Hagathorn makes what might be called medieval ambient folk music, mostly implication of melody through guitar strumming which gradually gives way to a shifting texture of themes that dreamlike combine and dissolve, leaving behind an altered version of the original.
In a small departure from our regular Hessian content today, we are going to look into an important function of any community, which is passing on learning: those who experience life intensely and survive pass along what allowed them to not just survive but triumph, so that others can build on those lessons and discover even more success.
Macanudo cigars were mysterious and expensive to the Greatest Generation, sought after by Boomers, and for the rest of us, now appear in grocery stores in sealed packs in addition to showing up everywhere else. At this point, they seem more a starter cigar, middle-of-the-road vanilla flavor and low strength.
Longstanding power metal band Fates Warning plan to release their thirteenth full-length album, Long Day Good Night, on November 6, 2020 via Metal Blade Records. A sample track, “Scars,” streams below. The label released the following statement:
Entering the already crowded field of doom metal, Void Rot take a minimalist version of the glacial Skepticism or Thergothon approach and add a little more death metal and some of the post-rock open chord picking that gives atmosphere, creating a grating monolith of slowly moving sound which varies motifs as a form of texture.
Synthwave attempts to recreate a Harold Faltermeyer or Jan Hammer soundtrack with additions from 1980s synthpop and a “cosmic spirit” borrowed from 1970s New Age music and experimental ambient like Tangerine Dream, working simple pop songs into the kind of quasi-symphonic layered and thematic environment of a movie soundtrack.
Perhaps one of the finest bands in the fast tremolo death metal style pioneered by Slayer, Massacra slipped under the radar for many in the US/UK because of erratic distribution and have only recently seen regular reissue.
Like metal, drone attempts to make beauty from ugliness, and with the metal-infused version of drone, the genre finally gets past the waiting room music stage by using the intense dynamics of distorted guitar, allowing it to mix darkness and light in a sonic tapestry that diffuses more than focuses attention.
We lost a giant among guitar players last Friday when Julian Bream passed on to the Other Side, where hopefully he is shredding still:
Bream was born in Battersea in 1933, the son of a father who played piano and jazz guitar – a self-built electric version – and taught Julian the rudiments of each instrument. Bream’s talent earned him a scholarship at the Royal College of Music, where he studied piano and cello. But he was largely self-taught on his primary instrument, the guitar. He played his first public guitar recital in Cheltenham in 1947, aged 13.
That year his father chanced upon a sailor walking through London carrying a lute and asked what it was. The sailor sold it to him and Bream began learning it, eventually helping to revive wider interest in the instrument and Elizabethan music.