niedziela, 28 listopada 2021

Sodom - M-16 (BMG 2001/2021)

Z okazji dwudziestej rocznicy wydania albumu cofamy się do roku 2001 i dziesiątej płyty Sodom - "M-16". Niniejszy album to z całą pewnością jeden z najsłynniejszych krążków grupy obok "Agent Orange" oraz "In the Sign of Evil". "M-16" to  koncepcyjny album, który w całości opowiada o wojnie w Wietnamie i wszelkich jej okropieństwach dając nam bardzo anty-wojenne przesłanie. Sodom, mając już wtedy tyle lat grania na karku, wciąż nie stracili pazura i nagrali płytę nie tylko mocną, ale również świetnie brzmiącą i zawierającą bardzo nośne numery (wręcz hity!), takie jak "Napalm in the Mourning" (z początkiem zaczerpniętym z "Czasu Apokalipsy"), tytułowy "M-16" oraz "Marines" z chwytliwym refrenem - "Marines! They are fighting for you! Marines!". Nie zabrakło również numerów, gdzie uderzają w nas typowe dla zespołu riffy, które mówią - "Tak! To jest Sodom!". Przykładem są tu "Minejumper", "Genocide" czy chociażby "Cannon Fodder" - każdy to istny killer. Niniejszy album to również niesamowita spójność estetyki i aspektów wizualnych, poczynając od bardzo wymownej okładki, kończąc na zdjęciach zespołu w wojennym rynsztunku w scenerii wietnamskiej dżungli i wiosek. Wszystko to składa się na naprawdę rewelacyjny album i autentycznie jedną z najlepszych płyt, jaką Sodom kiedykolwiek nagrali. Aby odpowiednio upamiętnić i przypomnieć ten krążek, BMG wraz z zespołem przygotował winylową i kompaktową reedycję "M-16". W kwestii winyla dostajemy podwójny pomarańczowy LP w okładce gatefold i kopertach przyozdobionych tekstami utworów oraz zdjęciami grupy. Niestety zabrakło bookletu, plakatu czy jakiekolwiek wkładki, co zawsze ubogaca tego typu wydania. Zastrzeżeń nie mam natomiast w kwestii CD. Dostajemy tu solidny digibook z bogatą książeczką. Tutaj poligrafia wyszła znakomicie! Do brzmienia również nie mogę się przyczepić. Wznowienie wyszło solidnie i z czystym sumieniem mogę je wam polecić, ja jestem bardzo zadowolony. Wersja CD to mus, natomiast winyl rekomenduję die-hard fanom.

https://www.facebook.com/sodomized 

Zakup płyty w Polsce (oficjalny dystrybutor) 

http://www.sodomized.info/ 

 


English translation:

On the occasion of the twentieth anniversary of the album's release, we go back to 2001 and Sodom's tenth album - "M-16". This album is for sure one of the most famous from this group, next to "Agent Orange" and "In the Sign of Evil". "M-16" is a concept album that is all about the Vietnam War and all its horrors, providing a very anti-war message. Sodom, already after so many years of playing back then, still didn't lose their claw and recorded an album not only strong, but also sounding great and containing very catchy tunes (even hits!), such as "Napalm in the Mourning" (with the beginning taken from "Apocalypse Now"), the title "M-16" and "Marines" with a catchy chorus - "Marines! They are fighting for you! Marines!". There were also tracks, where we are hit by riffs typical of the band that say - "Yes! This is Sodom!". Examples are "Minejumper", "Genocide" or even "Cannon Fodder" - each one is a real killer. This album is also an incredible coherence of aesthetics and visual aspects, starting with a very meaningful cover, ending with photos of the band in war gear in the scenery of the Vietnamese jungle and villages. It all adds up to a truly amazing record and genuinely one of the best albums Sodom have ever made. In order to properly commemorate and recall this album, BMG and the band prepared a vinyl and compact reissue of the "M-16". As for the vinyl, we get a double orange LP with a gatefold cover and envelopes decorated with lyrics and photos of the group. Unfortunately, there is no booklet, poster or any inserts, which always enriches this type of edition. However, I have no to complain about the CD. Here we get a solid digibook with a rich booklet. I cannot say anything wrong about the sound either. The reissue is solid and I can recommend it to you with a clear conscience, I am very pleased with how it turned out in general. The CD version is a must, while the vinyl is recommended to the die-hard fans.






 



środa, 17 listopada 2021

Baxaxaxa - Catacomb Cult (The Sinister Flame 2021)

Po niemal 30 latach istnienia Baxaxaxa wydaje swój debiut i jest niemal pozamiatane. To bez wątpienia jeden z najlepszych materiałów black metalowych, jakie pojawiły się w tym roku. Może to proste granie i niczego nowego tu nie usłyszymy, ale jest tak pełne emocji i klimatu, że kompletnie tym wygrywa! "Catacom Cult" to black metal jeszcze sprzed norweskiej fali, to ogromne wypływy Hellhammer/Celtic Frost, ale przede wszystkim Samael z czasów "Worship Him". Pokuszę się nawet o stwierdzenie, że to własnie "Worship Him" naszych czasów. Myślę, że każdy kto jest fanem wspomnianej płyty Samael usłyszawszy "Catacomb Cult" zostanie przeniesiony do tamtego momentu w przeszłości, poczuje tę samą aurę i mistycyzm, jakim to granie wtedy emanowało. Baxaxaxa zaklęła w tej płycie coś demonicznego i iście piekielnego, coś co rzuci na słuchacza czar. Fani starej polskiej sceny będę również w stanie usłyszeć tutaj odległe echa dema naszego rodzimego Pandemonium. Muzyka Baxaxaxa jest niczym rytuał, celebracja black metalowej sztuki. Bardzo szanuję zespoły, które wciąż czują tę muzykę i potrafią wciąż zaszczepić w nią coś świeżego, obudzić tamte emocje z przeszłości. Płyta must-have!



English translation:

After nearly 30 years of existence, Baxaxaxa releases its debut and is almost sweps the competition. It is undoubtedly one of the best black metal materials to come out this year. Maybe it's simple and we won't hear anything new here, but it's so full of emotions and atmosphere that it completely wins with it! "Catacom Cult" is a black metal from before the Norwegian wave, it is a huge outflow of Hellhammer/Celtic Frost, but most of all Samael from the times of "Worship Him". I am even tempted to say that this is the "Worship Him" ​​of our times. I think that everyone who is a fan of the mentioned Samael album, hearing "Catacomb Cult" will be moved to that moment in the past, will feel the same aura and mysticism that this stuff emanated with back then. Baxaxaxa enchanted something demonic and hellish in this album, something that will cast a spell on the listener. Fans of the old Polish scene will also be able to hear distant echoes of the demo of Pandemonium. Baxaxaxa's music is like a ritual, a celebration of black metal art. I really respect the bands that still feel this music and can still instill something fresh into it, awaken those emotions from the past. A must-have album!




czwartek, 11 listopada 2021

Demonztrator - Sinister Forces of Hatred (Ossuary Records 2021)

Nie jestem jakimś specjalnym fanem thrash metalu, nigdy nie przepadałem za tym stylem grania, poza kilkoma wyjątkami, do jakich należy stara Metallica, Slayer, Kat oraz Destruction. Nic innego nie jest w stanie mnie w tym graniu zachwycić, jest dla mnie bardzo wtórne, często pozbawione klimatu i pomysłów. Dlatego też postanowiłem zmierzyć się z jakimś obecnym thrashowym wydawnictwem, żeby zobaczyć co w trawie piszczy, może się przekonać lub dopisać coś do listy wyjątków. Padło na nowy materiał od fińskiego Demonztratora, który wydało Ossuary Records. "Sinister Forces of Hatred" to już drugi pełny krążek tej grupy, który oscyluje wokół klimatów bliskim późniejszemu Slayer, Exodus, Overkill, może miejscami i Testament czy nowszemu Destruction. Materiał brzmi bardzo profesjonalnie, mocno. Są tam chwytliwe riffy i nawet sporo melodii, wokale też niczego sobie (przypominają mi trochę Schmiera) - mocne, z pazurem. To bardzo poprawny thrashowy materiał, dynamiczny, z odpowiednim kopem. Ogólnie rzecz biorąc, i chcąc być totalnie obiektywnym, nie ma do czego się przyczepić. Jednakże będąc subiektywnym, to ta poprawność "Sinister Forces of Hatred" mnie wynudziła i miałem wrażenie, że niemal każdy numer jest na to samo kopyto - zmienia się tylko riff. Płyta wleciała jednym uchem, a wyleciała drugim. Nie wiem, może faktycznie tradycyjny thrash, to nie moja bajka i nie powinienem się do tego grania dotykać. Z całej płyty zapamiętałem tylko "Into the Mouth of Madness", bo tam się coś faktycznie działo. Było trochę heavy metalowych zagrywek, jakiś klimacik, przemknął akustyk, nawet gdzieś zahaczyło o death/thrash. Naprawdę fajny numer. Reszta niestety nie podeszła, nie dla mnie po prostu. Spróbowałem sobie ponownego podejścia do trashowego grania i już wiem, żeby raczej sobie odpuścić. Płyta do polecenia dla tylko dla thrashowych wyjadaczy.




English translation:

I'm not a special thrash metal fan, I've never really liked this style of playing, with a few exceptions like old Metallica, Slayer, Kat and Destruction. Nothing else can delight me in this sound, it is very secondary to me, often devoid of climate and ideas. That's why I decided to challenge some current thrash release to see what's going on out there, maybe find out or add something to the list of exceptions. I have chosen the new material from the Finnish Demonztrator, released by Ossuary Records. "Sinister Forces of Hatred" is the second full-length album of this group, which oscillates around the atmosphere close to the later Slayer, Exodus, Overkill, and maybe Testament or the newer Destruction. The material sounds very professional, strong. There are catchy riffs and even a lot of melodies, the vocals are also remarkable (they remind me a bit of Schmier) - strong, with an edge. This is a very correct thrash material, dynamic, with the right punch. Overall, and wanting to be totally objective, there's nothing to complain about. However, being subjective, this correctness of "Sinister Forces of Hatred" bored me and I had the impression that almost every track is the same thing - only the riff changes. The record flew in with one ear and flew out with the other. I don't know, maybe thrash metal is actually not my cup of tea and I shouldn't touch it again. I only remembered "Into the Mouth of Madness" from the whole album, because there was really something happening there. There were some heavy metal elements, some kind of atmosphere, acoustic touch, even some death/thrash attempt. A really cool composition. The rest, unfortunately, didn't appeal to me that much, it's just not for me. I tried to re-approach thrash and I already know I should let it go. A CD to be recommended for thrash maniacs only.





poniedziałek, 25 października 2021

Sexmag - Sex Metal (Dying Victims Productions 2021)

Przesłuchałem ogromną ilość płyt z oldschoolowym metalem, które powstały w ostatnich latach, płyt, które cofają nas w czasie do lat 80., które hołdują dawnemu brzmieniu i estetyce. Były takie, które oceniałem bardzo wysoko za to, jak potrafiły wczuć się w tamten czas w metalowej muzyce, jak autentycznie czuć było w tym graniu pasję i zrozumienie granej sztuki. Myślałem, że już raczej nic mnie nie zaskoczy w tego typu "odświeżaniu", że kolejne materiały będą najwyżej tak samo dobre, a tu niespodzianka niesamowita. Po pierwsze, Sexmag od razu kojarzy się z Katem. Aczkolwiek nie znajdziecie tu grania w stylu, jaki Kat zaprezentował na "Oddechu Wymarłych Światów". Tutaj mamy odniesienie do legendarnego "666/Metal & Hell", zarówno muzycznie, jaki i tekstowo ("Nałożnice Hrabiny" w pewnych momentach autentycznie przypomniały mi "Wyrocznię"). Sexmag poszedł w ślady tego, jak Kat brzmiał właśnie na debiucie. Same kompozycje też mają podobny feeling. Kapitalna podróż w przeszłość. I to nie wszystko, o nie! Do tej, i tak już zacnej inspiracji, zespół dorzucił stare dobre Destruction z czasów "Sentence of Death" oraz "Infernal Overkill" - czyli najlepszych materiałów tej niemieckiej formacji. Jak usłyszycie pewne zagrywki gitarowe, sposób grania, jakie pojawiają się na "Sex Metal", riffy, to zgodzicie się ze mną z pewnością. Jak tego słuchałem, to po prostu nie mogłem uwierzyć, że znalazł się zespół, który jeszcze był w stanie mnie w tej black/thrashowej materii zachwycić i prześcignąć w moim rankingu takie płyty, jak chociażby debiut Cruel Force. Na koniec chce jeszcze dodać, że bardzo byłem ciekaw, co na nowej płycie (po 7 latach przerwy) zaprezentuje Nocturnal, który gra w stylu podobnym do Sexmag, i powiem szczerze, nasi krajanie zgasili ich cały pełniak swoją EPką niczym peta. Ten zespól zawojuje scenę, to pewne jak śmierć i podatki! Słuchać!!!


English translation:

I listened to a huge number of oldschool metal records that were recorded in recent years, records that take us back in time to the 80s, which pay tribut to the old sound and aesthetics. There were those that I appreciated very highly for how they were able to feel into that time in metal music, how true passion and understanding of the performed art was part in this music. I thought that nothing would surprise me in this type of "refreshing", that the next materials will be no more than just as good at most, and here the surprise is amazing. First, Sexmag is immediately associated with Kat. However, you will not find stuff in the style that Kat presented on "Oddech Wymarłych Światów". Here we have a reference to the legendary "666/Metal & Hell", both musically and lyrically ("Nałożnice Hrabiny" at some point genuinely reminded me of "Wyrocznia"). Sexmag followed the footsteps of Kat in case of sound on their debut. The compositions themselves also have a similar feeling. A great journey into the past. And that's not all, oh no! To this, already noble inspiration, the band added good old Destruction from the times of "Sentence of Death" and "Infernal Overkill" - the best materials of this German formation. When you hear some guitar parts and way of palying that appear on "Sex Metal", riffs, you will agree with me for sure. When I listened to it, I simply couldn't believe that there was a band that could still delight me in this black/thrash matter and surpass in my ranking such albums as the debut of Cruel Force. Finally, I would like to add that I was very curious what Nocturnal will present on the new album (after a 7-year break), the band that plays in a style similar to Sexmag, and to be honest, our Polish group put out their full-length album with this EP like a tab-end. This band is going to take the scene, it's sure like death and taxes! Check it out!!!




piątek, 22 października 2021

30 Years of "Bloodchilling Tales" - Interview with Paul Johansson from Sorcery

 

1.Hi there Paul! This year you celebrate the 30th anniversary of Sorcery’s debut album – „Bloodchilling Tales”. It’ already a classic title in the history of Swedish death metal. How do you feel being one of the originators of the death metal scene in Sweden and do you look at this album after all these years?

Hi Przemysław! Of course Im proud of what we have done. Our album meant a lot for some fans and maybe we have inspired some other band to create music. Im so thankful for what people has done for us - being interested in our music, creating our band merch, records and other stuff. 

2. Let’s get back to the demos period. Your music back then, just like Merciless, was more close to the extreme thrash metal inspired by bands like Kreator. Were the any other bands that had that serious impact or you? What was the moment when you said to yourself – “yeah, we are staring our own band”?

When I and Ola first met and talked about music it was about who is the best guitarist. Iommi or Blackmore. I can’t remember if we have sorted that out yet- anyhow it led us into a deep friendship. I played Mercyful Fate for Ola on a school journey -83’, and we decided to start to play together. We started a band that we called “Acid queen”. It was like a heavy metal band but with an urge to go faster and more brutal-  but we come from a very small town and there was not a bunch of guys who want to play metal. But in the summer of 86’ we did meet a guy from a village nearby - Patrik Johansson (who had the biggest drumkit we had ever seen and, he could play on it too) and his cousin Fredrik Nygren and that’s how Sorcery was found. It was many German thrash bands that inspired me also ones like Sarcófago and Bathory. 

3.After the demos the time had come for the debut LP. How long did it take for you to create the material and record it? Do you have any memories from the studio and the recording session? The album sounds original despite being recorded at Sunlight studio which has its characteristic vibe.


I think “Lucifers legion” is the oldest song on the album and that is from 87’. So it was song from 87-90’. If I remember correct, we were at the studio for 5 days. We had to sleep on the floor in a weaving workshop which was next to the studio. We were young without money - but damn, it was fun. I was trying to play drums back then and I had a real hard time with the kit. It was D-drum kit combine with an acoustic so it was messy. Sound was leaking in the headphones and so on. We didn’t use Hm-2 pedal but I can’t remember what pedals they used and we were in a hurry so I think that made a big part for the sound.

4. “Bloodchilling Tales” was released only on vinyl back in the days. Why there was no other format available? How was it with looking for the label and finally signing with Underground Records for this release?

Cds where new to the world and expensive to print I guess. UGR was a small company with little resources so he couldn’t do it, or so I think. We didn’t have a bunch of deals to choose from so we took the first, haha.

5. The cover art of the debut LP is more in the vein of a heavy/power metal record, that’s the first impression. Its aesthetics refers more to stuff such as Blind Guardian for example, than to a pure death metal record. What is the story behind it, how was the author and how to you bring this art idea to life?

The title “Bloodchilling Tales” made us think of a creepy evil wizard reading from book. Every song from the album is a bloodchilling tale of evil and death. That was our toughts anyway. Then the artist, which I don’t know the name of interpreted our words and painted the cover as he thought we meant. It was not that we screamed with joy when we saw the cover but it had to be that way. There was no possibility then to change it.

6. What’s very unique about “Bloodchilling Tales” is the useage of keyboards in the background here and there. They fuel the sinister, evil atmosphere of the record, provides the climate that no other record from Sweden had at that time, as far as I’m concerned of course. Who came up with this idea? 

I think I have to take the responsibility for that. We used keyboards on our demos too. Creating intros, and I was very into combining metal and keyboards just as you say - to create an atmosphere. The others had to stop me many times.

7. I think you had and still have one of the best logos in death metal. Was it created by someone from the band? Where there any other projects of the logo you considered using or it was just a perfect much right from the start?

Yes, it was Fredrik Nygren, one of the guitarists who drew it. He had done some other before but he was working on new ones all the time and finally we were very pleased with one we have for over 30 years now. I think he drew logos for other bands to but I can’t remember which.

8. The album was released in 1991, so the same year as many classics of Swedish death metal. What was the response on your material and what are your reflections on that special year in Swedish metal history. How do you recall being part of it nowadays?

When we had recorded the album we lay back and waited for something. I don’t know for what, but we were lazy and a little bit naive I think, so nothing happened-  at least as we thought. But we did something for a few people which I know now, but not then. I did meet a guy who said: “Its because of you I started to play music”, for example, and we are nowadays seen as a cult band for some people. I can say that we had a chance to work with a big management company, but a guy from the band was drunk on a gig and behaved like an idiot, and just on that evening they checked us up, so you know what happened. Anyway, with no CDs, only 1000 copies of our record and with no distribution we didn’t have a real chance.

9. Early 90s and late 80s was a period of massive tape trading around the world with Sweden in almost in a centre. I will not be wrong saying you participated in that as well. Do you still have the stuff you got those days in your collections, are you still after collecting metal stuff? How it was back then and how it looks now in your case?

I was not a big trader, I got music from my close friends. I didn’t have pals all over the world. Yes, I have boxes of cassettes in my hidings and some original demo tapes form our big Swedish bands like Mefisto, Agony, Morbid and so on. I remember a band called Deathlord, I think they were from Australia, that had a big impact on me. Hmmm, I had forgot about that band. I think I have to go down in the cellar and try to find their record.

10. Starting with the end of the 90s, already after Sorcery disbanded for several upcoming years, “Bloodchilling Tales” was re-released several times on CD, LP and even cassette (starting with No Colours Records and ending with Xtreem). Which of the reissue you like most, which you willrecommend to the people who are new to Sorcery or those who had only the 1st press vinyl? Could you tell something more about the one with changed title – “Legacy of Blood”?

I would go for “Legacy of blood”. A great cover and you will have the 7” Rivers of the dead on it too. We change cover just to be sure that nothing could be hold at us and Xtreem in case of legal issues. That’s all.

11. Just to end with something special. Once I was going through your thanks list on the album there was something like this: “The Swedish custom service for being fooled (helpful and understanding) twice”. Can you uncover what happened here? Seems like some sort of a funny story.

Well the story behind the custom service being fooled twice was that when the first pressings of the “Rivers of the Dead” EP arrived from France, they were stuck in the hands of the custom. They thought that we somehow had imported a large amount of records to sell without paying tax for it. We came up with some other story for them and they finally let the EP’s through. Some months later the same thing happened again when the second pressing arrived. We told them the same thing again and for the second time they bought our bullshit and let the EP’s through and we never had to pay any import tax at all.

I can tell a funny history about when Ola and I met at my home and I wanted him to sing. I didn’t have a microphone but I had some headphones that were broke. They worked as a microphone, so when Ola was growling to them it sounded in my stereo. And I had a little Casio keyboard with a drums in it. If you pressed the button it played a drumbeat salsa or whatever. It had some rocks beat too, so I turned the bpm (beats per minute) to max, plugged in my guitar and we started to make a song out of it. We had to start with something.

https://www.facebook.com/sorcerydeathmetal

http://sorcery.se/

Interview by: Przemysław Bukowski

środa, 20 października 2021

Huoripukki - Ikuinen Kamppailu (Fallen Temple 2021)

Pierwszy pełny album fińskiego Huoripukki zapowiadany był na koniec lata tego roku, jednak premiera przeciągnęła się do jesieni. Zdziwiło mnie gdy w booklecie do płyty wyczytałem, ze została nagrana jeszcze w 2019 - trochę czekała na wydanie. Niemniej wyczekiwane "Ikuinen Kamppailu" wreszcie do mnie trafiło i zabieram się do podzielenia się z wami wrażeniami. Pierwsze, co dało się odczuć podczas słuchania płyty, to progres brzmieniowy i więcej czystego, niemal niczym nie zmąconego death metalu. Blackowe domieszki są już daleko w tle. Miejscami riffy i rytm na płycie oscylują wokół bardzo nośnych, prawie (zaznaczam - prawie!) heavy metalowych patentów, jakie można było usłyszeć na płytach Dismember, aby za chwilę przejść w barbarzyńską nawałnicę. Połączenie chwytliwości i brutalności na "Ikuinen Kamppailu" dało bardzo fajny efekt, płyta nie jest tendencyjna i wciąga w ten swój oldschoolowy klimat. Może Huoripukki nie jest jakoś bardzo płodne wydawniczo jeżeli chodzi o pełne materiały, ale to, co słyszałem na demówkach i EPkach powstających od roku 2008, było zawsze wysokiej jakości death/black metalem. I tak jest i teraz, a nawet lepiej. Zespół miał czas wyrobić swój styl, brzmienie i uraczył nas naprawdę bardzo dobrym materiałem, także zostałem tu muzycznie zaspokojony z nawiązką. Wniosek jest jeden - fińska scena death metalu, wciąż ma się dobrze! Zespołowi Huoripukki życzę częstszego wydawania pełniaków i tak dobrych jak ten pierwszy.

 

 English translation:

The first full-length album of Finnish Huoripukki was announced for the end of this summer, but the premiere lasted until autumn. I was surprised when I read in the album's booklet that it was recorded in 2019 - the album waited a bit for release. Nevertheless, the long-awaited "Ikuinen Kamppailu" finally arrived and I'm going to share my impressions with you. The first thing you could feel while listening to the album was the sound progress and more clean, almost uninterrupted death metal. Black metal elements are already far in the background. In some places the riffs and rhythm on the album oscillate around very strong, almost heavy metal patents (I repeat - almost!), which could be heard on Dismember albums, only to go into a barbaric storm in a moment. The combination of catchiness and brutality on "Ikuinen Kamppailu" gave a very nice effect, the album is not biased and draws you into its oldschool atmosphere. Maybe Huoripukki isn't very prolific in terms of full material, but what I heard on demos and EPs starting from 2008 was always high quality death/black metal. And it is so now, and even better. The band had time to develop their style and sound and treated us with really good material, so I was musically satisfied here, with a vengeance. There is only one conclusion - the Finnish death metal scene is still doing well! I wish Huoripukki more frequent releases and as good as this first one.
 



niedziela, 17 października 2021

Rotten Age - Oblicze Zła (Black Death Production/Werewolf Promotion 2021)

Coś z wartych uwagi nowości z podziemia. Z trzecim albumem atakuje Rotten Age. Po raz kolejny dostajemy dawkę bluźnierczego black metalu z polskimi tekstami, który gna w mroczną otchłań. Nie kombinuje, nie odkrywa koła, a serwuje czysty i bezpośredni muzyczny cios. Coś w sam raz dla fanów takich hord, jak Infernal War, The Devil's Sermon, Moontower, Black Altar czy starszych płyt Besatt. Wymieniać można by długo, ale myślę, że już dobrze wiecie czego się tu spodziewać. Zespół konsekwentnie rzeźbi swoje diabelskie rzemiosło i każda płyta jest tylko lepsza, potężniejsza. Na nasze głowy spadają kanonady blastów (Krzysztof Klingbein za garami - wiadomo, że będzie dobrze!), ale płyta potrafi również zwolnić i zaserwować nam nieco klimatu. Na uwagę zasługują również same wokale, bo mimo prędkości, za jaką muszą nadgnić, są wyraźne i precyzyjne. Ogromny szacun, bo tutaj została wykonana tytaniczna praca. Gitary natomiast pełne są charakteru, mamy sporo ciekawych riffów, które budują litą ścianę dźwięku, co bardzo kojarzy mi się z tym, z czego znany jest Dark Funeral. Tutaj konstrukcja jest bardzo podobna do tego, co możemy usłyszeć na chociażby "The Secrets of the Black Arts" i jestem przekonany, że ten album mógł być jedną z inspiracji podczas tworzenia "Obliczy Zła". I tak, to właśnie gitary wspomagane perkusją napędzają ten materiał. To pokaz znakomitego black metalowego rzemiosła, które szczerze mogę polecić.



English translation:

Something worth noting from the underground news. Rotten Age attacks with their third album. Once again we get a dose of blasphemous black metal with Polish lyrics, which is rushing into the dark abyss. The band doesn't play around, reinvent the wheel, but serves a clean and direct musical punch. Something perfect for fans of such hordes as Infernal War, The Devil's Sermon, Moontower, Black Altar or older Besatt stuff. It could make a list longer, but I think you already know what to expect here. The band consistently carves their devilish craft and each record is only better, more powerful. Cannonades of blasts fall on our heads (Krzysztof Klingbein behind drums - you know it will be something good!), but the material can also slow down and give us some atmosphere. The vocals themselves are also noteworthy, because despite the speed at which they must catch up, they are clear and precise. Huge respect, because here a titanic job has been done. The guitars are full of character, we have a lot of interesting riffs that build a solid wall of sound, which I associate with what Dark Funeral is known for. Here, the construction is very similar to what we can experience on, for example, "The Secrets of the Black Arts" and I am convinced that this album could be one of the inspirations when creating "Oblicza Zła". And yes, it is the guitars supported by drums that drive this material. This is a show of excellent black metal craftsmanship that I can honestly recommend.