Альбом masterpiece. Не надо думать, а погружаться.

Как Сатирикон и Инслейвд, подогревание вчерашнего обеда, но приятно, несмотря на клише. Не "Пасидж", не липкий блэк и не песни позднего периода которые полностью захватывают, как "Телепат", "Хелиополис", "Славокраси", "Иншаллах"... По крайней мере оживленно, энергично.



Послушала "Хегемони"... "Лукс" намного лучше.

Just ban me and breathe a sigh of relief.

vosmidesijatye, как вам альбом?

Я вам любить Сатира совсем не мешаю.

песенка номер 3 неслушаемая
так же 4 и 5

номер 6 начинается с саксофоном а-ла Shining
кто-то подскажите, какой етот стиль в норвежком пост-блеке, какие аналоги


P.S. My verdict is...

The whole thing is unlistenable, except for track 6 (Dissonant) being mildly interesting for the presence of saxophone. The only track I did not stop half way through (or almost immediately).
All in all the dullest, at times idiotic progressions, melodies and tempos, the flattest tired vocals, and the most irritating guitar tone going up and down the scales in what seem to be begginer's hands rehearsing.

I assume Satyricon are joking.

как они здесь говорят...



" звучит легко как ручей" - премного поезии вкладываете. не надо

You score top points with this comment.

Альбом безбожно скучен, но потому что я Фишера люблю, довольно позитивное ревю.

Triptykon - Melana Chasmata (2014): summoning all backup

"Constructor of my worlds... guide me, I am the open wound", had Fischer pleaded in the opening to the impressive Eparistera Daimones (2010). Question with the second album by Triptykon is, have all the demons of Goetia obliged this time, too?
The brief answer is, no. The impression is that of inclination to constructive fabrication, rather than susceptibility to the inspiration needed to penetrate a record, thus making it whole: inspiration of course not external, but equaling authentic creative impulse.
Melana Chasmata leaves us uncertain about precisely that conviction. It is eclectic and sketchy, although these qualities might prove colourful to the artistic taste of some. Celtic Frost in their earlier efforts exhibited such an approach, characterized by their proponents as diversity and experimentation. To those who hold Monotheist in higher regard, and justly see Eparistera Daimones as its continuation, Melana Chasmata might come as a disappointment due to its lack of solidity.
The massive wall of sound ran through tracks such as Ain Elohim, and subsequently Goetia.
The opening song to Melana Chasmata makes a similar (if not the same) promise, referring verbatim to Goetia.
While Eparistera maintained the high level of expectation with compositions such as Descendant and In Shrouds Decayed, Melana Chasmata falls very short of both that energy and originality.
Boleskine House rings along the notes of 2010's Shatter, but while the latter was haunting in its simple melody, the second track to Melana Chasmata digresses to painful metal cliche(s). In a similar pattern, the next one - Altar of Deceit - resembles ED's Abyss Within My Soul, evolving however to be tedious and watered-out, rather than compact and enthralling.
Melana Chasmata is a genre-mix altogether, and as such it is a disappointment, given we expect from a seasoned artist to have overcome his influences into a unique emphatic signature.
Of course, that signature is clear enough through the distorted guitar and equally rich vocal. These don't fail to induce the hauntingly seductive atmosphere we unmistakably know from Fischer. However, leaning on these pillars, he also gives an impression that it's atmosphere he had been after, without the conceptual musical elaboration to ground it. There's far more sketch and ornament to the record, than structure. It almost feels as if its solid, overwhelming "brutal" tone should have given way to the purely fickle "a collection of moods" content. Is Tom Gabriel a pillar or a whim, we ought to ask ourselves. (To the defense of the "moody approach" in what is widely seen as black-metal-derivative style, we cannot omit the argument it lies on solely mood and atmosphere.)
There are quite a few clean "classic heavy-metal" guitar solos, which kick the listener right off the avant-garde and into tradition. There is also poignant guitar in Aurorae which is touching, but the song itself leaves me questioning why would extreme bands (see also recent Satyricon) regress to influences like these of "dark-wave". The sound is nothing new, translating to nostalgia for the "goth" 80s. Some of these artists have moved on brilliantly... and a brilliant song such as Gary Numan's relatively-new Jagged rings too clear through Melana Chasmata's Demon Pact.
Waiting for the record to pick up, we're nearing its end. There's the unlistenably weird Fischer's vocal on In the Sleep Of Death (coupled with Santura's consistently uninspiring harsh vocals), making the song a challenge to even the most amorous Fischer fanatics. Finally, there's the Prolonging of this record: the lengthy Black Snow. It is a satisfying wrap-up in its unsentimental droning: I'd have stripped the record to Tree Of Suffocated Souls - Black Snow. The outro Waiting extends the slumbering comfort, in the vein of My Pain ("fall asleep in my arms, never to wake up again").
Most of the tracks here give the impression primarily of length. The aftertaste is that of sadness, romance and dead-end nostalgia. It's a lingering record: one without goal in that a goal is not sought. Sadly, it's a lifeless offering compared to its predecessor - confirmed by a recent Fischer's statement: "It's high time death claims me". Without creativity arising from the chasm of hopelessness, regrettably the entire sum of heavy-metal-and-dark-rock arsenal of riff/phrase/sentiment comes to no use. Without spark, each song separately, and the album as a whole, come to a standstill.
I hear the album begging for sympathy through its failures, and therefore I give it at least 5 out of 10: with the warning that this is how prolonging, denial, waiting, and hostility predetermine one's art-equaling-life in the faltering between erotic and thanatic. Moreover, auto-eroticism can result in self-plagiarism.

Я не против злобы, а против отсутствии какой-либо рефлексии, инновативности и автентики. Здесь: "Прежний албом был успехом, давайте повторить verbatim." И вообще не прог, а Джудас Прийст слушаю.

Да и в последнем интервю Warrior про том почему он покинул Celtic Frost. Никогда не слыхали.

П.П. Если вы стриктно БМ, что скажете об етим "классическим" хеви-метал гитарные соло? :D Не было на прежнем альбоме...
И еще: какая разница между Black Snow и Prolonging?
И что с вокалом в In the sleep of death...

И никому не кажется, что етот альбом - копи/пейст прежнего? Да Tree of Suffocating Souls - это Goetia, Boleskine House - Shatter, Altar of Deceit - Abyss Within My Soul, Breathing - A Thousand Lies, Waiting - My Pain... Все вы про каких-то метафор, квази-екзистенциальних эссе, а что о музыке? Здесь одни задыхающиеся гитарры и вокал исполнен того бесконтрольного, тупого гнева... Если отсутствие интригующей композиции и одно бешенство - верх металла, then ok...

(п.п. мой русский очень плохой, извиняюсь)

http://us.7digital.com/artist/triptykon/re...melana-chasmata

Tree of Suffocating Souls = Goetia
Boleskine House = Shatter
Altar of Deceit = Abyss Within My Soul
Breathing = A Thousand Lies
Waiting = My Pain

Demon Pact is nicked from Gary Numan
...and Santura's more original input from the first album seems to be missing.

You want to be trve, then, in the vein of a certain бессребреный 'Warrior'... )

"There were a number of groups we were in serious talks with about joint or co-headliner tours both in North America and Europe, for example. But (as stated elsewhere in this thread) these groups eventually were unable to go on the road for the extended period Triptykon is intending to tour, due to their day jobs. I found this particularly ludicrous in the case of a well-hyped group (who shall remain nameless here), whose members project a serious satanic image but are in reality too scared to commit to actually being musicians, in spite of the immense publicity surrounding their recent album and concerts.

I admit, I have a hard time understanding this. Either you want to be a musician, and you accept the related risks (financial and otherwise) or you don't. I have always been subjected to a perilous financial reality in my life - and I still am, more so than most will ever realize. But I have made the choice to live my dream, regardless of the risks, instability, and immense expenditures involved for a band at our (niche) level. If you act like a tough guy in your photos and lyrics, then be one in real life too."

Знатоки - албум ХОРОШ!

Как и Сатир сказал, нельзя сравнивать.
Есть один подход, феноменологический.
Или даже не логический, а попросто не накапливать ожиданий.

Когда Сатир сегодня сказал что-то вроде "Вы ретарды, у вас нет аудио-системы и поэтому не понимаете", сказала бы: "Если музыка хороша, и восмая запись на аудиокассету максвелл хороша".

В плане абсолютной мифологии...

Когда эти псевдоинтелектуальние мальчики прочтут 'Диалектику мифа', признаю.
Пока, спрашивала Иишана почемо Нитче наоборот, но никакой ответ кроме смутно-естетического - хорошо выглядит.

Однажды сообщила Сатиру, что приехала из Болгарии в Германию только из-за Сатирикон. Ответ его: "А я приехал с Осло."

Все они такие на западе, тупые и полны собой. А фанатки имбецилы.

(У меня русский язык не получается - надо начать учить.)




Репризы окей, но гитарное соло??

I'm still trying to figure out whether one song (Nocturnal Flare) could save this record - is it really effective, or is it also generic/ a mish-mash of metal quotations? Since I'm not an avid metal listener, I can only clearly discern Iron Maiden toward the latter part of the song. I have a feeling, however, it also starts unoriginally; and it maybe quotes some of the goth/doom bands in the chorus... Can you spot a borrowing or influence?

Hahaha, see.... "Our World..." - It's Dethklok!

P.S. One adequate review: http://puregrainaudio.com/reviews/satyricon-satyricon

And Phoenix sounds to me like Nick Cave. But does it matter? It's such a deplorably generic 'dark' aesthetic and melody, that it sounds like anyone you name.
It's generic like the whole album. However, what makes it particularly unlistenable to me, is that any kind of generic metal is less desperate than these goth boys. And I don't mean to undermine Cave here, or anybody; there are great examples in the genre, like some of the Gary Numan works - but Satyr is faaar from that depth. He will always be a metal dude - unless something changes.

Some other words describing the record come to mind, one is 'lethargic', and the other - 'clumsy'.

Both, I think, could refer to Satyr to a point.
About the lethargic part, we've all seen him stare in one point with an open mouth.
The clumsy part - he gives the impression of a mannish schoolboy who has not yet left puberty.
I'm sure the man is trying to grow. I doubt it, however, he's leading an inner battle - or else the record would be exciting. My impression is he's a bit too full of himself.

I wonder why I'm giving such a thought to one person; then again, behind each piece of music is a person, and especially where rock-music is concerned, it is impossible to separate.

It was funny to read, some years ago, Frost describing Satyr as 'the Beethoven of our time'. Even with a smile, some of the Satyricon pieces were so majestic, I could almost agree.
But what is 'Satyricon' 2013? I feel there's hardly a melody, line, riff, that isn't stolen.
Unless this could pass for some post-modern quotation, and pseudo-intellectual assertion of the lack of real inspiration nowadays... I don't see the point. I hear Satyr the schoolboy: "I'm so proud of this, I've done it all by the numbers!".

P.S. Those lyrics...

This moon, this moon
This night, this night
This sun that symbolizes to me
What must be done

And something Satyr said in an interview, which further proves he has his head somewhere far away from the ground...
"I don't read comments online, because that's not something real. I mean, how many people post their opinions - 100, 1000? While there are billions of people on this planet."
- I don't suppose he implicates all these people listen to Satyricon...

It kinda makes sense he has named his boy Orion.

The triumphant return of Satyricon and future classic
http://www.youtube.com/watch?v=oQR_Jb8W7yQ


It's interesting to read all the contrary reviews: 'The albums is great' and ' The album is crap'. In fact, they may be both right - or wrong. What I would strongly disagree with, is the opinion the album is mature. Maturity would mean the consolidation of all aspects of a personality - exactly what we don't have in 'Satyricon' (and have in Enslaved). 'Satyricon' has it's brilliant moment (Nocturnal Flare), and some other rather good moments. However, its atmosphere of warmth and general lyricism (what would be traits of maturity) does not connect with its metal-cliched, obscure fantastical lyrics ('ultimate destroyer', 'our world crumbles', 'fire burn me' etc.) There was the argument that Satyricon are now taking post-black into their own unique direction, like Enslaved have done - and indeed, if I may add, Samael. I have to disagree on two counts: first, Satyricon were already doing that; second, god knows why they stopped. Someone aptly noted that Satyr's 'evil' vocals just don't fit this new record. Of course, we'd hate to lose those vocals; but in aforementioned Enslaved, the lyrical flows naturally into the intense and aggressive, thus building these notorious 'dynamics' which, admitedly, have been the whole point in 'Satyricon' - but which didn't work. There's no density, someone said; there are gaps in texture. The album is scattered - and, seems to me, almost schizoid. The deeply metaphysical themes of Samael, or those of Enslaved which delve into humanity's disturbed state - and presuppose the songs' depth - are absent. The harsh and the mellow emotionally beating each other, articulately unresolved, as in an adolescent love affair. 'What is this, a love song?' - someone asked. No idea.
With Satyr rendering a back seat to his main 'organic' asset, the drums, both in terms of sound and in pace (stumbling throughout the record, altering various rhythms and tempos without connection), comes an entirely new conundrum - but those who know about music, have already spoken volumes on this record.

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From another forum:

"Nemesis Divina is a strange album, Mother North took Satyricon into new level of popularity, but at least for me it's quite different from the rest of the album.

Didn't care for the last album, the new single did nothing for me at first, but after a few listens I started to like it, very curious that."


I tend to agree, it's not all so bad. Only that each song has that incredibly commercial element - be it a chorus, a solo... that screams: 'All now sing along', taking the band (as they surely hope) 'into a new level of popularity'. It leaves a very bad taste. Add to that the second weak point, namely that they quote other bands far too often. Thus, I may love Nocturnal Flare, but then it all spills into Maiden; I may like Nekrohaven, until the punk vibe got completely smeared into some dumb guitar solo... Mind you, all guitars on that record are awful.
Each song deteriorates into something predictable.

Third, and final down-point: the overall feel of - well, not melancholia, but sheer PHLEGMATISM. Seems Satyr has entirely succumbed to his temperament. Gosh, he's even unbearable to watch in interviews.

It's not that bad of a record - but try to imagine it without Frost, and think the same...

ops, and Phoenix is just....

Satyr: "There are many good bands out there, but none are activists like ourselves; none have taken upon themselves to map the future for the entire genre. 'Satyricon' is a new age for black metal."

Frost: "We focused on bringing dynamics into the new album, that is a very new element for Satyricon. There isn’t really any dynamics in any of the previous albums, being it older or new albums, so that’s a very new thing..."- really?!...

It's good to laugh, I suppose.

Nekrohaven (болг. пънк-рок) - вовсе не Черный Метал

?? А что такое блэк метал, я совсем запуталась?

Если я играю совсем аналоговый аутентичный, атмосферный и искренний блюз, ето тоже блэк метал?