azal

ovo radi bukvalno svaki budjavi black metal bend koji yumetalci cene

ovo obecava, weirdo death/doom. pevac iz Pyrrhon svira sve osim bubnja i peva https://weepingsores.bandcamp.com/album/the-convalescence-agonies

smor je meni idalje, ali je bukvalno nesto najsuprotnije od dzemovanja

i konobari iz zappa baze sto se setaju naokolo

ja sam uzeo za @Baal pa mozes od mene da kupis njegovu cim on potvrdi da ce ispaliti

mislim da je vise to sto je u Zemunu, plus ovo ce sigurno da se zavrsi kasno, pa onda ili drkanje sa nocnim prevozom ili soma plus za taksi

sad sam cuo skandalozno losu i nepotrebnu Sabbath Bloody Sabbath obradu koju su snimili, nek odrade jednu turneju sa debelim pa nek se raspadnu. Johan zvuci kao go kurac

klince nisam gledao, Vitriol imao uzasan zvuk, beverast ubili, blekeri zvucali kao lokalna predgrupa posle njih, morao sam dve pesme da poslusam jer mi ostalo pola piva

ti ces svakako da gledas u mobilini da l ti tiket prolazi sve vreme

bas ovaj bend je govance, idem na prva dva pa kuci

umesto nebitnog novog EPa slusajte demo sa Tony Martinom

milina

al ce slatko da se preskoci ovaj uzas u nedelju

ako ima jos u KC Gradu ima, nisam proverio

nisam dugo cuo ovako dobar i ubedljiv epic doom: https://telmadoom.bandcamp.com/album/

double bill, ovo ce biti posle thantifaxatha koji ce da se zavrsi do pola 11.

pa kapiram da mu lakse da prekopira Bath nego da pokusava da izmislja muzicke paterne koje AI ne moze da prepozna i ponovi

jes poznat po tome sto se konstantno dodvora nekoj publici, zato idalje svira za 250 ljudi sa skoro 50 a ima minimum 3 albuma koji su bolji od Dowsing, album koji je takodje namerno bio sve sto CotE nije, iako je tad imao priliku da snimi jos par CotE i jase Hydra Head Records talas do kraja. i meni dosadna nova pesma btw, mozda bude zanimljiva u kontekstu albuma, ali sam je slusao jutros dok sam srao i nije me upecala. ali svakako respect sto se bar uvek trudi da nesto novo uradi iako mu je jasno da u komercijalnom i materijalnom smislu puca sebi u nogu umesto da samo snimi motW reunion album koji zvuci isto kao Bath i ode na turneju sa Agalloch i Pelican

Every Rock, Every Half-Truth Under Reason is the title of the new album. It's a commemoration of the 20th anniversary of Choirs of the Eye, reuniting the original lineup. It marks both a return and a progression from the band’s seminal debut by revisiting the compositional practices that defined it while pushing forward into uncharted territory. Rejecting traditional rock structures and the more predictable contours of metal, Every Rock… shapes a sound that feels familiar and alien at once, where custom-designed microtonal organs and guitars weave an effort to reconcile the impossible tension between past and future. Moving away from the typical emphasis on low-end frequencies, it floats instead in the upper spectrum, where the textures become more fragile, more intimate, and more abrasive and terrifying. This process of creation revealed a new form of music that we came to call liminal metal—a sound that inhabits the atmosphere of threshold spaces, where time feels stretched and the boundaries between realities begin to erode. It’s a music of flickering states, caught between what is, what was, and what could have been. In that tension, the album becomes an expression of the hauntological crisis of our times: a cultural and social moment in which the future has grown indistinct, and the present is swollen with the ghosts of a past that will not release its grip. A malfunction in which the past won’t stay buried and the new arrives already pre-formatted by old frameworks. Metal, perhaps more than any other genre, reveals this condition most clearly—trapped in cycles of self-reference, entranced by its own legacy, hungry for newness but tethered to myth. But hauntology is not only about the past. It is also the intrusion of futures that have not yet happened, but whose shadows shape the present. This album is haunted by one such future: the spectre of AI-generated creativity. The increasing presence of artificial composition, predictive modeling, and algorithmic aesthetics casts a long shadow over all creative work today. I felt this shadow pressing on me throughout the writing process. The threat wasn't just technological—it was metaphysical. It became even more important to write in ways that resist prediction, to compose music that does not reveal itself to pattern recognition. Much of the album is an effort to move against the grain of legibility, to make something that slips from the grasp of systems designed to anticipate us. In this way, the music becomes a kind of countermeasure—a way of preserving the unpredictability, mystery, and grief of human creation. The ghosts in this album don’t just inhabit the lyrics, where first-person voices speak from beyond death—they also permeate the form and texture of the music itself. They live in the dissonances, the silences, the stretched structures, the tones that feel like echoes of something that never quite arrived. The emotional world here isn’t built on conclusion, but on proximity, recurrence, and the strange intimacy of being half-remembered. Across these songs, lingering beneath the surface is a recurring sense that the dead are still needed by the living. That need is not a comfort. It signals a kind of entrapment, a symptom of a cultural condition in which we can’t let go, and can’t quite move forward either. This album doesn’t attempt to resolve that condition. It sits with it, listens, and makes it audible. We’ve reunited the original lineup and some past members for this album, with some new faces, like we did for last year’s Choirs of the Eye 20th anniversary tours: Toby Driver, Jason Byron, Greg Massi, Sam Gutterman, and Terran Olson with: David Bodie, Timba Harris, and Matthew Serra “Oracle By Severed Head” is a song about prophecy, but not the clean, transcendent kind we’ve been taught to expect. This is prophecy as defilement—a sacred voice ripped from the past and forced through a severed head—a voice no longer truly its own, but distorted, fragmented, bleeding into the present. It is a song that interrogates the ways in which manipulated versions of the past continue to invade the present, asserting themselves in violent ways. These voices might be real and they might speak some truths, but who, through the obscene fracture that brought them back, are we really listening to? And at what cost? Musically, the song pulls us into that space of rupture. It is built on a large ensemble—guitars, drums, bass, strings, woodwinds, trumpet, and vocals—an orchestration that calls back to the earliest Kayo Dot works. The song is a perfect choice for a first single, as it celebrates the band’s return to form while marking the passing of time since Choirs of the Eye. The music is expansive but controlled, allowing tension and release to breathe in real time. Its beauty is at odds with its plaintiveness, as aching melodies and delicate harmonies evoke a sense of loss and longing. The climaxes feel inevitable, yet somehow unexpected. In these moments, the music mirrors the emotional intensity of the band’s most powerful moments, but also speaks to the underlying disquiet of the present—trapped between what was and what is yet to come.

Sleepytime Gorilla Museum mention

zaboravili smo da solazi i Dope!

Resetor radio pre jedno 7 god

to mozda ima smisla da imaju 7 albuma ovi malo vise saraju od AK, ali je stil dosta slican, ultra melodican epic doom

ako ne ocekujes 100 procentni nastavak Travellera, meni je ovo vise nego dobro i za klasu bolje od proslih par albuma.