Night Prowler

SATYRICON TO CELEBRATE 20TH ANNIVERSARY OF NEMESIS DIVINA IN 2016. Artistically imperious, instinctively forward-thinking and remorselessly creative, Satyricon have long since earned the right to be hailed as one of black metal’s most important and influential bands. And now they are to revisit the album that raised them from underground heroes to bold contenders on the world stage… the timeless and towering Nemesis Divina. Satyricon will return in 2016 to celebrate the 20th anniversary of this seminal masterpiece, with a never-to-be-repeated series of exclusive European shows, wherein the Norwegian trailblazers will perform the album in its entirety for the first and last time. “It’s not what we do and it won’t happen again!” avows frontman and creative mastermind Satyr. “This band, as you know, is definitely not retrospective. But we started playing live in 1996. Our most groundbreaking milestone record came out in 1996. Nemesis Divina is the only one of the first three records that has aged really well. It’s the only one that we still play several songs from in our set to this day… so if I’m ever going to do anniversary shows and do a reissue and make it a big deal, it’s gonna be Nemesis Divina and it has to be now.” When Satyricon released their third album in 1996, their status as one of the most significant and creatively vital bands in Norwegian black metal was already beyond dispute. But Nemesis Divina was no ordinary record or just another step along the road to infamy. Instead, this was a revolutionary and groundbreaking piece of work from a band that had suddenly hit their stride on every conceivable level. From its uniquely vibrant and impactful artwork, which broke every supposed rule in the black metal handbook with its vivid colours and refined aesthetic core, to the supremely confident and idiosyncratic songs and individual performances that heralded a newfound sophistication and a freshly incisive vision, Nemesis Divina almost single-handedly took black metal from its voluntarily shadowy and obscure origins into the glaring spotlight of the international metal scene. There are many classic albums to salute from the Norwegian scene of the early 90s and while the likes of Mayhem, Darkthrone, Emperor and Immortal undoubtedly share Satyricon’s esteemed position in the genre’s spectral hall of fame, it was arguably Nemesis Divina that most vigorously announced the arrival of this arcane musical phenomenon to the rest of the world, destroying the notion that black metal was an entirely self-contained and inward-looking subculture in the process. Most of all, however, Nemesis Divina showcased a band that finally had the skill and the musical intuition to back up the undeniable potency of their artistic vision. Sonically devastating and compositionally meticulous, songs like Mother North and The Dawn Of A New Age redefined what black metal was capable of, while proudly retaining the genre’s ageless essence and aesthetic values. “Everything expanded tenfold with Nemesis Divina,” Satyr states. “For most people who liked the first two records, Satyricon climbed to a whole different level on Nemesis Divina and people really started to love the band. This album has a special place in our history. Suddenly we were selling 80,000 and then 100,000 records, and those numbers were unheard of in our small part of the world. That was the record that everyone that was into this scene wanted to buy. If you say there are two stages of evolution in black metal – the 80s, with Venom and Celtic Frost and Bathory, and then the 90s with the Norwegian stuff and everything followed in its wake – there are, at most, a handful of albums and a handful of songs that really define modern day black metal. Nemesis Divina is definitely one of those records and Mother North is definitely one of those songs.” To herald the 20th anniversary of this most illustrious piece of dark art, Nemesis Divina will be re-released in spring 2016, newly remastered by Satyr himself and boasting upgraded and revamped packaging worthy of an album that has had a huge and enduring impact on both the black metal scene and underground heavy music in general. Satyricon will then embark on a series of exclusive one-off shows, performing the record in full for the first and only time. “Next year its 20 years since Satyricon made its live debut as a band, and 20 years since we released Nemesis Divina,” Satyr states. “I thought ‘Either we do multiple shows, re-release the album and do it properly…or we don’t do it at all’. «So here we are. We’ll be performing Nemesis Divina, front to back, doing only a few exclusive shows in 2016 and we look forward to sharing this unique experience with our loyal fans.»

http://www.mediaboom.org/434949-soilwork-the-ride-majestic-2015.html

http://www82.zippyshare.com/v/rNNh3nnm/file.html

Kakav retard jbt.

Imas ovde to: http://rutracker.org/forum/viewtopic.php?t=5053003

Au jbt

Verovatno slika iz skladista, ne smeju da otvore CD...

Sta je bre ovo, zasto ne mogu rucno da brisem scrobbleove? Gde su eventovi, about me?

Leakovalo, hoce neko?

Sutra u 9 ujutru izlazi nova pesma na YouTube

Obuhvata prvu u celosti ali posle toga je sve veoma razlicito, po meni vredi procitati naredne 2 knjige. Totalno drugaciji kraj i zaplet.

On Saturday 19th September OPETH will be performing at an exclusive show in the magnificent Roman Theatre in Plovdiv, Bulgaria. For the one off event the band will be joined by the renowned Plovdiv Philharmonic Orchestra founded nearly 70 years ago and made up of over 100 highly qualified musicians. The orchestra has its roots in the hundred year old orchestral tradition in Plovdiv and over the years has launched the careers of many world-famous conductors. Tracks played with the orchestra (among others) are 'Eternal Rains Will Come', 'The Drapery Falls', 'Demon of the Fall' and 'The Grand Conjuration'. Opeth will also play a 2nd set that includes tracks from their entire catalogue.

http://football-italia.net/70819/roma-and-milan-romagnoli-deal-done

320 http://www85.zippyshare.com/v/MwaFHyAt/file.html

http://concert.arte.tv/de/amorphis-wacken-2015

Ja.

Strap yourself in and say a quick prayer to Eddie as Maiden pull out all the stops – and Bruce gets epic on the piano. A new Iron Maiden album is always a big event, not least because the band have somehow sustained a startling level of popularity for the vast majority of their three decades. What is less frequently acknowledged, however, is that since the return of Bruce Dickinson and Adrian Smith for 2000’s Brave New World, Maiden have not only cemented their status as metal’s most revered band but, audaciously, built upon it, becoming ever more dominant and in-demand as a result. Of course, The Book Of Souls arrives amid an additional storm of drama, Dickinson’s genuinely shocking brush with cancer erecting an unexpected and unwanted backdrop of struggle and triumph behind a long-awaited album – Maiden’s 16th – that didn’t exactly need an extra boost. Completed before their singer received his jarring diagnosis, The Book Of Souls is the sound of a band at the peak of their powers, both individual and collective, and Dickinson’s own performance gives no clues whatsoever as to his then vexed state of health. One might glibly note that this would have been an excellent final statement for all concerned, but it’s hard to think of another band of this vintage that would be capable of sounding this vital and inspired. It begins with one of two songs written solely by Dickinson. If Eternity Should Failstarts with an eerie, almost psychedelic intro, the air raid siren’s restrained tones floating in shimmering space, before the first of countless towering riffs crashes in. Dark in tone and texture and a dash heavier than Maiden have ever sounded before, its eight-and-a-half minutes rush by in what seems like half that amount, soaring choruses and a typically deft change of pace midway through adding bite to the barrage. Maiden’s recent albums have been notable primarily for the epic and progressive nature of their contents, and while The Book Of Souls certainly saunters down that avenue on numerous occasions, it is also an album that brims with flashes of succinctness. Speed Of Light, Death Or Glory and Tears Of A Clown all climax at around the five minute mark, and all three are instant top-notch Maiden anthems, the shrewd songwriting hand of Adrian Smith making its presence felt and bringing plenty of that off-kilter edge that was sometimes missed during the decade he spent away from the line-up. Meanwhile, both The Great Unknown and When The River Runs Deep speak volumes about the intuitive chemistry between Smith and Steve Harris, their collaborative efforts producing monstrous mini-symphonies for Dickinson to unleash that vein-popping vibrato over. Nonetheless, The Book Of Souls will doubtless be celebrated most for its epics, and if you thought Maiden had pulled out all the stops in the past, you may need to strap yourself in and say a quick prayer to Eddie this time round. The Red And The Black is Harris’ only sole composition here, but it’s one of the most exhilarating and fluid things he has ever written; nearly 14 minutes of interwoven rhythms and riffs, a brief nod to the dramatic thud of Flight Of Icarus here, a dewy-eyed salute to Thin Lizzy there and a healthy slab of mob-friendly backing vocals that must surely mean that this will become an immediate live favourite when Maiden take The Book Of Soulsout on the road. The same goes for the title track, an almost ludicrously grandiose and theatrical affair that crams more smart ideas into its ten-and-a-half minutes than any band this enduring should have left in the tank at this point. And if Dickinson could sound any less like a man about to discover a tumour in his throat... well, needless to say that his recovery has been perhaps the least surprising thing about Maiden’s recent history. The interplay between the Three Amigos reaches a similar peak on the rumbling sprawl of Shadows Of The Valley and, best of all, on Harris and Dave Murray’s dark and unsettling The Man Of Sorrows, wherein Kevin Shirley’s powerful, unfussy production shines a light on the sublimely organic interplay between these six musicians. So far, so brilliant. And yet even the most wildly optimistic Maiden fan might find themselves momentarily gobsmacked by The Book Of Souls’ conclusion. The longest song the band have ever recorded, Empire Of The Clouds is essentially an 18-minute heavy metal opera, replete with Dickinson on piano for the first time and sumptuous orchestral flourishes that add hugely to the song’s cinematic feel. A detailed but poetic account of the R101 airship disaster of 1930, it’s a stunning piece of work and clearly a labour of love for Dickinson, the song’s author, in particular. And coming at the end of such a consistent and remarkable slab of idiosyncratic heavy metal, it poses one obvious question: is there anything that Iron Maiden can’t do? The Book Of Souls suggests not. Given that this sounds nothing like the work of a band nearing the end of their love affair with music, the future may even hold greater wonders. Bloody hell. FINAL VERDICT: 9/10

https://video-fra3-1.xx.fbcdn.net/hvideo-xaf1/v/t43.1792-2/11401810_10152943866422051_2061412262_n.mp4?efg=eyJxZSI6InZpZGVvX3ByZWZlcnJlZF90YWdzXzIwMTUwMTIxLDIwMTUwMTAxIiwicmxyIjoxNTAwLCJybGEiOjEwMjR9&rl=1500&vabr=318&oh=eeee6143c737d186daef3a36f57439fd&oe=55BA37AF

http://www.metrolyrics.com/second-movement-andante-lyrics-deep-purple.html

Heh, ja bih najvise voleo da nema singla i da nista ne cujem dok ne dobijem ceo album, single posle uvek odskace od ostalih pesama kad ga cujes pre celog albuma. Ali naravno da nema sanse da cu odoleti da ne poslusam ovaj kad izadje

Valjda 14-og izlazi Speed Of Light single.