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Madman17

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Παιρνω βαθια ανασα και ξεκιναω:

Pink Floyd, Roger Waters, David Gilmore...

Judas Priest, Metallica, Black sabbath, Slayer, Motorhead, Twisted Sister, W.A.S.P., Paradise Lost, Helloween, DIO, Pantera, Skyclad, Blind Guardian, Παλιους Gamma Ray, Grave Digger και Rage, Sepultura, Death, Dream Theater, Exodus, Annihilator, Megadeth, Crimson Glory, Bruce Dickinson, Iron Maiden, Iced Earth, Sentenced, Manowar, Demons & Wizards, Accept, Anathema, Within Temptation, Nightwish, The Gathering και αρκετα ακομα...

Lynyrd Skynyrd, Queen, Deep Purple, Rainbow, AC/DC, Led Zeppelin, Blue Oyster Cult, Wishbone Ash, Guns `n` Roses, City, Iggy Pop & The Stooges, Red Hot Chilli Peppers, The Beatles, Bob Dylan, Johnny Cash, Elvis Prisley, Cream, Calexico, Pearl Jam, Alan Parsons Project, Alice Cooper, Jethro Tull, Garbage, Fun Lovin` Criminals...

Marylin Manson, Diary Of Dreams, Sisters of Mercy, Depeshe Mode, Ramstein, In Extremo...

Τρυπες, Μαλαμα, Κατσιμιχες, Κουτρα, Θαναση Παπακωνσταντινου, Σαββοπουλο, Τερμιτες, Παπαζογλου, Ξυλουρη...

Active Member, Sadahzinia, Βαβυλωνα και γενικοτερα Lowbap...

Στα ιδιαιτερα Χατζιδακη, Wagner, Ennio Moricone και απο λαικο παρδεχομαι (και αποδεχομαι) Καζαντζιδη, Διονυσιου και Τερζη...

Σιγουρα εχω ξεχασει πολλα αλλα εδωσα νομιζω μια γενικη ιδεα...

Αααα και μην ξεχασω... System Of A Down...
 

fotovg

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Πιο πολυ ακουω ραδιο rock fm. και αλλες φορες οτι μου ακουγεται πιο καλα στο αυτι αναλογα την περιπτωση,!!!!!!
 

KARALIAKOURAS

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Παιρνω βαθια ανασα και ξεκιναω:

Pink Floyd, Roger Waters, David Gilmore...

Judas Priest, Metallica, Black sabbath, Slayer, Motorhead, Twisted Sister, W.A.S.P., Paradise Lost, Helloween, DIO, Pantera, Skyclad, Blind Guardian, Παλιους Gamma Ray, Grave Digger και Rage, Sepultura, Death, Dream Theater, Exodus, Annihilator, Megadeth, Crimson Glory, Bruce Dickinson, Iron Maiden, Iced Earth, Sentenced, Manowar, Demons & Wizards, Accept, Anathema, Within Temptation, Nightwish, The Gathering και αρκετα ακομα...

Lynyrd Skynyrd, Queen, Deep Purple, Rainbow, AC/DC, Led Zeppelin, Blue Oyster Cult, Wishbone Ash, Guns `n` Roses, City, Iggy Pop & The Stooges, Red Hot Chilli Peppers, The Beatles, Bob Dylan, Johnny Cash, Elvis Prisley, Cream, Calexico, Pearl Jam, Alan Parsons Project, Alice Cooper, Jethro Tull, Garbage, Fun Lovin` Criminals...

Marylin Manson, Diary Of Dreams, Sisters of Mercy, Depeshe Mode, Ramstein, In Extremo...

Τρυπες, Μαλαμα, Κατσιμιχες, Κουτρα, Θαναση Παπακωνσταντινου, Σαββοπουλο, Τερμιτες, Παπαζογλου, Ξυλουρη...

Active Member, Sadahzinia, Βαβυλωνα και γενικοτερα Lowbap...

Στα ιδιαιτερα Χατζιδακη, Wagner, Ennio Moricone και απο λαικο παρδεχομαι (και αποδεχομαι) Καζαντζιδη, Διονυσιου και Τερζη...

Σιγουρα εχω ξεχασει πολλα αλλα εδωσα νομιζω μια γενικη ιδεα...

Αααα και μην ξεχασω... System Of A Down...

Ωραια να μην καθομαι να γραφω κιολας!
Με καποιες προσθαφαιρεσεις καπου εδω κινουμαι και εγω.
Αγαπημενα συγκροτηματα(περισσοτερο απ' τα αλλα):

BLACK SABBATH,The Doors,Metallica,Queen,Ozzy Osbourne,
THE RAMONES,The Sex pistols, The Clach,MARILYN MANSON,
Rammstein,TOM WAITS,Judas Priest,BLOODHOUND GANG,
Tu pac,Eminem,Immortal Technique,KRAFTWERK.

 

peoklis

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Tα παντα εκτος απο λαικοποπ-σκυλαδικα.
 

Madman17

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Τους RAMONES τους ξέχασα...
Ακούω επίσης Κελτική, Ethnic, Soundtracks και ατμοσφαιρικά τύπου Enigma που γράφει ο Savalas+Faithless...

Καλή χρονιά....
 

nikos1890

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Κυριως house (deep,tribal,tech,electro) αλλα και mid tempo και chill out.Γενικως ηλεκρονικη μουσικη.
Οταν δεν ακουω καποιο cd στο αυτοκινητο βαζω BEST radio 92,6.
 

abcdef

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666 (Aphrodite's Child)

This album is among the most superb prog records of all time. It was a strange move for Aphrodite?s Child, since all of their previous releases had been straight forward 60s pop with romantic lyrics. They had huge success in Europe in the late 60s, and it laid the foundation for both Vangelis and Demis Roussos solo careers. At the time of working on this album, the relationship between the band members had completely fallen apart, so Vangelis took the task of composing and producing the album himself, only getting the rest of the band in when he needed their services. Frustrated after prostituting himself for several years doing commercial pop music, Vangelis went for a full scale double album, based on a concept by Costas Ferris, who also wrote a concept book and all the lyrics, based on Saint John?s Revelation.

The concept is firmly rooted in the 60s, and it?s about a circus troupe performing a show based on the Acopalypse, while the real Apocalypse his happening outside. The record company was shocked when they heard the album, and Vangelis had to fight for two years before they agreed to release it, and only after he had done serious editing on the track ?[Infinty Symbol]?. The album was outlawed in several catholic countires, but it was well recieved critically, and the album is very often on lists of best prog albums of all time, both in magazines and among other artists. Oh btw, Enigma sampled half their debut album from this record.

The Good
The playfulness of this album is amazing. The music is a combination of progressive rock, jazz, psychedelia, pop and even traditional Greek music. With track lengths varying from 10 seconds to 19 minutes, you would think the album is disjointed. Nothing could be further from the truth. From the opener ?The system,? where the lyrics literally tells us that we got the system to fuck the system, we jump straight in to the tour de force rock track ?Babylon,? where Roussos? voice soars over the powerful backing track. From there on it?s a journey through a wonderful tune that will stick in your head for days (?the Four Horsemen?), ambient soundscapes (?Aegian Sea?), instrumental jams (?the Battle of the Locust?) and wild jazzy moments (?Tribulation?). And that?s only the first CD!

The two major moments on CD2 are a track which takes its title from the mathematical symbol for infinity and ?All the Seats Were Occupied.? The first one is a track where the Greek actress Irene Papas fakes an orgasm for five minutes (the unedited version was 39 minutes!), while Vangelis walks around the room banging a drum. It?s a track that?s interesting, to say the least, and it?s not the kind of track you would bother your neighbours with. The latter is 19 minutes with rock, latino, Indian music and loads of guitar and percussion, spiced up with the occasional outburst of horns and saxophones. It?s a full on jam session, but what really makes the track is that it quotes sections from the entire album, and it all portrays the vision of the end of the world beautifully. It ends in a cacophony of an explosion, and the album ends on a calm note, which comes as a relief at this point, with the track ?Break.?

The bad
This is among my favourite albums of all time, so there?s not really anything bad to say about it musically. The music has not dated in style, in fact, it sounds more relevant these days than ever, but the sound quality is bad at times. This is probably due to bad cd mastering. The album comes on two CDs, and that is unnecessary since the album doesn?t last more than 73 minutes. A remaster would be most welcome, but until then, get this album and devour it.

You can trace Pink Floyd's "The Wall" double concept album to a great number of influences, just as you could "Dark Side Of The Moon". Alongside the usual suspects, such as Genesis's "The Lamb Lies Down On Broadway", Aphrodite's Child's "666" (1971) is a rarely recognised ur-text which undoubtedly had a hand in the conception of both Floyd's and Genesis's work. Roger Waters's idea of an audience at a rock concert being bombed to bits and loving it is an echo of "666", in which the apocalypse is played out on a rock stage before a stadium of screaming, applauding fans. There's a message buried in there somewhere, something to do with the power of spectacle, but this is also pure entertainment: in ride the four horsemen to a blistering psychedelic guitar solo, soft ambient washes herald the lamb of god. The more terrible the events, the more sumptuous the music. You can also draw an irreverent parallel with Douglas Adams's diners at The Restaurant at the End of the Universe feasting merrily while creation explodes around them.
Should you take any of it seriously? In the hands of any number of heavy metal bands, the idea of putting the Book of Revelation to music would be a good excuse for a lot of cod-demonic imagery, devil-signs and daft lyrics about the number of the beast. Aphrodite's Child are doing something far more sophisticated here. This isn't so much a Christian tract as a commentary on the death of the counterculture -- one of the final acts in the show is called "Altamont", reference to another apocalypse-as-spectacle, but also to the end of a dream. "666" is not just the end of all dreams, but the end of all possibilities. The lyrics take on a J G Ballard sense of apocalypse by degeneration: "The day the cars will lay in heaps/their wheels turning in vain." Throughout, there's not the feeling of empty-headed satanic celebration, but of wistful regret. You don't have to believe any of the Christian imagery to be moved by the idea of hopelessness, the knowledge that all you did and all you said and all you put your trust in counts for nothing. As a full stop on the psychedelic dream, this is as potent a statement as Roger Waters's "The Wall" was a full stop on the rock star dream.
For all that, don't think this is all one grinding dirge. The album spits and rants and explodes with some of the finest heavy drumming and guitar playing of its age, but there are also long passages of majestic proto-world music, funky raves, heart breaking ballads, and some very strange experimental sequences. If you only know of Demis Roussos from his atrocious late-1970s AOR fodder, his operatic voice in several of these tracks will astonish you -- it works perfectly even in the heaviest of settings, as demonstrated by the fake-live opener "Babylon" and the album's masterpiece "The Four Horsemen". His isn't the only voice, however, and the constant changes in instrumentation and vocalist and style keep up interest throughout, even during the last side's 20-minute reprise "All The Seats Were Occupied", its title a final sarcastic comment on the spectacle. It's baffling why this album isn't mentioned in the same hushed tones as "The Wall" or "The Lamb". I guarantee, it'll be the most rewarding thing you'll buy this year.

Around 1972, a friend came back from a holiday in Italy with tales of the popularity of this singer, Demis Roussos, who apparently had black hair down to his ass and performed in a floor length black cloak. Sounded cool, so next time I was at Opus 69 (the only record store in E-town that sold imports), I asked about it. The guy had a demo copy of a double album behind the counter with this singer on it. "Aphrodite's Child - 666". I gave a few tracks a listen and couldn't believe my ears. I pleaded and begged and though he wanted it for the store, he let me buy it. Holy shit... it changed my idea of what music could be. It was the Gothic Rock Art Holy Grail that Led Zeppelin, Genesis and Van Der Graaf Generator w
ere trying to attain and all fell short of. I tell you, this thing rocked my world. Sad to say it's a bit dated these days, but that isn't to say someone couldn't take the non-dated 90% and redo it with modern instrumentation.
Vangelis was the mastermind behind this masterpiece and he's been hard pressed to write anything as good since. ("Earth" comes close, but nothing else is even in the ballpark. Trust me, I kept buying and hoping for two damn decades.)
Where do I start trying to talk about this thing? "The Wedding of the Lamb", "The Four Horsemen", "Altamont", the Infinity track... it just doesn't stop. Iconic greatness in every note. And then... holy shit... he ends it up with the greatest rock art orchestral track of all time: "All the Seats Were Occupied". The thing was so much larger than my little 15 year old brain I think I grew an extra lobe just to take it all in.

LINK:
 

abcdef

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Socrates Drank The Conium

Socrates will probably never get inducted into the Rock and Roll Hall of Fame. But while other groups were becoming well known in the free world, this Hendrix-style blues band was playing to standing-room-only crowds in a small club in Athens, during Greece's military dictatorship, a period when even Rolling Stone albums were hard to find, and for a time illegal.

by Matt Barrett

Socrates was Yannis Spathas and Antonis Tourkoyorgis on guitar and bass respectively. During the period that they were playing in the Kitarro Club they went through several drummers including George Trantalidis, all of them terrific. In Athens during the early seventies, when the 1967 military dictatorship was still in control, there were a number of rock clubs in the area around Victoria Square and in the Plaka. Poll and Morka played at the Elaterion. Socrates and Exidaktilo played at the Kitarro. As Dorian Kokas, the founder and leader of Morka told us one night "We used to race through our set and play everything fast so we could get out early and go to the Kittaro and catch the last set of Socrates." Musicians loved Socrates. Even Savopoulos used to go hear them.

Socrates sounded like several bands that were popular at the time, Jimi Hendrix Experience, Deep Purple, Blue Cheer, and Black Sabbath come to mind now when I hear their music from that early period, though the majority of their material was original. There were songs that were crowd favorites such as "Close the Door and Lay Down" (or what we called "Do It To The Rythm"), "Starvation" ("Give Them Some Bread") and "Underground", but often the highlight of the evening was when they did their Hendrix songs like "Voodoo Chile", "Message of Love" and "Red House" or jammed on songs like "Kansas City" with singer Jimi Quidd (later of the NY Dots) and Greek-American blues guitarist John Kronis.

Spathas played a Fender Strat, long straight hair hanging down almost to the guitar, he was motionless except for his hands which effortlessly ripped out the most fluid, solos and riffs. He always hooked the chord to his amp over the bottom cutaway so he would not step on it and pull it out during a solo, I suppose. It was sort of his trademark in a way and we would watch him tune up and wait for him to do it which meant to us that the music was about to begin. He would play some mind-boggling riff to make sure the volume was right or the guitar was in tune and they would be off. Antonis Tourkoyorgis played bass and sang and if Spathas gave the appearance of being introverted he was the complete opposite. He was also a great bass player. The powerful sound this little three-piece band with their stacks of Marshalls put out in the Kittaro kept us coming back night after night. In all honesty I have to say that to this day I have not heard any band, three-piece or more, fill as much musical space. Seeing the Who in 1976 I found myself comparing them to Socrates. OK, the Who is the Who. But apart from the personalities, the songs I knew and the flamboyance, were Townshend, Entwhistle and Moon as good a band as Socrates? No way. Led Zepplin? Nope. You'd have to ask someone who had seen Hendrix or Cream to make the judgement about those bands but I can't imagine anyone being better than Socrates on a good night and as far as those nights in the Kittaro went I don't think they ever had a bad night. They were too good to have a bad night.

What made them so remarkable was the guitar playing of Spathas. Even today listening to the solos he played in 1972 I still can't believe the music he was making. Brent Lambert of Kitchen Mastering, quite a guitar player himself, after hearing several Spathas solos from thirty years ago said "If this guy had come to America he would be a guitar hero and everyone would know his name." If you liked the way Hendrix, Ritchie Blackmore, Jimmy Page and Eddie Van Halen play you will love Spathas and if you play guitar yourself you will wonder "If this was thirty years ago and he is still playing how good must he be now?"

Socrates made two albums as a three-piece, both pretty awful because of poor mixing and mastering though the songs and performances were good. In those days producers had no idea what to do with a group like Socrates. It would be like recording Rage Against The Machine after spending 20 years doing Herman's Hermits. Later the group added a lead singer and different variations of guitarists, keyboards. At one time both Spathas and Tourkoyorgis played guitars. Vangelis Papathanasiou, otherwise known as Vangelis joined them for an album and made them more of a progressive-rock band with lots of keyboard, synth and guitar interweavings. But the three-piece version of the band's first two albums and the original rock-blues style was probably their best shot at world fame.

In December of 2003 I took the first album which had been re-mastered to CD, to Brent Lambert at Kitchen Mastering and asked him if there was something we could do to make it sound better. He listened to it and told me there was. By isolating frequencies, equalizing and compressing he was able to take several songs from the CD and make them sound pretty good, almost as they should sound. If we had the original source tapes of course we could have done a lot more but the songs are certainly listenable and you can get an idea of what a great band Socrates was and what an amazing guitarist Yannis Spathas was then and is now. He may become an international guitar hero yet. He certainly deserves to be.

Socrates still plays. They are again a three-piece with Spathas and Tourkogiorgis joined by -Makis Gioulis, a fine drummer in the traditon of the band. Asteris Papastamatakis plays keyboards on some material and a female vocalist named Markela Panagiotou, harmonizes and does duets with Tourkogiorgis and sings a couple songs on her own. Still the best part of the night for me is when the band strips down to the core of guitar-bass-drums and they play the old songs from the Kittaro or jam on some Hendrix tunes. Maybe I am just nostalgic but I can't help listening to them and thinking of what might have been. Had it not been for the fact that they were at their prime during the dictatorship then maybe Greece might have been known as the country that gave us Socrates instead of Yanni. Then again oppression can breed great art as an instrument of rebellion. Socrates with their long hair, beards and high-energy blues and rock and roll were a window on the world outside and the reason people crammed into the Kittaro every weekend. For that reason they belong alongside the great bands of Rock and Roll History.


Ο Γιάννης Σπαθάς γεννήθηκε στους Παξούς το 1950. Τα πρώτα του μουσικά βήματα έγιναν με την κομπανία του πατέρα του και των θείων του.Από μικρός έπαιζε ακορντεόν, κιθάρα και ντραμς. Από τα 15 του χρόνια άρχισε να μελετά blues, Rock καθώς και δημοτικά μοιρολόγια με το κλαρίνο του Τάσου Χαλκιά. Συνέχισε την μελέτη με κρητικές μαντινάδες, ρεμπέτικα και μουσικές από Ινδία και Βαλκάνια.Αργότερα, σπούδασε, με δάσκαλο τον Κώστα Κλάβα, θεωρία και αντίστοιξη.

Στα 18 του ηχογράφησε τον πρώτο του δίσκο με το συγκρότημα PERSONS.Μετά από ένα χρόνο δημιουργεί τους 'SOCRATES DRANK THE CONIUM' και από το 1970 έως το 1981 ηχογραφεί επτά δίσκους.
Από αυτούς το "On the wings', που κυκλοφόρησε το 1973, επιλέχθηκε ως πρώτος δίσκος της εβδομάδας στην πολιτεία ΤΖΩΡΤΖΙΑ των ΗΠΑ από τους κριτικούς του έγκυρου μουσικού περιοδικού 'Billboard'.

To 1975 ηχογραφεί στο Λονδίνο με τον Βαγγέλη Παπαθανασίου τον δίσκο "PHOS' Που θεωρήθηκε από τους ειδικούς σαν κλασικός δίσκος της rock μουσικής.
Το 1980 ηχογραφεί ξανά στο Λονδίνο τον δίσκο &qu
ot;PLAZA" με παραγωγό τον Vic Coopersmith, γνωστό από τις παραγωγές του στους JAM.

Ο Γιάννης Σπάθας έκανε καριέρα με τους SOCRATES παίζοντας στην Ελλάδα και το εξωτερικό.Έχει παίξει σε αρκετούς κλασικούς χώρους της rock σκηνής (στο Hammersmith Odeon,στο Digwall'ς Λονδίνο και σε άλλες 23 πόλεις της Μ.Βρετανίας σε τουρνέ με τους U.F.O, στο PARADISO στο ʼμστερνταμ, στο R.T.L. στο Παρίσι κ.ά).

Σαν κιθαρίστας ή ενορχηστρωτής έχει συνεργαστεί σε συναυλίες και στο στούντιο με συνθέτες και τραγουδιστές όπως Οι: Μίκης Θεοδωράκης, Μάνος Χατζιδάκις, Μάνος Λοϊζος, Βαγγέλης Παπαθανασίου, Ελένη Καραϊνδρου,Διονύσης Σαββόπουλος,Γιάννης Μαρκόπουλος, Γιώργος Νταλάρας, Χάρις Αλεξίου,Αφοι Κατσιμίχα, Μανώλη Λιδάκη, Βασίλη Λέκκα, Αλκίνοο Ιωαννίδη κ.ά.

Σαν συνθέτης εκτός από των δίσκων με τους SOCRATES έχει γράψει τα "ΣΥΝΤΟΜΑ ΟΝΕΙΡΑ" και τα "ΚΛΑΣΙΚΑ ΕΙΚΟΝΟΓΡΑΦΗΜΕΝΑ" σε στίχους του Ευγένιου Αρανίτση και με ερμηνευτή το Βασίλη Λέκκα.

Το 1998 συνεργάστηκε με το Μανώλη Λιδάκη στο δίσκο "Ο ήλιος του Γενάρη" γράφοντας τη μουσική σε τέσσερα τραγούδια.

Σαν συνθέτης, ενορχηστρωτής και κιθαρίστας χαρακτηρίζεται από χροιές και φόρμες προερχόμενες τόσο από την ελληνική όσο και από την δυτική μουσική και δημιουργεί έτσι το προσωπικό του στυλ. Αυτό είναι φανερό στον προσωπικό του δίσκο που κυκλοφορεί τον Οκτώβριο του 1999 με τίτλο "Τα μυστικά του δρόμου".Πρόκειται για ένα έργο που περιλαμβάνει μουσικά θέματα που έχουν να κάνουν με το φάσμα της μουσικής με την οποία ασχολήθηκε και αγάπησε ο Γιάννης Σπάθας μέσα σε μια διαδρομή πολλών χρόνων.Στο δίσκο συμμετέχει η Χάρις Αλεξίου.
 

Heelover

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Μεγάλη μου αγάπη το Black, Death metal!!
Deicide, Six Feet Under, Cannibal Corpse, In Utero Cannibalism,
Marduk, Mayhem, Rotting Christ, Naer Mataron, Desolation, Nile
και πολλές άλλες παρόμοιες καφρίλες!!

Μετά ακούω κρητικά (γεια σου πατρίδαααααααααααα, μπαμ μπαμ),
Μπουγά, Μελά, Τερλέγκα και λοιπούς "άρχοντες", uplifting trance
που και που!!! Σέβομαι ΟΛΑ τα μουσικά είδη, αλλά απεχθάνομαι
τα τραγούδια (τραγούδια, όχι ανθρώπους)Βανδή, Κοκκίνου, και λοιπά!!
Αυτά!!ΑΑΑΑΑΑΑΑΑΑΡΡΡΡΡΡΡΓΓΓΓΚΚΚΚΚ!!!!!!!!! :cheesy: :cheesy:
 

Heelover

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Επειδή είδα αρκετούς μεταλοροκάδες, δείτε που μπορείτε
να πάτε να δείτε!!

27/01/07
Napalm Death/Onslaught/t.b.a
Υδρόγειος, Θεσ/κη!!

28/01/07
Napalm Death/Onslaught/In Utero Cannibalism/Suicidal Angels
An club, Athens! Doors open at 18:45! Ticket price 30 euro!
Ουυυ, μου τον πιάσανε :grin:

4/2/07
Zemial/Kawir/Ravencult
An club!! Doors open at 20:00!!

10/2/2007
Malevolent Creation/Pungent Stench/
In Utero Cannibalism/Mass Infection
Underworld club, doors open at 18:30!!
Ticket price 27 euro!!
Ουυυ, μου τον ξαναπιάσανε :grin:

3/03/07
Cannibal Corpse/t.b.a
An club, Athens!!

4/03/07
Cannibal Corpse/t.b.a
Υδρόγειος, Θεσ/κη!!
 

kaiaphas

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27 Σεπ 2006
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Μεγάλη μου αγάπη το Black, Death metal!!
Deicide, Six Feet Under, Cannibal Corpse, In Utero Cannibalism,
Marduk, Mayhem, Rotting Christ, Naer Mataron, Desolation, Nile
Behemoth,Dimmu borgir,Darkthrone,Cradle of filth,Death,Burzum,Limbinic Art,Ancient,Deviser,Septic flesh,Immortal,Emperor,Zyklon B,In flames,Hecate Enthroned,Dark Funeral,Absu,Zemial
ουφ δεν μου ερχονται αλλα τωρα στο μυαλο!
 

kaytos

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4 Ιαν 2007
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Για  τον  DIO  τί  να  λέμε  τώρα...Φοβερή  φωνάρα (sixteenth  century  greensleeves!!!). Είμαι  36, ακούω  τα  περισσότερα  rock  συγροτήματα  που  έχουν  αναφερθεί (καθώς  και  Bach,  Mozart,  Wagner  και  άλλους  μπαρόκ, κλασσικούς  και  ρομαντικούς  συνθέτες)  και  υπάρχουν  ακόμα  και  σήμερα περίοδοι  που κοιμάμαι  και  ξυπνάω  με  Zeppelin (θεοί!!!)  και  Rainbow...
 

Heelover

Τιμημένος
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8 Ιαν 2007
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9.250
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27
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15
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3.057
Behemoth,Dimmu borgir,Darkthrone,Cradle of filth,Death,Burzum,Limbinic Art,Ancient,Deviser,Septic flesh,Immortal,Emperor,Zyklon B,In flames,Hecate Enthroned,Dark Funeral,Absu,Zemial
ουφ δεν μου ερχονται αλλα τωρα στο μυαλο!
Αυτός είσαι!! Χώσε χώσε!!!!!
 

kaiaphas

Τιμημένος
Εγγρ.
27 Σεπ 2006
Μηνύματα
1.105
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81
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16
Το Metal Hammer ειναι για το πουτσο αφου ολοι οι "συντακτες" ειναι για πολλες φαπες!Το περιοδικο αυτο εχω να το παρω εδω και 4 χρονια!
 

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