Green Carnation
Light of Day, Day of Darkness

Small premise: many metal enthusiasts are not yet familiar with Green Carnation, despite being a band highly acclaimed by the industry critics and having a notable fan following. One of the main reasons why bands like the one I'm discussing in this review do not achieve the notoriety they deserve is undoubtedly due to the fanatical 'fanboyism' of many who prefer to buy the latest/endless best-of from bands like Iron Maiden or Pink Floyd (just to give an example—let it be clear these are merely the first two that came to mind) rather than turning to 'fresh' music, such as that of Green Carnation.

Attempting to change this trend globally is probably impossible, given the commercial stratification behind these so-called 'historic' groups. However, changing this trend on a 'smaller' level, such as focusing on what happens on this site, is, in my opinion, possible. Getting specific and referring to what I've often seen here, I've noticed that when a review comes out, for example, on Dream Theater (the same clarification made for Maiden and Pink Floyd applies to them), there are dozens of people who dive headfirst into inappropriate comments, writing that the album has already been covered hundreds of times, etc. To those people, I would like to say: instead of continuing this behavior, avoid wasting your energy commenting on such reviews. Simply ignore them and turn your attention to albums and artists unknown to you. Otherwise, do not complain by stating that:

1) The same albums by the usual notable artists are always reviewed.
2) Current metal music is on a downward spiral?

Since I particularly disagree with the second point, the Norwegian band Green Carnation proves it with this sublime "Light Of Day, Day Of Darkness" (2001).

End of premise.

The discourse is simple. It is quite possibly the best metal music since Opeth's "Morningrise" (1996); the best progressive music since Symphony X's "V: The New Mythology Suite" (2000), and the best 'magnum opus' since Rhapsody's "Power Of The Dragonflame" (2002).

The Norwegian band Green Carnation is a post-death metal band, which means that in their records you will find a whispered, almost melancholic growl: but nothing more extreme, though (for example) influences from death, doom, and goth are evident in the chord progressions. But unlike 'other' post-death metal bands, Green Carnation's music is very 'progressive,' in whatever sense one might understand the term.

"Light Of Day, Day Of Darkness" consists of a single monumental and epic 60-minute track in which reprises follow one another, there are continuous changes of rhythm and composition all mixed with keyboards with 'wide-breath' sounds like I've never heard on a metal record. Everything is masterfully managed and constantly revolves around itself, thus making possible the evolution of melodies tasked with supporting the entire sound structure.
Beyond the five artists forming Green Carnation, there are nine 'guest artists' who contribute to making this composition brilliant, all aided by two choirs containing over 20 people. The work is very complex and well-textured, yet at the same time extremely accessible from the first listen. Note also that the album was recorded using 150 tracks and over 600 samples. The production is marvelous.

The mood of the album is, naturally, the dark one common to all death works. To give you an idea of what you'll encounter in this record, I'll make an example: imagine Dream Theater on anti-depressants; this is what you perceive after inserting the CD into the player and pressing play. But don't be scared: the composition is of such extreme breadth that you won't suffer from the 'negative side' of my previous example; and those with ears to hear should understand.

Speaking of the record, I must point out the presence of a long instrumental part that closely resembles what was done by the aforementioned in "Stream Of Consciousness"; and a warm female voice almost 'a-cappella' reminiscent of "The Great Gig In The Sky" by Pink Floyd. There are also some sung parts that closely resemble the vocal style of Tiamat, and several choruses made equally by adult voices and 'young' voices. The only element missing is the classic metal singer, but yes, they probably would have 'clashed' in this work; and in the end, the result is already stellar as it is.

One of the most beautiful sounds in contemporary metal music is represented (in my opinion) by dirty guitar riffs mixed with floating keyboards in the background. Well, you'll find tons of such sounds in this work; and to add variety to the soundscape, you'll also find many acoustic guitars on effected pads, string sessions, sax, and sitar.

Why give this work 5 stars? Try listening to it.