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Messages - fenrir

[1] 2 ... 11
Audiofile / Bedřich Smetana
« on: January 01, 2015, 11:05:33 AM »

Audiofile / Re: Bach, Johann Sebastian
« on: December 24, 2014, 05:38:09 PM »

Johann Sebastian Bach - Leipzip Cantatas (BWV 44, 48, 73, 109) (Mega)

recorded by Phillip Herreweghe and the Collegium Vocale Gent in 2013

more info here

Audiofile / Obsequiae
« on: December 21, 2014, 05:36:37 PM »

Metal / Re: MASSACRA re-issues
« on: December 18, 2014, 06:08:45 PM »
I have purchased the reissues for the first two albums remastered.

They sound GODLY.

I might consider buying the demo compilation as well.

Audiofile / Funeral (NOR)
« on: December 11, 2014, 02:28:39 PM »

Funeral - Tragedies (1995)(Mega)

Audiofile / Unaussprechlichen Kulten
« on: December 10, 2014, 02:18:23 PM »

Unaussprechlichen Kulten - Wake Up In The Night Of Walpurgis (2005) (Mega)

Unaussprechlichen Kulten - People Of The Monolith (2008) (Mega)

Audiofile / Peste Noire
« on: December 10, 2014, 02:11:40 PM »

Audiofile / Gothmog (GER)
« on: December 10, 2014, 01:46:17 PM »

Audiofile / Guillaume de Machaut
« on: December 08, 2014, 02:04:12 PM »

Guillaume de Machaut -Motets (Mega)
performed by The Hilliard Ensemble.

Metal / Re: What bands are you listening to today?
« on: November 22, 2014, 01:12:16 AM »
Fenrir, I honestly don't know how you can listen to metal and classical back to back. I mean, it's great that you can and I can certainly appreciate the deeper link between various, seemingly contrasting forms of music, but my own experiences as a listener would find the abrupt jump from one 'sound texture' to the next a bit jarring.

It depends on mood, and as you say I listen to the whole WORKS back to back, not to songs. Now that would really be problematic. Also, I tend to transition when I feel there is a bridge.For instance, the flat, or even terraced, dynamics typical of first-album Immortal and Ancient and their consistent mood share these traits with baroque music such as Locatelli's. They provide different experiences through character but they share a certain common plain.
I don't feel a too-abrupt feeling then, also because I listen to the complete work, which gives me a closure's peace before the next thing starts. When this happens the contrasting effect also makes me much more aware of certain details in the next work. Say Haydn's String Quartet after Vader's The Ultimate Incantation. But this doesn't always feel right. I do so when I need progression. But it is never 10 minutes of one thing and then 10 of another. It usually is a matter of complete works, just like when you are listening to metal albums. In the case of short-lasting works such as EPs or short symphonies (such as some of Mozart's), I need to listen to more of the same together in order to not make an abrupt change, in order to satiate my craving for each "scenery". Maybe it has to do with particular feelings towards music.

These are the sort of observations you must draw to listen to a lot of Beethoven's music as well. His works are almost always tied together by something that makes it consistent, yet this element is not always the same. Sometimes his way of transitioning through keys is so intense that it is difficult to determine the MAIN key of a movement. Sometimes this movement doesn't even make use of a main key and the main key is determined by the whole work's other movements of which this singular quasi-keyless movement is part of.

Sometimes it is a motif, but some of his works don't have this sort of glue and instead its something else, he even foreshadows a typically French Romantic take on it where the coherence is provided not through motif, rhythm or even harmony but solely through mood and character, as in his Choral Fantasy, as far as I have read (though I cannot vouch for it in detail since I am not really acquainted with the score).

I'm sure there isn't anything like this in existence for several different reasons:

1) quotation/emulation is too common in music, so nobody cares about performing these checks. if this idea was born in your mind, it is ok if it resembles others' ideas.

2) the algorithm would be very complicated and a huge database of scores  in standarized format and algorithms to read and compare them would be necessary.

3) the market for this is very limited. the proportion of work to usefulness is very large.

Metal / Extreme music for extreme people? a paper by Michelle Phillipov
« on: October 01, 2014, 10:59:46 AM »


I sometimes get the impression that she still misses the point about underground metal. And regarding her full book, the comments about it seem to imply that the only defense she takes in pro of Death Metal is that "one can enjoy it" as if subjectivity is the only way to defend Death Metal. Now, I haven't read the book myself but I am quite interested.

Metal / Re: Eucharist
« on: June 29, 2014, 09:42:38 AM »
The word refined can refer to "developed or improved so as to be precise or subtle", but the definition I was going for was "elegant and cultured in appearance, manner, or taste". Going by the latter definition, I would say Eucharist's aesthetic is much more refined than AtG by virtue of their ornate melodies and overall atmosphere of stateliness.

What do you mean by "atmosphere of stateliness?

This makes sense to me. The overall style/aesthetic of the Eucharist album is certainly more orderly, stately, rigid, contained or whatever other word you want to use. At the Gates has a more frantic and and desperate vibe to it aesthetically but this is executed with a higher degree of technical/musical proficiency (as fenrir rightly pointed out). It is easily the more accomplished and matured album of the two and brings to mind works such as Obscura or Hvis lyset tar oss in that both spirit and technical prowess should coalesce to transcend the stylistic limitations of the genres they originate in.

Thanks for the clarification. I don't see how I did not understand what he meant with "stateliness"... :)
My argument remains the same, that that does not make it necessarily more refined, but rather safer-sounding, only.

Metal / Re: Eucharist
« on: June 28, 2014, 02:58:15 AM »

That's similar to what Immortal and Darkthrone did, except for them it was constant ambient drumming. This cut guitar free from drums, which enables more rhythmic variety.

The aim of Darkthrone is different. Eucharist is a Death Metal band, I don't think the solution for making the guitars and drums independent of each other is to relegate the drums to a machine-like function. I think that for simplicity, they are disconnected. Not because Eucharist is providing a clear refinement superior to At the Gates' use of percussion.

I've been practicing Kingdom Gone during this last month and I've noticed how effectively the drums are used in relation to the guitars to this effect. If anything, this album provides a template for freely flowing instruments that nonetheless coalesce to form a solid whole.

What happens in TRITSIO, and the reason why it is a step up from the demo, is that the drums take on a role as important as the guitars rather than a mere complement.  The guitars and drums are only tied in the sense that they must match beginnings and endings. Other than that, the drums are used effectively to bring dynamics to the music. Next time you guys listen to the album, try and make out how, when and WHY the drum patterns change in relation to the riffs. You'll notice that the patterns and changes in the drums take the front seat when the guitar riffs repeat or use more same-length notes, specially when at a slow speed. And the drum pattern will become flatter and less jumpy when you have guitar riffs that introduce more rhythmical variety. But the same exact feeling is never allowed to linger for long, thus you are never stagnant. At the same time the overall idea is preserved clearly and if you are paying attention closely you'll noticed it is never really broken into unrelated random riffs.The biggest divergence happens with transition riffs which are like taking in a breathe between two sections.

Right at the beginning of Kingdom Gone, for example, the same riff is repeated by the guitars 4 times, with one guitar strumming 2 chords as the other one repeating the first and main expression of the motif over each single chord. What happens in the drums is that for the first 2 instantiations of this riff, it plays a simple pattern on the toms, for the second pair, it plays a second pattern involving mid-paced double bass and the snare that makes this sound more crowded. When the 5th repetition arrives the guitar which was playing chords joins the one outlining the motif one time, on the 6th repetition the drums change again to a pattern that releases the tension of the previous pattern and one of the guitars plays the motif a fifth(interval) higher than the original pattern only to return to a unison for the 7th repetition of this riff.
This is only the beginning, this sort of patterns and non-conformity with the application of classical binary form with very smooth transitions is found throughout the whole song in different ways.
This first part I described is what I would call section A. They often use this "da capo aria" form ABA', where the A' is obviously an incarnation of the A section but also noticeably a variation of it, with At the Gates providing the variation by providing a different "tale".

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