Πέμπτη 7 Φεβρουαρίου 2013

Enslaved - Axioma Ethica



Enslaved is a progressive black metal metal band formed in Sveio, Norway, in June, 1991. They are currently based out of Bergen, Norway

Current members



Studio albums

 Support The Band : http://www.myspace.com/enslaved
Download The Cd : http://www.4shared.com/file/Hg_cs-_E/Enslaved-Axioma_Ethica_Odini-2.htm?aff=7637829

Δευτέρα 16 Ιουλίου 2012

Fatal Mutiny - Insult To Life





Fatal Mutiny is a Thrash metal band from Ioannina (Hellas). The whole idea begun when five guys got together and decided to play music. While playing their favorite cover songs they started composing some songs of their own. This is how the first tracks became reality. In the meantime the very first lives had already took place. They recorded their first demo “Insult To Life” with Stam (ex member – vocals) and after that Mitsos started doing vocals. So there were four. After a lot of rehearsals they managed to compose some songs and played some more lives. Their new compositions seem to be more technical than their early songs and with a more mature perspective as concerns the structures. Their goals are to give personality to their music and create a unique sound.
 
 





Band Members:

 Sakis – Drums

 Mitsos – Guitars, Vocals

 Kostas – Guitars 

 Drakos – Bass Guitar, Backing Vocals






Τρίτη 26 Ιουνίου 2012

Defeated Sanity - Chapters Of Repugnance


 

Defeated Sanity is one of the unique names when technical death metal is the case. I can’t find technical... 


Tracklist:
1. Introitus
2. Consumed By Repugnance
3. Carnal Deliverance
4. Salacious Affinity
5. Engulfed In Excruciation
6. Coerced Into Idolatry
7. Blissfully Exsanguinated
8. Calculated Barbarity
9. Lurid Assimilation


   



Πέμπτη 23 Φεβρουαρίου 2012

Mose Giganticus - Gift Horse



Mose Giganticus is a one man band constructed by Philadelphia, Pennsylvania-based Matthew Garfield, who had put in plenty of time in various punk bands of the area. Since formingt he project back in 2005, this project has seen a few albums, but none as heavy, entertaining, yet odd as far as the music for this release goes. Gift Horse, the second full-length album from   Mose Giganticus,is essentially a Sludge Metal style of playing with some Hardcore and Punk influences that are brought in, but mostly through synthesizers. However, with Gift Horse, it seems that the material this time around is much more Sludge oriented with synths then anything else. This more refined sound leads to Gift Horse being a great album that really stands out amongst the many Mastodon clone bands in this style, and may very well toppled them and each doppleganger all at the same time.

While this album does seem to focus moreso on the Sludge sound of the music, there are still some tracks on here that still bring in the whole Punk and Hardcore atmosphere. Take "The Left Path" for instance. While this track has the ground work of a Sludge album, it has the speed and even the group chanting that would commonly be associated with the Hardcore music style. These elements added together work great and really make this track stand out above all on the release for how heavy it ultimately sounds. However, all of this applies only to the speed factor of the album. While this track is one of the most enjoyable and really stands out amongst the faster tracks of the album, there's no denying that "Days of Yore" is easily the most unique track on this entire album, with it's insane layer of science fiction atmosphere that gives the song an almost astral feel thanks to the synthesizers that overpower the track to take you on one hell of well composed trip right from the start.
 
While the Sludge aspect of this album is absolutely fantastic and really works well to create an experience all it's own, the tracks like "Days of Yore" are really where this album shines. While "Days of Yore" is enough that it could sweep you away into a whole other musical world without leaving the Sludge roots behind, it's the song "White Horse" that really drives the album home with it's epic overall sound thanks to the heavy synthesizers and accompanying guitars, all of which building a very intense song without going over the top, acting as sort of a climax track to the concept behind the album, which apparently is that of the building tension before the great war between Heaven and Hell, and the discussions between God and Lucifer.

Gift's Horse Tracklist: 
  1. Last Resort - 4:03
  2. The Left Path - 4:14
  3. Demon Tusk - 3:44
  4. Days of Yore - 3:47
  5. The Great Deceiver - 4:07
  6. White Horse - 4:53
  7. The Seventh Seal - 5:04


Support the Band : myspace.com/mosegiganticus

Κυριακή 19 Φεβρουαρίου 2012

Alice Cooper - Welcome 2 My Nightmare



Welcome to My Nightmare is the eighth album by Alice Cooper, released in 1975. This was Alice Cooper's first solo album (all previous Alice Cooper releases were bandefforts). The cover artwork was created byDrew Struzan for Pacific Eye & EarRolling Stone would later rank it as one of the "Top 100 Album Covers Of All Time".
Welcome to My Nightmare is a concept album. The songs, heard in sequence, form a journey through the nightmares of a child named Steven.
Welcome to My Nightmare inspired the Alice Cooper: The Nightmare TV special and a worldwide concert tour in 1975, and the Welcome To my Nightmare concert film in 1976.
The song Welcome to my Nightmare is a parody of the 1968 novel "There's a Nightmare in My Closet" by Mercer Mayer.
Famed film actor of the Horror genre Vincent Price provided the introductory monologue in the song "The Black Widow".
The remastered CD version adds three alternate version bonus tracks.
In 2011, the sequel Welcome 2 My Nightmare was released.



Contents


Track listing

  1. "Welcome to My Nightmare" (Alice CooperDick Wagner) – 5:19
  2. "Devil's Food" (Cooper, Bob Ezrin, Kelley Jay) – 3:38
  3. "The Black Widow" (Cooper, Wagner, Ezrin) – 3:37
  4. "Some Folks" (Cooper, Ezrin, Alan Gordon) – 4:19
  5. Only Women bleed (Cooper, Wagner) – 5:49
  6. "Department Of Youth" (Cooper, Wagner, Ezrin) – 3:18
  7. "Cold Ethyl" (Cooper, Ezrin) – 2:51
  8. "Years Ago" (Cooper, Wagner) – 2:51
  9. "Steven" (Cooper, Ezrin) – 5:52
  10. "The Awakening" (Cooper, Wagner, Ezrin) – 2:25
  11. "Escape" (Cooper, Mark Anthony, Kim Fowley) – 3:20


2002 CD reissue bonus tracks

  1. "Devils' Food" (Alternate Version) - 5:13
  2. "Cold Ethyl" (Alternate Version) - 2:56
  3. "The Awakening" (Alternate Version) - 4:20


Personnel

  • Alice Cooper - Vocals
  • Bob Ezrin - Synthesizer, Arranger, Keyboards, Vocals, Producer, Fender Rhodes, Remixing, Mixing, Remix Producer
  • Vincent Price - Special Effects, Vocals
  • Dick Wagner - Electric and Acoustic Guitar, Vocals
  • Steve Hunter - Electric and Acoustic Guitar
  • Josef Chirowski - Synthesizer, Keyboards, Vocals, Clavinet, Fender Rhodes
  • Prakash John - Bass
  • Tony Levin - Bass
  • Pentti "Whitey" Glan - Drums
  • Johnny "Bee" Badanjek - Drums
  • Greg Allen - Art Direction, Design
  • Craig Anderson - Mastering
  • Bob Brown - Second Unit Director
  • Spencer Chrislu - Author
  • David Ezrin - Vocals
  • Jim Frank - Engineer
  • Dan Hersch - Mastering
  • Bill Inglot - Mastering
  • Bret Lopez - Photography
  • Gary Lyons - Vocals
  • Allan MacMillan - Arranger
  • Toby B. Mamis - Project Assistant
  • Brian Nelson - Project Assistant
  • Jeffrey Morgan - Liner Notes
  • Rod O'Brien - Engineer
  • David Palmer - Engineer
  • Phil Ramone - Engineer
  • Mike Reese - Mastering
  • Michael Sherman - Vocals, Production Assistant
  • Ed Sprigg - Engineer
  • Corky Stasiak - Engineer
  • Julee Stover - Editorial Supervision
  • Drew Struzan - Artwork
  • Charlie Watts - Mastering
  • Gerry Yons - Guitar
  • Trish McKinnon

Download Welcome 2 My Nightmare : http://www.unibytes.com/zUiA9osnKv4B

Remastered Review From Wiki 
For Settler \m/

Παρασκευή 3 Φεβρουαρίου 2012

Divinity - The Singularity


Hailing from Canada, Divinity play a sort of mix between Progressive Death, Technical Death, and Melodic Death/Gothenburg with an overall spacey feels that gives the band a wholly original sound. If you are into any of the previously mentioned genres then this band is definitely one to check out. To be honest I'm pretty surprised that I haven't heard any chatter about this band at all this year, being that they released a new album on Nuclear Blast and their sound should appeal to many people. Despite this, The Singularity contains plenty of gems coated in intricate riffage enhanced by great sound editing (you can actually hear the bass sometimes!) it would be a shame to let this release go by unnoticed.
The album starts off with a bang with "Abiogenesis," a simple song mostly containing chugging on the same note that is arguably my favorite out of them all. This song sounds a bit like a futuristic war march, and if two planets were going to commence battle in the year 3000 this is what I would want to play when the troops clash. The tracks just get more complicated and technical from then on, some of the notable ones being "Beg to Consume," "Lay In The Bed You've Made," and "Embrace the Uncertain," which contain catchy choruses and perplexingly awesome riffs.
There are little faults with the album, but I'd be lying if I said I loved every song every time I listened to them. When I sat down and tried intently listening to the whole thing start to finish I ultimately became bored, but it was when I listened to the songs in chunks of three or four at a time that I enjoyed the release the most. It was also a grower for me, ultimately catching on after two listens. Despite this, The Singularity is a great and highly recommended release. 

Σάββατο 24 Δεκεμβρίου 2011

Assjack - Assjack



If you're primarily a country musician and want to cross over, don't take the Shania Twain route and softsoap your stuff with a Top 40 gloss to the point you embarass yourself--albeit the paycheck at the end of the day sure eases your ego. Don't take the Garth Brooks route and release an apposite quasi-rock album with hints of country courtre under an alternate identity. On the flipside, don't be like Christina Aguilera and do the about-face tactic, transforming from digitally-baked pop diva to a quote-unquote "serious" country performer, because it simply backfires and as she found out, nobody listens anyway. Not everyone has the natural grace and charm of a Loretta Lynn or Dolly Parton to make an easy transition to differing audiences without altering their schemes. Loretta Lynn may have benefitted from rubbing elbows with The White Stripes' Jack Black as Tony Bennett did with The Red Hot Chili Peppers, but Lynn changed not a stitch of herself, God bless her honest self.

Hank Williams III (known to the underground lovingly as Hank III or simply III) is no Chris Gaines, but he might be a Gibby Haynes at heart. It's no secret the hellbilly from Tennessee is one of the fiercest competitors on the scene, be it in a country forum or along the metal and punk avenues. Hank III staked his rep for the latter genres by ushering a crunky, curse-laden form of traditional country to the Warped Tour and hellhole bars thereafter. Whether you find his snarling attitude and sense of "fuck you" lurking beneath a sound more in tune with the Depression-era dustbowl country music Hank III's reknowned grandfather soothed a bruised nation along with Hank Snow offensive, that's your problem, were you to ask III. It's recession time in the 2000's and III would rather exhibit the modern sentiments with his music than pussyfoot about things.

As psychobilly has blossomed in the American punk underground on the heels of Reverend Horton Heat, Tiger Army, Koffin Kats and the Danish superstars Nekromantix (who've mastered the style better than anyone), it should've seemed logical a guy who drinks piss 'n vinegar from a Mason jar and then spews it out in his gnarled delivery would've taken on a psychobilly project.

Welp, Assjack is the extension of Hank III's more riotous candor, but psychobilly this is not. Yep, there's a polecat and huckleberry demeanor projecting through Assjack, but the end result to Hank III's one-man-show is more in tune with the Butthole Surfers (ala Independent Worm Saloon), latter-day Ministry and the long-ago Al Jourgensen/Jello Biafra collaboration, Lard.

Performing the whole damned thing himself, Hank III's Assjack rings like the instigation of a teenager blowing his load out a speeding car window and laughing irresponsibly at the sight of his spew slicking itself across some hapless schmuck's windshield.

In the past Hank III has been found onstage peeking from behind the drum kit in Arson Anthem as well as slapping the tar out of his bass in Superjoint Ritual. As much a fan of Pantera as Waylon Jennings, expect Assjack to be chocked full of Dimebag Darrell chunk riffs along with some rather proficient death metal shredding. Embodying everything relayed in this review on his album's closer "Doin' What I Want" where Hank III screams "don't give a fuck!" at the top of his lungs, you have to appreciate the meaty chugs and the sicko blast beat patterns the youngest Williams fuses together. He barks with all of his manhood and throws in dragged swill vocals as if Ozzy Osbourne had spent a weekend in the South and tossed back more Kentucky Gentleman than one could intake without bumbling straight into the grave.

"Tennessee Driver" kickstarts Assjack with a doom intro before taking flight on a banging rhythm ala the Butthole Surfers' "Who Was In My Room Last Night?" (just as the Surfers took on a country kitsch on the same album with "You Don't Know Me") "Wasting Away" subsequently crushes your subwoofers with a loud stomp and "Choking Gesture" is Hank III's declaration he can heavy things up with the best of them. The same guy who essentially told The Grand Ole Opry to screw itself on his current country album Damn Right, Rebel Proud wants metalhead haunts to know he can easily wrangle up a mosh pit with the same vociferous vengeance.

Hank III tears his esophagus out on "Gravel Pit" and the greased-lightning thrashers "Redneck Ride" and "No Regrets" (the latter of which shows III exhibiting some Jello Biafra gurgling) as well as scatting quickly-wrought lines like a man with the fuzz on his tail on the careening "Cut Throat" and "Smoke the Fire."

If you're skeptical about a country kid jumping ship onto a metallic plank, believe in Shelton Hank Williams, III. Assjack is as loud as advertised and III has more aptitude for this music than some spending their whole lives in it. While there's more than a share of digital assistance to this project, Assjack is mostly au naturale parts thrown into Hank III's audile meat processor and have faith he grinds it up to manic delight. Besides, he has a performing band he's taking on the road as Assjack, along with his "Damn" country band, both appearing on the same bill. That's a dude who really loves performing music.

Not really the big surprise to 2009 as much as it is the year's biggest "hell yeah!" Assjack is an industrial-metal hee-haw with its hooves raised higher in the air than Hank III's middle finger.