Trupi Swąd - Nekromancja (Putrid Cult 2022)

Przyznam, że na pierwszy, pełny album Trupiego Swądu czekałem bardzo. Demo "W Imię Diabła" było nader obiecujące, było czymś na swój sposób świeżym w staroszkolnym graniu, nową kombinacją wpływów i inspiracji. Dalej mamy nawiązania do brzmień pierwszych ekstremalnych ekip z lat 90. i rasowy speed/black/thrash metal. "Nekromancja" to kocioł, w którym wymieszano atmosferę starego Mercyful Fate (zwłaszcza intro wprowadza ten klimat), chwytliwość W.A.S.P., bluźnierstwo i agresję Sarcofago oraz estetykę Kata z czasów "666". No czysta poezja dla metalowych purystów, hehe! Tak, Trupi Swąd to bezpośrednie, surowe metalowe granie, które nie ogląda się na jakąkolwiek poprawność. Pierwszy album Trupiego Swądu to muzyka metalowego buntu, bardzo kojarzy mi się właśnie z pierwszą płytą Kata, debiutem Sarcofago, a nawet gdzieś tam z "Kawalerią Szatana" Turbo. Ma w sobie ducha tych materiałów. Trup się ściele, leje się krew, wykluwają się bestie, wszelkie bluźnierstwo wyrzucane jest z tekstów niczym pociski z karabinu maszynowego . Oczywiście nie brakuje nawiązań do Pierwszej Fali spod znaku Venom, wczesnego Sodom czy Bathory. Może nie jest to tak ewidentnie słyszalne z każdej strony, ale te zespoły też w tych kompozycjach siedzą. To po prostu kwintesencja starego, diabelskiego metalu! Nie przeszkadza tu nawet zaprogramowana perkusja, bo została zrobiona na tyle dobrze, że nie kłuje w uszy. Płyta pierwsza klasa - brać i słuchać!

https://www.facebook.com/TrupiSwadOfficialBandPage

https://www.putridcult.pl/

English translation:

I admit that I was waiting a lot for the first full-length album by Trupi Swąd. The demo "W Imię Diabła" was very promising, it was something fresh in its own way in oldschool playing, a new combination of influence and inspiration. Still we have references to the sounds of the first extreme bands from the 90s and pure speed/black/thrash metal. "Nekromancja" is a cauldron in which the atmosphere of the old Mercyful Fate (especially the intro introduces this), the catchiness of W.A.S.P., the blasphemy and aggression of Sarcofago and the aesthetics of the Kat from the time of "666" is mixed. Well, something totally for metal purists, haha! Yes, Trupi Sąd is direct, raw metal playing that doesn't seem care about any rules. The first album of Trupy Swąd is the music of metal rebellion, I associate it very much with the first album of Kat, the debut of Sarcofago, and even somewhere with "Kawaleria Szatana" by Turbo. It has the spirit of these materials. The corpse is setting the ground, the blood is spilling, the beasts emerge, all blasphemy strikes from the lyrics like bullets from a machine gun. Of course, there are also references to the First Wave under the sign of Venom, early Sodom or Bathory. Maybe it is not so evidently heard from all sides, but these bands are also hiding in these compositions. It's just the quintessence of old devil metal! Even the programmed percussion does not bother here, because it was made so well that it doesn't hurt your ears. First class stuff - grab it and listen!

Warfist - Teufels (Godz ov War Productions 2022)

Zielonogórski Warfist rozwija skrzydła z płyty na płytę. Trzy lata temu wydali znakomity "Grunberger", który na tamtą chwilę był ich najlepszym wydawnictwem, pod każdym możliwym względem. Poprzeczkę postawili tą płytą bardzo wysoko. A tu pojawia się w tym roku "Teufels". I co? I pozamiatane! Warfist nagrywa płytę, gdzie zawarli esencję swojego stylu - agresję, chwytliwość i riffy, riffy i jeszcze raz riffy! Bo nimi stoi ta płyta. Każdy nośny, zapadający w pamięć i podbity świetnym brzmieniem. No i teksty po raz kolejny opowiadające konkretne historie, jest jakiś koncept wiodący. Warfist jest obecnie jednym z najlepszych reprezentantów polskiego thrashu podkutego diabłem. Nie są kolejną kopią Destruction itp. jakich teraz jest na pęczki. W pewnym sensie są takim naszym krajowym Desaster. Skąd takie porównanie? Desaster zawsze odróżniali się na niemieckiej scenie, mieli i mają swój własny charakterystyczny styl, swoją własną drogę grając na przekór wszystkim trendom. Za taki zespół uważam również Warfist. Płyta "Teufels" to kolejna pozycja na krajowej scenie, która w swojej niszy będzie się wyróżniać. Oczywiście słychać w tym inspiracje Sodom, Kreator, Dark Angel plus stempel Venom z czasów "Black Metal", ale mimo tego zespół brzmi indywidualnie, ma swój charakter. Ze swojej strony przesyłam zespołowi ukłony i szacun za kolejne znakomite dzieło, a wam polecam je sobie sprawdzić! Takiego thrashu, to mogę słuchać!

https://godzovwar.com/

https://www.facebook.com/warfisthorde

English translation:

Warfist frm Zielona Góra (Poland) spreads its wings from album to album. Three years ago they released the brilliant "Grunberger", which at the time was their best release in every way possible. They set the bar very high with it. And here comes "Teufels" this year. And what? And it rules! Warfist records an album where they captured the essence of their style - aggression, catchiness and riffs, riffs and riffs again! Because that's what this album stands for. Each one is carrying, memorable and enhanced with great sound. And the lyrics are once again telling specific stories, there is a guiding concept. Warfist is currently one of the best representatives of Polish devilish (or blackened) thrash. They are not just another copy of Destruction etc. which are dominating the scene. In some ways they are our PolishDesaster. Where does this comparison come from? Desaster have always distinguished themselves on the German scene, they had and have their own charactrisitc style, playing in their own way against all trends. I also consider Warfist to be such a band. The album "Teufels" is another position on the local scene that will stand out in its niche. Of course you can hear the inspirations taken from Sodom, Kreator, Dark Angel plus the Venom stamp from the "Black Metal" era, but the band sounds individual and has its own character. For my part, I send my regards to the band and respect for another excellent work, and I recommend you to check it out! I can listen to such thrash!

Throneum - Morbid Death Tales (2016/2021 Old Temple)

Po pięciu latach Old Temple wznawia "Morbid Death Tales", bodajże siódmy pełny album Throneum. I chwała im za to! Uwielbiam te złote dyski wydawane przez Eryka i staranność przy poligrafii. Pierwsze wydanie z Hell's Headbangers już ciężko dostępne, a szkoda żeby ten album był nieosiągalny w kraju zespołu. Throneum to dla mnie grupa kultowa i nie będę tego ukrywał. Wraz z Witchmaster czy Hell-Born rozpoczęła swego czasu krucjatę pod tytułem "Granie obskurnego, oldschoolowego metalu na pohybel wszystkim!", gdy nikt zbytnio nie chciał takiej muzy grać. Cały czas dobrze im to idzie. Nazwa przytaczanego tutaj krążka doskonale mówi, jakie granie tu znajdziemy. Tak, to stary Hellhammer i Celtic Frost z czasów "Morbid Tales" w swej całej surowej, piwnicznej i brudnej formie poddany tuningowi w postaci starego, dobrego death metalu. Kurde, że też w dzisiejszych czasach wciąż są maniacy, którzy potrafią tak grać i nadać swojej muzyce tak bezkompromisowe brzmienie, niemal demówkowe i mieć wywalone na wszelkie sztuczne dopieszczanie swojego materiału. Ma to swój niepowtarzalny urok. Słucha się tego wybornie! Rzecz jasna trzeba lubić takie klimaty, wtedy wejdzie bez popity. No i jest tu Diabolizer za garami. To dla mnie zawsze powód, żeby posłuchać płyty. Mam ogromny szacunek do tego człowieka i jego stylu grania. Dla mnie to jeden z najlepszych garowych polskiej sceny podziemnej. Brać ten album i słuchać!

https://www.facebook.com/ThroneumOfficial

https://throneumofficial.bandcamp.com/

https://www.shop.oldtemple.com/

English translation:

After five years, Old Temple reissues "Morbid Death Tales", the seventh full-length album by Throneum. And praise them for that! I love those golden discs issued by Eryk and the diligence in printing. The first release from Hell's Headbangers is hardly available, and it's a pity that this album was unattainable in the band's country. Throneum is a cult group for me and I will not hide it. Together with Witchmaster and Hell-Born, they started a crusade called "Playing dingy old school metal without compromises!", when no one wanted to play such music that much. They are doing well all the time. The title of the disc quoted here perfectly says what kind of stuff we can find here. Yes, it's the old Hellhammer and Celtic Frost from "Morbid Tales" times in all raw, basement and dirty form tuned by the good old death metal. Damn, I'm glad taht nowadays there are still maniacs who can play this way and give their music such an uncompromising sound, almost demo-like, and be free from all artificial polishing of their material. This has its own unique charm. The listening is a pure joy! Of course, you have to like such style, then it will appeal to you totally. And here we havee Diabolizer behind drums. This is always a reason for me to listen to the album. I have great respect for this man and his style of playing. For me, he is one of the best drummers of the Polish underground scene. Grab this album and listen to it!

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!!!

https://www.dying-victims.de/

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!!!

Desaster - Churches Without Saints (Metal Blade Records 2021)

Po pięciu latach przerwy powraca z nowym albumem niemiecki Desaster. Dla mnie to już kapela kultowa o niepodważalnym statusie, no i jedna z ulubionych ekip na metalowej scenie. "Churches Without Saints" to album, który nie tylko wprowadza w skład nowego perkusistę - Honta, ale również bardzo mocno odnosi się do różnych etapów twórczości zespołu, serwując nam również coś nowego w ramach już dawno obranego stylu i brzmienia.  Płyta przenosi nas momentami do debiutu, wprowadzając szczyptę średniowiecznego klimatu, potem do takiego "Divine Blasphemies" czy "The Art of Destruction", gdzie atakowały nas konkretne, tnące riffy, jak na dobry teutoński thrash przystało. Moimi absolutnymi faworytami na tym materiale są otwierający go "Learn to Love the Void", nieco odmienny od reszty "Exile is Imminient" oraz tak bardzo silny duchem starego Desaster "Endless Awakening". Ten pierwszy serwuje nam riffy rodem ze starego Destruction, drugi rozpoczyna się bardzo nietypową jak na Desaster gitarą, której wtóruje znakomity, rzężący bas Odina, natomiast trzeci to wycieczka w czasie do "A Touch of Medieval Darkness" i utworów takich jak tytułowy z tejże płyty, czy też "Fields of Triumph". "Churches Without Saints" pokazuje, że w obozie Desaster wciąż dobrze się dzieje i że wena chłopaków nie opuszcza. Jedyną rzeczą na którą mógłbym tu ponarzekać to trochę słabe brzmienie perkusji, które ustępuje pozostałym instrumentom i wokalowi, ale to tyle. Czekałem na ten album z niecierpliwością i moje oczekiwania nie zostały zawiedzione.To już tyle lat, a Sataniac, Infernal, Odin i teraz Hont, nadal idą swoją własną drogą łącząc to, co w oldschoolomym metalu najlepsze będąc od lat wiernymi tej unikalnej dla siebie hybrydzie black metalu i ich rodzimego thrashu spod znaku Kreator, Sodom oraz Destruction. Uważam, że Desaster siedzi już na swym własnym tronie i nie musi nikomu niczego udowadniać, a niniejsza płyta jest tego jawnym dowodem.

http://www.total-desaster.com/

https://www.facebook.com/666Desaster666

English translation:

After five years of break, German Desaster returns with a new album. For me, it is a cult band with unquestionable status, and one of my favorite bands on the metal scene. "Churches Without Saints" is an album that not only introduces a new drummer - Hont, but also strongly refers to various stages of the band's works, also offering us something new in terms of a long-chosen style and sound. The album sometimes takes us to their debut, introducing a pinch of medieval atmosphere, then to "Divine Blasphemies" or "The Art of Destruction", where we were attacked by concrete, cutting riffs, as befits good Teutonic thrash. My absolute favorites on this material are the opening "Learn to Love the Void", a bit different from the rest "Exile is Imminient" and the very strong spirit of the old Desaster represented by the "Endless Awakening". The first one serves us riffs straight from the old Destruction, the second starts with a very unusual guitar line, which is accompanied by Odin's excellent, rattling bass, while the third is a trip back in time to "A Touch of Medieval Darkness" and songs such as the title track from this album, or "Fields of Triumph". "Churches Without Saints" shows that the Desaster camp is still going well and that the boys are still in their prime. The only thing I could complain about here is a little weak sound of the drums, which makes you feel that it is behind other instruments and vocals, but that's it. I have been waiting impatiently for this album and my expectations were met. It's been so many years, and Sataniac, Infernal, Odin and now Hont, are still going their own way, combining what is best in old school metal, being faithful to this unique hybrid of black metal and their native thrash like Kreator, Sodom and Destruction. I believe that Desaster is already sitting on his own throne and doesn't have to prove anything to anyone, and this album is a clear proof of that.

25th Anniversary of "A Touch of Medieval Darkness" - an interview with Infernal from Desaster

This year marks the 25th anniversary of Desaster's debut album "A Touch of Medieval Darkness". Instead of talking about band's upcoming release I decided to use the occasion to get back in time and talk to Infernal about the album that started it all.

1. Hi there, Infernal! This year you celebrate 25th anniversary of „A Touch of Medieval Darkness” release. How to you recall this album after all these years?

Hello! I think that for the time it was released – mid 90s – it was quite a good album. When I listen to it I still like the songs. But I think we still didn’t found our own sound and style back then. The scene was not that original. Our vocalist was still looking at Norway. He wanted to sound in a black metal way, like the bands we liked at that time, Darkthorne and Emperor. The vocals were very high pitched. On the records issued after the debut Okkulto found his own singing style which was a mixture of typical black metal one and more oldschool . Well, as a whole I’m still proud of “A Touch of Medieval Darkness”. I like to listen to it from time to time. It was cool to re-released now on vinyl, to work on it again. I did some changes, cut out parts of the intros and outros because. At the time of the release we didn’t use computer for the recording and it was very difficult to cut something. Especially, because the guy responsible for the keyboard parts played everything live and not fitting in time.  Already back then I thought that those parts were to long. That is why I made them shorter for this reissue, to better fit the entire album.

2. When we talk about inspirations, you were going against the tide back in 1995/96. Traditional black and death metal ruled the scene. What was the response for your debut record?

The response was huge. We somehow managed to fir into the black metal scene but with our own sound, elements and style. Apart from typical blasting stuff we have also added thrash metal influences. There are songs like “Devil’s Sword”, which we still play live. It’s more in an oldschool black metal style, thrashy, speed metal-like. There is also “Portal of Hellgate” that was not in a typical black metal style performed by such bands like Marduk or Immortal. We paid a lot of attention to variety and wanted to show our roots. Not only Norwegian black metal stuff but also thrash metal from such bands like Slayer, Kreator, Destruction, Sodom. I think it wall all already on the debut and we kept that trademark expanding it on the later releases. There were also some epic tunes which is also our trademark, just listen to the title track which captures that medieval atmosphere, feeling.

3. When it comes to this medieval atmosphere, what was the root of making it this way, to add that specyfic touch to this record and others after it?

That is a really good question. I still wonder why I’m so much into this kind of stuff. I think it’s because of my father. When I was a little Inferno he brought me to some medieval castles. You know, we have a region, the Rheinland, where we have a lot of old castles. I liked the atmosphere among those walls. I thing everything started at that particular time. When I was older and already had driving license I visited a lot of castles myself, not only in Germany but also in France for example. I still like the atomspehere there but in fact I don’t like the so-called medieval music. We had those medieval markets here in Germany where you can drink honey, buy clothes from that time and so on. It’s too romantic for me. Medieval times were also marked by plagues, wars, people were suppressed not only by lords and kings but also the church. That times were not that romantic like they are being shown nowadays.  When I play all these tunes from Desaster albums it’s my version of medieval music, my imagination. When I’m among the castle ruins these melodies just appear in my head, I have to play them on guitar. That’s where it all comes from.

4. There was a very atmospheric photo session for the album. Could you tell me where it was made, maybe you can share some memories connected with it. Who came up with the idea of part-corpse paint. Odin and Okkulto were wearing it but you and Thorim not.

This was about showing our two sides. It was a black metal side with Okkulto and Odin weraing the war-paint on their faces. Me and Thorim represented that more oldschool vibe, style from the thrash and speed metal aestetics and we also liked a lot. Desaster was not a typical black metal band and we wanted to distinguish ourselves a bit. The session was taken at a local castle ruins, it was Sunday I think. We had to make it in a day light so there were many people there and they were like “What the hell are these guys doing here. We carried some swords with us, some torches, candles and stuff like that. Luckily no one called the police because of our bullet belts. It was a very cool session with a high quality photos. They were taken by Odin’s uncle who was a professional photographer. He did a great job. 

5. Want to ask about Thorim now. As far as I remember there was no photo of him in the old issues of the material and now he appears on the back cover of the vinyl together with the rest of you. 

Good that you have noticed that. Back in the time when we were recording “A Touch of Medieval Darkness” Thorim was a member of Desaster but soon he recognised that this was not his way of doing music, not even his scene. He was more into traditional heavy metal or just popular music. He did some concerts with us and was not comfortable with what happened in the audience, you know, fights, mosh, headbanging etc. It seems it was too much for a young guy. One day he came to me saying that it was great to play with us but it was not his world, he had to quit. I accepted his decision but I was a bit angry at him. We always had problems with drummers. I really liked his style of playing, he was a good drummer and everything worked in rehearsal room. I was a pity that he had to leave. So when the album came out he was only mentioned as a session drummer as he was no longer in the band and didn’t add his photo in the booklet. He said it was ok with him. I think it was very strict and harsh from my side. So when we have done the rerelease on vinyl I decided to pay him attention and credits that he deserves and put him as our drummer back then with a proper photo. He played on this album and did it very well.

6. Let’s talk about Merciless Record as that was the label that released “A Touch of Medieval Darkness”. How do you recall the cooperation with them, how it got started and why did you choose them?

I think it was the other way around – they chose us. It all started with the guys from Ungod with whom we did a split release back then. They were signed to Merciless Records which issued the split. The label asked us after that if they can release our debut as well. We were really glad that someone was interested in us and our music as we thought we were still not that good. It was an honour for us. I still remember the day when the split arrived with my post. It was the first vinyl we did. I was so proud and showed it to everybody. The album turned great as well. The only disadvantage of Merciless Records was the fact that the label was not that much professional. It was just a one man label and he was always working very slowly. We recorded “A Touch of Medieval Darkness” in 1995 already, but it was issued almost a year later. You know, when you release something you want it out as soon as possible, see the reactions on the record from the fans. It was just too slow. That was the reason why we have changed the label later.

7. In the first pressing of the vinyl version there was a special booklet added, with lyrics, photos. Please tell me about the idea behind it and why you have not decided to bring it back with the reissue. 

It was my idea to give something special to the fans. Not just a typical sheet with lyrics but a separate booklet with them plus special photos that catch the special atmosphere of the album – some woods, ruins, castles. That fitted perfectly with the release. I think it was a good idea. When it comes to the re-release we wanted to do something new. People who bougth the album 25 years ago should have something special in their collection. Doing it the same way as the first press will be a betrayal of the fans who own this first version of the record. The new one also looks good. It has some special photos collage with pictures from the recording session and gigs. I really like the way the cover art looks now. The original one was too dark. It was hard to recognise what was actually on it. Now you can clearly see what the original artwork represents – the fairy man standing on his dragon boat with some sort of staff or torch in his hand. It fit to the atmosphere of the album. Also the paper used for the cover is really cool this time.

8. When we are talking about the cover art, could you tell me why you have chosen this particular one? Were there any other ideas, alternatives?

No, not really. The author of the cover was my classmate from the school days, he was a painter. We already had one of his works on our very first demo – “The Fog of Avalon”. I asked him if he had some other painting that we might use for the debut album. He showed me the one that you can see on the cover of “A Touch of Medieval Darkness” and it fitted perfectly, there was nothing more to think about. It was a pity that it turned out so dark on the album back in the days. 

9. Let’s move for a moment to the recording session of the debut album. Could you recall some interesting stories connected with it, where it was and so on? 

It was at the studio in our home town. The guys from the studio were normally recording a typical rock stuff, pop music and when we came there and started to play they were shocked about the way we did the things. Especially when Odin started to record his bass lines. When he put his distortion effect on the mixing guy, who was a bass player as well, started to shout that something must be out of order and the bass was not sounding the way it should have. He was surprised and shocked when Odin explained his intention and the way he wanted his bass to sound. We had to teach this guys how the black metal sounds like. It was funny. 

10. Were there any particular metal albums or just albums that influenced you strongly back in 1995 during the creation of “A Touch of Medieval Darkness”?

Of course we had so many metal bands and albums in the background. I could hardly mention some special ones that inspired us but I remember that back in those days, in mid 90s, we were listening to Norwegian bands like Darkthrone, Immortal. The first records of these bands. They had a serious impact on us. There was also the old stuff like Mercyful Fate, the evil spirit of their records.

11. When I listen to the album there are some part, elements that reminds me of Venom - guitar lines and vocals of Okkulto. Sometimes he sounds almost like Cronos.

Cool, thanks! That’s good to hear that. Venom was the band that was a starting point for Desaster. When we were kids, we were watching Venom’s live video and we were impressed by all that was happening at the stare, those pyrotechnics, Cornos destroying his bass. We had to start a band like this one. It was a beginning of Desaster and that’s cool that you can hear it. We never wanted to copy Venom but listened to them a lot and I think my guitar playing is also inspired by Mantas. He is a very underrated guitarist. A lot of people say that Venom guys are not that good musicians. Ok, I think for Cronos and Abaddon it is correct but Mantas is really good guitar player and I like his style.

12. Let’s sum up with you favourite compositions from the debut album, which ones will it be and which ones do you prefer to play live the most?

We play “In a Winter Battle”, “Devil’s Sword” and also “Portal of Hellgate” regularly. I think when you play songs that often you don’t exactly listen to them on the album. So I prefer to listen to the ones that we don’t play live. I really like the title track because of the great atmosphere and one unusual “Visions in the autumn shades”. It’s cool to listen to them at home. I’m not the guy who listen to his own stuff that much but when I do so and it is the “A Touch of Medieval Darkness” album, I pick these titles.

interview by: Przemysław Bukowski

Apostasy - Death Return (Fallen Temple 2021)

Wracam po dłuższej przerwie z kolejną recką wartego uwagi materiału. Chilijskie Apostasy wraca z trzecią pełną płytą w swoim dorobku. Od czasu ich powrotu na scenę w 2013 wydali kilka mniejszych materiałów i jeden album, który był naprawdę solidny, pełen energii i nowych pomysłów. Tak samo jest w przypadku "Death Return", a nawet lepiej. Jest tu masa chwytliwych riffów, płyta jest bardzo dobrze zmiksowana, brzmienie jest soczyste. W ich black/thrashowej estetyce to bardzo ważne elementy. Płyta musi porywać, mieć odpowiednią siłę rażenia, kawałki nie powinny się ze sobą zlewać. Ekipa Apostasy postarała się, żeby tak nie było. Nastąpiła też zmiana za perkusją i dołączenie drugiego gitarzysty w osobie młodego Javiera Silvy (nie jestem pewien, ale zdaje się, że to syn Cristiana Silvy, basisty/wokalisty i lidera Apostasy), który udzielał się już na demach z 2020. Ten zastrzyk świeżej krwi bardzo posłużył zespołowi. Apostasy nadal podąża ścieżką inspirowaną głównie nieświętą trójcą teutońskiego thrashu jakim jest Sodom, Destruction oraz Kreator. Na "Death Return" mam wrażenie, że zbliżyli się miejscami do tej bardziej organicznej, pierwotnej formy thrashowego grania, nieco mniej kombinując, a bardziej zdając się na żywioł. Jednakże znalazło się się tu trochę miejsca na odrobinę bardziej finezyjne rozwiązania, jak to ma miejsce w chociażby "The Night" czy "Obey the Antichrist". No i o czym warto wspomnieć to fakt, że sporo z numerów na płycie to kompozycje rozbudowane, trwające więcej niż standardowe cztery minuty. Widać, że się panowie napracowali, wena twórcza jest. Chcę też dodać, że ten materiał to obecnie najlepsza pozycja w katalogu Fallen Temple. Szacun dla Dawida za współpracę z zespołem i wydanie tego materiału. Bardzo zachęcam was do posłuchania!

https://www.facebook.com/apostasych

https://shop.fallentemple.pl/

English translation:

I am coming back after a long break with another review of noteworthy material. Chilean Apostasy is back with a third full album in its discography. Since their return to the scene in 2013, they have released some smaller materials and one album that was really solid, full of energy and new ideas. It's the same with "Death Return", or even better. There is a lot of catchy riffs here, the album is very well mixed, the sound is thin. These are very important elements in their black/thrash aesthetics. The record must be thrilling, have the appropriate power, the compositions should not sound the same. The group made sure that thing will go that way. There was also a change behind the drums and the addition of a second guitarist in the person of the young Javier Silva (not sure, but seems to be the son of Cristian Silva, bassist/vocalist and leader of Apostasy) who has already been with the band on the 2020 demos. This shot of fresh blood. has served the group a lot. Apostasy continues to follow a path mainly inspired by the unholy trinity of Teutonic thrash such as Sodom, Destruction and Kreator. On "Death Return" I have the impression that they are somewhat closer to this more organic, primal form of thrash, a bit less fiddling and more relying on the energy itself. However, there is some room for a bit more sophisticated solutions, as is the case in, for example, "The Night" or "Obey the Antichrist". And what is worth mentioning is the fact that many of the tracks on the album are complex compositions, lasting more than the standard four minutes. You can see that the gentlemen have worked hard, there is a creative spirit. I also want to add that this material is currently the best one in the Fallen Temple catalog. Respect to Dawid for working with the band and publishing this material. I strongly encourage you to check it out!

Vomit Division - Hell in a Bottle (Metal on Metal 2020)

Zaraz stukną Vomit Division dwa lata stażu na scenie, a debiutancka płyta to moje pierwsze zetknięcie z tym jednoosobowym zespołem (za wszystkie instrumenty i wokale odpowiada Desmotes). Nie mogę powiedzieć, żeby Vomit Division czymś się wyróżniał spośród innych zespołów parających się black/thrashem. Jedynym czynnikiem, który jest tu szczególny to świetna dynamika i bardzo dobre i dopracowane brzmienie. Sama muzyka, jaką wykonuje Desmotes to wypadkowa pierwszej płyty Bathory, debiutu Cruel Force oraz płyt szwedzkiego Gehennah. Wszystko to wrzucone jest do jednego gara, zamieszane, podrasowane całkiem dobrą produkcją i gotowe, mamy "Hell in a Bottle". Do tego tekstowo mamy tu wszelkie bluźnierstwo i perwersję, także idzie to ramię w ramię z tytułem płyty. Piekło i szatan być muszą i są. Album, mimo muzycznej estetyki, z którą do czynienia mam często i która z zasady mi się podoba, ani mnie na dłuższą metę nie zaskoczył, ani nie wciągnął, mimo początkowego potencjału. No jakoś nie, ale to rzecz oczywiście subiektywna. Generalnie wszystko jest tu na plus i obiektywnie bardzo ciężko się do jakichś elementów przyczepić. Jest poprawnie, a nawet pod wieloma względami bardzo dobrze. Jednak zabrakło mi tu tzw. "tego czegoś". Podoba się, ale po przesłuchaniu nie masz już chęci do tego wracać. Tak jest w moim przypadku jeżeli chodzi o "Hell in a Bottle". Niestety. Poprawna płyta w swojej niszy. Materiał dla tych, którym jeszcze nie przejadła się black/thrashowa formuła. Oddani fani tego grania będą kontent. Ja już mam przesyt i ciężko mnie tu zaskoczyć.

https://www.facebook.com/vomitdivision

https://metalonmetalrecords.com/

English translation:

Vomit Division is about to celebrate two years of existence on the scene, and the debut album is my first encounter with this one-man band (Desmotes is responsible for all instruments and vocals). I can't say that Vomit Division stands out from other black/thrash bands. The only factor that is special here is great dynamics and a very good and refined sound. The music that Desmotes performs is stuff that may come out of Bathory's first album, Cruel Force's debut and Swedish Gehennah's records. All this is thrown into one pot, mixed up, boosted with quite good production and there we have "Hell in a Bottle". In addition, we have all blasphemy and perversion in terms of lyrics, and it also goes hand in hand with the title of the album. Hell and Satan must be there and here they are. The album, despite the musical aesthetics that I deal with often and generally like, neither surprised me nor attracted me in the long run, despite its initial potential. Well, but this is of course a subjective thing. In general, everything is okay and it is objectively very difficult to complain about anything here. All is correct, and even in many respects very good. However, I missed the so-called "this thing". You like it, but after the listening you don't want to come back to it anymore. This is how it looks like with me when it comes to "Hell in a Bottle". Unfortunately. Correct record in its niche. Material for those who have not yet been overwhelmed by the black/thrash formula. Devoted fans of this stuff will be content. I've heard a lot of different bands in this style and it's hard to surprise me here.

Okrutnik - Legion Antychrysta (Ossuary Records 2020)

Okrutnik to zespół, który jest jedną z większych niespodzianek ostatniego czasu, przynajmniej dla mnie. Pozornie grupa wykonuje oldschoolowy metal przesiąknięty latami 80. i hybrydą stylów black/speed/heavy/thrash, a gdy już odpali się płytę, wita nas nowa jakość, świeże brzmienie i bardzo dużo inspiracji naszym Katem (przede wszystkim), Turbo czy pierwszym albumem Wilczego Pająka. Mamy tu bardzo dużo dobrych riffów, porywających numerów, a i na metalową balladę znajdzie się miejsce - na wzór wymienionych wyżej zespołów. No i oczywiście wyłamanie się z anglojęzycznej formy, bo teksty numerów są po polsku. Okrutnik załatał pewną lukę, jaka się ostatnio wytworzyła względem tego typu grania i estetyki. Tak jak większość zespołów idzie utartym szlakiem Venom, Bathory, Destruction czy Celtic Frost, tak Okrutnik wybrał sobie za wzór najlepsze załogi polskiej sceny tamtych czasów. I chwała im za to, bo dzięki temu "Legion Antychrysta" jest materiałem oryginalnym, porywającym i przede wszystkim wnoszącym pewien powiew świeżości w tej całej okrzepłej już formie. Wróżę zespołowi bardzo dobrą przyszłość i życzę sobie, aby szli za ciosem i w tym trudnym dla koncertowania czasie zbierali już pomysły na kolejny materiał. No i winyl! Tak, "Legion" niewątpliwie zasługuje na to, żeby wydać go również na tym nośniku. Komu stary polski metal podsypany jeszcze młodzieńczą werwą miły, niech sięga po tę płytę w ciemno!

https://www.facebook.com/okrutnikofficial

https://okrutnikkontakt.wixsite.com/okrutnik

English translation:

Okrutnik is a band that is one of the biggest surprises recently, at least for me. Seemingly, the group performs oldschool metal rooted in the 80s and a hybrid of black/speed/heavy/thrash styles, and when the album starts up, we are struck by a new quality, fresh sound and a lot of inspiration from Polish Kat (above all), Turbo or the first album of Wolf Spider (former Wilczy Pająk). We have a lot of good riffs, ravishing compositions, and there will also be a place for a metal ballad - in the style of the bands mentioned above. And of course, the breake out of the English-language form, because the lyrics of the songs are in Polish. Okrutnik has filled a certain gap that has recently appeared in relation to this type of playing and aesthetics. As most bands follow the typical path of Venom, Bathory, Destruction or Celtic Frost, Okrutnik chose the best groups of the Polish scene of that time as his model. And praise them for that, because thanks to this, "Legion Antychrysta" is an original, thrilling material and, above all, brings a breath of freshness in its entire already solidified form. I bode a very good future for the band and I wish they would keep on going and gather ideas for the next material in this difficult time for touring. And vinyl! Yes, "Legion" undoubtedly deserves to be released on this format as well. Those who like the old Polish metal overfilled with still youthful verve, grab this album without hesitation!

Kommand - Savage Overkill (Metal on Metal 2020)

Kolejny zespół spod znaku skóry, alkoholu i ćwieków. "Savage Overkill" Kommand to rejony już silnie wyeksploatowane przez obecny Darkthrone czy Gehennah, przy czym mocno naszpikowane naleciałościami Hellhammer i wczesnego Celtic Frost z dodatkiem Motorhead. Nawet jest w tym trochę punkowego brudu. I tak to się wszystko toczy. Chyba wszyscy tę formułę dobrze znamy. "Savage Overkill" dzieli los bardzo wielu płyt nagranych w takiej właśnie estetyce. Pierwsze zetknięcie i najczęściej się podoba (mi się spodobało). Nie zachwyca, nie zaskakuje, ale tą swoją prostotą, organicznym brzmieniem (w sumie mam wrażenie, że album nagrano na tzw. "setkę") wciąga i przyjemnie się tego słucha, i nawet główką się pomacha. Warto zaznaczyć, że panowie wykazują się tą samą surowością co Japończycy z Sabbat, słychać tu pewne podobieństwo, a nigdy wcześniej tego specyficznego soundu u nikogo nie słyszałem. Minus jest natomiast taki, że nie zostaje ten materiał w głowie na długo, Posłucha się raz, drugi, trzeci, a potem odstawia i bierze za inne rzeczy - taka okrutna prawda. To dobra płyta, ale temu nie da się zaprzeczyć. Muzyka Kommand skierowana jest przede wszystkim do tych, którzy lubią określoną formę grania, taki bluźnierczy na wskroś black/thrash rock 'n' roll, jaki prezentują grupy pokroju Chapel czy Rotten. Jeżeli taki granie Wam pasuje, to i Kommand też Wam podejdzie. Kufle w górę i naprzód!

https://www.facebook.com/Kmmndmusic

https://metalonmetalrecords.com/

English translation:

Another band from under the sign of leather, alcohol and studs. "Savage Overkill" by Kommand is an area already heavily exploited by the present Darkthrone or Gehennah, and heavily laden with Hellhammer and early Celtic Frost influences with the addition of Motorhead. There's even some punk dirt in it. And that's how it all goes. I think we all know this formula well. "Savage Overkill" shares the fate of many albums recorded in this aesthetic. First contact and in most cases you like it (I personally like it). It doesn't impress, it doesn't surprise you, but with its simplicity, organic sound (I have the impression that the album was recorded live at the studio or in the rehearsal room) it draws you in and it is pleasant to listen to and even to bang your head to it. It is worth noting that the gentlemen show the same austerity as the Japanese from Sabbat, you can hear some similarity here, and I have never heard this specific sound from anyone before. The downside is that this material doesn't stay in your head for long, you will listen to it once, twice, three times and then put it aside and move to other things - that's a cruel truth. The album is good, but it can't be denied. Kommand's music is directed primarily to those who like a certain form of playing, such blasphemous black/thrash rock 'n' roll, as presented by groups like Chapel or Rotten. If this kind of sound suits you, then Kommand will be a good pick. Tankards up and forward!

Eurynomos - From the Valleys of Hades (Iron Pegasus 2020)

Zawsze byłem wielkim fanem Desaster, ale po odejściu Okkulto to już jakoś nie było to samo. Gdzieś ta energia i średniowieczny klimat z charakterystycznymi riffami uleciał, mniej lub bardziej. Na szczęście Okkulto powrócił po latach ze swoim własnym zespołem - Eurynomos. Wydali kilka świetnych EPek, a w tym roku przyszła pora na pełny album - "From the Valleys of Hades". Nie pomylę się zapisując Eyronymos do zespołów pokroju Cruel Force, Nocturnal, Witching Hour czy Triumphant, aczkolwiek będącym nieco wyżej ponad wymienionymi, ze względu na niepowtarzalny klimat. To granie przesiąknięte starym Bathory, Venom, wczesnym Slayer, Sodom, Kreator skoncentrowane na szybkich, nośnych riffach. Tutaj jest też ten duch niegdysiejszego Desaster, którego tak mi brakuje w ostatnich dokonaniach tegoż zespołu. Może nie jest tu tak średniowiecznie jak na "A Touch of Medieval Darkness" czy "Hellfire's Dominion", ale tak czy owak jest coś na rzeczy. Blisko temu do "Tyrants of the Netherworld", ulubionej płyty Okkulto, jaką nagrał z Desaster. Jest ta pasja i moc, która towarzyszyła pierwszemu zespołowi wokalisty Eurynomos. W sumie na to czekałem, to chciałem na tej płycie usłyszeć (już na EPkach było super) i to właśnie dostałem, a nawet lepiej. Niniejszy album jest ich sumą plus jeszcze więcej mocy. Granie już dobrze znane, ale pierwszorzędnej jakości. Nie zaskoczy, ale da satysfakcję ze słuchania, gwarantuję.

https://www.facebook.com/eurynomosofficial

http://www.eurynomos.com/

English translation:

I've always been a great Desaster fan, but after Okkulto left it wasn't the same. This energy and medieval atmosphere with characteristic riffs has disappeared somewhere, more or less. Fortunately, Okkulto returned years later with his own band - Eurynomos. They have released some great EPs, and this year it's time for a full-length album - "From the Valleys of Hades". I will not make a mistake by adding Eyronymos to the list of bands like Cruel Force, Nocturnal, Witching Hour and Triumphant, however being a bit above the previously mentioned bands having that unique atmosphere. It's a sound in the vein of old Bathory, Venom, early Slayer, Sodom, Kreator focused on fast, punchy riffs. Here is also the spirit of the former Desaster that I miss so much in the recent achievements of this band. It may not be as medieval here as on "A Touch of Medieval Darkness" or "Hellfire's Dominion", but anyway there is something about it. Close to "Tyrants of the Netherworld", Okkulto's favorite album he recorded with Desaster. There is this passion and power that accompanied Eurynomos singer's former band. All in all, I was waiting for it, I wanted to hear it on this album (it was great already on EPs) and that's what I got, and even better. This album is their sum plus even more power. This kind of stuff is already well known, but of first-class quality. It won't surprise you, but it will give you satisfaction from listening, I guarantee.

Trupi Swąd - W Imię Diabła (Putrid Cult 2020)

I tak oto zawiało starociem, piwnicą i... trupim swądem. Tak, Trupi Swąd to istne brzmieniowe i estetyczne lochy (ale już nie smoki, o nie!). Nikki Speed (również znany z Throat Cutter), bo taki pseudonim nosi twórca stojący za tym projektem, nie przebiera w środkach i miesza tu wpływy Kata z czasów "666" (również w warstwie tekstowej), Living Death, starego Running Wild, Sodom ("Obsessed by Cruelty" i "In the Sign of Evil") Sarcofago czy Vulcano. Do wszystkiego dolane jest toporne brzmienie z pogłosem, dając efekt zajechanej demówki, ale mimo to ciekawie to współgra i ten piwniczny klimat robi swoje. Materiał teoretycznie totalnie nie w swój czas i trend na różne "posty" i mieszanki Metalu z dziwnymi składnikami bez składu i ładu. Tutaj była absolutna świadomość tego, co ma powstać - i to powstało. Niemal dwunastominutowa podróż w czasie do odmętów formowania się ekstremalnego grania i jego sceny. Trzy numery (licząc intro - cztery), które pokocha się za tę prostotę, naiwność i ogień tamtych dni lub znienawidzi, szukając dziury w całym. Ja polecam, bo cel został tu osiągnięty, a więcej nie trzeba.

https://www.facebook.com/TrupiSwadOfficialBandPage/
https://www.putridcult.pl/

English translation:

And so the old stuff, basement and... corpse stench has blown. Yes, Trupi Swąd (Corpse Stench) is the real sound and aesthetic dungeons (but not dragons, no!). Nikki Speed ​​(also known from Throat Cutter), because such a nickname bears the creator behind this project, does not beat around the bush and mixes the influence of Kat from the time of "666" (also in matter of lyrics), Living Death, old Running Wild, Sodom ("Obsessed by Cruelty" and "In the Sign of Evil"), Sarcofago or Vulcano. Coarse sound with reverb is added here, giving the effect of a demo, but it interestingly harmonizes with the rest and this basement climate does its job. Theoretically, the material is totally not in its time and trend for various "post" stuff and mixtures of Metal with strange ingredients without sense and order. Here there was an absolute awareness of what was to be created - and it was created. Almost a 12-minute journey in time to the depths of the formation of extreme playing and its scene. Three tracks (counting intro - four) that you will love for this simplicity, naivety and fire of those days, or hate looking for something to complain about. I recommend it because the goal has been achieved here and there is no need for anything more.

Midnight - Rebirth by Blasphemy (Metal Blade Records 2020)

Kolejna premiera tego miesiąca! Midnight - i wszystko jasne! Prowadzony przez Athenara zespół to to samo zjawisko, jakim były niegdyś Motorhead czy AC/DC - wiadomym jest, czego się spodziewać i jakiej jakości to będzie. Zawsze był to przynajmniej dobry album. Tak jest teraz w przypadku Midnight. Ten zespół już wyrobił sobie markę i cały czas trzyma się swojego charakterystycznego stylu i poziomu wykonawczego. To ten sam brudny, diabelski, bluźnierczy Rock 'n' Roll na sterydach. "Rebirth by Blasphemy" może jakimś specjalnym odrodzeniem nie jest, ale dołączenie zespołu do katalogu Metal Blade Records zrobiło swoje w kwestii promocji oraz samej formy wydania płyty. Naprawdę jest to zrobione pierwszorzędnie. Zmieniło się też brzmienie. Jest bardziej dopracowane, dynamiczne, głębsze, wciąż zachowując swój wulgarny, oldschoolowy charakter. Midnight nigdy wcześniej nie miał tak dobrej produkcji jak na tym krążku.
Które numery zasługują na szczególne wyróżnienie? Na pewno otwierający płytę "Fucking Speed and Darkness" - typowy, klasyczny Midnight, "Devil's Excrement" oraz "Rising Scum" - "In League with Satan" Venom kłania się tu z każdej strony (a może nawet "Take on the World" Judas Priest?), pomysłowe nawiązanie do starych bogów. Widać, że Athenar to człek osłuchany i przesiąknięty pasją do muzyki, którą wykonuje i tej, której słucha. Materiał jest spójny, zwięzły, utrzymany w tej samej stylistyce i tempie. 35 minut bez wytchnienia i przestojów. I to tyle, co można rzec na szybko o tej płycie. Każdy, kto zna Midnight nie będzie zawiedziony! Ja nie jestem, mimo tego, że żadnych specjalnych niespodzianek tu nie ma.

https://www.facebook.com/midnightviolators/
https://midnight-ohio.bandcamp.com/

English translation:

Another premiere of this month! Midnight - and it's all clear! The band led by Athenar is the same phenomenon that was once Motorhead or AC/DC - it is obvious what to expect from them and what quality it will be. At least it has always been a good album. This it is the same with Midnight. This band has already made a name for itself and still sticks to its distinctive style and performance level. It's the same dirty, devilish, blasphemous Rock 'n' Roll on steroids. "Rebirth by Blasphemy" may not be a special revival, but joining Metal Blade Records catalogue did its job in terms of promotion and the form of the album itself. It is really perfectly issued. The sound has also changed. It is more refined, dynamic, deeper, still retaining its vulgar, oldschool character. Midnight has never had such a good production before.
Which compositions deserve special mention? Certainly the opening "Fucking Speed ​​and Darkness" - typical, classic Midnight, "Devil's Excrement" and "Rising Scum" - "In League with Satan" by Venom bows here from all sides (or maybe "Take on the World" by Judas Priest?), an ingenious reference to the old gods. You can see that Athenar is a man with passion for the music he performs and the one he listens to. The material is coherent, concise, kept in the same style and tempo. 35 minutes without rest and stoppages. And that's all you can say quickly about this album. Everyone who knows Midnight will not be disappointed! I am not, despite the fact that there are no special surprises here.