OzzyRotten

I’m glad this review of mine has helped, for more than one, to make this wonderful album known, which, of course, will always be cumbersome, difficult, a bit "faded" regarding its grooves and influences, as well as its classifications, but which, above all, has been able to infuse me with so many sensations, like very few other works have managed to do.
And a striking example of these rare instances of gothic and melancholic mastery you also mentioned: "Draconian Times" by Paradise Lost. The best. Just saying this is enough.
Thank you all, then.

This review is really challenging! Well done! As an admirer of Opeth, I admire and understand what you feel when listening to them. I give the album a 4, not because it doesn't deserve more, but simply because the stronger sensations and emotions I've only experienced listening to "Blackwater Park," and thus listening to them in the "canonical" way, which might be more suited to them. But, in the end, this is Opeth: nothing that can be anticipated or accounted for; just Opeth. And let’s hope they return soon with a new work.

I've always preferred "Rust in Peace" and "So Far, So Good...So What!", and for a while, Megadeth really struck my ears like the Bible does for a Catholic, but forgive the note: as a lover (also) of Slayer, can you tell me where you find the similarities between Mustaine's voice and Araya's? Have I lost my mind? And then, "grind, brutal, and Death"? I believe that, in order, Napalm Death is crucifying you using the nails from their bombs, Frank Mullen from Suffocation is feasting on your liver, and Atheist are about to smash a guitar over your head.
Anyway....

Brilliant Laibach! It's true, they are not just a band, but a kind of artistic "commune" that deals with many other forms of art (not just music).
A curiosity that came to my mind right now: but isn't "God is God" also on the soundtrack of "The Blair Witch Project" (or however the hell it's spelled)?

I don't understand why it's written above that the T.o.T. cannot be compared to a certain kind of Doom. I'm talking about this album, of course, and I must say that, on the contrary, I have found quite a few "traces" (traces and not blatant demonstrations) of Doom.
Sure, if we compare them to what Anathema, Paradise Lost, and My Dying Bride have done, then it's a whole different story, but I believe we can perfectly discuss analogies.
As for the fact that they don’t "say anything" to someone, I can't blame anyone except myself: to me, this album has given strong and fascinating feelings; it might be that tomorrow, listening to Candlemass or some other band, I might not have the same experience.
I've tried to write about that thin, unclear line that can be seen between the songs on the album: a sweet female voice, yes, but one that seemed to want to veil some danger or deep distress that the growl, fierce and grotesque as it is, did not convey, but which rather indicated something that "has been" but cannot release itself in its fury. Fascinating attitude, right?

I’m not quite sure what you mean by “plastic and artificial” sound. As I understood your point, I wanted to refer to the clarity and the lack of “heaviness” of the instruments stacked one on top of the other. As a comparison, I could bring up the sound of the latest In Flames. If you know them, then you will certainly understand what I was hinting at.

I don't understand all this rant about adjectives and consonants that Axl brought up. I really don't see what it has to do with Bloodbath and their death metal. I don't understand why he mentions satanism when there isn't even a hint of it here.
Question: I agree that the review might be of interest or not, and I agree that Bloodbath may or may not appeal to some, but, excuse me, what sense does a tirade on tones like that (even a bit "self-serving," to say the least...) make when we are talking about something entirely different?

Great review for a band that literally drives me crazy; just like everything Peter Tagtgren composes and puts to music. I don't give the album a perfect score, only because my favorite remains "The Arrival" and the latest one, but the fact remains that even if this work isn't at the top, it still outshines and leaves hundreds of other existing and defunct death bands in the dust. Congratulations again for the review.

To me, despite having heard and read all sorts regarding this work, I like it and I listen to it again with great pleasure. I like the grit, I like the languid atmosphere yet tainted with incandescent rockiness and grayness. As for whether it has anything in common with HIM, I really couldn't say, but I wonder, in all honesty: why compare a work to another, when it would be more honest to simply say that it wasn't liked, period?

So, first of all, the current guitarist of Bloodbath is Anders Nyström from the same Katatonia, who, for reasons that aren't quite clear, seems to be, according to what I've read in Dan Swanö's statement on the official forum of their website, directly responsible for Swanö's departure from the band. The whys and wherefores remain unknown.
It would be interesting to understand the reasons behind this, considering that Swanö was likely the only member not involved in any other "main" projects and therefore the only one dedicated to the machine of these Deathsters.
I can only wonder that, given the notable departures that have occurred over time (Mikael Åkerfeldt, replaced by Peter Tägtgren on vocals, and then this one also leaving), it seems increasingly difficult to find someone up to the task. After all, we are talking about talented musicians who aren't just found "like that" on the street.
And now that Dan Swanö has also left (and that in this album, contrary to what one might think, he played drums and not guitar), how will they find another musician of the same caliber?