Buddha

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

I just saw Kayo Dot live here in Arizona this week, and they were amazing! They didn't play any Maudlin of the Well songs, but that was cool because all the new stuff sounded awesome live. I talked to Mia, the violin player, for quite a while after the show, she was pretty interesting. I also got a t-shirt for only ten dollars and had all my CDs signed. Wow! a na pitanje kakva je Mia, odgovorio je: She was very cool, we got drunk and talked for over an hour. She had a fascination with gross stuff like tumors and internal twins. She once ate one of the band member's moles he cut off and cooked it with a sauce and everything. She was fascinated by my head surgery story so I got her email address and said I would send her a copy of the videotape. Yeah, I think open head surgery is so cool I had it twice. It's a great video to show at gatherings. -Vince pozz

negde u srbiji ??? pa sta fali bgd-u?

neka brojke, kao, kazu! ps nisam stavljao Resonance iz razumljivih razloga pozz

nema ih ni u omotu

konacno se pojavio i review na allmusic-u If the glacial dynamics of previous metal and hardcore abstractions Celestial and Oceanic didn't prove that Isis was a heavy band in every sense, then Panopticon should do the trick. The title comes from 18th century philosopher Jeremy Bentham's prison design, which was later referenced by Michael Foucault in the 20th century. The idea is that a centrally placed guard or watcher can keep track of a large number of prisoners, and it excited Bentham and concerned Foucault. Heavy stuff for a metal band, huh? Both are quoted in the liner notes, bookended by aerial industrial photos laying out society's open sprawl. It fits perfectly with the epic music on the disc itself, which is as angular as post-rock forefathers Slint and as cosmically expansive as Neurosis, yet closer to the intensity of hardcore than either of them. Panopticon has the same cagey wall of noise as Oceanic, although the end product here is a little more polished. Aaron Turner is still howling and growling, but he's less reluctant to actually sing, just as the music is more inclined to stretch out into Pink Floyd's velvet atmospherics, which were a part of Oceanic, too, but just not as pronounced as they are here. Turner's lyrics are impenetrable, buried in the mix, but when they do pop through the haze of guitars and electronics they're appropriately weighty and tied to the omniscient paranoia of the title. dobio samo 4 zvezdice, lameri. boo.

respect. odakle je to, tj. ko napisa?

ne znam nista unapred, najbolje bi bilo da mi kazes okvirno pa cemo se dogovoriti. samo vikendi nam odgovaraju u principu pozz

90% je sigurno da ce Consecration svirati u ponedeljak, 29.novembra u donjem klubu SKC-a. cena ulaza se jos ne zna, javicu cim jos nesto saznam. pozz

chovek zvani duga (od stalonea)