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


..::OPIS::..

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

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

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

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

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

mutant


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

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

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


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

dismember marcin



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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

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

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

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

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

mutant


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

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

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


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

dismember marcin



..::TRACK-LIST::..

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

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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



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



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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



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



..::TRACK-LIST::..

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

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

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

FA


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

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

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

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

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

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

bayern



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

FA


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

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

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

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

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

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

bayern



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

deaf



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

deaf



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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



..::TRACK-LIST::..

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



..::OBSADA::..

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



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



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

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


..::OPIS::..

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

FA

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

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

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

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

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

"Dehumanization
Cybernetic transformation!"

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

ThrashFanatic


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

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

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

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

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

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

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

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

bayern



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

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

FA

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

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

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

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

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

"Dehumanization
Cybernetic transformation!"

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

ThrashFanatic


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

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

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

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

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

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

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

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

bayern



..::TRACK-LIST::..

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



..::OBSADA::..

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




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



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

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


..::OPIS::..

Premierę kolejnego albumu Testament ciężko nazwać świętem thrash metalu, bo styl zespołu przez lata tak ewoluował, że najprościej nazwać go po prostu metalem. Album nosi tytuł Para Bellum, jest pierwszym albumem dla Nuclear Blast po podpisaniu kontraktu na kolejne trzy płyty dla wytwórni i miał premierę 10 października 2025 roku.

Nim usiadłem do pisania tego tekstu dałem sobie czas na wycieczkę w przeszłość w moje wspomnienia. Miała ona na celu przypomnienie sobie, jaką pozycję zajmowała kapela Petersona przez długie lata mojej przygody z metalem. Doszedłem do wniosku, że od usłyszenia po raz pierwszy The New Order nigdy sobie tego zespołu nie odpuściłem, Testament nigdy nie nagrał St.Anger czy Risk i nie dał fanom powodu do nabijania się z siebie czy odłożenia na półkę. Podczas załamania się popularności thrash metalu w połowie lat 90. band nagrał potężny Demonic, który w moim uznaniu można nazwać odpowiedzią na to co ze sceną zrobiły takie albumy jak Burn My Eyes (Machine Head) czy Demanufacture (Fear Factory). Ruch ten zapewnił zespołowi utrzymanie się na poziomie w czasach najtrudniejszych dla klasycznego metalu i pozwolił nagrać najmocniejsze albumy. Lata 00. przyniosły już delikatny powrót do klasyki i Testament się uchował bez popełnienia wydawniczej wtopy. Późniejsza działalność studyjna mocno skupiła się na łączeniu tego, co najlepsze w klasycznym brzmieniu zespołu, z albumami brutalniejszymi, i tak to wygląda do dziś.

Tak samo jest z Para Bellum. Promujący płytę Infanticide A.I nie pozostawił żadnych wątpliwości, że band nie ma zamiaru zwalniać. Założyciele zespołu w postaci Erica Petersona i Chucka Billy’ego pomimo przekroczenia sześćdziesiątego roku życia podtrzymują ogień w swoich żyłach i przekraczają kolejne granice brutalności Testament. Każdy, kto usłyszy otwierający album For the Love of Pain, dojdzie do tego samego wniosku, że „tego to jeszcze nie było”. Peterson pozwolił tu sobie na ukazanie swojej nie ukrywanej miłości do black metalu i po energicznym, groove’owym wstępie uderzył z mocą, jakiej nie mają niektóre zespoły złożone z nastolatków. Wymianki wokalne pomiędzy growlującym Chuckiem i skrzeczącym Erikiem miażdżą. Nie bez znaczenia pozostaje też pozwolenie na pokazanie swych możliwości najnowszemu nabytkowi zespołu w postaci Chrisa Dovasa (Vital Remains, ex-Seven Spires), który zagęścił partie perkusji i je możliwie – względem stylu Testament – zbrutalizował, wciskając blasty i dwie stopy, gdzie tylko mógł.
Mocny początek i brutalny wyziew w postaci For the Love of Pain i Infanticide A.I zatrzymuje Shadow People, który rozpoczyna się totalnie, klasycznie testamentowym riffem. Mam uczucie, że słyszałem go co najmniej na pierwszych czterech albumach grupy, ale za to już długo nie było aż tak thrashowo na albumach nowszych. Jest to bardzo dobry utwór, utrzymany w stylu Testament z lat 80. Billy śpiewa z charakterystyczną dla siebie chrypą i poza małym „półblastem” w refrenie utwór ten mógłby pojawić się na przykład na Souls of Black. Z czwórką natomiast pojawia się największe zaskoczenie płyty, ballada. Meant to Be to kompozycja zbudowana na akustycznych gitarach i wokalu Chucka, skojarzenia lecą do The Ritual i hymnu Return to Serenity. Piękna rzecz.

Po momencie wyciszenia wlatuje High Noon, który najbardziej kojarzy mi się z albumem The Gathering. Deathowy wokal dominuje na całej długości utworu, a motywy mieszają „deathujący” ciężar z thrashem. Pojawia się tu także bardzo dobre solo, utrzymane trochę w stylu Jamesa Murphy’ego (gitarzysty znanego z Obituary, który grał na Low, Demonic i The Gathering). Kolejny, Witch Hunt nie odpuszcza z tonu, utrzymując duszny klimat. Po tej dwuutworowej dawce brutalności do końca albumu mamy do czynienia z lżejszym obliczem Testament. Billy dużo śpiewa, w riffach pojawia się dużo melodii, trochę heavy metalu, a nawet bluesowego feelingu (Nature of the Beast). Ta twarz Testament jest równie ważna w historii, ale już tak nie szokuje, jak wcześniejsze utwory. Daje solidne, korzenne zakończenie albumu, które będzie uwielbiane głównie przez fanów początku zespołu. Osobiście, początkowo miałem problem z zamykającym całość utworem tytułowym. Para Bellum łączy growlowane zwrotki z bardzo melodyjnym refrenem i jakoś mi się te motywy gryzły. Jednak po kilku odsłuchach ostatecznie się przegryzły i mogę stwierdzić, że lubię jednak całość.

Pierwszy odsłuch Para Bellum to był zachwyt. Początek płyty mnie dosłownie zabił, bo nie wierzyłem, że Testament stać jeszcze na taki atak. Późniejsze odsłuchy trochę uśpiły pierwszą podnietę i zacząłem go odbierać jako całość, a nie jako same fajerwerki. To był moment, w którym zacząłem go poznawać, rozumieć jego różnorodność. Przesłuchałem album kilkanaście razy, by mieć pewność co do oceny. Uważam, że Testament nagrał najlepszy album od czasu The Gathering. Ostatnie płyty zawsze trzymały wysoki poziom, posiadały wiele świetnych utworów, ale chyba żaden słuchany w całości nie podobał mi się tak jak Para Bellum. Oczywiście marzy mi się płyta, która w całości brzmiałaby ja Demonic, marzy mi się też taka korzenna, thrashowa i przebojowa jak The New Order, ale od lat dostajemy ich mieszanki, a utrzymanie tych różnych żywiołów w ryzach nie jest łatwe. Czasami miałem wrażenie, że płyty są nierówne. Nowa jest totalnie różnorodna, ale chyba jednocześnie najbardziej spójna. Album utrzymuje bardzo wysoki poziom zespołu i pcha go dalej, udowadniając, że wiek jednak nie ma wpływu na jakość metalu. Albo masz dobre pomysły, albo odcinasz kupony od przeszłości. Testament należy do tych, którzy mają dobre pomysły.

Brzeźnicki


Ciężko uwierzyć, że od wydania "Titans Of Creation" minęło już pięć lat. Jeszcze trudniej w to, że występ w Kostrzynie na Pol'And'Rocku odbył się rok wcześniej. Już wtedy członkowie zespołu kręcili na liczniku w okolicach sześćdziesiątki, ale nie przeszkodziło im to w zagraniu świetnego, bardzo żywiołowego, prawie 80-minutowego seta. Na scenie wyglądali, jakby byli w pełni wieku produkcyjnego, a nie zbliżali się do emerytury. W studiu na "Titans Of Creation" również wypadli bardzo dobrze, dając kolejny argument osobom twierdzącym, że Testament nie ma w swojej dyskografii słabego albumu. Jedna z najdłuższych przerw studyjnych przyniosła w końcu "Para Bellum" - album udowadniający starym dziadom z Metalliki, Kreatora czy Destruction, że mimo wieku można wciąż grać ciężko, świeżo, brutalnie, kreatywnie i z werwą.

Testament "wjechał z buta" krążkiem, który bez problemu powinien podbić tegoroczne zestawienia najlepszych płyt w kategorii rock/metal. Wszystko tutaj pięknie "gra". Album zaczyna się świetnym, wyjątkowo ciężkim i brutalnym "For The Love Of Pain". Pojawia się tu growl, są też blasty. Momentami utwór brzmi jak zagubione ogniwo z czasów "Demonic". Tak ciężko nie było od "The Formation Of Damnation". To otwarcie na poziomie "D.N.R." z "The Gathering", czyli jest po prostu świetnie. Dalej mamy dwa utwory przedpremierowe. "Infanticide A.I." również pędzi w ekspresowym tempie i wcale nie ustępuje ciężarem otwarciu albumu. "Shadow People" dość wyraźnie zwalnia, co daje sporo miejsca na zbudowanie klimatu i rozbudowanie formuły. Dzieje się tu na tyle dużo, że w ogóle nie czuć, iż utwór trwa prawie sześć minut.

Trochę większym wyzwaniem dla niektórych może być "Meant To Be" - testamentowa ballada trwająca ponad siedem i pół minuty. Utwór jest w dużej mierze akustyczny, a w kilku miejscach pojawiają się smyczki. Jeśli ktoś lubił wcześniejszą balladową odsłonę zespołu, bez problemu odnajdzie się również tutaj, bo to zwyczajnie bardzo dobra kompozycja. Reszta będzie miała czas na złapanie oddechu, bo dalej jest już tylko szybko i ciężko. "High Noon" czerpie garściami z okresu "Demonic", "Witch Hunt" wraz z otwarciem bije się o miano najcięższego fragmentu wydawnictwa, a "Nature Of The Beast" i "Room 177" mają w sobie sporo przebojowości. Całość w świetny sposób spina klamrą utwór tytułowy, po którego ostatnich dźwiękach pozostaje pewien niedosyt - chciałoby się chociaż jednego lub dwóch utworów więcej. To fenomenalne, biorąc pod uwagę, że "Para Bellum" trwa ponad 50 minut, a czas ten mija w ekspresowym tempie.

Zespołowi udało się uniknąć mielizn i stworzyć naprawdę mocny materiał. Słychać, że muzycy są w świetnej formie. Chuck płynnie porusza się pomiędzy śpiewem, krzykiem i growlem - tak dobrze brzmiał ostatnio kilkanaście lat temu. Na gitarach cuda wyprawiają Skolnick z Petersonem. Na płycie pełno jest smaczków, zmian tempa, przejść, solówek. Gitarzystom tempa dotrzymuje Chris Dovas, czyli świeżak w zespole. Perkusja brzmi tu świetnie i dodatkowo podkręca dynamikę. Całość dopełnia Di Giorgio, który na basie ma już ponad dziesięcioletni staż w zespole.

Wszystkie te elementy sprawiają, że "Para Bellum" słucha się znakomicie i od razu po końcowych dźwiękach ma się ochotę ponownie wcisnąć "play". To najlepszy i najcięższy album Testamentu od co najmniej kilkunastu lat. Tak dużo elementów deathowych pojawiło się ostatnio 17 lat temu. Wraz z "Dark Roots…" i "The Formation Of Damnation" może bić się o miano najlepszego albumu zespołu nagranego w tym tysiącleciu. Na plus jak zwykle punktuje również kolejna świetna okładka Elirana Kantora.

Karol Otkała


https://www.youtube.com/watch?v=TzR0Rgj9zH4



..::TRACK-LIST::..

1. For the Love of Pain 5:35
2. Infanticide A.I. 3:28
3. Shadow People 5:45
4. Meant to Be 7:33
5. High Noon 3:53
6. Witch Hunt 4:16
7. Nature of the Beast 4:28
8. Room 177 4:18
9. Havana Syndrome 4:40
10. Para Bellum 6:31



..::OBSADA::..

Chuck Billy - lead vocals
Alex Skolnick - lead guitar
Eric Peterson - rhythm and lead guitar, backing vocals
Steve Di Giorgio - bass
Chris Dovas - drums

Dave Eggar - string arrangement, orchestration, cello, viola, violin
Chuck Palmer - string arrangement
Xavi Morató - violin



https://www.youtube.com/watch?v=EuYGa2VNEOg


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

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


..::OPIS::..

Premierę kolejnego albumu Testament ciężko nazwać świętem thrash metalu, bo styl zespołu przez lata tak ewoluował, że najprościej nazwać go po prostu metalem. Album nosi tytuł Para Bellum, jest pierwszym albumem dla Nuclear Blast po podpisaniu kontraktu na kolejne trzy płyty dla wytwórni i miał premierę 10 października 2025 roku.

Nim usiadłem do pisania tego tekstu dałem sobie czas na wycieczkę w przeszłość w moje wspomnienia. Miała ona na celu przypomnienie sobie, jaką pozycję zajmowała kapela Petersona przez długie lata mojej przygody z metalem. Doszedłem do wniosku, że od usłyszenia po raz pierwszy The New Order nigdy sobie tego zespołu nie odpuściłem, Testament nigdy nie nagrał St.Anger czy Risk i nie dał fanom powodu do nabijania się z siebie czy odłożenia na półkę. Podczas załamania się popularności thrash metalu w połowie lat 90. band nagrał potężny Demonic, który w moim uznaniu można nazwać odpowiedzią na to co ze sceną zrobiły takie albumy jak Burn My Eyes (Machine Head) czy Demanufacture (Fear Factory). Ruch ten zapewnił zespołowi utrzymanie się na poziomie w czasach najtrudniejszych dla klasycznego metalu i pozwolił nagrać najmocniejsze albumy. Lata 00. przyniosły już delikatny powrót do klasyki i Testament się uchował bez popełnienia wydawniczej wtopy. Późniejsza działalność studyjna mocno skupiła się na łączeniu tego, co najlepsze w klasycznym brzmieniu zespołu, z albumami brutalniejszymi, i tak to wygląda do dziś.

Tak samo jest z Para Bellum. Promujący płytę Infanticide A.I nie pozostawił żadnych wątpliwości, że band nie ma zamiaru zwalniać. Założyciele zespołu w postaci Erica Petersona i Chucka Billy’ego pomimo przekroczenia sześćdziesiątego roku życia podtrzymują ogień w swoich żyłach i przekraczają kolejne granice brutalności Testament. Każdy, kto usłyszy otwierający album For the Love of Pain, dojdzie do tego samego wniosku, że „tego to jeszcze nie było”. Peterson pozwolił tu sobie na ukazanie swojej nie ukrywanej miłości do black metalu i po energicznym, groove’owym wstępie uderzył z mocą, jakiej nie mają niektóre zespoły złożone z nastolatków. Wymianki wokalne pomiędzy growlującym Chuckiem i skrzeczącym Erikiem miażdżą. Nie bez znaczenia pozostaje też pozwolenie na pokazanie swych możliwości najnowszemu nabytkowi zespołu w postaci Chrisa Dovasa (Vital Remains, ex-Seven Spires), który zagęścił partie perkusji i je możliwie – względem stylu Testament – zbrutalizował, wciskając blasty i dwie stopy, gdzie tylko mógł.
Mocny początek i brutalny wyziew w postaci For the Love of Pain i Infanticide A.I zatrzymuje Shadow People, który rozpoczyna się totalnie, klasycznie testamentowym riffem. Mam uczucie, że słyszałem go co najmniej na pierwszych czterech albumach grupy, ale za to już długo nie było aż tak thrashowo na albumach nowszych. Jest to bardzo dobry utwór, utrzymany w stylu Testament z lat 80. Billy śpiewa z charakterystyczną dla siebie chrypą i poza małym „półblastem” w refrenie utwór ten mógłby pojawić się na przykład na Souls of Black. Z czwórką natomiast pojawia się największe zaskoczenie płyty, ballada. Meant to Be to kompozycja zbudowana na akustycznych gitarach i wokalu Chucka, skojarzenia lecą do The Ritual i hymnu Return to Serenity. Piękna rzecz.

Po momencie wyciszenia wlatuje High Noon, który najbardziej kojarzy mi się z albumem The Gathering. Deathowy wokal dominuje na całej długości utworu, a motywy mieszają „deathujący” ciężar z thrashem. Pojawia się tu także bardzo dobre solo, utrzymane trochę w stylu Jamesa Murphy’ego (gitarzysty znanego z Obituary, który grał na Low, Demonic i The Gathering). Kolejny, Witch Hunt nie odpuszcza z tonu, utrzymując duszny klimat. Po tej dwuutworowej dawce brutalności do końca albumu mamy do czynienia z lżejszym obliczem Testament. Billy dużo śpiewa, w riffach pojawia się dużo melodii, trochę heavy metalu, a nawet bluesowego feelingu (Nature of the Beast). Ta twarz Testament jest równie ważna w historii, ale już tak nie szokuje, jak wcześniejsze utwory. Daje solidne, korzenne zakończenie albumu, które będzie uwielbiane głównie przez fanów początku zespołu. Osobiście, początkowo miałem problem z zamykającym całość utworem tytułowym. Para Bellum łączy growlowane zwrotki z bardzo melodyjnym refrenem i jakoś mi się te motywy gryzły. Jednak po kilku odsłuchach ostatecznie się przegryzły i mogę stwierdzić, że lubię jednak całość.

Pierwszy odsłuch Para Bellum to był zachwyt. Początek płyty mnie dosłownie zabił, bo nie wierzyłem, że Testament stać jeszcze na taki atak. Późniejsze odsłuchy trochę uśpiły pierwszą podnietę i zacząłem go odbierać jako całość, a nie jako same fajerwerki. To był moment, w którym zacząłem go poznawać, rozumieć jego różnorodność. Przesłuchałem album kilkanaście razy, by mieć pewność co do oceny. Uważam, że Testament nagrał najlepszy album od czasu The Gathering. Ostatnie płyty zawsze trzymały wysoki poziom, posiadały wiele świetnych utworów, ale chyba żaden słuchany w całości nie podobał mi się tak jak Para Bellum. Oczywiście marzy mi się płyta, która w całości brzmiałaby ja Demonic, marzy mi się też taka korzenna, thrashowa i przebojowa jak The New Order, ale od lat dostajemy ich mieszanki, a utrzymanie tych różnych żywiołów w ryzach nie jest łatwe. Czasami miałem wrażenie, że płyty są nierówne. Nowa jest totalnie różnorodna, ale chyba jednocześnie najbardziej spójna. Album utrzymuje bardzo wysoki poziom zespołu i pcha go dalej, udowadniając, że wiek jednak nie ma wpływu na jakość metalu. Albo masz dobre pomysły, albo odcinasz kupony od przeszłości. Testament należy do tych, którzy mają dobre pomysły.

Brzeźnicki


Ciężko uwierzyć, że od wydania "Titans Of Creation" minęło już pięć lat. Jeszcze trudniej w to, że występ w Kostrzynie na Pol'And'Rocku odbył się rok wcześniej. Już wtedy członkowie zespołu kręcili na liczniku w okolicach sześćdziesiątki, ale nie przeszkodziło im to w zagraniu świetnego, bardzo żywiołowego, prawie 80-minutowego seta. Na scenie wyglądali, jakby byli w pełni wieku produkcyjnego, a nie zbliżali się do emerytury. W studiu na "Titans Of Creation" również wypadli bardzo dobrze, dając kolejny argument osobom twierdzącym, że Testament nie ma w swojej dyskografii słabego albumu. Jedna z najdłuższych przerw studyjnych przyniosła w końcu "Para Bellum" - album udowadniający starym dziadom z Metalliki, Kreatora czy Destruction, że mimo wieku można wciąż grać ciężko, świeżo, brutalnie, kreatywnie i z werwą.

Testament "wjechał z buta" krążkiem, który bez problemu powinien podbić tegoroczne zestawienia najlepszych płyt w kategorii rock/metal. Wszystko tutaj pięknie "gra". Album zaczyna się świetnym, wyjątkowo ciężkim i brutalnym "For The Love Of Pain". Pojawia się tu growl, są też blasty. Momentami utwór brzmi jak zagubione ogniwo z czasów "Demonic". Tak ciężko nie było od "The Formation Of Damnation". To otwarcie na poziomie "D.N.R." z "The Gathering", czyli jest po prostu świetnie. Dalej mamy dwa utwory przedpremierowe. "Infanticide A.I." również pędzi w ekspresowym tempie i wcale nie ustępuje ciężarem otwarciu albumu. "Shadow People" dość wyraźnie zwalnia, co daje sporo miejsca na zbudowanie klimatu i rozbudowanie formuły. Dzieje się tu na tyle dużo, że w ogóle nie czuć, iż utwór trwa prawie sześć minut.

Trochę większym wyzwaniem dla niektórych może być "Meant To Be" - testamentowa ballada trwająca ponad siedem i pół minuty. Utwór jest w dużej mierze akustyczny, a w kilku miejscach pojawiają się smyczki. Jeśli ktoś lubił wcześniejszą balladową odsłonę zespołu, bez problemu odnajdzie się również tutaj, bo to zwyczajnie bardzo dobra kompozycja. Reszta będzie miała czas na złapanie oddechu, bo dalej jest już tylko szybko i ciężko. "High Noon" czerpie garściami z okresu "Demonic", "Witch Hunt" wraz z otwarciem bije się o miano najcięższego fragmentu wydawnictwa, a "Nature Of The Beast" i "Room 177" mają w sobie sporo przebojowości. Całość w świetny sposób spina klamrą utwór tytułowy, po którego ostatnich dźwiękach pozostaje pewien niedosyt - chciałoby się chociaż jednego lub dwóch utworów więcej. To fenomenalne, biorąc pod uwagę, że "Para Bellum" trwa ponad 50 minut, a czas ten mija w ekspresowym tempie.

Zespołowi udało się uniknąć mielizn i stworzyć naprawdę mocny materiał. Słychać, że muzycy są w świetnej formie. Chuck płynnie porusza się pomiędzy śpiewem, krzykiem i growlem - tak dobrze brzmiał ostatnio kilkanaście lat temu. Na gitarach cuda wyprawiają Skolnick z Petersonem. Na płycie pełno jest smaczków, zmian tempa, przejść, solówek. Gitarzystom tempa dotrzymuje Chris Dovas, czyli świeżak w zespole. Perkusja brzmi tu świetnie i dodatkowo podkręca dynamikę. Całość dopełnia Di Giorgio, który na basie ma już ponad dziesięcioletni staż w zespole.

Wszystkie te elementy sprawiają, że "Para Bellum" słucha się znakomicie i od razu po końcowych dźwiękach ma się ochotę ponownie wcisnąć "play". To najlepszy i najcięższy album Testamentu od co najmniej kilkunastu lat. Tak dużo elementów deathowych pojawiło się ostatnio 17 lat temu. Wraz z "Dark Roots…" i "The Formation Of Damnation" może bić się o miano najlepszego albumu zespołu nagranego w tym tysiącleciu. Na plus jak zwykle punktuje również kolejna świetna okładka Elirana Kantora.

Karol Otkała


https://www.youtube.com/watch?v=TzR0Rgj9zH4



..::TRACK-LIST::..

1. For the Love of Pain 5:35
2. Infanticide A.I. 3:28
3. Shadow People 5:45
4. Meant to Be 7:33
5. High Noon 3:53
6. Witch Hunt 4:16
7. Nature of the Beast 4:28
8. Room 177 4:18
9. Havana Syndrome 4:40
10. Para Bellum 6:31



..::OBSADA::..

Chuck Billy - lead vocals
Alex Skolnick - lead guitar
Eric Peterson - rhythm and lead guitar, backing vocals
Steve Di Giorgio - bass
Chris Dovas - drums

Dave Eggar - string arrangement, orchestration, cello, viola, violin
Chuck Palmer - string arrangement
Xavi Morató - violin



https://www.youtube.com/watch?v=EuYGa2VNEOg


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

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


..::OPIS::..

Reedycja albumu Dragon z 1994 roku.
Na potrzeby reedycji "Sacrifice" został poddany ponownemu masteringowi za który odpowiedzialny jest Piotr Mańkowski (Coverius Studio).
Za nową oprawę graficzną zadbał Paweł Ozon (XXV The Sign).
Oryginalnie "Sacrifice" ukazał się w 1994 roku tylko w formie kasety magnetofonowej wydanej nakładem Baron Records.



..::TRACK-LIST::..

1. Return 05:53
2. Living And Suffering 03:21
3. Death From Agony 04:14
4. Route Of Unworthy Rest 04:19
5. Time For 'Last Farewell' 05:28
6. Spell Of Recollection 05:38
7. 4 W.D.W. 02:07
8. Sacrifice 03:39
9. Looking For The Death 03:25
10. The Mystic 03:32
11. Yog Sothoth 04:15
12. Crying Woman 03:36



..::OBSADA::..

Adrian 'Fred' Frelich - vocal
Jarosław 'Gronos' Gronowski - guitar
Grzegorz 'Demon' Mroczek - bass
Krystian 'Bomba' Bytom - drums




https://www.youtube.com/watch?v=rZtdyJ1lIwk



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

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


..::OPIS::..

Reedycja albumu Dragon z 1994 roku.
Na potrzeby reedycji "Sacrifice" został poddany ponownemu masteringowi za który odpowiedzialny jest Piotr Mańkowski (Coverius Studio).
Za nową oprawę graficzną zadbał Paweł Ozon (XXV The Sign).
Oryginalnie "Sacrifice" ukazał się w 1994 roku tylko w formie kasety magnetofonowej wydanej nakładem Baron Records.



..::TRACK-LIST::..

1. Return 05:53
2. Living And Suffering 03:21
3. Death From Agony 04:14
4. Route Of Unworthy Rest 04:19
5. Time For 'Last Farewell' 05:28
6. Spell Of Recollection 05:38
7. 4 W.D.W. 02:07
8. Sacrifice 03:39
9. Looking For The Death 03:25
10. The Mystic 03:32
11. Yog Sothoth 04:15
12. Crying Woman 03:36



..::OBSADA::..

Adrian 'Fred' Frelich - vocal
Jarosław 'Gronos' Gronowski - guitar
Grzegorz 'Demon' Mroczek - bass
Krystian 'Bomba' Bytom - drums




https://www.youtube.com/watch?v=rZtdyJ1lIwk



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

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


..::OPIS::..

Ponad 40 lat od powstania śląski Dragon uderza z pierwszym w historii, pełnoprawnym albumem koncertowym. Materiał zawarty na "Live In Pain" zarejestrowano podczas wspólnej trasy koncertowej z Wolf Spider i zawiera on fragmenty koncertów z takich miast jak Krosno, Poznań i Zabrze. Masywna dawka koncertowej energii została zamknięta w czternastu starannie dobranych utworach prezentujących przekrój wieloletniego dorobku zespołu.

Ciekawostką jest, że wydanie CD zawiera dwa bonusowe utwory, pojawiające się w przeszłości jedynie na koncertowych kompilacjach, i które dla odmiany zostały po raz pierwszy zarejestrowane studyjnie. Za masywne brzmienie odpowiada Piotr Kowalski, który zadbał o realizację, mix i mastering wersji CD, natomiast wydanie winylowe zyskało nowy wymiar dzięki masteringowi Piotra Mańkowskiego. Całość dopełnia szata graficzna opracowana przez Szatańca, który jest także wydawcą albumu. To wydawnictwo zawarte na podwójnym winylu i podwójnym CD, to must-have dla każdego fana polskiego thrash/death metalu.



..::TRACK-LIST::..

CD 1:
1. Unde Malum I
2. Nie zabijaj ze strachu
3. Beliar
4. Upadły anioł I
5. Nie zginaj kolan
6. Unde Malum II
7. Przemoc
8. Upadły anioł II

CD 2:
1. Arcydzieło zagłady
2. Łzy szatana
3. Morderca
4. Szymon Piotr
5. Unde Malum III
6. Armageddon
7. Niedaleki koniec
8. Dzień pogrzebu



..::OBSADA::..

Jarek 'Gronos' Gronowski - Guitars
Janek Traciński - Drums
Adrian Frelich - Vocals
Mikołaj Toczko - Drums
Krzysztof 'Fazi' Oset - Bass




https://www.youtube.com/watch?v=ziXahmSB8hs



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

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


..::OPIS::..

Ponad 40 lat od powstania śląski Dragon uderza z pierwszym w historii, pełnoprawnym albumem koncertowym. Materiał zawarty na "Live In Pain" zarejestrowano podczas wspólnej trasy koncertowej z Wolf Spider i zawiera on fragmenty koncertów z takich miast jak Krosno, Poznań i Zabrze. Masywna dawka koncertowej energii została zamknięta w czternastu starannie dobranych utworach prezentujących przekrój wieloletniego dorobku zespołu.

Ciekawostką jest, że wydanie CD zawiera dwa bonusowe utwory, pojawiające się w przeszłości jedynie na koncertowych kompilacjach, i które dla odmiany zostały po raz pierwszy zarejestrowane studyjnie. Za masywne brzmienie odpowiada Piotr Kowalski, który zadbał o realizację, mix i mastering wersji CD, natomiast wydanie winylowe zyskało nowy wymiar dzięki masteringowi Piotra Mańkowskiego. Całość dopełnia szata graficzna opracowana przez Szatańca, który jest także wydawcą albumu. To wydawnictwo zawarte na podwójnym winylu i podwójnym CD, to must-have dla każdego fana polskiego thrash/death metalu.



..::TRACK-LIST::..

CD 1:
1. Unde Malum I
2. Nie zabijaj ze strachu
3. Beliar
4. Upadły anioł I
5. Nie zginaj kolan
6. Unde Malum II
7. Przemoc
8. Upadły anioł II

CD 2:
1. Arcydzieło zagłady
2. Łzy szatana
3. Morderca
4. Szymon Piotr
5. Unde Malum III
6. Armageddon
7. Niedaleki koniec
8. Dzień pogrzebu



..::OBSADA::..

Jarek 'Gronos' Gronowski - Guitars
Janek Traciński - Drums
Adrian Frelich - Vocals
Mikołaj Toczko - Drums
Krzysztof 'Fazi' Oset - Bass




https://www.youtube.com/watch?v=ziXahmSB8hs



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

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


..::OPIS::..

Reedycja drugiego albumu Vulcano z 1987.
To nadal bestialski thrash srogo doprawiony elementami zaczerpniętymi z black i death metalu.
FA



..::TRACK-LIST::..

1. Red Death 03:35
2. Death Angel´s Armies 02:33
3. Brainwash 02:50
4. F.T.W.(Fuck the War) 03:01
5. Fallen Angel 06:33
6. Anthropophagy 02:52
7. Anyone Can kill 04:06
8. Stirring 03:56
9. (Am I Crazy?) 01:00
10. Megathrash 03:12
11. Upright 03:16



..::OBSADA::..

Zhema Rodero - guitars
Angel - vocals
Fernando Levine - bass
Arthur 'von barbarian' - drums



https://www.youtube.com/watch?v=BdXtS4Cpbas



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

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


..::OPIS::..

Reedycja drugiego albumu Vulcano z 1987.
To nadal bestialski thrash srogo doprawiony elementami zaczerpniętymi z black i death metalu.
FA



..::TRACK-LIST::..

1. Red Death 03:35
2. Death Angel´s Armies 02:33
3. Brainwash 02:50
4. F.T.W.(Fuck the War) 03:01
5. Fallen Angel 06:33
6. Anthropophagy 02:52
7. Anyone Can kill 04:06
8. Stirring 03:56
9. (Am I Crazy?) 01:00
10. Megathrash 03:12
11. Upright 03:16



..::OBSADA::..

Zhema Rodero - guitars
Angel - vocals
Fernando Levine - bass
Arthur 'von barbarian' - drums



https://www.youtube.com/watch?v=BdXtS4Cpbas



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

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



Doskonały krążek!
Niczym Anthrax z okresu 'Among the Living'
Klasyk thrash metalu!



..::TRACK-LIST::..

CD 1:
1. Opinionate!
2. In The Mean Time
3. Rebel Without A Brain
4. King In Exile
5. Face The Fat Reality / Outro
6. I Too Eye
7. Diplomatic Immunity
8. Process Of Assimilation
9. Tears Of Orpheus
10. Aftermath Of Betrayal (The Tragedy Of Hamlet)
11. Finale
12. M.E.S. (Technical Difficulties)


CD 2 - Bonus:
1. On To Iliad (Live At Fox Studios 1986)
2. Warpath To Repression (Live At Fox Studios 1986)
3. Nightstalker (Rough Mix)
4. Sledgehammer Press (Instrumental)
5. Nightrider (1983 Live At Fox Studios)
6. First Degree Sleepwalking (Unreleased)
7. Amerasian Reparation (Non-Fiction / Hades 1990)
8. Girls Will Be Girls (1982)
9. Social Disease (1982)
10. Bete Noir
11. Think Tank (2005)



..::OBSADA::..

Vocals - Alan Tecchio
Guitar - Dan Lorenzo, Ed Fuhrman
Drums - T. Coombs
Bass - Jimmy Schulman




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



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

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



Doskonały krążek!
Niczym Anthrax z okresu 'Among the Living'
Klasyk thrash metalu!



..::TRACK-LIST::..

CD 1:
1. Opinionate!
2. In The Mean Time
3. Rebel Without A Brain
4. King In Exile
5. Face The Fat Reality / Outro
6. I Too Eye
7. Diplomatic Immunity
8. Process Of Assimilation
9. Tears Of Orpheus
10. Aftermath Of Betrayal (The Tragedy Of Hamlet)
11. Finale
12. M.E.S. (Technical Difficulties)


CD 2 - Bonus:
1. On To Iliad (Live At Fox Studios 1986)
2. Warpath To Repression (Live At Fox Studios 1986)
3. Nightstalker (Rough Mix)
4. Sledgehammer Press (Instrumental)
5. Nightrider (1983 Live At Fox Studios)
6. First Degree Sleepwalking (Unreleased)
7. Amerasian Reparation (Non-Fiction / Hades 1990)
8. Girls Will Be Girls (1982)
9. Social Disease (1982)
10. Bete Noir
11. Think Tank (2005)



..::OBSADA::..

Vocals - Alan Tecchio
Guitar - Dan Lorenzo, Ed Fuhrman
Drums - T. Coombs
Bass - Jimmy Schulman




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



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

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


..::OPIS::..

Divine Spiritual and Intellectual Development" is 1990 debut album by the Dutch thrash band Usurper, formed in 1985. The album their debut full-length release that features nine tracks, including "Egoistic Mind" and "Diseased Reality". Despite its ambitious title, the music is described by some as more of a straightforward, late-'80s thrash sound, the production, with its airy, powerful guitar tone and reverb-strong mixing gives it a timeless draw. The best late 80’s Dutch thrash bands were those that rapidly made the transition into a death/thrash hybrid, and then often into full on death metal. Pestilence, Thanatos, all need no introduction, but there were very few bands that stuck with the initial genre and met any kind of success. Usurper is a pretty rare find, a group that actually started off as a death metal act (they put out a demo as Sepulchral Death) and then evolved into a pure thrash act. All 3 demos, Sepulchral Death (considered as Usurper demo 1) demo 1 1986, Chants of Traducement Demo 2, 1987, Demo 3 from 1988 and full length Divine Spiritual and Intellectual Development are included on this massive double cd and double vinyl re-issue. The booklet contains rare and old pictures, flyers and posters. Extensive liner notes from Steven Willems (Rock Tribune, Streams of Ancient Wisdom: The History of Dutch Death And Extreme Metal).



..::TRACK-LIST::..

CD 1:
1. Egoistic Mind
2. Enthralment Fate
3. Diseased Reality
4. The Room
5. Insane Decisions
6. Behind Mandela's Mask
7. Infest the Convent
8. Ozon Tragedy
9. Orphanage Children

Live in Nighttown, Rotterdam 1990
10. Insane Decisions
11. Behind Mandela's Mask
12. The Room
13. A Crime to Satisfy
14. Egoistic Mind
15. Ozon Tragedy


CD 2:
Demo 3 - 1988
1. Insane Decisions
2. The Room
3. Orphanage Children

'Chants of Traducement' Demo 1987
4. Habeas Corpus
5. Enthrallment Fate
6. Parables of Terror
7. Infest the Content

'Sepulchral Death - Praising Death' Demo 1986
8. Schizophrenic Doom
9. Praising Death
10. Sepulchral Death
11. Capitol Punishment
12. Exaltation of the Cross
13. Mutual Repugnance



..::OBSADA::..

Vocals, Guitar - Patrick Harreman
Bass - Dennis Verhiest
Drums - Jos De Jong, Koen Westphal
Guitar - Boudewijn Molendijk




https://www.youtube.com/watch?v=PBKr49TdUqU



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

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


..::OPIS::..

Divine Spiritual and Intellectual Development" is 1990 debut album by the Dutch thrash band Usurper, formed in 1985. The album their debut full-length release that features nine tracks, including "Egoistic Mind" and "Diseased Reality". Despite its ambitious title, the music is described by some as more of a straightforward, late-'80s thrash sound, the production, with its airy, powerful guitar tone and reverb-strong mixing gives it a timeless draw. The best late 80’s Dutch thrash bands were those that rapidly made the transition into a death/thrash hybrid, and then often into full on death metal. Pestilence, Thanatos, all need no introduction, but there were very few bands that stuck with the initial genre and met any kind of success. Usurper is a pretty rare find, a group that actually started off as a death metal act (they put out a demo as Sepulchral Death) and then evolved into a pure thrash act. All 3 demos, Sepulchral Death (considered as Usurper demo 1) demo 1 1986, Chants of Traducement Demo 2, 1987, Demo 3 from 1988 and full length Divine Spiritual and Intellectual Development are included on this massive double cd and double vinyl re-issue. The booklet contains rare and old pictures, flyers and posters. Extensive liner notes from Steven Willems (Rock Tribune, Streams of Ancient Wisdom: The History of Dutch Death And Extreme Metal).



..::TRACK-LIST::..

CD 1:
1. Egoistic Mind
2. Enthralment Fate
3. Diseased Reality
4. The Room
5. Insane Decisions
6. Behind Mandela's Mask
7. Infest the Convent
8. Ozon Tragedy
9. Orphanage Children

Live in Nighttown, Rotterdam 1990
10. Insane Decisions
11. Behind Mandela's Mask
12. The Room
13. A Crime to Satisfy
14. Egoistic Mind
15. Ozon Tragedy


CD 2:
Demo 3 - 1988
1. Insane Decisions
2. The Room
3. Orphanage Children

'Chants of Traducement' Demo 1987
4. Habeas Corpus
5. Enthrallment Fate
6. Parables of Terror
7. Infest the Content

'Sepulchral Death - Praising Death' Demo 1986
8. Schizophrenic Doom
9. Praising Death
10. Sepulchral Death
11. Capitol Punishment
12. Exaltation of the Cross
13. Mutual Repugnance



..::OBSADA::..

Vocals, Guitar - Patrick Harreman
Bass - Dennis Verhiest
Drums - Jos De Jong, Koen Westphal
Guitar - Boudewijn Molendijk




https://www.youtube.com/watch?v=PBKr49TdUqU



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

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



..::OPIS::..

Świetny debiut z 'Miasta Aniołów' plus, jako bonusy 'Peace Through Violence' - demo z 1991 roku.



I first heard about this record a couple of years ago when someone sent me a link to one of their songs. It was of poor quality kind of hard to hear, but I was able to enjoy it regardless. Then I was able to get a burnt copy of the CD but it was also in poor quality and I had enough of that. The hunt was on, on finding this rare CD. I went everywhere to find it and came up empty handed, until 2 years later. I found a CD of theirs in great condition and did not hesitate in purchasing it. Being more than happy, I decided it was time to give this album a listen from beginning to end in my Chevrolet pick-up truck.

I find this band appealing because they're from Los Angeles and all the members in recording this album were of Hispanic descent. In the time this album came out it was flooded with all the nirvana garbage that was playing on the radio and MTV. They knew they didn’t have a chance to get any airplay, but still proceeded to tour and gain their fans. This record is pure Crossover-Thrash with elements of Speed Metal and makes no apologies about it. This is one of these records that you have to play from beginning to end. The riffs are nice and fast, Art Marquez & Choy Sandoval gives it a mix of Dark Angel and Suicidal Tendencies put together. The bass is at a perfect tone on this record, giving the songs an extra bit of depth that I hear every time I listen to it on my Zune. The singing from Tom Urioste is the perfect mix of punk and metal. He’s not going to be confused for Ron Rinehart or Mike Muir but it’s still good.

I also see an influence of Megadeth as the political tones the song title and song titles give in reference to the environment and world peace. They do in a way were its not too pushy or annoying, which is something that is difficult to do without looking to much of a bleeding heart liberal. They just give enough for the listener to think of what they’re trying to say and make up their own minds. The songs that stick out for me the most are Funeral Parlor, The Damnation of Humanization, The Day After, Peace Through Violence, Raping Mother Nature, Fundamental Mental Derangement, Severance Pay and Trying to Be Cool. They seem to be the ones I play over and over in my truck and on my Zune.

It’s a shame that this record did not get more recognition than it did. But they still have some sort of a hardcore following even they had only released this record and a demo a couple years before. Thanks to this generations technology with Soulseek and YouTube a new generation of fans will come, a new set of ears for a new set of metal heads. I still have this album on constant rotation on my playlist and always try to spread their album to other people.

chevymetal1986



..::TRACK-LIST::..

1. Funeral Parlor 5:31
2. The Day After 6:01
3. Tombs Of Forgotten Souls 4:11
4. Fundamental Mental Derangement 6:40
5. Raping Mother Nature 3:49
6. The Damnation Of Humanization 3:56
7. Methamphetamine 3:12
8. Peace Through Violence 3:18
9. Pit Of Ignorance 5:22
10. Severance Pay 4:28
11. Trying To Be Cool 1:14

Bonus Tracks 'Demo 1991':
12. Peace Through Violence 3:29
13. Raping Mother Nature 3:59
14. Funeral Parlor 5:35
15. Damnation Of Humanization 4:03
16. Pit Of Ignorance 5:25
17. Trying To Be Cool 1:05



..::OBSADA::..

Lelo Rodriguez - Bass
Javier Palomino - Drums
Art Marquez - Guitars (rhythm)
Chuy Sandoval - Guitars (lead)
Tom Urioste - Vocals



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


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

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



..::OPIS::..

Świetny debiut z 'Miasta Aniołów' plus, jako bonusy 'Peace Through Violence' - demo z 1991 roku.



I first heard about this record a couple of years ago when someone sent me a link to one of their songs. It was of poor quality kind of hard to hear, but I was able to enjoy it regardless. Then I was able to get a burnt copy of the CD but it was also in poor quality and I had enough of that. The hunt was on, on finding this rare CD. I went everywhere to find it and came up empty handed, until 2 years later. I found a CD of theirs in great condition and did not hesitate in purchasing it. Being more than happy, I decided it was time to give this album a listen from beginning to end in my Chevrolet pick-up truck.

I find this band appealing because they're from Los Angeles and all the members in recording this album were of Hispanic descent. In the time this album came out it was flooded with all the nirvana garbage that was playing on the radio and MTV. They knew they didn’t have a chance to get any airplay, but still proceeded to tour and gain their fans. This record is pure Crossover-Thrash with elements of Speed Metal and makes no apologies about it. This is one of these records that you have to play from beginning to end. The riffs are nice and fast, Art Marquez & Choy Sandoval gives it a mix of Dark Angel and Suicidal Tendencies put together. The bass is at a perfect tone on this record, giving the songs an extra bit of depth that I hear every time I listen to it on my Zune. The singing from Tom Urioste is the perfect mix of punk and metal. He’s not going to be confused for Ron Rinehart or Mike Muir but it’s still good.

I also see an influence of Megadeth as the political tones the song title and song titles give in reference to the environment and world peace. They do in a way were its not too pushy or annoying, which is something that is difficult to do without looking to much of a bleeding heart liberal. They just give enough for the listener to think of what they’re trying to say and make up their own minds. The songs that stick out for me the most are Funeral Parlor, The Damnation of Humanization, The Day After, Peace Through Violence, Raping Mother Nature, Fundamental Mental Derangement, Severance Pay and Trying to Be Cool. They seem to be the ones I play over and over in my truck and on my Zune.

It’s a shame that this record did not get more recognition than it did. But they still have some sort of a hardcore following even they had only released this record and a demo a couple years before. Thanks to this generations technology with Soulseek and YouTube a new generation of fans will come, a new set of ears for a new set of metal heads. I still have this album on constant rotation on my playlist and always try to spread their album to other people.

chevymetal1986



..::TRACK-LIST::..

1. Funeral Parlor 5:31
2. The Day After 6:01
3. Tombs Of Forgotten Souls 4:11
4. Fundamental Mental Derangement 6:40
5. Raping Mother Nature 3:49
6. The Damnation Of Humanization 3:56
7. Methamphetamine 3:12
8. Peace Through Violence 3:18
9. Pit Of Ignorance 5:22
10. Severance Pay 4:28
11. Trying To Be Cool 1:14

Bonus Tracks 'Demo 1991':
12. Peace Through Violence 3:29
13. Raping Mother Nature 3:59
14. Funeral Parlor 5:35
15. Damnation Of Humanization 4:03
16. Pit Of Ignorance 5:25
17. Trying To Be Cool 1:05



..::OBSADA::..

Lelo Rodriguez - Bass
Javier Palomino - Drums
Art Marquez - Guitars (rhythm)
Chuy Sandoval - Guitars (lead)
Tom Urioste - Vocals



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


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

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


..::OPIS::..

Trzeci duży album klasyków niemieckiego thrashu z 1988 wznowiony na CD!



Escalation seems like the perfect title for the third Necronomicon full-length, due to its direct correlation to the quality of the album. After a pair of duds in the debut Necronomicon and the well meaning sophomore Apocalyptic Nightmare, the Germans had hit their stride, no longer just a mirror of the better known Destruction, but a band with something of worth to offer on their own. That's not to say that they had suddenly bloomed into a garden of innovation and supreme songcraft, because this is still not a top shelf release, yet it's the first of their effort that I'd honestly label entertaining and fun. It's also the last in their deal with Gama Records, but despite a few reissues, the album has sadly gathered no moss as it rolled down the heights into obscurity.

The band was down to a three piece here, with Volker Fredrich and Jürgen Weltin picking up the bass duties from the departed Lars Honeck. Fredrich still sounds mildly similar to Schmier of Destruction, and yet he's acquired a harsher, standout bark to his tone that ends itself towards an individual distinction. There are also a number of well-placed gang shouts here that propel his presence quite nicely ("Death Toll", "Black Frost", "Murder of Profit"). But most importantly, where the band always seemed to have a problem plotting out convincing songs before, they've really gelled here. Each of the tracks holds its own weight in riffs, and half of them are actually memorable. "Death Toll" has some great guitars and bass, whether they're thrusting along the speedway of the bridge or chopping out the slower verse chugging. "Skeletal Remains" is the closest to Destruction, but nonetheless excellent; "Mosh the ABC" defies its terrible title with bristling energy; "...And the Night Will Be Silent" reminds me of old Slayer, Hell Awaits era, but with gang shouts and more melody. "Cold Ages (Darkland III)" is a fitting sequel to the band's ongoing series, superior to either of the previous chapters.

Perhaps the one glaring and awkward song here is "Dirty Minds", which feels like sort of punk rock corny anthem, despite the fact that it veers off into perfectly acceptable territory. No one wants to hear Fredrich making such sounds as he does before the verse, even if he compensates with wicked laughter. Strangely, there are a few decent riffs tucked in there, and had it gone for a straight up German mid paced metal track like S.A.D.O. would write, it might have worked. Otherwise, the album is consistently well executed, with great leads and a fine, airy, lo-fi tone that doesn't betray the rugged roots of their prior works. Necronomicon might not be an A-list thrash act for their nation, never spoken of in the same breaths as Kreator, Sodom or Tankard; but Escalation is their crown jewel, the first album you should check out if you've seen the name and manifested some interest. It's fun, it's not too serious, and it's more than capable of whipping up a headbanging storm from anyone into that age old German tone.

autothrall


This album is pretty much at the triple point (oh shit, a chemistry reference... society, what have you done to me????) of heavy metal, where thrash, speed, and power metal can all exist concurrently.

For the most part I'd call this a power-metal album, thanks to the melodic overtones that are straight out of the first-Helloween album except not quite as fast, thus I can't really call it speed metal, except for the parts that ARE speed metal, like the main riff of "Murder of Profit" or "Death Toll", or pretty much the main backbone riff of all the songs is actually basically the same, a sort of thrash-speed hybrid not unlike that of old Destruction except not quite as thrashy. This isn't a really creative album, though when they mix in a different riff, like the Quintessential Power Metal Riff (think "Two Minutes to Midnight" meets half of Ample Destruction meets even the first riff of Overkill by Overkill (not Overkill by Motorhead)) in "And the Night Will be Silent".

Then there are the thrash breaks, like the aforementioned "Death Toll", or the next song, "Black Frost", or even the not quite as overt but nonetheless thrash riff in "And the Night Will Be Silent". So, point proven, it's the logical mixture of the three basic styles of heavy metal of the 80s. It's something that is unequivocally metal, and pretty German too when all is said and done. Again, the main riffage is a speedier Destruction, but the vocals and also the guitar licks are more melodic. Sometimes it's the bass that plays the main bludgeon riff while the guitar goes off and plays some quick interlude.

Oh yeah, these guys have the idea of a gang chorus down to a fucking art form. I have no idea what they are actually saying most of the time, especially in the first song, Death Toll ("tombstone's the limit"?!??). By far highlight of the album right there, because the thrash part is a real fucking monster, and it's 6 minutes and stays interesting, and it's really a thrash classic when all is said and done. LET'S GO! FUCK THE TORTURE!!

As for the rest - it kinda fades after that but still maintains a decent level that stays above mediocrity. It's not something I'd pop in every week like, for example, Product of Imagination (the quintessential German power/speed/thrash triple-point album) but still, it goes to show that those Germans of the mid-1980s could do no WRONG (well, except maybe Vectom, ha!). Even the average of the subgenre, like this album, is still pretty fucking good.

UltraBoris



..::TRACK-LIST::..

1. Death Toll 6:09
2. Black Frost 2:21
3. Dirty Minds 3:38
4. Skeletal Remains 3:27
5. Murder Of Profit 3:55
6. ...And The Night Will Be Silent 4:29
7. Mosh The ABC 2:17
8. Cold Ages (Darkland III) 6:40



..::OBSADA::..

Vocals, Guitars, Backing Vocals, Bass - Freddy
Drums - Axel
Guitars, Backing Vocals, Bass - Jogi



https://www.youtube.com/watch?v=kg0xJv6giz4


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

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


..::OPIS::..

Trzeci duży album klasyków niemieckiego thrashu z 1988 wznowiony na CD!



Escalation seems like the perfect title for the third Necronomicon full-length, due to its direct correlation to the quality of the album. After a pair of duds in the debut Necronomicon and the well meaning sophomore Apocalyptic Nightmare, the Germans had hit their stride, no longer just a mirror of the better known Destruction, but a band with something of worth to offer on their own. That's not to say that they had suddenly bloomed into a garden of innovation and supreme songcraft, because this is still not a top shelf release, yet it's the first of their effort that I'd honestly label entertaining and fun. It's also the last in their deal with Gama Records, but despite a few reissues, the album has sadly gathered no moss as it rolled down the heights into obscurity.

The band was down to a three piece here, with Volker Fredrich and Jürgen Weltin picking up the bass duties from the departed Lars Honeck. Fredrich still sounds mildly similar to Schmier of Destruction, and yet he's acquired a harsher, standout bark to his tone that ends itself towards an individual distinction. There are also a number of well-placed gang shouts here that propel his presence quite nicely ("Death Toll", "Black Frost", "Murder of Profit"). But most importantly, where the band always seemed to have a problem plotting out convincing songs before, they've really gelled here. Each of the tracks holds its own weight in riffs, and half of them are actually memorable. "Death Toll" has some great guitars and bass, whether they're thrusting along the speedway of the bridge or chopping out the slower verse chugging. "Skeletal Remains" is the closest to Destruction, but nonetheless excellent; "Mosh the ABC" defies its terrible title with bristling energy; "...And the Night Will Be Silent" reminds me of old Slayer, Hell Awaits era, but with gang shouts and more melody. "Cold Ages (Darkland III)" is a fitting sequel to the band's ongoing series, superior to either of the previous chapters.

Perhaps the one glaring and awkward song here is "Dirty Minds", which feels like sort of punk rock corny anthem, despite the fact that it veers off into perfectly acceptable territory. No one wants to hear Fredrich making such sounds as he does before the verse, even if he compensates with wicked laughter. Strangely, there are a few decent riffs tucked in there, and had it gone for a straight up German mid paced metal track like S.A.D.O. would write, it might have worked. Otherwise, the album is consistently well executed, with great leads and a fine, airy, lo-fi tone that doesn't betray the rugged roots of their prior works. Necronomicon might not be an A-list thrash act for their nation, never spoken of in the same breaths as Kreator, Sodom or Tankard; but Escalation is their crown jewel, the first album you should check out if you've seen the name and manifested some interest. It's fun, it's not too serious, and it's more than capable of whipping up a headbanging storm from anyone into that age old German tone.

autothrall


This album is pretty much at the triple point (oh shit, a chemistry reference... society, what have you done to me????) of heavy metal, where thrash, speed, and power metal can all exist concurrently.

For the most part I'd call this a power-metal album, thanks to the melodic overtones that are straight out of the first-Helloween album except not quite as fast, thus I can't really call it speed metal, except for the parts that ARE speed metal, like the main riff of "Murder of Profit" or "Death Toll", or pretty much the main backbone riff of all the songs is actually basically the same, a sort of thrash-speed hybrid not unlike that of old Destruction except not quite as thrashy. This isn't a really creative album, though when they mix in a different riff, like the Quintessential Power Metal Riff (think "Two Minutes to Midnight" meets half of Ample Destruction meets even the first riff of Overkill by Overkill (not Overkill by Motorhead)) in "And the Night Will be Silent".

Then there are the thrash breaks, like the aforementioned "Death Toll", or the next song, "Black Frost", or even the not quite as overt but nonetheless thrash riff in "And the Night Will Be Silent". So, point proven, it's the logical mixture of the three basic styles of heavy metal of the 80s. It's something that is unequivocally metal, and pretty German too when all is said and done. Again, the main riffage is a speedier Destruction, but the vocals and also the guitar licks are more melodic. Sometimes it's the bass that plays the main bludgeon riff while the guitar goes off and plays some quick interlude.

Oh yeah, these guys have the idea of a gang chorus down to a fucking art form. I have no idea what they are actually saying most of the time, especially in the first song, Death Toll ("tombstone's the limit"?!??). By far highlight of the album right there, because the thrash part is a real fucking monster, and it's 6 minutes and stays interesting, and it's really a thrash classic when all is said and done. LET'S GO! FUCK THE TORTURE!!

As for the rest - it kinda fades after that but still maintains a decent level that stays above mediocrity. It's not something I'd pop in every week like, for example, Product of Imagination (the quintessential German power/speed/thrash triple-point album) but still, it goes to show that those Germans of the mid-1980s could do no WRONG (well, except maybe Vectom, ha!). Even the average of the subgenre, like this album, is still pretty fucking good.

UltraBoris



..::TRACK-LIST::..

1. Death Toll 6:09
2. Black Frost 2:21
3. Dirty Minds 3:38
4. Skeletal Remains 3:27
5. Murder Of Profit 3:55
6. ...And The Night Will Be Silent 4:29
7. Mosh The ABC 2:17
8. Cold Ages (Darkland III) 6:40



..::OBSADA::..

Vocals, Guitars, Backing Vocals, Bass - Freddy
Drums - Axel
Guitars, Backing Vocals, Bass - Jogi



https://www.youtube.com/watch?v=kg0xJv6giz4


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

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


..::OPIS::..

Cult Dutch thrash metal from the late 80’s. Complete discography on cd featuring:
Liquidation demo 1988, Sandgrains Ep 1990, Live at Geronimo Rotterdam (restored / remastered by Robbie Woning (Dead Head). The demo and ep were recorded at Franky's Recording Kitchen with Berthus Westerhuys (God Dethroned, Altar, Severe Torture ). The booklet contains old pictures, flyers and extensive liner notes from Steven Willems (Rock Tribune / Voices from the Darkside). Brain Implosion featured members of Abacinate, Remote Control, Out of the System and Radiathor. In total the album contains 15 tracks!



..::TRACK-LIST::..

1. Liquidation (Liquidation demo 1988) 03:29
2. Lunacy (Liquidation demo 1988) 05:01
3. Implosion Fear Rules (Liquidation demo 1988) 08:50
4. In Your Face (Liquidation demo 1988) 04:47
5. Sandgrains (Sandgrains Ep 1990) 04:51
6. Intramural (Sandgrains Ep 1990) 06:07
7. In Your Face (Live at Geronimo) 05:36
8. Lunacy (Live at Geronimo) 05:15
9. Pikketrekker (Live at Geronimo) 03:25
10. Six Feet (Live at Geronimo) 05:03
11. Fear Rules (Live at Geronimo) 06:46
12. Nostalgia (Live at Geronimo) 03:34
13. Liquidation (Live at Geronimo) 03:55
14. Intra Mural (Live at Geronimo) 06:40
15. New Song (Live at Geronimo) 03:42

Liquidation demo 1988 recorded at Franky's Recording Kitchen, Nieuwleusden, Netherlands.
Sandgrains EP 1990 recorded 1989 at Franky's Recording Kitchen, Nieuwleusden, Netherlands. Cover, artwork, design & logo design by Rene R.
Live At Geronimo digitalised, restored and remastered by Robbie Woning, Jan. 2024.



..::OBSADA::..

Vocals - Alex Geerts (tracks: 3)
Rhythm Guitar - Jochem Steenbergen
Lead Guitar, Vocals, Rhythm Guitar - Miguel Van Sloten
Bass Guitar - Alex Geerts
Drums - Ian Van Sloten




https://www.youtube.com/watch?v=LMtWqwdzdN8



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

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


..::OPIS::..

Cult Dutch thrash metal from the late 80’s. Complete discography on cd featuring:
Liquidation demo 1988, Sandgrains Ep 1990, Live at Geronimo Rotterdam (restored / remastered by Robbie Woning (Dead Head). The demo and ep were recorded at Franky's Recording Kitchen with Berthus Westerhuys (God Dethroned, Altar, Severe Torture ). The booklet contains old pictures, flyers and extensive liner notes from Steven Willems (Rock Tribune / Voices from the Darkside). Brain Implosion featured members of Abacinate, Remote Control, Out of the System and Radiathor. In total the album contains 15 tracks!



..::TRACK-LIST::..

1. Liquidation (Liquidation demo 1988) 03:29
2. Lunacy (Liquidation demo 1988) 05:01
3. Implosion Fear Rules (Liquidation demo 1988) 08:50
4. In Your Face (Liquidation demo 1988) 04:47
5. Sandgrains (Sandgrains Ep 1990) 04:51
6. Intramural (Sandgrains Ep 1990) 06:07
7. In Your Face (Live at Geronimo) 05:36
8. Lunacy (Live at Geronimo) 05:15
9. Pikketrekker (Live at Geronimo) 03:25
10. Six Feet (Live at Geronimo) 05:03
11. Fear Rules (Live at Geronimo) 06:46
12. Nostalgia (Live at Geronimo) 03:34
13. Liquidation (Live at Geronimo) 03:55
14. Intra Mural (Live at Geronimo) 06:40
15. New Song (Live at Geronimo) 03:42

Liquidation demo 1988 recorded at Franky's Recording Kitchen, Nieuwleusden, Netherlands.
Sandgrains EP 1990 recorded 1989 at Franky's Recording Kitchen, Nieuwleusden, Netherlands. Cover, artwork, design & logo design by Rene R.
Live At Geronimo digitalised, restored and remastered by Robbie Woning, Jan. 2024.



..::OBSADA::..

Vocals - Alex Geerts (tracks: 3)
Rhythm Guitar - Jochem Steenbergen
Lead Guitar, Vocals, Rhythm Guitar - Miguel Van Sloten
Bass Guitar - Alex Geerts
Drums - Ian Van Sloten




https://www.youtube.com/watch?v=LMtWqwdzdN8



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