Apollyon_'s Last.fm Journal

2010: In Review

Wed, 26 Jan 2011 12:22:20 +0000

2009

A very, very belated effort, but good things come to those who wait. I'm going to shorten things this year, to a top 20. Some really good releases this year, quite a strong showing for post/avant-garde black metal.

20. NADJA - Autopergamene
19. A Forest of Stars - Opportunistic Thieves of Spring
18. Negură Bunget - Vîrstele Pămîntului
17. Man's Gin - Smiling Dogs

16. Agalloch - Marrow of the Spirit
One of the most anticipated albums of the year, and what may be a relatively low standing here. Sure, it's certainly not bad, but it doesn't measure up to past releases. I was disappointed by MotS, but hopefully it will grow with time.

15. Ramesses - Take The Curse
14. Rosetta - A Determinism of Morality
13. Ihsahn - After

12. Burzum - Belus
Again, one of the most eagerly anticipated albums to be released this year in both the black metal scene and the wider metal community. Varg is many things to many people, rightly or wrongly, but the quality of his music has always been high. A long awaited return to black waters, Belus is a fine statement of intent, or simply closure, from the man we love to hate.

11. Alcest - Écailles de lune
10. Urfaust - Der freiwillige Bettler
9. Anathema - We're Here Because We're Here
8. Gnaw Their Tongues - L'Arrivee De La Terne Mort Triomphante
7. Deathspell Omega - Paracletus
6. Enslaved - Axioma Ethica Odini

5. Hooded Menace - Never Cross The Dead
I don't often go in for straight up death/doom bands, but this album is an exception. Everything is simple, but done very well. It's loud, garish, has more mentions of the word 'dead' than a funeral directory, but it's just great fun.

4. Woe - Quietly, Undramatically
I band I was wholly unfamiliar with until 2010, Woe have really impressed me this year. This isn't a typical black metal album - it's no Darkthrone homage. Everything, from the production to the (excellent) vocals is unique. Absolutely top quality, 'thinking man's' black metal.

3. Shining - Blackjazz
The Norwegian Shining are a different beast to the Swedish outfit entirely. This album is a relentless storm of high energy metal - drums, harsh vocals, guitar, mixed with jazz music. It's not some half-assed 'jazz influenced' album with a little intro or exeunt containing a trumpet solo, this is a genuine, crazy mash up of the two styles. It works perfectly. The production is crystal clear, everything sounds fresh, and the album has a wonderful atmosphere of insanity and carnival.

2. Electric Wizard - Black Masses
Electric Wizard always provide. Their last few outings since Dopethrone have seemed weaker in comparison because a greater heaviness, with pleasing songs, could not be reached. On Black Masses, a more psychedelic approach is taken up, meaning the album stands out from EW's impressive back catalogue. All the hooks from Dopethrone can be found here - every song begs to be played again, and again...Twisted, as always, but addictive.

1. Crippled Black Phoenix - I, Vigilante
If it isn't Electric Wizard, it might as well be a closely related band. CBP's 'Endtime ballads' are a hauntingly beautiful example of post-rock with vocals. They remain undefinable, but that's just fine - three stellar albums later. If you listen to just one album from this year...

Well, there we have it. If you disagree, your opinion is wrong. Fact.

Metallica, Volbeat, High On Fire: Live.

Wed, 12 May 2010 20:03:14 +0000

Tue 11 May – Metallica, Volbeat, High on Fire

To set the scene - Metallica hadn't visited Belfast, or indeed Northern Ireland, in 22 years. The crowd was a mix of old guys, middle aged men in faded 'Master of Puppets' and old tour tops and the younger generations (like me) who were glad to have a huge local show to actually go to. Now, I respect Metallica for what they created, and view their first few albums in a good light, but I always thought they were a little 'lost' in their ways, although Death Magnetic was a good sign.

The Odyssey arena is pretty fantastic, and openers High On Fire were equal to the billing - starting with Frost Hammer, and quickly on to Rumours Of War, before going on a large guitar section. They may have played Snakes For The Divine at the end - I'm not overly sure. Matt Pike had definite stage presence - and a 10 (!!) string guitar, as pointed out by several on-lookers.

The crowd didn't react to High On Fire's brand of caustic, sludge/stoner metal as much as hoped, but they didn't seem to care. They didn't get the reception or sendoff they deserved really, and it was clear everyone was waiting for Metallica to arrive.

Volbeat are a band I've not so much 'never heard' as 'avoided'. Still, even though their songs blended together like so much mediocrity, they came across as genuinely nice guys - full of praise for the crowd, venue and their role as openers for Metallica. Their guitarists were highly entertaining, constantly pulling ridiculous poses at the crowds request. Still, everyone was waiting, clearly waiting, for Metallica.

It sums up Volbeat to say that their cover of Jonny Cash (quite surreal) and their closing Slayer cover were their best moments.

Rumour stated that Metallica would play at 9 'o'clock. And right enough, it was a 25 minute (roughly) wait, in which tantalising glimpses of flames were revealed during tests, and roadies ascended ladders to guide the numerous stage lights.

The lights dimmed, and after what seemed like around 10 arena-long Mexican waves (who started them I do not know), Metallica entered to a emphatic acceptance, with the heartbeat of opener That Was Just Your Life mirroring the state of any member of the crowd with a pulse. They got straight into it, and followed immediately with a very heavy sounding The End of the Line.

At this point Hetfield, milking the crowd, asked the usual 'Have you missed us? - lets see if you know the old stuff' banter, and For Whom the Bell Tolls and possibly (please correct me) Fade to Black were played, with the crowd singing to every word. With the aforesaid crowd already in their hands, Hetfield asked 'If we felt good' and promised us, Metallica would give us 'heaviness' before launching into a rendition of Sad But True that was far, far better than the Black Album version (better drum sound, I believe). The same could be said for Wherever I May Roam and the later, Enter Sandman.

The highlights of the performance were predictable - old favourites and classics - Master of Puppets led straight into my personal favourite, Blackened. The finale was, of course, Seek & Destroy.

One main thing that impressed me with Metallica was the effort they appeared to put into their performance. All multi-millionaires, they could easily have placated the crowd with even a lack-lustre performance, but they looked like they were at the top of their game. But, with... 30 years of so of experience, they should always put on a good show. God knows who taught Ulrich to drum - he spent half his time standing up, screaming, or a combination of the two. Rob (with an un-spellable surname) cut an impressive figure on stage. There was an element of fun - nearing the end of the show, Hetfield hit Ulrich with a well aimed ball (scroll down), to which Lars replied, 'You owe me a new tooth you motherfucker'.

Added to the great performance, the sound (at least for Metallica) was excellent, the flames, smoke/lasers built up the spectacle, and there were huge, lowering, rotating coffins. With lights on them. Bizarrely, there were also huge, Metallica emblazoned, beachballs falling from the ceiling at the end, and as a Liverpool FC fan, I hate the bloody things.

I believe their set-list was as follows, though there are a few probable mistakes.

That Was Just Your Life
The End of The Line
For Whom The Bell Tolls
Creeping Death
Broken, Beat & Scarred
Fade To Black
Sad But True
Wherever I May Roam
Welcome Home (Sanitarium)
All Nightmare Long
Master of Puppets
Blackened
One
Nothing Else Matters
Enter Sandman
Breadfan
Whiplash
Seek & Destroy

They left the crowd exhausted, voiceless and thoroughly satisfied. Hetfield constantly asked if we felt good - And the agreement was unanimous. They left to a standing ovation, and the hopeful (and slightly ungrateful) calls of 'Whiskey!'. Hope they don't take another 22 years to come back.

2009: In Review

Sun, 3 Jan 2010 15:03:24 +0000

2009 was a good year, certainly heavy in quantity, but what about quality? I'll note now that the order of items below are opinion and will most likely change. Disappointingly, it appears I listened to exactly 49 albums this year - one short of having a top 50. It should also be noted that some of the albums here I do not rate highly, such as albums #48 and #47, and they appear here to give a complete view of last year in music (for me).

49. Lamb of God - Wrath
48. Cannibal Corpse - Evisceration Plague
47. Daath - The Concealers
46. Obscura - Cosmogenesis
45. Blindead - Impulse
44. Vomitory - Carnage Euphoria
43. Absu - Absu
42. Samael - Above
41. Paradise Lost - Faith Divides Us - Death Unites Us
40. Asphyx - Death... The Brutal Way
39. Slayer - World Painted Blood
38. God Dethroned - Passiondale
37. Altar of Plagues - White Tomb
36. Kylesa - Static Tensions
35. The Prodigy - Invaders Must Die
34. Ahab - The Divinity of Oceans
33. 1349 - Revelations of the Black Flame
32. My Dying Bride - For The Lies I Sire
31. Nile - Those Whom The Gods Detest
30. Shining - IV: Klagopsalmer
29. Napalm Death - Time Waits For No Slave
28. Ulcerate - Everything Is Fire
27. NADJA - Numbness
26. Ephel Duath - Through My Dog's Eyes
25. Lifelover - Dekadens
24. November's Doom - Into Night's Requiem Infernal
23. Blut aus Nord - Memoria Vetusta II - Dialogue with the Stars
22. A Storm of Light - Forgive Us Our Trespasses
21. Sunn O))) - Monoliths and dimensions
20. Heaven and Hell - The Devil You Know
19. NADJA - When I See The Sun Always Shines On Tv
18. Gnaw Their Tongues - All the Dread Magnificence of Perversity
17. Khanate - Clean Hands Go Foul
16. Shrinebuilder - Shrinebuilder
15. Swallow The Sun - New Moon
14. Pelican - What We All Come To Need
13. Amesoeurs - Amesoeurs
12. Fen - The Malediction Fields
11. Om - God Is Good

10. Cobalt - Gin
For any album, this is outstandingly composed. It's a very varied album, but one with strong black metal roots, which show mainly in the drums and vocals. It's hard to place a name of Cobalt's sound - a popular description on their shoutbox is 'Black metal Tool. Challenging music - and very worth picking up.

9. I Shalt Become - The Pendle Witch Trials
Criminally under-rated. To sum it up - it's very, very good depressive/atmospheric black metal from the UK. The album has no pretensions, just ample amounts of great black metal. Well worth finding, it has all the hallmarks of becoming a real gem.

8. Isis - Wavering Radiant
One of the earliest releases of 2009, and it set the right tone. It's a really great album, gives an excellent atmosphere and the vocals are very well done. My only comment is that the songs become slightly boring as the album wears on. Still, one of their best.

7. Baroness - Blue Record
The follow up to Red Album, this album serves as a showcase for Baroness's talent. The songs ooze with life, and the album carries a vein of vitality throughout that gives it a unique flow. The music is heavy, but not overly so - it forms a perfect back drop for John Baizley's grating vocals. There are some genuine moments of brilliance... Jake Leg!

6. The Axis of Perdition - Urfe
Where to start. It's a huge album - two discs (The Grief of The Unclean and The Great Unwashed). The content is mainly ambient soundscape, with spoken word from Leslie Simpson throughout. Very briefly, the album chronicles a man, lost in what seems to be a hellish, urban nightmare. This man runs, aware of demons at the edge of his reality. He relives memories of a hospital, or at least some sort of twisted experiment. What is the meaning? It is unclear - perhaps the demonic city was a dream, a side effect of the man's medical experiments. Maybe the city is a metaphor for the decay of our urban society. Who is Pylon? What is this 'axis'? Take from it what you will, maybe it's just a good story. This will disturb you. Ambitious certainly, but utterly excellent, hauntingly so. When you're out, we're in.

5. Jesu - Opiate Sun
More of an EP than an album, but as before, much of Justin's best music is hidden away on four-track releases. This effort has received flack for it's melodic, shoegaze like approach. Maybe people can't get over the Heartache EP just yet. Fuck them. This is genius. Can't wait for another full length.

4. Anaal Nathrakh -
Anaal Nathrakh have been a band of change recently - of their music, and their fans' opinions. ITCOTBW is an amalgamation of the sheer brutality of The Codex Necro era with the more structured songs and choruses of more recent albums. This album may fuck with your ears, but rest assured - you'll hum along too.

3. Candlemass - Death Magic Doom
Unbelievable effort - the songs are devastatingly simple, but hit you with the force of a tonne weight. Actually, this would get on the list simply for The Bleeding Baroness, but it's full of really iconic doom songs. If you're new to Candlemass or doom - look no further.

2. Mastodon - Crack the Skye
An album that has appeared, and has won many lists and polls this year, and it will come second here. I wasn't a fan of Mastodon before this year, and the sheer craft and ambition of this album swayed me. Great riffs, great vocals, and great songs.

1. Katatonia - Night Is The New Day
Perhaps I'm biased; this year was the year that Katatonia really grew on me, and that they released a new album this year only added to it. It is with an air of predictability for myself that I give Night Is The New Day the top spot, but it is an incredible album. Full of melodies, highs and lows, gloom and renewal. It's a less polished, but much more emotional Katatonia album. To quote a magazine feature on this album - 'Lets hope they never cheer up'.

So, overall a good year. Some great new bands, and some old masters returning in style. I still have a few albums to obtain, such as Moss 'Tomb of The Blind Drugged' etc. Lets see...

Best EP: Jesu - Opiate Sun
Biggest disappointment: Shining - IV: Klagopsalmer
Worst album: Lamb of God - Wraith
Over-hyped: Absu - Absu

Now, I'll leave you with the best song of 2009.

A belated happy new year to all.

Darkthrone Deathspell Omega Metallica Megadeth Trivium Carcass Iron Maiden Opeth Sanctity Satyricon Stonesour Stone Sour Testament Venom Anthrax DevilDriver Xasthur Moss Marduk Darkspace Agalloch Electric Wizard Black Sabbath Dark Tranquillity Panic Cell Down Godflesh Leviathan Deicide Morbid Angel Carpathian Forest Earth Fear Factory Slipknot Coil Pain Divine Heresy Head Control System Meshuggah Thorns Cynic

X Factor Killing Music?

Sun, 13 Dec 2009 18:57:11 +0000

Okay, first off, dramatic title, but I know myself that on this website I skim down artist pages, and only bold titles grab my attention. Hell, there's a good reason for it; journals here have went mostly to piss since every user and their mate decided it would be a good idea to post 'My top albums' lists ad infinitum.

It's been a while since I vented my thoughts, and looking through past journals and comments, it invigorated me, to an extent where I wish to share something that's been driving me crazy for quite a while.

The X-Factor, never off our red-banner tabloids (What's Afghanistan matter when Tiger is about, eh Sun?) or TV screens was angry to discover this week that the funk/rap metal band Rage Against the Machine's classic song Killing In The Name had been chosen to spoil the fun.

On Facebook, the group is hundreds of thousands strong, a casual look at the shoutbox here on Last Fm tells us a similar story, and every rock/music blog and magazine has been shouting about it. Now, I'm all for a shake up of the mainstream charts and system. It's refreshing to see the 'alternative' music scene get their share of the publicity pie.

What annoyed me was that arrogant, smug bastard Simon Cowell's reaction. For all his millions, that man has no class - he argued that such an online movement was 'stealing' his TV show competitor's chance at a big hit. The way he said it made him sound as though he feels that every Christmas, the X-Factor winner has a divine right to a Number 1 hit. His shown has been denying EVERYONE for YEARS.

If you look at what I listen to, you'll realise I've never cared for what's top of the charts, I couldn't name you a Mika song and I detest Nickleback. That's all and good, everyone has subjective tastes. But what I hate is programs like the X-Factor, that manufacture talent, that water down original versions, pollute any sense of artistic meaning in music, and ram their own views down the throats of millions. This show is an abomination; a macabre mixture of the freak-show auditions, ratings squeezing rounds and then what is usually a vastly overrated, unprepared winner. How many have swam, not sank? JLS? I personally wouldn't call that talent, but each to their own.

In short, The X-Factor, and to a certain extent shows like 'I'm a Celebrity...' and 'Big Brother' are mindless, inane shows, devoid of meaning or a context in reality. Every year, I watch masses of people turn into cogs in a greater industry machine. Call me a typical black metal 'Grim' person but it disgusts me.

Buy the RATM single, hell, buy two. It's about time such trivial filth gets a slap in the face, and the X-Factor has got one, whether they get their coveted number one or not. I just hope that in result of this competition, people stop taking what they are given for granted, and look for some real, tangible meaning in what they listen to. I know some people will argue otherwise, but I can't imagine being emotionally connected to Gimme More without being a little shallow. When with others, particularly in a school, or social environment I feel such disparagement at what goes for meaningful music in popular culture.

Is there a difference between a musician and an artist?

PS: Hope that was coherent and better than another '20 Questions about your top 50' journal. Opinions are welcome. Thanks.

Ulver Katatonia Opeth Slayer Sodom Anaal Nathrakh Metallica Exodus Arcturus Mastodon Jesu Isis Neurosis Anthrax God Is An Astronaut Anathema Paradise Lost DevilDriver Carcass Darkthrone Deathspell Omega Dark Tranquillity Down Head Control System Iron Maiden Napalm Death Nile Panic Cell Sanctity Satryicon Abigail Williams Slipknot Trivium Stone Sour Testament Venom Marduk Burzum Solefald Ihsahn Audioslave Godflesh Shining Lifelover Gnaw Their Tongues Suicide Silence Waking The Cadaver Bring Me the Horizon Evile Pantera Necrophagist Deicide Cannibal Corpse Entombed Daath The Bloody Beetroots Angels & Airwaves blink-182 Mae OneRepublic Darkthrone The Beatles Radiohead Sleep Om Intronaut Snow Patrol The Killers Britney Spears Lemar Lady Gaga Muse Oasis Lamb of God Leviathan Meshuggah Morbid Angel Agalloch Christina Aguilera Michael Jackson Mariah Carey Manic Street Preachers Ian Brown P!nk Michael Buble Alexandra Burke Earth Sunn O)))Cobalt Dimmu Borgir Paramore My Chemical Romance Celine Dion Dashboard Confessional My Bloody Valentine Bullet For My Valentine Avenged Sevenfold Nirvana Madonna Robbie Williams Susan Boyle ABBA Pink Floyd Black Eyed Peas Kanye West Taylor Swift Jay-Z Eminem 50 Cent Nas Darkspace Rosetta Scar Symmetry Solitude Aeturnes Textures Taake

Didn't want to sound pretentious, and for those who tl;dr'd...

Review: Night Is The New Day

Mon, 9 Nov 2009 23:12:09 +0000

Well well, where do we begin...

The expectation. I've been waiting for this album for at least two years. I'm sure the feeling was mutual for many others. And The Great Cold Distance is by no means an easy act to follow.

The hype. The album was built up, the down-loadable single, Forsaker, the mini-site, the eventual track-listing, Mikael Akerfeltd's comments....

The eventual goods? For my humble opinion, read on.

Night Is The New Day - Tracklist
1| Forsaker
2| The Longest Year
3| Idle Blood
4| Onward Into Battle
5| Liberation
6| The Promise Of Deceit
7| Nephilim
8| New Night
9| Inheritance
10| Day And Then The Shade
11| Departer

Track One - Forsaker
This was the first hint of what Katatonia had created on this album. Dark, pulsating and lively, this song is like My Twin mixed with Dave Lombardo.
As we can expect from Katatonia, it's in one word 'majestic'. Great album opener, fantastic melody and melancholy. This song is right up there with other Katatonia album openers - Leaders, For My Demons and so on, and it shows Katatonia are again an evolving, and at this point, rather angry beast. 8/10

Track Two - The Longest Year
They don't let us down. The Longest Year keeps up the high standards of the opening track, and again reminds me of a mix of the TGCD style, and a more personal, metallic sound that seems constant throughout the album. The chorus and bridge here are first rate. The lyrics again are of such a high standard. One of the best songs on the album for me. Would highly recommend. 8/10

Track Three - Idle Blood
I may as well review the Damnation album by Opeth, because this is uncanny. Jonas sounds like his friend Mikael so much here I mistook them! Still, it's a pleasingly slow, melodic song, and it cools the album down after two fast (For Katatonia) and slick sounding songs. It's nice. 8/10

Track Four - Onward Into Battle
I'll start by saying a lot of songs on this album remind me of Unfurl. This is one of them, mainly because of Jonas's vocal delivery. That slow, saddened, thoughtful almost, voice is amazing. Some quite refreshing guitar riffs are present too. Great song, could well become a favourite. 7/10

Track Five - Liberation
Another early favourite. Starts with the urban-esque beat found in Unfurl (again) in the background, but soon emerges as one of the heavier tracks on the album. The song breaks into heavy chopping riffs, and a pick up in tempo, but again, recedes. Picks up later, with a real feel of Increase and The Itch, among other TGCD songs. The lyrics are delivered well, and quickly by Jonas. Solid song. 7.5/10

Track Six - The Promise of Deceit
Interesting intro to the song - Jonas sings in a removed, echo like voice, soon breaking into more melodic singing. The song builds and builds, and as Jonas sings 'When did you come to think...' the song gets heavier. A pleasing chorus follows, and the song calms down somewhat, then builds again after a pause. The lyrics here are direct, and provoking. Despite the dark subject matters, you'll sing along. 7.5/10

Track Seven - Nephilim
Possibly another early favourite. Nice intro, spellbinding vocals. Katatonia are really in their groove by now, and this is another hopeless, bleak, but amazing song. The chorus is delivered with a slow, crushing drum beat, with Jonas's long, emotive vocals soaring above the music. Interesting guitar as the end of the song nears keeps us in touch. 8/10

Track Eight - New Night
Very much similar to TGCD era songs here. The rhythmic beat of the drums, and sad, laid back guitar work is a welcome hail-back to songs like July. The song is very finished, with the flourish of a keyboard piece in the background adding to the sound. The song stops and starts, going between building and heavy. With fear of repetition of myself, great lyrics. A song to be deciphered, and that will grow on me. 7.5/10

Track Nine - Inheritance
Jonas is incredible here. His voice fades in and out of melancholic guitar, a slow beat played in the background by Liljekvist on the drums. The vocals pause for a small symphonic bridge, and the song is slightly faster as it moves on. Another pause, then the vocals rejoin us. A nice guitar riff is to be heard near the end too. A good calming pause as we leave several heavier, dynamic songs behind. 8/10

Track Ten - Day And Then The Shade
Another single in the making. Great melody here, the drums, guitar work and of course the vocals immediately grab our attention, with the tempo change after Inheritance obvious. As the chorus starts, the lyrics of the song 'Every waking hour...' are drilled into our minds. Overall, a fast, polished, very slick sounding song. And another one with very good delivery and lyrics. Great, great song. 8/10

Track Eleven - Departer
When I first heard it I thought - this is Unfurl part two, more so than ever before on this album. A slow, ambient intro for around 40 seconds leads to thoughtful, sad vocals, complemented nicely by pleasing keyboard work. The song gains momentum, but is all just a stage for Jonas's vocals. The tempo changes again, and as Krister Linder (guest vocals on this song) sings:

Brother
In your eyes I was the stronger

We realise we are being given such an emotional piece, and journey from this band. A fitting, introspective end to a fascinating album. A really fitting album closer. Perfect. 10/10.

-Remember to try bonus song Ashen -

All in all, this album is similar to The Great Cold Distance, but is not as well rounded, and does not contain the huge singles (July, My Twin...) of TGCD. This is rawer, but polished, and more refined. The album is hopeless, apathetic in places, but still has that unique, uplifting feel to it that, upon inspection, every Katatonia album has. To start with, try Forsaker or Day And Then The Shade. It will grow. Watch this space. This is a potentially huge album.

Overall, a good initial 88/100

Also read:
Katatonia: A Discography Review
Revised: Ulver, A Discography Review

Katatonia My Dying Bride Ulver Anathema Agalloch Darkspace Darkthrone Paradise Lost Iron Maiden Anaal Nathrakh Opeth October Tide Swallow The Sun Testament Fen Tool Cult of Luna Isis Neurosis Head Control System Daath Dark Tranquillity In Flames Soilwork Iron Maiden Metallica Slayer Down Darkspace Darkthrone Nile Deicide Satyricon Panic Cell Venom Deathspell Omega Diametragon Lifelover Earth Sunn O)))Shining

Katatonia, A Discography Review

Tue, 13 Oct 2009 21:47:44 +0000

This is a review I've been contemplating for a while now. Katatonia are a band of several phases, and mean lots of things to lots of people, but here is my opinion, which is by no means definitive. Your opinions are welcome too!

Discography
Jhva Elohim Meth... the Revival |1992
Dance Of December Souls |1993
For Funerals to Come |1995
Brave Murder Day 1996
Sounds of Decay 1997
Saw You Drown |1998
Discouraged Ones |1998
Tonight's Decision |1999
Tonight's Music | 2001 (November)
Teargas | 2001 (February)
Last Fair Deal Gone Down | 2001 (May)
Viva Emptiness | 2003
The Black Sessions | 2005
The Great Cold Distance | 2006
My Twin, Deliberation, July | 2006, 2007
Live Consternation | 2007
Night Is The New Day | 2009

Jhva Elohim Meth... The Revival

This was the EP version of the demo tape (which did not have the '...The Revival' in it's title). We see some songs which re-appear later on in various forms such as Without God. Overall, it's a great demo, and... alas, for the days Jonas sounded so brutal. Good, solid debut. 70/100

Dance of December Souls

This album is Katatonia's first 'proper' try. These were still the days were Jonas sounded like Mikael Akerfeltd's chain smoking alter-ego, and for Katatonia, things were looking good. This album is packed with death/doom classics, and should be a must have for doom fans. To start - In Silence Enshrined is a good example of the album. The sound is morbid, with mid paced drumming, gloom and doom riffs and fleeting changes in tempo. Heavy stuff. 78/100

For Funerals To Come

An EP, four tracks. Even though it is short, do not disregard it. Many of Katatonia's gems are stuck on EPs. This makes pleasing listening for fans of death/doom again, with the excellent Shades of Emerald Fields and For Funerals to Come standing out. 72/100

Brave Murder Day

In one word: Classic. Brave Murder Day came after Katatonia's future was thrown into doubt by vocalist Jonas Renske's voice issues (meaning no less than Mikael Akerfeltd handles death vocals here). This album is literally 6 amazing songs. The album does seem to hint slightly at Katatonia's future, with Jonas only contributing clean vocals. Even so, songs such as Brave and Day make this album unforgettable. There is no stylistic change yet, and this album is simply the best album made by Katatonia during their doom/death period. The album is faster, and has better harsh vocals than previous efforts, with small melodic sections such as 'Day' giving this album a flowing brilliance. 85/100

Sounds of Decay

A strange release now. The album artwork is from the cult film 'Begotten', and Jonas Renske's voice is not aired, being replaced by Mikael's once more, though this time in their entirety. The EP is worth picking up, as it is Katatonia's last affair with all things death/doom. 70/100

Saw You Drown

This is a true find, as it is sadly now very rare (Today the EP is a true collectors' item and was recently issued on clear/blue wax 10" LP in 1000 hand-numbered copies). It is a gem however. Two of the tracks - Saw You Drown and Nerve are later found on their next album (and will be reviewed then) and the song Scarlet Heavens was a track on the 1996 10'' split demo. The remaining track Quiet World is therefore very rare, though file sharing has reduced this considerably. All in all, this is Katatonia beginning to change. It's still very doom laden, but with refreshing (if depressing) clean vocals, this is well worth your time. 80/100

Discouraged Ones

A personal favourite. From the opener I Break on, this is a spellbinding, molten slab of depressive rock music. Jonas Renske's lyrics are... enthralling in their nihilistic, hopeless style. Katatonia appear as if their change in style was effortless, the album flows and ebbs, sucking the listener into it's despairing grasp. On their own, several songs are just stand out quality, such as Deadhouse, Saw You Drown and Cold Ways. Katatonia now seem to be a channel of Renske's thoughts, as he considers depression, loss and depths we can barely imagine. A hypnotic, lyrical and musical masterpiece. As if speaking on the new direction of his band, in Saw You Drown, Jonas states;

'To leave this all behind
The only way to stay. 95/100

Tonight's Decision

This was my first Katatonia album. All cliches aside, I remember getting the CD, putting it on, sitting with the lyrics book open and being really taken aback by how... good it was. It remains an album very close to me, as the lyrics at times seem to mirror my experiences, and I'm sure many others share this experience.
Stylistically, this is less heavy, and more melancholic than previous albums, yet that may even add to the power of the vocals, which are delivered typically well by Renske. The vocals do sound different, and certainly a lot rawer and less refined, though more emotional here. There is no attempt at a lively sound, this is bleak, yet very, very beautiful. With songs like I Am Nothing, and the Jeff Buckley cover Nightmares by the Sea, who can complain? 95/100

Tonight's Music, Teargas

Two EPs showing the style of the next full length album, with the song Teargas in particular a stand out. Again, these two short EPs contain tracks that are rare - and are rewarding for fans. 75/100

Last Fair Deal Gone Down

This is another great album. Far, far more polished production here is a hallmark of later Katatonia. The overall structure of songs and their delivery are a lot more pleasing to a wider audience, yet Katatonia's unique melancholy and depressive style are still very present. At times, the new clean sound is simply a stage for Renske's disturbing, dark lyrics. Some excellent songs here - Teargas, Passing Bird and Chrome are just three of many great, flowing yet still very meaningful songs. Much pleasure can be found from repeated listens, as the lyrics and themes of the tracks truly come through. 90/100

Viva Emptiness

Another astonishing album. Simply breathtaking, as the first three songs pound past (Ghost Of The Sun, Sleeper, Criminals). Aggression is here, oh yes, but so is the regretful, thoughtful prose of Renske's dark lyrics, as he shows us the window to his inner demons. Intriguing songs here are abundant, such as Evidence in particular. Dark, heavy, excellent. Katatonia have found another sound. 92/100

--Black Sessions, best of. --

My Twin, Deliberation, July

-Apologies, other images would not fit and messed up the layout-

These three EPs (or just singles really) are gems. The remixes such as the In The White (urban dub), and B-Sides from the next album are excellent. On July, Unfurl stands out. It is rare that one finds such an expressive, beautiful, and yet so simple a song, as we are held in rapture by Jonas's vocals over guitar and an simple beat. Another notable B-Side is Code Against The Code. Overall 90/100

The Great Cold Distance

What words do it justice? Inspirational? Masterwork? This is the pinnacle of Katatonia thus far, all the refinement of Viva and Last..., while the themes and lyrics remain so soul wrenching and personal that you appreciate the songs even more on each listen. There is a sense of urgency to Leaders shown in Jonas's rare shout, and to The Itch. This is an album of great tracks, great lyrics, melodies, everything. In The White, Deliberation, and Follower are the songs I will cherry pick, but each song is stand out brilliance. The songs meanings, like all Katatonia songs, are food for thought, and every person can gain their own meanings accordingly, making for a perfect, dare I say it, album. This is the sound of a band doing what they were born to do. My score however reflects that I personally got sick of the album after around 60 play throughs in a week or so! 90/100

Live Consternation

A great live album, superb sound quality. Mainly new songs from TGCD, but several old favourites like 'Cold Ways' and Right Into The Bliss. For fans. 85/100

---Night Is The New Day Review---

Overall Top Ten Katatonia Tracks

Katatonia is:
Jonas Renkse
Anders "Blakkheim" Nyström
Fredrik "North" Norrman
Mattias "Kryptan" Norrman
Daniel Liljekvist

Related side projects/bands
October Tide
Bloodbath
Opeth

I hope that was coherent and helpful. I love the band, they have been such an influence on my life, outlook and musical taste. Comment, share your thoughts! I'll leave you with this.

Hand of a leader
Bleached by snowfall
Position is a drug
The great end is sweeping in

The dark will rise
Abandon your freedom
Give up the right to find the true self
Forsake your own reasons

Forsaker

Also read:
Ulver review
Night Is The New Day Review

Paradise Lost Anathema My Dying Bride Swallow The Sun Dark Tranquillity Solitude Aeturnus Ulver Agalloch Sunn O)))Lifelover Isis Jesu[GodfleshAnathema Iron Maiden[DarkspaceTool[In Flames

Revised: Ulver, A Discography Review.

Tue, 14 Apr 2009 13:18:01 +0000

Note; I made a hasty, and rather... well, shite review earlier down the line, which you can find here.

Now, Ulver is a band that will always divide opinions among music listeners, lovers and passers by. Hell, Ulver divides the the opinions of its own fans with every release. I'm sure you all already know, but this is the part of a review where I'm obliged to give a brief over view of Ulver for the unfortunate few who haven't got a clue (Eh?).
Ulver, Norwegian for 'Wolves', used to be a black metal band, releasing their first album in 1993. Bergtatt - Et eeventyr i 5 capitler (Spellbound - A Fairy Tale in 5 Chapters) was their first release, a folklore influenced black metal album, written in archaic Danish . Since then, the band has moved from black metal, to folk, to black metal again, and onwards into the realms of avant-garde and minimalist ambient music.

Discography
Vargnatt | 1993, demo
Bergtatt | 1993
Kveldssanger | 1995
Nattens Madrigal | 1996
Themes From William Blake's The Marriage Of Heaven And Hell |1998
Metamorphosis | 1999
Perdition City (music to an interior film) | 2000
Silence Teaches You How To Sing | 2000
Silencing the Singing | 2000
Teachings in Silence | 2002
Lyckantropen Themes | 2002
1993-2003: 1st Decade In The Machines | 2003
A Quick Fix of Melancholy EP | 2003
Svidd Neger | 2003
Blood Inside | 2005
Shadows of the Sun | 2007
War of the Roses | 2011

Vargnatt

This was Ulver's first album. It's a raw, traditionally produced slab of black metal. Folk influence is there, but this is more akin to 'Nattens Madrigal' (to use it's short name) than it is to 'Bergtatt...'. If you like your black metal, this is a great, solid example of early Ulver. If I had to rate it from personal taste, it's getting around 60/100.
Playable on Last. Fm
Tragediens trone

Bergtatt

Fans and critics alike will say that this is the peak of Ulver's black metal phase. Unlike their peers in the the early Norwegian black metal scene, Ulver began to incorporate folk music into their sound, which has and is influencing folk metal as a genre even today. The lyrics are written not in their native Norwegian, or even English, but in archaic Danish. The album does not have the raw sound of Vargnatt or Nattens Madrigal, but has a rich, melodic feel. Garm uses clean vocals possibly more than black metal's screeches here. The atmosphere created here is almost thick enough to reach out and hold. Imagine a forest at dusk, the wind blowing through the leaves of huge trees, lazily, gently. The water ripples and flows down small streams. This is what Bergtatt is - it is the essence of nature, music for forests and grass. 89/100.
Playable on Last. Fm
Capitel IV: Een Stemme locker

Kveldssanger

We leave black metal behind here, for Kveldssanger, Ulver's folk album. It's two years on from Bergtatt, and Ulver have decided to experiment. Kveldssanger is an attempt at a classic folk album, in which Garm uses only chanted, choir like vocals. The album is, again, thick with atmosphere, and possesses a melancholic, peaceful beauty. This album used to be my least favourite Ulver album, so I will say, let it grow on you. The album is an amazing work. More amazing is the band's negative attitude towards it, describing it as an immature attempt at a folk classic. Garm himself says he was not dissatisfied by the album, but by the performance in it. It would be worthwhile to mention that the album has a certain black feel to it on occasions, but the album makes heavy use of strings. And on the side, the cover artwork is outstanding. 82/100.

Nattens Madrigal

I'll note now that this album is all streamable on Last. Fm. And that Kveldssanger is not. Nattens Madrigal is arguably one of the finest raw black metal releases of all time. This album is up there with Darkthrone's classic A Blaze In The Northern Sky, if that puts it in perspective. For fans of classic Norwegian blackness, this is a must have. It is also, however, understandable that many fans prefer Bergtatt, because this album lacks the strength in depth that Bergtatt has in abundance. There is much to be said for the raw emotion in the vocals and screeching guitar here too though. It's a great album for new comers to black metal, and hardened fans. It goes to show that people should never forget that when Ulver played black metal, they played it very well. For me, it's a solid album, deserving a 76/100.

That concludes Ulver's black metal trilogy (inc. Kveldssanger).

Themes From William Blake's The Marriage of Heaven And Hell

Now, simply consider this album. This album is a musical adaption of Blake's book, 'The Marriage of...'. The album contains the book's plates, which the albums lyrics are based on and around. The album contains guest vocals from Ihsahn, Samoth and Fenriz. Even so, this album received a huge backlash from the black metal community and critics, for its abrupt change in style. This album fuses elements of black metal, drum and bass, avant-garde and spoken word (the vocals have huge chunks of poetic recital) to make an overly upbeat ambient theme. The linear notes of the album contain a statement from the band, said in expectancy of the backlash, that they 'had never been part of the so-called 'black metal' scene'. More significantly, this album is the first to show Ulver's love of the bizarre, experimentation and their signature flourish of creativity. Music wise, the album is a wholly different experience to the norm, and is rewarding after many listens, the sign of a great album. Time will fly by as you listen to this. 84/100.

Metamorphosis EP

This album follows the avant-garde journey of Themes, and acts as a gateway to the more electronic sound of future releases. Released before Perdition City, this, now hard to find EP is a venture into electronica. It consists of four tracks, and lasts 25 minutes. The EP is full of life, and is worth a listen. Try 'Of Wolves and Vibrancy'. 75/100

Perdition City

This album is the first real master-work; this is where many people (perhaps wrongly) look and say, 'That's when Ulver changed'. This album is very much an avant-garde album, with strong electronic influence. The album is breathtaking in parts. Too appreciate it fully, consider listening to it through headphones, at night, on an empty road or street. Then you realise that the album follows a city, deserted, a ghost town. It explores that - in a city, you are lonely. I'd also like to reference to the huge Coil influence here. The production is harsh, clean and clear. The trip-hop beats are sonic-ally pleasing. Garm's voice is truly dynamic, he sounds young and almost vulnerable here. The album is best listened to as one; in full, but if I was to cherry pick a song or two:

Lost in Moments
Porn Piece or the Scars of Cold Kisses
Nowhere/Catastrophe

This is an album that will flow past in one movement. It captivates, it holds, it demands respect. Easily the album of 2000, and a solid 92/100.

The Silence Trilogy: Teachings In Silence

This album is a compilation of the two other Silence related EPs, Silence Teaches You How to Sing and Silencing the Singing, back-to-back. It sounds however, like it's the same EP. This is Ulver's first descent into purely ambient work, and leads to their exploration of film scores. It's worth a good listen too, with some long, but excellent tracks that make it a great introduction to ambient music or a worthwhile addition to a fan of the genres collection. Try 'Not Saved', which has since been featured in the cult documentary Until The Light Takes Us. An interview with Garm is also featured (briefly) in the film. 79/100.

Lyckantropen Themes

A series of tracks titled as 'Theme I-X', these compositions are the soundtrack to the Swedish short film Lyckantropen. Ambient. 70/100.

1993-2003: First Decade In The Machines

This is a tribute album to Ulver marking their 10th year as a band. The album is made up of remixes, showing various artists, including Merzbow's take on Ulver. Ulver themselves feature on the track 'Crack Bug'.

A Quick Fix of Melancholy EP

Another EP, this time in seeming direct relation to the later release of 'Blood Inside'. This is another electronic avant-garde sounding effort, but it has a richer, fuller sound than Perdition City's harsh, empty tones. Some very good tracks on offer here. For a fan. 80/100.

Svidd Neger

The soundtrack to the same-titled film. More ambient, akin to the previous Lyckantropen Themes. However, this is more listenable on it's own, as an Ulver album. Some highly pleasing sounds created. 82/100.

---'Uno' Unofficial Soundtrack would be here, 2004---

Blood Inside

I've read, and of course heard, that this album seems to focus on hospitals, the panic, the adrenaline rush, the impersonal, cold and dark corridors, the clean areas where people come to die. it explores the lighter aspects of activity from Dressed in Black to Christmas, then perhaps the darker aspects and consequences up to It Is Not Sound and The Truth. From In the Red on, we are shown the chaos, the panic of the hospital, as if it was being personified. The album crescendos beautifully in electronic noise, pulsating until the very last note. The album starts, slowly, as does nearly every song, and build in glorious electronic noise. Garm's vocals are varied, from deep to high, and it's a great performance from him. Real drums are welcomed. This is a gem of avant-garde in anyones library. Again, headphones will make this seem almost terrifying late at night. Moving, pulsating, energetic, flexible, Ulver at its dark best. The album, according to Garm, was refined to the point were he was glad it was over, at it shows in it's sheer quality, its depth, the sense that everything is measured. Overall, 97/100

It Is Not Sound

Shadows of The Sun

We reach the end of the road, our journey through Ulver's discography nearly complete. It is fitting that we leave such a fine album for last. Shadows of The Sun is, in a few words, peaceful, calming and stunning. I can still remember hearing it for the first time. Running to the computer with the CD, the delivery packet lying in discarded shreds on the floor. Listening to it was a pleasure. Gentle, sloping soundscapes of ambient music, with Garm's deep (very deep, layered) voice washing over the top. The sax in All the Love is heart wrenching, the lyrics throughout are Ulver's best. The Black Sabbath cover, Solitude, is amazing. The album has many stand out tracks; Eos, Like Music and Funebrae included. This is a must have album for anyone and everyone. Imagine sitting on a black coast of ash. A river of molten gold pours past into a sunset of rich red and brown drawn in lines across the sky. Beauty. 94/100.

Overall Top 10 Ulver Tracks:
10| It Is Not Sound
9| Not Saved
8| Your Call
7| Tomorrow Never Knows
6| Funebrae
5| All the Love
4| Christmas
3| Nowhere/Catastrophe
2| Solitude
1| Lost in Moments

Ulver is:
Kristoffer Rygg (Garm)
Jørn H. Sværen
Tore Ylwizaker

Side Projects/Related:
Arcturus
Borknagar
Head Control System
Ved Buens Ende

That's all. I hope that I didn't drag on... I leave you with a quote from Garm.

'Ulver is obviously not a black metal band and does not wish to be stigmatized as such. We acknowledge the relation of part I & III of the Trilogie (Bergtatt & Nattens Madrigal) to this culture, but stress that these endeavours were written as stepping stones rather than conclusions. We are proud of our former instincts, but wish to liken our association with said genre to that of the snake with Eve. An incentive to further frolic only. If this discourages you in any way, please have the courtesy to refrain from voicing superficial remarks regarding our music and/or personae. We are as unknown to you as we always were.'

I've Turned Emo Now

Tue, 9 Sep 2008 19:01:33 +0000

I would explain why, but no-one understands me at all...no one ever understands me...

Here we go now:My Chemical Romance Fall Out Boy Paramore 30 Seconds to Mars Panic at the Disco Panic! At the Disco Feeder Coldplay Tokio Hotel Paris Hilton Avenged Sevenfold Bullet For My Valentine Slipknot Korn Radiohead Metallica Evanesance Bloc Party Bright Eyes Red Hot Chilli Peppers Enter Shikari The Verve Cannibal Corpse Death Slayer Megadeth Exodus Testament Ulver Black Label Society Meshuggah Pantera Dimmu Borgir Cradle Of Filth My Dying Bride

Pitchfork.com is for wankers

Sat, 7 Jun 2008 12:39:59 +0000

Remember those two goth girls you knew back in high school. You know, the ones who hung out at the mall on weekends, drinking Starbuck's coffee and eating McDonald's? Well, Perdition City, the new album from Christophorus G. Rygg and Tore Yiwizaker (aka Ulver) is a lot like that. We're talking lite goth-industrial mixed with smooth-jazz and lame electronic music (the kind so bad it's actually deserving of the derogatory term often used by chain music stores: "electronica"). In other words, total and utter crap.

To be fair, the first few seconds of Perdition City offers some potential. The first track, "Lost in Moments," opens with a driving drum-machine beat heavily treated in reverb, reminiscent of the sort that often found its way into early 70s psychedelia. After about 20 seconds of this, the beat drops out, and it's contrasted with a few sparse piano chords, and random vocals-- likely from an ill-tuned radio-- in the distance. All's well so far. And then comes the saxophone. Guest musician Rolf Erik Nystrom plays sax with the schmaltziest of them, which, to be fair, is a perfect match for the vocals-- would-be-savvy, seductive male crooning that briefly flirts with the idea of carrying the song before mercifully disappearing again. As the sax thankfully leaves with the vocals, the drum machine and piano return. But even, in this new context, they sound plastic and uninspired. By the time the song draws to a close with ominous minor chords, whooshing wind-sounds and a crackly-voiced narration, you have to wonder how anyone's supposed to take this seriously.

Even more laughable are the liner notes, which-- if one can wade through the pretentious nonsense like, "I know now that the underworld is incalculable. To describe it we rely exclusively on tones, sounds, rhythm and pure instrumentality"-- divulge that these guys consider Coil an influence. Excuse me while I retreat to a corner and snicker to myself. Loud enough that people on the other side of the room can hear.

What these guys don't seem to realize, is that layering some "creepy" vocals ("Ghosts presence/ Ghost music from the radio at night and you can't sleep") over a vaguely ambient backdrop that sounds like an amateur rendition of "Who Will Fall" (as they do on-- snicker snicker-- "We Are the Dead") does not make you Coil. It makes you a Coil rip-off. A blatant one. You see, Ulver makes music that is "dark" and "ominous" without actually posing any legitimate threat, not unlike those two girls you knew back in high school.

Really. I can't even begin to comprehend how anyone who listens to Coil could release music this corny and live with themselves. Coil is legitimately frightening. Ulver is frightening like a made-for-TV horror movie is frightening. Ulver makes music for people who want to convince themselves that they dig creepy music without ever having to worry about nervously glancing over their shoulder or feeling their pulse rise.

For Christ's sake, on "Catalept," they actually sample Bernard Herrmann's theme from Psycho. Sorry, guys, but after Busta Rhymes uses it, it no longer falls into the "creepy" category. Furthermore, the creepiest music in the world generally ceases to be creepy when attached to a drum-machine beat that for all intents and purposes might be named "Demo."

Still, I'm all about giving credit where credit is due, and I must give Ulver points for variety. According to their website, Rygg and Yiwizaker hail from the Norwegian metal scene, pinning Perdition City as something of a departure from their norm. Even among the tracks on the album, the duo tries out a few different styles. Besides the pseudo-industrial tracks, there's also "Hallways of Always," a lame excursion into the world of Casio-based electronics, and "Porn Piece or the Scars of Cold Kisses," which takes a stab at bad adult-contemporary balladry and disguises it with Casio-based electronics.

Who knows? Maybe Perdition City was nothing more than a well-intentioned but ultimately ill-advised experiment for these guys. Maybe, in their more traditional form, Ulver is a really solid metal band. If that's the case, well, you can't blame a band for trying something different. That said, Ulver might want to consider a return to their metal roots. If I want to hear something creepy, I'll stick to the real thing.

Dicks

Arcturus Pink Floyd In the woods Deathspell Omega Blood Inside Shadows of the Sun Metamorphisis

MAKE HIM A MAN - Another Hilarious Christian Article

Wed, 12 Mar 2008 15:32:05 +0000

Oh dear, they're at it again.
http://www.jesus-is-savior.com/Books,%20Tracts%20&%20Preaching/Printed%20Books/Dr%20Jack%20Hyles/Children/boy_into_man.htm

Hooray for Christian morals!

CONEXIONZ:
Black Comedy Testament Exodus Slayer Megadeth Metallica Anthrax Sodom Kreator Destruction Overkill Vio-Lence EvileMuncipul WasteSanctity Trivium LOL Adolf Hitler Korn Slipknot Mudvayne Static-X Coal Chamber DevilDriver Lamb of God Pantera Chimaira Obituary Death Cannibal Corpse Severe Torture Jesus Christ Nile Deicide
Impaled Nazarene Rotting Christ Darkthrone Dimmu Borgir Old Mans Child Deathspell Omega Ulver Arcturus Black Label Society Damageplan Carcass Napalm Death Anal Cunt Anal Blast Samael Morbid Angel Greenday Simple Plan Bowling For Soup Razorlight Snow Patrol Dark Tranquillity In Flames Soilwork Britney Spears Marilyn Manson Deathstars Demon Hunter Still Remains Madonna P!nk Pink 50 Cent Wu-Tang Clan Eminem Ludacris Bright Eyes Franz Ferdinand Anaal Nathrakh Hammerfall Finntroll Blind Guardian Guns N' Roses Korpiklaani