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This is awesome! Like Sebadoh when they rocked, Monotonix have a lo-fi sound to make Dinosaur Jnr blush and they set to with a vigour that can only be commended! Kicking off with the aptly named ‘Flesh and blood’, which is powered by the sort of riff that is destined to rip the aforementioned from your torso, it sounds like it was recorded in Steve Albini’s most distorted nightmare and is all the better for it. Second track ‘I can’t take it anymore’ rides on a hefty stoner riff, that thuds through the speakers like molten lead and the vocals are a feral howl competing with the racket. Third track ‘My needs’ sees the album continue to impress, as the band compete with Mudhoney for Iggy Pop’s rock ‘n’ roll crown. One thing that that helps this record to stand out from the crowd is the production which is utterly, utterly raw and yet maintains both warmth and clarity allowing the listener to indulge in every beautiful, discordant moment. Even the, ballad (well, as near as this lot get to a ballad anyway) ‘something has dried’ is conducted in the bands own unique style, complete with a guitar freak-out that Sonic Youth would be proud to call their own.

Tellingly, although there are frequent reference points, there’s nothing here to suggest that Monotonix are a mere pastiche, indeed the band develop their influences and weave them into something entirely new. This is pure, untameable rock ‘n’ roll and there’s a joy to the over-the-top, crazed guitar histrionics that sweeps the listener along. It’s as if every song taps into that part of the brain that makes rock music fans want to mosh till they drop, and then amps that feeling up to the next level – it’s that good. ‘Set me free’ is stripped down to drums and voice alone, and such is the power of the lead singer’s voice that you barely notice that the guitars have vanished for a moment until they kick back in again. ‘Spit it on your face’ does exactly that on the back of the type of surf riff the Pixies used to write, before ‘As noise’ confuses by approximating the man who sings outside your window after spending fifteen hours at the local pub before collapsing in on itself under a welter of crazed guitar mangling. Finally ‘hunt you down’ closes the album with creepy organ, reverb and noise.

This is simply an excellent record. This is pure rock, unaffected, unashamed and untouched by the trappings of commercialism. It carries the sort of wilful invention that comes from chaotic practices and too much beer in dark clubs just trying to scratch a living off the music. You’ll hear more technical albums, to be sure, but this record captures the unbridled spirit of rock ‘n’ roll that made Guns ‘n’ Roses’ ‘Appetite for destruction’ such a remarkable record. Check them out before they become huge, because on this evidence they should.
Monotonix
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Virgin Snatch are a ludicrously heavy thrash band formed in 2001 in Krakow. VS released their first record in 2003 (’S.U.C.K’) which received a little attention but was nothing compared to the storm whipped up by the vicious ‘Art of lying ‘(2005) which managed to sound both hope-crushingly heavy and yet laden with hooks at the same time. Ripping out of the speakers with ‘Deprived of Dignity’ this is technical thrash at its best and gives bands such as Megadeth a damned good run of their money in the speed riff stakes. Sung in English there really is no excuse for this band not having received more attention overseas as they are ten times faster and more talented than many of the over-rated US bands currently treading the boards. ‘Stop the madness’ is another highlight of this brutal album, but really on a record as packed with killer riffs as this you’re spoilt for choice. If ‘The art of lying’ was good then the next release, ‘In the name of blood’, is even better. Heavy, catchy and rock solid this is, perhaps, the album I’d recommend the most although any of their work you can track down will be well worth the price. Finally VS released ‘Act of grace’ (reviewed here) in 2008 which has cemented them as one of the major players in Polish heavy music.

At BigDistraction we were lucky enough to track down lead singer Zielony for an interview in which he talks about the history of the band, their most recent album and much more.

Band History:

It took quite a while for Virgin Snatch to have a solid line up, was it difficult to find the right musicians for the project?

Actually… I don’t know coz, We live in Cracow- one of the biggest cities in Poland. You know- a lot of musicans, a lot of bands like Sceptic, Decapitated etc.. Once day we met together and made decision about new band… You know, we spent a lot of time together before VS .

Where did the name Virgin Snatch come from?

Funny story, the meaning of the name we discovered a few months after the first professional record was released. And it was so good that we did not change it even after that. I created the name of the band under the influence of Guy Richie movies. You know, I was fed up of all bloody evil more or less childish names… Do not get me wrong I love metal and this is the part of my life but we did not want to be another “head of” band. There is a lot of great names like Slayer, Morbid Angel or Death that Virgin Snatch looks like different fresh and very thrash as hell!!.. Does it?

Even from the start you were supporting large bands like Helloween and Anthrax, did that help you to reach a wide audience?

Yes for sure Anthrax, Helloween has different audience. It was in the beginning so our band reach itselfs. (sic)

Which bands influenced you to start playing music?

We listen to almost every kind of music from soundtracks to grind core. VS play modern thrash/death metal so Testament, Slayer were not strange to us…

You’ve played Hunterfest and you did the Mystic festival, have Hunter been helpful to you in your career?

I don’t think so, but guys from Hunter are very cool.

What was it like supporting Slayer?

Fuckin’ great!!!

Have you had any problems in Poland due to the type of music you play?

The same problems like the rest of metal bands in Poland. No media: no presentations in radio, TV… However We had clip in MTV, VIVA, For Fun TV at midnight.. and the press like us (Metal Hammer, Teraz Rock etc…)

You played as part of the tribute to (late-Decapitated drummer)Vitek, did you know him and if so what are your memories of him?

Vitek was one of the best drummer of this kind of music and really nice guy. I knew him through his brother Vogg and my friend Covan… Vitek death its fuckin’ crap!!! RIP

New Album

It’s great to see you touring the smaller cities like Ostrowiec (I used to live in Starachowice) – is it important to you to reach your fans wherever they are?

Every place is very important to us. We don’t care about the size of the club and how many people come to our gig! I would not mind have more fans of course but you know- Metal is the religion: Fans and musicans are at the same place and time!

I’m sorry to say that it’s very hard to get hold of your records here in the UK, is it likely that ‘Act of Grace’ will be released outside of Poland? (if not give us an online link and we’ll post it here for you so your UK fans can buy a copy)

I know, till today Virgin Snatch’s albums are hard to find outisde Poland but this will be change soon. I know that! Some label are interested our music and if it turn out the fiasco, Mystic Production (our label in Poland) will start distro on rest of the world territory. You can buy all Virgin Snatch CD by the My Space: www.myspace.com/virginsnatch, sending e-mail or Mystic website: http://www.mystic.pl/

Your lyrics on this album seem to be very political, would you say there is an overall message on this record?

…What Is The Basis Of Your False Claim?

Nothing: We Fully Support Your Government,

Bullets: Respect To The Memory Of The Forefathers,

Assembly Of Nobility…No!

Why have you chosen to sing in English rather than Polish?

English is the best way to make metal lyrics, one and only way to be understand for You.

What other bands on the Polish music scene would you recommend people check out?

Tides Of Nebula and freaky project with my and Sauron (ex Decapiteted) voice, called Anal Stanch and second album “Red Revolution” Check it out!

Virgin Snatch records always have very powerful art for their CD covers, do you feel this is an important part of the record you are presenting?

Thanx. Layout of our Cd is very important to us. All graphic, start from Art Of Lying (SUCK is rehersal ok?:)) were created with my participation. You know- It’s natural coz I’m the author of lyrics….

Obviously you will be on tour for some time, are there any plans to record new material yet?

Sure!! We’ve just started work with new stuff. This will be most important CD of Virgin Snatch I think.. You will see!

What’s the high point of your career with VS so far?

…that Virgin Snatch exists and still grow up!!!

Anything else you’d like to say to your UK fans?

One day VS gonna come to your country. One day we will destroy your clubs. THROUGH FIGHT WE GROW !!!!

BigDistraction would like to thank Zieolny for taking the time to talk to us, and we hope that Virgin Snatch continue to grow.

Virgin Snatch
BigDistraction Homepage

One should never interview one’s heroes, or so I discovered at this year’s Bloodstock. Having witnessed Anathema put on one of the best shows of the weekend, BigDistraction was lucky enough to track down Daniel Cavanagh for a brief interview. Approaching the amiable guitarist, I immediately told him they’d performed a great set at which point he asked me what had been my favourite song. Faced with a mental block of epic proportions I promptly said the name of the wrong song, aaaagh twat! Having got over that embarrassing preamble, I was able to ask Danny a couple of questions in a somewhat informal setting.

BD: Right, so first question then, what was the highlight of Bloodstock for you?

DC: Playing with Nick Barker, who’s the best drummer that I’ve ever seen, never mind the best drummer that I’ve shared a stage with, and also Martin who’s a really, really natural musician, he’s an excellent player and it was great playing with them guys because we’d had one rehearsal and we really didn’t have to tell them what to do; it just came so easily to them. I loved playing ‘Sleepless’ and I loved playing iron Maiden at the end.

BD: That was fantastic, that was really, really cool, I wasn’t expecting that at all.

DC: Yeah, I don’t think anyone was

BD: You started out really metal and you kind of developed your sound over the years, was that a natural progression?

DC: Yeah, totally natural, nothing is contrived. There’ve been conscious decisions made, but they came very naturally, they came from within us, we’re not trying to be something we’re not, we’ve only ever been ourselves musically, so it is natural, yeah.

BD: You’ve got a new album coming out very soon, I believe?

DC: yeah, very soon, it’s being mixed quite soon, hopefully by a Grammy-award winning mixer, and it will be stunning, a really stunning album and it’s going to get a world-wide release and I hope it’ll open a lot of doors for us.

BD: That’d be great

DC: It’s a special record.

BD: Is Lee going to be on it again?

DC: She is, yeah

BD: Are you going out on tour in Europe any time soon?

DC: Oh absolutely, we never stop, we never stop for very long.

BD would like to thank Daniel for giving us this interview, especially as it was an on-the-spot job, straight after their performance.

Anathema
BigDistraction Homepage

Opening with an ominous bass riff, Act of grace quickly engulfs the listener in the type of up-tempo, massive, guitar riffs that Ride the lightening era Metallica would be proud to call their own.

Everything from the production to the packaging has been painstakingly put together by this, most brutal of Polish thrash bands. Reminiscent of Testament at their finest, Virgin Snatch combine melody with throat ripping roars to immense effect and if this album doesn’t see them stretching beyond the confines of Poland, then it will be a criminal injustice to a talented and ambitious band.

If ‘Act of grace’ seems heavy then Horn of plenty manages to sound like Obituary jamming on the set of the Terminator. The drums pound away at you while Łukasz ‘Zielony’ Zieliński’s vocals simply tear away anything that’s left from the merciless pounding of the riffs.

Heavy as hell but also boasting a strong sense of melody, don’t confuse this with metal-core or some lame Killswitch Engage predictability, this is old school thrash and VS are serious contenders to join their heroes Testament as leaders in a genre packed with aspiring bands.

‘Through fight we grow’ introduces an acoustic introduction and provides a marginally slower respite from the heavy-duty riffing on display before lurching off into another maelstrom of noise that brings to mind Machine Head’s genre-defining ‘Davidian’ – that good. Meanwhile M.A.D (make a donation) comes tearing at you like Pantera crossed with Dimmu Borgir with its chugging guitars and deranged vocal performance.

This is a brutal album from an incredibly talented group of musicians. If it has a fault then it is that there are moments that could be seen as derivative, but when an album draws comparisons to Machine Head, Testament and Pantera then it’s hard not to be carried away with sheer, monumental ability on show and while VS have yet to make a genre-defining statement as the aforementioned band have, this is still a damned strong metal album that will leave you bouncing around the room with a huge grin on your face for days.

Tracking down a copy (they are readily available from this Polish site: http://www.mystic.pl/ ) is highly recommended.

Act of grace is available from: Mystic Productions

Virgin SnatchAct Of Grace
BigDistraction Homepage

Arriving on Thursday gave BigDistraction a good chance to check out the new improved Bloodstock festival site. With a larger arena, a second campsite and more attractions for after-show fun, Bloodstock was bigger, bolder and better than ever this year, yet still small enough to be one of the friendliest and safest festivals in the UK. Closer inspection led BD to Mr Tea’s tea tent, which deserves special mention as THE safe haven for those in need of cheap and tasty refreshment, as well as the large variety of t-shirt, CD and campsite goodies stalls that one expects from festivals.



With various bars in full swing, a fair ground (complete with ghost train and terrifying looking bungee ball, wherein the unfortunate victims are catapulted high into the night sky, with only the comfort of a steel cage to protect them) and all manner of nefarious night-time hi-jinx, the atmosphere was superb and provided the perfect introduction into the Bloodstock experience.

Friday

Unfortunately, due to nursing a hangover of epic proportions, BD did not crawl into the arena (and then only with the aid of Mr Tea’s awesome restorative liquids) until Die Apokalyptischen Reiter who provided exactly the sort of entertainment that was needed. BD was hitherto unaware of the charms of this German band, who came across as a mix of old-school metal and Rammstein’s martial beats, but you can rest assured we’ll be doing a lot more to cover them now, having been utterly converted by a strong performance, a singer who looked as if he was enjoying every second of his (distressingly brief) time on stage, and their trick of bringing a young lady up on stage before setting her aloft on a sea of hands in a rubber dingy. Good music, an excellent show bought BD back to life and it was a pleasure to witness a band that deserves to be much higher up the bill next time. After a short break to find Press passes, we returned to the stage to check out Katatonia who were, well, a bit disappointing actually. Despite the band clearly putting in a lot of effort, and the fact that BD are huge Katatonia fans, something was clearly amiss, with sound problems plaguing the band, and a general lack of enthusiasm from the crowd. A shame because the short set included highlights such as ‘Soil’s song’ and ‘July’ as well as a storming new track which saw a return to the death metal vocals of yore, and hinted at glorious things in the band’s forthcoming album ‘night is the new day’ (released October 19th through Peaceville). Katatonia will always be a strong band, but they suffered an off-day at Bloodstock and were thus a little underwhelming.

Saxon, on the other hand, were anything but underwhelming, with a monstrous sound and front-man Biff Byford feeding off the energy and enthusiasm coming from the crowd. Blasting out hits including ‘Wheels of steel’, ‘crusader’ and ‘And the bands played on’, no-one left disappointed having watched a British metal legend step up and deliver with a passion and precision that would leave many younger bands in awe. Arch Enemy were up next and proceeded to do what they do best, which was to simply crush everything that had gone before. Angela was clearly in fine form (and voice) and the crowd were appreciative of now-familiar anthems such as ‘Nemesis’, ‘Dead eyes see no future’ and (a personal favourite) ‘My Apocalypse’ which sounded absolutely massive. Despite some small technical problems at the outset, Arch Enemy managed to side-step this pit-fall with good grace and humour, and delivered what many thought should have been the headline act of the night. Special mention should also go to a drum solo which was not only more interesting than your average solo spot, but was also jaw-dropping in its technical brilliance. Carcass headlined day one, and it has to be said that they were something of a let-down despite their legendary status. Opening with a self-deprecating joke about doing it for the money is all well and good, but when you continue to deliver a show that feels largely phoned-in, then the audience is unlikely to respond kindly, and indeed it didn’t with dwindling numbers watching the band who seemed absolutely disinterested in putting on a show befitting their status as headliners. When contrasted to the screaming hurricane of energy and noise that was Arch Enemy, it was clear who the true headliners were, and even Michael Amott’s presence on guitar failed to lift Carcass out of their self-induced mire. Many fans in the audience felt that they were glad to have at least seen the legends in action, but it was a disappointment nonetheless.

Friday highlight: Watching Die Apokalyptischen Reiter float a girl in a boat across a crowd, Arch enemy playing ‘My apocalypse’ and Mr Tea’s.

Best band: Die Apokalyptischen Reiter and Arch Enemy.

Saturday

With BD approaching beer with more caution the night before, we appeared bright and early to witness The Haunted who launched themselves at a fairly ambivalent Bloodstock crowd with customary vigour. A hard-working band who did their best to get the crowd worked up at every opportunity, they were tight and heavy and played a good mixture of material from throughout their impressive career. A very enjoyable set, but perhaps a tad early in the day for festival goers, they deserved a better response. Having witnessed Entombed in Poland, and feeling a little underwhelmed, it is a pleasure to report that these Swedish metal veterans delivered a precise, vicious and energetic set to an equally enthusiastic response form the crowd. Comments from the crowd at the end of the set showed just how good Entombed were and they proved to be one of the day’s highlights.

Candlemass upped the ante considerably with their set covering a mixture of older tracks right up to the new album. Anyone who might believe that the band made a mistake in severing contact with Messiah Marcolin clearly hasn’t been paying attention to Robert Lowe whose voice is simply stunning, and who has the crowd whipped up into a frenzy in no time at all. Powerful, majestic and clearly revelling in their first ever UK festival appearance, Candlemass rocked. This year’s Bloodstock was notably lighter on thrash metal than last year’s line-up, but salvation arrived in the form of Germany’s Kreator who laid waste to the entire field with their brutal take on thrash metal which sits comfortably close to the mighty Slayer. Songs such as ‘Violent Revolution’ and ‘Pleasure to kill’ are absolutely huge live, and go down well, while the ecstatic exercise in call and response that paved the way for ‘Raising the flag of hate’ had to be seen to be believed. It seemed that not a person in the field wasn’t bellowing enthusiastically by the time Kreator had finished comprehensively rearranging our insides with their onslaught. True metal legends.

The same can not be said of Apocalyptica who are not at all satisfying and are given far more stage time then they warrant, particularly given some of the excellent performances recounted above. Despite demonstrating an obvious talent, and fielding one of the most unique projects in metal, I’ve clearly failed to understand the need for instrumental Metallica covers of any kind. The only time the band truly take flight is when they invest time and energy in their own material, which is far more interesting than their novelty covers which included ‘Enter sandman’, ‘Wherever I may roam’, and a frankly bizarre version of ‘Refuse/resist’. Now, in the past, I’ve been guilty of being somewhat dismissive of Blind Guardian but no longer, as they put on one hell of a show. Brimming with power and energy, and with the (rather small) crowd truly behind them, the band delivered an outstanding performance filled with highlights including ‘Valhalla’, ‘bard song’ and a new song called ‘sacred’. Hansi Kursch is a truly magnetic front-man, who roused the crowd with his inter-song banter and the fact that he just happens to be possessed of a mighty pair of lungs only helps his cause. Blind guardian played a fantastic show and well and truly earned the respect of anyone who was sensible enough to catch them.


That just left Cradle of Filth to close proceedings. Alas all was not well. A truly horrible sound mix destroyed ‘shat out of hell’ (a shame because it is an awesome song’ and punished ‘Gilded c**t’ before finally clearing up to reveal possibly the best sound of any COF show I’ve attended. With Dani Filth spewing lyrics and the band playing far tighter than I remember, they were on the form of their lives, offering up ‘the principal of evil made flesh’ ‘13th Caesar’ and ‘Nymphetamine’ as examples of why they are one of the biggest black metal bands on the planet, despite the snobbish attitude of purists. Tragically, the band’s set was cut short by the idiotic behaviour of a small section of the crowd, who felt it necessary to throw projectiles at the band culminating in one member (I shan’t repeat rumours here, but we’ll do our best to cover the exact details at a later date) being injured and the band being pulled from the stage. As a band who remain immensely popular with many metal fans, it was shameful behaviour and unusual at a metal festival where most people are respectful and genuine, and it soured both a great night and a great performance. Undoubtedly those responsible will not be discovered, but it seems sad that some people are so arrogant and closed-minded that they feel it necessary to ruin a performance by a band who were giving their all to a generally appreciative crowd.

Saturday highlight: Kreator ‘raising the flag of hate’, Blind Guardian’s unexpectedly excellent show

Best Band: Cradle of filth, Blind Guardian and Candlemass all excelled.

Sunday

With the sun having baked the festival goers throughout Saturday, and two days of partying behind us, Sunday saw the Bloodstock crowd rally for one final day of excellent music. Sabaton provided exactly the sort of high-octane energy fix needed to start the day, with their powerful mix of power-metal and battle-metal igniting the weary crowd. Unfortunately BD arrived half way through their set, but they are definitely a band to watch in the future for they are unlikely to be that low on the bill again. Girlschool, alas, were not nearly so entertaining and, despite some charming humour form the band themselves, their old-school heavy metal failed to inspire. Equilibrium, by contrast, were much more like it, with their mix of Finnish folk and death metal rousing the crowd from their slumber. Despite sounding a touch samey in places, the music was definitely energetic and interesting and hinted at greater things to come.

Anathema played a simply perfect set. Opening with ‘Fragile dreams’ and then offering up ‘Sleepless’, ‘Empty’ ‘A natural disaster’ and a cover of Iron Maiden’s ‘Phantom of the opera’ they were astonishing. Always inspirational live, they clearly enjoyed the chance to rock Bloodstock and they did so in style, with Lee’s dreamy voice during ‘A natural disaster’ sounding ethereal and pure amongst the mud and beer of a festival hypnotised by the sheer emotional power of the band. Picking a highlight is impossible, but seeing the band play with Nick Barker (ex COF and Dimmu Borgir) was highlight enough and music as perfect as this would have won over the entire audience even if the band hadn’t been pulling out all the stops. Intimate, despite the size of the show, Anathema managed to give the impression of communicating directly with each and every person in the audience and were the highlight of my festival. Astonishing on every level.

Turisas are not a band I can profess to having particularly enjoyed in the past and that impression was reinforced here by a set that was mediocre in the extreme and not helped by their comedic cover of Boney M’s ‘Rasputin’. That said, the crowd were clearly enjoying it and said cover provided one of the larger sing-a-long’s of the weekend so they are obviously doing something right. Moonspell, however, were fantastic from the off. Another band that I have not previously given much time to, they roared on stage breathing hellfire and damnation and played a set that drew heavily on last year’s ‘night eternal’ as well as many classics from across the years including ‘Vampiria’ and ‘Alma Mater’. An unexpected highlight to the festival, they were tight, heavy and interesting. A damned good band that I will be investigating further on the strength of this show.

Satyricon were awesome. Ever more capable as a front-man, Satyr was part black-metal-icon, part rock-god and he led his band through a succession of amazing songs including ‘Black crow on a tombstone’, ‘Commando’, ‘Fuel my hate’ and ‘now diabolical’. Almost completely transformed from the hate-fuelled misanthrope who used to stumble on stage, Satyr led the crowd in call-and response, a frantic mosh-pit and even the odd sing-a-long (well growl-along at any rate), and received, in turn, a rapturous response from a crowd who loved every minute of it. None-more-metal, Satyricon were tight, heavy and inventive.

Interestingly, I was far less sceptical of Europe, than many of the crowd were, having heard their latest album. Despite the Euro-scepticism, a good turn out witnessed a more-than-competent hard-rock band who worked hard to deliver a crowd-pleasing set. However, there were some issues, particularly that of sound. Where the new album offers a great, modern sounding guitar sheen, live the band opted for a stoner-esque guitar sound that obliterated some of the heavier material, rendering it somewhat impotent. This was a shame because when the band took flight (as they did frequently throughout their 90 minute slot) they had the crowd right behind them, but ‘last look at Eden’ (a personal favourite) lacked the essential oomph that would have presented it in its most favourable light. However, the band were a stately presence and were good fun, particularly when the time came for ubiquitous set-closer ‘The final countdown’ which was greeted like an old friend with a massive roar from the crowd. They played, then, a good set, but one which could have been even better had they opted for a better guitar sound, and the band clearly gave their all to a receptive crowd.

Sunday highlight: Everything related to Anathema, Satyricon opening with ‘Commando’, ‘The final Countdown’.

Best Band: Anathema and Satyricon.

With the final strains of ‘Final Countdown’ ringing in our ears we trudged wearily back to the tent. Bloodstock once again proved itself to be the jewel in the UK festival crown, small, friendly and run by a group of people who deserve enormous praise for their dedication to all things metal. Next year will be the tenth anniversary of this remarkable festival, and is highly recommended. Roll on next year…


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Turisas


All photos courtesy of Jola Dabek

BigDistraction would like to thank the following: Adam from the Noise Cartel, Daniel from Anathema, Dani from Cradle of Filth, Will and Peter from Noble PR, Dante at Spinefarm UK and Sarah from Century Media who all made every effort to accommodate us.

Turbo - the legend of Polish hard & heavy scene. Metal Mind Productions presents re-releases of two of the band’s albums – “One Way” and “Awatar”.

“One Way”, the band’s 8th studio album from 1992. Heavier, more brutal and modern than the their previous offerings. It was definetely not a sign of being artistically lost, as some of their fans thought. At that time Grzegorz Hoffmann was the only original member of Turbo so people did tend to exclude this album from Turbo’s discography.



Tracklist:

1. Armia
2. Upiór w operze
3. Sen
4. Granica
5. Lsd
6. Katatonia
7. Awatar
8. Embrion
9. Fałsz

Bonus tracks:
10. Burn
11. Lęk
12. When A Blind Cries
13. Neon Knights
14. Lęk
15. Bramy Galaktyk (live)
16. Dream

Both albums will be re-issued in a new digipak edition, each limited to 2000 copies. Digitally remastered using 24-Bit process, released on a golden disc. The release date is set for 7th September in Europe and 6th October in USA (via MVD).



Tracklist:

1. Introduction
2. End user
3. Reagression
4. Mental alienation
5. Blasphemy
6. Refuse to live
7. One Way
8. Forgetfulness
9. The Viper
10. Scum
11. Disaster area



“Awatar”, the band’s 9th studio album from 2001 was their first effort after 10 years of silence. On the one hand it showed the constant search for inspiration in newer sounds, while on the other it was a bridge joining the contemporary Turbo with its „classic“ incarnation from the 80’s. The album proved to be much more mature and modern – especially with reference to its sound. „Awatar“ featured a new drummer, Mariusz Bobkowski. The new edition includes 7 bonus tracks.

AFTER A LONG PERIOD OF INACTIVITY FINAL COIL IS BACK. NEW LIVE BAND IN REHEARSAL AND TWO NEW EPS COMING SOON>>>>

With the all too brief Final Coil Festival dates over and the Polish branch of the band indefinitely dissolved Final Coil is on a very temporary hiatus (about 2 months) while Phil moves his stuff back to the UK. In the meantime you can download the ELOR album in full as a .rar file from www.finalcoil.com and a video has been posted on lastfm, facebook and youtube as a reminder of the live dates. Phil sends his heartfelt thanks to Marta, Pawel and Peter for their work, to Jola and Avlime for photos and video footage, to Tomek for guesting on Bass in Starachowice and to everyone who came to watch. Final Coil