mementomori

unfortunately, I am one of those who hate Valor... it is true, however, that I do not consider myself a great connoisseur of the CD era Valor... for example, I have never listened to this album, which was also discouraged by the cover... excellent and objective review, but I don’t think I will seek out the album in question, it’s Valor’s voice that I just can’t stand... rather, Electric, do you know the Lover of Sin, a metal project from the always excellent Maitri? I saw them live once, and I must say it was a great experience to see that tall blonde in a leopard-print bikini and cloak launching into horrific vocalizations in the style of Diamanda Galas over a backdrop of doom and Morbid Angel...

great paul chain, and excellent recovery!!! defender, in my opinion you write very well, but the track by track format generally doesn’t suit metal, given that usually the songs settle into the same coordinates, and unfortunately it’s impossible and pointless to explain a riff or a solo with words... saying, for example, great solo or powerful riff unfortunately doesn’t hold much meaning for someone who hasn’t listened to an album, which is why I advise you to present what you think is the overall "meaning" of a work, the atmospheres, the lyrics, and maybe mention two or three of the most significant tracks. I appreciated your review of painkiller precisely because it was personal and not overly descriptive... it is known that metal is felt with the spirit, with the body, and with the heart, and to simply describe it seems almost like embalming it... it’s better to adopt a stronger or more evocative writing style, capable of conveying the impressions that the listening experience itself evokes...

Never heard this live, but the fields deserve all the respect in the world... it's true that among the classic dark glories, they are the most indebted to the rock universe, and perhaps, in the context of the eighties (after the break-up of the punk/post-punk/dark-wave era), their return to the roots of rock can be seen as reactionary. For this reason, I can partly understand vortex's observation, but not the fact that the fields weren't original: their originality lay in associating gothic imagery with hard rock, psychedelic, even western atmospheres, all things heavily abhorred by the original dark movement. Original, then, and in some respects counter-trend among those who wanted to be counter-trend (so the FON are trendy?), even if nothing comes from nothing, as (fidia says) sisters of mercy and (I add) the cult remain the fundamental influences...

Thank you all and thanks to Giubbo for the tip: I looked into Black Tape for a Blue Girl and they indeed have all the qualities I would like... I'm adding them right away to my shopping list...

I know them because they did a split this year with Current 93, and Cisneros himself played on the latest Current... in that split, actually, they didn't convince me, but maybe the 8 minutes they had weren't enough to really shine... anyway, I didn't know that Cisneros was the bassist of the legendary Sleep... one more point in favor of Om, I'll try to reassess them...

Thank you all. foreveryoung, you’re right, it’s soap and not soup, thanks for the correction. As for the rest, I’m sorry if the review sounds a bit confusing to you: the concept was meant to convey defined sounds and good arrangements, but always the same melodies, which can frustrate long-time fans (frankly, we can’t take any more of certain clichés that have been carried on for years)... expressions like "scampanate" and "banda di paese" are therefore not derogatory in the context of the sound architecture (which is very professional and well-crafted), but very derogatory concerning the content (because we are fed up with scampanate and village band marches!). Despite all these flaws, I feel that Sopor Aeternus is growing, at least conceptually, as it projects its malaise into a new phase of its emotional journey. In short, there is a glimpse of maturation, a growth in tackling the themes: it no longer just complains, but at times seems to accept itself, laugh at itself, and even attack certain institutions of the outside world (a new thing for the artist). I hope this clears up any doubts… goodbye and thanks again to everyone...

Electric, from an interview I read, it seems to me that the Nueva Germania don't care much about ideological aspects, but it could very well be a false statement to avoid controversy... according to them, their intent is to pour everything that comes to their mind into their music, without imposing any limits on their free "artistic expression" (the album reviewed above even includes a sample of a speech in Spanish against every dictatorship and every authoritarianism, and this element could support this thesis). I think the choice of name is more a matter of bad taste, or probably a gimmick to attract attention. Lastly, keep in mind that industrial as a genre was born to dig the knife into the wound, touching the most sensitive points of the collective imagination. This made sense in the seventies, while today it can appear not only as the sterile reiteration of a cliché but also frankly childish if not ridiculous...

Thank you all, I confidently await that others also contribute on debaser regarding the great sol invictus...no, sfascia, I don't know that site, but I'll dive right in (typing errors permitting). Thanks!

ok, thanks...I had looked around the web and it was the only one I found available...so I insist on this organic...bye

really interesting, I didn’t know them, but your review piques my curiosity... can you tell me something about the album Autopsy?