sly

If I had to recommend some works by Satyricon, I would definitely suggest the initial trilogy. However, if I had to recommend just one track, it would be the spiritual "Mother North," included in "Nemesis Divina." The album is the natural evolution of "The Shadowthrone," with more refined production and keyboards, malignant and captivating guitars that here hold a strongly dramatic value. What remains is their strong epic component, blending snow, frost, and tenacious storms with bursts of Viking poems in a sophistication that has few rivals, opening the door to a kingdom embedded in ice, lost in space and time, a battle that for the first time will see us as worthy victors.
Among the tracks, one must mention the ancestral tensions of "Mother North," which stands out as one of the best Black Metal pieces ever composed, even praised by those who are not die-hard fans. I can tell you that Darkthrone proposed the track as a Norwegian national anthem, both for the great personality of the music and for the strong Norwegian nationalist spirit, a raw condemnation of the Christian invasions of the Middle Ages. But all of "Nemesis Divina" is an exemplary catalog of masterpieces upon masterpieces: "Immortality Passion" with its piano flourishes and riffs of an astonishing beauty that has nothing to envy to a "Dominions Of Satyricon" in terms of epicness and pride, the shining bonfire of "Forhekset," the warm breath of "Du Son Hater Gud," and finally the funerary sacredness of "Transcendental Requiem of Slaves."
A fundamental work for the genre that has influenced dozens and dozens of bands. Without going too far, I believe that the first album by Dismal Euphony, in terms of melodies, riffs, and atmospheres, is heavily influenced by this work (try listening to "Ekko" and tell me it isn't damn Satyricon-like).

Post: 7186

We are nothing but Autumn leaves...

silviettametal@hotmail.i t
View Profile WWW Online

Re: Shape of Despair
«Reply #8 on: Yesterday at 01:30»

Reply with quote
Finally, I have listened to a new work by Shape, namely “Shades Of...”, the first work where the music is completely different, relinquishing the elements that would characterize their proposal with the subsequent “Angel Of Distress”, a masterpiece kept in an ebony chest. If in the latter the autumn haze and darkness emerged strongly, thanks also to a melodramatic attitude and an almost symphonic taste, “Shades Of...” completely changes the game. Its grim tale is indeed even darker, sinister, and oppressive compared to its predecessor, with more prominent guitars and keyboards that do not yet play the leading roles almost ambient, but are assigned a framing role here. Although the violin is absent, the leading role is taken by the flute, hypnotic like a lullaby.
Here, suffering is not expressed through theatrical fanfares, but rather a more minimalist and stark approach is chosen. We can safely say that it changes form but not substance, thus their writing depth remains unchanged. The music becomes a slow flow where one becomes insignificant magnates of helplessness. It is impossible to reach what you desire, especially in pieces like “In The Mist...” that bring tears to the eyes.

When Darkness sublimates pain.

With the release of the Aqua de Annique project, I had come to an unexpected conclusion that until then had never crossed my mind: Anneke's voice alone is not enough to create intense and surprising music. Instead, The Gathering demonstrated with “The West Pole,” far from a monstrous flop, that even without Anneke, their class remains intact. However, the sonic coordinates change, without forgetting their mystical depth which has been their trademark for 20 years, in an unexpected and somber manner. There is no longer a marked devotion to electronics, except for a few small ambient influences, but they disarm us with a melancholically dreamy, minimalist, and relaxed work where only a soft carpet of keyboards takes center stage. Silje Wergeland's voice is a gentle caress. The more cynical will say that her voice is strikingly similar to Anneke's, lacking its innate depth, but one could argue that it proves to be a sweet remedy for her absence. Among the tracks stand out the shimmering hologram of “Treasure,” the hopeless negativity of the title track, reminiscent of certain compositions on the EP “Black Light District,” the sinuous elegance of “No Bird Call,” the implicit explosion of “Pale Traces,” and the rounding sensuality of “A Constant Run.”
If I'm to be honest, for me, “The West Pole” is the best release of the year so far and reaches the transcendent levels of its illustrious predecessors.

very particular

Deadwing is the first work I’m listening to from Porcupine Tree, and I’ve always been intrigued by their relationship of respect and collaboration with Opeth, a band I absolutely adore. They share the desire to create purely emotions, and in a certain sense, it’s their version—non-extreme, rock-driven, dreamy, expansive, and optimistic—clouding the mind with a perfect blend of acoustic openings and aggressive moments. They maintain a high quality of sound thanks to Wilson's voice, as paradisiacal and velvety as ever. Among the tracks, the captivating yearning of “Shallow” stands out, the romanticism of “Lazarus,” so delicate in its pop elegance that it’s disarming, the bonus track “Half Light,” the positive message of “Mellotron Scratch,” and the beautiful “Arriving Somewhere But Not Here” and “Glass Arm Shattering.” The first is spacey and expansive, the second maritime and dreamlike.

I don’t agree: Deadwing is the first album I’ve listened to by Porcupine Tree, and I have always been intrigued by their connection, of respect and collaboration, with Opeth, a band I adore. They share the desire to recreate emotions, and in a certain sense, it’s their less extreme version, rocky, dreamy, expansive, and optimistic, clouding the brain with a perfect blend of acoustic openings and aggressive moments. They maintain a high quality in their sound offering thanks to Wilson’s voice, heavenly and smoother than ever. Among the tracks, the captivating longing of “Shallow” stands out, the romanticism of “Lazarus,” so delicate in its pop class that it’s disarming, the bonus track “Half Light,” the positive message of “Mellotron Scratch,” and the beautiful “Arriving Somewhere But Not Here” and “Glass Arm Shattering.” The first is spacey and expansive, the second maritime and dreamy.