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Wiht

Wiht
May 06, 2010, 07:57:31 PM


For a limited time only, free to download.  Anybody who wants to pay me the £1.95 + £2.00 postage for a physical copy (tape format only) is more than welcome.

I'm very interested in your (the DLA's, as well as Metal Hall's) reception of this music.

Link removed, buy a copy if interested.

Re: Wiht
May 09, 2010, 07:00:21 PM
Bump.  Comment or die.

I have the courtesy to talk to you bastards, so you could have the courtesy to listen to my music.

Re: Wiht
May 09, 2010, 08:36:52 PM
Bump.  Comment or die.

I have the courtesy to talk to you bastards, so you could have the courtesy to listen to my music.

Do you have any tabs for these songs. I find it is a great help in following music (and reviewing) if I can learn the layout quickly.

Re: Wiht
May 10, 2010, 01:12:19 AM
Unfortunately, no - I don't use any form of notation when writing or learning music.  I could take a shot at tabbing it, but a lot of it gets pretty "technical", so I'm not sure whether I could do it any justice at all.

Re: Wiht
May 10, 2010, 02:40:17 PM
Quote
The file you are trying to access is temporarily unavailable.


=(

Damn, it's working for me... If the problem persists, PM me.

Re: Wiht
May 29, 2010, 09:00:55 AM
Link coming down in two days - get it while you can.

Re: Wiht
May 29, 2010, 07:30:27 PM
I gave this another listen just recently.  Liked it a lot better the second time around.  Only remaining complaint is some of the folk melodies sound a bit "piratey" to me, but I think I'll hold on to this.  See if it grows on me.

Re: Wiht
June 15, 2010, 09:55:53 AM
Funnily enough, you're the second person to tell me about the "piratey" thing.  I don't hear it, myself!

Re: Wiht
June 17, 2010, 02:49:16 PM
AYE on the jaunty pirate shanties!

Feedback now, seeing as you've requested it:
First, the suggestions. I agree with whoever it was in that other thread that managed to make you respond with an ultimately deleted comment; despite your obvious huffiness to his tone, what he said WAS useful - he not only pointed out a very specific issue, but even gave a specific suggestion to counter it. In the interest of expressing the same idea in a manner more likely to be understood than reacted against: your music is too "effortful", for lack of a better term; it all feels somewhat forced. It would improve if allowed to become a natural flow. Conversationist's advice was good too, but you already knew that.

Also; I've listened to the demo/album three or four times now, and... that bit with the clean singing in the first track still makes me grimace a bit every time. It's not that you can't sing, but your clean voice just does not meld with the surrounding noise at all. This could just be a personal reaction, but the reason I suspect there's more to it is that vocals, along with production, never strike me negatively, no matter how "off" they may seem to others.

Finally, the piratey bit... this is by far the bounciest black metal I've ever heard. What's interesting about that is how, when listening to it, I still think BLACK metal - not folk metal, pagan metal, viking metal, hiking metal, or biking metal. Despite its bounciness, I still hear it as black metal instead(not that those other "genres" are real anyway). The real problem with that is that it's very disorienting to go from a riff that sounds like virginal pagan maidens skipping around a maypole, to one that sounds like a melancholy recollection of a battle in which your father died. Obviously, both sensations were intentional on your part, but surely the accompanying disorientation wasn't? Someone in that other thread also mentioned being able to meld joy+sadness in the music as a unified whole, as opposed to having joyful sections+sad sections. I think that should be explored more during your next writing sessions.

What makes stuff like Gorement's The Ending Quest or Burzum's Hvis Lyset Tar Oss so powerful is that they can throw out excitement, mourning, relief, tension, alertness, curiosity, and knowledge all at once - not only in a single album, or even a single song, but sometimes even in just a single riff. This, however, can only be accomplished by leaving a sensation of "openness" in those riffs - make them too conclusive, and the music loses its mystery. Without that slight absence of identity, that slice of the void(which ties in to the very first suggestion above, as well as to what Conversationist said in the other thread), the riff can then only convey that one thing you consciously intended it to express. It ceases to be an interaction between the music and the listener, because there is no longer any room for the listener within the music; instead, it becomes an explicit message directly relayed to the listener by YOU, as a personality. This is not "bad" per se, but comments you've made here and there lead me to believe that this is most certainly not what you want to achieve in your own art.

Now, don't let the length of those last few paragraphs fool you. I do like this work, quite a bit in fact. Not since Following the Voice of Blood have I heard any obviously pagan-centered metal album that I actually liked very much, until this. One of your strongest abilities as a composer is in your ability to make evocative riffs - you'll notice how detailed the virginal maidens vs recollection of battle thing I said was? These weren't just pulled out of my ass; every moment of this work brings forth very lush, vivid mental imagery. Almost touchable, really. There are only two problems with that, or two sides of one problem:  first, the WHOLE album is this evocative, meaning there are no high points; second, images<states of mind- this one is really just a reference to what I've already said about the music needing more "openness".

As with others, it grew on me quickly. The first listen struck me as alright, obviously with talent but left me with a feeling there was nowhere more for you to go(again, tying into the music being too "complete"). The second was more relaxed, didn't think about the music, just let it sift through me, and it seemed a lot better. Third time I was able to actually pay dedicated attention; I like the intricacies in your composition, but don't let it become your central focus, or else we'll end up with a black metal version of Necrophagia ;)

Launching off from that compositional intricay - you also have an obvious talent for thematic restatements. In fact, you can probably stop working on that aspect of composition altogether. You have it down pat. Keep practicing it, of course, just so you dont' lose your touch; but by no means does it need to improve. Just like with the technical aspect of your music, it's obvious that you've put a lot of thought and work into knowing exactly how to restate musical themes throughout a work without it sounding repetitive or unnecessary. Each visitation is a whole new journey, even on those two or three restatements that are exactly the same as their originating statements.

Overall: good work, A+ proficiency, C+/B- sense of communion with the noumenon. Don't be afraid of leaving questions unanswered, and remember that the frequency at which wind blows through a grassy plain bears much more power than the strongest musical phrase ever coined by man.

Re: Wiht
June 24, 2010, 11:39:24 AM
Don't be afraid of leaving questions unanswered, and remember that the frequency at which wind blows through a grassy plain bears much more power than the strongest musical phrase ever coined by man.

that's a great way of putting it!  this is good advice for Cargest and all budding musicians around here.  be like the wind!

Re: Wiht
July 02, 2010, 07:39:03 AM
Put the download link back up! I've been getting into pirate metal recently.

Seriously though, I'm not going to pay $10 shipping for a tape in which the quality is uncertain.

Re: Wiht
July 03, 2010, 08:40:17 AM
Cargest:  now unlearn everything you have learned!

Re: Wiht
July 26, 2010, 05:17:47 PM
Just in case anybody's interested in the slightest, here's something I recorded today for Wiht:

http://www.wintermoon.co.uk/CABE.mp3

It's the end of a particular "tract" of whatever release this will be on, so it's quite short.

Rather than have individual and seperate songs/tracks, this release will be more like a book in structure - seperate perspectives of the same narrative ultimately coalescing (everything I write is already "concept", so I might as well go full hog).

Also, shipping is £2 for pretty much everywhere in the world, as far as I can remember.  It's very slightly less in the UK.

Re: Wiht
August 03, 2010, 12:15:29 AM
Rather than have individual and seperate songs/tracks, this release will be more like a book in structure - seperate perspectives of the same narrative ultimately coalescing (everything I write is already "concept", so I might as well go full hog).

If I'm understanding you correctly, that actually sounds like a good idea.  If anything, I imagine it being most valuable simply as a tool or aid for the artist rather than it being something "cool" for the audience.

Re: Wiht
August 03, 2010, 12:23:23 AM
Rather than have individual and seperate songs/tracks, this release will be more like a book in structure - seperate perspectives of the same narrative ultimately coalescing (everything I write is already "concept", so I might as well go full hog).

If I'm understanding you correctly, that actually sounds like a good idea.  If anything, I imagine it being most valuable simply as a tool or aid for the artist rather than it being something "cool" for the audience.

Pretty much.  The whole thing makes more sense in this format, as the progression is simultaneously musical and thematic.  I know what goes where, and how/why it goes there, and can build up riffs and melodies (further breaking away from any "standard structure", some parts of some songs aren't even "riffs") to suit the subject matter.