00-lamb_of_god-ashes_of_the_wake-2004-debt.nfo
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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
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▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
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▐░ ▀▓████║ Lamb_Of_God-Ashes_Of_The_Wake-2004-DeBT_iNT ║████▓▀ ░▌
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Lamb of God ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Ashes of the Wake █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Legacy ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Metal ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-05-01 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2004-08-31 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 275 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 11 / 47:41 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 98.70 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Laid to Rest 3:50 ████▓▄ ░
░ ▄▓████ 2 Hourglass 4:00 ████▓▄ ░
░ ▄▓████ 3 Now You've Got Something to Die For 3:39 ████▓▄ ░
░ ▄▓████ 4 The Faded Line 4:37 ████▓▄ ░
░ ▄▓████ 5 Omerta 4:46 ████▓▄ ░
░ ▄▓████ 6 Blood of the Scribe 4:23 ████▓▄ ░
░ ▄▓████ 7 One Gun 3:59 ████▓▄ ░
░ ▄▓████ 8 Break You 3:35 ████▓▄ ░
░ ▄▓████ 9 What I've Become 3:28 ████▓▄ ░
░ ▄▓████ 10 Ashes of the Wake 5:45 ████▓▄ ░
░ ▄▓████ 11 Remorse Is for the Dead 5:39 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
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░▓████▓▄ TOTAL TiME: 47:41 MIN ████▓░
░▓███████▄ TOTAL SIZE: 98.70 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Come now, let us all genuflect before Lamb of ║▀░▓████░▀▄
▄▀░████▓░▀║ God, for to them we owe our metal souls. In the ║▀░▓████░▀▄
▄▀░████▓░▀║ fat rat-infested, decrepit tenement called Heavy ║▀░▓████░▀▄
▄▀░████▓░▀║ Rock Manor, the Virginia-based shock unit is one ║▀░▓████░▀▄
▄▀░████▓░▀║ of the few groups striving to keep the power on ║▀░▓████░▀▄
▄▀░████▓░▀║ and the hallways clear of gluttonous ║▀░▓████░▀▄
▄▀░████▓░▀║ rap-rock/post-grunge False Marias. Yes, yes, ║▀░▓████░▀▄
▄▀░████▓░▀║ Ashes of the Wake arrives via Epic Records, but ║▀░▓████░▀▄
▄▀░████▓░▀║ this only will inflame the ire of the ignorant. ║▀░▓████░▀▄
▄▀░████▓░▀║ For the rest of us, Lamb's ascendance to the ║▀░▓████░▀▄
▄▀░████▓░▀║ majors melts a little more of the crap rock ║▀░▓████░▀▄
▄▀░████▓░▀║ golden calf. Where previous efforts were fully ║▀░▓████░▀▄
▄▀░████▓░▀║ automatic hot LZs, they were also slightly ║▀░▓████░▀▄
▄▀░████▓░▀║ muddled for the very same reason. They fired in ║▀░▓████░▀▄
▄▀░████▓░▀║ all directions. With Ashes, producer Machine has ║▀░▓████░▀▄
▄▀░████▓░▀║ sharpened the corner of every riff and tightened ║▀░▓████░▀▄
▄▀░████▓░▀║ the turns on classicist metal gallops. Best of ║▀░▓████░▀▄
▄▀░████▓░▀║ all, Randy Blythe's furious yawp is more focused. ║▀░▓████░▀▄
▄▀░████▓░▀║ Rather than simply being another scary voice ║▀░▓████░▀▄
▄▀░████▓░▀║ shouter, Blythe becomes Lamb of God's threshold ║▀░▓████░▀▄
▄▀░████▓░▀║ of pain conduit. "Laid to Rest" begins with his ║▀░▓████░▀▄
▄▀░████▓░▀║ measured statements -- "If there was a single day ║▀░▓████░▀▄
▄▀░████▓░▀║ I could live...I'd trade all the others away" -- ║▀░▓████░▀▄
▄▀░████▓░▀║ flanked by the at-odds guitars of Willie Adler ║▀░▓████░▀▄
▄▀░████▓░▀║ and Mark Morton. But then Blythe unleashes his ║▀░▓████░▀▄
▄▀░████▓░▀║ demonic throat, and the guitars leap over and ║▀░▓████░▀▄
▄▀░████▓░▀║ across one another like basilisks on a prowl for ║▀░▓████░▀▄
▄▀░████▓░▀║ ibex kids. "Hourglass" offers more, its ║▀░▓████░▀▄
▄▀░████▓░▀║ interlocking rhythms and breakdowns harking to ║▀░▓████░▀▄
▄▀░████▓░▀║ the dark lands of Scandinavia. But it doesn't go ║▀░▓████░▀▄
▄▀░████▓░▀║ all the way there. This is American metal, after ║▀░▓████░▀▄
▄▀░████▓░▀║ all, meaning that, in the tradition of Pantera ║▀░▓████░▀▄
▄▀░████▓░▀║ and Poison the Well, large-form grandiosity is ║▀░▓████░▀▄
▄▀░████▓░▀║ sacrificed in favor of a muscularity derived from ║▀░▓████░▀▄
▄▀░████▓░▀║ hardcore and hard living. The aptly named ║▀░▓████░▀▄
▄▀░████▓░▀║ "Omerta" begins with that code's reading. ║▀░▓████░▀▄
▄▀░████▓░▀║ "Whoever appeals to the law against his fellow ║▀░▓████░▀▄
▄▀░████▓░▀║ man is either a fool or a coward." It proceeds to ║▀░▓████░▀▄
▄▀░████▓░▀║ stalk slowly into gear, the sound of a wounded ║▀░▓████░▀▄
▄▀░████▓░▀║ man coming after his would-be murderers. "Blood ║▀░▓████░▀▄
▄▀░████▓░▀║ of the Scribe" refits death metal's cadence for a ║▀░▓████░▀▄
▄▀░████▓░▀║ leaner, meaner era; the less than subtle "Now ║▀░▓████░▀▄
▄▀░████▓░▀║ You've Got Something to Die For" offers the kids ║▀░▓████░▀▄
▄▀░████▓░▀║ a new unifying chant, not to mention some ║▀░▓████░▀▄
▄▀░████▓░▀║ spectacularly martial instrumental breaks. ║▀░▓████░▀▄
▄▀░████▓░▀║ Drummer Chris Adler really shines here, with ║▀░▓████░▀▄
▄▀░████▓░▀║ Machine ensuring his snare is a steely bullet ║▀░▓████░▀▄
▄▀░████▓░▀║ fired by viscous double bass gunpowder. ║▀░▓████░▀▄
▄▀░████▓░▀║ Instrumental freaks will swallow the title track ║▀░▓████░▀▄
▄▀░████▓░▀║ whole. Guest soloists Alex Skolnick (Testament) ║▀░▓████░▀▄
▄▀░████▓░▀║ and Chris Poland (Megadeth) each get a taste, ║▀░▓████░▀▄
▄▀░████▓░▀║ alongside Morton and Adler -- their insane ║▀░▓████░▀▄
▄▀░████▓░▀║ fretting sounds like a city exploding. That's ║▀░▓████░▀▄
▄▀░████▓░▀║ what Lamb of God does for us, what it does for ║▀░▓████░▀▄
▄▀░████▓░▀║ metal in the 21st century. With the genre getting ║▀░▓████░▀▄
▄▀░████▓░▀║ clogged by PVC goofs and Alice in Chains ║▀░▓████░▀▄
▄▀░████▓░▀║ impersonators, Lamb of God balances the equation ║▀░▓████░▀▄
▄▀░████▓░▀║ of power, rage, tradition, and craft. It kills ║▀░▓████░▀▄
▄▀░████▓░▀║ the filler. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════◄QUOTES►╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ Silence is better than unmeaning words. ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Pythagoras ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟◄──────────────────────────────────────────────────►╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────◄GROUP NEWS►╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ coders, crackers and anything else ║██▄▄░░
▄▄░▀█████║ ║██████▀░▄▀
░▓█████▓░║ that may be of use to us. ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ DeBT is dedicated to bringing ║░▓████░ ▀
▀░████▓║ ║▓████░▀
▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ what it takes don't hesitate to contact us. ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ Keep it scene. Keep it safe. ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ ║██▄▄░░
▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
░▓█████▓░║ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╚════════════════════════════════════════════════════╝███▓░░ ▄ ▄
▄▄▀▀████████████▀▀▄▄ ▄▄▀▀████████████▀▀ ▄▄░
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░▓███▓▓░ ░▓▓███▓░ ░▓███▓▓░ ▄ ░▓▓███▓░
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▀ ▄███▀░░▀███▄ ▀ ▀ ▄███▀░░░▀███▄ ▀
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° ܲÛÛÛÛ 4 The Faded Line 4:37 ÛÛÛÛ²Ü °
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° ܲÛÛÛÛ 6 Blood of the Scribe 4:23 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 7 One Gun 3:59 ÛÛÛÛ²Ü °
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° ܲÛÛÛÛ 9 What I've Become 3:28 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 10 Ashes of the Wake 5:45 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 11 Remorse Is for the Dead 5:39 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ ---------------------------------------------------------ÛÛÛÛ²Ü °
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°²ÛÛÛÛ²Ü TOTAL TiME: 47:41 MIN ÛÛÛÛ²°
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº Come now, let us all genuflect before Lamb of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº God, for to them we owe our metal souls. In the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fat rat-infested, decrepit tenement called Heavy ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Rock Manor, the Virginia-based shock unit is one ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of the few groups striving to keep the power on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and the hallways clear of gluttonous ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº rap-rock/post-grunge False Marias. Yes, yes, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Ashes of the Wake arrives via Epic Records, but ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº this only will inflame the ire of the ignorant. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº For the rest of us, Lamb's ascendance to the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº majors melts a little more of the crap rock ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº golden calf. Where previous efforts were fully ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº automatic hot LZs, they were also slightly ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº muddled for the very same reason. They fired in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all directions. With Ashes, producer Machine has ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sharpened the corner of every riff and tightened ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the turns on classicist metal gallops. Best of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all, Randy Blythe's furious yawp is more focused. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Rather than simply being another scary voice ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº shouter, Blythe becomes Lamb of God's threshold ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of pain conduit. "Laid to Rest" begins with his ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº measured statements -- "If there was a single day ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº I could live...I'd trade all the others away" -- ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº flanked by the at-odds guitars of Willie Adler ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and Mark Morton. But then Blythe unleashes his ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº demonic throat, and the guitars leap over and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº across one another like basilisks on a prowl for ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ibex kids. "Hourglass" offers more, its ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº interlocking rhythms and breakdowns harking to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the dark lands of Scandinavia. But it doesn't go ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all the way there. This is American metal, after ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all, meaning that, in the tradition of Pantera ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and Poison the Well, large-form grandiosity is ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sacrificed in favor of a muscularity derived from ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº hardcore and hard living. The aptly named ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "Omerta" begins with that code's reading. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "Whoever appeals to the law against his fellow ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº man is either a fool or a coward." It proceeds to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº stalk slowly into gear, the sound of a wounded ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº man coming after his would-be murderers. "Blood ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of the Scribe" refits death metal's cadence for a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº leaner, meaner era; the less than subtle "Now ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº You've Got Something to Die For" offers the kids ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº a new unifying chant, not to mention some ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº spectacularly martial instrumental breaks. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Drummer Chris Adler really shines here, with ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Machine ensuring his snare is a steely bullet ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fired by viscous double bass gunpowder. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Instrumental freaks will swallow the title track ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº whole. Guest soloists Alex Skolnick (Testament) ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and Chris Poland (Megadeth) each get a taste, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº alongside Morton and Adler -- their insane ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fretting sounds like a city exploding. That's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº what Lamb of God does for us, what it does for ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº metal in the 21st century. With the genre getting ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº clogged by PVC goofs and Alice in Chains ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº impersonators, Lamb of God balances the equation ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº of power, rage, tradition, and craft. It kills ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the filler. ºß°²ÛÛÛÛ°ßÜ
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