that their energetic, uplifting thrash/crossover debut was a weak effort by any means; it’s just that they knew they could do more within the metal boundaries, and contribute more fully to the overall expansion of the Universe.

With Voivod (“Killing Technology”, “Dimension Hatross”) and Savage Steel (“Do or Die”) having already pricked the unbreakable, conservative “ozone layer” of direct, no-bars-held metal on Canadian soil, the album reviewed here only had to follow an already sketched trajectory. Well, not exactly since the guys had other visions, ones that didn’t quite coincide with those of their other colleagues, consequently producing a “marvel” of a slightly different kind. The moment “The Genesis Explosion” starts creeping forward with these trippy melodic rhythms, the fan knows that there won’t be any brain cells dead; on the contrary, he/she may have to start looking for a bigger head as their number will be inordinately increased in the next 38-min; emergency situation for sure partly relieved by the steady mid-tempo riffage before a sudden speedy passage brings memories of the debut, aggravating the atmosphere to headbanging proportions. “Heliosphere” is a hallucinogenic progressive experience, amazingly confounded to just under 3-min, swirling bouncy guitarisms with a psychedelic aura which move up and down the intensity scale the whole time to a dizzying, also dramatic effect. “Primordium” is an even more surreal shredder with gradual pounding riffs steam-rolling forward in a morose, officiant manner still letting a speedy stroke slip through the cracks towards the end. The instrumental “Exit the Giants” begs to differ, though, and a pile of fast intense riffage pours over the unsuspecting listener who will have no choice but to “endure” this energizing cannonade which later makes room for jarring, quasi doomy Confessor-esque developments.

“Rise of Man” elaborates on those minimalistic doomy tools adding a pinch of weird Voivod-ish jumpiness to the proceedings which evolve in a patient serpentine-like fashion with more melodic tunes added to the fore, those reaching operatic dimensions at the end. “Estuary” is a speedy estuary… sorry, escapade the guys creating a melee of vigorous, dynamic arrangements this hyper-active barrage receiving a couple of less ordinary embellishments. “Humanity’s Child” has a most enchanting melodic hook as a start, but afterwards the band give way to their more aggressive nature with hard-hitting thrashing heavily involved, with mazey progressive complications turning this cut into a psychotic, multifarious masterpiece worthy of Mekong Delta and Coroner. “Phobos & Deimos” is sustained in the same vein sounding even close to the mentioned Swiss masters weaving tapestries of overlapping riffs which refuse to follow a regular pattern, but are perennially configured in various more or less expected time-signatures the few more dynamic sections restoring some normality, not without the help of beautiful melodic ornamentations thrown in mid-way, all this leading to the climactic head-spinning epitaph. “Threshold” is another Coroner-esque twister with consistent mid-paced intricacy surrounding the listener who should have no problems following the stylish, relatively predictable rifforamas. “Infinite Universe” is a most logical finish, both music and text-wise, to this compelling diverse saga with the gradually escalating tension which inevitably hits the fast-paced parametres, the latter coming close to death metal even, a spellbinding contrast formed with the bizarre melodic additives and the atmospheric doomy finale.

The word “auteurs” simply begs to be used here to describe the unique approach to music applied on this “universal” opus. In a manner quite reminiscent of Voivod’s last two (at the time) the delivery transcends the borders of thrash and embarks on a journey around the progressive metal kaleidoscope without following any rigid canons. The experimentation is not as ostentatious as the one on the works of their compatriots as thrash is still featured prominently giving a nice dynamic flavour to the complex mosaics, a more belligerent edge that I personally miss on “Dimension Hatross”, for example. The thrash metal fanbase would still be bemused by what the guys had cooked here, but bewildered faces would be more than just an isolated phenomenon in the crowd; it won’t be easy for one to swallow all the nuances present at just one listen as a layer after layer of visionary musicianship will be peeled off after each subsequent exposure to it. On the other hand, one won’t get tired of it as the whole panorama clocks on under 40-min, and everything flows quite smoothly and effortlessly, with a weird airy spaced-out feel, excluding the few unnerving time-signatures already mentioned towards the end.

Mentioning spacing out, there was by all means more room for more eccentricity and eclecticism to be applied to this exciting amorphous musical formula, but while the audience were anticipating the band’s version of “Nothingface” or “No More Color”, they announced the end of their spell with the music industry. A sad follow-up which at least had a posthumous sequel six years later, “Unreleased”, a mini-album comprising six unreleased tracks, a pretty decent but not as visionary affair mixing the immediacy of the debut with the psychedelic intricacy of the album reviewed here; by all means worth checking out albeit inferior to those “sounds of the Universe”; sounds that still ring in the ears of brave explorers, intrepid scientists, occult stargazers, and a bunch of inebriate metalheads from across the street.

bayern



..::TRACK-LIST::..

1. The Genesis Explosion 4:32
2. Heliosphere 2:46
3. Primordium 3:39
4. Exit The Giants 3:59
5. Rise Of Man 4:47
6. Estuary 3:09
7. Humanity's Child 2:35
8. Phobos And Deimos 4:54
9. Threshold 3:20
10. Infinite Universe 4:45



..::OBSADA::..

Lead Guitar - Gerry Ouellette (R.I.P. 1994)
Guitar - Eddie Shahini
Bass, Vocals - Phil Dakin
Drums - Jeff St-Louis (R.I.P. 2019)




https://www.youtube.com/watch?v=20hl5gN4gc0



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

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


..::OPIS::..

To album koncepcyjny przedstawiający powstanie wszechświata, ale także trajektorię człowieka i jego ograniczeń we wszechświecie, z zaskakująco optymistycznym zakończeniem.
Gdybym miał nawiązać do innego zespołu, najbliżej byłby Voivod - oba zespoły mają bardzo charakterystyczny, progresywny styl.
DBC unika jednak niektórych bardziej psychodelicznych i noise/grindowych wpływów wczesnego Voivod na rzecz bardzo precyzyjnego, technicznego thrashu.
Swietny materiał!

FA


“Dad Brain Cells” my ass; the music presented on the album reviewed here can only increase your brain capacity. I still suspect Einstein and the other geniuses from the distant past had somehow had access to music of the kind, one to enhance their intellectual abilities and propel them to other unfathomable dimensions.

A lot of the speed/thrashing bashers (Destruction, Deathrow, Living Death, Voivod, etc.) from the mid-80’s stopped to look around at some stage, asking themselves whether they really liked this interesting primal noise they were producing… or they were actually capable of creating much more engaging and challenging music. Our “brain donors” here were one of them. It’s not that their energetic, uplifting thrash/crossover debut was a weak effort by any means; it’s just that they knew they could do more within the metal boundaries, and contribute more fully to the overall expansion of the Universe.

With Voivod (“Killing Technology”, “Dimension Hatross”) and Savage Steel (“Do or Die”) having already pricked the unbreakable, conservative “ozone layer” of direct, no-bars-held metal on Canadian soil, the album reviewed here only had to follow an already sketched trajectory. Well, not exactly since the guys had other visions, ones that didn’t quite coincide with those of their other colleagues, consequently producing a “marvel” of a slightly different kind. The moment “The Genesis Explosion” starts creeping forward with these trippy melodic rhythms, the fan knows that there won’t be any brain cells dead; on the contrary, he/she may have to start looking for a bigger head as their number will be inordinately increased in the next 38-min; emergency situation for sure partly relieved by the steady mid-tempo riffage before a sudden speedy passage brings memories of the debut, aggravating the atmosphere to headbanging proportions. “Heliosphere” is a hallucinogenic progressive experience, amazingly confounded to just under 3-min, swirling bouncy guitarisms with a psychedelic aura which move up and down the intensity scale the whole time to a dizzying, also dramatic effect. “Primordium” is an even more surreal shredder with gradual pounding riffs steam-rolling forward in a morose, officiant manner still letting a speedy stroke slip through the cracks towards the end. The instrumental “Exit the Giants” begs to differ, though, and a pile of fast intense riffage pours over the unsuspecting listener who will have no choice but to “endure” this energizing cannonade which later makes room for jarring, quasi doomy Confessor-esque developments.

“Rise of Man” elaborates on those minimalistic doomy tools adding a pinch of weird Voivod-ish jumpiness to the proceedings which evolve in a patient serpentine-like fashion with more melodic tunes added to the fore, those reaching operatic dimensions at the end. “Estuary” is a speedy estuary… sorry, escapade the guys creating a melee of vigorous, dynamic arrangements this hyper-active barrage receiving a couple of less ordinary embellishments. “Humanity’s Child” has a most enchanting melodic hook as a start, but afterwards the band give way to their more aggressive nature with hard-hitting thrashing heavily involved, with mazey progressive complications turning this cut into a psychotic, multifarious masterpiece worthy of Mekong Delta and Coroner. “Phobos & Deimos” is sustained in the same vein sounding even close to the mentioned Swiss masters weaving tapestries of overlapping riffs which refuse to follow a regular pattern, but are perennially configured in various more or less expected time-signatures the few more dynamic sections restoring some normality, not without the help of beautiful melodic ornamentations thrown in mid-way, all this leading to the climactic head-spinning epitaph. “Threshold” is another Coroner-esque twister with consistent mid-paced intricacy surrounding the listener who should have no problems following the stylish, relatively predictable rifforamas. “Infinite Universe” is a most logical finish, both music and text-wise, to this compelling diverse saga with the gradually escalating tension which inevitably hits the fast-paced parametres, the latter coming close to death metal even, a spellbinding contrast formed with the bizarre melodic additives and the atmospheric doomy finale.

The word “auteurs” simply begs to be used here to describe the unique approach to music applied on this “universal” opus. In a manner quite reminiscent of Voivod’s last two (at the time) the delivery transcends the borders of thrash and embarks on a journey around the progressive metal kaleidoscope without following any rigid canons. The experimentation is not as ostentatious as the one on the works of their compatriots as thrash is still featured prominently giving a nice dynamic flavour to the complex mosaics, a more belligerent edge that I personally miss on “Dimension Hatross”, for example. The thrash metal fanbase would still be bemused by what the guys had cooked here, but bewildered faces would be more than just an isolated phenomenon in the crowd; it won’t be easy for one to swallow all the nuances present at just one listen as a layer after layer of visionary musicianship will be peeled off after each subsequent exposure to it. On the other hand, one won’t get tired of it as the whole panorama clocks on under 40-min, and everything flows quite smoothly and effortlessly, with a weird airy spaced-out feel, excluding the few unnerving time-signatures already mentioned towards the end.

Mentioning spacing out, there was by all means more room for more eccentricity and eclecticism to be applied to this exciting amorphous musical formula, but while the audience were anticipating the band’s version of “Nothingface” or “No More Color”, they announced the end of their spell with the music industry. A sad follow-up which at least had a posthumous sequel six years later, “Unreleased”, a mini-album comprising six unreleased tracks, a pretty decent but not as visionary affair mixing the immediacy of the debut with the psychedelic intricacy of the album reviewed here; by all means worth checking out albeit inferior to those “sounds of the Universe”; sounds that still ring in the ears of brave explorers, intrepid scientists, occult stargazers, and a bunch of inebriate metalheads from across the street.

bayern



..::TRACK-LIST::..

1. The Genesis Explosion 4:32
2. Heliosphere 2:46
3. Primordium 3:39
4. Exit The Giants 3:59
5. Rise Of Man 4:47
6. Estuary 3:09
7. Humanity's Child 2:35
8. Phobos And Deimos 4:54
9. Threshold 3:20
10. Infinite Universe 4:45



..::OBSADA::..

Lead Guitar - Gerry Ouellette (R.I.P. 1994)
Guitar - Eddie Shahini
Bass, Vocals - Phil Dakin
Drums - Jeff St-Louis (R.I.P. 2019)




https://www.youtube.com/watch?v=20hl5gN4gc0



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

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


..::OPIS::..

Jeden z pionierów technicznego thrashu, prawdziwa ikona sążnistego młócenia, klasyka gatunku, najpiękniejsi na wyborach mistera roku stanu Nowy Jork i chuj wi, co jeszcze. Słowem – Toxik. Kapela równie dobra, co nieznana, a może nawet lepsza. Szlag trafia, gdy próbuje człek wejść w posiadanie takiej perełki, a tu albo brak (bo nagrano wieki temu), albo, jeśli już jest, to tylko dla zwycięzców ostatniego Lotto (bo absurdalnie drogie). Więc miota się człowiek między kurwami na eBayu, gdzie czasami ktoś robi porządki w kolekcji i sprzedając krążek chce stać się magnatem finansowym oraz chujami na Allegro, gdzie nikt nic nie widział, nikt nic nie wie. Aż w końcu przychodzi chwila, gdy — zupełnym fartem — wpada, zmęczony i solidnie wpieniony, człeczyna na reedycję, reedycję za śmieszną kwotę – by jeszcze na koniec dobić. A już na koniec najostatniejszy okazuje się, że płytka na rynku już chwilę jest, tylko dowiedzieć się o tym nie podobna. I tak wygląda droga przez mękę w dostaniu się do klasycznych pozycji thrashu z połowy lat 80tych. Gdy się jednak w końcu trafi na takiego np. Toxika, to radość podwójna, bo nie dość, że płyta w odtwarzaczu, to jeszcze muza kurewsko fajna, fajna, że odtwarzacz bez poganiania włącza „repeat”. Nawet sprzęt czuje, że kręci się nie byle co! A może wy, czytelnicy nasi, nie wiecie? Jeśli tak jest, to nawet się z tym nie afiszujcie, tylko w te pędy zapierdalajcie do sklepu, nawet nocnego (;]) byle tylko nadrobić ten haniebny brak. Otóż w czasach, kiedy thrash świętował swoje dni chwały, dobrych albumów przybywało wykładniczo, ten nowojorski kwartet postanowił pokazać, że to, co się dzieje, to jeno blotka w porównaniu z tym, co ma się dziać. Przed Toxik może ze cztery kapele potrafiły się zdobyć na takie granie, w tym arcyklasyczne Watchtower, Coroner, Juggernaut, Mekong Delta oraz duma prawdziwych Polaków – Wilczy Pająk. To są kapele, z którymi może się mierzyć Toxik, pozostałe do pięt nie dorastają. A dlaczego? Przede wszystkim fantastyczny, speedowy klimat i motoryka. Żadnego rozwolnienia, męczenia bądź wycieczki KPEiR – do przodu i to bez trzymanki. Po drugie, z czym wielu może się nie zgadzać (ich sprawa, że się nie znają) – wokale. Siła śpiewu Mike’a Sandersa jest porażająca, bije o dwie długości większość dzisiejszych chałturników, a oprócz tego wchodzi w takie rejestry, że specjalnie dla niego komisje międzynarodowe tworzyły nowe skale. A przy tym, nie jest to w najmniejszym stopniu ani cipowate ani delikatne – Mike Sanders śpiewa, jak gdyby właśnie stoczył walkę na corridzie. Zresztą zajrzyjcie na YT, tam jest kilka klipów live. Dalej – pomysły na utwory. Niby tylko do przodu, a taka różnorodność. Każdy kawałek ma swój klimat, każdy jest nieco inaczej skomponowany – raz akcent idzie na melodie, innym razem podbijany jest bas. Ale to, co kręci wora najbardziej to, oczywiście, gitary. Josh Christian, dziękuje i do widzenia. Dowód będzie jeden, bo nawet mi się więcej pisać nie chce – solówka w tytułowym World Circus. Smacznego.

deaf



..::TRACK-LIST::..

1. Heart Attack
2. Social Overload
3. Pain And Misery
4. Voices
5. Door To Hell
6. World Circus
7. 47 Seconds of Sanity / Count Your Blessings
8. False Prophets
9. Haunted Earth
10. Victims



..::OBSADA::..

Bass - Brian Bonini
Drums - Tad Leger
Guitar - Josh Christian
Vocals - Mike Sanders




https://www.youtube.com/watch?v=R3QEFQ9ZFis



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

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


..::OPIS::..

Jeden z pionierów technicznego thrashu, prawdziwa ikona sążnistego młócenia, klasyka gatunku, najpiękniejsi na wyborach mistera roku stanu Nowy Jork i chuj wi, co jeszcze. Słowem – Toxik. Kapela równie dobra, co nieznana, a może nawet lepsza. Szlag trafia, gdy próbuje człek wejść w posiadanie takiej perełki, a tu albo brak (bo nagrano wieki temu), albo, jeśli już jest, to tylko dla zwycięzców ostatniego Lotto (bo absurdalnie drogie). Więc miota się człowiek między kurwami na eBayu, gdzie czasami ktoś robi porządki w kolekcji i sprzedając krążek chce stać się magnatem finansowym oraz chujami na Allegro, gdzie nikt nic nie widział, nikt nic nie wie. Aż w końcu przychodzi chwila, gdy — zupełnym fartem — wpada, zmęczony i solidnie wpieniony, człeczyna na reedycję, reedycję za śmieszną kwotę – by jeszcze na koniec dobić. A już na koniec najostatniejszy okazuje się, że płytka na rynku już chwilę jest, tylko dowiedzieć się o tym nie podobna. I tak wygląda droga przez mękę w dostaniu się do klasycznych pozycji thrashu z połowy lat 80tych. Gdy się jednak w końcu trafi na takiego np. Toxika, to radość podwójna, bo nie dość, że płyta w odtwarzaczu, to jeszcze muza kurewsko fajna, fajna, że odtwarzacz bez poganiania włącza „repeat”. Nawet sprzęt czuje, że kręci się nie byle co! A może wy, czytelnicy nasi, nie wiecie? Jeśli tak jest, to nawet się z tym nie afiszujcie, tylko w te pędy zapierdalajcie do sklepu, nawet nocnego (;]) byle tylko nadrobić ten haniebny brak. Otóż w czasach, kiedy thrash świętował swoje dni chwały, dobrych albumów przybywało wykładniczo, ten nowojorski kwartet postanowił pokazać, że to, co się dzieje, to jeno blotka w porównaniu z tym, co ma się dziać. Przed Toxik może ze cztery kapele potrafiły się zdobyć na takie granie, w tym arcyklasyczne Watchtower, Coroner, Juggernaut, Mekong Delta oraz duma prawdziwych Polaków – Wilczy Pająk. To są kapele, z którymi może się mierzyć Toxik, pozostałe do pięt nie dorastają. A dlaczego? Przede wszystkim fantastyczny, speedowy klimat i motoryka. Żadnego rozwolnienia, męczenia bądź wycieczki KPEiR – do przodu i to bez trzymanki. Po drugie, z czym wielu może się nie zgadzać (ich sprawa, że się nie znają) – wokale. Siła śpiewu Mike’a Sandersa jest porażająca, bije o dwie długości większość dzisiejszych chałturników, a oprócz tego wchodzi w takie rejestry, że specjalnie dla niego komisje międzynarodowe tworzyły nowe skale. A przy tym, nie jest to w najmniejszym stopniu ani cipowate ani delikatne – Mike Sanders śpiewa, jak gdyby właśnie stoczył walkę na corridzie. Zresztą zajrzyjcie na YT, tam jest kilka klipów live. Dalej – pomysły na utwory. Niby tylko do przodu, a taka różnorodność. Każdy kawałek ma swój klimat, każdy jest nieco inaczej skomponowany – raz akcent idzie na melodie, innym razem podbijany jest bas. Ale to, co kręci wora najbardziej to, oczywiście, gitary. Josh Christian, dziękuje i do widzenia. Dowód będzie jeden, bo nawet mi się więcej pisać nie chce – solówka w tytułowym World Circus. Smacznego.

deaf



..::TRACK-LIST::..

1. Heart Attack
2. Social Overload
3. Pain And Misery
4. Voices
5. Door To Hell
6. World Circus
7. 47 Seconds of Sanity / Count Your Blessings
8. False Prophets
9. Haunted Earth
10. Victims



..::OBSADA::..

Bass - Brian Bonini
Drums - Tad Leger
Guitar - Josh Christian
Vocals - Mike Sanders




https://www.youtube.com/watch?v=R3QEFQ9ZFis



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

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


..::OPIS::..

Drugi album węgierskiej grupy CONCRETE przenosi słuchaczy w świat thrashmetalu na najwyższym poziomie. "High Evolution" to dzieło, które ukazuje rozwój zespołu.
Album jest pełen dynamicznych riffów, agresywnych wokali oraz technicznie wyrafinowanych partii instrumentów, które z pewnością zachwycą miłośników gatunku. Niezależnie od tego, czy jesteś wiernym fanem thrash metalu, czy dopiero odkrywasz ten styl, ten album jest muzycznym must-have, który powinien znaleźć się w Twojej kolekcji.



..::TRACK-LIST::..

1. Quellcrist 01:42
2. Last Stand 02:36
3. City (Part II) 02:44
4. Live Fast, Chase Death 02:26
5. Oh No Oh Fuck 02:16
6. Never Assume (in a Bureaucracy) 02:31
7. Hyperspace Weaponry 02:54
8. Bloodfields 04:10



..::OBSADA::..

Richard Stoffer - Vocals
Richard Benko - Guitars
Daniel Molnar - Guitars, vocals
Bende Toth - Drums



https://www.youtube.com/watch?v=KeHZZ0Y7Aqg



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

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


..::OPIS::..

Drugi album węgierskiej grupy CONCRETE przenosi słuchaczy w świat thrashmetalu na najwyższym poziomie. "High Evolution" to dzieło, które ukazuje rozwój zespołu.
Album jest pełen dynamicznych riffów, agresywnych wokali oraz technicznie wyrafinowanych partii instrumentów, które z pewnością zachwycą miłośników gatunku. Niezależnie od tego, czy jesteś wiernym fanem thrash metalu, czy dopiero odkrywasz ten styl, ten album jest muzycznym must-have, który powinien znaleźć się w Twojej kolekcji.



..::TRACK-LIST::..

1. Quellcrist 01:42
2. Last Stand 02:36
3. City (Part II) 02:44
4. Live Fast, Chase Death 02:26
5. Oh No Oh Fuck 02:16
6. Never Assume (in a Bureaucracy) 02:31
7. Hyperspace Weaponry 02:54
8. Bloodfields 04:10



..::OBSADA::..

Richard Stoffer - Vocals
Richard Benko - Guitars
Daniel Molnar - Guitars, vocals
Bende Toth - Drums



https://www.youtube.com/watch?v=KeHZZ0Y7Aqg



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

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


..::OPIS::..

'Master Project Genesis' to jeden z najlepszych albumów progresywnego/technicznego thrashu z lat 80. Jest bardziej 'bezpośredni' niż Watchtower, ale wciąż pełen dziwactw i świetnych zakrętów.
Fani Watchtower, Realm, Mekong Delta i Unleashed Power zdecydowanie powinni zdobyć ten album.

FA

Target were one of those thrash bands that started out as a rather standard thrash band. Their debut record "Mission Executed" wasn't anything earth-shattering, but it was still some decent stuff. However, Target would explode into a full blown technical/progressive thrash metal powerhouse on their next record, "Master Project Genesis". This record showcases the band at their creative peak. The riffs are insanely technical, and there are lots of conflicting odd time signatures to be found. The bass is especially audible, just like any other prog thrash band. This record has sadly been overlooked however in favor of the often overrated bands that thrashers seem to worship.

The production on this album is state-of-the-art, now THIS is how you produce a technical/progressive thrash album! The producer is none other than Mekong Delta's bassist and band leader Ralph Hubert. The production of the guitars is razor sharp, and the guitar tone sounds full of life and has that crunch to it that adds a tremendous amount of punch to the mix. The bass is amazing, I really wish the bass was like this in all other thrash albums of the 80's era. The drums sound good, there isn't that reverb that tends to ruin the production. Finally, I would like to mention that the vocals are mixed well and they don't overpower the guitars and bass, the vocals are perfectly mixed.

The record has probably one of the strongest song line-ups on any thrash album. "The Coming Of Chaos" is a furious technical frenzy of riffs that will pull you in and grasp your attention immediately upon first listen. Franky Van Aerde is an incredible rhythm guitarist, his riffs are varied much like any other technical thrash guitarist. The riffs and bass blend together perfectly as well, bassist Johan Susant is unique, and his bass lines don't just follow the guitars. Vocalist Yves Lettanie sounds extremely similar, if not EXACTLY like Wolfgang Borgmann from Mekong Delta. Yves has a very high vocal range, which fits the technical thrash sound very well. I also would like to mention the amazing guitar solos. Lex Vogelaar is one of the most underappreciated thrash lead guitarists in the technical/progressive field. His solos on tracks such as "Ultimate Unity" and "Secret Of The Dome" are both nothing short of perfection. Drummer Christ Braems does a fantastic job, his transitions from one time signature to another is on point, and he proves himself as one of the most competent drummers in the all of technical thrash.

The highlights of the record are track such as "Digital Regency" which have forceful gang shouts and fast chaotic riffs which add to the overall frantic nature of the song. "March Of The Machines" has a heavy chugging riff which resembles the sound of the machines marching on in unison, that riff was a nice touch and I think it's a clever idea for them to do that. The aforementioned "Secret Of The Dome" has a memorable technical riff, and the solo is probably the best on the whole record. Lastly, there is the title track, which contains some eerie synths which adds an almost atmospheric sound to the whole track. The melodic shredding melodies of Lex Vogelaar fade out, which ends the record.

This is quite possibly the greatest thrash metal band and album to come out of Belgium, which is quite the feat considering the fact that Cyclone's "Brutal Destruction" and Evil Sinner's self-titled debut are albums that also represent Belgium thrash. This record seems to be a concept album of sorts, because it talks about cyborgs taking over mankind and replacing humans with machines. It's quite obvious with song titles such as "Absolution By Termination", "Dehumanization" and "March Of The Machines". Hell, the chorus of "Dehumanization" is this following line...

"Dehumanization
Cybernetic transformation!"

Yeah, this album is definitely about humans being turned into cyborg humanoids. Anyways, I highly suggest you pick this album up. It costs quite a lot, the version I got cost $30. However, the original CD pressing from 1988 usually goes for a whopping $200 for a non-bootleg copy. I recommend this masterpiece for fans of Mekong Delta, Sieges Even, Watchtower, Toxik, and Realm.

ThrashFanatic


The first time I got exposed to this album was by mistake: I went to the studio to get the German speed/power metallers Mania’s “Changing Times” (1989) (never heard of them previously; just liked the name), but the jerk over there put “Master Project Genesis” on my cassette instead. I remember listening to the album thinking, “Wow! These guys are real maniacs! The way they play…”. A few days later I played this effort to a friend of mine. The guy exclaimed, “Man, this is not Mania! I have their album! These are some psychos I’ve never heard before!”. I played the tape to a few other ”connoisseurs”, but no one had the faintest idea who these guys were. Only one person tried to make a vague reference, “This stuff reminds me of this German act I came across recently, Mekong Delta; but it’s definitely not them cause I have their two albums.” (the debut and “The Music of Erich Zann”; “The Principle of Doubt” wasn’t released yet at the time) …

Back in the late-80’s I was listening to heavy/power metal (Mercyful Fate/King Diamond, Scorpions, Helloween, Judas, Accept, etc.), and I couldn’t care less about thrash, let alone the technical/progressive side of it. Needless to add, I didn’t like this very complex aural “invasion”, and not even knowing the name of the band… that was it: I deleted the Target effort; I recorded something else over it. We roll three years forwards, and the situation is entirely different: Coroner are my favourite band, and I voraciously devour everything which has even the slightest twist in the riff-patterns. A guy gives me a 90-min cassette; on side A he has Depressive Age’s “First Depression”, freshly released; on side B he has Sacrosanct’s “Truth is What is”. The Sacrosanct album is shorter and the guy has recorded something else to fill in the space. The moment it starts I instantly recall “this mysterious band I once had”. “Who are these?”, I ask. “Target from Germany”, the guy answers. “Is that all you have?” “No, I have the whole LP. I’ll pass it to you later if you like”.

Finally armed with the band name, I tracked down more information about them from Metal Hammer and other resources (the Internet was still in the making), and also found out that they were not from Germany, but from Belgium; and that they had one other LP released before that one (“Mission Executed”). I got a hold of it, but didn’t find it as impressive as it was a much more straight-forward speed/thrashing affair with casual stylish flourishes here and there. I was also quite amazed to hear what a giant step forward the guys had made within the span of just several months. One major issue, however, I’ve always had with this album: the opener “The Coming of Chaos” is such an astonishing achievement in the history of technical metal that it took me a while before I started caring about the rest of the album. The first few times, already as a fully-accomplished technical/progressive metal “expert”, I listened to it I was so engrossed in this first cut that I paid next to no attention to the remainder; and if I was to review it some twenty years prior, I was probably going to give it the same high score based on this track alone. Another opus that had the same effect on me was “Rust in Peace”: “Holy Wars” is such a tremendous shredder that it took quite some time before I started appreciating the other numbers (what a deaf/blind fool I must have been then; to not notice this “Tornado of Souls” coming from miles away…).

Things are quite different now, and I do consider this LP one of the milestones of technical/progressive thrash metal in its entirety. The band made their wholesome contribution to the evolution of European thrash towards loftier dimensions alongside Mekong Delta, Deathrow, Living Death, Coroner and Paradox. They didn’t last long enough to see themselves covered with laurels, but they still stand as the finest thrash metal export from the small country (although the young upstarts From Beyond are doing their best right now to dethrone them). Back to “The Coming of Chaos”, for the last time I promise: such a supernatural concoction of pounding, jarring, slow/fast, illogical, super-technical riffs and fabulously abrupt time and tempo-shifts this “chaos” topped by these dramatic clean vocals which at times sing, at times semi-recite, at times scream, always on par with the great music… these ears are yet to come across. Jeff Waters tried to produce something similar on “Alice in Hell” a year later, more particularly on “Word Salad “ and “Schizos”, but in a much less compelling, more dishevelled manner. Moments from the Mekong Delta works come very close, of course, as well as the most inspired demented rifforamas from albums like Skeptik Sense’s “Presence of Mind” (1994), Sore Plexus’ “Haptephobic” (1999), Osiris’ “Futurity and Human Depressions” (1991), and Asthoroth’s “Gloomy Experiments” (1990; the demos after it, too).

To the rest of “the project”: if one clearly realizes that 40-min of such an extraterrestrial quality can not possibly be created, not by this, not by any other band… if this thought sinks in comfortably in the listener’s brain then the rest of the album will reveal itself before him/her in all its intricate glory: once all the “chaos” is over, it’s naturally time for “Ultimate Unity”, a dramatic shredder with melody and atonality creating a nice symbiosis at the beginning this “idyll” dispersed by a fast-paced development which experiences a few stylish choppy breaks along the way including authoritative bass echoes. “Digital Regency” tries to match the surreal riff-fest of the opener and almost succeeds if it isn’t for the more linear speedy passages and the more repetitive nature of the rhythm-section which changes towards the end into a cool lead-driven exit. “Absolution by Termination” creeps forward in a minimalistic doomy manner which transforms into something more intriguing and more vivid at a later stage still retaining the not as intense mid-tempo; expect more stylish bassisms and quirky oddball riffage in the second half, plus a great doomy ending (Candlemass, beware!).

“Dehumanization” starts thrashing with passion from the get-go the tension escalating gradually with fast steel riffs coming from all sides replaced by slower twisted ones mid-way, but only as a momentary deviation. “March of the Machines” will make all machines around you march into oblivion the riffs steam-rolling with more intricate throw-ins flickering in and out of existence, not interfering too much with the steady mid-paced stride which is also “disturbed” by a brilliant lead section. “Secret of the Dome” serves a portion of abstract oddball riffage which is vintage Mekong Delta before the guys switch to marginally more orthodox mid-tempo thrash; not for long, though, since a short mind-scratching riff “salad” follows suit making its presence felt in the rhythmic patterns which get modified into more technical strokes in the second half. The title-track arrives to close this very interesting effort with consistent not as aggressive delivery that wins more points from the excellent vocal performance which here becomes more memorable and lyrical; a nice chorus is added later alongside faster-paced riffs and hectic dramatic accumulations in the middle, not to mention the cool lead-driven epitaph.

The band were lucky to find shelter in Aaarrgh Records, the label run by the Mekong Delta mastermind Ralph Hubert, from the very beginning and they were by all means well taken care of. Similarities in the execution between the two acts can certainly be detected, but those are due to a couple of more outlandish riff-patterns used by both bands rather than attempts at intentional emulation from either side. Both acts started their careers at roughly the same time so it’s difficult to say who influenced who if there was any influence at all in the first place. Mentioning similarities, both bands began with more straight-forward music although while hints at what was going to befall the listener on the subsequent efforts of the Germans were already provided, there were hardly any sparkles of outstanding creativity on display on the Belgians’ debut. Their rise to technical/progressive prominence was quite sudden and unexpected, almost identical to the one experienced by Deathrow with the “Deception Ignored”/”Raging Steel” juxtaposition. Surreality and avantgradism were the main selling points of European technical/progressive thrash metal, and Target were standing very proud right next to the aforementioned outfits as one of the finest representatives of that wave.

Chaos came, chaos saw, chaos conquered… There was more to “conquer”, as a matter of fact; Mekong Delta built a long successful career from these puzzling, bewildering riffs and rhythms lasting up to this day. The late-80s, and even the early-90’s if you like, were screaming for complex, progressive, mind-stimulating metal. Target could have tried for at least one more effort to space out further cause there was definitely potential for that. They may have even managed to fit into the modern thrash arena with their visionary jumpy, full of surprises rifforamas. Well, I guess the band must have achieved all targets set before them with the two projects presented thirty years ago since they show no interest in resuming their artistic pursuits in the new millennium. It seems like any mission becomes possible instantly if graced by a fascinating, profoundly “chaotic” introduction.

bayern



..::TRACK-LIST::..

1. The Coming Of Chaos
2. Ultimate Unity
3. Digital Regency
4. Absolution By Termination
5. Dehumanization
6. March Of The Machines
7. Secret Of The Dome
8. Master Project Genesis



..::OBSADA::..

Yves Lettanie - Vocals
Johan Susant - Bass, Vocals (backing), Lyrics
Lex Vogelaar - Guitars (lead), Vocals (backing)
Franky Van Aerde - Guitars (rhythm), Vocals (backing)
Christ Braems - Drums, Percussion, Vocals (backing)




https://www.youtube.com/watch?v=cx2ifUT554w



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

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


..::OPIS::..

'Master Project Genesis' to jeden z najlepszych albumów progresywnego/technicznego thrashu z lat 80. Jest bardziej 'bezpośredni' niż Watchtower, ale wciąż pełen dziwactw i świetnych zakrętów.
Fani Watchtower, Realm, Mekong Delta i Unleashed Power zdecydowanie powinni zdobyć ten album.

FA

Target were one of those thrash bands that started out as a rather standard thrash band. Their debut record "Mission Executed" wasn't anything earth-shattering, but it was still some decent stuff. However, Target would explode into a full blown technical/progressive thrash metal powerhouse on their next record, "Master Project Genesis". This record showcases the band at their creative peak. The riffs are insanely technical, and there are lots of conflicting odd time signatures to be found. The bass is especially audible, just like any other prog thrash band. This record has sadly been overlooked however in favor of the often overrated bands that thrashers seem to worship.

The production on this album is state-of-the-art, now THIS is how you produce a technical/progressive thrash album! The producer is none other than Mekong Delta's bassist and band leader Ralph Hubert. The production of the guitars is razor sharp, and the guitar tone sounds full of life and has that crunch to it that adds a tremendous amount of punch to the mix. The bass is amazing, I really wish the bass was like this in all other thrash albums of the 80's era. The drums sound good, there isn't that reverb that tends to ruin the production. Finally, I would like to mention that the vocals are mixed well and they don't overpower the guitars and bass, the vocals are perfectly mixed.

The record has probably one of the strongest song line-ups on any thrash album. "The Coming Of Chaos" is a furious technical frenzy of riffs that will pull you in and grasp your attention immediately upon first listen. Franky Van Aerde is an incredible rhythm guitarist, his riffs are varied much like any other technical thrash guitarist. The riffs and bass blend together perfectly as well, bassist Johan Susant is unique, and his bass lines don't just follow the guitars. Vocalist Yves Lettanie sounds extremely similar, if not EXACTLY like Wolfgang Borgmann from Mekong Delta. Yves has a very high vocal range, which fits the technical thrash sound very well. I also would like to mention the amazing guitar solos. Lex Vogelaar is one of the most underappreciated thrash lead guitarists in the technical/progressive field. His solos on tracks such as "Ultimate Unity" and "Secret Of The Dome" are both nothing short of perfection. Drummer Christ Braems does a fantastic job, his transitions from one time signature to another is on point, and he proves himself as one of the most competent drummers in the all of technical thrash.

The highlights of the record are track such as "Digital Regency" which have forceful gang shouts and fast chaotic riffs which add to the overall frantic nature of the song. "March Of The Machines" has a heavy chugging riff which resembles the sound of the machines marching on in unison, that riff was a nice touch and I think it's a clever idea for them to do that. The aforementioned "Secret Of The Dome" has a memorable technical riff, and the solo is probably the best on the whole record. Lastly, there is the title track, which contains some eerie synths which adds an almost atmospheric sound to the whole track. The melodic shredding melodies of Lex Vogelaar fade out, which ends the record.

This is quite possibly the greatest thrash metal band and album to come out of Belgium, which is quite the feat considering the fact that Cyclone's "Brutal Destruction" and Evil Sinner's self-titled debut are albums that also represent Belgium thrash. This record seems to be a concept album of sorts, because it talks about cyborgs taking over mankind and replacing humans with machines. It's quite obvious with song titles such as "Absolution By Termination", "Dehumanization" and "March Of The Machines". Hell, the chorus of "Dehumanization" is this following line...

"Dehumanization
Cybernetic transformation!"

Yeah, this album is definitely about humans being turned into cyborg humanoids. Anyways, I highly suggest you pick this album up. It costs quite a lot, the version I got cost $30. However, the original CD pressing from 1988 usually goes for a whopping $200 for a non-bootleg copy. I recommend this masterpiece for fans of Mekong Delta, Sieges Even, Watchtower, Toxik, and Realm.

ThrashFanatic


The first time I got exposed to this album was by mistake: I went to the studio to get the German speed/power metallers Mania’s “Changing Times” (1989) (never heard of them previously; just liked the name), but the jerk over there put “Master Project Genesis” on my cassette instead. I remember listening to the album thinking, “Wow! These guys are real maniacs! The way they play…”. A few days later I played this effort to a friend of mine. The guy exclaimed, “Man, this is not Mania! I have their album! These are some psychos I’ve never heard before!”. I played the tape to a few other ”connoisseurs”, but no one had the faintest idea who these guys were. Only one person tried to make a vague reference, “This stuff reminds me of this German act I came across recently, Mekong Delta; but it’s definitely not them cause I have their two albums.” (the debut and “The Music of Erich Zann”; “The Principle of Doubt” wasn’t released yet at the time) …

Back in the late-80’s I was listening to heavy/power metal (Mercyful Fate/King Diamond, Scorpions, Helloween, Judas, Accept, etc.), and I couldn’t care less about thrash, let alone the technical/progressive side of it. Needless to add, I didn’t like this very complex aural “invasion”, and not even knowing the name of the band… that was it: I deleted the Target effort; I recorded something else over it. We roll three years forwards, and the situation is entirely different: Coroner are my favourite band, and I voraciously devour everything which has even the slightest twist in the riff-patterns. A guy gives me a 90-min cassette; on side A he has Depressive Age’s “First Depression”, freshly released; on side B he has Sacrosanct’s “Truth is What is”. The Sacrosanct album is shorter and the guy has recorded something else to fill in the space. The moment it starts I instantly recall “this mysterious band I once had”. “Who are these?”, I ask. “Target from Germany”, the guy answers. “Is that all you have?” “No, I have the whole LP. I’ll pass it to you later if you like”.

Finally armed with the band name, I tracked down more information about them from Metal Hammer and other resources (the Internet was still in the making), and also found out that they were not from Germany, but from Belgium; and that they had one other LP released before that one (“Mission Executed”). I got a hold of it, but didn’t find it as impressive as it was a much more straight-forward speed/thrashing affair with casual stylish flourishes here and there. I was also quite amazed to hear what a giant step forward the guys had made within the span of just several months. One major issue, however, I’ve always had with this album: the opener “The Coming of Chaos” is such an astonishing achievement in the history of technical metal that it took me a while before I started caring about the rest of the album. The first few times, already as a fully-accomplished technical/progressive metal “expert”, I listened to it I was so engrossed in this first cut that I paid next to no attention to the remainder; and if I was to review it some twenty years prior, I was probably going to give it the same high score based on this track alone. Another opus that had the same effect on me was “Rust in Peace”: “Holy Wars” is such a tremendous shredder that it took quite some time before I started appreciating the other numbers (what a deaf/blind fool I must have been then; to not notice this “Tornado of Souls” coming from miles away…).

Things are quite different now, and I do consider this LP one of the milestones of technical/progressive thrash metal in its entirety. The band made their wholesome contribution to the evolution of European thrash towards loftier dimensions alongside Mekong Delta, Deathrow, Living Death, Coroner and Paradox. They didn’t last long enough to see themselves covered with laurels, but they still stand as the finest thrash metal export from the small country (although the young upstarts From Beyond are doing their best right now to dethrone them). Back to “The Coming of Chaos”, for the last time I promise: such a supernatural concoction of pounding, jarring, slow/fast, illogical, super-technical riffs and fabulously abrupt time and tempo-shifts this “chaos” topped by these dramatic clean vocals which at times sing, at times semi-recite, at times scream, always on par with the great music… these ears are yet to come across. Jeff Waters tried to produce something similar on “Alice in Hell” a year later, more particularly on “Word Salad “ and “Schizos”, but in a much less compelling, more dishevelled manner. Moments from the Mekong Delta works come very close, of course, as well as the most inspired demented rifforamas from albums like Skeptik Sense’s “Presence of Mind” (1994), Sore Plexus’ “Haptephobic” (1999), Osiris’ “Futurity and Human Depressions” (1991), and Asthoroth’s “Gloomy Experiments” (1990; the demos after it, too).

To the rest of “the project”: if one clearly realizes that 40-min of such an extraterrestrial quality can not possibly be created, not by this, not by any other band… if this thought sinks in comfortably in the listener’s brain then the rest of the album will reveal itself before him/her in all its intricate glory: once all the “chaos” is over, it’s naturally time for “Ultimate Unity”, a dramatic shredder with melody and atonality creating a nice symbiosis at the beginning this “idyll” dispersed by a fast-paced development which experiences a few stylish choppy breaks along the way including authoritative bass echoes. “Digital Regency” tries to match the surreal riff-fest of the opener and almost succeeds if it isn’t for the more linear speedy passages and the more repetitive nature of the rhythm-section which changes towards the end into a cool lead-driven exit. “Absolution by Termination” creeps forward in a minimalistic doomy manner which transforms into something more intriguing and more vivid at a later stage still retaining the not as intense mid-tempo; expect more stylish bassisms and quirky oddball riffage in the second half, plus a great doomy ending (Candlemass, beware!).

“Dehumanization” starts thrashing with passion from the get-go the tension escalating gradually with fast steel riffs coming from all sides replaced by slower twisted ones mid-way, but only as a momentary deviation. “March of the Machines” will make all machines around you march into oblivion the riffs steam-rolling with more intricate throw-ins flickering in and out of existence, not interfering too much with the steady mid-paced stride which is also “disturbed” by a brilliant lead section. “Secret of the Dome” serves a portion of abstract oddball riffage which is vintage Mekong Delta before the guys switch to marginally more orthodox mid-tempo thrash; not for long, though, since a short mind-scratching riff “salad” follows suit making its presence felt in the rhythmic patterns which get modified into more technical strokes in the second half. The title-track arrives to close this very interesting effort with consistent not as aggressive delivery that wins more points from the excellent vocal performance which here becomes more memorable and lyrical; a nice chorus is added later alongside faster-paced riffs and hectic dramatic accumulations in the middle, not to mention the cool lead-driven epitaph.

The band were lucky to find shelter in Aaarrgh Records, the label run by the Mekong Delta mastermind Ralph Hubert, from the very beginning and they were by all means well taken care of. Similarities in the execution between the two acts can certainly be detected, but those are due to a couple of more outlandish riff-patterns used by both bands rather than attempts at intentional emulation from either side. Both acts started their careers at roughly the same time so it’s difficult to say who influenced who if there was any influence at all in the first place. Mentioning similarities, both bands began with more straight-forward music although while hints at what was going to befall the listener on the subsequent efforts of the Germans were already provided, there were hardly any sparkles of outstanding creativity on display on the Belgians’ debut. Their rise to technical/progressive prominence was quite sudden and unexpected, almost identical to the one experienced by Deathrow with the “Deception Ignored”/”Raging Steel” juxtaposition. Surreality and avantgradism were the main selling points of European technical/progressive thrash metal, and Target were standing very proud right next to the aforementioned outfits as one of the finest representatives of that wave.

Chaos came, chaos saw, chaos conquered… There was more to “conquer”, as a matter of fact; Mekong Delta built a long successful career from these puzzling, bewildering riffs and rhythms lasting up to this day. The late-80s, and even the early-90’s if you like, were screaming for complex, progressive, mind-stimulating metal. Target could have tried for at least one more effort to space out further cause there was definitely potential for that. They may have even managed to fit into the modern thrash arena with their visionary jumpy, full of surprises rifforamas. Well, I guess the band must have achieved all targets set before them with the two projects presented thirty years ago since they show no interest in resuming their artistic pursuits in the new millennium. It seems like any mission becomes possible instantly if graced by a fascinating, profoundly “chaotic” introduction.

bayern



..::TRACK-LIST::..

1. The Coming Of Chaos
2. Ultimate Unity
3. Digital Regency
4. Absolution By Termination
5. Dehumanization
6. March Of The Machines
7. Secret Of The Dome
8. Master Project Genesis



..::OBSADA::..

Yves Lettanie - Vocals
Johan Susant - Bass, Vocals (backing), Lyrics
Lex Vogelaar - Guitars (lead), Vocals (backing)
Franky Van Aerde - Guitars (rhythm), Vocals (backing)
Christ Braems - Drums, Percussion, Vocals (backing)




https://www.youtube.com/watch?v=cx2ifUT554w



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