Triptykon - Melana Chasmata anticipation & discussion thread.

Aurorae and Waiting are my early favourites. On the whole I'm less fond of the thrashier tracks than of the doom-goth-dream-doom ones, but I'm warming up to them too. Kinda wish Vollenweider featured on more songs.

The song where he drunk-dials Emily Brontë is great too.

love this. actually didn't like CF's Monotheist at all but I think this scratches a diff itch of mine.

Saw this today: http://www.triptykon.net/forum/viewtopic.php?p=42644&highlight=#42644 Tom is apparently not a big fan of the record.

I still think Aurorae is the best thing on here. That song is perfect.

That's an interesting read. Kinda weird that he would admit those kind of misgivings that close to the release date for an album that seemed to be getting pretty much widespread acclaim.

Definitely an unusual thing to read from an artist with a new record, but a lot of respect to him for writing it -- and more still for doing it on a message board, and not making some kind of official post on the band site, so as to work it as just another kind of publicity (ha, which seems to have been the effect here anyway).

i think 'i had to just get rid of the thing' / 'they wouldn't take any more delays' are underappreciated causes for the release of many, many artistic creations, it's nice to see it voiced

several listens in and I think Tom G. is just being overtly critical of his own work. Goddamn is this moody as fuck

This is really good, but maybe a little long. My listening-to-doom skills are somewhat atrophied these days though.

Fits very well next to the latest Swans album.

I'm okay with how long it is. I think it's paced very well. I'm slightly conscious of the length during "Altar of Deceit", but that's also my least favourite song. I saw one reviewer say that "Waiting" should not have been put after the very long "Black Snow". I think it works. It's a lot like the tension-resolving melodic release at the end of Drum's Not Dead.

Good choice of single.

https://www.youtube.com/watch?v=NmyWeOvF_Sg

it is great great great, and, given fifteen years or so, i'm sure mr. fischer will agree

hope i agree in fifteen years

this album is SO fucking good. seriously A+ imo

Immense album. Love it. It's a bit long to take in at once, but I usually try to think of any CD-era release over an hour in length as a double album in disguise. That way it's easier to swallow.

Calling the last and longest track on Eparistera Daimones "The Prolonging" is a pretty good gag.

eparistera daimones is a pretty perfect metal album

so is melana chasmata, which i didn't get the first time around bc it's so much slower and groovier. i was very wrong!!!!

both are great but MC is truly brilliant asgood as monotheist which has become my fave CF album. And considering theyve been one of my fave bands since the early 90s, its incredible that a comeback album has usurped those 3 classic 80s albums.

if only Metallica could do that

excited for this live at roadburn thing.

oh this fucking RULES so far

Hell yeah, this is sick

It's really, really good. Can't wait for my physical copy to arrive. (I pre-ordered the CD and it came with a free download, which is good, because going by recent experience it's gonna be two weeks at least before the thing itself is in my PO box.)

Imagine having music this good on the back burner for so many years.

The guitar solo in Part 1, oh my god.

I can't stop playing this.

so what's the story, here? I know Rex Irae was on ITP, and they put Winter on Monotheist. was this something that was planned for years or something they just thought of and tried to make sound like it was part of an overarching plan all along?

ahh here we go...

“In autumn of 1986, when I was 22 years old, I began writing what would become the first part of an intended three-part Requiem (missa pro defunctis; i.e., mass for the dead). The finished piece was released on Celtic Frost’s Into The Pandemonium album, in June of 1987, bearing the title Rex Irae.

As we were rehearsing and recording the first part of the Requiem, we couldn’t have foreseen that exactly such non-traditional, experimental work would lead to significant differences of opinion between the group and the label who had signed us at the time. We were still an underground band and at a pronounced disadvantage, as our industry power and resources were very limited.

We had initially intended to finish the two missing parts of the Requiem after touring the album, and to release all three sections of the Requiem on a dedicated EP as early as 1988. The aforementioned conflict with the label spiralled out of control, however, leading to the termination of the original group at the end of 1987.

When Martin Eric Ain and me resurrected Celtic Frost in 2001, finishing the Requiem was among the earliest topics discussed. In 2002, at age 38 and sixteen years after I first worked on the initial part, I began writing the third part on the basis of demos I had recorded in 2001. The finished third part was released on Celtic Frost’s Monotheist album in 2006, under the title of Winter.

What was left now was to complete the missing second part of the composition. I had quite a detailed idea in my mind of what it would entail musically, but there was no hurry attached to it; we had reformed Celtic Frost to record far more than just one album. Alas, perhaps predictably Celtic Frost disintegrated again after a few years, and the Requiem was left unfinished once more.

Nonetheless, the intention to finish the full Requiem remained with me. I was going to do it one distant day with Triptykon, the group I formed to continue to pursue the path I began in Hellhammer and Celtic Frost. It was 2018, yet again 16 years after I last worked on the Requiem, when Walter Hoeijmakers, founder of the legendary Roadburn Festival and one of my most beloved friends, contacted me to propose Roadburn as the venue to perform, at long last, the finished Requiem.

Walter and his team very kindly provided for the resources necessary for such a substantial undertaking, and so, at 54 by now, I found myself commencing work on the second and thus final part of the Requiem this year.

The three parts of the Requiem will therefore be performed by Triptykon at Roadburn 2019, with full classical orchestration, congregated specifically for this occasion by Florian Magnus Maier, who is our esteemed classical collaborator and arranger in this project, and whose patience with me appears to be limitless. We feel very proud and deeply honoured to be joined in this endeavour by the renowned Dutch Metropole Orkest (orchestra).

Moreover, this project has been made possible due to the generous support of the City of Tilburg and
Brabant C.”

Ah, so the newly unveiled part is really 'newer' than I'd thought.

So should this really be considered a Celtic Frost or a Triptykon album? Yes, yes, deep question

this is so fucking outrageously good

i'm not sure what i expected but

So should this really be considered a Celtic Frost or a Triptykon album? Yes, yes, deep question

― jmm, Sunday, May 17, 2020 10:30 AM bookmarkflaglink

both. that's what I love about it!

also the soprano they got is top notch

The recording quality and mixing are just perfect.

Getting 3rd and the Mortal vibes, which is always a plus in my book.

This thing is a masterpiece.