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Author Topic: BLACK METAL  (Read 71870 times)
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ConcreteMascara
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« Reply #375 on: July 09, 2018, 03:29:18 PM »

BITN is my favorite Immortal album, perfect fall album

Weird to see "Battles in the North" brought up so many times in quick succession after I just revisited it a few weeks ago for the first time in years. "Battles.." and Gorgoroth's "Incipit Satan" were the first two black metal releases I heard many years ago and it will always remain a favorite for me. At the Stormy Gates of Mist is probably my all-time favorite Immortal song.

Yesterday I revisited all of Antaeus's discography, save for some of the early demo tapes I don't have. A nice reminder of why they're one of my all-time favorite bands, even if I don't listen to them nearly as much as I used to. I strongly believe their 3rd album "Blood Libels" is their best and refuse to acknowledge 2016's "Condemnation" as even existing at this point. Also, their live show at Maryland Death Fest in 2013 was not only fucking perfect, it was one of the most physically demanding crowd experiences I've ever had. 50 minutes of blood on asphalt and trampled body parts without pause.
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« Reply #376 on: July 09, 2018, 04:31:51 PM »

MDF 2013 was the last year I went to the fest. so many amazing sets that year Antaeus like you mentioned, Bolt Thrower, Revenge, Cruciamentum and Deiphago. the Carcass set was so boring
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« Reply #377 on: July 10, 2018, 08:48:17 PM »

Enslaved - Blodhemn 1998 - GREAT.  Intense. Last top Enslaved album?  I wondered why it scored so low at Metallum.  Someone gave it a 23%.  Nut.  The drumming is more precise than Trym's, but that doesn't make it better.  Just that it is.  Could do without some of the solos, appreciate the Hawkwind electronics, and didn't notice until now the Iron Maiden influence in "Eit Auga Til Mimir".
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« Reply #378 on: July 10, 2018, 10:42:30 PM »

MDF 2013 was the last year I went to the fest. so many amazing sets that year Antaeus like you mentioned, Bolt Thrower, Revenge, Cruciamentum and Deiphago. the Carcass set was so boring

My last year as well. I thoroughly enjoyed the Carcass set though. Unsurprisingly it was focused on "Heartwork" and to a lesser extent "Necroticism" and the new record, but I thought it still sounded good. Whereas Revenge and Deiphago were really boring to me, especially with the god awful mixing for Deiphago. But to each their own.

Enslaved - Blodhemn 1998 - GREAT.  Intense. Last top Enslaved album?  I wondered why it scored so low at Metallum.  Someone gave it a 23%.  Nut.  The drumming is more precise than Trym's, but that doesn't make it better.  Just that it is.  Could do without some of the solos, appreciate the Hawkwind electronics, and didn't notice until now the Iron Maiden influence in "Eit Auga Til Mimir".

All earlier Enslaved is pretty damn enjoyable. A lover of "Frost" myself. But I also really enjoy "Below the Lights", which is way more progressive metal or whatever than viking or black etc etc. but it's nice record to listen to while sitting around a campfire in the woods and evening drives.
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« Reply #379 on: July 11, 2018, 03:19:47 PM »

I not a big fan of Heartwork mixed with the weather being much more chilly than pervious years (had to buy a Beherit long sleeve because I didn't pack anything chilly weather clothes) made me just miserable during their set lol.

so far the lineup announced for next year is looking pretty decent
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« Reply #380 on: July 12, 2018, 05:55:10 PM »

Enslaved - Blodhemn 1998 - GREAT.  Intense. Last top Enslaved album?  I wondered why it scored so low at Metallum.  Someone gave it a 23%.  Nut.  The drumming is more precise than Trym's, but that doesn't make it better.  Just that it is.  Could do without some of the solos, appreciate the Hawkwind electronics, and didn't notice until now the Iron Maiden influence in "Eit Auga Til Mimir".

I love it too. Although "Frost" is definitely my ultimate favourite in their discography and one of my favourite black metal albums as well. There are some good things on "Mardraum" but I can't hang with them afterwards.
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« Reply #381 on: July 12, 2018, 05:57:42 PM »

I remembered being a big fan of Ulver's Bergtatt, but I hadn't played it in maybe 15 or more years.  One of those (greats) that slips through the cracks.  What a masterpiece.  Bona fide.  Now that I have a lot more experience with various types of music, like prog and Nordic folk; I can appreciate Bergtatt even more.  I feel this album could be akin to something like Captain Beyond.  In years to come, the clued will wonder how such a truly great album went unnoticed in its time and basically continues to go unnoticed.  Despite the black metal segments, I don't understand why this album isn't/couldn't/won't be relatively huge and well known across a handful of audiences.
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« Reply #382 on: July 13, 2018, 01:17:49 AM »

I remembered being a big fan of Ulver's Bergtatt, but I hadn't played it in maybe 15 or more years.  One of those (greats) that slips through the cracks.  What a masterpiece.  Bona fide.  Now that I have a lot more experience with various types of music, like prog and Nordic folk; I can appreciate Bergtatt even more.  I feel this album could be akin to something like Captain Beyond.  In years to come, the clued will wonder how such a truly great album went unnoticed in its time and basically continues to go unnoticed.  Despite the black metal segments, I don't understand why this album isn't/couldn't/won't be relatively huge and well known across a handful of audiences.

Nattens Madrigal was HUGE for me in the late 90’s and Bergtatt was a close second. I have truly lost any connection with contemporary black metal (although the 90’s stuff I still really click with of course), but these seemingly always make their way into the rotation when I’m in the mood for black metal along with the early Emperor albums. I do recall thinking Bergtatt was a tad “soft” and “not grimm enough” in comparison to NM and yet it’s aged perfectly for me. CM did reissues of the first three albums a few years ago and they really did a great job. I framed the Nattens Madrigal poster that accompanied it and it is the highlight of my record room.
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« Reply #383 on: July 13, 2018, 01:36:56 AM »

I could never really get into Nattens.  I revisited it a few days ago and still feel the same.  After the masterwork of Bergtatt and the great beauty of Kveldssanger, that was a shift in direction I had no interest following.  I think I understand what they were doing there, but eh...novelty.

I do think --though I also find this reason for lack of interest completely asinine and ridiculous-- they made a real mistake and poor calculation in not originally releasing the first two on LP.  It was just still too anti-CD then, and black metalheads were every bit as obsessed with records as the punks.
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« Reply #384 on: July 13, 2018, 01:54:20 AM »

I could never really get into Nattens.  I revisited it a few days ago and still feel the same.  After the masterwork of Bergtatt and the great beauty of Kveldssanger, that was a shift in direction I had no interest following.  I think I understand what they were doing there, but eh...novelty.

I do think --though I also find this reason for lack of interest completely asinine and ridiculous-- they made a real mistake and poor calculation in not originally releasing the first two on LP.  It was just still too anti-CD then, and black metalheads were every bit as obsessed with records as the punks.

I remember reading somewhere that Nattens Madrigal was made as a reactionary record that they did to prove they could write better records than Darkthrone and the like ... which sort of explains the radical shift in sound to black metal by numbers and then into much stranger territory immediately following it. I was under the impression that the early records were regarded as classics and staples of the genre
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« Reply #385 on: July 13, 2018, 02:13:44 AM »

I’m revisiting Bergtatt now and I definitely think it has aged better than Nattens Madrigal. Or is it a symptom of me being 38 and not 18? Or how about that I’m playing it on a nice grown up stereo vs a tape I dubbed of the CD with shit headphones? The variables are endless! This truly is a beautiful album, that mixes the folky acoustic bits really well with the endless riffing. There’s a part in track III that sounds like a door slamming right in the middle of the song and that moment always reminds me of how “hypnotic” this record is because every time I zone out to the max and that one moment just sets me right back in to the album. It’s sheer brilliance. The bass playing is absolutely stellar as well on this record, not too flashy but definitely more than just marking the root, it’s an absolute highlight.

My love for Nattens Madrigal will never change. I remember the endless stupid commentary/myth-making about it being recorded in a forest at midnight or whatever inane bullshit people made up and the endless forum backlash..... still sounds great to me!!!
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« Reply #386 on: July 13, 2018, 02:23:29 AM »

I remember reading somewhere that Nattens Madrigal was made as a reactionary record that they did to prove they could write better records than Darkthrone and the like ... which sort of explains the radical shift in sound to black metal by numbers and then into much stranger territory immediately following it.
That's interesting.  Never heard that.  I can't say I ever heard any folklore about Nattens, but that scene was never on my radar.  There's no reason I would have heard it, but now that we're talking, it sounds like fun.

I was under the impression that the early records were regarded as classics and staples of the genre
I really shouldn't make any declarations about black metal.  I probably couldn't be any further removed from it.  I hope I didn't come across as if I were.  What I was hoping to communicate was that they're both so well done that I would think they could appeal at a high level to audiences not of the black metal variety.  I would think the folkies would be genuinely impressed.  The proggers as well.  The goth metallers and Projektights too.  etc.  I'm probably kidding myself.  Ved Beuns Ende was pretty great, and they didn't get any deserved crosstalk.
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« Reply #387 on: July 13, 2018, 02:47:34 AM »

I’ll echo the above that these Ulver records suffered greatly at the hands of the CD (pic LP limited to 300) mentality of the 90’s as the overall aesthetic of all three early records are absolutely stunning, the reissues look absolutely beautiful and really highlight the music within. I’m on to NM now and wow, did this album define my teen years in a lot of ways. It’s so interesting to see the shift in perception towards production in black metal, this just does not really sound as “raw” as it’s referenced. It’s got a ton of fantastic riffs on it and the production suits it. It’s efinitely a slap in the face compared to Bergtatt but definitely not this sloppy nightmare joke record it’s defined as.

Incidentally Ulver have left me completely cold post NM, I went back to Shadows of the Sun recently and it was just not anything I could get into. Same with the Sunn/Ulver collab but I did really and truly love that Aethenor record with the blue cover “En Form for Bla” I think? Once I hit up some early Emperor that’s going on.
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« Reply #388 on: July 13, 2018, 03:31:08 AM »

I enjoy everything up until ~2003 ... Perdition City in particular for whatever reason has a special place in my heart even though its just weird pop \ downtempo \ trip hop ... As much as I love the mid era Beherit weirdness of H418ov21.C and Electric Doom Synthesis, Ulver just did it better in my opinion
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« Reply #389 on: July 13, 2018, 07:48:05 AM »

Despite the black metal segments, I don't understand why this album isn't/couldn't/won't be relatively huge and well known across a handful of audiences.

To me it always seemed Ulver is way bigger than any typical Black Metal? Maybe it's different in different countries. But over here, any works of Ulver seems to be widely listened, acknowledged way beyond "bm audience".

That said, band has never been much of interest of mine. Beyond 1st and 3rd album, I never heard anything really interesting. These two also rarely end up to my stereos because both albums having lots of good things, also have things I don't care for. One major obstacle the gentle sounding boyish choir vocals in debut. In both albums the advanced musicianship often is turn off. I don't mean BM needs to be played like shit, but there is often sort of "musicians having fun" feel to Ulver - whatever era we talk about.
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