METAL

: ))))))))))))))))))))))))))))))

dobro da su nekim ljudima neke stvari drugi zanr jer eto zanrovi su totalno subjektivna stvar wtf:)))))))))))

sonik reko bi covjek da nakon bi nakon tolko godina debljanja pred kompom i gledanja animeja i slusanja mjuze nesto naucio : ))))))))


edit: i padanja razreda

Evo vam malo teške doomare.

Prestani biti idiot. Naravno da je subjektivno u ovakvim slučajevima, isto kao i rasprave tko je prvi počeo svirati death ili thrash, recimo. Svatko će nekoga drugoga naći, i sve je to tu negdje. Meni je pomalo čudno kad mi netko kaže da je njemu BS prvi metal band, ali tko sam ja da se svađam. Nije ni bitno.


Nego da podijelim ovo, meni najbolja recenzija na arhivama, za Atheist - Elements, ali lik se osvrnuo na cijeli žanr, i ne bih se mogao više slagati.

=> Spoiler Alert: <=

Decapitated head licking your cunt
Sucking all the blood from your stump
Intestinal guts taking their hold
Leaving you dead, stiff and cold

Controlling the minds of the bloodthristy dead
Unholy seizure slicing through your head
Who will survive only time will tell
Dripping from your mouth comes a rancid smell
Lobotomised corpse shredding your flesh
Leaving your body a bloody mess

Scream bloody gore
Scream bloody gore

If one were to attempt to give credence to that hoary old cliché, "from humble origins...", I am not sure that there would be a better exemplar than the evolution of the death metal subgenre. Initially but a sweat-stung flesh-wound on the side of thrash that grew gangrenous, death metal was amongst the lowest filth that had yet been diagnosed by the worried physicians of modern music. But for all its basis in empty sound and fury, in vile shock tactics, within ten years it had become perhaps the most artistically diverse of all the subgenres of metal. Nothing in the early works of Death or Deicide ever suggested that its sulphurous soil could prove hospitable to works with aims beyond pissing off the neighbours and rousing Balrogs. But then came Atheist, and suddenly, all turned to Green.

By their own account, the members of Atheist were just a couple of stoners who were really into Rush and Watchtower and wanted to take those ideas to the extreme, and with this in mind it becomes clear that their seminal debut Piece of Time and its groundbreaking follow-up Unquestionable Presence represent a group of passionate artists gradually working their way out of the shadow of Slayer which had shrouded every extreme metal band of the early &#39;90s. The death of bassist Roger Patterson, an otherworldly talent if there ever was one, almost signalled the end of that journey before it had even properly begun, but for once record company demands found themselves aligned with the interests of art, and one final work was undertaken.

Elements is an album upon against which an army of adjectives could be deployed, only for the appraiser to later find each one lying broken before it. Appropriately, given its lyrical theme, the album might best be described naturalistically. It is the creative spark bursting into flame, the muse swept into flight by the wind, a spirit-quenching drink, a seed breaking terra firma. In no uncertain terms, I reckon it to be a masterpiece. More importantly, it is a masterpiece that might only be possible within the anti-social realms of death metal.

One might liken Elements conceptually to Rush&#39;s "Natural Science" or "The Trees" (at least in terms of the idea of personifying forces of nature), but, as good as those songs are, they come off as something of a lyrical gimmick. Atheist&#39;s effort on the other hand does not, and much of this has to do with the intrinsically esoteric character of death metal itself. Lyricist Kelly Shaefer is, by metal&#39;s ESL standards, a respectable poet with an uncommon gift for phrases that stick with the listener, but even the greatest of literary minds are obviously ill-equipped to communicate the &#39;perspectives&#39; of nature. Atheist, perhaps by chance, have found a way around this stumbling block. For all their grace and precision, they are still playing ear-splitting megawatt death metal, and the very intensity of the music, the hammering riffs and blistering solos and throat-shredding screams act as a filter, obscuring our understanding of what is actually being said. One catches the gist, images of natural splendour raped by human ignorance and crying out for mercy or retribution, and these fragments take root in the mind and grow stronger with each successive listen, nourished by the power of their music

And I must emphasize yet again the importance of the death metal in Atheist&#39;s bloodlines. Thrash could not have abided "Animal" with its deliberate, almost stately tempo, its regal ebb and flow and dream-like miasma of echoing vocals and squeaking harmonics and nimble bass work; it is decadent, a word alien to thrash save for Coroner&#39;s famous rejection of the idea. When Atheist thrash, they thrash like a snake with a broken back, foetal coils unexpectedly lashing out rigidly in accordance with the odd-time charms of an evil eight-armed Hindu deity of a drummer. No, it is only death metal, too focused on destruction to do more than monitor the decimal levels of its adherents that could have been duped into sheltering Atheist and their kin.

And if the death metal mode helped to render Atheist’s lyrical aims incomprehensible to all but the most assiduous of listeners, they have no qualms about making their music itself as overt as fire painted across a skyline. This is metal as no one imagined it could ever be, like Anacrusis unbound and obsessed with fusion jazz, compositions as boundless and powerful as their namesake elements. Witness the waltzing "Air", which rises from breezy Al DiMeola licks and breathy cymbal kisses to a veritable blizzard of activity. Riffs circle around Shaefer&#39;s impressive shrieks before plunging down and laying waste to the tundra. This isn&#39;t catchy, it’s the feeling of being caught by an unstoppable wind and forced to move, to bang one&#39;s head, to BREATHE the BREEZE. And it just keeps unfurling till you wonder just how any band could have found a way to make mere jazz feel so... commanding.

The whole record feels revelatory in the same way that the albums which altered the course of the genre&#39;s development did upon release, but unlike most of these, it is a sensation independent of the idea of &#39;influence.&#39; Elements might change the way one thinks about metal, but few if any have followed this particular sound to a great degree. How could they? And so "Mineral", which begins with the mechanical regularity of a drill and devolves into the mathematical chaos of a cave-in remains as flung out of time as it must have in 1993. Where most death metal concerning itself with the idea of being &#39;beautiful&#39; has followed in the plush, gothic footsteps of My Dying Bride and Edge of Sanity, Atheist remain as crystalline as ever, with piercing angular riffs and taut bass strings which refuse to omit an iota of sexiness. What does one say, in the face of such gleaming perfection? How does one quantify the &#39;atmosphere&#39; of the unrelenting "Earth", or the incredibly busy "Water"? Certainly not in the same terms one would describe an Opeth album.

Poets have been trying to encapsulate the elements for aeons. Perhaps I will be allowed a few more years to muse upon these Elements.

I tip my hat to the creation
And its rewarding disposition
Formed by something
Lacking nothing here
Something so divine
A spectacle of Elements

Stand-Out Tracks: "Air", "Green", "Elements"

metalika moj dobar drugar

Perem Sigur Ros ovih dana opet pa vam ne mogu ništa okaciti :(

= Citat =:

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Izvorno postao Sonic_Moronic

Prestani biti idiot. Naravno da je subjektivno u ovakvim slučajevima, isto kao i rasprave tko je prvi počeo svirati death ili thrash, recimo. Svatko će nekoga drugoga naći, i sve je to tu negdje. Meni je pomalo čudno kad mi netko kaže da je njemu BS prvi metal band, ali tko sam ja da se svađam. Nije ni bitno.


Nego da podijelim ovo, meni najbolja recenzija na arhivama, za Atheist - Elements, ali lik se osvrnuo na cijeli žanr, i ne bih se mogao više slagati.

=> Spoiler Alert: <=

Decapitated head licking your cunt
Sucking all the blood from your stump
Intestinal guts taking their hold
Leaving you dead, stiff and cold

Controlling the minds of the bloodthristy dead
Unholy seizure slicing through your head
Who will survive only time will tell
Dripping from your mouth comes a rancid smell
Lobotomised corpse shredding your flesh
Leaving your body a bloody mess

Scream bloody gore
Scream bloody gore

If one were to attempt to give credence to that hoary old cliché, "from humble origins...", I am not sure that there would be a better exemplar than the evolution of the death metal subgenre. Initially but a sweat-stung flesh-wound on the side of thrash that grew gangrenous, death metal was amongst the lowest filth that had yet been diagnosed by the worried physicians of modern music. But for all its basis in empty sound and fury, in vile shock tactics, within ten years it had become perhaps the most artistically diverse of all the subgenres of metal. Nothing in the early works of Death or Deicide ever suggested that its sulphurous soil could prove hospitable to works with aims beyond pissing off the neighbours and rousing Balrogs. But then came Atheist, and suddenly, all turned to Green.

By their own account, the members of Atheist were just a couple of stoners who were really into Rush and Watchtower and wanted to take those ideas to the extreme, and with this in mind it becomes clear that their seminal debut Piece of Time and its groundbreaking follow-up Unquestionable Presence represent a group of passionate artists gradually working their way out of the shadow of Slayer which had shrouded every extreme metal band of the early &#39;90s. The death of bassist Roger Patterson, an otherworldly talent if there ever was one, almost signalled the end of that journey before it had even properly begun, but for once record company demands found themselves aligned with the interests of art, and one final work was undertaken.

Elements is an album upon against which an army of adjectives could be deployed, only for the appraiser to later find each one lying broken before it. Appropriately, given its lyrical theme, the album might best be described naturalistically. It is the creative spark bursting into flame, the muse swept into flight by the wind, a spirit-quenching drink, a seed breaking terra firma. In no uncertain terms, I reckon it to be a masterpiece. More importantly, it is a masterpiece that might only be possible within the anti-social realms of death metal.

One might liken Elements conceptually to Rush&#39;s "Natural Science" or "The Trees" (at least in terms of the idea of personifying forces of nature), but, as good as those songs are, they come off as something of a lyrical gimmick. Atheist&#39;s effort on the other hand does not, and much of this has to do with the intrinsically esoteric character of death metal itself. Lyricist Kelly Shaefer is, by metal&#39;s ESL standards, a respectable poet with an uncommon gift for phrases that stick with the listener, but even the greatest of literary minds are obviously ill-equipped to communicate the &#39;perspectives&#39; of nature. Atheist, perhaps by chance, have found a way around this stumbling block. For all their grace and precision, they are still playing ear-splitting megawatt death metal, and the very intensity of the music, the hammering riffs and blistering solos and throat-shredding screams act as a filter, obscuring our understanding of what is actually being said. One catches the gist, images of natural splendour raped by human ignorance and crying out for mercy or retribution, and these fragments take root in the mind and grow stronger with each successive listen, nourished by the power of their music

And I must emphasize yet again the importance of the death metal in Atheist&#39;s bloodlines. Thrash could not have abided "Animal" with its deliberate, almost stately tempo, its regal ebb and flow and dream-like miasma of echoing vocals and squeaking harmonics and nimble bass work; it is decadent, a word alien to thrash save for Coroner&#39;s famous rejection of the idea. When Atheist thrash, they thrash like a snake with a broken back, foetal coils unexpectedly lashing out rigidly in accordance with the odd-time charms of an evil eight-armed Hindu deity of a drummer. No, it is only death metal, too focused on destruction to do more than monitor the decimal levels of its adherents that could have been duped into sheltering Atheist and their kin.

And if the death metal mode helped to render Atheist’s lyrical aims incomprehensible to all but the most assiduous of listeners, they have no qualms about making their music itself as overt as fire painted across a skyline. This is metal as no one imagined it could ever be, like Anacrusis unbound and obsessed with fusion jazz, compositions as boundless and powerful as their namesake elements. Witness the waltzing "Air", which rises from breezy Al DiMeola licks and breathy cymbal kisses to a veritable blizzard of activity. Riffs circle around Shaefer&#39;s impressive shrieks before plunging down and laying waste to the tundra. This isn&#39;t catchy, it’s the feeling of being caught by an unstoppable wind and forced to move, to bang one&#39;s head, to BREATHE the BREEZE. And it just keeps unfurling till you wonder just how any band could have found a way to make mere jazz feel so... commanding.

The whole record feels revelatory in the same way that the albums which altered the course of the genre&#39;s development did upon release, but unlike most of these, it is a sensation independent of the idea of &#39;influence.&#39; Elements might change the way one thinks about metal, but few if any have followed this particular sound to a great degree. How could they? And so "Mineral", which begins with the mechanical regularity of a drill and devolves into the mathematical chaos of a cave-in remains as flung out of time as it must have in 1993. Where most death metal concerning itself with the idea of being &#39;beautiful&#39; has followed in the plush, gothic footsteps of My Dying Bride and Edge of Sanity, Atheist remain as crystalline as ever, with piercing angular riffs and taut bass strings which refuse to omit an iota of sexiness. What does one say, in the face of such gleaming perfection? How does one quantify the &#39;atmosphere&#39; of the unrelenting "Earth", or the incredibly busy "Water"? Certainly not in the same terms one would describe an Opeth album.

Poets have been trying to encapsulate the elements for aeons. Perhaps I will be allowed a few more years to muse upon these Elements.

I tip my hat to the creation
And its rewarding disposition
Formed by something
Lacking nothing here
Something so divine
A spectacle of Elements

Stand-Out Tracks: "Air", "Green", "Elements"

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pa ko je ako nije sabat?
iommi je prakticki izmislio metal downtuningom i treble boostanjem. mislim, mozda nije prvi, ali je definitivno uvazeno to misljenje da su definirali metal.

Uvodi svih pjesama sa albuma. Sramota, nemam šta više za reći.

Inače, koji bi mi album preporučio osim Altars? Probao sam Covenant, nije mi sjeo. Ove nove stvari nikako.

Probaj opet Covenant.
Možda njihov najbolji. Produkcija je vrh :boohoo:

Je li to drum mašina na novom albumu :(
qSYBymlQ ... re=related


Nego, evo vam još malo oldskula osamdesetih:



:gitara:

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Izvorno postao MILF hunter

Uvodi svih pjesama sa albuma. Sramota, nemam šta više za reći.

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Ma smeće će bit novi Morbidi. Radije se primi povratničkog albuma još jednih starih legendi, Autopsya, koji je meni stvarno jako ugodno iznenađenje:

=> Spoiler Alert: Macabre Eternal:1kbpzu0v <=

Chillanje na groblju.

valja mnogo
mislim na sonica

Odmah su mi sjeli, rulaju. Koje riffčine:

riffovi su užasno dosadni, mada mi se sviđa njihov sound(od benda, ne)

Iritantan i naporan vokal.

Ukusi, meni je bio nevjerojatno iritantan u onome Pagan Altar albumu, ovdje mi je savršen.

A ono,treba privikavanja,a i nakon nekog vremena postane naporno za slušati,ali sve u svemu,dobri bendovi.
Jesi slušao Manilla Road?Nisam ih baš detaljno preslušao,ali po onome što sam čuo,mogli bi ti se svidjeti,iako baš i nisu toliko doomasti kao CU:

=> Spoiler Alert: <=

Evo još malo klasike iz 80-ih:

=> Spoiler Alert: <=

Leatherwolf:



Fifth Angel:



Pretty Maids:



Barren Cross:

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Izvorno postao Duke of Earl

Radije se primi povratničkog albuma još jednih starih legendi, Autopsya, koji je meni stvarno jako ugodno iznenađenje:

=> Spoiler Alert: Macabre Eternal:35an8dqg <=

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U 'bemti, ovo je stvarno dobro. Uopće mi nije pasalo to njihovo grobarenje u prijašnjim albumima, ali ovo je baš taman, produkcija pogotovo.

Onaj veganski grind bend ili što već, negdje sam pročitao da im je ovaj album odličan, sviđa mi se, čak je progresivno. :gitara:

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Izvorno postao Sonic_Moronic

U 'bemti, ovo je stvarno dobro. Uopće mi nije pasalo to njihovo grobarenje u prijašnjim albumima, ali ovo je baš taman, produkcija pogotovo.

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Meni je vokal vrhunac, nesjećam se kad sam čuo ovako dobar, raznovrstan i razumljiv growl, koji je uz to još i neprocesiran.

Da... Čisto da napomenem, i novi Pestilence je vani.

I jedna obrada poznatog hita:



:)

Moram još čekirati Pestilence, ToTA i Spheres su mi genijalni prog albumi, a na početku su svirali odličnu mrtvu trešinu. Jako dobar bend.




Evo jedan neloš band, malo me podsjećaju na Opeth, atmosferični death.

Malo lagane derpesive...

Ritam sekcija je nevjerojatna. A inače je cijeli album "Valley of Smoke" jako jeben, ludi prog/post metal s jazz uletima i latino/afričkim ritmovima :D

i sviraju sad uskoro u zagrebu!

kad vidim ovak neš dođe mi da bacim gitaru :(

Malo domace psihodelije

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Featuring Devin Townsend and Fredrik Thordendal (Meshuggah), off the untitled Sea Shepherd EP.

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Kako mogu uspijevati biti dosadni i repetativni sa ovakvom kolaboracijom, ali uglavnom mnogo bolje nego njihovi samostalni uradci