01. Introduction
02. A Terrible Anathema
03. Call of Blood
04. Czarina's Warm Pubes
05. Wine and Sex
06. A Night of the Lusty Queen
07. The Kingdom of Evil
08. The Temple of Pleasure
09. Angry
10. Bastard

Bonus tracks:
11. Potępieniec (from unknown demo)
12. Królestwo zła (from unknown demo)
13. Czarne okręty (from unknown demo)
14. Bastiony śmierci (from "Metal Invasion")
15. Młot na świętą inkwizycje (from "Metal Invasion")
16. Noc królowej żądzy (live, from "Metalmania '88")
17. Młot na świętą Inkwizycje (live, from "Metalmania '87")
18. Bastard (from "Metalmania '87")
19. Krzyż i miecz (live, from "Metalmania '87")

Wojciech Zięba - drums, back vocal;
Adam Słomkowski - guitar, back vocal;
Marek Łoza - vocal, bass guitar, back vocal.

Ta thrash metalowa bytomska grupa do życia powołana została w 1985 roku, pod nazwą Destroyer i za sprawą wielu koncertów oraz takich utworów jak np "Czarne Okręty" stała się szybko popularna wśród śląskiej publiczności. Już dwa lata później formacja występuje na festiwalu Metalmania i nagrywa split z zespołem Hammer i wkrótce potem jej utwory zostają zamieszczone na kolejnych składankach: "Polish Heavy Metal 87", "Metal Invasion" oraz "Metal Shock" i zespół zaproszony zostaje na kolejną edycję Metalmanii. Debiutancki album "Noc Królowej Rządzy" wydany zostaje w 1989 roku i w tym samym roku w Holandii ukazuje się anglojęzyczna wersja tego krążka - "Night of the Lusty Queen". Reedycja "Night of the Lusty Queen", po raz pierwszy na CD, wzbogacona została bonusowo o polskojęzyczne wersje tych utworów z płyty "Noc Królowej Rządzy". ---empik.com

Destroyers already gained popularity and respect among the Poland underground metal scene before putting out their first record. They shared stage with their compatriots from Hämmer, Dragon, Cydhie Genoside, Wilczy Pająk, also with foreigner big bands like Citron, Ossian, Rage or Overkill in legendary festivals like Metalmania in their home country. They were one of the most promising young groups of Eastern Europe thrash, making it clear with these 9 impressive tracks which show what they were able to do. Polish thrashers always refused to pay attention to the circumstances of the metal scene outside their frontiers, so while Americans and some Europeans were getting commercial and accessible, Destroyers preferred to be extreme and raw like the subgenre used to be in its early stage.

You can skip the silly intro, which is a bunch of words spoken by a ridiculous distorted voice, but not any of the following numbers, because each of them has something special in this variety of sounds. For instance, we got tunes on which vocals take control and most of attention, like “Królestwo Zła” or “Pochodnia” with guitars following the rhythm discreetly most of the time, though they are an exception, no rule here as the rest of compositions soon demonstrate. The band makes use of total speed metal tempos, insatiable riffing and bigger complexity on “Noc Królowej Żądzy” and “Zew Krwi”, truly raging thrash plenty of pure aggression, power, including a kinda meticulous configuration. These guys escape from simplicity by adding intricate arrangements, diverse structures, technical passages and hyperactive riff variations. A very ambitious scheme that makes their music obtain a unique level of musicianship, innovation and consistency. They really like to play it complicated with all those impossible rhythm changes, incessantly altered riffs and surprisingly rich solos, which follow an absolutely clear direction. The result is fascinating and splendid, offering a pretty singular sound no other thrash band performed before. The strength and versatility of guitar parts is one of the most remarkable characteristics, Adam Słomkowski use unusual galloping riffs in heavy tunes like “Wino & Sex” and “Świątynia Rozkoszy” that provide them of elegance, vigor, proving the inevitable influence of the NWOBHM. Culmination arrives with particular cuts like “Caryca Katarzyna” and its unpredictable opera intro, and the epic finale on “Bastard” with Destroyers making a terrific exhibition of virtuosism and technique, both moments to treasure and be proud of for any Polish metalhead. “Źli” is the only numbers that breaks the continuity of the album, more direct, simply conceived but still vibrant and relentless.

This is an absolutely refreshing singular thrash record, these guys were one of the few who explored varied styles and combined elements from other music genres without denying the elemental roots of metal. Those extraordinary solos take some inspiration from classical music, developed exquisitely without attempting to shred in vain or just impress. They might remind you of Blackmore, Uli Jon Roth or Iommi sometimes, making a difference from the mostly sloppy chaotic pickin’ parts of their peers, stripped-down from any kind of pedal effects or tricks. Singer Marek Łoza is also giving this stuff a unique essence with his wide range, reaching incredibly high notes easily and performing lower and raspier with no problem. Cronos, King Diamond, Angelripper and Halford in one guy, not the typical generic thrash vocalist at all. The whole construction of the cuts is memorable as well, including a vast instrumental progression other groups like Coroner and Watchtower might conceived before. Destroyers on other hand are lacking experience and maturity on their performance, they are quite competent musicians but they sound clumsy at times. Woytek Zięba is out of tempo on “Zew Krwi” for a second, guitars lack synchronization in some riff series and a few rhythm alterations are slightly chaotic. Nothing unusual from a thrash debut after all, along with the evil wicked lyrics no other foreigner band used by that time anymore, with that obsession for lust and depravity Poles always had. A necessary phase for the evolution of the Bytom thrashers style, there would have been no Coma Of Souls without Endless Pain or Rust In Peace without Killing Is My Business…And Business Is Good!, right? The poor production came as no surprise either, with a good balance between all instruments (you can actually hear the bass!) but not giving them their proper presence and texture.

The result is much better than you could first expect, they had the guts and inventiveness to introduce alternative elements in their music, something only Holy Terror did. Destroyers had their limitations but the honesty, motivation and potential to make something solid and amusing. They were clearly determined to give their material complexity and technique like most of their compatriots and they would later go further into that direction with their second brilliant album The Miseries Of Virtue. Still this release is completely underrated and ignored among thrash fans; maybe they would have got bigger success and recognition outside Poland if they sang in English... --- Metal_Thrasher90, metal-archives.com

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01. The Miseries of Virtue
02. Histoire D'O
03. Peachlet
04. Odyssey
05. Nymphomania
06. The Craft of Tyranny
07. I Praise You, Lilith
08. Niedole cnoty
09. Historia "O"
10. Brzoskwinka
11. Odyseja
12. Nimfomania
13. Narodziny kurtyzany
14. Kunszt tyranii
15. Czczę cię Lilith

Wojciech Szyszko - bass guitar;
Tomasz Wiczewski - drums;
Waldemar Lukoszek - guitar;
Marek Łoza – vocal

Na dzień dzisiejszy „Miseires” jest ostatnia płytą Bytomskich legendarnych Thrashowców, i na chwilę obecną jest to jedna z moich ulubionych płyt jeśli chodzi o rodzimy Thrash Metal. Została wydana w 1991 roku i niestety po niej pod szyldem Destroyers się już nic nie ukazało. „Miseries” daje nam porcję solidnego, melodyjnego (w dobrym znaczeniu tego słowa), granego z jajem polskiego Thrashu, głowa sama do tego macha hehe. Nie ma tu morderczego plucia prostymi riffami jak np. w niemieckim graniu, tu jest i melodyjniej i bardziej skomplikowanie co nie znaczy że „miętko” - jest ogień jak trzeba. Dostajemy osiem kawałków i wszystkie praktycznie są na tak samo wysokim poziomie, a jednocześnie są dosyć zróżnicowanie, mamy i typowy wygrzewowy otwieracz w postaci tytułowego kawałka. Mamy epickie „Odyssey” czy podrockr’n’rollowane „I Prasie You Lilith”. Każdego kawałka z osobna jak i całości słucha się naprawdę świetnie, brzmienie może nie jest idealne, ale to nie jest aż takie ważne w tym przypadku. Gitary tną jak piły, metaliczny bas niczym w Running Wild z Jensem Beckerem hehe, perkusja łupie swoje nie narzucając się zbytnim skomplikowaniem ani też nie rażąc prostotą, generalnie każdy jest tam na swoim miejscu i gra optymalnie. No i wokal. To jest ten typ wokalu który tak jak w przypadku Kinga Diamonda, albo się pokocha albo znienawidzi, ja zdecydowanie go uwielbiam. Często wchodzi w wysokie zaśpiewy właśnie na modłę Króla, takie połączenie „Thrashowego” wrzeszczącego Kupczyka i Diamonda właśnie jak dla mnie. Podsumowując mój krótki wywód: płyta jest obowiązkowa dla fanów dobrego Thrashu i basta, zamiast trwonić kasę na nową, kolejny raz wracającą do korzeni Metallikę czy innego Slayera, ruszcie się do jakiegoś komisu po „Miseries of Virtue”. I tyle, rozwodzić się nie ma co ;). ---Owczur, metalmundus.pl

Destroyers belong to the Polish underground vintage metal scene along with Hellias, Hämmer, Stos, Alastor, Astharoth, Necrophobic, Magnus and others than never reached the success of Kat, Turbo, Acid Drinkers or Vader. The thrash scene behind the Iron Curtain never became famous or popular, although nowadays that metal genre has become a trend in Poland. Just take a look at the bunch of Polish people’s profiles in lastfm and you’ll see that everyone loves Slayer, Kreator and Sodom, which have become sacred there. I hope those thrash kids who now realize how cool is thrash 30 years later won’t forget about it next week, you know fashion and trends never last. Another significant fact is that now every, I mean every metal band tour Poland more than their home countries, the U.S. or Germany! Man, vodka and groupies must be the reasons which make that place so special... But back in the late 80’s, the situation was completely different and bands like Destroyers languished in obscurity.

I bet you 5 bucks that most of those Polish thrash kids never listened this group, and that’s unfair because their sound is superior to the generic modern thrash of Headbanger, Fortress, Monastery, Rusted Brain or The No-Mads. The brutal machine-gun riffing on each song is incredible and amazing; the structure of the compositions is complex, technical and features endless rhythm changes, shredding guitar solos and killer double bass-drum beatings. The record made me headbang like crazy from the first minute to the last with the finest display of technique, velocity and aggression I ever heard from a Polish band on “The Craft Of Tyranny”, “Histoire d’O” and the title-track. Forget about the popularity of Behemoth and Decapitated, this band crush both of them. The characteristic that amazed me the most is the insane speed on the whole record, it’s a miracle that drummer Tomasz Wiczewski survived after that enormous pile of blast beats he had to execute. The virtuosism of Waldemar Lukoszek is too much for words; the progression of the riffs and the superb solos on “I Praise You, Lilith”, “Peachlet” and “The Birth Of The Courtesan” are unique, outrageous, something out of this world. The result becomes even more technical on “Odyssey” and “Nymphomania”, which include melodic acoustic guitar arrangements, and overdose of instrumental variations during the songs, and terrifying raging vocals that will make you shiver and shake.

Fortunately, the production and mixing fits the raw nature of the music and increase the intensity and power of each instrument properly. Guitars and vocals are obviously louder, but the rhythmic section can be easily heard without fading away; the presence of Wojciech Szysko’s bass is notable and remarkable each second, and contributes to build a professional solid sound with no weak spots. Probably the only thing I dislike here is Marek Łoza’s voice, that reminds me of Schmier and Paul Baloff’s early vocal style sometimes; other times he gets stuck in the same limitations of Paul Di Anno in the high notes, when he tries to emulate Dickinson. His lyrics are interesting and controversial, the titles say it all: evil, lust, perversion and depravity, just like Sextrash or Sodom before Tom became obsessed with war. “Odyssey” is the exception thought, I loved the rare combination of thrash music and Greek mythology. And the brilliant cover painting by the legendary Polish Ed Repka, Jerzy Kurczak, is the perfect reflection of the attitude and sound on this long-play.

So I put “The Miseries Of Virtue” and Destroyers in the same level than the big European thrash legends that we all know and love. I wish youtube, lastfm, allmusic and webs like that would recommend this stuff, so the Polish kids I mentioned before and thrashers in general can discover a forgotten lost treasure, a culmination of art and perfection. You won’t find such a brutal dark sound like this on the thrash records of the early 90’s, when most of bands were getting too sophisticated and melodic, away from the obscure violent music direction of the middle 80’s. These guys were a remarkable exception. --- Metal_Thrasher90, metal-archives.com

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