sly

masterpiece of sublime optimism

And I conclude the Shape Of Despair trilogy with the last and fantastic "Illusion's Play" (2004). The band has always traveled down a preferential lane of Funeral Doom, but in this latest platter, they have abandoned that psychotic pace to head towards more traditionally Doom territories. It’s a type of Doom that is quite slow for the genre but certainly not funeral, which is distant from the heavy aura of torment found in "Shades Of..." and the dramatic epicness of "Angels Of Distress." Instead, it creates a less claustrophobic and suffocating atmosphere, where embellishments like flutes and strings are absent—aside from a few sparse samples—but it is more ethereal, liquid, and expansive, with some Gothic Metal influences appearing for the first time. It stages the introspective game of illusion, where one thinks they are achieving what they desire, giving themselves completely, only to discover that it was nothing but a coarse yet imaginary pretense, although it does feature moments of respite. Melancholy, not despair; the latter has already been explored by the band through other means. All the tracks are truly valid, but if I have to mention a few, I’d highlight the red sky of "Still-Motion," the divine classical air of "Entwined In Misery," the piece closest to the previous album, and the beautiful "Fragile Emptiness," fragile and crystalline like glass. After this work, there will be no more news from the Finns, but have they disbanded or are they on a long hiatus? Does anyone know anything?
With this, I have listened to the entire discography.

great job!

After the first magical trilogy that made the history of Black and which, especially due to the presence of the last two platters, falls among my all-time favorite listens, in 1999 it was time for the fourth work. The intertwining of impulses in Rebel Extravaganza was harshly criticized at the time for straying so far from the previous path and received unjust negative reviews considering the excellent work of the platter. Subsequently, this LP by the Roosters of Norway was re-evaluated and its actual value was recognized, especially considering its high futuristic rate. Not to mention that it unconsciously became the cause of the creation of a new trend in Black. While there are still some small incursions related to the medieval and folk universe, our artists enrich it with sharp industrial inserts and synthetic and cosmic effects, showcasing good compositions like the spatial remnants of “Supersonic Journey.” Perhaps the more traditionalist wing of metal will not be satisfied, but this does not diminish the excellent value of the work.

I Third is such an experimental combo that calling it ordinary would be an insult: Authors of a stellar discography, they are often remembered solely for the beautiful and essential debut, "Tears Lake In Earth." It presents a torment of terrifically slow, psychedelic, and paranoid doom, highlighted by the female voice of Kari, so detached and cold that it seems alien, the first female lead voice in Doom. A journey into the realm of water, between oceanic waves, underwater melancholy, and minimalist solitude. Tracks like the Dionysian "Why So Lonely," the maritime and ridiculously elongated "Oceana," the ancestral "Shaman," and the sublime infinite flock of "Death-Hymn," which rightfully enter the history of the genre and the soul of those who listen to them.

I Third is such an experimental combo that to call them ordinary is an offense: Authors of a stellar discography, they are often remembered only for their beautiful and fundamental debut, "Tears Lake In Earth": It presents a torment of terribly slow, psychedelic, and paranoid doom, in which the female voice of Kari stands out, so detached and cold that it seems alien, the first leading female voice in Doom. A journey into the realm of water, among oceanic waves, underwater melancholy, and minimalist solitude. Tracks like the Dionysian "Why So Lonely," the maritime and stretched-to-the-improbable "Oceana," the ancestral "Shaman," and the sublime infinite flock of "Death-Hymn," which rightfully enter the history of the genre and into the souls of those who listen to them.

In the end, I find myself proud in the presence of the first chapter of the Norwegian band Heart Of Ages. It is still subject to extreme legacies, presenting us with a sharp yet moody and psychedelic Black Metal. It already showcases the typical trademarks of the band, in a sense presenting the embryo of the forthcoming spatial "Omnio," balancing between ice (Black) and cosmos. Alongside the sublime clean vocals, which are more masculine than feminine, to be honest, with a great theatrical touch, there are also moments interpreted in growl and screaming. Music that boils like a volcano in eruption, melting mountains. Among the tracks, I highlight the metallic feathers of the lengthy "Yearning The Seeds Of A New Dimension," the liquid sulfur of "The Divinity Of Wisdom," the city of ice, fire, and ash in "...In The Woods," and the subatomic waves of the title track. To conclude, I recommend it to all those who wish to explore a dark side of the Norse combo, while for all those who are still ignorant about their proposition, I suggest opting for the physical beauty of the subsequent "Omnio."