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31
Chasm / Re: A very amazing thing happened to me the other
« on: September 26, 2007, 11:43:05 AM »
Down at a local river, wandered off into the bush and paused to take in the beauty of earth. Looking skyward I could see that the particular copse of trees I stood under had a lean to it. At some point one of the trees must have taken to growing at an angle, casting shadows on nearby trees. These trees have then begun growing at a similar angle to regain their sundered exposure to sunlight. Eventually after years the entire copse had taken on the angle of the first tree. In this I saw that life was it's own impetus to change. Viva la nihilism, et al.
A few nights ago I lost control of my car and rolled it into a ditch deep enough to swallow the car and have only the rear tyre protrude above ground level. As the car flipped the weight of the engine brought the bonnet down enough for the headlights to illuminate the storm water drain I was heading into. The milliseconds before impact were probably the purest I have ever lived. Nothing is more life affirming than a near death experience.
I recently purchased Under A Funeral Moon. Until then I had never read the lyrics. I suppose this is mundane considering the scope of this thread but I was, heartened by my rediscovery of the genius of the progenitors.
The sign of your horns
Is my dearest vision
They Impale all holy,
All holy and weak
You watch me face the mirror
And see desecration
With my art I am the fist
In the face of god
A few nights ago I lost control of my car and rolled it into a ditch deep enough to swallow the car and have only the rear tyre protrude above ground level. As the car flipped the weight of the engine brought the bonnet down enough for the headlights to illuminate the storm water drain I was heading into. The milliseconds before impact were probably the purest I have ever lived. Nothing is more life affirming than a near death experience.
I recently purchased Under A Funeral Moon. Until then I had never read the lyrics. I suppose this is mundane considering the scope of this thread but I was, heartened by my rediscovery of the genius of the progenitors.
The sign of your horns
Is my dearest vision
They Impale all holy,
All holy and weak
You watch me face the mirror
And see desecration
With my art I am the fist
In the face of god
32
Metal / Re: What would a metal society look like?
« on: January 16, 2007, 11:24:17 AM »
All dwellings must take the form of jungletop tree huts.
All literature somehow involves the works of Tolkien.
Atmosphere is regulated such that O2 levels rise enough for things to instantaneosly combust.
All places of dwelling built as medieval castles.
Morons genetically engineered to secrete hydrocarbons from sacs on the back.
Grocery lists and the local newspaper to be considered literature.
Slightly more seriously:
A band of savages given a portion of the island such that one day our society could make war on them.
Sustainable supply of game to hunt.
Communal dinner/feast around a bonfire at least every week.
Goodly amount of war paint to don while hunting game and savages.
Wood for bonfires.
All literature somehow involves the works of Tolkien.
Atmosphere is regulated such that O2 levels rise enough for things to instantaneosly combust.
All places of dwelling built as medieval castles.
Morons genetically engineered to secrete hydrocarbons from sacs on the back.
Grocery lists and the local newspaper to be considered literature.
Slightly more seriously:
A band of savages given a portion of the island such that one day our society could make war on them.
Sustainable supply of game to hunt.
Communal dinner/feast around a bonfire at least every week.
Goodly amount of war paint to don while hunting game and savages.
Wood for bonfires.
33
Metal / Re: Sacramentum
« on: December 20, 2006, 08:21:18 AM »
I only recently realized that the band employs flange type distortion on Far Away From The Sun. Pherhaps this is partly how they acheive their ambient guitar sound. Having two or more guitars with each flange effect starting at a different counteractive pitch results in a hazy drone without a net change in flange pitch. Thoughts?
34
Metal / Re: Context
« on: December 11, 2006, 03:05:24 AM »
rwja that is a stupid idea. What makes you think that human interaction is negative? Certainly some people are stupid and should be avoided, but would you deny the worthwhile people because of the dregs. Post 1996 metal is crap, has that made you avoid the greats? Your missing the holistic implications of black metal; romanticist love of live. If the future lies in hiding in our rooms and only talking to family or immediate friends, then what value does anus.com have? You advocate the denial of will to power by being shackled by the ugly parts of society. The website is devoted to changing society to something better, yet you posit that we should abandon society and cease interaction.
The norwegian second wave was strong because they operated as a healthy society. The band members were friends, they practiced eugenics by disallowing inferior bands to progress in the scene (fenriz mentions this in an interview) and they all shared a common goal. This model lead to great acheivments, your vision will only lead to another shitty myspace/cd-r band.
The norwegian second wave was strong because they operated as a healthy society. The band members were friends, they practiced eugenics by disallowing inferior bands to progress in the scene (fenriz mentions this in an interview) and they all shared a common goal. This model lead to great acheivments, your vision will only lead to another shitty myspace/cd-r band.
35
Metal / Re: Integrality of the Guitar Solo
« on: November 17, 2006, 09:43:43 AM »
The traditional concept of the solo, having a rythmn riff for the lead guitar to ride, this reduces the role second guitar to fiduciary placeholder, constraining. This technique has been done. Where can it go?
Solo's should not be the point of a song, should not even be considered 'solo', rather as fast complex riffing. One direction possible is soloing in unison with other instruments to create narative. Breaking out of the static confines of the traditional paradigm. The band should play in similar fashion to an orchestra. I'm thinking a cross between Therion's Beyond Sanctorum and Sacramentum's Far Away From the Sun.
Solo's should not be the point of a song, should not even be considered 'solo', rather as fast complex riffing. One direction possible is soloing in unison with other instruments to create narative. Breaking out of the static confines of the traditional paradigm. The band should play in similar fashion to an orchestra. I'm thinking a cross between Therion's Beyond Sanctorum and Sacramentum's Far Away From the Sun.
36
Audiofile / Bach, Johann Sebastian
« on: November 01, 2006, 10:23:07 AM »
Bach, Johann Sebastian: Rapidshare, Blogspot, Megaupload
Bach, Johann Sebastian
(1685 - 1750)
A Musical Offering: Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta- Thematiis Regii Elaborationes Canonicae
Collection of pieces intended to be performed as a single work - originally inspired by a performance of J.S. Bach's for Frederick the Great. Another of Bach's finals works, and along with The Art of the Fugue, is one of the greatest triumphs of Bach's compositional style.
For following this work in absolutely the best way possible, memorize well the short first track of 30 seconds. All subsequent pieces are 'merely' elaborations of this theme- canons, fugues, and a four-part sonata in which Bach's compositional technique can be observed very clearly. The theme is said to have been written by the King to whom this 'offering' is dedicated.
A Musical Offering (Musikalisches Opfer)
Reinhard Goebel
Musica Antiqua Koln
On period instruments, accurate to the intended instrumentation - excepting the keyboard: a harpsichord is employed rather than what Bach wrote it on, a fortepiano.
I cannot provide all of the analysis provided in the booklet for these (if I had the ability to do so, I would scan the booklet, as this recording was retrieved from my library), but I highly recommend that everyone here, if possible, seek out a (quality) recording of these works. These are the best performances I have heard of The Art of the Fugue and A musical Offering thus far, but it appears that this compilation is no longer in print.
A Musical Offering, BWV1079
Le Concert Des Nations
directed by Jordi Savall
Alia Vox, Austria 2001
Another excellent recording of the Musical Offering for flute, harpsichord and violas-da-gamba ensemble.
Art of the Fugue, The
Bach's opus ultimum. Among the greatest musical works of all history, perhaps the greatest.
Bach's final and summative masterworks are considered to be three: the Mass in B minor, a transcendentalist choir piece culled from earlier works and then perfected using the experience of a lifetime in music, the Musikalisches Opfer, and The Art Of The Fugue, presented here.
Together, the last two are unique components in a series of pinnacles of Indo-European harmonic/ melodic practice and theory on instrumental techniques, manifesting themselves as arcane, almost theoretical scribblings that only weave their splendour and magnificence once transposed from paper to instruments.
Musically, this is a treatise on counterpoint, and it is admittedly very difficult music to perform and understand. (It's also uncannily modern-sounding in places, perhaps even sowing seeds that would later wind up in Wagner's Ring cycle). To follow well, you may want to try the following steps, in increasing order of difficulty:
1) At first listen, observe the different note sequences Bach uses. Instead of trying to make sense out of melodies or elucidate their structure, focus your listening to a single melodic line and identify it, then try to focus on another line, and so on. Be as objective as possible.
2) Listen to the track again to see how the different lines you have identified work in conjunction. This time, keep focusing on the phrases and how they increase in complexity over time. Do not stop to consider individual notes as this will disturb your train of thought, instead, consider melodies and allow their initial emotional impact to influence your listening. This said, Bach's music evolves with a very clear momentum, so it may also be a good idea to just immerse yourself in it and avoid over-analysis.
3) Finally, after obtaining a good idea of how the music functions, try to relate different sequences from separate parts of the tracks to each other. Analyze form and structure, consider all of what you have just learned as a departure point. See how the different tracks relate to each other, as regards tone, speed, inflection, placement, etc.
4) Observe how this relates to your feelings and what you deduce from listening subjectively to the piece. Revel in the sense of meditative illumination this gives.
5) Realise how different this is from the dungpile of elemental, monumental moronity which surrounds modern art and its host society. Do cd-r copies of this and Burzum and distribute freely in churches and shopping malls, engaging with potential friends in interesting discussions about music, global warming, Paul Ledney's poetry, and the joys of eugenics.
The Art of the Fugue (Die Kunst Der Fuge)
Reinhard Goebel
Musica Antiqua Koln
Basic Structure:
I - simple fugues (Contrapunctus 1-4)
II - counter-fugues (Contrapunctus 5-7)
III - double and triple fugues (Contrapunctus 8-11)
IV - mirror fugues (Contrapunctus 12-13)
V - quadruple fugue (Contrapunctus 14, unfinished)
VI - four canons
VII - appendix: four-voice arrangements of the two versions of Contrapunctus 13 (three-voice mirror fugue) for two harpsichords
(there are also several other principles that bind the fugues and canons collectively, but that will be for the listener to determine (or google, whatever suits you))
This recording is played with period instruments, but it is not exact to what is suspected to be Bach's intended instrumentation:
I cannot provide all of the analysis provided in the booklet for these (if I had the ability to do so, I would scan the booklet, as this recording was retrieved from my library), but I highly recommend that everyone here, if possible, seek out a (quality) recording of these works. These are the best performances I have heard of The Art of the Fugue and A musical Offering thus far, but it appears that this compilation is no longer in print.
Die Kunst der Fuge, BWV1080
Hesperion XX
directed by Jordi Savall
Alia Vox, Austria 1986
As with Jordi Savall's other recordings, this version is evocative and warm, being performed on period wind instruments and viol ensemble. Some versions of the work may be found played on harpsichord or piano, but the use of a chamber orchestra is most consistent with Bach's intentions and the vague specifications he left regarding its performance.
Brandenburg Concertos
Johann Sebastian Bach - The Brandenburg Concertos 1 - 6
Lucerne Festival Strings
Rudolf Baumgartner, conductor
J.S. Bach - Brandenburg Concertos Nos. 1-3
BWV 1046-1048
Karel Brazda
Philharmonia Slavonia
1994
J.S. Bach - Brandenburg Concertos No. 4/5
Cologne chamber orchestra
Helmut Muller-Bruhl
Cantatas
Der Streit Zwischen Phoebus Und Pan, BWV201 (The Contest Between Phoebus And Pan)
Performers:
Sybilla Rubens - soprano
Ingeborg Danz - alto
Lothar Odinius, James Taylor - tenor
Matthias Goerne, Dietrich Henschel - bass
Gaechinger Kantorei, Bach-Collegium Stuttgart
directed by Helmuth Rilling
Haenssler-Verlag, Germany 1999
In this secular cantata, Pan, the simple and mundane panpipe-playing forest sprite, challenges Phoebus, the sun-god, a masterful lyre-player who possesses a 'golden voice', to a contest based on who is able to perform the most beautiful song of all. The characters in the audience agree that Phoebus is the obvious winner except for the materialist Midas, who claims that 'Pan ist meister!'.
For his sheer arrogance and inability to judge, Midas is therefore punished with an outgrowth of two huge donkey ears.
Notable moments in this cantata include Phoebus' solemn love-song (track 5), Pan's tribute to joie-de-vivre (track 7), and Midas' outburst at the audience's incredulity (track 11, enhanced with Bach's ingenious 'hee-haw' motif on the violins, illustrating Midas' punishment, halfway through).
Complete works of JSB - CD 28
Cantatas : Auf Christi Himmelfahrt alein BWV 128
Mein libesster Jesus ist verloren BWV 154
Nun komm, der Heiden Heiland II BWV 62
Complete works of JSB - CD 29
Cantatas : Nun danket alle Gott BWV 192
Wer nur den lieben Gott läbt walten BWV 93
Ich Lebe, mein Herze, Zu deinem Ergötzen BWV 145
Gott, wie dein Name, so ist auch dein Ruhm BWV 171
Concertos
Solo Concertos Vol. 1
Comprising:
- Concerto BWV1065 for 4 harpsichords and strings in A minor (a transciption of a Vivaldi concerto for 4 violins)
- Concerto BWV1061a for 2 harpsichords in C major
- Concerto BWV1056 for harpsichord and strings in F minor
- Concerto BWV1057 for harpsichord, 2 recorders and strings in F major
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1996
Solo Concertos Vol. 2
Comprising:
- Concerto BWV1054 for harpsichord and strings in D major
- Concerto BWV1041 for violin, strings and basso continuo in A minor
- Concerto BWV1063 for 3 harpsichords and strings in D minor (with alternate version of second movement)
- Concerto BWV1053 for harpsichord and strings in E major
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1997
Concerto BWV1063 is especially recommended for its courtly, Italianate elegance.
Solo Concertos Vol. 3
Comprising:
- Concerto BWV1055 for harpsichord, strings and basso continuo in A major
- Concerto BWV1043 for 2 violins, strings and basso continuo in D minor
- Concerto BWV1064 for 3 harpsichords and strings in C major
- Concerto BWV1052 for harpsichord and strings in D minor
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1998
Solo Concertos Vol. 4
Comprising:
- Concerto BWV1062 for 2 harpsichords and strings in C minor
- Concerto BWV1044 for harpsichord, flute, violin, strings and basso continuo in A minor
- Concerto BWV1064 for harpsichord in F major ('Concerto nach Italiaenischem Gusto' - First version of 1735)
- Concerto BWV1061 for 2 harpsichords and strings in C major[/b]
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1999
Solo Concertos Vol. 5
Comprising:
- Concerto BWV1060 for 2 harpsichords and string in C minor
- Concerto BWV1042 for violin, strings and basso continuo in E major
- Concerto BWV1058 for harpsichord, strings and basso continuo in G minor
- Concerto BWV1050a for harpsichord, flute, violin and strings in D major (early version of Brandenburg Concerto no. 5)
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 2000
Here is a five volume set concentrating on the composer's concertos for one or more instruments with or without chamber orchestra.
For those wary of relative unknowns in classical music recordings, rest assured: this is very high quality music, delivered in very high quality performance, on period instrumentation.
J.S. Bach - Violin Concertos
Includes:
- Violin Concerto in A minor BWV1041
- Violin Concerto in E BWV1042
- Concerto for two violins in D minor BWV1043
- Concerto for flute, violin and harpsichord in A minor BWV1044
Bath Festival Orchestra
Solo performer:Yehudi Menuhin
Performers in BWV1043: Yehudi Menuhin and Christian Ferras
Performers in BWV1044: William Bennett (Flute), Yehudi Menuhin (Violin), George Malcolm (Harpsichord)
Conductor: Yehudi Menuhin
Fugues and fantasies
Bach, Johann Sebastian - Fugues by The Emerson String Quartet
A Selection of fugues arranged for string quartet
Performers: Emerson String Quartet: Eugene Drucker, Philip Setzer, Lawrence Dutton, David Finckel
21 pieces
Goldberg Variations
J. S. Bach - Goldberg Variations
Glenn Gould
1981
J.S. Bach - Goldberg variations
Gustav Leonhardt
1965
J.S. Bach - the Goldberg Variations transcribed for solo guitar
József Eötvös, guitar
Motets
This is the composer's entire body of work described by the 'motet' definition, which in Bach's case is a somewhat lengthy devotional anthem sung in German for choir or double choir. Instrumentation is scant and does not extend beyond the role of a simple basso continuo accompaniment consisting of cello, organ and contrabass violone (a type of viola da gamba), played in unison.
The Motets, BWV225 to BWV230
Contents:
- Singet dem Herrn ein Neues Lied BWV225
- Der Geist hilft unsrer Schwachheit auf BWV226
- Jesu, meine Freude BWV227
- Fuerchte dich nicht BWV228
- Komm, Jesu, komm BWV229
- Lobet den Herrn, alle Heiden BWV230
The Scholars Baroque Ensemble
Naxos/ HNH, Germany 1997
Organ Works
Organ works - as played by Karl Richter
A massive three disc collection of Bach's organ works. A great listen for you Bach-loving metalheads out there.
Disc 1 - link dead
Disc 2
Disc 3
J.S. Bach - Famous Organ Works
Includes:
- Toccata and Fugue in D minor
- Fantasia and Fugue in G minor
- Organ Concerto No. 4 in C major
- Toccata and Fugue in D minor "Dorian"
- Organ Concerto No. 2 in A Minor
Performer: Karl Richter. Apparently a truncated version of the previous.
J.S. Bach - Organ Works
Includes:
- Toccata and Fugue in D minor BWV565
- Toccata, Adagio, and Fugue in C major BWV564
- Toccata and Fugue in F major BWV 540
- Toccata and Fugue in D minor 'Dorian' BWV 538
- Passaglia in C minor BWV582
- Pastorale in F major BWV590
- Canzona in D minor BWV588
- Allabreve in D major BWV589
- 6 Choräle von verschiedener Art BWV645-BWV650
Performer: Ton Koopman (organ)
Archiv Produktions, Germany 1984
This record includes some of Bach's best known works for organ performed by virtuoso Ton Koopman. The colourful but understated use of timbres and phrasings together with the sweeping technical approach makes this one of the best overviews of the vast compendium of Bach organ music available, but enthusiasts are also advised to seek out alternative recordings of these works from Helmut Walcha, Christopher Herrick and Karl Richter, as the final result is as much a product of the performer's interpretation as it is of the composer's written instructions.
Sacred works
Bach, Johann Sebastian - Sacred Songs and Arias
Georg Jelden (Baritone)
Heinz Schnauffer (Organ)
1974
Mass in B minor (Discs 1 & 2) (unknown performance)
Bach, Johann Sebastian - Mass in B Minor (1974, Mediafire) Disc one - Disc two
Gundula Janowitz, Sopran
Christa Ludwig, Alt/Contralto
Peter Schreier, Tenor
Robert Kerns, Bariton
Karl Ridderbusch, Bass
WIENER SINGVEREIN
Chorus master: Helmuth Froschauer
Conductor: Herbert von Karajan
BERLINER PHILHARMONIKER
[Buy here]
Matthäus-Passion, BWV244: Passion unseres Herrn Jesu Christi nach dem Evangelisten Matthäus
Disc 1
Disc 2
Disc 3
Performers:
Gerd Türk - tenor (Evangelist)
Peter Kooij - bass (Jesus)
Nancy Argenta, Midori Suzuki, Yoshie Hida - soprano
Robin Blaze - counter-tenor
Makoto Sakurada - tenor
Chiyuki Urano, Jun Hagiwara, Tetsuya Odagawa - bass
Kirsten Sollek-Avella - alto
Bach Collegium Japan
directed by Masaaki Suzuki
1999, BIS-CD (Austria),
Encoded in mp3 format.
A period-instrument interpretation of the St Matthew Passion from one of the leading Bach and baroque music academies around the world. Unlike in other recordings of the work, Suzuki focuses on the sacred and meditative, as opposed to the dramatic and operatic, aspects of the Passion.
Johannes-Passion, BWV245: Passion unseres Herrn Jesu Christi nach dem Evangelisten Johannes
Disc 1
Disc 2
Performers:
Michael Schade - tenor (Evangelist)
Matthias Goerne - bass (Jesus)
Juliane Banse - soprano
Ingeborg Danz - alto
James Taylor - tenor
Andreas Scmidt - bass
Gaechinger Kantorei, Bach-Collegium Stuttgart
directed by Helmuth Rilling
Haenssler-Verlag, Germany 1996
Encoded in mp3 format.
Bach is known for the exhaustion with which he pursued any musical subject attracting his attention, as can be seen and heard in The Art of the Fugue and A Musical Offering (posted already by another user, with another very worthy version coming up soon). When confronted with the challenge of setting Christ's Passion to music Bach was not satisfied with composing one work, rather, he created a different opus for each gospel text available to him (four in total).
St. Luke's passion was adapted from works by another composer, St. Mark's passion has lamentably been lost with the exception of a single movement, while St. Matthew and St. John's passions (the former already uploaded) have been passed down to us in their entirety. The work presented here is of immense beauty and delicacy, with the opening and other choral parts quite possibly ranking amongst the greatest musical pieces of European origin. Bach's main strength, not only here but in all his sacred works, is in aiming to evoke the contemplative, transcendent and eternal nature of that which we call God despite the petty humanist pitfalls of the texts from which corporate christianity and much of Western modernism extract their essence.
The orchestra in this case use modern instruments rather than period ones, but timbre is of least concern as far as Bach is being played. Techniques employed, however, are firmly rooted in Baroque aesthetic and practice.
Suites
J.S. Bach - Cello Suites - 1, 2 and 3
J.S. Bach - Cello Suites - 4, 5 and 6
Performer: Mstislav Rostropovich (Cello)
J.S. Bach - Cello Suites 1- 3
Performer: Anner Bylsma
J.S. Bach - Cello Suites 1 and 3
Transcribed for classical guitar
Performer: John Williams
J.S. Bach - The Four Orchestral Suites
Karl Munchinger
Stuttgart Chamber Orchestra
Well Tempered Clavier, The
Well-Tempered Klavier, Book I
Well-Tempered Klavier, Book II
Performer: Edwin Fischer
1933
Bach - The Well Tempered Clavier, Book I
Bach - The Well Tempered Clavier, Book II
Performer: Andreas Schiff
1985
Bach, Johann Sebastian - Das Wohltemperierte Klavier (Book I)
Performer: Gustav Leonhardt (harpsichord)
Recorded in 1962
Bach, Johann Sebastian - Das Wohltemperierte Klavier (Book II)
Performer: Gustav Leonhardt (harpsichord)
Recorded in 1962
I threw out my piano recordings of the WTC once I got a copy of this. Most/all of those are shit interpretations and modernize the beauty of this work (with respect to instrumentation, pitch, temperaments, tempi) . Leonhardt is the greatest living Bach interpreter.
J.S. Bach - English Suites no. 1, 3, 4 & 6
Sviatoslav Richter, piano
Johann Sebastian Bach - Sonatas & Partitas for Solo Violin
Viktoria Mullova, violin
Johann Sebastian Bach - Concerto for 3 Violins, 3&4 Harpsichords / Antonio Vivaldi - Concerto for 4 Violins
Academy of Ancient Music
Christopher Hogwood, conductor
Johann Sebastian Bach - Goldberg Variations
Kenneth Gilbert, Harpsichord
Johann Sebastian Bach - Suite for Cello solo nos. 1, 2 & 3
Johann Sebastian Bach - Suite for Cello solo nos. 4, 5 & 6
Pieter Wispelwey, Baroque Cello
J.S. Bach - 2 Preludes and Fugues from Well-Tempered Clavier Books 1 & 2 / Caprice in B-flat major , BWV 992 / Toccata and Fugue in D major, BWV 912
Wilhelm Kempff, Piano
J.S. Bach - Concerto for 2 Violins in D minor, BWV 1043 / Concerto for Violin no 1 in A minor, BWV 1041 / Concerto for Violin no 2 in E major, BWV 1042 / Concerto for Oboe and Violin in C minor, BWV 1060 FLAC
Academy of St. Martin in the Fields
Julia Fischer, violin & conductor
J.S. Bach - Unaccompanied Cello Suites [FLAC]
Performer: Pablo Pascals
Recording Date: 1938 - 1939
J.S. Bach - Altbachisches Archiv [Disc 1]
J.S. Bach - Altbachisches Archiv [Disc 2]
Cantus Cölln & Concerto Palatino
Konrad JUNGHÄNEL, conductor
Harmonia Mundi 2003
The muscial testament of the ancestors of J.S. Bach', the altbachisches Archiv is a collection of motets, choir songs and cantata by the older members of the Bach family from between 1650 and 1700.
Files are missing composer tags for the different members of the Bach family. Here y'are: http://www.bach-cantatas.com/Vocal/AltBachische-CantusColln.htm
Bach: Lute Works, Vol. 1
John Williams, 1997
Bach, Johann Sebastian
(1685 - 1750)
A Musical Offering: Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta- Thematiis Regii Elaborationes Canonicae
Collection of pieces intended to be performed as a single work - originally inspired by a performance of J.S. Bach's for Frederick the Great. Another of Bach's finals works, and along with The Art of the Fugue, is one of the greatest triumphs of Bach's compositional style.
For following this work in absolutely the best way possible, memorize well the short first track of 30 seconds. All subsequent pieces are 'merely' elaborations of this theme- canons, fugues, and a four-part sonata in which Bach's compositional technique can be observed very clearly. The theme is said to have been written by the King to whom this 'offering' is dedicated.
A Musical Offering (Musikalisches Opfer)
Reinhard Goebel
Musica Antiqua Koln
On period instruments, accurate to the intended instrumentation - excepting the keyboard: a harpsichord is employed rather than what Bach wrote it on, a fortepiano.
I cannot provide all of the analysis provided in the booklet for these (if I had the ability to do so, I would scan the booklet, as this recording was retrieved from my library), but I highly recommend that everyone here, if possible, seek out a (quality) recording of these works. These are the best performances I have heard of The Art of the Fugue and A musical Offering thus far, but it appears that this compilation is no longer in print.
A Musical Offering, BWV1079
Le Concert Des Nations
directed by Jordi Savall
Alia Vox, Austria 2001
Another excellent recording of the Musical Offering for flute, harpsichord and violas-da-gamba ensemble.
Art of the Fugue, The
Bach's opus ultimum. Among the greatest musical works of all history, perhaps the greatest.
Bach's final and summative masterworks are considered to be three: the Mass in B minor, a transcendentalist choir piece culled from earlier works and then perfected using the experience of a lifetime in music, the Musikalisches Opfer, and The Art Of The Fugue, presented here.
Together, the last two are unique components in a series of pinnacles of Indo-European harmonic/ melodic practice and theory on instrumental techniques, manifesting themselves as arcane, almost theoretical scribblings that only weave their splendour and magnificence once transposed from paper to instruments.
Musically, this is a treatise on counterpoint, and it is admittedly very difficult music to perform and understand. (It's also uncannily modern-sounding in places, perhaps even sowing seeds that would later wind up in Wagner's Ring cycle). To follow well, you may want to try the following steps, in increasing order of difficulty:
1) At first listen, observe the different note sequences Bach uses. Instead of trying to make sense out of melodies or elucidate their structure, focus your listening to a single melodic line and identify it, then try to focus on another line, and so on. Be as objective as possible.
2) Listen to the track again to see how the different lines you have identified work in conjunction. This time, keep focusing on the phrases and how they increase in complexity over time. Do not stop to consider individual notes as this will disturb your train of thought, instead, consider melodies and allow their initial emotional impact to influence your listening. This said, Bach's music evolves with a very clear momentum, so it may also be a good idea to just immerse yourself in it and avoid over-analysis.
3) Finally, after obtaining a good idea of how the music functions, try to relate different sequences from separate parts of the tracks to each other. Analyze form and structure, consider all of what you have just learned as a departure point. See how the different tracks relate to each other, as regards tone, speed, inflection, placement, etc.
4) Observe how this relates to your feelings and what you deduce from listening subjectively to the piece. Revel in the sense of meditative illumination this gives.
5) Realise how different this is from the dungpile of elemental, monumental moronity which surrounds modern art and its host society. Do cd-r copies of this and Burzum and distribute freely in churches and shopping malls, engaging with potential friends in interesting discussions about music, global warming, Paul Ledney's poetry, and the joys of eugenics.
The Art of the Fugue (Die Kunst Der Fuge)
Reinhard Goebel
Musica Antiqua Koln
Basic Structure:
I - simple fugues (Contrapunctus 1-4)
II - counter-fugues (Contrapunctus 5-7)
III - double and triple fugues (Contrapunctus 8-11)
IV - mirror fugues (Contrapunctus 12-13)
V - quadruple fugue (Contrapunctus 14, unfinished)
VI - four canons
VII - appendix: four-voice arrangements of the two versions of Contrapunctus 13 (three-voice mirror fugue) for two harpsichords
(there are also several other principles that bind the fugues and canons collectively, but that will be for the listener to determine (or google, whatever suits you))
This recording is played with period instruments, but it is not exact to what is suspected to be Bach's intended instrumentation:
Quote
Bach was familiar with open-score notation in this function from Frescobaldi's Fiori musicali 1637 and probablyfrom other sources; he himself used it in other keyboard sources; he himself used it in other keyboard works of his later years (in the six-voice Rivercar in the Musical Offering and in Variation 4 of Canonic Variations). The implications of that evidence are confirmed by the fact that, throughout, the scoring is consistent with performanceo n a keyboard instrument. There are only two sections of the entire work which cannot be played by one pair of hands: the pedal-point finale of Contrapunctus 6 and the two mirror fugues. The final bars of Contrapunctus 6 are analogous to those of the A minor fugue in Book One of The Well-Tempered Clavier: here, as there, it seems likely the composer had in mind a pedal harpsichord...But if performing it complete already creates an "unhistorical" situation for players and listeners, and there is also some justification for choosing "unhistorical" means of performance too, if they assist the listeners' understanding.
I cannot provide all of the analysis provided in the booklet for these (if I had the ability to do so, I would scan the booklet, as this recording was retrieved from my library), but I highly recommend that everyone here, if possible, seek out a (quality) recording of these works. These are the best performances I have heard of The Art of the Fugue and A musical Offering thus far, but it appears that this compilation is no longer in print.
Die Kunst der Fuge, BWV1080
Hesperion XX
directed by Jordi Savall
Alia Vox, Austria 1986
As with Jordi Savall's other recordings, this version is evocative and warm, being performed on period wind instruments and viol ensemble. Some versions of the work may be found played on harpsichord or piano, but the use of a chamber orchestra is most consistent with Bach's intentions and the vague specifications he left regarding its performance.
Brandenburg Concertos
Johann Sebastian Bach - The Brandenburg Concertos 1 - 6
Lucerne Festival Strings
Rudolf Baumgartner, conductor
J.S. Bach - Brandenburg Concertos Nos. 1-3
BWV 1046-1048
Karel Brazda
Philharmonia Slavonia
1994
J.S. Bach - Brandenburg Concertos No. 4/5
Cologne chamber orchestra
Helmut Muller-Bruhl
Cantatas
Der Streit Zwischen Phoebus Und Pan, BWV201 (The Contest Between Phoebus And Pan)
Performers:
Sybilla Rubens - soprano
Ingeborg Danz - alto
Lothar Odinius, James Taylor - tenor
Matthias Goerne, Dietrich Henschel - bass
Gaechinger Kantorei, Bach-Collegium Stuttgart
directed by Helmuth Rilling
Haenssler-Verlag, Germany 1999
In this secular cantata, Pan, the simple and mundane panpipe-playing forest sprite, challenges Phoebus, the sun-god, a masterful lyre-player who possesses a 'golden voice', to a contest based on who is able to perform the most beautiful song of all. The characters in the audience agree that Phoebus is the obvious winner except for the materialist Midas, who claims that 'Pan ist meister!'.
For his sheer arrogance and inability to judge, Midas is therefore punished with an outgrowth of two huge donkey ears.
Notable moments in this cantata include Phoebus' solemn love-song (track 5), Pan's tribute to joie-de-vivre (track 7), and Midas' outburst at the audience's incredulity (track 11, enhanced with Bach's ingenious 'hee-haw' motif on the violins, illustrating Midas' punishment, halfway through).
Complete works of JSB - CD 28
Cantatas : Auf Christi Himmelfahrt alein BWV 128
Mein libesster Jesus ist verloren BWV 154
Nun komm, der Heiden Heiland II BWV 62
Complete works of JSB - CD 29
Cantatas : Nun danket alle Gott BWV 192
Wer nur den lieben Gott läbt walten BWV 93
Ich Lebe, mein Herze, Zu deinem Ergötzen BWV 145
Gott, wie dein Name, so ist auch dein Ruhm BWV 171
Concertos
Solo Concertos Vol. 1
Comprising:
- Concerto BWV1065 for 4 harpsichords and strings in A minor (a transciption of a Vivaldi concerto for 4 violins)
- Concerto BWV1061a for 2 harpsichords in C major
- Concerto BWV1056 for harpsichord and strings in F minor
- Concerto BWV1057 for harpsichord, 2 recorders and strings in F major
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1996
Solo Concertos Vol. 2
Comprising:
- Concerto BWV1054 for harpsichord and strings in D major
- Concerto BWV1041 for violin, strings and basso continuo in A minor
- Concerto BWV1063 for 3 harpsichords and strings in D minor (with alternate version of second movement)
- Concerto BWV1053 for harpsichord and strings in E major
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1997
Concerto BWV1063 is especially recommended for its courtly, Italianate elegance.
Solo Concertos Vol. 3
Comprising:
- Concerto BWV1055 for harpsichord, strings and basso continuo in A major
- Concerto BWV1043 for 2 violins, strings and basso continuo in D minor
- Concerto BWV1064 for 3 harpsichords and strings in C major
- Concerto BWV1052 for harpsichord and strings in D minor
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1998
Solo Concertos Vol. 4
Comprising:
- Concerto BWV1062 for 2 harpsichords and strings in C minor
- Concerto BWV1044 for harpsichord, flute, violin, strings and basso continuo in A minor
- Concerto BWV1064 for harpsichord in F major ('Concerto nach Italiaenischem Gusto' - First version of 1735)
- Concerto BWV1061 for 2 harpsichords and strings in C major[/b]
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 1999
Solo Concertos Vol. 5
Comprising:
- Concerto BWV1060 for 2 harpsichords and string in C minor
- Concerto BWV1042 for violin, strings and basso continuo in E major
- Concerto BWV1058 for harpsichord, strings and basso continuo in G minor
- Concerto BWV1050a for harpsichord, flute, violin and strings in D major (early version of Brandenburg Concerto no. 5)
Musica Alta Ripa
Dabringhaus Und Grimm, Germany 2000
Here is a five volume set concentrating on the composer's concertos for one or more instruments with or without chamber orchestra.
For those wary of relative unknowns in classical music recordings, rest assured: this is very high quality music, delivered in very high quality performance, on period instrumentation.
J.S. Bach - Violin Concertos
Includes:
- Violin Concerto in A minor BWV1041
- Violin Concerto in E BWV1042
- Concerto for two violins in D minor BWV1043
- Concerto for flute, violin and harpsichord in A minor BWV1044
Bath Festival Orchestra
Solo performer:Yehudi Menuhin
Performers in BWV1043: Yehudi Menuhin and Christian Ferras
Performers in BWV1044: William Bennett (Flute), Yehudi Menuhin (Violin), George Malcolm (Harpsichord)
Conductor: Yehudi Menuhin
Fugues and fantasies
Bach, Johann Sebastian - Fugues by The Emerson String Quartet
A Selection of fugues arranged for string quartet
Performers: Emerson String Quartet: Eugene Drucker, Philip Setzer, Lawrence Dutton, David Finckel
21 pieces
Goldberg Variations
J. S. Bach - Goldberg Variations
Glenn Gould
1981
J.S. Bach - Goldberg variations
Gustav Leonhardt
1965
J.S. Bach - the Goldberg Variations transcribed for solo guitar
József Eötvös, guitar
Motets
This is the composer's entire body of work described by the 'motet' definition, which in Bach's case is a somewhat lengthy devotional anthem sung in German for choir or double choir. Instrumentation is scant and does not extend beyond the role of a simple basso continuo accompaniment consisting of cello, organ and contrabass violone (a type of viola da gamba), played in unison.
The Motets, BWV225 to BWV230
Contents:
- Singet dem Herrn ein Neues Lied BWV225
- Der Geist hilft unsrer Schwachheit auf BWV226
- Jesu, meine Freude BWV227
- Fuerchte dich nicht BWV228
- Komm, Jesu, komm BWV229
- Lobet den Herrn, alle Heiden BWV230
The Scholars Baroque Ensemble
Naxos/ HNH, Germany 1997
Organ Works
Organ works - as played by Karl Richter
A massive three disc collection of Bach's organ works. A great listen for you Bach-loving metalheads out there.
Disc 1 - link dead
Disc 2
Disc 3
J.S. Bach - Famous Organ Works
Includes:
- Toccata and Fugue in D minor
- Fantasia and Fugue in G minor
- Organ Concerto No. 4 in C major
- Toccata and Fugue in D minor "Dorian"
- Organ Concerto No. 2 in A Minor
Performer: Karl Richter. Apparently a truncated version of the previous.
J.S. Bach - Organ Works
Includes:
- Toccata and Fugue in D minor BWV565
- Toccata, Adagio, and Fugue in C major BWV564
- Toccata and Fugue in F major BWV 540
- Toccata and Fugue in D minor 'Dorian' BWV 538
- Passaglia in C minor BWV582
- Pastorale in F major BWV590
- Canzona in D minor BWV588
- Allabreve in D major BWV589
- 6 Choräle von verschiedener Art BWV645-BWV650
Performer: Ton Koopman (organ)
Archiv Produktions, Germany 1984
This record includes some of Bach's best known works for organ performed by virtuoso Ton Koopman. The colourful but understated use of timbres and phrasings together with the sweeping technical approach makes this one of the best overviews of the vast compendium of Bach organ music available, but enthusiasts are also advised to seek out alternative recordings of these works from Helmut Walcha, Christopher Herrick and Karl Richter, as the final result is as much a product of the performer's interpretation as it is of the composer's written instructions.
Sacred works
Bach, Johann Sebastian - Sacred Songs and Arias
Georg Jelden (Baritone)
Heinz Schnauffer (Organ)
1974
Mass in B minor (Discs 1 & 2) (unknown performance)
Bach, Johann Sebastian - Mass in B Minor (1974, Mediafire) Disc one - Disc two
Gundula Janowitz, Sopran
Christa Ludwig, Alt/Contralto
Peter Schreier, Tenor
Robert Kerns, Bariton
Karl Ridderbusch, Bass
WIENER SINGVEREIN
Chorus master: Helmuth Froschauer
Conductor: Herbert von Karajan
BERLINER PHILHARMONIKER
[Buy here]
Matthäus-Passion, BWV244: Passion unseres Herrn Jesu Christi nach dem Evangelisten Matthäus
Disc 1
Disc 2
Disc 3
Performers:
Gerd Türk - tenor (Evangelist)
Peter Kooij - bass (Jesus)
Nancy Argenta, Midori Suzuki, Yoshie Hida - soprano
Robin Blaze - counter-tenor
Makoto Sakurada - tenor
Chiyuki Urano, Jun Hagiwara, Tetsuya Odagawa - bass
Kirsten Sollek-Avella - alto
Bach Collegium Japan
directed by Masaaki Suzuki
1999, BIS-CD (Austria),
Encoded in mp3 format.
A period-instrument interpretation of the St Matthew Passion from one of the leading Bach and baroque music academies around the world. Unlike in other recordings of the work, Suzuki focuses on the sacred and meditative, as opposed to the dramatic and operatic, aspects of the Passion.
Johannes-Passion, BWV245: Passion unseres Herrn Jesu Christi nach dem Evangelisten Johannes
Disc 1
Disc 2
Performers:
Michael Schade - tenor (Evangelist)
Matthias Goerne - bass (Jesus)
Juliane Banse - soprano
Ingeborg Danz - alto
James Taylor - tenor
Andreas Scmidt - bass
Gaechinger Kantorei, Bach-Collegium Stuttgart
directed by Helmuth Rilling
Haenssler-Verlag, Germany 1996
Encoded in mp3 format.
Bach is known for the exhaustion with which he pursued any musical subject attracting his attention, as can be seen and heard in The Art of the Fugue and A Musical Offering (posted already by another user, with another very worthy version coming up soon). When confronted with the challenge of setting Christ's Passion to music Bach was not satisfied with composing one work, rather, he created a different opus for each gospel text available to him (four in total).
St. Luke's passion was adapted from works by another composer, St. Mark's passion has lamentably been lost with the exception of a single movement, while St. Matthew and St. John's passions (the former already uploaded) have been passed down to us in their entirety. The work presented here is of immense beauty and delicacy, with the opening and other choral parts quite possibly ranking amongst the greatest musical pieces of European origin. Bach's main strength, not only here but in all his sacred works, is in aiming to evoke the contemplative, transcendent and eternal nature of that which we call God despite the petty humanist pitfalls of the texts from which corporate christianity and much of Western modernism extract their essence.
The orchestra in this case use modern instruments rather than period ones, but timbre is of least concern as far as Bach is being played. Techniques employed, however, are firmly rooted in Baroque aesthetic and practice.
Suites
J.S. Bach - Cello Suites - 1, 2 and 3
J.S. Bach - Cello Suites - 4, 5 and 6
Performer: Mstislav Rostropovich (Cello)
J.S. Bach - Cello Suites 1- 3
Performer: Anner Bylsma
J.S. Bach - Cello Suites 1 and 3
Transcribed for classical guitar
Performer: John Williams
J.S. Bach - The Four Orchestral Suites
Karl Munchinger
Stuttgart Chamber Orchestra
Well Tempered Clavier, The
Well-Tempered Klavier, Book I
Well-Tempered Klavier, Book II
Performer: Edwin Fischer
1933
Bach - The Well Tempered Clavier, Book I
Bach - The Well Tempered Clavier, Book II
Performer: Andreas Schiff
1985
Bach, Johann Sebastian - Das Wohltemperierte Klavier (Book I)
Performer: Gustav Leonhardt (harpsichord)
Recorded in 1962
Bach, Johann Sebastian - Das Wohltemperierte Klavier (Book II)
Performer: Gustav Leonhardt (harpsichord)
Recorded in 1962
I threw out my piano recordings of the WTC once I got a copy of this. Most/all of those are shit interpretations and modernize the beauty of this work (with respect to instrumentation, pitch, temperaments, tempi) . Leonhardt is the greatest living Bach interpreter.
J.S. Bach - English Suites no. 1, 3, 4 & 6
Sviatoslav Richter, piano
Johann Sebastian Bach - Sonatas & Partitas for Solo Violin
Viktoria Mullova, violin
Johann Sebastian Bach - Concerto for 3 Violins, 3&4 Harpsichords / Antonio Vivaldi - Concerto for 4 Violins
Academy of Ancient Music
Christopher Hogwood, conductor
Johann Sebastian Bach - Goldberg Variations
Kenneth Gilbert, Harpsichord
Johann Sebastian Bach - Suite for Cello solo nos. 1, 2 & 3
Johann Sebastian Bach - Suite for Cello solo nos. 4, 5 & 6
Pieter Wispelwey, Baroque Cello
J.S. Bach - 2 Preludes and Fugues from Well-Tempered Clavier Books 1 & 2 / Caprice in B-flat major , BWV 992 / Toccata and Fugue in D major, BWV 912
Wilhelm Kempff, Piano
J.S. Bach - Concerto for 2 Violins in D minor, BWV 1043 / Concerto for Violin no 1 in A minor, BWV 1041 / Concerto for Violin no 2 in E major, BWV 1042 / Concerto for Oboe and Violin in C minor, BWV 1060 FLAC
Academy of St. Martin in the Fields
Julia Fischer, violin & conductor
J.S. Bach - Unaccompanied Cello Suites [FLAC]
Performer: Pablo Pascals
Recording Date: 1938 - 1939
J.S. Bach - Altbachisches Archiv [Disc 1]
J.S. Bach - Altbachisches Archiv [Disc 2]
Cantus Cölln & Concerto Palatino
Konrad JUNGHÄNEL, conductor
Harmonia Mundi 2003
The muscial testament of the ancestors of J.S. Bach', the altbachisches Archiv is a collection of motets, choir songs and cantata by the older members of the Bach family from between 1650 and 1700.
Files are missing composer tags for the different members of the Bach family. Here y'are: http://www.bach-cantatas.com/Vocal/AltBachische-CantusColln.htm
Bach: Lute Works, Vol. 1
John Williams, 1997
37
Metal / Re: Metal to write stories to
« on: November 01, 2006, 03:09:24 AM »Quote
one of the reasons CoF were shit was because one of their songs had multiple references to the self
Refering to the self is only negative in certain context.
It is my opinion that the lyrics of cradle, in concert with the image they project, appeals to the masses of metal idiots because by association they 'assimilate' what the band are projecting.
In other words listening to cradle makes the fans 'goth and like totally Xtreme'.
To a fan of the music it may seem oblique to make such assumptions, why if you strip away the faux blood and vampire teeth and other petty theatrics and focus on the music they make...
Look at the band as a nihilist, no human action is done without intent, cradle employ their image because it is a continuation of what they aspire to in their music.
Trust not the man who desires the reverence of others
Linkin park pursue similar ends, what their music conveys should be blatantly obvious:
"Look at me Look at me, your not giving me attention so now ill threaten to cut myself untill you love me"
Cradle simply replace the self pity with a form of elitism. However the logic is backwards, the 'elitism' is a social apparition, something done for the appreciation of others, as opposed to something like the musical elitism that ANUS espouses which is done for the promotion of hessian culture.
Psychology of Image
Cradle represents individualism, selfish caprophagic individualism that leads nowhere and acheives empty hollow nothing.
A songs lyrics serve as a sort of appendix, giving specific meaning to the sometimes ambiguous musical phrases, something like "My journey to the Stars" by Burzum conjures majestic images. The lyrics, though self oriented, detail transcendence.
Just because a song has self referencing lyrics doesn't make it bad, it depends on the context.
On listening to cradle one might look past filth's lyric writing abilities and notice how the songs perpetuate image by constantly bringing the listener into the fantasy.
Fantasies, thats what they are. It's a nice idea really, the way they sell image, except that it has no place in reality,it is a 'social crutch' in the whoring of something so transient and insubstantial as image.
38
Metal / Re: Values as self-pleasing human creation?
« on: October 25, 2006, 06:59:43 AM »Quote
We are born and only later awaken to the possibilities of our lives. Our brains come first, then our minds grow within them. In this awakening process, we come to realize that an external world exists, and operates by consistent principles. If at that point we decide that we like being alive, we change our values to encourage the life process that produced us.
Nihilism
39
Metal / Re: Metal to write stories to
« on: October 25, 2006, 02:05:31 AM »
Cradle of Filth whore image, when your listening to cradle your not hearing art, your listening to the perpetuation of image, as such most people will listen to this music because of the way it makes them feel, as opposed to the artistic appreciation one may derive from something like Burzum.
Have you ever seen the retarded teenagers on forums, telling people not to mess with them because they are extreme and listen to slipknot? Cradle is slipknot is linkin park is crap. The music is ego masturbation, what an intelligent person might call individualism.
lyrically, http://www.darklyrics.com/lyrics/cradleoffilth/theprincipleofevilmadeflesh.html#9
Errant references to the self, screaming individualism. At the end of the song out of the blue comes lyrics of lost love. I can't discern the link between the god bashing and the "i'm so gothique and tragic". The lyrics read like a checklist or 'how to be goth F.A.Q' It's a product, and this is the bands first full length, cradle have never aspired to art.
Musically CoF sound like a melange of BM technique applied to pop esque progressions (1, 4, 5, anyone?) and all warmed over with keyboards, sounding like a thousand other terrible bands. Vocals are the driving force of this music, "filth has an impressive vocal range, holy wowsers its so novel, this music must be excellent." Challenge a cradle fan on a forum and their general reaction will be that the vocals and keyboards are like so awesome dude. It sounds novel, it is crap.
Being a product, the songs inspire the one dimension of the product (which in cradle's case is image) in the listener. One experienced with metal will shun this music; each and every listen will yield the exact, static, product. Which cradle have been flogging for the entirety of their career.
Something like burzum, true art, is an attempt to express the eternal. Repeated listens will not yield the same experience, there is a world of depth and complexity contained within, one can connect with the music, not the image presented.
Blitzkrieg you have brought image into your argument, your equating the image of the bands with the art they make? You've found this site, so your probably on the right track. Reevaluating ones musical tastes and more importantly, values, takes time. Keep exploring ANUS, you will hopefully come to understand the beauty of high art and why Cradle is utterly worthless.
Have you ever seen the retarded teenagers on forums, telling people not to mess with them because they are extreme and listen to slipknot? Cradle is slipknot is linkin park is crap. The music is ego masturbation, what an intelligent person might call individualism.
lyrically, http://www.darklyrics.com/lyrics/cradleoffilth/theprincipleofevilmadeflesh.html#9
Errant references to the self, screaming individualism. At the end of the song out of the blue comes lyrics of lost love. I can't discern the link between the god bashing and the "i'm so gothique and tragic". The lyrics read like a checklist or 'how to be goth F.A.Q' It's a product, and this is the bands first full length, cradle have never aspired to art.
Musically CoF sound like a melange of BM technique applied to pop esque progressions (1, 4, 5, anyone?) and all warmed over with keyboards, sounding like a thousand other terrible bands. Vocals are the driving force of this music, "filth has an impressive vocal range, holy wowsers its so novel, this music must be excellent." Challenge a cradle fan on a forum and their general reaction will be that the vocals and keyboards are like so awesome dude. It sounds novel, it is crap.
Being a product, the songs inspire the one dimension of the product (which in cradle's case is image) in the listener. One experienced with metal will shun this music; each and every listen will yield the exact, static, product. Which cradle have been flogging for the entirety of their career.
Something like burzum, true art, is an attempt to express the eternal. Repeated listens will not yield the same experience, there is a world of depth and complexity contained within, one can connect with the music, not the image presented.
Blitzkrieg you have brought image into your argument, your equating the image of the bands with the art they make? You've found this site, so your probably on the right track. Reevaluating ones musical tastes and more importantly, values, takes time. Keep exploring ANUS, you will hopefully come to understand the beauty of high art and why Cradle is utterly worthless.
40
Vreid: Rapidshare, Blogspot
Vreid
Vreid - Kraft (2004, Mediafire)
Vreid - Pitch Black Brigade (2006, Mediafire)
Vreid - I Krig (2007, Mediafire)
Vreid - Milorg (2009, Mediafire)
Vreid
Vreid - Kraft (2004, Mediafire)
Vreid - Pitch Black Brigade (2006, Mediafire)
Vreid - I Krig (2007, Mediafire)
Vreid - Milorg (2009, Mediafire)