Welcome, Guest. Please login or register.

Login with username, password and session length

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - aquarius

1 ... 50 [51] 52 ... 61
Interzone / Re: How to get brutally strong
« on: February 13, 2012, 02:33:16 AM »
It's good to keep fit, but I try to be more the athletic type than the nutcase aggro prison type with tattoos on the neck.

Interzone / Re: What is the meaning of life?
« on: February 13, 2012, 02:28:14 AM »
This year I want to learn more about gardening and identifying different bird species in my area. On the technology side of things it would be good to learn a program for editing video footage.

Metal / Re: Lord Wind - Ales Stenar
« on: February 13, 2012, 02:05:44 AM »
It sounds good, and is at least on par with Atlantean Monument. I would agree that the film sample is cheesy and irrelevant; as it's not Conan but the musical style of Basil Poledouris that matters. Next step will be to write music and get a small scale orchestra or ensemble to play it

Metal / Romanticism naturally prevails
« on: February 11, 2012, 04:54:35 AM »
I came across an interesting couple of paragraphs in an old music history book I'm currently reading (link) which resonates with something I've felt for a while now, if not longer on a purely subconscious level. Any thoughts?
The wave of stark realism that swept over Europe's music in recent years was a natural phenomenon, with an undoubted origin in primitive sounds such as can be found in "The Ring of the Nibelungs"; and, to illustrate this statement, I would mention in particular the scene in "Gotterdammerung" where the Gibichung vassals assemble for the wedding of Siegfried with Gutrune. Here the din of the cowhorns, interspersed with the fierce shouts of the vassals, belongs to a type of music utterly inhuman and barbaric: savage, lustful, and repellent. From such music to Stravinsky's "Le Sacre du Printemps" is not a far cry. In this unique work the composer abandons himself to the most amazing concatenation of instrumental forces, all intended to convey the impression of a pagan festival in springtime. Nothing is left to the imagination, for the virtuosity of the orchestral technique is masterly in the extreme. We stand aghast at Stravinsky's expressed abhorrence of everything for which music had stood these many centuries. He makes us feel that the very essence of civilization, all beauty and romance, all human endeavour and progress are being ruthlessly swept aside to make room for hideous sounds primitive in origin and atavistic expression. At such a pass do we find the world of orchestral music som twenty tears ago.

But virtuosity of this kind must come to an end once it has been driven to such extremes. And so it speaks volumes for the common sense of the composer that few have attempted to follow permanently in the footsteps of Stravinsky, despite a certain craze when this composer's poularity was at its height. Had there been any such general desire, music by now might have been in bedlam. From this fate it was saved by the composer's interest in the living world around him and by that spirit of romance from which there is no escape once he is immersed in the creation of orchestral music. Other Stravinskys may come and go, but the results will always be the same. Stark realism must surrender in the end to rational romanticism. Future composers will, I fancy, emulate those of the present day who are content to write for the medium-sized modern orchestra. Atavism in music has had its fling and been found wanting. Cerebral music, too, is on the wane, for it can only succeed in pleasing its own generation and displeasing the next. But if anything can survive in an age of non-classical music it will be music of the romantic kind, for that comes nearest the hearts of men. It may have its weaknesses, and become in its worst moments, lush and unbearable. Still, in the hands of men like Strauss, Elgar, Bax, Delius and Debussy, it says something that holds the interest and stirs the emotions by its oft-expressed beauty. And the further the noise of the great war of 1914-18 recedes into the distance, the nearer will the composer approach music in that spirit of patience without which the great masterpieces of the past could never have been written. Will he, with all his accumulated knowledge of the beauty of instrumental tones evoke in time a new golden age of classical music, in which design and colour will no longer contend for mastery ? I wonder. Limitation of instruments may come before limitation of armaments.

Metal / Re: Darkthrone and Ildjarn lyrics translations
« on: February 10, 2012, 10:30:07 PM »

Just noticed this couplet has been left out of the lyrics print for the c.2004 vinyl reissue of TH on Peaceville record. Does anyone know of it features on other reissues or not?

It wouldn't surprise me. I remember leaving a message "Norsk arisk black metal" on their myspace a few years back and they 'unfriended' me for it, which would be quite funny if not absolutely disgusting when you realize just how pc this band became overnight.

Metal / Re: A-list prole musik
« on: February 08, 2012, 05:57:02 PM »
I must admit I can't stomach much jazz music, aside altogether from any technical or compositional arguments for or against it, I just hate the sleezy, urban emotionality it conveys. Metal and classical are on the other end of the spectrum as they seek to become something beyond the transient, I can relate to it.

Metal / Good heavy metal film clips
« on: February 05, 2012, 06:37:53 AM »
By good I mean something that tries to capture the essence of the music in visual form without being too random or cheesy or resorting to stupid storylines and the like. I included a few old favourites in the links which I hope aren't too sentimental. I think the Burzum video in particular shows promise but isn't well enough executed to be a thorough success.





Metal / Re: Instrumentals
« on: January 31, 2012, 11:32:56 PM »
I like Darkthrone's Goatlord rehearsal (without vocals) as it really emphasises the twisted, algorithmic structures of their early style. It totally stands on its own without vocals. Otherwise I'm very mindful of the correct use of vocals i.e. whether it has the right power or if the texture and style is in keeping with the shape of the riffs etc. Ideally, vocals would be viewed as a component part of a group of instuments which is not so easily separable from the final composition (wherein each instrument is necessary in forming its delicate support structure).

Metal / Mozart
« on: January 26, 2012, 09:43:48 PM »
256 years today since the birth of this great musical genius. What are some of your favourite works by this composer?

Metal / Re: New Burzum album out in May.
« on: January 26, 2012, 03:06:08 AM »
I can't agree there. It's obviously fake music made for money.

I'd rather just cut out all the shit -- the fake sell-outs like Burzum, the shitty hipster indie emo shoegaze metalcore post-metal post-hardcore crap like Krallice, the shitty two-note drone like Om, the shitty "trve kvlt" tvrds that imitate the past with zero skill or inspiration, Cannibal Corpse -- and praise the good. If that means I've got two albums on my list, at least they are two albums I'll listen to and learn from, instead of more shit to pass the time. I don't need ways to pass the time. My life isn't that boring. I need music that has some spirit and balls, perhaps even an 8" cock (flaccid)

Exactly, people are comparing dogshit and catshit; it's still just shit.

Metal / Re: Hate Music
« on: January 25, 2012, 04:38:33 AM »
Old stuff by Graveland, Veles or Ildjarn is perfect. But to me, it's more an emotion of disgust than blind hatred, which is important to understand otherwise you miss the whole point; Disgust for the modern world is a deep affection for the natural order.

Interzone / Re: Occult black magic
« on: January 22, 2012, 07:10:39 PM »
This doesn't surprise me. When I spent some time in Malaysia I realised people are extremely superstitious, believing in spirits (Jinn), possession of the soul etc. But generally speaking tradition is very strong there, and it permeates every aspect of life in a way that people from the spiritually-sterile western societies could never comprehend. On the flipside they too are subject to the materialistic western culture and go to absolute extremes with it, but it is more clearly divisible from the more traditional aspects.

Metal / Re: Black Metal as Greek or Wagnerian Drama
« on: January 22, 2012, 02:56:19 AM »
But let's not trap ourselves and say that a Black Metal attempt at drama should be some kind of stupid Opera with two hour metal albums where characters appear and dress in elaborate costumes and sing out dialogue.  I don't think that is the goal.

Though imagine something like Beherit's "Demon Advance" from Engram with characters and dialogue singing over that kind of music with that same type of vocal performance.  That might have something to it....

Interesting you mention Beherit, as it certainly occured to me as one of the few that could build on black metal without negating the overall spirit/meaning of the genre. Nuclear Holocausto even touched on the subject in the DLA interview as well as mixing audio and visual or using audio to represent an unseen visual stimuli.

Regarding the use of characters and dialogue, again I'm reminded of Summoning and their use of the dual-vocals to expand the poetic nature of the music.

Metal / Re: In that case: Black Metal as Greek or Wagnerian Drama
« on: January 19, 2012, 06:25:12 PM »
This is not neccessarily about the future of metal as it is seeing if there is indeed a case to be made that the activities in Norway in the early 90s were somehow an acommplishment of the Greek ideal of art in music, that being the idea of a full experience of music and drama, along with imagery to match the two.

That is indeed some of the superficial appeal of the early Norwegian scene, that it plays out like a drama with real life consequences. But I don't think this link to real life events enhances the quality of the art, and it also doesn't make the inherent romanticism of the music any less relevant.

I think live performance is the closest aspect to the full visual/audial experience in the Greek ideal, but it's also severely lacking. Not to say I don't appreciate the genius of bands that have mastered their craft, but oftentimes I feel bored with the incongruency of the music and the performance. I hate seeing inferior renditions of the album version and I don't think the typical pub/club atmosphere (and all the loonies it attracts) is worthy of the music. I really admire groups like The Moon Lay Hidden Beneath a Cloud for totally connecting every aspect of their art, playing at old churches, ruins etc.

It would be cool if bands did something akin to live variations around the basic spirit/ideals of the recorded works. Or in the case of a band like Summoning, move closer into the realms of poetry, using music to carry it, actually it's a shame they don't play live as I'm sure it wouldn't dissapoint.

Metal / Re: ILDJARN contributes positive view of A.N.U.S.
« on: January 16, 2012, 10:38:34 PM »
Does anyone know what he's up to these days? According to the interview he should be dead by now. It's a shame he didn't make more tracks like the opening on Ildjarn-Nidhogg s/t. Apparently he broke his four-tracker and called it quits, but what the hell kind of excuse is that?

Also does anyone remember his old website where he put up some photography of the Hardanger countryside? I saved a few but it would be cool to get the rest if anyone has access to them.

1 ... 50 [51] 52 ... 61