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Stuff that, if the excerpts are in chronological order, the first 10 minutes must be something terrible... Anyway, I have a question that might seem strange to you... how do you find “the seahorse rears to oblivion”? To me, it seems that the three interpretations of the song it consists of are identical in every way; I don’t find any differences in instrumentation or arrangement. It’s as if you decided to make an EP by writing a song and repeating it identically three times... O_O I’m asking because it might depend on my version (downloaded from the internet...).

I think it needs to be searched for.

the dwarf in the closet is fantastic XD

I mean... he dedicated such a piece of work (dark ambient and horror) to his wife?! Damn, David really is a romantic and affectionate husband, I wonder what a lovely marriage...

The rating would be 4.5, great album, it's as if the Ulver of Bergtatt and the GY!BE met for a beer and said: "what are we doing tonight? come on man, let's get drunk and have a jam session!"

Tibet is one of my favorite artists, and from the way you write about him, it’s clear that you feel the same. If you haven’t listened to it yet, I recommend Music For The Horse Hospital. It’s not a masterpiece, but still enjoyable; however, I doubt you’ll find it original. You’d be better off turning to the internet.

@SEAGULLINTHESKY I knew my comment would create some confusion and a bit of controversy. I want to start by saying that, as I’ve already written, I don’t mean to say that nothing good has been created after 1996; far from it. I think of Isis, Forest of Shadows, Warning, Novembre, Alcest, Agalloch (and I could go on). I’m saying that there have been sporadic releases, attributed to a few talented bands that at some point come out with an album capable of making you go “WOW.” The fact is that none of these seems to succeed in evolving metal, in creating a new genre. When I say that metal died with 1996, I mean that since that date, we haven't seen a year (and it would be wise to extend the discussion to 94-95 as well) of such caliber: Brave Murder Day, Velvet Darkness They Fear, Nattens Madrigal, Filosofem, Stormblast, Morningrise, None So Vile, Ænima, Through Silver In Blood... nowadays, when three or four GOOD metal releases come out in a year, it’s considered a miracle (and thankfully, 2010 was a great year, especially compared to 2009)... I know, what’s done is done, but one cannot say that the metal scene, after that date, has managed to produce albums and bands worthy of such consideration in such a short time. It has all been entrusted to the genius of a few who have tried to change something, probably because they were tired (and rightly so) of continuously rehashing the same old tired sound. This discussion holds much more weight when the metal scene is compared to other scenes, such as rock in general or (especially) electronic music, genres that have managed to move forward and present themselves in a better way to the musical landscape of the 2000s, a decade that for me was truly excellent, my favorite alongside the 90s (well, I think this was clear XD).

I apologize for the incorrectly conjugated verbs and for the pieces that got skipped; I wrote the comment while doing something else and didn't proofread it :/ p.s. I wanted to write (Isis closely drawing from I NEUROSIS).

I was thinking about it the other day; listening to metal (especially doom in all its subgenres) these days is quite anachronistic and senseless. Once the list of the best albums from the historical bands (80s-90s) is finished, there’s really little or nothing on the horizon. If we think about what was produced in the 2000s, it’s practically nothing. In the doom scene, I can think of 4 or 5 releases. If we extend our search to all metal, we’ll notice that there aren’t many other interesting works; many of the best bands from the 00s were already active in the 90s. If we were to look at the evolution of the metal macroscene over the last 15 years, the result is disheartening. We’ve continued down the path of post (with Isis closely resembling it), those who have pushed doom to extremes (drone metal), and others who have blended black with post rock/folk/shoegaze, giving rise to good releases (Alcest, Agalloch, WITT) but certainly they cannot contribute to defining a new subgenre. At most, they can spawn a tide of copycat bands trying to follow in their footsteps (just like what happened with Theatre of Tragedy). In short, many times I find myself thinking that metal died after 1996...