was talking to art skool metal boy imago
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 20:08 (ten years ago) link
Apparently 13 people were excited about Shining. I know it was really high on Adrien's year-end list. I don't get it, personally. I just found it agitating.
― J3ff T., Wednesday, 15 January 2014 20:08 (ten years ago) link
ah now this jesu record is vv gr8
― lovely cuddly fluffy dope (imago), Wednesday, 15 January 2014 20:09 (ten years ago) link
I like the lava lamp description a lot, Viceroy – borrowed it for one of my reviews, actually. Credited it to "someone on the Internet."
― J3ff T., Wednesday, 15 January 2014 20:09 (ten years ago) link
but lavalamp bullshit genre is my favorite genre!
― Mordy , Wednesday, 15 January 2014 20:09 (ten years ago) link
this was a good Jesu album that I voted for. Not terribly exciting though but exciting isn't what Jesu is about anyway...
― Viceroy, Wednesday, 15 January 2014 20:09 (ten years ago) link
jeff and co just dont like noise
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 20:12 (ten years ago) link
I don't like boring.
― J3ff T., Wednesday, 15 January 2014 20:12 (ten years ago) link
shining album wasn't crazy, weird or intense enough, complete backwards step imo
― lovely cuddly fluffy dope (imago), Wednesday, 15 January 2014 20:12 (ten years ago) link
23 VHÖL - VHÖL, 453 Points, 12 Votes, One #1http://i.imgur.com/jRE6vZF.jpghttp://open.spotify.com/album/1dI706HBulz8TJsTwmP5dospotify:album:1dI706HBulz8TJsTwmP5do
http://www.deezer.com/album/6966947#12 Pitchfork, #38 Stereogum
http://profoundlorerecords.bandcamp.com/album/vholhttp://youtu.be/QENyul1-S6I
The end of “Set to Await Forever” hangs like an unexpected ellipsis: During the first 45 minutes of VHÖL-- the self-titled debut from four West Coast metal veterans so well-regarded that many are calling this a supergroup-- there’s very little space, pause or relief. The album’s blackened hardcore is generally restless and relentless; VHÖL colors the smallest of spaces with extra guitar lines and orotund bass parts, giving the italicized shriek a sense of unordinary saturation. But five minutes into “Set”, the record’s finale, the quartet slows suddenly, tempering their once-irascible sound into an atmospheric haze. The guitar and bass drift toward eternity, while the drums lazily march ahead toward anything, a kid kicking a stone down the street at sunset. Initially, that slow fade from sustained bustle might have been an apt metaphor for VHÖL itself, a band originally assembled to record only one album. For more than a decade, guitarist John Cobbett and drummer Aesop Dekker played together in Ludicra, an intricate black metal quintet that announced their end in 2011. But Dekker and Cobbett wanted to make one more album together, so they recruited a pair of incredible equals-- Yob vocalist and guitarist Mike Scheidt, who only sings here, and Cobbett’s Hammers of Misfortune multi-instrumental bandmate Sigrid Sheie, VHÖL’s bassist. But when the four entered the studio late last year, they had enough fun and found enough chemistry that, as Dekker admitted earlier this month, they’ve already started writing new material.That connection feels so obvious on VHÖL, a wonderfully weird intersection of black metal and hardcore impulse and attitude, evocatively laced with bits of prog, thrash and gloriously old-school rock ’n’roll. These songs put immediacy and intrigue shoulder to shoulder, so that genuinely oddball arrangements bolster songs that make you want to join the melee. You’ll likely remember the hangman riff of “Plastic Shaman” and its barked invocation-- “The wage of sin is death,” snaps Scheidt from his bully pulpit-- the first time you’ll hear it. But this isn’t some simplistic maul; VHÖL reconfigures time and expectation, shifting the tempo and tone so much that the song feels like a rollercoaster inspired by a rodeo. The great “Arising” first rumbles like Motörhead down the straightaway, an approach that likely won’t prepare you for the hyperkinetic, 90-second guitar solo that Cobbett takes during the song’s back half. Against most odds, the parts coalesce, and that’s how it works with VHÖL: Together or separately, these four musicians have been at it long enough to be discontent or uninterested in playing anything too straight, but they’ve also been at it long enough to know that it’s possible to embed strange tendencies within a framework that still sports a visceral magnetism. VHÖL hits on first listen; it captivates on the fifth. That VHÖL is already at work on new material is good news for these players, because they sound not only reinvigorated in this setting but also somewhat emancipated. Cobbett and Dekker will long be linked with their work in Ludicra, and there are traces of that here, for sure. But VHÖL is a spotlight of their versatility that finds them not only comfortable but also rather exhilarated by such an open-ended platform. By limiting her role to bass alone, Sheie, perhaps known best as a keyboardist, delivers her lines with focus and force. She overruns the rhythm and steps out for sidewinding variations, injecting a position sometimes thought to be a bit big and dumb with a jazz enthusiast’s musicality.Most of all, though, it’s Scheidt that’s the wonder here. He puts down the guitar and pushes away the typecast set by his work in Yob to treat these songs like very few vocalists could. He’s a chameleon, not only able to move quickly between hardcore berating and classic metal hook-setting but also capable of blending the two. “Insane with Faith”, for instance, is a bug-eyed roar, with the band racing headlong into a circle pit; from the tone of his voice, you expect Scheidt to be in the thick of it, barking while crowdsurfing, doing his best to pull the microphone cord along for the adventure. On the other side of Scheidt’s ostensible range, he delivers long arches of falsetto as the slow exit of “Set to Await Forever” approaches. He’s like a hirsute, heavy-metal soul singer, staring out at a mix of lit lighters and thrown horns. But some of the most intriguing moments on VHÖL come when he’s able to do both. During the chorus of “Insane with Faith”, he crests into a low-level cry, suggesting Iron Maiden reborn in a small rock club. During “The Wall”, his serrated bark comes backed real-time by his more operatic air. That’s the kind of multiplicity upon which VHOL depends, a quality that makes them less of a supergroup and more of a generative force with an unpredictable will of their own. - Grayson Currin, Pitchfork, http://pitchfork.com/reviews/albums/17806-vhol-vhol/
Initially, that slow fade from sustained bustle might have been an apt metaphor for VHÖL itself, a band originally assembled to record only one album. For more than a decade, guitarist John Cobbett and drummer Aesop Dekker played together in Ludicra, an intricate black metal quintet that announced their end in 2011. But Dekker and Cobbett wanted to make one more album together, so they recruited a pair of incredible equals-- Yob vocalist and guitarist Mike Scheidt, who only sings here, and Cobbett’s Hammers of Misfortune multi-instrumental bandmate Sigrid Sheie, VHÖL’s bassist. But when the four entered the studio late last year, they had enough fun and found enough chemistry that, as Dekker admitted earlier this month, they’ve already started writing new material.
That connection feels so obvious on VHÖL, a wonderfully weird intersection of black metal and hardcore impulse and attitude, evocatively laced with bits of prog, thrash and gloriously old-school rock ’n’roll. These songs put immediacy and intrigue shoulder to shoulder, so that genuinely oddball arrangements bolster songs that make you want to join the melee. You’ll likely remember the hangman riff of “Plastic Shaman” and its barked invocation-- “The wage of sin is death,” snaps Scheidt from his bully pulpit-- the first time you’ll hear it. But this isn’t some simplistic maul; VHÖL reconfigures time and expectation, shifting the tempo and tone so much that the song feels like a rollercoaster inspired by a rodeo. The great “Arising” first rumbles like Motörhead down the straightaway, an approach that likely won’t prepare you for the hyperkinetic, 90-second guitar solo that Cobbett takes during the song’s back half. Against most odds, the parts coalesce, and that’s how it works with VHÖL: Together or separately, these four musicians have been at it long enough to be discontent or uninterested in playing anything too straight, but they’ve also been at it long enough to know that it’s possible to embed strange tendencies within a framework that still sports a visceral magnetism. VHÖL hits on first listen; it captivates on the fifth. That VHÖL is already at work on new material is good news for these players, because they sound not only reinvigorated in this setting but also somewhat emancipated. Cobbett and Dekker will long be linked with their work in Ludicra, and there are traces of that here, for sure. But VHÖL is a spotlight of their versatility that finds them not only comfortable but also rather exhilarated by such an open-ended platform. By limiting her role to bass alone, Sheie, perhaps known best as a keyboardist, delivers her lines with focus and force. She overruns the rhythm and steps out for sidewinding variations, injecting a position sometimes thought to be a bit big and dumb with a jazz enthusiast’s musicality.
Most of all, though, it’s Scheidt that’s the wonder here. He puts down the guitar and pushes away the typecast set by his work in Yob to treat these songs like very few vocalists could. He’s a chameleon, not only able to move quickly between hardcore berating and classic metal hook-setting but also capable of blending the two. “Insane with Faith”, for instance, is a bug-eyed roar, with the band racing headlong into a circle pit; from the tone of his voice, you expect Scheidt to be in the thick of it, barking while crowdsurfing, doing his best to pull the microphone cord along for the adventure. On the other side of Scheidt’s ostensible range, he delivers long arches of falsetto as the slow exit of “Set to Await Forever” approaches. He’s like a hirsute, heavy-metal soul singer, staring out at a mix of lit lighters and thrown horns. But some of the most intriguing moments on VHÖL come when he’s able to do both. During the chorus of “Insane with Faith”, he crests into a low-level cry, suggesting Iron Maiden reborn in a small rock club. During “The Wall”, his serrated bark comes backed real-time by his more operatic air. That’s the kind of multiplicity upon which VHOL depends, a quality that makes them less of a supergroup and more of a generative force with an unpredictable will of their own. - Grayson Currin, Pitchfork, http://pitchfork.com/reviews/albums/17806-vhol-vhol/
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 20:18 (ten years ago) link
Am kind of agreeing with those who say new Shining was meh
― the legend of rapper chance (Drugs A. Money), Wednesday, 15 January 2014 20:20 (ten years ago) link
Was it R1p F0wler who coined Lava Lamp Bullshit? AG I can't remember, you might...
― Viceroy, Wednesday, 15 January 2014 20:28 (ten years ago) link
Pazz & Jop results are out. Chuck Eddy was the sole voter for the Satan album. Shining was #371 with votes from Adrien Begrand and Brice Ezell.
― Fastnbulbous, Wednesday, 15 January 2014 20:29 (ten years ago) link
Inter Arma was actually #173 in Pazz n Jop - http://www.villagevoice.com/pazznjop/albums/2013/U2t5IEJ1cmlhbHx8fEludGVyIEFybWE=/VHOL #525
― Fastnbulbous, Wednesday, 15 January 2014 20:40 (ten years ago) link
Lee Dorrian on last year's Rise Above releases - http://youtu.be/YxuNGgHJewM
― Fastnbulbous, Wednesday, 15 January 2014 20:49 (ten years ago) link
I actually liked that "8 1/2" EP of the Swedish Shining better, that seems to have been overlooked a bit I thought - I hardly read anything about it.
― Siegbran, Wednesday, 15 January 2014 20:53 (ten years ago) link
It was pretty underground, I'd never heard of them before I was checking out the nominations list.
― Viceroy, Wednesday, 15 January 2014 20:56 (ten years ago) link
22 Gris - À L'âme Enflammée, L'âme Constellée..., 466 Points, 13 Votes
#33 Stereogum
http://youtu.be/RWUr3JWi9ZMCount Blagorath review - http://youtu.be/Jp4ZLJISOWM
I can’t believe it’s been almost six years since Gris released Il etait une foret…, one of the best depressive black metal albums ever recorded. As I said in my review of Thy Light’s No Morrow Shall Dawn, the depressive black metal scene became oversaturated with shitty bands shortly after the relese of Austere’s magnum opus To Lay Like Old Ashes. The scene then collapsed under the weight of all the shitty music and everyone moved on to the next, latest trend. This means that Gris just released their latest album, À l’âme enflammée, l’äme constellée…, to an empty house.However, they’re not going to let this discourage them. They’re so confident in their musical abilities that their latest endeavor is ninety minutes long and comes on two discs. That’s ambitious. It’s almost as ambitious as Elysian Blaze’s Blood Geometry. Let’s just hope it was worth the wait.The first thing I noticed was just how powerful the production is. It is so bold and powerful, and every instrument comes in as clear as day. Gris are making it obvious that they’re not a group of teenagers recording half-assed black metal in their parents’ basement. What they’re doing is a labor of love. This album is a true display of professionalism.To be perfectly honest, due to how long this album had been in production, I thought they would change their formula so much that it would make me scream “BETRAYAL!” Luckily, it’s the same Gris I know and love. The drums play lots of double-bass as well as some really extravagant fills. They even play a few blast beats, such as those on “Igneus”. I especially love how powerful the snare sounds. They refuse to fall victim to the loudness war. The Austere-like screams still exude as much agony as they did on the last album. Icare found a vocal style that works and now he’s sticking to it. However, there is this one moment where he performs low, droning, clean vocals that provide a nice change of pace.As for the guitars, they sound less like Burzum and are now focused on creating their own identity. The riffs are starting to take on a post-metal quality. I even hear a touch of avant garde in there. And of course, Neptune still plays those high-pitched lead riffs I enjoyed so much on songs like “Cicatrice”. One difference I’ve noticed is that the bass is much more prominent in the mix. It plods alongside the guitars and gives the music an extra layer of depth.Their previous album, Il etait une foret…, featured a lot of non-metal elements, and this album includes even more of them. First, they include a lot more acoustic guitars, piano, and violins. Most of the time these help reinforce the somber mood of the album. However, there are moments where the acoustic guitar sounds much more joyous, such as on “Dil”. I especially love the band’s use of violins. They help make the music sound more rich and full. There are even times when these non-metal elements can sound scary, such as on “Samsara”.As I wrote earlier, I was scared when I pushed play. I thought Gris would have changed things for the worse. The album cover is not something you would find on a depressive black metal album. They even went so far as to change their logo. That alone sent up red flags in my mind. Luckily, they didn’t change much when it came to the music. The black metal sounds more or less the same as it did on Il etait une foret…, and I especially loved the wider range of non-metal elements. The ninety-minute length may seem daunting, but it’s definitely worth a listen.This is a slightly edited version of a review that originally appeared at The Autistic Metalhead blog. The album is available from Sepulchral Productions via this link.
However, they’re not going to let this discourage them. They’re so confident in their musical abilities that their latest endeavor is ninety minutes long and comes on two discs. That’s ambitious. It’s almost as ambitious as Elysian Blaze’s Blood Geometry. Let’s just hope it was worth the wait.
The first thing I noticed was just how powerful the production is. It is so bold and powerful, and every instrument comes in as clear as day. Gris are making it obvious that they’re not a group of teenagers recording half-assed black metal in their parents’ basement. What they’re doing is a labor of love. This album is a true display of professionalism.
To be perfectly honest, due to how long this album had been in production, I thought they would change their formula so much that it would make me scream “BETRAYAL!” Luckily, it’s the same Gris I know and love. The drums play lots of double-bass as well as some really extravagant fills. They even play a few blast beats, such as those on “Igneus”. I especially love how powerful the snare sounds. They refuse to fall victim to the loudness war. The Austere-like screams still exude as much agony as they did on the last album. Icare found a vocal style that works and now he’s sticking to it. However, there is this one moment where he performs low, droning, clean vocals that provide a nice change of pace.
As for the guitars, they sound less like Burzum and are now focused on creating their own identity. The riffs are starting to take on a post-metal quality. I even hear a touch of avant garde in there. And of course, Neptune still plays those high-pitched lead riffs I enjoyed so much on songs like “Cicatrice”. One difference I’ve noticed is that the bass is much more prominent in the mix. It plods alongside the guitars and gives the music an extra layer of depth.
Their previous album, Il etait une foret…, featured a lot of non-metal elements, and this album includes even more of them. First, they include a lot more acoustic guitars, piano, and violins. Most of the time these help reinforce the somber mood of the album. However, there are moments where the acoustic guitar sounds much more joyous, such as on “Dil”. I especially love the band’s use of violins. They help make the music sound more rich and full. There are even times when these non-metal elements can sound scary, such as on “Samsara”.
As I wrote earlier, I was scared when I pushed play. I thought Gris would have changed things for the worse. The album cover is not something you would find on a depressive black metal album. They even went so far as to change their logo. That alone sent up red flags in my mind. Luckily, they didn’t change much when it came to the music. The black metal sounds more or less the same as it did on Il etait une foret…, and I especially loved the wider range of non-metal elements. The ninety-minute length may seem daunting, but it’s definitely worth a listen.
This is a slightly edited version of a review that originally appeared at The Autistic Metalhead blog. The album is available from Sepulchral Productions via this link.
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 21:12 (ten years ago) link
http://i.imgur.com/oqQ1bZE.jpg
YESSSSSSSS this is awesome
― Viceroy, Wednesday, 15 January 2014 21:29 (ten years ago) link
21 Oranssi Pazuzu - Valonielu, 477 Points, 14 Voteshttp://i.imgur.com/q9vw7M6.jpghttp://open.spotify.com/album/5x661ma1OUrDabuFTxNZlgspotify:album:5x661ma1OUrDabuFTxNZlg
http://www.deezer.com/album/7083551#26 Decibel, #8 Pop Matters, #21 Pitchfork, #33 Metal Hammer, #4 Stereogum
http://listen.20buckspin.com/album/valonielu http://youtu.be/rrZR6pUH-rU
NASA recently announced that the Voyager 1 probe, launched in 1977, has finally exited the solar system, sloughing off the tenuous hold of the Sun’s gravity and hurtling sleekly into the inky desert of interstellar space. Valonielu, the third album from Finnish experimental black metallers Oranssi Pazuzu, evokes that same journey. Tethered to an increasingly distant musical tradition, Valonielu finds the band ready to slip the reins and dart orthogonally — irresistably — to vistas unknown, and maybe unknowable.For a small country, Finland has produced an absurd wealth of black metal. Interestingly, though, Finnish black metal has largely proceeded down two sharply dichotomous tracks, favoring either ultra-rigid orthodoxy or resolutely oddball experimentalism. Oranssi Pazuzu, however, seem to know black metal’s history without pledging fealty to it, and are willing to paint avant-garde lines with a familiar brush.Valonielu is thus a bold, intelligently crafted statement that also manages a rare feat: it nudges black metal in directions that listeners outside of metal might find approachable, but in a manner that feels much less likely to drive traditionalists to apoplexy (cf. Deafheaven).Regardless of its lineage, Oranssi Pazuzu’s music is inescapably psychedelic, given the way black metal signifiers are twisted and refracted through a prism of effects-heavy space rock. The trance-inducing results are honestly won, however, and not merely approximated via studio trickery. Despite the surfeit of bleeps and bloops – not to mention swoops and szzzzzzzrts — Oranssi Pazuzu’s oddness is compositional.Both “Vino Verso” and “Tyhjä Tempelli,” for example, are written in 4/4 time, but they certainly don’t feel it, as guitar lines stretch across measures and queasy synths stab in jarring rhythmic counterpoint. And unlike the band’s previous album Kosmonument, which tended too much to meander, Valonielu has taken all the excesses of Oranssi Pazuzu’s influences – from Krautrock to ’70s prog to space rock — and honed them to a razor-fine point.If you’re ever in a pinch to bring a phobic friend under this vast noisy tent of heavy metal, Valonielu contains enough signposts to direct fans of Hawkwind or Kraftwerk, and hell, the nervously insistent snare rolls on the chorus to “Tyhjä Tempelli” could even bring along a few Swans partisans (via Love of Life). Oranssi Pazuzu are likely no strangers to Rush, either, given how clearly Valonielu was designed and sequenced like a classic LP: each side features two shorter songs, followed by a lengthy, slow-burning freakout.Album closer “Ympyrä On Viiva Tomussa” starts quiet and creepy, like an astral twin of Led Zeppelin’s “No Quarter,” but eventually breaks out into a widescreen squall. A brief calm in the song’s final third is anchored by heroically restrained bass playing, but ultimately the song cannot help but explode into a tantalizing choir of instrumental voices. It’s an immensely powerful crescendo made all the more affecting because of its brevity and internally faultless logic: We’ve burned past the old sun, so now, what’s next? —¬¬¬ Dan Lawrence, Invisible Oranges, http://www.invisibleoranges.com/2013/09/review-oranssi-pazuzu-valonielu/
For a small country, Finland has produced an absurd wealth of black metal. Interestingly, though, Finnish black metal has largely proceeded down two sharply dichotomous tracks, favoring either ultra-rigid orthodoxy or resolutely oddball experimentalism. Oranssi Pazuzu, however, seem to know black metal’s history without pledging fealty to it, and are willing to paint avant-garde lines with a familiar brush.
Valonielu is thus a bold, intelligently crafted statement that also manages a rare feat: it nudges black metal in directions that listeners outside of metal might find approachable, but in a manner that feels much less likely to drive traditionalists to apoplexy (cf. Deafheaven).
Regardless of its lineage, Oranssi Pazuzu’s music is inescapably psychedelic, given the way black metal signifiers are twisted and refracted through a prism of effects-heavy space rock. The trance-inducing results are honestly won, however, and not merely approximated via studio trickery. Despite the surfeit of bleeps and bloops – not to mention swoops and szzzzzzzrts — Oranssi Pazuzu’s oddness is compositional.
Both “Vino Verso” and “Tyhjä Tempelli,” for example, are written in 4/4 time, but they certainly don’t feel it, as guitar lines stretch across measures and queasy synths stab in jarring rhythmic counterpoint. And unlike the band’s previous album Kosmonument, which tended too much to meander, Valonielu has taken all the excesses of Oranssi Pazuzu’s influences – from Krautrock to ’70s prog to space rock — and honed them to a razor-fine point.
If you’re ever in a pinch to bring a phobic friend under this vast noisy tent of heavy metal, Valonielu contains enough signposts to direct fans of Hawkwind or Kraftwerk, and hell, the nervously insistent snare rolls on the chorus to “Tyhjä Tempelli” could even bring along a few Swans partisans (via Love of Life). Oranssi Pazuzu are likely no strangers to Rush, either, given how clearly Valonielu was designed and sequenced like a classic LP: each side features two shorter songs, followed by a lengthy, slow-burning freakout.
Album closer “Ympyrä On Viiva Tomussa” starts quiet and creepy, like an astral twin of Led Zeppelin’s “No Quarter,” but eventually breaks out into a widescreen squall. A brief calm in the song’s final third is anchored by heroically restrained bass playing, but ultimately the song cannot help but explode into a tantalizing choir of instrumental voices. It’s an immensely powerful crescendo made all the more affecting because of its brevity and internally faultless logic: We’ve burned past the old sun, so now, what’s next? —¬¬¬ Dan Lawrence, Invisible Oranges, http://www.invisibleoranges.com/2013/09/review-oranssi-pazuzu-valonielu/
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 21:39 (ten years ago) link
So 2 people wanted a thursday finish. Do you all still want that? or do you want 10 on thursday and the final 10 friday?
I know fastnbulbous would prefer a friday finish as he wont be around tomorrow.
I dont mind either way but would prob be a late finish tomorrow which might not suit everyone.
Any objections to a friday finish?
Just state your preference thursday or friday
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 21:43 (ten years ago) link
Oh shit, it's Wednesday already? Friday seems more appropriate.
― J3ff T., Wednesday, 15 January 2014 21:45 (ten years ago) link
A slower countdown might be better, yeah
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 21:49 (ten years ago) link
I think it would also be better since fastnbulbous wont be around tomorrow
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 21:50 (ten years ago) link
Jury duty, blah.
― Fastnbulbous, Wednesday, 15 January 2014 21:54 (ten years ago) link
It's your poll, dude. Sounds like you think Friday would be better. Make it happen.
― J3ff T., Wednesday, 15 January 2014 21:54 (ten years ago) link
im not bothered im just thinking about fnb, hes put a lot of work in and it would be a shame if he wasn't around for the fun part.
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 22:01 (ten years ago) link
just to say that i'm listening to the Gorguts and it's kinda uh gone into my main-poll top 5 p much immediately
― lovely cuddly fluffy dope (imago), Wednesday, 15 January 2014 22:15 (ten years ago) link
Colored Sands is a special record.
― EZ Snappin, Wednesday, 15 January 2014 22:17 (ten years ago) link
it's like several times better than I imagined it could be and I really liked Obscura
this is just ridiculous songwriting
― lovely cuddly fluffy dope (imago), Wednesday, 15 January 2014 22:18 (ten years ago) link
Friday for the final 10 gets my vote!
― Viceroy, Wednesday, 15 January 2014 22:32 (ten years ago) link
Direct Link to poll recap & full results
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 22:40 (ten years ago) link
20-11 Thursday Starts 2pm(ish) UK time10-1 Friday Starts 2pm(Ish) UK Time
― pfunkboy (Algerian Goalkeeper), Wednesday, 15 January 2014 22:55 (ten years ago) link
Should be a good countdown today
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 09:20 (ten years ago) link
Got My Vote:
35 Anciients - Heart Of Oak, 370 Points, 11 Votes34 Kvelertak - Meir, 375 Points, 12 Votes27 Blood Ceremony - The Eldritch Dark, 416 Points, 12 Votes 26 Shining - One One One, 418 Points, 13 Votes 22 Gris - À L'âme Enflammée, L'âme Constellée..., 466 Points, 13 Votes
The Gris is fantastic; it was my #3 album.
Forgot about this one ir I would have voted for it
29 Moss - Horrible Night, 401 Points, 11 Votes
Want To Hear
40 Manilla Road - Mysterium 326 Points, 10 Votes39 Church Of Misery - Thy Kingdom Scum, 335 Points, 11 Votes38 Pinkish Black - Razed To The Ground , 358 Points, 9 Votes36 Earthless - From The Ages, 368 Points, 11 Votes, One #1 31 Satan - Life Sentence, 386 Points, 11 Votes 28 Inter Arma - Sky Burial, 408 Points, 12 Votes 24 Jesu - Everyday I Get Closer To The Light, 436 Points, 14 Votes23 VHÖL - VHÖL, 453 Points, 12 Votes, One #121 Oranssi Pazuzu - Valonielu, 477 Points, 14 Votes
The Satan is fantastic based on the songs I streamed.
― Loud guitars shit all over "Bette Davis Eyes" (NYCNative), Thursday, 16 January 2014 09:29 (ten years ago) link
all this talk of lava lamp bullshit reminds me of the great spiritual hat controversy at the time of the all-time jazz poll
― Kim Wrong-un (Neil S), Thursday, 16 January 2014 09:43 (ten years ago) link
that was deej tho
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 10:09 (ten years ago) link
You can subscribe to Spotify playlists Tracks - http://open.spotify.com/user/pfunkboy/playlist/3JEQkwsSD5C7VsXMg4k1HXAlbums - http://open.spotify.com/user/pfunkboy/playlist/6fsnIonKsPLF5NzZ9hJg27
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 11:12 (ten years ago) link
Everyone ready? Will be resuming in 12 mins.
Predictions?Hopes?Thoughts on any album already placed?
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 13:48 (ten years ago) link
Beyonce!
― Two days left to vote in the ILM EOY Poll! (seandalai), Thursday, 16 January 2014 13:51 (ten years ago) link
aren't you supposed to be getting everyone to vote in ILM 2013 | End of Year Albums & Tracks Poll | VOTING THREAD (Voting closes MIDNIGHT EST on Friday, January 17th, 2014)
or do you not want metal votes this year?
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 13:55 (ten years ago) link
Metal votes very welcome! It would only take a fraction of the voters in this poll to ensure healthy metal representation in the main ILM poll.
― Two days left to vote in the ILM EOY Poll! (seandalai), Thursday, 16 January 2014 13:58 (ten years ago) link
do as the man says then - VOTE!
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 14:04 (ten years ago) link
20-11 today. Poll finishes tomorrow.
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 14:07 (ten years ago) link
20 Summoning - Old Mornings Dawn, 500 Points, 14 Voteshttp://i.imgur.com/wmVlpRu.jpghttp://open.spotify.com/album/6n0RjK27OTSrR36I7HewBgspotify:album:6n0RjK27OTSrR36I7HewBghttp://www.deezer.com/album/6899656http://youtu.be/Ewc4-0Pdc_A
Everyone’s favorite dragon porn series has succeeded where so many others before it have failed. Against all odds, "Game of Thrones" has managed to make fantasy novels sexy: burly, hirsute tribesmen and corset-busting maidens populate an intrigue-infested feudal world, slicing and dicing their way towards Valhalla beneath a hypothetical soundtrack comprised of Motörhead standbys and Amon Amarth deep cuts. It sounds like The Silmarillion Mach 7, and has proven to be popular with everyone from the bumbling professor next door to your grandma’s hairdresser, but what about the old school fantasy fans? What about the nerds?Fear not, fellow geeks. Summoning’s got your back. It’s undeniable that these Austrian keyboard enthusiasts are dyed-in-the-wool Tolkien obsessives, swiveling the epic scope of "Lord of the Rings" square onto the soaring highs and rumbling lows of Bathory’s Viking odes. There’s a lot more to them than that, of course, even in simply musical terms. Their latest album, Old Mornings Dawn, marks their seventh foray into Middle Earth (not counting a handful of demos and EPs) and will feel like a homecoming to longtime fans. Its lineage can be traced straight back to their 1995 classic Minas Morgul, but these old dogs have picked up a trick or two along the way as their stellar recent output will attest. Their last full-length, Oath Bound, came out back in 2006, and showed a marked progression from its predecessor; Old Mornings Dawn follows the same path especially when the guitar lines are concerned, but spends plenty of time looking backwards towards past triumphs, as well.The core Summoning sound has barely changed since before the original Nordic black metal’s Second Wave entered its death throes, and Burzum and Emperor’s obvious impact on their sound is proof enough that its roots within that circle are still firm. Protector and Silenius adhere to a strict formula of hypnotic black metal riffs, grandiose keyboard melodies, and vocals that range from harsh, throaty croaks to rumbling spoken word, topped off with a heady swig of pagan folk metal’s chants and choruses. The title track features a rousing choir of Vikings in full voice, and more traditional male/female choirs add color to the majority of the album as well. There’s a sweeping cinematic feel to the proceedings; if any of you guys know Peter Jackson’s sound guy, now might be the time to give him a call. The keyboards often take center stage, piling on the cheese and, at times, stifling the guitar work. Summoning’s approach is an acquired taste, to be sure, but sports acres more heft than is offered by similarly key-heavy “epic” metal bands like Rhapsody of Fire or Blind Guardian. There’s a darkness to it.That’s nothing compared to the rhythm section, though. Long a thorn in purists’ sides, Summoning’s now legendary programmed drums are unapologetically inorganic, an essential afterthought that come across as almost militaristic in their simplicity. They even skitter into bongo-driven territory on tracks like “Flammifer”, “Earthshine,” and “Of Pale White Morn”, the latter of which sounds like an outtake from Disney’s Tarzan soundtrack until the guitars... and Orc sounds kick in.Yep. Summoning is so slavishly devoted to their cause that they’ll toss in Orc samples when the moment feels right. You’d almost wonder if these guys are serious, but the diverse and beautifully orchestrated songwriting on this album speaks for itself. Old Mornings Dawn is a more than worthy addition to their canon, and a wholly satisfying treat for fans who’ve been waiting nearly a decade for the next adventure. - Kim Kelly, Pitchfork, http://pitchfork.com/reviews/albums/18092-summoning-old-mornings-dawn/
Fear not, fellow geeks. Summoning’s got your back. It’s undeniable that these Austrian keyboard enthusiasts are dyed-in-the-wool Tolkien obsessives, swiveling the epic scope of "Lord of the Rings" square onto the soaring highs and rumbling lows of Bathory’s Viking odes. There’s a lot more to them than that, of course, even in simply musical terms. Their latest album, Old Mornings Dawn, marks their seventh foray into Middle Earth (not counting a handful of demos and EPs) and will feel like a homecoming to longtime fans. Its lineage can be traced straight back to their 1995 classic Minas Morgul, but these old dogs have picked up a trick or two along the way as their stellar recent output will attest. Their last full-length, Oath Bound, came out back in 2006, and showed a marked progression from its predecessor; Old Mornings Dawn follows the same path especially when the guitar lines are concerned, but spends plenty of time looking backwards towards past triumphs, as well.
The core Summoning sound has barely changed since before the original Nordic black metal’s Second Wave entered its death throes, and Burzum and Emperor’s obvious impact on their sound is proof enough that its roots within that circle are still firm. Protector and Silenius adhere to a strict formula of hypnotic black metal riffs, grandiose keyboard melodies, and vocals that range from harsh, throaty croaks to rumbling spoken word, topped off with a heady swig of pagan folk metal’s chants and choruses. The title track features a rousing choir of Vikings in full voice, and more traditional male/female choirs add color to the majority of the album as well. There’s a sweeping cinematic feel to the proceedings; if any of you guys know Peter Jackson’s sound guy, now might be the time to give him a call. The keyboards often take center stage, piling on the cheese and, at times, stifling the guitar work. Summoning’s approach is an acquired taste, to be sure, but sports acres more heft than is offered by similarly key-heavy “epic” metal bands like Rhapsody of Fire or Blind Guardian. There’s a darkness to it.
That’s nothing compared to the rhythm section, though. Long a thorn in purists’ sides, Summoning’s now legendary programmed drums are unapologetically inorganic, an essential afterthought that come across as almost militaristic in their simplicity. They even skitter into bongo-driven territory on tracks like “Flammifer”, “Earthshine,” and “Of Pale White Morn”, the latter of which sounds like an outtake from Disney’s Tarzan soundtrack until the guitars... and Orc sounds kick in.
Yep. Summoning is so slavishly devoted to their cause that they’ll toss in Orc samples when the moment feels right. You’d almost wonder if these guys are serious, but the diverse and beautifully orchestrated songwriting on this album speaks for itself. Old Mornings Dawn is a more than worthy addition to their canon, and a wholly satisfying treat for fans who’ve been waiting nearly a decade for the next adventure. - Kim Kelly, Pitchfork, http://pitchfork.com/reviews/albums/18092-summoning-old-mornings-dawn/
excellent album. The title track was of course #6 in our tracks poll!
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 14:11 (ten years ago) link
Eating breakfast before trudging in to do my civic duty. This one wasn't on any polls but there was certainly anticipation for it on Rolling Metal.
Smithy and Siegbran will be happy to know that the new Summoning does not sound like it was recorded through a layer of Jell-O like the last album. ― South of Hamster (J3ff T.), Saturday, April 13, 2013 10:27 PM (9 months ago) sounds like another summoning album, then. works for me. ― (⊙_⊙?) (Alan N)ILM Rolling Metal Thread: the only place on the Internet were people are more excited for new Summoning than new Black Sabbath. ― South of Hamster (J3ff T.)I'm pretty sure that if you didn't like Summoning already, this one isn't going to swing you. ― SiegbranI'm pretty sure that if you didn't like Summoning already, this one isn't going to swing you you should feel pretty bad about that ― (⊙_⊙?) (Alan N)Sorry Alan, Summoning is on the wackside of music for me. And I feel fine about it. ― SeanWayneSummoning is my 2nd favorite metal band after Mercyful Fate Sean Wayne, you and I now officially have beef ― not feeling those lighters (underrated aerosmith bootlegs I have owned)finally got my hands on the new summoning. my initial impression is that it rules and is the best. if you're a fan, there's no way you aren't going to dig this. if you aren't... leave the hall! ― (⊙_⊙?) (Alan N)New Summoning already got me within a minute of the first song proper. Two bars of ominous medieval melody, HUGE FUCKING KETTLEDRUMS, then the wall of guitars crashes down and Silenius' cavernous roar comes in echoing from afar - at that point it's game over, everyone else can just pack up and go home. ― Siegbranman oh man. I still don't have it because they're a top 5 band for me so I've been putting it off til I can get a hard copy of it and an afternoon to listen but God almight, I'm gonna be in a tour van for the next month, I should get mp3s to tide me over eh? in my experience Summoning is some of the best listen-while-traveling music ever ― Oral Sex in Sharp’s Ridge Park (underrated aerosmith bootlegs I have owned)love u summoning album ― emo canon in twee major (BradNelson)i really, really like the new summoning (that prepared piano intro to 'earthshine'? so great!) and autopsy records. classic bands doing 'their thing' really well, with conviction and vitality. they're masterful. ― cbFinally getting around to hearing the whole Summoning album, and yeah, wow, this is great. ― glenn mcdonald
sounds like another summoning album, then. works for me. ― (⊙_⊙?) (Alan N)
ILM Rolling Metal Thread: the only place on the Internet were people are more excited for new Summoning than new Black Sabbath. ― South of Hamster (J3ff T.)
I'm pretty sure that if you didn't like Summoning already, this one isn't going to swing you. ― Siegbran
I'm pretty sure that if you didn't like Summoning already, this one isn't going to swing you you should feel pretty bad about that ― (⊙_⊙?) (Alan N)
Sorry Alan, Summoning is on the wackside of music for me. And I feel fine about it. ― SeanWayne
Summoning is my 2nd favorite metal band after Mercyful Fate Sean Wayne, you and I now officially have beef ― not feeling those lighters (underrated aerosmith bootlegs I have owned)
finally got my hands on the new summoning. my initial impression is that it rules and is the best. if you're a fan, there's no way you aren't going to dig this. if you aren't... leave the hall! ― (⊙_⊙?) (Alan N)
New Summoning already got me within a minute of the first song proper. Two bars of ominous medieval melody, HUGE FUCKING KETTLEDRUMS, then the wall of guitars crashes down and Silenius' cavernous roar comes in echoing from afar - at that point it's game over, everyone else can just pack up and go home. ― Siegbran
man oh man. I still don't have it because they're a top 5 band for me so I've been putting it off til I can get a hard copy of it and an afternoon to listen but God almight, I'm gonna be in a tour van for the next month, I should get mp3s to tide me over eh? in my experience Summoning is some of the best listen-while-traveling music ever ― Oral Sex in Sharp’s Ridge Park (underrated aerosmith bootlegs I have owned)
love u summoning album ― emo canon in twee major (BradNelson)
i really, really like the new summoning (that prepared piano intro to 'earthshine'? so great!) and autopsy records. classic bands doing 'their thing' really well, with conviction and vitality. they're masterful. ― cb
Finally getting around to hearing the whole Summoning album, and yeah, wow, this is great. ― glenn mcdonald
― Fastnbulbous, Thursday, 16 January 2014 14:21 (ten years ago) link
If only some of those guys you quoted had voted then it would have been even higher.
― pfunkboy (Algerian Goalkeeper), Thursday, 16 January 2014 14:24 (ten years ago) link
Summoning didn't make it past the first round in Last Rites bracket war or whatever it's called, though they were up against Darkthrone.
http://flahmr.files.wordpress.com/2013/12/bracket7.jpg
― Fastnbulbous, Thursday, 16 January 2014 14:28 (ten years ago) link