Usurpress - In Permanent Twilight

USURPRESS - In Permanent Twilight (SELFMADEGOD - CD 2012)

I haven’t really heard about Usurpress until this year’s February, when I bought the split 7”EP they did with Bombs of Hades. And it was the band of Jonas Stalhammar the reason why I bought this piece of vinyl, not Usurpress. Anyway I was quite surprised, when I’ve found out that the bassist in Usurpress is no one else than Mr. Daniel Ekeroth, known from playing in Insision, but more so he’s been recognized for writing this damn good book titled “Swedish Death Metal”! And many blame him for creating the trend for Swedish old school death metal… I would rather say that he’s been one of the leading forces, which led to the ultimate exhumation of this style, anyway it doesn’t matter. Especially that Usurpress hasn’t got so much in common with traditionally known Swedish death metal, so if you’re into Dismember, Grave or God Macabre, etc. then you may feel disappointed when hearing Usurpress.

Anyway here is the 2011’s release from Usurpress titled “In Permanent Twilight”, which was originally released on vinyl by Plague Island (limited to 300 copies) and recently re-issued on CD by Selfmadegod. What we have here on offer are eight relatively short tracks (including a useless intro), with 22 minutes of music… Hmm, I guess I haven’t mentioned yet what does Usurpress play; if it’s not the Swedish death metal what is it then? Well, their music is relatively difficult to categorize, but I’ll go for Metal Archives description as death metal / sludge / crust / punk. There’s quite clear and big punkish influence on this music, noticeable in many riffs, as well as simple song structures and rhythms, where the famous D-beat style is ever present. And if we’re talking about the death metal part of this music, then I guess you should know it’s not that sort of brutal death metal, neither the melodic Swedish style, but it rather goes back to such bands as Autopsy, Abscess as well as Entombed from some of their albums (including the recent album “Serpent Saints”, which for me is the back-to-form release from the Swedish legend). And from the newer bands Usurpress definitely has a lot in common with the likes of Bombs of Hades – but that’s mainly due to the fact that all those bands take similar bands and styles as their influences.

I think some of the things that will catch the attention of more metal oriented fans (including me) are: the production (which is very much Swedish, if we’re talking of the guitar tone and everything else!) and the vocals, which are quite raspy and shrieking, so they’re definitely more metal than punk. There are songs like “Unpunished”, which is an excellent piece of punky death metal and there’s also such track as “Embrace Your Non-Existence” (oh, this simple D-beat in the beginning!) and especially “Downtrodden Isolation”, which are almost pure crust punk songs and where the second of those two will surprise you with some slightly different riffs and even some different, more sang vocal parts in the chorus.

After listening to “In Permanent Twilight” I must answer myself is this MCD a worthy piece of music or not. And I won’t hesitate saying that yes, it is quite cool stuff, but mind that if you’re looking for death metal aggression and extremity then you will feel disappointed by it totally, but from the other hand if you like to listen to sometimes some straight forward, simple crust metal then “In Permanent Twilight” can definitely hit your G spot. Personally I don’t listen to such music often, but I managed to find here many cool parts and as overall I think this is just cool recording, which sounds definitely very old styled and that’s cool to me.

Final rate: 70/100

Kaamos - Lucifer Rising

 

 

KAAMOS - Lucifer Rising (IMPERIUM Productions - LP 2006)

Kaamos!!!! Hell yeah, this band was truly awesome motherfuckin’ Swedish death metal outfit, which was playing some of the most killer and obscure sounds you may imagine. After the stunning demo and even better debut full length album I was really expecting a lot from the second LP, when Candlelight Records announced its release back in 2005. Seven years later I still think of the band and this album as something truly unique and must admit that Kaamos was one of the brightest (or rather darkest) stars of the death metal underground of the previous decade. But meanwhile I swapped the CD version for the lovely gatefold LP, which – just like “Kaamos” – was released by Imperium Productions. Both vinyls look really alike, to be honest, with the same kind of layout and everything else (both are gatefolds, both have posters, etc). Anyway, this LP is great addition to my collection and I’m really glad to have it, also in very mint condition.

When I listen to “Lucifer Rising” nowadays, knowing also that Kaamos has split up, I can say that this really was a unique band. It may sound almost unbelievable, but I think they’ve managed to create their own style and capture the essence of the ancient death metal in exceptional way. You know, not every band, which takes the influences from the glorious past and its legendary bands can be able to play something own. In case of Kaamos I can honestly say that once I hear first riff or vocals of the opening song – “Black Revelation” – I know immediately that this is Kaamos, not something else. Already for that this band deserves honours and praise!

Of course having your own style is not enough if you’re not able to compose killer songs and catch the attention with awesome riffs and the proper atmosphere. And “Lucifer Rising” again managed to fulfil all my expectations, releasing an album, which is even better than the already blasting debut LP. There’s no fuckin around on “Lucifer Rising”, just pure and old styled death metal from the start till the very finish. Kaamos do not torment us with useless melodies or with boring constant blasting, they just play what is necessary, banging the head and throwing the fists in maniacal frenzy. And they make sure that we, the listeners, do exactly the same. The riffing and song structures on “Lucifer Rising” are all pretty simple and very much based on the old school kind of playing – and here I must mention the band called Unleashed, which I think has influenced Kaamos more than the others. I just feel like I was listening to some songs from “Where No Life Dwells” or “Shadows in the Deep”, speaking of some rhythms, dynamics of this music and the kind of riffing, which Kaamos plays. Another band, or album, which may have been a massive source of influence for “Lucifer Rising” is “You’ll Never See” – the second spawn of Grave. Anyway, despite the similarities to these two legends, Kaamos is unique as I said in the beginning and was able to create their own sound.

I really like the way Kaamos composed their songs, the song structures are always very interesting and riffs never dull. The songs are properly diverse and they may have a focus on more mid paced playing, but occasionally they will also attack you with some blasting fury and drum cannonade, as well as with even more doomy parts – but that doesn’t happen often, although I must admit that the instrumental track, which finishes the LP, titled “Ascent”, is just a superb piece of doomy death metal and definitely belongs to my favourite parts of the whole album. But if I was to mention the best tracks then I would also mention “Inaugurating Evil”, which belongs to the slower tracks and which also ends with this sort of doomy riff, which I love. Then “Theriomorphic Pandemonium” is also truly awesome and its catchy chorus will be screamed by you once you hear it for the first time. From the other hand there may happen slightly less inspiring moments on the album as well, as in few occasions I have a feeling like Kaamos started to swallow their own tail and circle too much around similar type of playing, but that’s just a minor feeling, nothing major and definitely it doesn’t have a negative influence on the listening of “Lucifer Rising”.

Standout tracks: “Inaugurating Evil”, “Theriomorphic Pandemonium”, “Ascent”, “Gnostic”, “Lucifer Rising”

Final rate: 85/100

Ectovoid - Fractured in the Timeless Abyss

ECTOVOID - Fractured in the Timeless Abyss (HELLTHRASHER - CD 2012)

Well, well, I must admit that I’m more and more impressed by the work, which Hellthrasher Productions does. Only a year ago this Polish label has been slowly starting, releasing few better or worse CDs, but I’ve been watching their activity ever since then and nowadays I must say that they’re doing just awesome job! In many ways I think I can compare them to Agonia Records as both labels release a good quantity of albums, but always keep the certain quality to them, which is something not so common and usual in most of the especially bigger labels. The only difference between Hellthrasher and Agonia is that Agonia releases the albums of already well known and established bands, while Hellthrasher focused on the beginners, bands which only just been starting their underground metal crusade. And that’s of course way more difficult, to find bands, which are good enough that it’s worth investing your time and money into them and promote their album.

Ectovoid is an example for such band, which has been discovered by Hellthrasher in the depths of the underground. This Alabama, USA, based band has just been formed back in 2010 and released only one demo, “Breathing Blackness” in 2011 after which they must have been noticed by Hellthrasher, who immediately offered them a contract. Well, I don’t know that demo yet (I’m waiting for it now, as the band was so kind that they’ve sent me a copy of it!), but I can assure you that what I hear on the album is something way more impressive that I ever expected it to be. Yeah, let’s put all my cards with aces on the table – “Fractured in the Timeless Abyss” is just an amazing album and I wouldn’t waste my time writing this, if it wasn’t the truth. Damn, I think that from all the releases, which Hellthrasher has putted out so far this CD belongs to my favourites, at least together with Intestinal’s “The Rottening”, Escarnium’s “Rex Vomitorium” and Decaying’s “Encirclement”. But even among all those albums, “Fractured in the Timeless Abyss” could be my favourite piece!

So, what does Ectovoid serve us on this slab of plastic? Well, they’re from USA, so there’s only one true and correct answer – brutal death metal! Yeah, but that doesn’t say much, so if I add such monikers as Immolation, Incantation plus Morbid Angel, Autopsy and maybe a bit of the old Finnish death metal bands like Demigod, Convulse and Purtenance, then I hope your imagination of the cadaverous work of Ectovoid will be closer to the truth. “Fractured in the Timeless Abyss” is 666% old styled piece of classic death metal in the vein of the mentioned bands, and despite the fact that this isn’t anything new, I still hail this band for this album as the quality of their material is just supreme and better than most of other old school bands (and sometimes even better than the originals!). The main strength of Ectovoid’s music lays within the atmosphere, which these three guys have created with their music and within the riffs, which are just killer and are composed into ultimately brilliant songs. This music is very thick, dense with dark, sinister type of melodies and riffs, with great arrangements, which balance between the ghastly doomy parts and mid paced, brutal death metal. Every song on “Fractured in the Timeless Abyss” brings the slaughter and instant genocide, riffs are crushing like the 10 tons heavy wall of sound, the drums are a real death beats and the vocals are some of the most ghoulish and guttural you can imagine. And while listening to this album I just cannot decide which my favourite parts of it are as basically everything on it is top notch and I do not hesitate saying there’s nothing missing and everything is just as it should be. Of course such tracks as “Dark Clouds of Consciousness” with its brilliant, memorable main riff (very much influenced by the cult of Immolation), “Splintered Phantasm”, “Locked in Dismal Gaze” with its dismal, doomy opening theme or “Murmurs From Beyond” are the pieces, which I found as most tremendous and impressive, but that doesn’t mean the rest of the songs are less killer.

The other thins I must mention about “Fractured in the Timeless Abyss” are: the very good production, in which I really like the guitar tone a lot as well as how the vocals are performed and mixed into everything and also the killer front artwork, which looks just superb and quite original at the same time (I also really like Ectovoid’s logo!). And so, when all the elements of the music plus its package are so high rated by me I cannot imagine not buying the vinyl version of “Fractured in the Timeless Abyss”, which I hope Blood Harvest will release soon. And if you’re not into black wax, then you must get the CD from Hellthrasher as this album is an absolutely must have thing for you, if you call yourself a death metal maniac. With all respect, if there wasn’t Disma’s “Towards the Megalith” LP and also albums from Horrendous and Father Befouled, then I would call Ectovoid the biggest US sensation since the formation of late80’s and early 90’s legends and Nile few years later.

Standout tracks: “Dark Clouds of Consciousness”, “Splintered Phantasm”, “Locked in Dismal Gaze”, “Murmurs From Beyond”

Final rate: 90/100 

Pandemonium - Misanthropy

PANDEMONIUM - Misanthropy (PAGAN Records - CD 2012)

I think “Misanthropy” was one of the most anticipated albums on the Polish metal scene in the past few months. All in all Pandemonium is not your average band, but one, which was formed in the glorious time of early 90’s and gained a lot of respect and – I think I can say so – a cult status after several albums that were released through the years. And even despite the fact that the band didn’t avoid putting one or two less inspiring albums, they belong to the most respected Polish bands anyway. So I cannot imagine a metal maniac (at least a Polish one), who doesn’t know such releases as “Devilri”, “The Ancient Catatonia” or (Domain’s) “…Into Oblivion”. It is enough reasons, I think, to get enthusiastic about “Misanthropy”, as well as to the fact that Pandemonium seems to be stronger than ever before in their career. So, fingers crossed for the awesome music and I play the album, at the same time looking suspiciously on the cover, thinking “what the hell? Is that Batman on it or what?” hehe!!

Anyway, already the first listen proved that Pandemonium is an exceptional band and their new album was more than just engaging and killer experience. Definitely I can say that I like a lot what I’ve heard on it, especially because the band has kept their original style from one hand and from the other they evolved and introduced some elements into their music, which turned it into something awesome – and luckily it is not so controversial or annoying as the elements with which Pandemonium has broadened their style on “The Zonei” CD. The music of Pandemonium has expanded a sort of ritualistic atmosphere in many parts, something what sounds truly dark, sinister and gloomy, as well as disturbing, but at the same time it is dangerously catchy and memorable. It is the way the band leads us through their songs: it’s their composition, the way these songs are built and how Pandemonium plays the riffs… all these minor but successful details, many of which are truly original and which put the band a step forward if comparing “Misanthropy” to the previous efforts, result in a successful album.

Pandemonium gained all that (uniqueness) thanks to great, almost epic riffs, hypnotising rhythms, repetitive parts, keyboards’ interludes and... hmm, I’m quite fascinated by some of the melodic parts from “Misanthropy”, I mean they’re really capturing the essence of darkened and hateful black / death metal and sometimes I’m surprised but they even remind me Watain’s way of playing melodic riffs (even though stylistically both bands are pretty far from each other). In many ways I have a feeling that finally Pandemonium started to get rid of the shadow of Samael in the music – or at least it is not as obvious as it was in the past – and also the similarities to Christ Agony are smaller. Instead they often start to remind the best what Greece has to offer (along with their ancient mythology of course!) – and I mean their cult bands of course. Septic Flesh, Rotting Christ, Necromantia… you know them well, I hope. Some traces of these bands can be found here in the atmosphere and the music of “Misanthropy” – which, if you ask me, is great! And I don’t mean that just because Pandemonium has used the help of Androniki Skoula, a female vocalist, known from Chaostar and Septic Flesh! By the way, the use of female vocalist in Pandemonium may be the most controversial of all ideas, which the band has used on “Misanthropy”, personally though I don’t care, as long as the result is fine and in this case it turned out to be truly engaging and awesome. I especially like what they have done in (the title song) “Misanthropy” – this track really has a stunning atmosphere, one which I can even compare to Behemoth’s “Lucifer”, although Pandemonium has done way more sorrowful and epic. And there are also some more oriental, Middle-Eastern influences within Pandemonium music, but that’s something what you should be used to already (they already appeared on “Devilri” demo I think), even though I must say that Pandemonium never has broadened them so much as on “Misanthropy”.

Of course Pandemonium does not base their music fully on those experimental, avant-garde and melodic ways of playing. They do not forget about the necessary dose of aggression, which is delivered equally from death and black metal styles and composed into one, great musical monument (although, when comparing “Misanthopy” to “Hellspawn”, I must admit that Pandemonium do not fastens their music anymore, this time you won’t hear any blast beats, which is OK, as they would spoil the mood of the music too much I think). And of corpse we cannot forget about the always present doom metal traces, which are coming from the slowest and most mournful parts of the album (listen to “Necro Judas” and “Stones Are Eternal”!!!!!!!!). The opening song, which is titled “The Black Forest” is vicious and sinister blackened piece, which I dare to say has a lot in common with what Celtic Frost did on their “Monotheist” LP! But even more traces of that Frost’s album’s influence are hearable in the mentioned “Stones Are Eternal”. “God Delusion” continues this sort of playing, in most obscure of all ways, also joining together the ghastly riffing with a lot of melody and mournful atmosphere. Arghhh, really great, but forgive me, I’m not going to describe every song from “Misanthropy”. Each one of them has something great and unique to offer, so it’s better just to listen to it than read about it, right?

And an extra word should be mentioned on the vocals, which are quite diverse. Paul of course has his specific voice and way of articulation, but along with this, there are more shrieking vocal parts, almost ghoulish voices (mainly in “Necro Judas”), there’s spoken vocal part (in the title song) and of course there’s the presence of Androniki Skoula. Finally the production is also top notch, so in the end it turns out that I have nothing to complain on. I truly think that “Misanthropy” is probably the biggest achievement of Pandemonium so far and one, which may be very difficult to outdo. This is great album, I have nothing more to add. Get it, if you have some respect for yourself and give praise to these Polish legends!

Standout tracks: “Misanthropy”, “Necro Judas”, “Stones Are Eternal”, “The Black Forest”

Final rate: 87/100

Sphere - Homo Hereticus

SPHERE - Homo Hereticus (MASTERFUL Records - CD 2012)

When I first have found out the news about the release of Sphere’s “Homo Hereticus” CD I thought this is a new, only recently formed band, but surprisingly I was wrong and it turned out that Sphere is active since 2002 and after the demo 2004 they have released an album in 2007 (“Damned Souls Ritual” for Empire Records). Shit, I’ve been living in UK at that time, so that may be one of the reasons why I’ve never heard of this album before this morning, from the other hand though I’ve never been really so bothered about all those CDs, which Empire was adding to their famous magazine. Anyway, 2012 welcomes Sphere back to the scene with the second full length album, “Homo Hereticus”. CD is limited to 666 copies and I cannot really understand the reason for such a small quantity of this pressing, maybe Masterful Records don’t believe they’ll be able to sell more copies than that… Who knows. I can tell you one thing – if you’re looking for quality death metal from Poland, then get this album before it’s too late, otherwise you may be regretting it when all of those 666 copies will be gone.

The band plays death metal, what to some of you may be a reason enough to get the CD right now, but it may as well be one to avoid this CD – depends who you talk to hehe. Polish death metal has definitely grown a lot since the early 90’s and nowadays stands firmly as one of the most exciting scenes on the globe, but at the same time it still hasn’t been getting as much praise as the Swedish, Dutch or American bands… Which is just a matter of taste, of course. Definitely most of the Polish death metal bands have been choosing the way of more technical and fast, but still relatively obscure and straight forward playing, something on the verge of old school and more modern styles. It’s like most of the Polish bands wanted to be technical, but not over complex; fast and brutal, but without the monotony and to keep the right balance between that and the memorable riffs and song structures. And I guess Sphere’s music is exactly like that. It also has plenty of fragments, which have a definite old school touch, but also many, which sound more modern and sometimes also technically advanced. The band really goes through the varied methods of death metal destruction, incorporating a wide range of paces and riffing. Of course those of you, who’re into such bands as Deicide, Vader, Sinister, Stillborn will find here more than everybody else. And trust me, there’s some seriously brutal neckbreaking metal going on, with such tracks as “Forever Sworn to Blasphemy” for instance, which opens the album with killer riffs full of insanity and violence. And the same can be said about such tracks as “Third Scent Carcass” (fast as hell!), “Psalm to the Dark One” and “Homo Hereticus”. Not necessarily they’re just fast all the time, because the title song is more mid paced and has almost groovy riffs here and there, but it’s still very aggressive and merciless, something what will just make you bang your head without remorse.

“Godless Profanity” from the other hand brings some slightly more melodic and catchy riffs, which is OK… And one of my favourite tracks on the album is “War”, and this song is just pure violence, played in ultra fast tempo and with very simple straight forward attitude, just a basic riff and as the whole it even reminds me those tracks, which Marduk did on “Pazerdivision Marduk” LP. You know, it’s the relentless aggression, fast pace all the way through and constant bombarding, which ends within two minutes. And to make the album even more varied, there’s “Sadistfucktion”, which is almost punky and very much sounds like Impaled Nazarene, especially with those pervert lyrics! Some of you may find this song as a nice interruption between another cannonade of fast death metal, but personally I didn’t like it and I think this is the weakest part of the “Homo Hereticus”. Anyway, some of these songs I mentioned are quite short, what makes them even more uncompromising and right in your face and definitely Sphere will not let you fall asleep. And the fact that there’s an intro before every song doesn’t let the album lose any of its energy and aggression.

What I don’t like about Sphere’s second album then? Well, first there are some (luckily short and just few) vocal parts, in pig squealing style (in “Third Scent Carcass” and “Godless Profanity” for instance), which I don’t find as necessary and they just piss me off. I would rather not find them here, especially as the normal growl of Analripper is… hmm, arse ripping hehe! What else? Well, although I like Sphere’s music and can say that all these songs are very good, I may still miss a little bit more, something what would really nail me to the ground. It’s the same feeling, which I have when I’m listening to Stillborn’s albums. They’re very good, definitely worth having and listening, but it needs slightly more to cause pure chaos and devastation.

Uhhh… I don’t know whether Sphere will get much exposure and attention of the scene around the globe with “Homo Hereticus”. There are many better bands around, including few more significant representatives of the Polish underground, so few of you may not be really bothered with what Sphere has to offer. But I seriously advice you to check “Homo Hereticus” anyway, as this is very solid and in many parts impressive effort, which definitely stands above the vast number of mediocrity of the present metal and has enough to offer to feel satisfied and content. So, if you dig all those underground releases from small bands and small labels, but still aim for quality, then get “Homo Hereticus” without hesitation.

Final rate: 70/100

FDS - Nagranie z muzyką naiwną

 

 

FDS - Nagranie z muzyką naiwną (MALIGNANT VOICES - CD 2012)

I’m not gonna deny it – this was one of the most anticipated debut albums of the recent months for me. And that’s for two reasons: first one is the fact that FDS is another project created by the ever-busy members of such killer bands as Furia, Massemord, Morowe. I really like almost everything what have been created under their banner of Let the World Burn and can admit that the creativity of Nihil, Namtar and their comrades is always very impressive. Another reason for my enthusiasm for the FDS’ first album was the fact that the first EP, which this project recorded – and that was “XII.07” from 2009, was just an amazing listening experience and one of my favourite recordings from Let the World Burn at all! Those three tracks from “XII.07” delivered a stunning piece of atmospheric black metal and left me without choice – I just had to get the next FDS release, as soon as it’s unleashed upon us.

OK, it took me some time, before I got “Nagranie z muzyką naiwną”. I focused on purchasing some other stuff at that time and whether I wanted it or not, I postponed the meeting with FDS for a couple of months. Finally I got the CD though and here it is. Well, first I need to say that I completely do not follow the stories and weird poems, combined with sort of black humour, which FDS has included on this album. Already the title of it may disgust the most orthodox black metal fanatics (the title of this album can be translated to “A Recording of the Naive Music”, which doesn’t really say much, but also do not really fits the whole black metal style, right?). But that’s the thing: “Nagranie z muzyką naiwną” is not an album, which is for the orthodox black metal fans. Even the words of the album sound like a poetry of the madman or like something what has been written by someone, who just smoked opium. They often don’t make sense to me and of course the most intriguing example is the line “Ja to pierdolę i siedzę na księżycu” – “Oh, I fuck it, sitting on the moon”. Then you can look through the booklet of “Nagranie z muzyką naiwną” and again will notice very untypical and almost disturbing images. What is it all about – I have no idea and honestly didn’t really want to delve into it. Not today.

But as I said – this album is not for a typical black metal maniac. This sort of music will scare them away immediately, it will make them vomit and look around in panic for a simple Darkthrone primitive copycat, to cure their fears. The musical structures on “Nagranie z muzyką naiwną” are as weird as the lyrics are and well, I can honestly say that it took me a lot of listens, before I’ve found myself in this mess and started to like anything from this album. Really, on the first listen I was almost thrown away by what I got here and only when I started to discover the album I’ve found a lot of stunning moments, which is good of course, as it’s always great if the album grows in you and is not an easy piece of candy. But again, at the beginning the “Nagranie z muzyką naiwną” was a real disappointment... I did expect something untypical, of course I did, because that’s what usually Let the World Burn crew is doing – they like to challenge us, the listeners, and let us taste their madness. But “XII.07” was all in all a straight forward, atmospheric black metal. “Nagranie z muzyką naiwną” goes in completely different direction, crossing the lines of avant-garde metal more than once and hardly ever really gets even close to what we traditionally understand as black metal. The whole music of “Nagranie z muzyką naiwną” can I guess be divided into two parts and one of them is also the one, which annoys me pretty much. I guess half of the album is some sort of weird, psychedelic music, which often has nothing to do with metal, but more with sort of anti-music, ambient or just something ultimately bizarre. There can be some sounds or whatever or just the silence, when only vocals appear – and those vocals are as lunatic and possessed as everything else on this album – from spoken parts to falsetto singing (well, even the more black metal vocals aren’t really your typical metal shrieks, they’re more on the verge of clean, deep singing and harsh voice, what sounds truly original, especially with those Polish written lyrics… but here’s a questions: what do the foreign listeners think of this style of singing, because I guess the accent and everything may sound terribly weird to them?!). Hmm, I guess you should be glad anyway if you can’t understand Polish, as the titles of the songs would make you scratch your head, thinking “what the hell does that mean??”. I do tend to think so, when looking at such titles as “Bajania zsiniałego sumienia” or “Majaki i piękno czegoś obrośniętego kurzem i pajęczyną…”. WHAT??????????

OK, I’m lost. What was I about to write? Ahh, music… Yeah. “Nagranie z muzyką naiwną” is just as diverse as bizarre and many of those sounds, which appear are just twisted. And few of them I did not like. Often they’re just booooorrring and I guess “Bajania zsiniałego sumienia” will be the best (in this case it’s the worst) example for it, really. Or “Majaki i piękno czegoś obrośniętego kurzem i pajęczyną…”. I don’t really know whether they help in creating the mood of the album or rather disturb? Surely they make the whole music more diverse and unique, but at the same time it gets annoying sometimes, especially if you’re looking for more metal songwriting. And speaking of which, the black metal part of the album is I think rooted in a bit of In the Woods’ first LP and more so also in the Burzum style, from the “Filosofem” era, but still they’re not just a bare copy. At few parts they can also be closer to such bands as Altar of Plagues for instance, more than to the fundamental Scandinavian black metal, which I was delighted to hear on “XII.07”. The riffing is pretty simple, often it’s very repetitive, with just one or two motifs in the song, but they’re well arranged and composed, so despite the whole simplicity of the song structures, there’s a lot going on. And I must say that after I got more into the album, I really started to like the atmosphere, which FDS has created here. It is truly stunning and in many ways I can say it is also quite disturbing and different to what you usually get on the black metal albums. But that only works for the advantage of the band, again! Anyway, listen to such killer tracks as “I patrzymy w gwiazdy”, “Gdyby nie ta odrobina szaleństwa…” or „Trzęsienie nieba”… Damned excellent pieces!

I must say also add that I like the guitar tone a lot, really good one! Actually the whole production of “Nagranie z muzyką naiwną” is really cool, very warm, very acoustic, which is definitely great… and the only exception from that are the more digital sounding drums in “Gdyby nie ta odrobina szaleństwa…”. So, to conclude the album is not an easy task. As I already said, I was quite disappointed with it in the beginning and almost thrown away. But I survived and let myself be dragged into the possessed atmosphere of “Nagranie z muzyką naiwną”, which, when you get used to it, starts to be quite engaging and unique. So, I would seriously advice you getting the album, but I also warn you that this won’t be an easy experience, but more challenging one for sure. But definitely it is worth to listen to “Nagranie z muzyką naiwną”, as the albums stands in the front of the crowd of mediocrity for sure.

Final rate: 75/100