I'm sure "Terrible Certainty" may have some fans divided. This is Kreator's equivalent to "South of heaven", not because of musical similarities, but they had the awkward task of following up "Pleasure to kill" hailed by just as many as "Reign in blood." They were never going to top the sheer intensity of this album's predecessor, but this album sounds more stable, with plenty of catchy thrash riffs that will stay in the memory for years to come. If the mission was to release an album that was slightly more disciplined without sounding far too refrained, then the mission was surely accomplished. I'm not going to denounce anybody who prefers other Kreator albums over this one, because Kreator have released many a classic, I am just going to tell you why this album has a permanent place in my collection, and why I like it so much. Although I love this album, I can come to terms with why some might carefully tread around it, because it isn't a masterpiece either. The riffs are good which is a given considering it is a Kreator album from the 1980's, but I genuinely find the lyrics more interesting this time around. "Blind faith" is about Romans feeding Christian heretics to the lions in an arena, "Behind the mirror" is about a man who is having trouble facing the reality of the world, hiding behind his thoughts and the imaginary barriers he has set for himself. I find the good lyrics accompanied by catchy riffs, will have most bobbing their head to the lyric sheet.

Alright peoples, Extreme Aggression, my favorite Kreator album. Yes, I said it, this is my favorite Kreator album. The so-called weak point in Kreator's early career that is sandwiched between the technical yet vicious monster Terrible Certainty and the completely fuckin' godly Coma of Souls that outshines almost every thrash album ever. I just, you know, like this one more. Extreme Aggression was where Kreator started polishing their blade a little bit; they started out hacking people to death with a jagged, blood-stained battle axe but around Terrible Certainty and this one, they began introducing more streamlined songwriting elements, better crafted and catchier riffs, and an overall smarter approach to the thrash.

Не буду я поднимать до немыслимых высот Кинга Даймонда, писать о том, что он сделал сверх альбом. Тут и так всё понятно, маэстро как всегда в своём жанре: несколько убойных композиций, соединенных не менее убойным сюжетом. Красивая обложка, отличная музыка, великолепные тексты. На этом альбоме Кинг пытается размышлять о существовании Бога, как такового, философствовать. Вообще, не хочу ни у кого отбивать интерес к этому альбому и к его текстам, поэтому не буду рассказывать в подробностях вам о сказке, которую придумал Кинг к этому альбому, а напишу немного в общих чертах. Появилось новшество: впервые за всё существование этой группы в текстах появилась любовная линия. Правда роман героев длился недолго, увы... Звучание альбома больше ближе к “Voodoo”, нежели к остальным альбомам. Качество записи отличное, здесь и никаких разговоров не должно быть. Музыка этого альбома великолепна, правда, местами занудная. А также здесь есть несколько треков, которые представляют из себя озвученные моменты из сюжета. Завершает этот диск инструментальная композиция, написанная гитаристом Кинга, Ля Роком. В общем послушать стоит определённо, но чего-то мне кажется альбому не хватает...

The early German thrash has a special kind of appeal, largely due to its rawness and unrelenting approach, and of the Teutonic thrashers, Kreator were ahead of the rest in rawness and extremity by some way. This album in particular has gained a reputation for being one of the most ferocious assaults in thrash metal, while also drawing criticism because of its single-minded nature. I am not especially partial to all-out musical destruction, but I must say that Pleasure to Kill is one of the best examples of its kind, almost certainly better than that other 1986 all-out thrash album.

And by A.B.C. I mean: atrocious, bestial and chaotic, this album is the purest definition that can be found for the term "extreme metal", because it is fast, it's very aggressive, it's "hardcore" in that it has no 'soft moments or instrumentals' that go away from the chaos that the whole album creates, except maybe for the first 25 seconds of Dying Victims and fortunately is the last song on this album, so the album is pure aggression itself. This album was released in 1985, but it is way ahead of its time. In that year there wasn't yet any Darkness Descends, nor Reign in Blood, nor Shark Attack, nor anything like this; for 1985, this is the most merciless album that can exist (this one along with Seven Churches and maybe Sepultura's Bestial Devastation ep); however, that doesn’t mean that before 1985 there didn't exist other releases that were extreme, in 1984 Hellhammer released Triumph of Death, an homage to the most horrendous face of metal in their ep Apocalyptic Raids, and in that same year Bathory released their self titled album; although Endless Pain is more extreme than Bathory's, Bathory's album is darker and more sinister than Endless Pain. Maybe there will be people that will want to include To Mega Therion as an extreme and bestial album (same for Bulldozer's Day of Wrath), but I don't consider To Mega Therion as extreme as Seven Churches or this album (but that doesn't mean Mega Therion is bad, all the opposite, it is magnificent).

19 мая 2017 года вышел новый альбом голландской певицы Kris Berry, в котором сплетены личные переживания, мечты и воспоминания.

Prevail I is part 1 of Canadian Hard Rock/Metal band Kobra and the Lotus‘s upcoming double album release; a big and a brave move from the band that few newer bands have attempted to do.
Kobra and the Lotus’s first release with Napalm Records Prevail I is a musical triumph; from the incredibly polished production through to the originality of each song. Through hard work and perseverance Kobra and the Lotus truly have Prevailed. This newly evolved sound, and their ability to pull it off live to perfection will see then to continue to grow and get the recognition they deserve in the rock and metal scene.

Leading Scandinavian progressive rock band present their 12th studio album! A unique mix of Swedish folk music, rock and fusion with a tinge of medieval music.

Kansas - американская рок-группа, образовавшаяся в 1970 году в городе Топика, Канзас. Kansas, исполнявшие прогрессив-/арт-рок, вошли в историю как одна из первых и ведущих групп «стадионного рока», а наивысших позиций в чартах достигли с хит-синглами «Dust in the Wind» (#6, США) и «Carry On My Wayward Son» (#11).

Карнатака очень рада объявить о выпуске их нового студийного альбома Secrets of Angels в марте 2015. Записанный в Real World Studios, Box, Wiltshire и Quadra Studios в Лондоне, новый альбом содержит 8 ошеломляющих новых треков включая 21-минутный заглавный опус Secrets of Angels.
Альбом записан при поддержке приглашенных музыкантов Троя Донокли из Nightwish, ирландской арфистки Сеаны Дэйви, Рэйчел ван дер Тан (виолончель) и Клайва Говарда (альт) из Королевского Филармонического оркестра.