mementomori

It conveys the idea of Tepes, but I didn't like it at all, too cerebral... no complaints about the technical profile, of course, but it really lacks heart... in years when, more or less, it was possible to play death metal and be personal, the disincarnate, not incisive at all, truly left no mark... Murphy is an excellent session musician, and that's his dimension (and that's not even an easy thing, come to think of it), but as a "creator" he is completely devoid of an artistic vision... almost better those flat fools of Bolt Thrower, at least they had their own style...

solan lodge in Scatology

beautiful these little pages written with heart... better long if well written... your review is for me like the VDGG live for you: an oasis of nostalgia: well done, you took me back in time, with the right rhythm and the right passion, better than the three lines of a quick touch and go... 5 to VDGG in general, I haven’t listened to the album...

Thank you for the dedication... great review, but I'm not giving a rating to the khanate; 5 seems excessive... I still need to figure them out, I can't tell if they're genuine or just putting on a show... maybe they're too much even for me; I don't enjoy listening to them, they're too disorganized... sometimes I play them and think they have a point and I follow them with interest, other times I just want to throw the CD out the window and tell O'Malley and the Creator to fuck off... definitely one of the most extreme bands of recent years. p.s. what's this split personality Tepes vs tepes? can we no longer trust even debaser? has the theater of lies reached us clueless fans of crap music?

Come on, give me a hand, I don’t want to have a monopoly on apocalyptic folk... the more viewpoints there are, the closer we get to an objective vision of things...

black tape for a blue girl? no, I don't know them, what do they do? to be honest, more than gothic, I am a lover of emotional degradation, in whatever form it presents itself (cinema, music, literature...)

So, the works that come closest to Black Ship are the folk ones from the nineties: Thunder Perfect Mind, Of Ruine of Some Blazing Starre, and All Pretty Little Horses (recently reissued in a box set that contains the complete trilogy of The Inmost Light, very beautiful). Soft Black Stars is very, very beautiful, but it's different from the latest one, more minimalist (just piano and voice), poetic but difficult to grasp. The same issue with Sleep Has His House, beautiful, but (between us) a bit dull (duller than the usual dull albums by Current!). A suggestion could be Six Six Six: Sick Sick Sick, which collects two beautiful EPs: Lucifer Over London (to understand what the craziest Currents are like) and Tamlin (folk, beautiful)... Anyway, in my reviews you will find everything: it's true, I am a fan of the band, but I never forget to highlight both strengths and weaknesses, especially for those who are not used to certain sounds...

no massicrass, there are no years of listening behind me, at least for sol invictus, whom I found so-so for a long time, and then reevaluated recently (and thanks to a dark little shop that provided me with practically unavailable CDs but unfortunately has just closed its doors, leaving me with many gaps behind)... As for the revivals, more than apocalyptic folk in general, it seems to me there is a reevaluation of Current, due to the new wave of folk singer-songwriters led by people like Devendra Banhart, Will Holdam, and Antony (who, by the way, are friends of Tibet and have promoted him quite a bit). But I don't think people like death in june and sol invictus will be appreciated outside the dark world...

And yes, Lovelorn, too many have complained about my lengthy writings, and so, wherever I can, I strive to be concise (which, mind you, for me doesn’t mean cutting things out, but rather paying more attention... I take it as a pedagogical exercise...). Anyway, this work of synthesis lends itself well to artists I have already extensively covered... I’ve written about the SI in about ten reviews, some of which are really long, and the risk of repetition is significant, given that themes, style, and characters remain the same... while the situation is different when presenting new artists, where a few extra words are more than justified... goodbye.

It's true, but a clarification is needed: industrial music, as much as it embodies "breakthrough" art, essential and challenging in form, is creative music, an intellectual effort, bearing a method and rich in content. Paradoxically, industrial music has had the same devastating impact as punk, but unlike the original punk (which is purely destructive, which is only rage and instinct, and therein lies its charm), it doesn't only make sense in this destructive phase, but has an intrinsic richness that allows it to be both a rupture and at the same time a premise for subsequent evolution. Where punk could only "contaminate" music (punk ends, dies, and then something else begins that feeds on bits of punk or its attitude), industrial music has been able, alongside the newly born electronic music and invigorated by the avant-garde drive that has always animated it, to form a fertile premise for an evolution, indeed for multiple evolutions. Such is its strength that it has been able to incorporate and not be incorporated (as happened to punk). It's true that certain evolutionary branches have emptied the original industrial of its meaning, transforming it into a formal container. Over time, certain evolutionary paths, through a silent action, slow yet inexorably corrosive, have led to sonic "monsters" that ultimately renounced the original premises of the genre, relegating "industrial" solutions to mere stylistic tricks to enrich or make a music that, in concept, is substantially simpler (but not in expressive strength, I might add!). I can understand the doubts of those who may have experienced these things directly (I don't know if that's your case), but for those who came afterward, like myself, it doesn't seem so traumatic, perhaps because there hasn't been an opportunity to understand in its essence the innovative charge of the first industrial. Reflect on the artistic evolution of the Swans, leading to the arrival at Angels of Light: it seems to me that everything is justified by Gira's artistic coherence, his soul continues to haunt the various forms that his music has gradually taken. I think that before being consistent with the key tenets of a style, one must be consistent with their own artistic self (as long as certain choices are not made to shock a middle audience in search of emotions). In any case, if you have a bit of patience, I recommend reading the first part of my review, also on C93, of "Christ and the Pale Queens Mighty in Sorrows" where I reason about the relationship between industrial attitude and esotericism, trying to trace a hypothetical passage from the social dimension to the individual one and then to the spiritual (gosh... how poorly that clashes with industrial!)... maybe let me know what you think afterward...