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


..::OPIS::..

44 lata działalności, 9 albumów i wierna rzesza fanów. Niemiecki Paradox to dobrze znana marka wśród maniaków speed/thrash metalu z domieszką power metalu. Na swoim koncie mają kilka znakomitych płyt, takich jak Heresy czy Pangea. Teraz Charly Steinhauer powraca z nowym krążkiem zatytułowanym Mysterium, którego premiera zaplanowana jest na 26 września 2025 roku nakładem High Roller Records.

Choć niegdyś Paradox był pełnoprawnym zespołem, dziś to właściwie jednoosobowy projekt – za wszystko odpowiada Steinhauer. Trudno jednak mówić tu o jakimkolwiek problemie, ponieważ Charly to muzyk wszechstronny i utalentowany. Na Mysterium serwuje słuchaczom charyzmatyczne partie wokalne, ciekawe melodie i wyraziste motywy gitarowe, dzięki czemu naprawdę nie ma powodów do narzekań.

Pod względem jakości to zdecydowanie krok naprzód w porównaniu z Heresy II – śmiało można stwierdzić, że to jeden z najlepszych albumów w dorobku Paradox. Na wyróżnienie zasługuje również klimatyczna okładka oraz potężne, selektywne brzmienie, które dodaje całemu materiałowi siły i wyrazistości. Sama grafika idealnie wpisuje się w estetykę zespołu, ale jak zawsze – najważniejsza jest muzyka.

Album zawiera 11 utworów. Już otwierający go, rozpędzony "Kholat", pokazuje geniusz Charliego – agresywny riff, szybkie tempo i bezkompromisowa energia czynią z niego jeden z najmocniejszych punktów płyty. Taki Paradox uwielbiamy!

Kolejny mocny akcent to rozbudowany, pełen nieoczywistych rozwiązań "Abyss of Pain and Fear" – siedem minut doskonale wyważonej mieszanki thrashu i power metalu, które mijają w mgnieniu oka.

Dalej robi się jeszcze ciekawiej – progresywny i zróżnicowany "Those Who Resist", brutalny "One Way Ticket to Die", który doskonale oddaje ducha niemieckiego thrashu, czy kolejny energetyczny cios – "Fragrance of Violence" – to numery, które aż kipią od metalowej pasji i technicznej precyzji.

Tytułowy "Mysterium" wyróżnia się atmosferą i kompozycyjną finezją, a "The Demon God" to kolejna bezlitosna thrashowa petarda, która nie pozostawia miejsca na wytchnienie.

Całość wieńczy melodyjny, pełen detali "Within the Realms of Grey" – doskonałe zakończenie intensywnej, przemyślanej podróży przez świat Paradox.

Zespół – a właściwie Charly Steinhauer – powraca w wielkim stylu z albumem godnym swojej legendy. Mysterium to potężna dawka thrashu, podlana heavy/power metalowym sosem, pełna znakomitych kompozycji i muzycznego ognia. Bez wątpienia jedna z najciekawszych płyt w ich dorobku – warto czekać na premierę!

PMW


This album is dedicated to Axel Blaha (1964-2023), co-founder of PARADOX (R.I.P.)

“Mysterium” is the ninth studio album by German thrash metal institution Paradox and marks a special milestone in the band’s 44-year history, as founder and mastermind Charly Steinhauer not only played all the instruments and sang, but also handled the production entirely on his own.
“I'm capable of it,” he explains. “Everything you hear on the album, I played. I programmed the drums, but it sounds like a real drummer played them at the highest level. I worked on it day and night until everything was perfect.” Only the mastering was left to Patrick W. Engels competent hands.
The songs on “Mysterium” are thematically linked, without it being a classic concept work. The lyrics – which, as on ‘Tales of the Weird’ (2012) and ‘Pangea’ (2016), were written by Achim “Dax” Hömerlein (ex-Vendetta) – revolve around mystical stories and world events that have personally moved Steinhauer. Songs like ‘Abyss of Pain and Fear’ (inspired by the movie “Midnight Express”), the instrumental ‘Grief’ (a tribute to co-founder Axel Blaha, who died in 2023) or the title track (about dream interpretation) thus form a common thread.
The cover art, created by Travis Smith (Opeth Death, et al.), picks up on the theme of the title track and shows a sleepwalking woman. “I didn’t want any skulls or other clichéd things,” says Steinhauer. “It’s more reminiscent of a horror film.” In his own estimation, “Mysterium” is the strongest Paradox album to date: “It became my favourite alongside ‘Heresy’ from 1989. The songs all have their own identity, are catchy, and when the album is over, I want to listen to it again straight away.”
The bandleader does not rule out concerts for “Mysterium”, but his focus remains on studio productions. In fact, he is already thinking about a follow-up album. “I’m a fan of music myself, and CDs or LPs are what I remember, of course in connection with some of the concerts I’ve attended. That is why I need new music, also from myself. And eventually, I want to not have released one single album that has been poorly rated.”



Though the idea of any thrash-adjacent musical affair, even of the more progressive persuasion, having a mysterious bent to it seems extremely counterintuitive; the best way to understand the more than 40 years running Teutonic machine that is Paradox is enigmatic. Not so much in the sense that the music offered up under said moniker defies all convention, but definitely in that it sits almost perfectly in that stylistic no man's land that lies between melodic, progressive and extreme metal; committing to none of them completely yet showing clear tendencies towards the thrashing side of the equation. When considering the mixed approach of fellow German contemporaries like Iron Angel and Angel Dust, one can easily see a heavy bent towards the upcoming shift towards the power metal wave ushered in by Helloween's Keeper Of The Seven Keys albums, but even the old time power thrashing majesty of 1987's Product Of Imagination was of a different persuasion that maybe carried a few hints of the more melodic strain of metal that was afoot, but was gunning for something darker and more nuanced. The subsequent pivots to a more thrash-infused sonic paradigm on 1989's Heresy and their 2000s post-reunion would see this tendency become more pronounced, though even by the dawn of the 2020s it would continue to allot for a melodic character that remained atypical in relation to the rest of the thrash scene and in line with where things began for them in the mid-80s.

In relation to an extensive career now spanning 10 albums when including the unearthing of the lost 3rd album Rearrange The Past the previous year, 2025's Mysterium offers few in the way of changes apart from band founder guitarist/vocalist Charly Steinhauer effectively morphing Paradox into a one-man outfit. The drawn out blends of neck-destroying speed/thrash riff assaults and dreary atmospheric introductory and go-between segments that has typified its modus operandi since 2000's Collision Course remain firmly in place, dogged by technically-charged lead breaks (now being handled exclusively by Steinhauer) and an almost earworm approach to chorus hooks that is uncommon to the lion's share of thrash outfits, be they Teutonic or otherwise. The use of a drum machine in the face of the untimely passing of drummer and co-founder Alex Blaha feels strangely appropriate given that the moribund character of the album's music and recurring theme of death and suffering suggests that his ghost endures amid the frenzy of rapid-fire beats, and ultimately comes off as organic despite being 100% synthetic. From the dense arrangements and elaborate sectional transitions to Charly's gruffy yet tuneful vocal attack, the whole thing just works as a cohesive outfit that listens more like a full band than a lone wolf emulating one in the studio.

Compared to the gargantuan fit of conceptual storytelling that was 2021's Heresy II: End Of A Legend, this is Paradox's version of getting back to basics, which means an album that is still loaded with detailing at the periphery, but comparatively more focused on biting thrashers delivered with reckless abandon. Though clocking in at over 6 minutes and frontloaded with an extended atmospheric exposition that paints the same misty forest landscape with sound that adorns the cover, the opening foray "Kholat" slams the pedal to the proverbial metal like best of the 80s Bay Area just landed in Bavaria. A similar story with more technical bells and whistles emerges in the high octane crusher "Abyss Of Pain And Fear", laying down the speed-thrashing mayhem like it's going out of style and landing one of the most brilliantly realized breakdown segments before Steinhauer lights up his fret board with a truly spellbinding guitar solo cacophony. Among the other blazing speeders to break the sound barrier while clocking in a tad shorter include "One Way Ticket To Die" and "Fragrance Of Violence", with Charly's signature vertabrae-destroying riff work continually ruling the roost and occasionally making way for eclectic contrast points of a softer persuasion.

Granted, Paradox has never lived by pit-exploding thrash alone, and alongside the Bay Area-inspired carnage with a tall side order of genre-defying interludes is a healthy share of more nuanced sonic material. Curiously enough, one of the more restrained feats of progressive metallic thunder follows a brief instrumental exposition that sees Steinhauer flexing his classical guitar chops on "Grief", though the subsequent speed metal fest "Those Who Resist" is about as aggressively charged as most of the previously noted thrashers, after an extended build up from its melodic intro, that is. On the other hand, the more mid-paced power thrasher of a title entry "Mysterium" opts for a brief atmospheric intro before laying on the percussive riffage, and even then one can't help but note that the vocal hooks drive the song and the most impactful moment is the ultra-infectious chorus section, accompanied by a melancholy acoustic line to go with the layering of distorted chords. Towards the end of the album the tried and true tendency of cooking at full speed and asking questions later resumes, yet the massive 7 minute slay fest "The Demon God" proves masterful at finding plenty of contrasting means of pummeling the airwaves to justify its length. The closing hurrah "Within The Realms Of Gray" leaves things with a jarring twist, opting for one of the most mixed up blends of melodic splendor, crushing riff work and progressive shifts in feel and atmosphere to ever occur in the subgenre outside of Jeff Waters' more outlandish musings.

There was just about nowhere to go but down following the colossal achievement that was Heresy II: End Of A Legend, but there are also few other ways to have taken an ever so slight and respectable step down into almost equally compelling territory as was accomplished with Mysterium. Considering the circumstance surrounding it, this album could arguably be seen as the project's greatest triumph in spite of being more towards the middle tier of an extremely impressive catalog, and it must be stressed that Paradox's version of middle tier is still a cut above most. In spite of an ongoing upswing of activity in the underground thrash metal world, this is a sound that has little difficulty standing out from the legions of revivalist acts that are still cropping up like weeds from South America to Asia, and proves that staying in one's comfort zone doesn't necessarily mean ceasing to be inventive and that the stiffest competition is usually against one's own past accomplishments. It's a bittersweet sendoff to an old friend and consequential contributor to the metal world, but it's also the sort of album that is explosive enough to send any thrash fanatic into a moshing rage while giving the power and progressive enthusiasts something to talk about.

hells unicorn



..::TRACK-LIST::..

1. Kholat 06:05
2. Abyss of Pain and Fear 07:28
3. Grief 01:13
4. Those Who Resist 05:49
5. One-way Ticket to Die 05:12
6. Pile of Shame 05:00
7. Tunguska 01:17
8. Fragrance of Violence 05:38
9. Mysterium 06:30
10. The Demon God 07:06

Bonus Track:
11. Within the Realms of Gray 6:11



..::OBSADA::..

Charly Steinhauer - Vocals, Guitars, Bass, Drum programming, Songwriting



https://www.youtube.com/watch?v=nw7KaA6RxjQ


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

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


..::OPIS::..

44 lata działalności, 9 albumów i wierna rzesza fanów. Niemiecki Paradox to dobrze znana marka wśród maniaków speed/thrash metalu z domieszką power metalu. Na swoim koncie mają kilka znakomitych płyt, takich jak Heresy czy Pangea. Teraz Charly Steinhauer powraca z nowym krążkiem zatytułowanym Mysterium, którego premiera zaplanowana jest na 26 września 2025 roku nakładem High Roller Records.

Choć niegdyś Paradox był pełnoprawnym zespołem, dziś to właściwie jednoosobowy projekt – za wszystko odpowiada Steinhauer. Trudno jednak mówić tu o jakimkolwiek problemie, ponieważ Charly to muzyk wszechstronny i utalentowany. Na Mysterium serwuje słuchaczom charyzmatyczne partie wokalne, ciekawe melodie i wyraziste motywy gitarowe, dzięki czemu naprawdę nie ma powodów do narzekań.

Pod względem jakości to zdecydowanie krok naprzód w porównaniu z Heresy II – śmiało można stwierdzić, że to jeden z najlepszych albumów w dorobku Paradox. Na wyróżnienie zasługuje również klimatyczna okładka oraz potężne, selektywne brzmienie, które dodaje całemu materiałowi siły i wyrazistości. Sama grafika idealnie wpisuje się w estetykę zespołu, ale jak zawsze – najważniejsza jest muzyka.

Album zawiera 11 utworów. Już otwierający go, rozpędzony "Kholat", pokazuje geniusz Charliego – agresywny riff, szybkie tempo i bezkompromisowa energia czynią z niego jeden z najmocniejszych punktów płyty. Taki Paradox uwielbiamy!

Kolejny mocny akcent to rozbudowany, pełen nieoczywistych rozwiązań "Abyss of Pain and Fear" – siedem minut doskonale wyważonej mieszanki thrashu i power metalu, które mijają w mgnieniu oka.

Dalej robi się jeszcze ciekawiej – progresywny i zróżnicowany "Those Who Resist", brutalny "One Way Ticket to Die", który doskonale oddaje ducha niemieckiego thrashu, czy kolejny energetyczny cios – "Fragrance of Violence" – to numery, które aż kipią od metalowej pasji i technicznej precyzji.

Tytułowy "Mysterium" wyróżnia się atmosferą i kompozycyjną finezją, a "The Demon God" to kolejna bezlitosna thrashowa petarda, która nie pozostawia miejsca na wytchnienie.

Całość wieńczy melodyjny, pełen detali "Within the Realms of Grey" – doskonałe zakończenie intensywnej, przemyślanej podróży przez świat Paradox.

Zespół – a właściwie Charly Steinhauer – powraca w wielkim stylu z albumem godnym swojej legendy. Mysterium to potężna dawka thrashu, podlana heavy/power metalowym sosem, pełna znakomitych kompozycji i muzycznego ognia. Bez wątpienia jedna z najciekawszych płyt w ich dorobku – warto czekać na premierę!

PMW


This album is dedicated to Axel Blaha (1964-2023), co-founder of PARADOX (R.I.P.)

“Mysterium” is the ninth studio album by German thrash metal institution Paradox and marks a special milestone in the band’s 44-year history, as founder and mastermind Charly Steinhauer not only played all the instruments and sang, but also handled the production entirely on his own.
“I'm capable of it,” he explains. “Everything you hear on the album, I played. I programmed the drums, but it sounds like a real drummer played them at the highest level. I worked on it day and night until everything was perfect.” Only the mastering was left to Patrick W. Engels competent hands.
The songs on “Mysterium” are thematically linked, without it being a classic concept work. The lyrics – which, as on ‘Tales of the Weird’ (2012) and ‘Pangea’ (2016), were written by Achim “Dax” Hömerlein (ex-Vendetta) – revolve around mystical stories and world events that have personally moved Steinhauer. Songs like ‘Abyss of Pain and Fear’ (inspired by the movie “Midnight Express”), the instrumental ‘Grief’ (a tribute to co-founder Axel Blaha, who died in 2023) or the title track (about dream interpretation) thus form a common thread.
The cover art, created by Travis Smith (Opeth Death, et al.), picks up on the theme of the title track and shows a sleepwalking woman. “I didn’t want any skulls or other clichéd things,” says Steinhauer. “It’s more reminiscent of a horror film.” In his own estimation, “Mysterium” is the strongest Paradox album to date: “It became my favourite alongside ‘Heresy’ from 1989. The songs all have their own identity, are catchy, and when the album is over, I want to listen to it again straight away.”
The bandleader does not rule out concerts for “Mysterium”, but his focus remains on studio productions. In fact, he is already thinking about a follow-up album. “I’m a fan of music myself, and CDs or LPs are what I remember, of course in connection with some of the concerts I’ve attended. That is why I need new music, also from myself. And eventually, I want to not have released one single album that has been poorly rated.”



Though the idea of any thrash-adjacent musical affair, even of the more progressive persuasion, having a mysterious bent to it seems extremely counterintuitive; the best way to understand the more than 40 years running Teutonic machine that is Paradox is enigmatic. Not so much in the sense that the music offered up under said moniker defies all convention, but definitely in that it sits almost perfectly in that stylistic no man's land that lies between melodic, progressive and extreme metal; committing to none of them completely yet showing clear tendencies towards the thrashing side of the equation. When considering the mixed approach of fellow German contemporaries like Iron Angel and Angel Dust, one can easily see a heavy bent towards the upcoming shift towards the power metal wave ushered in by Helloween's Keeper Of The Seven Keys albums, but even the old time power thrashing majesty of 1987's Product Of Imagination was of a different persuasion that maybe carried a few hints of the more melodic strain of metal that was afoot, but was gunning for something darker and more nuanced. The subsequent pivots to a more thrash-infused sonic paradigm on 1989's Heresy and their 2000s post-reunion would see this tendency become more pronounced, though even by the dawn of the 2020s it would continue to allot for a melodic character that remained atypical in relation to the rest of the thrash scene and in line with where things began for them in the mid-80s.

In relation to an extensive career now spanning 10 albums when including the unearthing of the lost 3rd album Rearrange The Past the previous year, 2025's Mysterium offers few in the way of changes apart from band founder guitarist/vocalist Charly Steinhauer effectively morphing Paradox into a one-man outfit. The drawn out blends of neck-destroying speed/thrash riff assaults and dreary atmospheric introductory and go-between segments that has typified its modus operandi since 2000's Collision Course remain firmly in place, dogged by technically-charged lead breaks (now being handled exclusively by Steinhauer) and an almost earworm approach to chorus hooks that is uncommon to the lion's share of thrash outfits, be they Teutonic or otherwise. The use of a drum machine in the face of the untimely passing of drummer and co-founder Alex Blaha feels strangely appropriate given that the moribund character of the album's music and recurring theme of death and suffering suggests that his ghost endures amid the frenzy of rapid-fire beats, and ultimately comes off as organic despite being 100% synthetic. From the dense arrangements and elaborate sectional transitions to Charly's gruffy yet tuneful vocal attack, the whole thing just works as a cohesive outfit that listens more like a full band than a lone wolf emulating one in the studio.

Compared to the gargantuan fit of conceptual storytelling that was 2021's Heresy II: End Of A Legend, this is Paradox's version of getting back to basics, which means an album that is still loaded with detailing at the periphery, but comparatively more focused on biting thrashers delivered with reckless abandon. Though clocking in at over 6 minutes and frontloaded with an extended atmospheric exposition that paints the same misty forest landscape with sound that adorns the cover, the opening foray "Kholat" slams the pedal to the proverbial metal like best of the 80s Bay Area just landed in Bavaria. A similar story with more technical bells and whistles emerges in the high octane crusher "Abyss Of Pain And Fear", laying down the speed-thrashing mayhem like it's going out of style and landing one of the most brilliantly realized breakdown segments before Steinhauer lights up his fret board with a truly spellbinding guitar solo cacophony. Among the other blazing speeders to break the sound barrier while clocking in a tad shorter include "One Way Ticket To Die" and "Fragrance Of Violence", with Charly's signature vertabrae-destroying riff work continually ruling the roost and occasionally making way for eclectic contrast points of a softer persuasion.

Granted, Paradox has never lived by pit-exploding thrash alone, and alongside the Bay Area-inspired carnage with a tall side order of genre-defying interludes is a healthy share of more nuanced sonic material. Curiously enough, one of the more restrained feats of progressive metallic thunder follows a brief instrumental exposition that sees Steinhauer flexing his classical guitar chops on "Grief", though the subsequent speed metal fest "Those Who Resist" is about as aggressively charged as most of the previously noted thrashers, after an extended build up from its melodic intro, that is. On the other hand, the more mid-paced power thrasher of a title entry "Mysterium" opts for a brief atmospheric intro before laying on the percussive riffage, and even then one can't help but note that the vocal hooks drive the song and the most impactful moment is the ultra-infectious chorus section, accompanied by a melancholy acoustic line to go with the layering of distorted chords. Towards the end of the album the tried and true tendency of cooking at full speed and asking questions later resumes, yet the massive 7 minute slay fest "The Demon God" proves masterful at finding plenty of contrasting means of pummeling the airwaves to justify its length. The closing hurrah "Within The Realms Of Gray" leaves things with a jarring twist, opting for one of the most mixed up blends of melodic splendor, crushing riff work and progressive shifts in feel and atmosphere to ever occur in the subgenre outside of Jeff Waters' more outlandish musings.

There was just about nowhere to go but down following the colossal achievement that was Heresy II: End Of A Legend, but there are also few other ways to have taken an ever so slight and respectable step down into almost equally compelling territory as was accomplished with Mysterium. Considering the circumstance surrounding it, this album could arguably be seen as the project's greatest triumph in spite of being more towards the middle tier of an extremely impressive catalog, and it must be stressed that Paradox's version of middle tier is still a cut above most. In spite of an ongoing upswing of activity in the underground thrash metal world, this is a sound that has little difficulty standing out from the legions of revivalist acts that are still cropping up like weeds from South America to Asia, and proves that staying in one's comfort zone doesn't necessarily mean ceasing to be inventive and that the stiffest competition is usually against one's own past accomplishments. It's a bittersweet sendoff to an old friend and consequential contributor to the metal world, but it's also the sort of album that is explosive enough to send any thrash fanatic into a moshing rage while giving the power and progressive enthusiasts something to talk about.

hells unicorn



..::TRACK-LIST::..

1. Kholat 06:05
2. Abyss of Pain and Fear 07:28
3. Grief 01:13
4. Those Who Resist 05:49
5. One-way Ticket to Die 05:12
6. Pile of Shame 05:00
7. Tunguska 01:17
8. Fragrance of Violence 05:38
9. Mysterium 06:30
10. The Demon God 07:06

Bonus Track:
11. Within the Realms of Gray 6:11



..::OBSADA::..

Charly Steinhauer - Vocals, Guitars, Bass, Drum programming, Songwriting



https://www.youtube.com/watch?v=nw7KaA6RxjQ


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

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


..::OPIS::..

Debut album by this astonishing italian band of Technical & Progressive Thrash/ Death for lovers of acts like Control Denied, Death, Psychotic Waltz, Nevermore, Mekong Delta, Watchtower, Anacrusis, Saviour Machine, Crimson Glory...



..::TRACK-LIST::..

1. Zero-Point Collapse 00:45
2. Human vs. Machine 07:42
3. Echoes of π 05:12
4. Married to the Masterplan 06:24
5. The Curse of Majesty 04:04
6. When Numbers Speak 04:30
7. A World in a Single Word 05:57
8. Masquerade (The Algorithm) 03:42
9. Amphibian to Chameleon 06:42
10. φinal Jest 02:07



..::OBSADA::..

Erymanthon Seth - Guitars (lead) (tracks 2-4, 8, 9), Keyboards
Alessandro Gargivolo - Guitars, Bass, Vocals, Songwriting



https://www.youtube.com/watch?v=w624-0RnQb0


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

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


..::OPIS::..

Debut album by this astonishing italian band of Technical & Progressive Thrash/ Death for lovers of acts like Control Denied, Death, Psychotic Waltz, Nevermore, Mekong Delta, Watchtower, Anacrusis, Saviour Machine, Crimson Glory...



..::TRACK-LIST::..

1. Zero-Point Collapse 00:45
2. Human vs. Machine 07:42
3. Echoes of π 05:12
4. Married to the Masterplan 06:24
5. The Curse of Majesty 04:04
6. When Numbers Speak 04:30
7. A World in a Single Word 05:57
8. Masquerade (The Algorithm) 03:42
9. Amphibian to Chameleon 06:42
10. φinal Jest 02:07



..::OBSADA::..

Erymanthon Seth - Guitars (lead) (tracks 2-4, 8, 9), Keyboards
Alessandro Gargivolo - Guitars, Bass, Vocals, Songwriting



https://www.youtube.com/watch?v=w624-0RnQb0


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

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


..::OPIS::..

Drugi album niemieckiego Paradox z 1989 roku w reedycji High Roller Records. Klasyka europejskiego thrashu!

To, co czyni 'Heresy' szczególnie fascynującym, to jej koncepcja. Album zagłębia się w krucjatę albigeńską z XIII wieku, kampanię zainicjowaną przez papieża Innocentego III w celu wykorzenienia katarów w południowej Francji. Ta historyczna głębia dodaje intrygi, sprawiając, że teksty piosenek, pomimo ich szybkiego tempa, są warte zagłębienia się w nie...

Produkcja, której podjął się Harris Johns (znany ze współpracy z Celtic Frost, Kreator i Sodom), gwarantuje, że każda nuta i każdy beat uderzają z precyzją i mocą. Nic dziwnego, że ten album wciąż brzmi świeżo i dorównuje współczesnym thrash metalowym wydawnictwom...



..::TRACK-LIST::..

1. Heresy 06:55
2. Search for Perfection 04:54
3. Killtime 04:30
4. Crusaders Revenge 04:26
5. The Burning 05:26
6. Massacre of the Cathars 04:18
7. Serenity 04:53
8. 700 Years On 05:13
9. Castle in the Wind 01:33



..::OBSADA::..

CHARLY STEINHAUER - Vocals, Guitars
AXEL BLAHA - Drums
DIETER ROTH - Guitars
MATTHIAS SCHMITT - Bass, Backing Vocals

GUEST MUSICIANS:
WERNER WILZ and KOYAK - Backing Vocals



https://www.youtube.com/watch?v=c8SNtMe9LLY


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

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


..::OPIS::..

Drugi album niemieckiego Paradox z 1989 roku w reedycji High Roller Records. Klasyka europejskiego thrashu!

To, co czyni 'Heresy' szczególnie fascynującym, to jej koncepcja. Album zagłębia się w krucjatę albigeńską z XIII wieku, kampanię zainicjowaną przez papieża Innocentego III w celu wykorzenienia katarów w południowej Francji. Ta historyczna głębia dodaje intrygi, sprawiając, że teksty piosenek, pomimo ich szybkiego tempa, są warte zagłębienia się w nie...

Produkcja, której podjął się Harris Johns (znany ze współpracy z Celtic Frost, Kreator i Sodom), gwarantuje, że każda nuta i każdy beat uderzają z precyzją i mocą. Nic dziwnego, że ten album wciąż brzmi świeżo i dorównuje współczesnym thrash metalowym wydawnictwom...



..::TRACK-LIST::..

1. Heresy 06:55
2. Search for Perfection 04:54
3. Killtime 04:30
4. Crusaders Revenge 04:26
5. The Burning 05:26
6. Massacre of the Cathars 04:18
7. Serenity 04:53
8. 700 Years On 05:13
9. Castle in the Wind 01:33



..::OBSADA::..

CHARLY STEINHAUER - Vocals, Guitars
AXEL BLAHA - Drums
DIETER ROTH - Guitars
MATTHIAS SCHMITT - Bass, Backing Vocals

GUEST MUSICIANS:
WERNER WILZ and KOYAK - Backing Vocals



https://www.youtube.com/watch?v=c8SNtMe9LLY


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

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


..::OPIS::..

Debiutancki album niemieckiego Paradox z 1987 roku w reedycji High Roller Records. Klasyka europejskiego thrashu!


Since 1981, singer/guitarist CHARLY STEINHAUER and drummer AXEL BLAHA have been active in various formations in Würzburg, Lower Franconia. In the beginning, however, the group names and other members are constantly changing, so it is only in February 1986 that you can speak of a real band and rename yourself to PARADOX.

In May 1987 they went into the studio with producer KALLE TRAPP (BLIND GUARDIAN/SAXON) to record their debut album. "PRODUCT OF IMAGINATION" was released in October 1987 and quickly earned the band an excellent reputation as the best metal newcomer from Germany. Even the British press gave the record excellent reviews. The big KERRANG magazine wrote: "Here they are ... the new METALLICA!"



..::TRACK-LIST::..

1. Opening Theme 01:23
2. Paradox 04:15
3. Death, Screaming and Pain 05:09
4. Product of Imagination 07:15
5. Continuation of Invasion 02:12
6. Mystery 05:04
7. Kill That Beast 04:26
8. Pray to the Godz of Wrath 04:43
9. Beyond Space 04:48
10. Wotan II 00:17



..::OBSADA::..

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



https://www.youtube.com/watch?v=VsyV0SA1lq0



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

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


..::OPIS::..

Debiutancki album niemieckiego Paradox z 1987 roku w reedycji High Roller Records. Klasyka europejskiego thrashu!


Since 1981, singer/guitarist CHARLY STEINHAUER and drummer AXEL BLAHA have been active in various formations in Würzburg, Lower Franconia. In the beginning, however, the group names and other members are constantly changing, so it is only in February 1986 that you can speak of a real band and rename yourself to PARADOX.

In May 1987 they went into the studio with producer KALLE TRAPP (BLIND GUARDIAN/SAXON) to record their debut album. "PRODUCT OF IMAGINATION" was released in October 1987 and quickly earned the band an excellent reputation as the best metal newcomer from Germany. Even the British press gave the record excellent reviews. The big KERRANG magazine wrote: "Here they are ... the new METALLICA!"



..::TRACK-LIST::..

1. Opening Theme 01:23
2. Paradox 04:15
3. Death, Screaming and Pain 05:09
4. Product of Imagination 07:15
5. Continuation of Invasion 02:12
6. Mystery 05:04
7. Kill That Beast 04:26
8. Pray to the Godz of Wrath 04:43
9. Beyond Space 04:48
10. Wotan II 00:17



..::OBSADA::..

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



https://www.youtube.com/watch?v=VsyV0SA1lq0



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

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


..::OPIS::..

New York, New York… the mighty metal hordes that you have raised… Anthrax, Overkill, Pro-Pain, Carnivore, Prong, Nuclear Assault, Riot, Helmet… need I go on? I don’t think so. How about these executioners here? Who were parading earlier as Executioner, the few songs they created under this moniker featured on the debut demo of the same title. The style during those early days was boisterous heavy/power metal remnants of which were still quite audible on the debut, a scattered, not very coherent blend of heavy, power, speed, and thrash that was still entertaining in its own charmingly dishevelled way.

Two years later the band hit with a sicker, which also means better, release, the one reviewed here. And they’ve tightened their act by leaps and bounds, concentrating on the speed/thrash side of the previously displayed conglomerate. The sound quality has also gone up, the production’s more polished, giving the guitars an articulate sharp click. For at least half the time the band just mosh with little remorse, unleashing vehement headbangers like "Horrors of the Mind" and “Another Chosen Life”, stirring mosh-pits left and right, trying to match the belligerence of their colleagues from the NYHC scene every bit of the way. There are a couple of intriguing spices offered here and there, too, like the surreal trippy Voivod-ish etude “Sexploitation”, above all, and the solid steady mid-pacer "I'm Sanctified". "Second Coming" is another deviation, a short lively power/thrash excursion, the guys winking at the Bay-Area on the other side of the country with the stylish semi-technical "No One to Pray To", a respectful reminder of Testament’s "Disciples of the Watch" from "The New Order".

That’s way more like it, the only sector that has remained unchanged being the vocal one; the guy retains his quite effective clean attached antics from the first instalment, recalling both Russ Anderson (Forbidden) and Joey Belladonna (Anthrax). In the long run, one shouldn’t be spitting over the guys too much regarding their not very focused first endeavour as similar upgrade transformations (Helstar, Attacker, Heathen, Nasty Savage, etc.) were not such an uncommon phenomenon on the US scene. And, they got it right the second time around, producing this exhilarating old school thrashing beast that added another plus in their hometown’s impressive resume.

The band disappeared in the early-90’s alongside myriad other 80’s-spawned practitioners, as the tides were shifting, and not all of these cohorts were ready and willing to embrace the numetal trends. We roll a quarter of a century forward, and we see the band guitarists Adam Marigliano and Rui Tavora joining forces again in the new millennium, parading as anti-heroes, also eager to capitalize on the still ongoing old school resurrection campaign. Ha, and this is where the big joke comes: our friends have inexplicably turned into groovy/cheesy glam/grunge rockers, betraying all their classic metal ideas for a cupful of toffee… no speed, no thrash, not even power… a shameful new beginning, a genuine false start, and a most exemplary flop.

But they will rise; I have faith in them… the executioners will start beheading and decapitating again; they just need to sharpen their axes some more… and to start subjecting their will to sicker and sicker thoughts.

bayern



..::TRACK-LIST::..

1. Three Years Later/Dismembered 5:32
2. Another Chosen Life 4:34
3. Sexploitation 3:08
4. Innocent Betrayal 3:44
5. Chamber Of Sorrow 4:23
6. Second Coming 2:51
7. Horrors Of The Mind 4:45
8. No One To Pray To 4:05
9. I'm Sanctified 4:47
10. Infected 3:46



..::OBSADA::..

Vocals - Tommy Lee Haley
Guitar - Adam Marigliano, Rui Tavora
Bass Guitar - Gus Silva
Drums - Billy Gerdes



https://www.youtube.com/watch?v=vnscdw3TrKs


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

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


..::OPIS::..

New York, New York… the mighty metal hordes that you have raised… Anthrax, Overkill, Pro-Pain, Carnivore, Prong, Nuclear Assault, Riot, Helmet… need I go on? I don’t think so. How about these executioners here? Who were parading earlier as Executioner, the few songs they created under this moniker featured on the debut demo of the same title. The style during those early days was boisterous heavy/power metal remnants of which were still quite audible on the debut, a scattered, not very coherent blend of heavy, power, speed, and thrash that was still entertaining in its own charmingly dishevelled way.

Two years later the band hit with a sicker, which also means better, release, the one reviewed here. And they’ve tightened their act by leaps and bounds, concentrating on the speed/thrash side of the previously displayed conglomerate. The sound quality has also gone up, the production’s more polished, giving the guitars an articulate sharp click. For at least half the time the band just mosh with little remorse, unleashing vehement headbangers like "Horrors of the Mind" and “Another Chosen Life”, stirring mosh-pits left and right, trying to match the belligerence of their colleagues from the NYHC scene every bit of the way. There are a couple of intriguing spices offered here and there, too, like the surreal trippy Voivod-ish etude “Sexploitation”, above all, and the solid steady mid-pacer "I'm Sanctified". "Second Coming" is another deviation, a short lively power/thrash excursion, the guys winking at the Bay-Area on the other side of the country with the stylish semi-technical "No One to Pray To", a respectful reminder of Testament’s "Disciples of the Watch" from "The New Order".

That’s way more like it, the only sector that has remained unchanged being the vocal one; the guy retains his quite effective clean attached antics from the first instalment, recalling both Russ Anderson (Forbidden) and Joey Belladonna (Anthrax). In the long run, one shouldn’t be spitting over the guys too much regarding their not very focused first endeavour as similar upgrade transformations (Helstar, Attacker, Heathen, Nasty Savage, etc.) were not such an uncommon phenomenon on the US scene. And, they got it right the second time around, producing this exhilarating old school thrashing beast that added another plus in their hometown’s impressive resume.

The band disappeared in the early-90’s alongside myriad other 80’s-spawned practitioners, as the tides were shifting, and not all of these cohorts were ready and willing to embrace the numetal trends. We roll a quarter of a century forward, and we see the band guitarists Adam Marigliano and Rui Tavora joining forces again in the new millennium, parading as anti-heroes, also eager to capitalize on the still ongoing old school resurrection campaign. Ha, and this is where the big joke comes: our friends have inexplicably turned into groovy/cheesy glam/grunge rockers, betraying all their classic metal ideas for a cupful of toffee… no speed, no thrash, not even power… a shameful new beginning, a genuine false start, and a most exemplary flop.

But they will rise; I have faith in them… the executioners will start beheading and decapitating again; they just need to sharpen their axes some more… and to start subjecting their will to sicker and sicker thoughts.

bayern



..::TRACK-LIST::..

1. Three Years Later/Dismembered 5:32
2. Another Chosen Life 4:34
3. Sexploitation 3:08
4. Innocent Betrayal 3:44
5. Chamber Of Sorrow 4:23
6. Second Coming 2:51
7. Horrors Of The Mind 4:45
8. No One To Pray To 4:05
9. I'm Sanctified 4:47
10. Infected 3:46



..::OBSADA::..

Vocals - Tommy Lee Haley
Guitar - Adam Marigliano, Rui Tavora
Bass Guitar - Gus Silva
Drums - Billy Gerdes



https://www.youtube.com/watch?v=vnscdw3TrKs


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

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


..::OPIS::..

'Unity' brytyjskiej formacji Pariah to fascynujący dokument muzycznej ewolucji, stworzony przez legendarny trzon muzyków znanych z grup Satan oraz Skyclad.
Płyta po mistrzowsku balansuje między technicznym thrash metalem a melodyjnym ciężarem, oferując dojrzałe kompozycje duetu Ramsey-Tippins, które w 1997 roku odważnie wykraczały poza gatunkowe schematy. Reedycja 2026 od Hammerheart Records to doskonała okazja, by uzupełnić kolekcję o ten nieco zapomniany, lecz genialny rozdział w historii brytyjskiego metalu.



..::TRACK-LIST::..

1. Unity 03:59
2. Reactionary 06:05
3. Walking Wounded 06:31
4. No Exit 03:58
5. (Snakes and Ladders) One of Us 04:45
6. Saboteurs 03:59
7. Mutual Street 03:44
8. The Jonah 05:49
9. Learning to Crawl 02:11



..::OBSADA::..

Lead Guitar, Rhythm Guitar - Steve Ramsey
Lead Guitar, Rhythm Guitar, Backing Vocals - Russ Tippins
Lead Vocals - Alan Hunter
Bass, Acoustic Bass - Graeme English
Drums - Ian McCormack



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


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

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


..::OPIS::..

'Unity' brytyjskiej formacji Pariah to fascynujący dokument muzycznej ewolucji, stworzony przez legendarny trzon muzyków znanych z grup Satan oraz Skyclad.
Płyta po mistrzowsku balansuje między technicznym thrash metalem a melodyjnym ciężarem, oferując dojrzałe kompozycje duetu Ramsey-Tippins, które w 1997 roku odważnie wykraczały poza gatunkowe schematy. Reedycja 2026 od Hammerheart Records to doskonała okazja, by uzupełnić kolekcję o ten nieco zapomniany, lecz genialny rozdział w historii brytyjskiego metalu.



..::TRACK-LIST::..

1. Unity 03:59
2. Reactionary 06:05
3. Walking Wounded 06:31
4. No Exit 03:58
5. (Snakes and Ladders) One of Us 04:45
6. Saboteurs 03:59
7. Mutual Street 03:44
8. The Jonah 05:49
9. Learning to Crawl 02:11



..::OBSADA::..

Lead Guitar, Rhythm Guitar - Steve Ramsey
Lead Guitar, Rhythm Guitar, Backing Vocals - Russ Tippins
Lead Vocals - Alan Hunter
Bass, Acoustic Bass - Graeme English
Drums - Ian McCormack



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


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

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


..::OPIS::..

Underground Thrash Metal classic finally available again! Wargasm’s “Why Play Around?” is a criminally overlooked Thrash Metal masterpiece, now remastered and reissued again! Originally unleashed in 1988, this cult classic rips with razor sharp riffing, frenetic solos and vitriolic energy that easily rivals the Big 4! From the neck snapping opener “Wasteland” to the molten assault of “Revenge” and the epic nine minute title track “Wargasm,” the Spillberg brothers (Rich & Barry) and Bob Mayo crafted a record that’s ferocious, technical and ahead of its time. No filler. No compromise. Just pure, unfiltered Thrash Metal!



In 1988, many thrash bands were already making a name for themselves. The genre had reached it's peak, with many classics coming out that year. In Boston, Massachusetts however, one band was about to dominate and unleash a monster of a thrash album. That band was Wargasm, who started out as Maniac and released a demo titled "Rainbows, Kittens, Flowers & Puppies". They changed their name to Wargasm shortly after and signed to Profile Records, releasing their debut "Why Play Around?" not too long after. Let's talk about this classic...

The record starts off with the amazing "Wasteland", which contains some incredible riffs from Rich Spillberg. Spillberg is one of the most underrated thrash guitarists out there, he is an absolute MONSTER of a guitar player! His solo on this track is just the beginning. Bob Mayo is a excellent bass player and vocalist, his bass is a little hard to hear unfortunately though. His vocals are great, but I always seem to get the image of Kermit the Frog singing the lyrics because he sounds so much like him LOL! Rich's brother Barry Spillberg handles drum duties. He is an excellent drummer, and does a great job of keeping time. His drumming fits the music perfectly, there's no complaints here.

"Revenge" is easily one of the best thrash songs ever, with an instantly memorable riff from Rich. The lyrics here are awesome too, "He's on a rampage, on the run, more hellbent then you've ever seen. Trying to tell him that he's got no right is like putting out fire with gasoline!" One word to describe that line: BADASS! Rich's solo is easily one of my favorites of all time, I'm 100% serious. The solo is purely wargasmic (pun intended), and it could go on for hours upon hours and it still wouldn't be enough! Overall, this track is a highlight!

"Bullets and Blades" is another killer thrasher with some very intricate fret board work by Rich. Mayo's vocals here are among the best on the album too. "Undead" opens with the sound effects of zombies with a creepy guitar intro before BOOM and a riff comes out of nowhere, it scared the living shit out of me upon first listen haha. In the middle song, Rich does some sick guitar harmonics. The closing is great and a perfect ending to a killer song. "Merritt's Girlfriend" is just a transitional track, nothing special here.

"Sudden Death" is bound to make you headbang into oblivion with it's heavy chugging riff in the intro. The solo sounds very Kirk Hammett inspired, this track is underrated. "Wargasm" is an epic 9 minute riff fest with lyrics talking about war and nuclear missles, this is undoubtedly another highlight. "Le Coucou" is actually a baroque piece written by French composer Louis-Claude Daquin in the 1700's. Being a huge fan of classical music, I absolutely love this. Mayo's bass gets it's chance to shine here which is nice and Rich does a fantastic job of converting the music to guitar. Overall, it's a enjoyable piece. The record closes with the furious thrasher "Humanoid", which contains a riff in the middle of the song which reminds me of Stormtroopers of Death. It is a great way to close out a masterpiece of a thrash album.

If you crave old school thrash and are hungry for underrated classics, then this is a MUST LISTEN! Rich's guitar work is state-of-the-art, Bob Mayo is a one of a kind vocalist, and Barry is a wonderful drummer. I recommend this for fans of Testament, Xentrix, Forced Entry and Anthrax.

ThrashFanatic


The unanimous winners of the “best not very known thrash metal album of all times” award, Wargasm’s “Why Play Around” remains one of the twenty greatest works of thrash in metal history. Believe it or not, I only found about its existence in January, 2005 (yes, I know…) when a friend of mine gave me the CD as a present for my birthday; true story. Why it had been hiding from me so steadfastly all this time is subject to further investigation. Anyway, we got acquainted, better late than never, and have been best of buddies ever since. I listen to it once every 2/3 weeks just for the pure pleasure of it, especially when I feel like moshing around the house to oblivion. It’s a sheer mystery why this talented trio from Boston, Massachusetts, never received a place on the front row… They had the requisite pre-history when the guys changed their name twice, from Overkill (no, not those ones) to Maniac, and from Maniac to Wargasm; they started very early in 1982 with all the other pioneers; they released their debut in the best year for metal… And yet, they couldn’t quite rise aboveground the way other debutantes that same year (Vio-Lence, Toxik, Realm, Forbidden) did. The other acts’ cassettes were lying around the studios, and later in the shops whereas those of The Wargasms were nowhere to be found. Was there something wrong with the band name? Or do I detect another global conspiracy here…

It beats me why there aren’t at least twenty or so reviews written about this opus so far… To continue, what one can’t deny is the fact that there was a lot of playing around the metal field in the late-80s’, and some of the greatest works of the movement were produced back then. Wargasm’s debut stands proud as one of the milestones of American thrash metal. Actually, one would find it hard to cite a better, genuinely compulsive roller-coaster than the one reviewed here. Using the only Maniac demo as a base for this endeavour, the band waste no time joining the fray with the smashing speed/thrashing opener “Wasteland”, an infectious cut, a perennial hymn which also introduces the vocalist Bob Mayo’s effective semi-clean/semi-declamatory, mid-ranged vocals. It also paves the path for the coming of “Revenge”, one of the ten finest thrash metal numbers ever, with the most spontaneous, moshing introductory riff composed, a perennial feast for the fans of all generations who will be jumping around like demented throughout these 7-min of mandatory thrash metal history.

“Bullets & Blades” is the little brother of “Revenge” with impetuous galloping riffs racing each other this “race” topped by a great memorable chorus and followed by an excellent more technical twist near the end. More aggressive thrashing comes with “Undead” the riff “storm” instigated lasting for 6.5-min. Time for a rest with the short balladic instrumental “Merritt’s Girlfriend” before “Sudden Death” comes cutting with the sharpest, steelest riffs around which change into something more stylish and technical later and vice versa until a fast-paced “skirmish” finishes off this eventful “dialogue”. “Wargasm” unleashes a hard galloping “assault” for a start, but the delivery becomes choppier and more intricate later turning this composition into a 9-min cavalcade of elaborate, nearly progressive thrashing which amazingly pulls it off without the use of any lead sections, a riff-driven bliss second to none with a stupendous atmospheric, doomy ending. Another very well deserved break for the band with Mayo displaying his skills on the bass on the nice all-instrumental piece “Le Cou Cou”, the others bracing themselves for their final performance on the closing “Humanoid”, a raging thrasher with all the claims to be the most brutal cut here well justified, the guys moshing out with reckless abandon interrupting their fast-paced exploits for a more officiant slower interlude.

Three Bostonians are responsible for some of the most treasured 45-min of classic thrash; incredible, but a fact! Ranking right up there with the feat of their compatriots during the early days of the War of Independence (remember “The Boston Tea Party”). Well, this trio may not find their place in the annals of American music history the way other less significant and less proficient ones did. In cases like this one can’t stop wondering about the illogical phenomenon which the metal world is: how does it select those to be placed on the road to fortune and glory, and how does it select the ones who would be solely remembered by a few initiated fans? It boggles the mind, but I guess in this random, lottery-like “logic” lies its charm as well. Wargasm were not one of the lucky acts to be at the right place, at the right time; they didn’t have the requisite connections within the music business “jungle”. So they had to satisfy their ambition by “merely” becoming the finest thrash metal export of Massachusetts, recognition that stands up to this day. An achievement attained with their very first full-length…

Saying that, I by no means want to invalidate the band’s subsequent output. It’s just that when an act begins a career with such a strong first effort, what follows would invariably be compared to its mighty predecessor. The band were probably aware of what a great album they had created, and may have decided to wait for it to gain inertia and top the charts. For reasons already well explained, that never happened and the guys found themselves one day, in the mid-90’s under entirely different regulations established on the scene. “Ugly” environment by all means which was reflected in the album-title of their sophomore release which contained some well-constructed metal, as a matter of fact, nothing “ugly” music-wise, a pretty listenable combination between the old and the modern sound with a couple of tracks nearly reaching the intensity of the debut. The guys were still playing around, but in a less inspired fashion, a gradually expanding lethargic state that became way more tangible on their swansong two years later, aptly titled “Suicide Notes”, the band signing off without putting up much of a fight with these unimpressive, rehashed post-thrash “notes”.

The guys reformed three times in the new millennium, in 2004, 2008, and 2014, consequently splitting-up the same number of times. Their last reformation spell so far was the most productive one with a compilation, a live album, a re-release of the Maniac demo, and an EP the latter featuring a brand new track (“Suicide Squad”) and a Tank cover (“Power of the Hunter”). A Grand Slam was a very possible occurrence with a full-length hopefully looming on the horizon… but no: the band decided to stop playing around for the umpteenth time. Well, “Four Times a Charm”, I’ve heard people say, so the next reunion should bring their wargasmic contribution to thrash metal’s second golden period.

bayern



..::TRACK-LIST::..

1. Wasteland 03:57
2. Revenge 07:01
3. Bullets and Blades 03:49
4. Undead 06:27
5. Merritt's Girlfriend 00:43
6. Sudden Death 04:59
7. Wargasm 09:13
8. Le Cou Cou 02:20
9. Humanoid 04:49



..::OBSADA::..

Bob Mayo - Bass, Vocals
Barry Spillberg - Drums
Rich Spillberg - Guitars



https://www.youtube.com/watch?v=3n4DydYOixo


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

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


..::OPIS::..

Underground Thrash Metal classic finally available again! Wargasm’s “Why Play Around?” is a criminally overlooked Thrash Metal masterpiece, now remastered and reissued again! Originally unleashed in 1988, this cult classic rips with razor sharp riffing, frenetic solos and vitriolic energy that easily rivals the Big 4! From the neck snapping opener “Wasteland” to the molten assault of “Revenge” and the epic nine minute title track “Wargasm,” the Spillberg brothers (Rich & Barry) and Bob Mayo crafted a record that’s ferocious, technical and ahead of its time. No filler. No compromise. Just pure, unfiltered Thrash Metal!



In 1988, many thrash bands were already making a name for themselves. The genre had reached it's peak, with many classics coming out that year. In Boston, Massachusetts however, one band was about to dominate and unleash a monster of a thrash album. That band was Wargasm, who started out as Maniac and released a demo titled "Rainbows, Kittens, Flowers & Puppies". They changed their name to Wargasm shortly after and signed to Profile Records, releasing their debut "Why Play Around?" not too long after. Let's talk about this classic...

The record starts off with the amazing "Wasteland", which contains some incredible riffs from Rich Spillberg. Spillberg is one of the most underrated thrash guitarists out there, he is an absolute MONSTER of a guitar player! His solo on this track is just the beginning. Bob Mayo is a excellent bass player and vocalist, his bass is a little hard to hear unfortunately though. His vocals are great, but I always seem to get the image of Kermit the Frog singing the lyrics because he sounds so much like him LOL! Rich's brother Barry Spillberg handles drum duties. He is an excellent drummer, and does a great job of keeping time. His drumming fits the music perfectly, there's no complaints here.

"Revenge" is easily one of the best thrash songs ever, with an instantly memorable riff from Rich. The lyrics here are awesome too, "He's on a rampage, on the run, more hellbent then you've ever seen. Trying to tell him that he's got no right is like putting out fire with gasoline!" One word to describe that line: BADASS! Rich's solo is easily one of my favorites of all time, I'm 100% serious. The solo is purely wargasmic (pun intended), and it could go on for hours upon hours and it still wouldn't be enough! Overall, this track is a highlight!

"Bullets and Blades" is another killer thrasher with some very intricate fret board work by Rich. Mayo's vocals here are among the best on the album too. "Undead" opens with the sound effects of zombies with a creepy guitar intro before BOOM and a riff comes out of nowhere, it scared the living shit out of me upon first listen haha. In the middle song, Rich does some sick guitar harmonics. The closing is great and a perfect ending to a killer song. "Merritt's Girlfriend" is just a transitional track, nothing special here.

"Sudden Death" is bound to make you headbang into oblivion with it's heavy chugging riff in the intro. The solo sounds very Kirk Hammett inspired, this track is underrated. "Wargasm" is an epic 9 minute riff fest with lyrics talking about war and nuclear missles, this is undoubtedly another highlight. "Le Coucou" is actually a baroque piece written by French composer Louis-Claude Daquin in the 1700's. Being a huge fan of classical music, I absolutely love this. Mayo's bass gets it's chance to shine here which is nice and Rich does a fantastic job of converting the music to guitar. Overall, it's a enjoyable piece. The record closes with the furious thrasher "Humanoid", which contains a riff in the middle of the song which reminds me of Stormtroopers of Death. It is a great way to close out a masterpiece of a thrash album.

If you crave old school thrash and are hungry for underrated classics, then this is a MUST LISTEN! Rich's guitar work is state-of-the-art, Bob Mayo is a one of a kind vocalist, and Barry is a wonderful drummer. I recommend this for fans of Testament, Xentrix, Forced Entry and Anthrax.

ThrashFanatic


The unanimous winners of the “best not very known thrash metal album of all times” award, Wargasm’s “Why Play Around” remains one of the twenty greatest works of thrash in metal history. Believe it or not, I only found about its existence in January, 2005 (yes, I know…) when a friend of mine gave me the CD as a present for my birthday; true story. Why it had been hiding from me so steadfastly all this time is subject to further investigation. Anyway, we got acquainted, better late than never, and have been best of buddies ever since. I listen to it once every 2/3 weeks just for the pure pleasure of it, especially when I feel like moshing around the house to oblivion. It’s a sheer mystery why this talented trio from Boston, Massachusetts, never received a place on the front row… They had the requisite pre-history when the guys changed their name twice, from Overkill (no, not those ones) to Maniac, and from Maniac to Wargasm; they started very early in 1982 with all the other pioneers; they released their debut in the best year for metal… And yet, they couldn’t quite rise aboveground the way other debutantes that same year (Vio-Lence, Toxik, Realm, Forbidden) did. The other acts’ cassettes were lying around the studios, and later in the shops whereas those of The Wargasms were nowhere to be found. Was there something wrong with the band name? Or do I detect another global conspiracy here…

It beats me why there aren’t at least twenty or so reviews written about this opus so far… To continue, what one can’t deny is the fact that there was a lot of playing around the metal field in the late-80s’, and some of the greatest works of the movement were produced back then. Wargasm’s debut stands proud as one of the milestones of American thrash metal. Actually, one would find it hard to cite a better, genuinely compulsive roller-coaster than the one reviewed here. Using the only Maniac demo as a base for this endeavour, the band waste no time joining the fray with the smashing speed/thrashing opener “Wasteland”, an infectious cut, a perennial hymn which also introduces the vocalist Bob Mayo’s effective semi-clean/semi-declamatory, mid-ranged vocals. It also paves the path for the coming of “Revenge”, one of the ten finest thrash metal numbers ever, with the most spontaneous, moshing introductory riff composed, a perennial feast for the fans of all generations who will be jumping around like demented throughout these 7-min of mandatory thrash metal history.

“Bullets & Blades” is the little brother of “Revenge” with impetuous galloping riffs racing each other this “race” topped by a great memorable chorus and followed by an excellent more technical twist near the end. More aggressive thrashing comes with “Undead” the riff “storm” instigated lasting for 6.5-min. Time for a rest with the short balladic instrumental “Merritt’s Girlfriend” before “Sudden Death” comes cutting with the sharpest, steelest riffs around which change into something more stylish and technical later and vice versa until a fast-paced “skirmish” finishes off this eventful “dialogue”. “Wargasm” unleashes a hard galloping “assault” for a start, but the delivery becomes choppier and more intricate later turning this composition into a 9-min cavalcade of elaborate, nearly progressive thrashing which amazingly pulls it off without the use of any lead sections, a riff-driven bliss second to none with a stupendous atmospheric, doomy ending. Another very well deserved break for the band with Mayo displaying his skills on the bass on the nice all-instrumental piece “Le Cou Cou”, the others bracing themselves for their final performance on the closing “Humanoid”, a raging thrasher with all the claims to be the most brutal cut here well justified, the guys moshing out with reckless abandon interrupting their fast-paced exploits for a more officiant slower interlude.

Three Bostonians are responsible for some of the most treasured 45-min of classic thrash; incredible, but a fact! Ranking right up there with the feat of their compatriots during the early days of the War of Independence (remember “The Boston Tea Party”). Well, this trio may not find their place in the annals of American music history the way other less significant and less proficient ones did. In cases like this one can’t stop wondering about the illogical phenomenon which the metal world is: how does it select those to be placed on the road to fortune and glory, and how does it select the ones who would be solely remembered by a few initiated fans? It boggles the mind, but I guess in this random, lottery-like “logic” lies its charm as well. Wargasm were not one of the lucky acts to be at the right place, at the right time; they didn’t have the requisite connections within the music business “jungle”. So they had to satisfy their ambition by “merely” becoming the finest thrash metal export of Massachusetts, recognition that stands up to this day. An achievement attained with their very first full-length…

Saying that, I by no means want to invalidate the band’s subsequent output. It’s just that when an act begins a career with such a strong first effort, what follows would invariably be compared to its mighty predecessor. The band were probably aware of what a great album they had created, and may have decided to wait for it to gain inertia and top the charts. For reasons already well explained, that never happened and the guys found themselves one day, in the mid-90’s under entirely different regulations established on the scene. “Ugly” environment by all means which was reflected in the album-title of their sophomore release which contained some well-constructed metal, as a matter of fact, nothing “ugly” music-wise, a pretty listenable combination between the old and the modern sound with a couple of tracks nearly reaching the intensity of the debut. The guys were still playing around, but in a less inspired fashion, a gradually expanding lethargic state that became way more tangible on their swansong two years later, aptly titled “Suicide Notes”, the band signing off without putting up much of a fight with these unimpressive, rehashed post-thrash “notes”.

The guys reformed three times in the new millennium, in 2004, 2008, and 2014, consequently splitting-up the same number of times. Their last reformation spell so far was the most productive one with a compilation, a live album, a re-release of the Maniac demo, and an EP the latter featuring a brand new track (“Suicide Squad”) and a Tank cover (“Power of the Hunter”). A Grand Slam was a very possible occurrence with a full-length hopefully looming on the horizon… but no: the band decided to stop playing around for the umpteenth time. Well, “Four Times a Charm”, I’ve heard people say, so the next reunion should bring their wargasmic contribution to thrash metal’s second golden period.

bayern



..::TRACK-LIST::..

1. Wasteland 03:57
2. Revenge 07:01
3. Bullets and Blades 03:49
4. Undead 06:27
5. Merritt's Girlfriend 00:43
6. Sudden Death 04:59
7. Wargasm 09:13
8. Le Cou Cou 02:20
9. Humanoid 04:49



..::OBSADA::..

Bob Mayo - Bass, Vocals
Barry Spillberg - Drums
Rich Spillberg - Guitars



https://www.youtube.com/watch?v=3n4DydYOixo


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Porywający heavy/thrash metal z politycznym zacięciem...
PETARDA!!!


There’s heavy metal, power metal, thrash metal, death metal etc. the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it heavy/traditional metal? NWOBHM? Pariah don’t make it easy job for me to describe their sound. It’s too sophisticated to be heavy metal, which in its infancy was a rather simple affair. They don’t sound like any power metal band out there, perhaps discounting some of the more aggressive and technical ones, and I can’t detect any signature NWOBHM-sounds. I’m confused. Maybe it would be best to just call it Satan or Pariah Metal?

The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan and Blind Fury in the past. Their unique style unifies what is otherwise three very different band. Undeniably, Satan has gone a long way; from humble NWOBHM-ish beginnings, to experimental/melodic rock/metal (Blind Fury) and something that could be described as a NWOBHM-thrash hybrid (Pariah – The Kindred). It’s as if they’ve been experimenting trying to find their identity, and finally found it. Stylistically, Blaze of Obscurity can be seen a step back toSuspended Sentence, but this time around they got everything right, down to the last note.

Those who have heard Satan or Blind Fury know what to expect: great guitar playing. And sure enough, Blaze of Obscurity is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking.

It isn’t fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance and a clear improvement from previous endeavors. The band scored a jackpot when they found him; his unusual voice is ideal for this type of music and can be described as rough, aggressive, powerful, dramatic and intense. His best performance can be found on the title song, a multi-faceted semi-ballad with some eerie, wide-range vocals which just may be the best song the album has to offer.

The verdict: Blaze of Obscurity is not terribly melodic or catchy, but the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. The downside is that most would probably describe it as inaccessible. The guitar playing can come off as a bit too clinical and repetitive for the casual listener, and the overall tone is unusually serious and brooding. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find much to appreciate here.

fluffy ferret



..::TRACK-LIST::..

1. Missionary of Mercy 06:00
2. Puppet Regime 04:31
3. Canary 05:42
4. Blaze of Obscurity 05:42
5. Retaliate! 04:31
6. Hypocondriac 04:13
7. Enemy Within 04:50
8. The Brotherhood 05:49



..::OBSADA::..

Steve Ramsey - Guitars
Michael Jackson - Vocals
Sean Taylor - Drums
Graeme English - Bass
Russ Tippins - Guitars



https://www.youtube.com/watch?v=9mfmclMrnAs


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Porywający heavy/thrash metal z politycznym zacięciem...
PETARDA!!!


There’s heavy metal, power metal, thrash metal, death metal etc. the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it heavy/traditional metal? NWOBHM? Pariah don’t make it easy job for me to describe their sound. It’s too sophisticated to be heavy metal, which in its infancy was a rather simple affair. They don’t sound like any power metal band out there, perhaps discounting some of the more aggressive and technical ones, and I can’t detect any signature NWOBHM-sounds. I’m confused. Maybe it would be best to just call it Satan or Pariah Metal?

The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan and Blind Fury in the past. Their unique style unifies what is otherwise three very different band. Undeniably, Satan has gone a long way; from humble NWOBHM-ish beginnings, to experimental/melodic rock/metal (Blind Fury) and something that could be described as a NWOBHM-thrash hybrid (Pariah – The Kindred). It’s as if they’ve been experimenting trying to find their identity, and finally found it. Stylistically, Blaze of Obscurity can be seen a step back toSuspended Sentence, but this time around they got everything right, down to the last note.

Those who have heard Satan or Blind Fury know what to expect: great guitar playing. And sure enough, Blaze of Obscurity is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking.

It isn’t fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance and a clear improvement from previous endeavors. The band scored a jackpot when they found him; his unusual voice is ideal for this type of music and can be described as rough, aggressive, powerful, dramatic and intense. His best performance can be found on the title song, a multi-faceted semi-ballad with some eerie, wide-range vocals which just may be the best song the album has to offer.

The verdict: Blaze of Obscurity is not terribly melodic or catchy, but the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. The downside is that most would probably describe it as inaccessible. The guitar playing can come off as a bit too clinical and repetitive for the casual listener, and the overall tone is unusually serious and brooding. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find much to appreciate here.

fluffy ferret



..::TRACK-LIST::..

1. Missionary of Mercy 06:00
2. Puppet Regime 04:31
3. Canary 05:42
4. Blaze of Obscurity 05:42
5. Retaliate! 04:31
6. Hypocondriac 04:13
7. Enemy Within 04:50
8. The Brotherhood 05:49



..::OBSADA::..

Steve Ramsey - Guitars
Michael Jackson - Vocals
Sean Taylor - Drums
Graeme English - Bass
Russ Tippins - Guitars



https://www.youtube.com/watch?v=9mfmclMrnAs


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Trudno eksperymentować z thrash metalem, a tym bardziej odnieść w nim sukces, ale Koboldowi się to udało i dzięki temu stali się cholernie fajną kapelą.



Kobold is an entity easy to overlook, concealed behind their cartoonish aesthetics and not overtly serious attitude, but I wouldn't recommend sleeping on this amazing band to anybody. After a juvenile debut, already this sophomore Masterpace is a much more accurate showcase of their innate abilities that solidified them as one of my favourite revival thrash outfits around – one more hailing from the Serbian borders, to boot, yet having few things in common with my beloved Quasarborn, beyond being both based in the country capital Belgrade, and Luka Matković's reappearing at the production desk, meaning we'll get another killer-sounding album regardless of the end result. Let's dive into it, then.

From the first notes of the title-track and opener, we sure are in for a threat. The rhythm department was totally revamped, and even more than the incessant blast beats courtesy of Marko Stefanović, it's the bassist upgrade that deserves the spotlight, as Stefan Stanojević simply does whatever he wants around the songs. The song itself is way more extreme than the speed-infused early days, with the riffing often trespassing black, or at least blackened death, territory, and also frequent growls as the best counterpart to main man Elio Rigonat's unhinged vocals. There's even a 'Left Hand Path'-style melodic coda as a very welcome plus. Overall, it's safe to say it eats the whole Death Parade for breakfast. Despite having opened the album with its most plausible MVP, though, the most admirable thing is that Kobold still find a way to keep the quality level sky high with the subsequent 'Deus Ex' and 'Ad Astra' – if I had a nickel for every time they used a Latin title, I'd have two nickels, which isn't a lot, but it's weird that it happened twice (three times if we count the subpar 'Vertigo''s etymology, by extension). Same recipe, same end result, same fair share of curveballs, like the visionary bass solo of the former, or the sung bridge of the latter – as also closer 'Fractured' reaffirms, as a perfect compendium of everything heard before. 'Blood Drops' is another experiment with a softer track, at least in its first half, and while it should have deserved a less shrill vocal performance, the piano and guitar parts are way more beautiful than they have any right to be, although not lasting long before getting back to the massacre.

And then there's 'Thrash Overlords'. I'm pretty sure you know some of those elaborated, thought-out albums that however arrive at one point where the band goes, 'you know what, fuck it, let's just rip shit up' and records the most pissed off, over-the-top riffs they manage to conjure, slaps a name to them and calls it a track, right? 'Thrash Overlords' is exactly that, the 'Serial Killer', or 'Suicide Command', of Masterpace. A less serious detour, but also a rhythm guitar seminar. Last time I put it in my car stereo I touched 100 mph with my hatchback, so, um, let's just say it knows how to convey its message.

Masterpace marks a staggering rebound from the unripe, crude speed/thrashing of Death Parade, to the point that it almost seems like a totally different band (although yeah, most of it is). I don't have a fixed recipe for a killer album, but when a band manages to cram this much stuff into an album, sound terrific in the process, and still wrap up the whole package in less than 40 minutes, you can bet your sweet ass I'm in. If you have never heard of Kobold and you're reading this, you have no excuses now.

TheBurningOfSodom



..::TRACK-LIST::..

1. Masterpace 06:43
2. Deus Ex 06:35
3. Ad Astra 06:29
4. Vertigo 04:09
5. Thrash Overlords 03:54
6. Blood Drops 04:14
7. Fractured 06:12



..::OBSADA::..

Elio Rigonat - Vocals & Guitar
Marko Stefanović - Drums
Stefan Stanojević, aka "Edwin Pickett" - Bass



https://www.youtube.com/watch?v=802qkEYoU30


SEED 15:00-22:00.
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Trudno eksperymentować z thrash metalem, a tym bardziej odnieść w nim sukces, ale Koboldowi się to udało i dzięki temu stali się cholernie fajną kapelą.



Kobold is an entity easy to overlook, concealed behind their cartoonish aesthetics and not overtly serious attitude, but I wouldn't recommend sleeping on this amazing band to anybody. After a juvenile debut, already this sophomore Masterpace is a much more accurate showcase of their innate abilities that solidified them as one of my favourite revival thrash outfits around – one more hailing from the Serbian borders, to boot, yet having few things in common with my beloved Quasarborn, beyond being both based in the country capital Belgrade, and Luka Matković's reappearing at the production desk, meaning we'll get another killer-sounding album regardless of the end result. Let's dive into it, then.

From the first notes of the title-track and opener, we sure are in for a threat. The rhythm department was totally revamped, and even more than the incessant blast beats courtesy of Marko Stefanović, it's the bassist upgrade that deserves the spotlight, as Stefan Stanojević simply does whatever he wants around the songs. The song itself is way more extreme than the speed-infused early days, with the riffing often trespassing black, or at least blackened death, territory, and also frequent growls as the best counterpart to main man Elio Rigonat's unhinged vocals. There's even a 'Left Hand Path'-style melodic coda as a very welcome plus. Overall, it's safe to say it eats the whole Death Parade for breakfast. Despite having opened the album with its most plausible MVP, though, the most admirable thing is that Kobold still find a way to keep the quality level sky high with the subsequent 'Deus Ex' and 'Ad Astra' – if I had a nickel for every time they used a Latin title, I'd have two nickels, which isn't a lot, but it's weird that it happened twice (three times if we count the subpar 'Vertigo''s etymology, by extension). Same recipe, same end result, same fair share of curveballs, like the visionary bass solo of the former, or the sung bridge of the latter – as also closer 'Fractured' reaffirms, as a perfect compendium of everything heard before. 'Blood Drops' is another experiment with a softer track, at least in its first half, and while it should have deserved a less shrill vocal performance, the piano and guitar parts are way more beautiful than they have any right to be, although not lasting long before getting back to the massacre.

And then there's 'Thrash Overlords'. I'm pretty sure you know some of those elaborated, thought-out albums that however arrive at one point where the band goes, 'you know what, fuck it, let's just rip shit up' and records the most pissed off, over-the-top riffs they manage to conjure, slaps a name to them and calls it a track, right? 'Thrash Overlords' is exactly that, the 'Serial Killer', or 'Suicide Command', of Masterpace. A less serious detour, but also a rhythm guitar seminar. Last time I put it in my car stereo I touched 100 mph with my hatchback, so, um, let's just say it knows how to convey its message.

Masterpace marks a staggering rebound from the unripe, crude speed/thrashing of Death Parade, to the point that it almost seems like a totally different band (although yeah, most of it is). I don't have a fixed recipe for a killer album, but when a band manages to cram this much stuff into an album, sound terrific in the process, and still wrap up the whole package in less than 40 minutes, you can bet your sweet ass I'm in. If you have never heard of Kobold and you're reading this, you have no excuses now.

TheBurningOfSodom



..::TRACK-LIST::..

1. Masterpace 06:43
2. Deus Ex 06:35
3. Ad Astra 06:29
4. Vertigo 04:09
5. Thrash Overlords 03:54
6. Blood Drops 04:14
7. Fractured 06:12



..::OBSADA::..

Elio Rigonat - Vocals & Guitar
Marko Stefanović - Drums
Stefan Stanojević, aka "Edwin Pickett" - Bass



https://www.youtube.com/watch?v=802qkEYoU30


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Reedycja 2026 kultowego albumu 'The Kindred' brytyjskiej formacji PARIAH to obowiązkowa pozycja dla fanów technicznego thrash metalu, nierozerwalnie związanego z dziedzictwem legendarnych grup Satan oraz Skyclad.
Reedycja 2026 przywraca blask tej zapomnianej perle brytyjskiego grania, łącząc drapieżność riffów z unikalną, mroczną melodyką charakterystyczną dla muzyków z Newcastle.


Satan's evolution finally came to an end here with this moniker, Pariah. What they were going for with Suspended Sentence released under part of Satan's legacy, could definitely be seen as a hint to the direction they'd take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this release. Yet again, the main lineup here is entirely the same from Satan and Blind Fury (vocalists aside). Simply put, I think you could easily say they took Suspended Sentence's interesting idea of "heavy NWOBHM meets thrash" and basically focused on being even more aggressive this time.

I might be throwing out the obvious here again, but if you're new to Pariah or perhaps Satan and Blind Fury, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. Both have a lot of character to their own styles and at the same time, they manage to blend in everything together perfectly. For the most part with The Kindred here their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classy NWOBHM solo's, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The solo's on this album are just something you'd probably never expect to hear on something overly thrashy. Just more proof these guys are definitely creative and highly skillful I'd say.

The production and mix seems to be an improvement over Suspended Sentence, which wasn't bad at all or anything but here the guitars tend to have more of a sharper edge, Jackson's vocals are constantly in the clear and never overpowered by anything else, and overall there's just more of a tougher vibe surrounding this. Everything is pretty damn heavy. Jackson again likes to throw out some rough screams around the place that oddly remind me of Eric Adams, (maybe after he swallowed a little bit of lava or something). While Tippins and Ramsey are really out there in a realm of their own, there's great performances again by Graeme English on bass and Sean Taylor on drums. Overall you've got a whole package of virtuous musicians here that really mastered the beauty of balance.

The Kindred tends to be a little straightforward for the most part but they certainly stir things up with the crazy solo's that are easily a highlight on every single track. The riffs and rhythms as I kind of stated above are very melodic and catchy, not too experimental or odd. But when it comes to some buildups, rhythm changes, and the start of solo's, you'll be pitted in tons of unique originality. Overall The Kindred sticks to its "heavy NWOBHM meets thrash" formula with every track being pretty fast and aggressive. It's a bit hard to explain I guess, you could say the album is a bit more predictable compared to some of their other works but at the same time you just really have to hear how they interestingly play things out. I also think it's really cool that there's a handful of tracks off this that probably could've stemmed from early Satan around their Court In The Act era. Basically, if you took some of these tracks like The Rope, Foreign Bodies, Inhumane, etc, and slowed them down a bit, cleared out the guitar tone, put someone more clean on vocals like former Brian Ross, you'd probably end up with some classy NWOBHM tunes. They've even got those shouts in the background from the other members which was definitely popular in some NWOBHM (hey and then thrash?). Towards the end of the album things do seem to get a bit experimental with tracks like Icons of Hypocrisy and Shows Your Face. The instrumental La Guerra is really great, it's like a sequel to 92nd Symphony from Satan!

In the end, I think one of the biggest highlights for me here is Scapegoat - this song just dominates with amazing riffs and leads, easily one of the more aggressive and darker numbers as well. After a little short dramatic segment (where Jackson actually sounds great with some softer clear vocals) the song completely explodes, an insane twin guitar attack shreds things apart while everyone in the background is going pretty over the top themselves. All the songs that contain solo's like this, where the drums and bass are going crazy at the same time are probably my other favorites like Inhumane, Killing For Company, and Promise of Remembrance. I do have to say the slower soothing leads on Icons of Hypocrisy stand out quite a bit too. Either way, all the solo's here are pretty phenomenal but I think you get the point already! All in all, this is really unique stuff. Everyone knows thrash was somewhat born from NWOBHM, but I think a lot of bands with their earlier releases wanted those influences to be a bit subtle. Not with The Kindred here, Pariah wanted this to literally be "thrashy NWOBHM" and they really made it work. Fans of both thrash and the tougher NWOBHM stuff out there should definitely check this out. Their next release Blaze of Obscurity would prove to be even more creative, not quite as aggressive as this one but it is a little superior I'd say. It's something you really can't classify at all. Satan, Blind Fury, and Pariah all typically made up of the same core members definitely created some timeless and unique heavy metal.

Xeogred



..::TRACK-LIST::..

1. Gerrymander
2. The Rope
3. Scapegoat
4. Foreign Bodies
5. (La Guerra) Inhumane
6. Killing For Company
7. Icons Of Hypocrisy
8. Promise Of Remembrance
9. Disciples Anonymous



..::OBSADA::..

Michael Jackson - Vocals
Graeme English - Bass
Russ Tippins - Guitars
Steve Ramsey - Guitars
Sean Taylor - Drums



https://www.youtube.com/watch?v=6uVw1kIjoMo



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


..::OPIS::..

Reedycja 2026 kultowego albumu 'The Kindred' brytyjskiej formacji PARIAH to obowiązkowa pozycja dla fanów technicznego thrash metalu, nierozerwalnie związanego z dziedzictwem legendarnych grup Satan oraz Skyclad.
Reedycja 2026 przywraca blask tej zapomnianej perle brytyjskiego grania, łącząc drapieżność riffów z unikalną, mroczną melodyką charakterystyczną dla muzyków z Newcastle.


Satan's evolution finally came to an end here with this moniker, Pariah. What they were going for with Suspended Sentence released under part of Satan's legacy, could definitely be seen as a hint to the direction they'd take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this release. Yet again, the main lineup here is entirely the same from Satan and Blind Fury (vocalists aside). Simply put, I think you could easily say they took Suspended Sentence's interesting idea of "heavy NWOBHM meets thrash" and basically focused on being even more aggressive this time.

I might be throwing out the obvious here again, but if you're new to Pariah or perhaps Satan and Blind Fury, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. Both have a lot of character to their own styles and at the same time, they manage to blend in everything together perfectly. For the most part with The Kindred here their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classy NWOBHM solo's, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The solo's on this album are just something you'd probably never expect to hear on something overly thrashy. Just more proof these guys are definitely creative and highly skillful I'd say.

The production and mix seems to be an improvement over Suspended Sentence, which wasn't bad at all or anything but here the guitars tend to have more of a sharper edge, Jackson's vocals are constantly in the clear and never overpowered by anything else, and overall there's just more of a tougher vibe surrounding this. Everything is pretty damn heavy. Jackson again likes to throw out some rough screams around the place that oddly remind me of Eric Adams, (maybe after he swallowed a little bit of lava or something). While Tippins and Ramsey are really out there in a realm of their own, there's great performances again by Graeme English on bass and Sean Taylor on drums. Overall you've got a whole package of virtuous musicians here that really mastered the beauty of balance.

The Kindred tends to be a little straightforward for the most part but they certainly stir things up with the crazy solo's that are easily a highlight on every single track. The riffs and rhythms as I kind of stated above are very melodic and catchy, not too experimental or odd. But when it comes to some buildups, rhythm changes, and the start of solo's, you'll be pitted in tons of unique originality. Overall The Kindred sticks to its "heavy NWOBHM meets thrash" formula with every track being pretty fast and aggressive. It's a bit hard to explain I guess, you could say the album is a bit more predictable compared to some of their other works but at the same time you just really have to hear how they interestingly play things out. I also think it's really cool that there's a handful of tracks off this that probably could've stemmed from early Satan around their Court In The Act era. Basically, if you took some of these tracks like The Rope, Foreign Bodies, Inhumane, etc, and slowed them down a bit, cleared out the guitar tone, put someone more clean on vocals like former Brian Ross, you'd probably end up with some classy NWOBHM tunes. They've even got those shouts in the background from the other members which was definitely popular in some NWOBHM (hey and then thrash?). Towards the end of the album things do seem to get a bit experimental with tracks like Icons of Hypocrisy and Shows Your Face. The instrumental La Guerra is really great, it's like a sequel to 92nd Symphony from Satan!

In the end, I think one of the biggest highlights for me here is Scapegoat - this song just dominates with amazing riffs and leads, easily one of the more aggressive and darker numbers as well. After a little short dramatic segment (where Jackson actually sounds great with some softer clear vocals) the song completely explodes, an insane twin guitar attack shreds things apart while everyone in the background is going pretty over the top themselves. All the songs that contain solo's like this, where the drums and bass are going crazy at the same time are probably my other favorites like Inhumane, Killing For Company, and Promise of Remembrance. I do have to say the slower soothing leads on Icons of Hypocrisy stand out quite a bit too. Either way, all the solo's here are pretty phenomenal but I think you get the point already! All in all, this is really unique stuff. Everyone knows thrash was somewhat born from NWOBHM, but I think a lot of bands with their earlier releases wanted those influences to be a bit subtle. Not with The Kindred here, Pariah wanted this to literally be "thrashy NWOBHM" and they really made it work. Fans of both thrash and the tougher NWOBHM stuff out there should definitely check this out. Their next release Blaze of Obscurity would prove to be even more creative, not quite as aggressive as this one but it is a little superior I'd say. It's something you really can't classify at all. Satan, Blind Fury, and Pariah all typically made up of the same core members definitely created some timeless and unique heavy metal.

Xeogred



..::TRACK-LIST::..

1. Gerrymander
2. The Rope
3. Scapegoat
4. Foreign Bodies
5. (La Guerra) Inhumane
6. Killing For Company
7. Icons Of Hypocrisy
8. Promise Of Remembrance
9. Disciples Anonymous



..::OBSADA::..

Michael Jackson - Vocals
Graeme English - Bass
Russ Tippins - Guitars
Steve Ramsey - Guitars
Sean Taylor - Drums



https://www.youtube.com/watch?v=6uVw1kIjoMo



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::..

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!!!