RE: Satyricon's latest Quote:
Originally Posted by Cousin Patty /img/forum/go_quote.gif
I just meant that it's a pretty simple mix. They weren't doing anything fancy with the recording. Its pretty stripped down. Not good or bad, just an observations I made. A recording that I would consider to be heavily produced would be Deathcult Armageddon by Dimmu Borgir for example. For reference.
I know what you mean though about none of the tracks really jumping out at you. Its a good album overall, but the only track I get into really is 'K.I.N.G.'. Which is the single from the album I believe.
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Sorry for the delay. Yes that track has a definite groove and it does symbolize the whole album almost. One could actually dance in a club to this. Very NINish. I guess this really pisses off the kvlt types but it doesn't bother me. I don't know if it'll get much play from me I'll give it a fair chance over time.
Quote:
Quote:
Originally Posted by DarkAngel /img/forum/go_quote.gif
Yesssssssss...........has all the dark metal images:
-crusaders
-evil monks
-witch burning
Drum kit is impressive, very high speed double bass kick drum.......sounds almost too fast for human to play that, is that Hellhammer?
Still think thier vid for Progenies Of The Great Apocalypse is even better and perhaps best dark metal video I have ever sceen.
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Quote:
Originally Posted by DarkAngel /img/forum/go_quote.gif
Dimmu Bogir - In Sortie Diaboli
Another solid album by Shaggy and the Dimmu clan, but nothing new here just more of the same.........a holding pattern, sounding a bit repetitive. Still that said a good album by todays standards, but I still remember long ago first hearing Enthrone Darkness Triumphant and being just blown away, that is a masterwork.
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Quote:
Originally Posted by Nacher /img/forum/go_quote.gif
Dimmu Borgir - In Sorte Diaboli
I pretty much agree with DarkAngel here. Nothing spectacular, but still very solid. I haven't listened to this as much as I should, as I have been listening to Lumsk and Ion so much.. Am I getting old?
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I'd forgotten about this but saw it in a shop and picked it up. I declined the CD/DVD edition as I saw the video Nacher provided. Geez....that stuff makes me laugh. Makes Arnold Schwarzenegger's awful Conan movies look like Ingmar Bergman. OK just for laughs, metal guys fantasize about medieval times. If they're interested they'd have read something about it and know there was no Satanic worship in existence. I give up.
I agree with you DA that I liked Progenies Of The Great Apocalypse much more and think future apocalypse scenarios play much better.
A quick run through and I thought "this is Death Cult Armageddon part 2!".
I'll have to spend some time and hope some tracks stand out for me. A quick comparison of sound quality to DCA, which is the only Dimmu on my hard drive right now, and Sorte Diaboli is a bit of a step up in clarity and separation. Of course it's too loud but doesn't seem ruinously so. I'm a sucker for woodcuts so the booklet is kinda fun.
Virgin Black
I don't know if you VB fans have read this interview already but I stumbled upon it when reading other stuff and thought I should point it out just in case.
http://cp05.ionhosting.com/~joelh/
Click interviews
Interview with Rowan of Virgin Black April 12, 2007
JJM: I have to tell you your new album 'Requiem - Mezzo Forte' is absolutely stunning. However one thing that comes to mind each time I listen to it is how does a small Australian underground band afford an orchestra and choir to record music with them? I'd imagine something like this must cost several thousands or am I mistaken? Could you divulge more details on this matter?
Rowan: To be honest, I still can’t believe it myself. The whole idea of this project was so ludicrous that it should have destroyed us, and admittedly nearly did. Procuring the services of The Adelaide Symphony Orchestra was one of the greatest coups in regards to these albums, and the albums wouldn’t be the same without them. From the beginning we blindly insisted that we needed an orchestra and eventually threw ourselves into the alien world of classical culture and hierarchy. We had responses of various tones but fortunately found some emphatic support. The conductor was fascinated in our previous work and enamoured with the Requiem scores we presented to him. Ultimately one gets what they pay for, and yes it was an exorbitant amount, but for us there was no question.
J: I'm also curious to know how will these new additions affect your live performances. Will you actually have a mini orchestra and choir with you while touring or will these things just be sampled?
R: I’ve always asserted that the live experience needs to have intensity, and all other details are up for discussion. Mostly it’s a matter of choosing the songs of pieces wisely, then ensuring that they’re represented powerfully. There’s an incredibly fine art to changing a song enough to enhance its effect while keeping enough familiarity and flow so as to not confuse the crowd. I know that I get annoyed when an artist performs a song and it’s almost unrecognisable, but I also want to be inspired by what they do alter as they can sometimes be the greatest moments. We’re going for the right balance between technology and raw live sound, alterations and familiarity.
J: I was wondering is there any specific theme, concept or story behind the new album? I was given only a cardboard promo with no lyrics or liner notes so details like this remain a mystery to me.
R: It’s a requiem. Sure, within that framework we’ve brought certain questions or slants but on the whole it’s a requiem mass that largely aligns itself with the established tradition. We are not using the word requiem as an artistic statement; it’s a statement of what the material actually is.
J: I'm really impressed by the two main vocalists on this recording. Was there any special vocal training done prior to recording this album?
R: The idea for Mezzo Forte since it is the album that balances classical and metal is that the voices should be operatic, rather than pure opera. The soprano is a fully fledged opera singer who very fortunately has an interest in alternative styles of music. Some of the parts on Mezzo Forte and Fortissimo were a little outside her comfort zone with some sections dropping as low as contralto range, but she adapted amazingly well. Of course she flew through the genuine operatic soprano parts.
J: 'Requiem - Mezzo Forte' has a various obvious influence from symphonic soundtracks and classical composers. Is there any in particular that has served as inspiration for you?
R: For the classical component of the music, we were aiming, production wise, for a sound half way between a soundtrack and a traditional classical recording. I view a classical recording as one that endeavours to faithfully recreate what is heard live in a performance, while a soundtrack tends to purify the sound and tailor it to be extra heavy in tone with a punchier sound, conducive to combining with guitars and drums. So there is a soundtrack influence but no specific composer. The requiem I would like to live up to is Brahms’, particularly the amazing second movement.
J: Releasing three full length albums in one year is certainly a daunting task. Is there any specific reason for releasing all three albums in this trilogy all in 2007?
R: I suppose it remains to be seen how the scheduling will work out in reality. There’s a lot of logistics to consider at record labels. Personally, we want to release them in the same year.
J: The name Virgin Black is very interesting sounding to me. Is there any specific reason for choosing this name?
R: The exploration of both the contrast and harmony of seemingly opposing sounds and themes permeates much of Virgin Black’s existence and the name itself is a reflection of this. “Virgin Black: An anomalous harmony between the juxtaposition of purity and humanity’s darkness” our coy but genuine faux dictionary definition that we frequently use accurately summarises the meaning of the name, accurately but ambiguously.
J: I've read on various internet forums that the members of Virgin Black are firm believers of the Christian faith, yet people have also stated that you are at odds with the Christian church. Could you elaborate more on your beliefs?
R: My beliefs are always evolving, not changing, but evolving. I respect people who have strong opinions but not when those opinions are rigid and unbending. I’m interested in the integration of one’s mind and spirit, the constant challenge to our existing ideologies. If I feel confident about one thing, it’s that truth will confound us all. There is a musical analogy which states that one can grow to like a song by either having that played enough times to dull the senses or by the senses being enhanced and the “true” song being revealed, with the listener finding a previously unheard take on it. Similarly the concept of God or religion can be embraced by the suppression of thought or by the opening of the searching mind. I definitely relate to the latter in my embracing of God and my search for higher truths.
J: As I understand it Virgin Black's history dates all the way back to 1995. In the beginning what sort of music were you playing and now twelve years later would you say you've achieved the style you originally set out to create?
R: Thus far, our music has only really changed as our resources have and I feel that we are very much the same as when we begun. In one sense Requiem could be seen as the culmination of the two preceding eras of demo stage on to album stage; especially since the initial embryos for the post Requiem album seem to be suggesting a different slant. But I do think that our first two albums have a character all of their own. I don’t know, often I feel as though Virgin Black is its own entity and decides its own fate and I just help facilitate.
J: Are the band members of Virgin Black currently involved in any other bands/projects at this time or is the main focus on Virgin Black? Before or during the past twelve years of Virgin Black's existence have you guys played in any other bands?
R: Virgin Black is all consuming for me at least. For most members, past and present it’s the only band they will ever be in. Aside from a piano/drum duet that our drummer performs in, it’s all about being obsessed and possessed by Virgin Black.
J: I'd imagine your busy preparing for the upcoming releases so I won't bother you any further. However if you have any final words for the readers of this 'zine or Virgin Black fans in general then feel free to speak them here. Thanks for your time.
R: Thank you Joe, appreciate it.
