11.01.2024

DECEASED

 









"children of the morgue"
Year:  2024
Country:  US
City:  Arlington, Virginia
Label:  Hells Headbangers
Format:  CD
Tracks:  12
Time:  55 min.
Genre:  rock
Style:        Death Metal













Just when you thought things couldn't get any creepier from the Deceased, we're now presented with Children Of The Morgue.

Established 40 years ago back in 1984 by vocalist King Fowley and guitarist Doug Souther (who departed from the band under tragic circumstances) is the American death/thrash band Deceased. Setting out with the ambitious intentions of out-thrashing Slayer, they experimented in a number of musical styles, ranging from the early foundations of death metal, thrash, and heavy metal, as well as going through several band titles before eventually settling on the name Deceased in 1986. Their themes generally involve subjects of death and horror (zombies in particular), and their discography spans 20 full-length albums in addition to countless EPs and demos, leading to latest offering Children Of The Morgue.

Children Of The Morgue's recording line-up consists of a quintet featuring founding member and vocalist Fowley alongside Les Snyder (bass), Mike Smith (guitars), Shane Fuegel (guitars), and Amos Rifkin (drums), a line-up that's remained unchanged since previous album Thrash Times At Ridgemont High. Unsurprisingly, the album's concept is based on the subject of death and all surrounding it. Although the band have an ambitiously dark and twisted back catalogue, Children Of The Morgue promises to be their darkest and heaviest release yet, but after a staggering 4 decades of heavy thrashing, does this album achieve this?

The album begins its whopping 55-minute duration with a short, heavy-toned, slow-paced instrumental intro morbidly titled "Destination: Morgue". This sets the album's dark setting in motion before swiftly leading to the quite lengthy main opening title track, where it's clear from the off that the band really mean business. Throughout "Children Of The Morgue", the band bends every genre they've previously dealt with to their disposal, from OSDM and traditional heavy metal, to classic thrash, and in these early stages, listeners are treated to a fine display of classic wailing thrash leads, heavy OSDM riffs, a pulsating mid-to-rapid tempo, and aggressive gnarly growls, and this is just a taster for what's to come.

Following the next short interlude is "Terrornaut", a song which seemingly takes a more traditional heavy direction similar to Mercyful Fate; certainly putting less emphasis on thrash and death this time round, it's also here where Fowley brings his first creepy cinematic narration to the party. However, it's back to their classic thrash direction with "The Reaper Is Nesting", as here the riffs are clearly more thrash-based and ferocious, and the rhythm more rapid-paced. This is the most headbangable and ferocious song so far, and the mid-song solo is a definite early album highlight. The first real epic track to feature is "Grave Digger" at just shy of 9 minutes in length, and it's a dark one at that. The song begins with a tense, heavy, mid-tempo build-up, and the vocals at this stage are all the more dark and menacing, but the tempo inevitably picks up as the rhythm section gallops into action alongside riffs that surge with epically memorable melodies.

So far, there's nothing highly inventive or mind-blowingly original about the album, but what it does do is bring all the band's material from previous albums together and show them in their finest form yet. The downside, however, is by the time you've reached "Eerie Wavelengths", the quality doesn't really improve much; neither, though, does it drop below a reasonable standard, as it continues to provide that strikingly lethal combination of death, thrash and heavy metal. As expected, there are a few moments that may raise a few unwanted eyebrows, but maybe none more so than the haunting female witch-like narrations, but although they're not nearly as convincing as King Diamond, they do fit with the album's dark cinematic concept. Before you're fooled into thinking the album has run its course, "Farewell "Taken To Forever"" finishes the album in epic fashion. It begins with a soft acoustic melody that quickly erupts into the band's heaviest and most ferocious material yet, with an ultra-frenzied headbanging rhythm section that provides the foundation for an array of classic catchy thrash riffs and traditional solos, ultimately finishing the album how it began, which was certainly a great start to begin with.

Despite its near-hour running time, Children Of The Morgue is over before you even know what's hit you; it's certainly a great and epic way to mark their 40th year anniversary. Since their origins, Deceased have always remained somewhat ambitious, delving into the three classic genres of death, thrash, and heavy metal, and they've managed to carry that tradition through to now, where they've ultimately crafted everything they've known and done into this one album. Children Of The Morgue is not going to go down in history as one of the all-time great achievements in metal history, but it's an outstanding achievement in this band's own right, considering how they've kept releasing quality material after all these years despite never reaching the heights of popularity of so many others established during the same time frame (*Review by Andy Metal Freak ).
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"ghostly white"
Year:  2018
Label:  Hells Headbangers
Format:  CD
Tracks:  8
Time:  54 min.
Genre:  rock
Style:      Death Metal      Heavy Metal








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10.17.2024

LA INQUISICION

 









"mundo invisible"
Year:  2024
Country:  Spain
City:  Barcelona
Label:  HFMN
Format:  CD, LP
Tracks:  10
Time:  24 min.
Genre:  rock
Style:        Oi!












I'm not saying it. They say it themselves. After two albums that cemented their reputation within the national punk scene, La Inquisición faces with Mundo invisible (2024) the challenge of consolidating their formula without losing the essence that has brought them here. With ten songs that maintain the intensity and social criticism that has always characterized them, this new work shows that the band has found a solid and coherent sound that, although it does not reinvent the genre, has a lot to offer.

The third album is always a challenge for any band. Expectations are high, and finding the balance between evolution and identity is not always easy. La Inquisición has chosen not to complicate their lives too much and remain faithful to their characteristic sound. Mundo invisible does not seek to revolutionize punk, but rather to consolidate what they have built so far. The ten songs flow naturally and have a direct impact that does not disappoint.

From the song that opens the album, "Mundo invisible", to the closing with "Nadie", the band maintains a constant tempo, with a bass that marks the pulse of each song. Although the album lacks explosive hooks, its cohesion is undeniable. Àlex Montoro's guitars, staying in the midrange, allow Rubén López's voice and newcomer Rau's bass to shine, reminiscent of bands like Social Distortion. This sound balance is one of the keys to the album, which stands out for its clarity and energy.

But this new work not only stands out for its sound, but also for its lyrics full of social criticism. La Inquisición addresses issues such as disenchantment, urban alienation and the internal conflicts of human beings. Spanish is the perfect vehicle to channel this anger and frustration, making the message resonate more strongly among their already loyal and multitudinous audience. "Las fotos mienten", the second cut, is a clear example of this, offering a stark vision of the fragility of today's world. It never hurts to have someone remind you that you have to question the reality that surrounds us and fight against the oppressive structures of modern society.

Barcelona, ​​the band's hometown, is another recurring theme. In songs like "Cien colores," the quartet laments the transformation of the city, marked by savage capitalism and the loss of identity in its most vulnerable neighborhoods. There is also room for emotional reflection, as in "Sombra y luz," a tribute to a fallen comrade who now, in spirit, continues to accompany them. The lyrics of La Inquisición strike a delicate balance between scathing criticism and introspection, with choruses that reinforce their message without losing emotional intensity.

Although some may criticize that Mundo invisible does not bring new things to the genre, it is precisely its consistency that gives it strength. The band does not intend to break with the established, but to offer punk executed with precision and passion, huge tons of passion. This does not mean that the album is predictable; Songs like number five, “Otra manera,” and the one that follows, “Aplasta a la bestia,” remind us that La Inquisición is capable of channeling social frustration without losing the melodic focus that characterizes their sound. Although the formula is familiar, it is executed with a conviction and coherence that allows the album to remain firm in its purpose.

Yes, the lack of unexpected elements can be a disadvantage, but I see in Mundo invisible a confirmation of the sound that has made the band stand out in the Spanish-language punk scene. Although it is not an album that breaks molds, I insist, its solidity makes it an enjoyable work from beginning to end. Isn’t that the main purpose of the music?

With Mundo invisible, La Inquisición continues to demonstrate that their punk has a lot to say, and that they are one of the most consistent bands to be able to do so. Although they do not seek to reinvent the genre, their critical approach and precise execution allow them to continue evolving without losing sight of their essence. Mundo invisible is a sample of melodic, committed, honest and socially conscious punk, which manages to convey its message without falling into excesses or concessions. For followers of La Inquisición, this album is a firm step, and for those looking for a punk with soul and conscience, it remains a safe bet (*Review by Rubén de Haro ).
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"uróboros"
Year:  2022
Label:  HFMN
Format:  EP
Tracks:  4
Time:  12 min.
Genre:  rock
Style:        Oi!








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"tenevrae"
Year:  2020
Label:  HFMN
Format:  CD, LP
Tracks:  9
Time:  24 min.
Genre:  rock
Style:        Oi!








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"Lvx"
Year:  2018
Label:  HFMN
Format:  CD, LP
Tracks:  9
Time:  25 min.
Genre:  rock
Style:        Oi!








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"verdadera fe"
Year:  2016
Label:  Contra
Format:  CD, LP
Tracks:  4
Time:  12 min.
Genre:  rock
Style:        Oi!








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"idem"
Year:  2015
Format:  EP
Tracks:  5
Time:  14 min.
Genre:  rock
Style:        Oi!








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10.07.2024

DRILLER KILLER











"driller killer"
Year:  2002
Label:  Osmose
Format:  CD, LP
Tracks:  11
Time:  53 min.
Genre:  rock
Style:        Crust Punk















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"and the winner is"
Year:  2000
Label:  Osmose
Format:  CD, LP
Tracks:  14
Time:  40 min.
Genre:  rock
Style:        Crust Punk








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"reality bites"
Year:  1998
Label:  Kron-h
Format:  CD, LP
Tracks:  15
Time:  60 min.
Genre:  rock
Style:        Crust Punk









































"brutalize"
Year:  1994
Label:  Osmose
Format:  CD, LP
Tracks:  14
Time:  24 min.
Genre:  rock
Style:        Crust Punk








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9.27.2024

SOUNDGARDEN

 









"down on the upside"
Year:  1996
Label:  Universal
Format:  CD, LP
Tracks:  16
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"superunknown"
Year:  1994
Label:  Universal
Format:  CD, LP
Tracks:  15
Time:  40 min.
Genre:  rock
Style:        Alternative Rock















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"badmotorfinger"
Year:  1991
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"louder than love"
Year:  1989
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  35 min.
Genre:  rock
Style:        Alternative Rock








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8.25.2024

ALICE IN CHAINS











"rainier fog"
Year:  2018
Label:  BMG
Format:  CD, LP
Tracks:  10
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"devil put dinosaurs here"
Year:  2013
Label:  Sony
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"black gives way to blue"
Year:  2009
Label:  Universal
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"MTV unplugged"
Year:  1996
Label:  Sony
Format:  CD
Tracks:  13
Time:  40 min.
Genre:  acoustic
Style:        Acoustic








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"dirt"
Year:  1992
Country:  US
City:  Seattle
Label:  Sony
Format: CD, LP
Tracks  13
Time:  45 min.
Genre:  rock
Style:        Alternative Rock












"Dirt" is the second studio album by the American rock band Alice in Chains, released on September 29, 1992, through Columbia Records. It was the band's last album recorded with all four original members, as bassist Mike Starr was fired in January 1993 during the tour to support the album.

The album’s lyrics feature dark subject matter, focusing primarily on depression, pain, anger, anti-social behavior, relationships, drug addiction (primarily heroin), war, death, and other emotionally charged topics. The track "Iron Gland" (Untitled) features Tom Araya from Slayer on vocals. Most of the music from the album was written by guitarist Jerry Cantrell, but for the first time vocalist Layne Staley wrote two songs by himself ("Hate to Feel" and "Angry Chair"), both also featuring Staley on guitar.

Retrospectively, the album has continued to receive acclaim, with Rolling Stone placing the album at No. 26 on its list of the "100 Greatest Metal Albums of All Time". Dirt was included in the 2005 book 1001 Albums You Must Hear Before You Die. It was voted "Kerrang! Critic's Choice Album of the Year". Guitar World named Dirt as the best guitar album of 1992. Loudwire named it as one of the best metal albums of the 1990s, and Rolling Stone ranked it at No. 6 on its list of the "50 Greatest Grunge Albums" in 2019.
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"idem"
Year:  1995
Label:  Sony
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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"jar of flies"
Year:  1994
Label:  Sony
Format:  CD, LP
Tracks:  7
Time:  21 min.
Genre:  rock
Style:        Alternative Rock








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"facelift"
Year:  1990
Label:  Sony
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Alternative Rock








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8.23.2024

WHITE ZOMBIE

 









"astro-creep: 2000"
Year:  1995
Country:  US
City:  New York
Label:  Universal
Format:  CD, LP
Tracks:  11
Time:  40 min.
Genre:  rock
Style:        Industrial Metal













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"soul crusher"
Year:  1987
Label:  Silent Explosion
Format:  CD, LP
Tracks:  10
Time:  50 min.
Genre:  rock
Style:        Alternative Rock








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8.20.2024

AUDIOSLAVE

 









"idem"
Year:  2002
Label:  Sony
Format:  CD, LP
Tracks:  14
Time:  45 min.
Genre:  rock
Style:        Alternative Rock








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"out of exile"
Year:  2005
Label:  Sony
Format:  CD, LP
Tracks:  14
Time:  45 min.
Genre:  rock
Style:        Alternative Rock








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8.19.2024

GUNS N' ROSES

 









"appetite for destruction"
Year:  1987
Country:  US
City:  Los Angeles
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Hard Rock













Guns N' Roses' debut, Appetite for Destruction was a turning point for hard rock in the late '80s - it was a dirty, dangerous, and mean record in a time when heavy metal meant nothing but a good time. On the surface, Guns N' Roses may appear to celebrate the same things as their peers - namely, sex, liquor, drugs, and rock & roll - but there is a nasty edge to their songs, since Axl Rose doesn't see much fun in the urban sprawl of L.A. and its parade of heavy metal thugs, cheap women, booze, and crime. The music is as nasty as the lyrics, wallowing in a bluesy, metallic hard rock borrowed from Aerosmith, AC/DC, and countless faceless hard rock bands of the early '80s. It's a primal, sleazy sound that adds grit to already grim tales. It also makes Rose's misogyny, fear, and anger hard to dismiss as merely an artistic statement; this is music that sounds lived-in. And that's exactly why Appetite for Destruction is such a powerful record - not only does Rose have fears, but he also is vulnerable, particularly on the power ballad "Sweet Child O' Mine." He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging "Welcome to the Jungle," the heroin ode "Mr. Brownstone," or "Paradise City," which simply wants out. But as good as Rose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes Appetite for Destruction the best metal record of the late '80s (*Review by Stephen Thomas Erlewine).
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"lies"
Year:  1988
Label:  Universal
Format:  CD, LP
Tracks:  8
Time:  32 min.
Genre:  rock
Style:        Hard Rock








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"use your illusion I"
Year:  1991
Label:  Universal
Format:  CD, LP
Tracks:   16
Time:  60 min.
Genre:  rock
Style:        Hard Rock








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"use your illusion II"
Year:  1991
Label:  Universal
Format:  CD, LP
Tracks:  14
Time:  60 min.
Genre:  rock
Style:        Hard Rock








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"the spaghetti incident?"
Year:  1993
Label:  Universal
Format:  CD, LP
Tracks:  12
Time:  46 min.
Genre:  rock
Style:        Punk Rock








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