Ihsahn: “What I do now is musically still black metal.”

Ihsahn is recording his upcoming solo album right now in Norway according to Blabbermouth. Furthermore Ihsahn believes that black metal is not a specific type of heavy metal music but rather a mind set and that the random progressive rock and jazzy instrumental masturbation Ihsahn performs now is still actually “black metal” despite not even being metal music to begin with, yet alone black metal.

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Ihsahn: New Emperor Album Would Be Pointless Disappointment

emperor bandt

Ihsahn has stated that if Emperor reunited, there would be “Absolutly no point” in recording a new album as “It would be a disappointment.” He claims any new Emperor work would be similar to his masturbatory solo material. Perhaps Ihsahn should have come to this conclusion over two decades ago; Emperor’s post In the Nightside Eclipse material after Faust and Samoth went to prison consisted of merely interesting black metal riffs arranged into one-note verse chorus verse songs propelled forward mainly by soft versus hard contrasts. Ihsahn is right that creatively bankrupt guitar magazine pandering is not worth Hessians’ precious time. Listen to the original master of In the Nightside Eclipse again instead:

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Ihsahn to release Arktis

ihsahnarktiscd
Along with a planned review for the upcoming week, Ihsahn has made it back onto my list of “musicians who clearly exist” with the upcoming release of Arktis. It is set for a March 4th release and will be Ihsahn’s 6th full studio length. If previous press releases and media praiseworshipspeak is to be believed (I’m looking at Blabbermouth here), Arktis will somehow be both more traditionally structured than Ihsahn’s previous solo albums, which tend to already employ a lot of pop song structures, and also somehow pushing “…boundaries and preconceived sounds typically assigned to heavy music”. That’s either a tall order or a marketing department ignoring what the artist says to revel in their own promotional efforts.

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Concert Review: Metalmania 2018

On  7th  April, another edition of a long standing Polish festival Metalmania took place. One day, two stages, twenty four bands. It was the second one organized after a recent reactivation. The original Metalmania was an early big metal event in that part of the Europe – quite a feat given Polish Communist and post-Communist realities. Then, due to various reasons, the festival was gradually losing its relevance, dwindling and finally went into hiatus for 8 years. There is no sense, however, to cling to its bygone local importance or whatever glorious past. So how does it look now? 

While too much reliance on more mainstream gothic and heavy contributed to a collapse of previous incarnation of the festival, and now it was death and black oriented, the music on the big scene is rather consistently aimed at straight metal through all of its generations and styles, ending with bands like Dead Congregation or Blaze of Perdition and with some of the more modern sounds on a small scene. On a downside, the fest resurfacing mainly as a stage for classic bands may be reflecting the actual state of metal, indicating that the newer bands are unable to fill the void with something equally strong to their predecessors. 

The festival was obviously rough around the edges (and surprisingly violent – I almost got caught into two different fights just from where I was standing) and the sound was uneven and average overall. It was organized better than in the past, but still perceptibly within Polish standards, that is crudely and with lack of imagination or simply negligence in some areas (although Martin van Drunen said on stage that the organization was great!). Perhaps a very fortunate by-product of these characteristics, which may contribute to the positive reception of this festival, is how – I dare to say – conservative it is, both in terms of lineup and general spirit. With Napalm Death and (I suppose) liberal speed metallers on one side and sort of crypto-nazis on the other, who always find a way to show up in some form, the fest also covered broadest ideological spectrum that is possible for a mainstream event. 

As of 2018 this festival is yet to experience types of modern degeneracy, often coming from outside, which can be seen on festivals elsewhere. There were some obligatory side attractions, like exhibition of works of Christophe Szpajdel (who actually speaks Polish fluently), meet-up with the bands and lots of merch, but nothing delving too much into a fan idiocy or really not related to metal. Very few freaks, zero exotic people, no random participants, just fairly traditional metalheads, mostly in the 90s style, as it should be, world without end. However, those spoiled by abundance of propositions and by big festivals in Germany or Czech Republic will probably miss out on some of these modest qualities. 

And then there’s the surreal, sci-fi sight at the arrival – a monumental, Communistic “The Saucer” occupied by nothing but a tribe of long haired, black clad drunks… 

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/dmg/ DEATH METAL GENERAL: Rooftop Riders Edition

 

DEATH FUCKING METAL:

http://www.deathmetal.org/metal/

http://www.deathmetal.org/site-map/

http://www.deathmetal.org/category/faq/

>b-but I heard death metal is dead!

http://www.deathmetal.org/news/

http://www.deathmetal.org/review/

OP Paste Bin:  http://www.deathmetal.org/tag/death-metal-general/

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Fake And Gay: Nergal, Halford Want BM Supergroup

< Famed Judas Priest singer and gay fashion icon Rob Halford has been recently vocal about starting a black metal supergroup.  A longtime fan of the genre, Halford has named Ihsahn of Emperor and Nergal of Behmoth as potential collaborators, with the latter jumping at the opportunity to use his cartoon-black-metal brand to pocket even more mainstream metal dollars.  Unfortunately for Halford and anyone dumb enough to be duped into thinking something like this will be good, Nergal will not have much to offer in terms of a black metal supergroup as he has not played black metal since 1994's Sventevith despite masquerading around in corpse paint whenever it’s time to roll out the red carpet.

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The Imperial Reign of Emperor

The most technically and musically gifted band of the Norwegian black metal scene, the legendary Emperor are also the most well known outside of the documentary-level engagement that plagues most who know of Burzum and Mayhem.  Formed in the small rural town of Telemark Norway as a side project to a soon-forgotten death metal band, the group overcame the imprisonment of 75% of it’s lineup to deliver the most grandiose album of early 90s black metal.  Though Emperor’s career was far from perfect, it made a profound impact on the young genre and ultimately proved it’s limitless developmental possibility.
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