Buddha

Consecration = artan metal. realno.

cena karte za ponedeljak ce ipak biti (samo) 100 dinara! pozz

ova dva su ustvari jedan te isti bend

nazalost, da. sta ces, politika kluba..

tri predgrupe je previse za takav bend, veruj mi. u Srbiji uvek nesto krene naopako, pa se tonska oduzi i produzi na 4 sata, pa ovo pojacalo ne valja, pa ovo ne radi, pa ovo, pa ono, pa sve kasni, a glavni bend najvise ispasta (zato sto svira poslednji). a oni npr. vec sutra moraju da se dizu ko-zna-koliko rano ujutru da bi zapalili u Austriju, Sloveniju ili vec gde. seti se samo koncerta Soulfly-a ako si bio: svirale su 3 predgrupe i smorile su. da su bile samo 2, bilo bi taman, ovako se gomila ljudi (koji su dosli da vide glavni bend) smorilo. postoji jos jedan problem - ako bismo za Mar de Grises pukli samo 200 evra, gde da nadjem jos 100 da bi doveo vas iz Crne Gore? kapiras sta hocu da kazem? aj pricacemo o ovome vise kad se budemo videli 11og u pg pozz

mozemo. javi mi se na pp za detalje pozdraw

ja bih glasao uvek za Eternity, samo.. nesto sam u trenutku kad sam otvarao poll bio raspolozen za Silent Enigmu

brate mrki ako budes nastavio sa takvim stavom niko te nikad ni nece zvati ni na jedan koncert. @umart&tragedy: Mar de Grises bi trebalo da bude negde u aprilu, jel tako? mislim da mogu sve da sredim. samo, mislim da je 3 predgrupe mozda previse. dogovoricemo se jos, ajde prvo da vidimo kako ce da ispadnu svirke u klubu SKC-a, ako se pokaze kao dobar prostor, mogu vrlo lako da sredim svirku tamo. pozz

dakle, potvrdjeno je: Consecration ce nastupiti u malom klubu SKC-a u ponedeljak, 29.novembra, sa pocetkom u 00h (bez kasnjenja!) DJ ce pustati mjuzu (metal) od 22 do 00h, Consecration svira od 00 do 01h, i onda DJ nastavlja sa mjuzom od 01 do 04h. (po tom principu ce se nastaviti metal desavanja ponedeljkom u malom klubu SKC-a, dakle samo 1 bend po veceri) dodjite i podrzite ovaj konc! Beogradu je preko potreban jos jedan prostor za svirke pored KST-a i Doma Omladine, a mali klub SKC-a mi deluje kao idealno mesto za to (za pocetak, ima mnogo bolju - novu - opremu) ! cena karte ce biti 120 dinara. vidimo se! pozz

a evo i link specijalno za can'tishu LINK

evo i dobre slike za SGNL>05 ogromna je LINK

ne, EDIT: "Svi Englezi su ludi."

haha da uradimo ceo YuM u tom fazonu

ma nisi ni morao, ubo si poentu a ovaj iz terrorizer-a je stvarno ono, recnik u ruke pa prevodi sta je sve rekao pa pokusaj da shvatis

hvala! mada, zahvali PostNeSlusamMetal na pp! bez nje nikad ne bismo izgledali tako haha. te 'caught moment' slike su uvek najbolje

nemam, jebiggah.. ako neko ima nek se javi.. dobrovoljno se javljam da prepisem text za isti

hvala mislim da je to najbolja recenzija koju sam ikad napisao. ako bi za svaku recenziju morao da cekam po 5 godina od trenutka prvog slusanja do pisanja recenzije..

i Pentecost je EP, ali sam ga ipak stavio zato sto sam pretpostavio da ce neko glasati za njega

ALBUM OF THE MONTH>HEAVY WATER ISIS Oceanic Ipecac Worlds as all-encompassing as this aren't easy to come by. In the Terrorizer universe, perhaps only Nick Cave and Michael Gira (Steve Austin makes a brave attempt with Today Is The Day's latest) are quite as adept as Aaron Turner in forging such a close bond between the intimate and the epic, in creating the most fully realised, universal environments from the most individual, most idiosyntratic of perspectives. But in Aaron Turner's case - and I'm sure he won't thank me for saying this - he's rapidly becoming something very special indeed; our most trustworthy post-millennial guide, in that the world Isis' latest inhabits sounds to these anxious ears like an acute diagnosis of our times. Because as much as a band like Skullflower amplified the waning signal of the 20th century, so Turner's work keeps rhythm with the ambiguous birth throes of the 21st. Whether with Isis, Old Man Gloom, or even his cover art for OMG and fellow Bostonians Cave In, all beautifully annonated scrapbooks of imaginated worlds, it all grows out of a common thread - a sense of having overshot, of trying to navigate the present when all your most familiar co-ordinates are echoes from another time. That's not to say that 'Oceanic' isn't entirely without parallel; throughout its ebbs, flows, rising tides, relapses and rushes, you can hear the languid travelogues of Drowning Pool (the original, early 90s Californian alchemists, not the recently bereaved nu-metallers) leading into 'The Other', the lambent chimes of Labradford resonating throughout 'False Light', and rising up from 'Maritime's intricate, fledging eddies, even a nod to the woozy, sawing riffs of Echo & The Bunnymen's 'The Cutter'. But all these are ghosts flickering at the peripheries; more than anything, Isis are haunted by their hardcore heritage. If 2000's full-length debut 'Celestial' carefully picked away at hardcore's crust to reveal a gilded chassis beneath, 'Oceanic' has jettisoned its most central tenet; its awareness of its roots. This isn't NYHC, it's 'NowhereHC, still taking up on the tentative inch-recoil-and-holler instigated by Fugazi, but here it doesn't offer any reassurance of grounding, it sounds cast adrift and bereft, more aftershock than assertion. On opener 'The Beginning And The End' the riffage is all post-coital thrusts and refrains, dissolving into radiant melancholia, like embers trailing upwards from a dying fire; on the following 'The Other', taken to the end of its tether as it frays into an inconsolable searchlight pulse. 'Oceanic' sounds as though it's in the process of exhausting all its reference points, allowing itself to pass through into limbo and gradually transform itself, butterfly-style, dreaming of what it's going to become next. The midpoint track, '-' is something of a Passover, all bubbling, aquatic depths, abandoned frequencies and lapping shores, depositing you at the aforementioned 'Maritime' and through to the mesmeric rebirth that is 'Weight', building up from the most fragile of timbres as Cave In-style panoramic percussion breathes life into a stunning, heart-in-mouth ascension, chords rising up on a successive updrafts and shedding their ballast as though they're undergoing a hallowed rite of purification. And as the closing tracks, 'From Sinking' and 'Hym' are shot through with their migratory charge, this densely entwined network of departures, passages and cathartic uprisings will entrance even the most battle-hardened among you. If you aren't breathless with anticipation by now, 'Oceanic' will certainly leave you. A far-flung, tantalisingly unfinished masterpiece. [9.5] Jonathan Selzer Terrorizer magazine, issue 104, nov2002

i ko voli novi: LINK

ko voli stari logo LINK