Wednesday, June 6, 2012

Camel: (1977) Rain Dances (Polydor)

The band's fifth release, Rain Dances is Camel at its best, offering the most consistent and representative package in their saga. The addition of Caravan-cofounder Richard Sinclair proves profitable, as do a few colorist touches by Brian Eno on "Elke." Mel Collins' woodwinds are among the highlights, especially on "Tell Me" and the title track. From beginning to end, this project flows gracefully. ~~ Matthew Plichta,

1.First Light
3.Tell Me
4.Highways Of The Sun
6.One of These Days I'll Get An Early Night
9.Rain Dances
10.Highway Of The Sun (Single Version)


Y&T: (2003) Lorca Rock (Bootleg)

1.Intro From The Moon
2.Open Fire
3.Eyes of A Stranger
4.Dirty Girl
6.Rescue Me
7.Mean Streak
8.Winds Of Change
9.Summertime Girls
10.Game Playing Woman
11.I Believe In You
13.Black Tiger

Buy= n/a

Anathema: (2003) A Natural Disaster

4.Are You There?
5.Childhood Dream
6.Pulled Under at 2000 Meters a Second
7.A Natural Disaster


Camel: (1976) Moonmadness (LONDON-810 879-2)

Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd's Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label's insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards. Furthermore, the songs are a little more concise and accessible than those of its predecessor. That doesn't mean Camel has abandoned art. Moonmadness is indeed a concept album, based loosely on the personalities of each member -- "Chord Change" is Peter Bardens, "Air Born" is Andy Latimer, "Lunar Sea" is Andy Ward and "Another Night" is Doug Ferguson. Certainly, it's a concept that is considerably less defined than that of Snow Goose, and the music isn't quite as challenging, yet that doesn't mean that Moonmadness is devoid of pleasure. In fact, with its long stretches of atmospheric instrumentals and spacy solos, it's quite rewarding. ~~ Daevid Jehnzen,

2.Song Within A Song
3.Chord Change
4.Spirit Of The Water
5.Another Night
6.Air Born
7.Lunar Sea


Camel: (1975) The Snow Goose (Deram 800080-2)

Camel's classic period started with The Snow Goose, an instrumental concept album based on a novella by Paul Gallico. Although there are no lyrics on the album -- two songs feature wordless vocals -- the music follows the emotional arc of the novella's story, which is about a lonely man named Rhayader who helps nurse a wounded snow goose back to health with the help of a young girl called Fritha he recently befriended. Once the goose is healed, it is set free, but Fritha no longer visits the man because the goose is gone. Later, Rhayader is killed in battle during the evacuation of Dunkirk. The goose returned during the battle, and it is then named La Princesse Perdue, symbolizing the hopes that can still survive even during the evils of war. With such a complex fable to tell, it is no surprise that Camel keep their improvisational tendencies reigned in, deciding to concentrate on surging, intricate soundscapes that telegraph the emotion of the piece without a single word. And even though The Snow Goose is an instrumental album, it is far more accessible than some of Camel's later work, since it relies on beautiful sonic textures instead of musical experimentation. ~~ Stephen Thomas Erlewine,

1.The Great Marsh
3.Rhayader Goes To Town
6.The Snow Goose
9.Rhayader Alone
10.Flight Of The Snow Goose
14.Fritha Alone
15.La Princesse Perdue
16.The Great Marsh



This is the new Episode of Bleeding Metal, the Heavy Metal Breed Blog's podcast, enjoy Metal fans!!!

1.CRUCIFIED BARBARA "Into the Fire" from 2012 album "The Midnight Chase"
2.AXEVYPER "Crossfire" from 2012 album "Metal Crossfire"
3.CANDLEMASS "The Lights Of Thebe" from 2012 album "Psalms For The Dead"
4.MALICE "Sinister Double" from the 2012 album "New Breed Of Godz"
5.UGLY KID JOE "You Make Me Sick" from the 2012 EP "Stairway To Hell"
6.WEST OF HELL "Water Of Sorcery" from the 2012 album "Spiral Empire"
7.VIKING SKULL "You Look Like I Need A Beer" from the 2012 album "Cursed By The Sword"
8.RENUEN "Dance With The Devil" from the 2012 album "Sublimated"
9.JETTBLACK "System" from the 2012 album "Raining Rock"
10.VIOLENT GIBSON "Original Sinner" from the 2012 album "American Circus"
11.ROYAL THUNDER "Whispering World" from the 2012 album "CVI"
12.SCARLET ANGER "New Good Rising" from the 2012 album "Dark Reign"
13.ANGELUS APATRIDA "Violent Dawn" from the 2012 album "The Call"
14.EXUMER "Vermin Of The Sky" from the 2012 album "Fire & Damnation"
15.DARK TRANQUILITY "Out Of Gravity" from the 2012 EP "Zero Distance"

Software - Audacity
Format - mp3
Lenght - 59'16''

Thursday, April 12, 2012

Krokus: (1976) Krokus

Switzerland's most successful hard rock band, Krokus enjoyed international popularity in the 1980s and onward for their aggressive, straightforward variety of European metal. Hailing from the Swiss city of Solothurn, Krokus was formed in 1974 by guitarist Tommy Kiefer and percussionist Chris Von Rohr. Initially performing an eclectic and artful brand of prog rock, Krokus released their first album in 1976, with the founders joined by guitarist Hansi Droz and bassist Remo Spadino. Krokus' second album, To You All, found them pursuing a tougher hard rock sound with a revamped lineup: Von Rohr moved from drums to vocals, Fernando Von Arb came on board as second guitarist, and the band had a new rhythm section, bassist Jurg Naegeli and drummer Freddy Steady (the new members were all previously with the group Montezuma). ~~ Mark Deming

2.Angela Part.1
5.No Way
6.Eventide Clockworks
7.Freak Dream
8.Jumpin' In
9.Insalata Mysta
10.Angela Part.2
11.Just Like Everyday


Krokus: (1977) To You All

As Krokus moved toward a harder and leaner sound influenced by AC/DC, they decided they wanted a stronger vocalist, and Von Rohr moved to bass while Marc Storace, a former member of Eazy Money, became their new lead singer, joining in time for the sessions for 1980's Metal Rendez-Vous. By this time, Krokus had become a leading draw in Switzerland and Europe through steady touring, and were gaining momentum in England and the United States. 1982's One Vice at a Time was recorded after the band had signed a new management deal as well as a contract with Arista Records in the United States; it also marked the recorded debut of guitarist Mark Kohler after the departure of Tommy Kiefer. The album sold well and the songs "Long Stick Goes Boom" and "American Woman" (the latter a cover of the Guess Who's hit) became modest hits, but their biggest breakthrough in the United States came with 1983's Headhunter, which went platinum in America and gold in Canada and Switzerland, spawning the hits "Screaming in the Night" and "Eat the Rich." ~~ Mark Deming

1.Highway Song
2.To You All
4.Move It On
5.Mr. Greedy
6.Lonesome Rider
8.Trying Hard
9.Don't Stop Playing
10.Take It, Don't Leave It


Y & T: (1976) Yesterday & Today

A legendary live band that arguably never managed to translate its electric on-stage intensity into its studio albums, Y&T stood within reach of the Grail of rock & roll stardom many times in their long career -- but through a series of mistakes, bad timing, and sheer bad luck, the ultimate prize always seemed to elude them in the end. Taking their name from a Beatles song, the group was originally formed as Yesterday & Today in San Francisco, around 1973, by vocalist and lead guitarist Dave Meniketti, bassist Phil Kennemore, and drummer Leonard Haze. After stealing rhythm guitarist Joey Alves from a rival band, the group began to gig constantly around the Bay Area, opening for such heavyweights as Journey and the Doobie Brothers, while building a strong local following. They were eventually signed to a contract by London Records, which released their eponymous debut in 1976 and its follow-up, Struck Down, two years later, but dropped the foursome when neither album delivered any hits. Luckily, the band persevered through a few lean years and was duly rewarded with a new long-term deal from A&M Records in 1981, signaling this fresh start by shortening its name to Y&T. ~~ Eduardo Rivadavia

1.Animal Women
2.25 Hours A Day
3.Game Playing Woman
4.Come On Over
5.My Heart Plays Too
7.Fast Ladies (Very Slow Gin)
9.Beautiful Dreamer


Wednesday, April 11, 2012

Nazareth: (1973) Razamanaz

After pursuing a Rolling Stones-styled blend of rock and country elements on their first two albums, Nazareth segued into a harder rocking style with 1973's Razamanaz. The resulting album has a lot of energy and drive and much of this can be credited to Roger Glover's production, which tempers the group's tendency to experiment with different musical styles by imposing an overall sound that play's up the group's hard rock edge. The end result is an album that rocks consistently throughout but works in intriguing musical elements to keep things interesting. For instance, "Alcatraz" and "Night Woman" work a glam-styled tribal drum rhythm into the group's sound, and "Vigilante Man" starts out as a straight blues tune but soon mutates into a stomping slice of heavy metal. The most successful experiments come when the group works a country element into their rock attack: "Broken Down Angel" sounds like an early 1970s Rolling Stones track with heavier guitars, and "Bad Bad Boy" sounds like an old rockabilly tune as played by a 1970s hard rock band. Both tunes cleverly mix some effective pop hooks into their stew of hard rock and country elements and became hit singles in England as a result. Other Razamanaz highlights include the title track, a furious rocker that became a permanent part of the band's live set list, and "Woke Up This Morning," a heavy blues tune with darkly comic lyrics about a man with terminally bad luck. To sum up, Razamanaz is one of the finest albums in the Nazareth catalog and a gem of 1970s hard rock in general. ~~ Donald A. Guarisco

3.Vigilante Man
4.Woke Up This Morning
5.Night Woman
6.Bad Bad Boy
7.Sold My Soul
8.Too Bad Too Sad
9.Broken Down Angel
10.Hard Living
11.Spinning Top
12.Woke Up This Morning (Alternate Version)
13.Witchdoctor Woman

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Password= hmb

Monday, April 9, 2012

Nazareth: (1971) Nazareth

Nazareth enjoyed phenomenal success during the 1970s, when they purveyed a brand of no-nonsense hard rock characterized by the grity vocals of Dan McCafferty, pitched against a tough selection of musical backdrops. Such was their hard-won following that they survived the punk years (albeit more strongly in territories outside the UK) and continue to record and tour regularly today.
Nazareth's roots date as far back as 1966, when Dan McCafferty (vocals) and Pete Agnew (bass) formed The Shadettes in the small town of Dunfermline, Scotland. Like many of their contemporaries, their set consisted of renditions of then popular songs, and they played small clubs and bars on the Scottish circuit. The Beat boom was just tailing off by then, and finding themselves in competition with many other bands; they struggled to make any real impact. After years of frustration, the band contemplated splitting up. They then teamed up with a local guitar player Manuel Charlton, in an attempt to break out to a higher level, and 'Manny', as he was known, was to become the catalyst that led to Nazareth coming together and finding a direction that would lead to greater things.
Interestingly Manny had already garnered some recording experience with 'The Mark IV' and the 'Redhawks'. This studio experience and Manny's interest in everything technical was to prove invaluable in years to come as he went on to produce many of their most successful albums.

1.Witchdoctor Woman
2.Dear John
3.Empty Arms
4.I Had A Dream
5.Red Light Lady
6.Fat Man
7.Country Girl
8.Morning Drew
9.The King is Dead
10.Friends (B-Side)
11.Spinning Top (Edit Alt. Take)
12.Dear John (Edit Alt. Take)
13.Morning Dew (Edit Alt. Take)
14.Friends (Edit Alt. Take)


Edguy - (2000) The Savage Poetry

Edguy is a neo-classical metal band from Germany. Featuring Tobias Sammet on vocals and bass, Jens Ludwig and Dirk Sauer on guitar, and Felix Bohnke, they released their first album, Kingdom of Madness, in 1997 when all members were still in their teens. This album is good, but inconsistent. In 1998, their second album, Vain Glory Opera, took a big step forward, featuring much better and more consistent songwriting. 1999's Theater of Salvation is the band's first great album. It has consistently great songs, better vocals, and lusher production. Tobias Exxel was added on bass for the Theater of Salvation album. ~~ David White

2.Misguiding Your Life
3.Key to My Fate
4.Sands Of Time
5.Sacred Hell
6.Eyes Of The Tyrant
7.Frozen Candle
8.Roses To No One
9.Power And Majesty

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Scorpions: (1972) Lonesome Crow

Known best for their 1984 anthem "Rock You Like a Hurricane" and the 1990 ballad "Wind of Change," German rockers the Scorpions have sold over 22 million records, making them one of the most successful rock bands to ever come out of Continental Europe. Formed in 1969 by Rudolf Schenker, the original lineup consisted of rhythm guitarist/vocalist Schenker, lead guitarist Karl-Heinz Follmer, bassist Lothar Heimberg, and drummer Wolfgang Dziony. In 1971, Schenker's younger brother Michael joined the band to play lead guitar and good friend Klaus Meine became the new vocalist. The group recorded Lonesome Crow in 1972, which was used as the soundtrack to the German movie Das Kalte Paradies. ~~ Barry Weber

1.I'm Going Mad
2.It All Depends
3.Leave Me
4.In Search Of Peace Of Mind
7.Lonesome Crow

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Blackmore's Night: (1999) Under A Violet Moon

Under a Violet Moon is the second album by Blackmore's Night, and guitarist Ritchie Blackmore had a very clear idea of what he wanted for the sophomore release by the Renaissance-oriented world and new age music outfit. The former Deep Purple and Rainbow six-stringer and vocalist Candice Night wanted to take Blackmore's Night on an extensive tour, so they made a conscious effort to record a more up-tempo album, making the music more conducive to live performance than much of the relaxed material on their debut, Shadow of the Moon. Countless guest musicians contribute to this album, which was co-produced by Blackmore, Jeff Glixman (best known for his work with Kansas), and Roy McDonald. A variety of sonic textures are found on the album, but the faster numbers do dominate the proceedings and therefore fulfill Blackmore and Night's musical desires. "Under a Violet Moon" is propelled by Blackmore's darkly rich acoustic guitar lines, Night's urgent vocals, and the driving handclaps and tambourine. "Past Time With Good Company," a traditional melody attributed to Henry VIII, utilizes appropriately regal-sounding horns. Rolling rhythms and swirling melodies illuminate the superb "Morning Star." Bassist John Ford shares singing duties with Night on "Wind in the Willows." Blackmore breaks out the electric guitar for some soloing on "Gone With the Wind." The cosmic instrumental "Beyond the Sunset" has a soothing, new age dreaminess to it. "March the Heroes Home" has a sparse arrangement at first, but as each instrument comes in the dramatic feel is heightened. Blackmore's lightning-fast acoustic guitar runs are matched by the violin on "Spanish Nights (I Remember it Well)." The guitarist dips into his past for a rearranged version of "Self Portrait," which first appeared on 1975's Ritchie Blackmore's Rainbow. ~~ Bret Adams

1.Under A Violet Moon
2.Castles And Dreams
3.Past Time with Good Company
4.Morning Star
6.Possum Goes To Prague
7.Wind in the Willows
8.Gone with The Wind
9.Beyond the Sunset
10.March the Heroes Home
11.Spanish Night (I Remember It Well)
12.Catherine Howard's Fate
13.Fool's Gold
14.Durch den Wald zum Bach Haus
15.Now and Then
16.Self Portrait

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Black Label Society: (1998) Stronger Than Death

For Black Label Society's sophomore effort, 2000s Stronger Than Death, Zakk Wylde and company (actually, only one other full member at the time, drummer Phil Ondich) offered another slab of guitar-heavy, headbanging metal. With many rock bands expanding their approach -- for better or for worse -- on subsequent albums, Stronger Than Death shed the few remaining Southern rock elements that were heard on Sonic Brew (undoubtedly left over from Wylde's Pride & Glory days). The riffs are meaty and the solos are furious, as heard on such tracks as the album-opening "All for You," "Counterfeit God" (which is a song about a subject that seemingly every single metal band has penned a song about -- televangelists), and the title track, the latter of which includes a vocal cameo from New York Mets slugger Mike Piazza. Stronger Than Death provided a firm confirmation that Black Label Society would be sticking closely to the guitar-heavy game plan from here on out. ~~ Greg Prato

1.All For You
2.Phoney Smiles & Fake Hellos
3.13 Years Of Grief
6.Counterfeit God
7.Ain't Life Grand
8.Just Killng Time
9.Stronger Than Death
10.Love Reign Down

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Blaze: (2002) Tenth Dimension

After his rude 1999 dismissal from heavy metal legends Iron Maiden
following two thankless tours of duty, singer Blaze Bayley (previously of promising Tamsworth, England metal maniacs Wolfsbane) launched a new band bearing his name in the year 2000. Calling upon guitarists Steve Wray and John Slater, bassist Rob Naylor, and drummer Jeff Singer, Blaze -- the band -- signed with Germany's SPV Records and proceeded to unleash a string of solid British metal albums, including 2000's Silicon Messiah, 2002's Tenth Dimension, and 2003's double As Live As It Gets. A new rhythm section in bassist Wayne Banks (ex-Sabbat) and drummer Jason Bowland arrived in 2004, a year that also saw the release of Blaze's third studio effort, Blood & Belief. ~~ Eduardo Rivadavia

1.Forgotten Future
2.Kill and Destroy
3.End Dream
4.Tenth Dimension
5.Nothing Will Stop Me
6.Leap Of Faith
7.The Truth Revealed
8.Meant To Be
9.Land of The Blind
10.Stealing Time
11.Speed Of Light
12.Stranger To The Light

1.The Launch
3.Tough As Steel
5.Living Someone Else's Life

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Anathema: (1996) Eternity (Limited Edition)

Although the British band Anathema left their traditional death metal sound behind on The Silent Enigma with guitarist Vincent Cavanagh taking over vocals duties from growler Darren White, the dark themes continue. Shifting their morbid focus from God-bashing and destruction, the chaps focus on suicide and the meaningless of life. The blistering guitars have been replaced by atmospheric keyboards making this come off as a twisted combination of Pink Floyd and Peter Gabriel, and there is even some spoken poetry here. As a whole, Anathema has proven that they are an original band, not content to repeat history. Unfortunately, there is a place in this world for such dark subject matter, and for those who care, Eternity fits the bill. ~~ Robert Taylor

3.The Beloved
4.Eternity (Part.I)
5.Eternity (Part.II)
7.Suicide Veil
9.Far Away
10.Eternity (Part.III)
11.Cries On The Wind
13.Far Away (Acoustic)
14.Eternity (Part.II-Acoustic)

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Password= hmb

Wednesday, April 4, 2012

HeKz: (2012) Tabula Rasa (Released 6 April 2012)

"These Bedford boys aren't afraid to take the inspiration of Iron Maiden and the rationale of Dream Theater and make the combination work of them. Still very young, they've already got a formidable live reputation." (Prog Magazine, UK)

Storming out of England with all of the bombast and bravado of their heroes comes HerKz! Fresh from recording their self-financed, self-produced debut album 'TABULA RASA", the boys from Bedfordshire are ready to unleash their refreshing take on progressive metal onto the international metal scene.
'TABULA RASA' see HeKz following in the footsteps of Prog Metal's founding fathers Queensryche, Fate's Warning & Psychotic Waltz. Whilst taking influence in equal parts from Heavy Metal legends and Prog Rock luminaries, mixing powerhouse vocals and commendable fretboard acrobatics with supportive orchestrations and exotic time signatures, HeKz manage always put the song first. The 10 tracks on their debut album demonstrate this aptitude for songwriting, with lyrical themes ranging from smart and scathing social commentary, to rhapsodic and evocative fantasy.
The band's debut is a proudly ambitious album made all the more exceptional by the tender age of its creators. Between the theatrical, Dickinson-esque voice of Matt Young (22), the duelling guitars of Tom Smith (22) and Al Beveridge (21) and the effortless precision and flair of drummer Kirk Brandham (26), you could be forgiven for thinking you're listening to a much older group of musicians.
Haveing received recognition on their home soil by way of positive reviews in press, both online and in print, support slots with Tyr and 3 Inches Of Blood and their inclusion on the bill of the 2010 Bloodstock Open Air Festival, HeKz have their eyes set firmly forwards with the drive and determination to take 'TABULA RASA' to the masses. A tall order, but if their debut gives any indication about what the future holds for HeKz, it is by no means out of their reach.

Track Listing
1.Poison Pen // 2.Bring The Fire // 3.Darkness Visible // 4.As Rome Burns // 5.City Of Lost Children // 6.Vendetta // 7.Hashashiyyin // 8.Seize the Day // 9.A Pound Of Flesh // 10.Don't Turn Back.

- Matt Young: Lead and Backing vocals, Bass guitar
- Tom Smith: Lead and Rhythm Guitars
- Kirk Brandham: Drums and Percussion
- Al Beveridge: Lead and Rhythm Guitars, Keyboards

CREDITS: All songs written by HeKz. Recorded at Outhouse Studios, Reading.
Produced by HeKz.
Engineered by Ben Humphries and James Billinge. Mixed and Mastered by John Mitchell. Artwork by Filip Leu (

**Heavy Metal Breed quote: I listened the sound clips and I think this band is great you can give a try on the sound clips at
We have a policy that not share any 2012 album. You can listen and if you like please support the band and buy the album.


Matt Young
(HeKz Manager/Booking Agent)
T: 07952 942935

OFFICIAL WEBSITES: (Facebook) (Youtube Channel)

Sunday, April 1, 2012

Bathory & Celtic Frost: (1985) Demo Live '83-'84 at Weinheim

1.Triumph of Death
3.Into the Crypts Of Rays
4.Circle of The Tyrants
5.Suicidal Wings
6.Visions of Mortality
7.Down Below
8.Dethroned Emperor
9.The Usurper
10.Revelations of Doom
12.The Return of Darkness and Evil
14.In Conspiracy with Satan
16.Raise the Dead

LinkS= (Sendspace) (Mediafire)
Password= hmb

Anathema: (1995) The Silent Enigma (CDVILE 52)

The Silent Enigma was released in late 1995, and began to establish Anathema as a unique presence on the underground doom scene. That impression was confirmed by their next release, 1996's heavily gothic Eternity, which featured contributions from Cradle of Filth keyboardist Les Smith. Stretching its songs into sorrowful, orchestrated epics, Eternity's Pink Floyd-ish spaciness alienated some fans of Anathema's older sound at first, but quickly proved to be their most original work to date. Drummer Douglas left the group in late 1997, and ex-Solstice drummer Shaun Steels joined the following year. Alternative 4 was released in the summer of 1998, taking a simpler, subtler, and more polished approach than its predecessor; shortly afterward, bassist Patterson left and was replaced by Dave Pybus. In 1999, original drummer John Douglas rejoined, and the group switched to the Music for Nations label. ++ Steve Huey

1.Restless Oblivion
2.Shroud Of Frost
4.Sunset Of the Age
5.Nocturnal Emission
6.Cerulean Twilight
7.The Silent Enigma
8.A Dying Wish
9.Black Orchid

Label= Peaceville
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Camel: (1974) Mirage

With their second album, Mirage, Camel begin to develop their own distinctive sound, highlighted by the group's liquid, intricate rhythms and the wonderful, unpredictable instrumental exchanges by keyboardist Pete Bardens and guitarist Andy Latimer. Camel also distinguish themselves from their prog rock peers with the multi-part suite "Lady Fantasy," which suggests the more complex directions they would take a few albums down the line. Also, Latimer's graceful flute playing distinguishes several songs on the record, including "Supertwister," and it's clear that he has a more supple technique than such contemporaries as Ian Anderson. Camel are still ironing out some quirks in their sound on Mirage, but it's evident that they are coming into their own.

3.Nimrodel-The Procession-The White Rider
5.Lady Fantasy-Encoounter-Smiles For You-Lady Fantasy

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Camel: (1973) Camel

Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.
Furthermore, the music fluctuates uncertainly between arty improvisations, jazz-inflected rhythms, and uninspired rock numbers. There are hints of promise scattered throughout the album, yet the record never gels into something special.

1.Slow Yourself Down
2.Mystic Queen
3.Six Ate
5.Never Let Go

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Blaze: (2000) Silicon Messiah

After his rude 1999 dismissal from heavy metal legends Iron Maiden following two thankless tours of duty, singer Blaze Bayley (previously of promising Tamsworth, England metal maniacs Wolfsbane) launched a new band bearing his name in the year 2000. Calling upon guitarists Steve Wray and John Slater, bassist Rob Naylor, and drummer Jeff Singer, Blaze -- the band -- signed with Germany's SPV Records and proceeded to unleash a string of solid British metal albums, including 2000's Silicon Messiah, 2002's Tenth Dimension, and 2003's double As Live As It Gets. A new rhythm section in bassist Wayne Banks (ex-Sabbat) and drummer Jason Bowland arrived in 2004, a year that also saw the release of Blaze's third studio effort, Blood & Belief. ++ Eduardo Rivadavia

1.Ghost in The Machine
3.Silicon Messiah
4.Born As a Stranger
5.The Hunger
6.The Brave
8.Reach For The Horizon
9.The Launch
10.Stare At the Sun

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Blackmore's Night: (1998) Shadow Of The Moon

Shadow of the Moon is the first album by Ritchie Blackmore's beloved Blackmore's Night project. The former Deep Purple and Rainbow guitarist and his fiancée, vocalist Candice Night, created a Renaissance-inspired work with elements of folk, new age, and occasional bits of electric guitar. Blackmore even plays bass, mandolin, drum (yes, singular), and tambourine. Night's voice isn't powerful, but it's bright and sweet, making it perfect for this style of music. Other musicians include co-producer Pat Regan on keyboards and the Minstrel Hall Consort; Gerald Flashman on recorder, trumpet, and French horn; Tom Brown on cello; and Lady Green on violin and viola. Most songs are original compositions but some are based on traditional melodies. "Shadow of the Moon" is a marvelous opener; it's catchy, haunting, and propulsive. Blackmore shreds on acoustic guitar and lets the electric guitar slip into the background for faint power chords. Regal, majestic horns lend an elegance to "The Clock Ticks On," which addresses the passage of time and a yearning to live in the past. "Play Minstrel Play" features Jethro Tull's Ian Anderson, one of Blackmore's favorite musicians. The song moves along pleasantly until about halfway through when it explodes into a frantic, handclaps-led pace with Anderson's wild flute solo. The warmth of "Ocean Gypsy" makes it the song most easily classified as new age here; Blackmore plays a gentle but swift acoustic guitar melody under Night's softly yearning vocals. "Writing on the Wall" is quite fast and has a danceable beat, and there's even a blowout jam at the end. Blackmore's electric guitar work is the most prominent on "No Second Chance" and "Wish You Were Here." The instrumental "Possum's Last Dance" is a U.S.-only bonus track. ++ Bret Adams

1.Shadow Of the Moon
2.The Clock Ticks On
3.Be Mine Tonight
4.Play Minstrel Play
5.Ocean Gypsy
6.Minstrel Hall
7.Magical World
8.Writing On The Wall
9.Renaissance Faire
11.No Second Chance
12.Mond Tanz
13.Spirit of The Sea
15.Wish You Were Here

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Black Label Society: Mafia

1.Fire It Up
2.What's In You
3.Suicide Messiah
4.Forever Down
5.In This River
6.You Must Be Blind
7.Death March
8.Dr. Octavia
9.Say What You Will
10.Too Tough To Die
11.Electric Hellfire
12.Spread Your Wings
13.Been A Long Time
14.Dirt On The Grave

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Anathema: (1993) Serenades + Crestfallen (CDVILE 34)

While Paradise Lost and My Dying Bride got more attention from underground doom metal fans, Liverpool natives Anathema were just as important in creating a new strain of doom (sometimes referred to as doom/death) that drew heavily from atmospheric goth metal and, in the early days, featured gruff death-style vocals. Guitar-playing brothers Vincent and Danny Cavanagh formed Anathema in 1990 with vocalist Darren White, bassist Duncan Patterson, and drummer John Douglas, and originally called themselves Pagan Angel. As Anathema, the band recorded a Black Sabbath/Paradise Lost-inspired demo titled An Iliad of Woes; another demo, 1991's All Faith Is Lost, and a Swiss single called "They Die" landed the group a deal with Peaceville Records. Anathema's first official recording, an EP titled The Crestfallen, was released in 1992, and followed the next year by the full-length Serenades, the most traditional doom-styled album in their catalog. After a tour, the group re-entered the studio in 1994 to record Pentecost III, a five-song mini-album that nonetheless ended up long enough to have qualified as a full-length. Delays prevented its release until the following year, by which time the group was already working on its next album. However, after recording had begun, Darren White left the group to form the Blood Divine, taking with him their sound's main connection to death metal. Vincent Cavanagh assumed lead vocal duties, with a cleaner, more accessible style that fit the newly atmospheric direction of the finished album. ++ Steve Huey

Disc One
1.Lovelorn Rhapsody
2.Sweet Tears
3.J'ai Fait Une Promesse
4.They (Will Always) Die
6.Sleep In Sanity
7.Scars Of the Old Stream
8.Under A Veil (Of Black Lace)
9.Where Shadows Dance
10.Dreaming: The Romance

Disc Two
1....And I Lust
2.The Sweet Suffering
5.They Die

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Thursday, March 29, 2012

Bruce Dickinson: (1996) Skunkworks

Displaying a sometimes Rush-like refined prog groove and plenty of his traditional science-and-literature lyrical themes, Bruce Dickinson deserves high marks for Skunkworks, the ex-Iron Maiden vocalist's fourth solo effort. This 1996 release signals Dickinson's tentative shift toward music generally in tune with (but still somewhat restrained when compared to) his seminal work with Maiden. The occasionally over-serious, high-concept imagery is about what fans would expect, but the open, less metallic accompaniment (that still rocks by any standard) has a non-chronological familiarity. Joining the singer on Skunkworks are musicians Alex Dickson (guitars), Alex Elena (drums), and Chris Dale (bass). Highlight tracks include "Solar Confinement," which while lyrically murky, has a great chorus, and the Soundgarden-esque "I Will Not Accept the Truth." "Headswitch" is also a treat, with its updated Deep Purple groove. This track also features some of Dickson's best work. A year after Skunkworks, Dickinson joined up with former Maiden guitarist Adrian Smith and made a more defined return to classic form. Most agree that the Smith period is the singer's finest, but Skunkworks has some merit of its own, foreshadowing what would become a highly approved stylistic shift. -- Jason Anderson

1.Space Race
2.Back from the Edge
5.Solar Confinement
7.I Will Not Accept the Truth
8.Inside the Machine
13.Strange Death in Paradise

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Fields Of The Nephilim: (1990) Elizium

For the first time since Dawnrazor, the Nephilim worked with someone other than Bill Buchanan as producer; whatever Andy Jackson's particular qualifications, happily he knew not to ruin a good thing. The end result was the band's best all-around album, consisting of four lengthy pieces that showcase their now near-peerless abilities to create involved, textured, driving, and loud pieces of rock. It was still goth as all heck, but like the best bands in any genre, the Nephilim transcended such artificial limitations to create their own sound. McCoy still comes up with an occasionally curious lyric, to put it mildly, but such is the power of his performance as well as the band's that, at least for the time it's playing, Elizium really does sound like it's about to call up darkling spirits from the nether planes. The opening song is divided into four parts but mainly known by its second, "For Her Light," which was edited into a single. It moves from initial crashes of noise, feedback, and keyboards to catchier brooding and riff action, a calmer midsection with appropriate samples of Alistair Crowley, and a last slamming run to the song's conclusion. "Submission" stands on its own, switching between minimal bass with guitar stabs and massive crescendos. "Sumerland (What Dreams May Come)" takes the apocalyptic element of the Nephilim to its furthest extent; its relentless pulse supports some of the most powerful guitar out there while McCoy achieves a similar high point with his commanding voice. "Wail of Sumer" concludes Elizium on a striking two-part note, gently floating rather than exploding over its length, while McCoy's lost, regretful voice drifts along with it as a soft, yet still unnerving conclusion. Combine that with another fantastic job on art design, and Elizium, once you accept the Nephilim's basic conceits, simply stuns.
-- Ned Raggett

1.Dead But Dreaming
2.For Her Light
3.At the Gates Of Silent Memory
4.Paradise Regained
6.Summerland (What Dreams May Come)
7.Wail Of Summer
8.And There Will Your Heart Be Also

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Bruce Dickinson: (1997) Accident Of Birth

Of all of Bruce Dickinson's solo albums, Accident of Birth sounds the most similar to Iron Maiden, which isn't surprising since former Maiden guitarist Adrian Smith co-wrote many of the songs and plays on the record. The album is better than many latter-day Maiden efforts, and though the songwriting is occasionally uneven, the best moments (including "Man of Sorrows") make it an intriguing album. -- Stephen Thomas Erlewine

2.Toltec 7 Arrival
4.Taking the Queen
5.Darkside Of Aquarius
6.Road to Hell
7.Man Of Sorrow
8.Accident of Birth
9.The Magician
10.Welcome to the Pit
12.Arc Of Space

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Wednesday, March 28, 2012

Bruce Dickinson: (1995) Alive in Studio A

Perhaps second only to Rob Halford, Iron Maiden's Bruce Dickinson was the most acclaimed and instantly recognizable vocalist to emerge from the New Wave of British Heavy Metal movement of the early-'80s. Born Paul Dickinson on August 7, 1958, in Worksop, Nottinghamshire, he adopted the first name Bruce as a youngster for reasons unknown. Shortly after relocating to Sheffield as a teenager, Dickinson became enamored of such '70s heavy metal bands as Deep Purple, and after an attempt at becoming a drummer didn't work out, he began singing in local bands -- Styx (not the renowned American band of the same name), Speed, and Shots. But none of these bands broke out of regional status, something that would change when Dickinson fronted his next band, Samson.
Alive in Studio A is a double-disc set that finds the former Iron Maiden singer running through solo material and Maiden classics not only live in the studio, but also at the Marquee club. Both sets are tight and powerful, but the Marquee disc benefits from the presence of an actual audience, and, when taken together, the set proves that Dickinson could still rock as hard in the mid-'90s as he did in the early '80s. ~~ Stephen Thomas Erlewine

2.Shoot All The Clowns
3.Son Of A Gun
4.Tears Of The Dragon
5.1.000 Points Of Light
6.Sacred Cowboys
7.Tattooed Millionaire
8.Born in '58
10.Change of Heart
11.Hell No
12.Laughing In The Hiding

2.1.000 Points of Light
3.Born in '58
4.Gods of War
5.Change of Heart
6.Laughing in The Hiding
7.Hell No
8.Tears of the Dragon
9.Shoot All the Clowns
10.Sacred Cowboys
11.Son of A Gun
12.Tattooed Millionaire

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Tuesday, March 27, 2012

Long Distance Calling: (2007) Satellite Bay

Got your epic metal if you want it. Which is exactly the goal of Long Distance Calling's debut album, which is short on surprise but long on atmosphere, and sometimes that's all that's needed. Admittedly for many, the mere mention of an album consisting of all-instrumental, atmospheric/loud prog-influenced stomps and meditations almost does all the work for it, so even though the German quintet's members have earlier experience in other acts, right now they're just making an individual mark. Taken on its own merits, though, Satellite Bay delivers exactly what would be expected of it -- head-nodding moments of gently building beauty, explosive crescendos, and a general sense that they will, indeed, one day open for Neurosis (or at least be on a co-headlining tour with Pelican in Central Europe). Songs like "Aurora" deliver the gently rumbling and contemplative atmosphere one would expect, taking Ummagumma-style Pink Floyd rambles and giving them more of an obsessively structured focus up into where the feedback fully kicks in. There's a little variety here and there which will help them with wherever they go next -- the nervous ghost-of-post-punk chugging on "Horizon" shows they've been listening to the likes of Interpol and various fellow travelers, and not to bad effect.
Amusing touch: Peter Dolving's movie-trailer voice of doom on "Built Without Hands." ~~ Ned Raggett

2.Fire in the Mountain
5.Very Last Day
6.Built Without Hands
7.Swallow The Wate

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W.A.S.P.: (1984) W.A.S.P.

With glam rock making a comeback of sorts in 1984 (Mötley Crüe, Ratt, etc.), another Los Angeles band, W.A.S.P., couldn't have picked a better time to release its self-titled debut. By merging lyrics that dealt with the expected heavy metal themes (sex, Satanism, etc.) alongside Blackie Lawless' rough vocals and Chris Holmes' guitar riffing, the band sounded and looked more menacing than your average L.A. glam band at the time. Add to it a stage show that was gimmick-heavy (Lawless would drink blood from a skull and rip open a pillow, while wearing buttless leather pants and saw blades on his arms), and you had a "can't miss" recipe for controversy and publicity -- resulting in the debut's eventual gold certification. The album contains most of their best-known tracks, such as the raging singles/videos "I Wanna Be Somebody" and "L.O.V.E. Machine," plus the anti-establishment "School Daze," the semi-ballad "Sleeping (In the Fire)," and the angst-filled anthems "The Flame," "Hellion," "On Your Knees," and "Tormentor." [The 1998 CD reissue contains three bonus tracks, including a cover of the Rolling Stones' "Paint It Black," as well as their overtly sexual early fan fav, "Animal (Fuck Like a Beast)."] -- Greg Prato

1.Animal (Fuck Like a Beast)
2.I Wanna Be Somebody
3.L.O.V.E. Machine
4.The Flame
6.School Daze
8.Sleeping (In The Fire)
9.On Your Knees
11.The Torture Never Stops
12.Show No Mercy
13.Paint It, Black

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Fields Of The Nephilim: (1988) The Nephilim

Having built a considerable and passionate fanbase, the Nephilim approached their second album with confidence and a clutch of stunning new songs. The resulting, semi-self-titled release blows away the first by a mile (the art design alone, depicting an ancient, worn book with strange symbols, is a winner), being an elegantly produced and played monster of dark, powerful rock. Even if McCoy's cries and husked whispers don't appeal to all, once the listener gets past that to the music, the band simply goes off, incorporating their various influences -- especially a good dollop of pre-Dark Side of the Moon Pink Floyd (think songs like "One of These Days") -- to create a massive blast of a record. Buchanan again produces with a careful ear for maximum impact, whether it be the roaring rage of "Chord of Souls" or the minimal guitar and slight keyboard wash of "Celebrate"; McCoy's vocal on the latter is especially fine as a careful, calm brood that matches the music. Perhaps most surprising about the album is that it yielded an honest-to-goodness U.K. Top 40 hit with "Moonchild," which is very much in the vein of earlier songs like "Preacher Man" but with just enough of a catchier chorus and softer guitar part in the verse to make a wider mark. Though the first part of the album is quite fine, including such longtime fan favorites as "The Watchman" and "Phobia," after "Moonchild" the record simply doesn't let up, building to a fantastic three-song conclusion. "Celebrate" is followed by "Love Under Will," a windswept, gloomily romantic number with a lovely combination of the band's regular push and extra keyboards for effect. "Last Exit for the Lost" wraps everything up on an astonishing high; starting off softly with just bass, synths, one guitar, and McCoy, it then gently speeds up more and more, pumping up the volume and finally turning into a momentous, unstoppable tidal wave of electric energy. ~~ Ned Raggett

2.The Watchaman
5.Chord Of Souls
7.Celebrate (Second Seal)
8.Love Under Will
9.Last Exit For The Lost

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Monday, March 26, 2012

Fields Of The Nephilim: (1987) Dawnrazor

Losing the saxophone player from earlier EPs and taking advantage of better budgets and studios, the Nephilim on their first full album established themselves as serious contenders in the goth world. It certainly didn't hurt having signed to Beggars Banquet, home of such acts as Bauhaus and the Cult, though the more obvious source of the Nephilim's sound at this point was the Sisters of Mercy, various attempts to deny it aside. Like Eldritch's crew, the Nephilim fivesome weren't aiming just for the clad-in-black audience, but at being a great group in general; while that goal wasn't quite achieved on Dawnrazor, the band came very close.
With sympathetic and evocative production throughout by Bill Buchanan, the album strongly showcases another chief element of the Nephilim's sound: Ennio Morricone. The at-the-time totally outrageous fusion of smoky, cinematic spaghetti western guitars with the doom-wracked ominous flavor of the music in general, not to mention McCoy's growled invocations of pagan ceremonies and mystic energy, provoked a lot of merriment from outside observers. The Nephilim stuck to their guns, though, and by wisely never cracking a smile on this album, they avoided the cheap ironic way out. Songs here which would become classics in the band's repertoire included the fiery "Preacher Man," which sounds like what would happen if Sergio Leone filmed a Stephen King story; the quick, dark gallop of "Power" (originally a separate single, then added to the album on later pressings); and the slow, powerful build of the title track, featuring McCoy practically calling the demons down on his head. For all of the undeniable musicianship and storming fury of the songs, sometimes things just get a little too goofy for words, as revealed in a classic, unintentionally hilarious lyric by McCoy from "Vet for the Insane": "The flowers in the kitchen...WEEP for you!." ~~ Ned Raggett

1.Intro (The Harmonica Man)
2.Slow Kill
3.Laura II
4.Preacher Man
5.Volcane (Mr. Jealousy Has Returned)
6.Vet For The Insane
11.The Tower
13.The Sequel

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Bruce Dickinson: (1990) Tattooed Millionaire

In 1990, Bruce Dickinson launched his solo career with Tattooed Millionaire, which is far from a carbon copy of his work with Iron Maiden. Many of the fans who knew him as Maiden's lead vocalist assumed that this solo debut would be Maiden-like -- they expected an album of aggressive yet melodic fantasy metal in the Maiden/Ronnie James Dio/Black Sabbath vein. But Tattooed Millionaire found Dickinson favoring more of a hard rock/pop-metal approach. This album is full of glossy and lighthearted pop-metal that wouldn't be out of place on an album by Winger, Bon Jovi, or Def Leppard. "Lickin' the Gun" is more Aerosmith than King Diamond, and "Son of a Gun" is more Bad Company than Candlemass. And while some Maiden worshipers might prefer to hear Dickinson singing fantasy metal, the fact is that Tattooed Millionaire is excellent. With this album, Dickinson did what fellow Brit Rob Halford did on some of Judas Priest's more commercial and pop-influenced releases -- he showed listeners another side of himself and demonstrated that he wasn't obligated to embrace fantasy metal 100 percent of the time.

1.Son Of A Gun
2.Tattooed Millionaire
3.Born in '58
4.Hell On Wheels
5.Gypsy Road
7.All The Young Dudes
8.Lickin' The Gun
9.Zulu Zulu
10.No Lies

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Bruce Dickinson: (1994) Balls To Picasso

Immediately following his departure from metal legends Iron Maiden, singer and jack of all trades Bruce Dickinson signed a new deal stateside to Mercury Records and went to work on his second solo effort. Notwithstanding some dreadful artwork, his Polygram debut, Balls to Picasso, is somewhat of a disappointment and, for the most part, an ill-conceived project. Eager to get away from the classic galloping we'll-march-to-the-war Maiden sound, the singer joins forces with a band by the name of Tribe of Gypsies. The band (which managed to generate quite a buzz on its own but alas never found a home for itself) features Roy Z, Dickinson's chief collaborator/songwriting partner for this album. Eddie jokes aside, if Dickinson wanted to get away from the classic Iron Maiden sound, he sure does a good job on this album. Unfortunately, the singer fails to come up with anything truly groundbreaking or even interesting here (save for the album closer, "Tears of a Dragon"). Balls to Picasso gets underway with the messy, seven-minute "Cyclops." Following it is "Hell No," which, again, makes a valid argument for the singer's newfound musical freedom and prerogative to shun a sound that he once helped create. Not only is "Hell No" not Maiden-ish at all, it gives way to the über-heavy, down-tuned rumblings of "Gods of War" -- which takes flight like some sort of ode to Pantera gone New Wave of British Heavy Metal. The end result? Nothing substantial. Maybe a good idea on paper but definitely lost somewhere along the way in the execution. Moving forward, "1000 Points of Light" is another faux pas. Nicking its main riff from, of all places, Living Colour's "Cult of Personality," the cut erupts into a bizarre Queensrÿche-meets-Prong chorus and bridge that leave one scratching his or her head. Only Dickinson's strong vocal delivery manages to salvage the song from being a complete disaster. Other cuts like "Laughing in the Hiding Bush" and the soft "Change of Heart" fare a little better. Bongos give way to the lyrically challenged "Shoot all the Clowns," which, stunningly, comes across like some sort of bad L.A. hair metal experiment meets "Welcome to the Jungle."

2.Hell No
3.Gods Of War
4.1.000 Points Of Light
5.Laughing In The Hiding
6.Change Of Heart
7.Shoot All The Clowns
9.Sacred Cowboys
10.Tears of The Dragon

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W.A.S.P.: (1986) Inside the Electric Circus

While W.A.S.P. remained a gimmick-heavy live act (around this time, Blackie Lawless had a codpiece that would shoot sparks!), they attempted to grow musically with each successive release -- most evidently beginning with 1986's Inside the Electric Circus. While Lawless was the band's main leader and songwriter from the beginning, he had even more of a say in the musical direction by switching to rhythm guitar from bass when original guitarist Randy Piper exited the band (ex-King Kobra member Johnny Rod joined on bass). By selecting a pair of early-'70s hard rock classics to cover -- Humble Pie's "I Don't Need No Doctor" and Uriah Heep's "Easy Living" -- it was clear that W.A.S.P. wanted their fans to pay more attention to the music. But it's not to say that the group completely abandoned their brash heavy metal roots -- the U.K. single "9.5.-N.A.S.T.Y." and the album-opening title track packed plenty of scream-along excitement. [The 1998 reissue contains a pair of B-sides previously unavailable on CD: "Flesh and Fire" and "D.B. Blues."] ...Greg Prato

1.The Big Welcome
2.Inside The Electric Circus
3.I Don't Need No Doctor
4.9.5 N.A.S.T.Y.
5.Restless Gypsy
6.Shoot From the Hip
7.I'm Alive
8.Easy Living
9.Sweet Cheetah
11.King Of Sodom and Gomorrah
12.The Rock Rolls On
13.Flesh and Fire (Bonus)
14.D.B. Blues (Bonus)

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Thursday, February 2, 2012


Dark Entropy began in the fall of 2008 by guitarists Matt Schering and Mike Pannaralla. Richard Spoo was soon brought in on the drums, and the first incarnation of the band was born. Mike Pannaralla left the band in 2009 but Matt and Rich decided to continue on to create more music and refine the previously written songs. After many months of searching for musicians that could keep up with our music, the next lineup began to form in September 2010 when Matt was introduced to guitarist Mike Maskas, who would join Dark Entropy later that year. Early in 2011 Rob Peto was brought onboard with vocal duty and Derek DeLucia shortly after on bass. Several monthes later we actively started playing shows.

2.Broken Night
3.Enlisted In Suicide
4.Sins Of Our Fathers

**You can listen the entire demo tape on official Home-Page. Enjoy the old school thrash metal!!

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