Funeral doom came from Skepticism, Winter, and Thergothon as bands took a death metal approach to the ultra-maudlin doom metal of Candlemass and Saint Vitus, giving it a new grandeur that mirrored what the brainier death metal bands were doing, and slowing it down as a form of even greater extremity.4 Comments
This dissection was contributed to Death Metal Underground by Neil Sigmundsson.
Although the song that is the subject of this article differs considerably in tone from most funeral doom metal, and indeed from most of Evoken’s own work, it utilizes the basic style of that genre: open, sustained, low register power chords played at very slow tempi. In “Omniscient,” clean guitar melodies and synthesizers provide the music with detail, color, and different senses of spaciousness. Layering, interplay between instruments, and timbre play important roles in developing themes and emphasizing different aspects of emotions. The song has no human voice, a feature that facilitates listener immersion and an unharnessed imagination. The structure is simple and linear: A B C D. The four sections are described sequentially below in terms of one interpretation of the piece; this is an attempt to put into words a somewhat vague combination of images, thoughts, feelings, and emotions that occurs when listening to it. If this descriptive method comes across as tedious or unappealing, consider it the shortcoming of the writer and let the music speak for itself.
Section A: The introduction revolves around a melody played on clean guitar, the tonality of which gives a vague feeling of uneasiness and of mystery. The technique of sliding into and between notes is used as ornamentation, presumably to make the melody more evocative. The slow tempo lends a sense of low energy, and the synthesizer adds a haziness to the atmosphere. When the electric guitar and percussion enter the song, the resulting sensation is similar to stepping from an inside room, where one can sense the heat outside, into the open air, or of transitioning from the awakening state of half-consciousness to that of complete alertness and awareness. The synthesizer then plays its part an octave higher than before, overpowering like the sharp glare of the sun and evoking an image of barrenness, vastness, and lifelessness. The timbre greatly increases the effect. After the synthesizer descends back to its original register, the theme is fully developed and the scene completely comprehended.
Section B: After a short silence, the music resumes at a crawl, as if an oppressive heat is sapping away all energy. The guitars reach up and play a short sequence with conviction, but fall back down in response to the synthesizer, as if defeated by the overwhelming wretchedness and aridity of existence. The entire pattern temporarily falls to a slightly lower register, conveying a sense of sinking to greater depths, though it musters enough energy to return to its original place. Listening to this section feels like crossing a desert, wondering whether the farther side will ever be reached with so little energy, when suddenly…
Section C: Great vigor and motivation well up from an unknown source, generating forward and upward motion from stagnation. The tempo increases, as does the speed of the drum pattern. The power chords are no longer relegated to the far lowest notes. The synthesizer, which represented the oppressive force, disappears and is replaced by a slowly rising clean guitar pattern. The overall tone here is energetic and anticipatory, and there is a sense of striving and of willpower where previously there was none. However, in the guitars there is a moment that balances this nature with sobriety and gravity, a few slightly dissonant notes that signify that all adversity has not been overcome. Like a reminder of the continued presence of the antagonistic element, this slight dissonance checks the melody, which falls accordingly (though it maintains its pace and energy) and dwells at its lowest point before steadily rising again.
Section D: Section C trails off at its highest stable point, and at this point the music slows down again and “opens up,” signifying that a plateau or a destination has been reached. Indeed, in the final and longest section of the song, a realization occurs. The first hint of this realization is a sequence of four notes played on the keyboard and accompanied by percussion. The “breathy” timbre and relatively low volume give a sense of distance and of large scale. This part evokes the emotions associated with pausing one’s toils, looking up at the clouds, and realizing their beauty. The electric guitars then enter enthusiastically, mimicking the four note pattern with power chords, and the aforementioned keyboard sequence gives way to a second one. This new keyboard part starts with a heart-warming tone that rises slightly and then settles into a sobering note of gravity, though even this last bit of weight and resistance falls away at the end of the sequence.
The full realization is represented by a blissful clean guitar melody that acts as an additional layer atop the second keyboard part and the power chords. The keyboards color the guitar melody in different ways with each note and with swells in volume, highlighting various nuances of the newfound conviction and peace of mind: solace, tranquility, the hugeness of nature and the cosmos and corresponding miniscule stature of man, the passing away of all things, and finally an understanding and acceptance that leads to release from all doubts and worries. The timbre of the synthesizers provides an airy nature to the conclusion of the song, yet this quality is light and fresh and differs greatly from the heavy, burdensome atmosphere of the introduction. The clean guitars eventually stop and the keyboards return to a fuller version of the first hint of the realization, the image that catalyzed the epiphany being revisited in terms of the new insight obtained. The full realization then resumes. By this point, all tension is completely resolved. Additional synthesizer effects give a sense of dissolving and of passing away, and the song begins to fade in volume. The clean guitar ends on an uplifting note.
In the above description of “Omniscient,” the instruments symbolize different aspects of human experience. The electric guitar and the percussion represent the visceral sensations of the body, the clean guitar the movements of the mind, and the synthesizer the perception of the external environment. The role of the synthesizer in portraying an external oppressive force in sections A and B has already been described: it can be seen as a sort of indifferent but nevertheless harmful natural phenomenon. Of the four parts of the song, section B is the only one with no clean guitar, perhaps symbolizing how during an onerous experience in which the willpower of the mind has been defeated, the focus of consciousness oscillates between the suffering of the body and the alleged cause of that suffering. In section C the synthesizer disappears, but the sobering, slightly dissonant notes in both the clean guitar and the underlying power chords acknowledge that the environment/situation has not changed. Rather, the upwelling of energy from within is so powerful that it dominates the field of perception, as reflected in the dramatic increase in percussion activity. This section can be viewed as finding motivation to fight and overcome an oppositional force.
Section D resolves all conflict and tension in the song, not through external triumph – towards which section C seems directed – but through internal release. Maintaining the established symbolism and looking at the clean guitar parts (and lack thereof) throughout the song, there is a series that outlines a transformation of mind: A mind confused (A) becomes a mind completely defeated (B), which in turn is revitalized and invigorated (C) and finally becomes purified and instilled with confidence and peace (D). Considering the keyboards, as mentioned previously, the role and the qualities of those in section D are significantly different from those in sections A and B. Yet even at the very end of the song, there is still a sobering effect and a sense of gravity in the keyboards; the elation does not go unchecked. As in section C, this is the clue that the external environment has not changed, only the perception of that environment. Thus, the mind has undergone a change and as a result, the perception of life has changed even though life situations have not. Recalling the words of Marcus Aurelius: “Things do not touch the soul, for they are external and remain immovable; but our perturbations come only from the opinion which is within…Take away thy opinion, and then there is taken away the complaint, “I have been harmed.” Take away the complaint, “I have been harmed,” and the harm is taken away.” This is the essence of the realization in “Omniscient”: It is the knowledge that, though we may feel pain and discomfort, and though we may endure hardship, suffering is not inextricably bound up with these experiences. The power that external events claim on personal wellbeing is dictated by the mind and by the will. In this way can man go through life as an invincible force, as a “promontory against which the waves continually break, but it stands firm and tames the fury of the water around it.” With this spirit and conviction does the clean guitar sail calmly over the keyboards in section D, giving a sense of total peace and affirming that everything is alright.
Along with Skepticism – Stormcrowfleet and Monolithe – Monolithe I, “Omniscient” shows that the funeral doom style lends itself naturally to compositions that are not funereal in tone. This style has been used as a means of wallowing and despairing, and it could be argued that despondence, hopelessness, etc. are “heavy” emotions, but the self-obsessed state of depression, being a state of stress and contraction, shrinks the scale of the music to the personal level. This effect is contrary to the “big” sound of the funeral doom style, and to the powerful fighting spirit of metal in general, indicating that perhaps the style is more suitable for large-scale, impersonal topics.
Regarding musical composition, the careful and directed development of a select set of ideas maximizes the evocative quality of music by allowing themes to blossom to their full expressive potential. Furthermore, this increases the coherence of compositions, even when the composer does not intend a specific meaning or message, because new ideas arise only when the old ones are exhausted. Thus, in musical composition, as in life, it is wiser to look to necessity than to extremity. Extremes of technical musicianship, speed, and structural complexity, though sometimes useful, are generally not necessary for metal music to be heavy (in the meaning of bearing existential weight, of having deep content as opposed to shallowness, and of communicating an aspect of reality that transcends the individual). “Omniscient,” in its beautiful simplicity, is evidence in favor of this point. In its logical and complete development, its highly evocative sounds, its clear depiction of an inspiring and uplifting transformation, and the reward and reminder that its conclusion bestow upon the listener, “Omniscient” is a superlative work of art.
1. Evoken recorded Promo 2002 “in 1 day on a cheap-o 8 track recorder.” “Omniscient” stands far above the other four songs on the promo, although “Reverie in Tears” is also well composed. Dario Derna, who was the adept drummer of the death metal band Infester, played the keyboards on this release.
2. A rerecorded version of “Omniscient” with lyrics appeared on the 2010 split between Evoken and Beneath the Frozen Soil.22 Comments
Article by David Rosales
Pretty much once in a lifetime does an artist of the greatest kind offer a work that has added to its musical consummation the ability to summon entire worlds into the conscience of the listener. The three following examples of this achievement go about this in the same way that Tolkien’s mystery mythology is built: by broad strokes, consistency in themes and marvellous artistry in strategic details. These also form a triad that describe three concentric spheres of human experience: the physical, the mental and the divine.
Stormcrowfleet: The Metaphysical Will
Here is a pondering on will, vision and the embracing of the self’s calling:
Devouring the world through the senses, only to slowly flood back into it and extend Will yonder. Powers sifting awesomely in vast expanses according to harmonious law. As the fruit of work materializes, impetus is satiated and now serves as pulse. Arcane forces call beasts of desire into action, as does the disciplined mage through obedience to true aphorisms attain silent influence.
Destiny is embraced, faced with passionless determination. Beyond what is felt, what is seen, what is heard, closer to the truth, there proud and solitary existence awaits. In that place, sensation and impression are fused with meaning. It can never err, it simply is and is ever becoming. Such is the fire-lit secret of unclothed reality.
Dol Guldur: Mind and Imagination
Longing for earthly beauty and the majesty of man’s handwork and a respect for the purpose that is instilled into them cries out in whispers through the crevices of undead statues. High culture and nature are melded in absolute harmony through a revitalization of Tolkien’s verses. Man is here but a speck in the middle of the grandeur of this Earth, this center of our cosmos, the most precious of gifts to mankind.
Mythic transpositions of stone structures and forests from a mortal’s character and inner struggle are interleaved. The landscape painting of the master linguist is vibrated in shy cadences that sustain melodies gradually taking us aloft to places not corresponding to our physical present, nor to a faithful idea, but somewhere in between. This is where dream and reality meet, whence manifestation of destiny ensues.
Blood, Fire, Death: Cruelest Present
Without leaving behind legendary imagery as an aim and placeholder for imminent action, we are shown an unapologetic picture of crudeness. This is the here and now of human experience. It is the visceral rushing of adrenaline-charged blood through the limbs.
No glory, no shame, only happenstance. In this nihilism is the truth of the triune complemented and completed.Things are or they are not. You live or you die. Revel in the ritual of life and attach no special meaning to anything.5 Comments
Our previous editor got his hands on some version of Ordeal and was not particularly fond of it; in particular he criticized it for being “self-referential” and lacking in well thought out composition. In doing so he cast a great shadow over my hopes for this album, but one I could not even acknowledge until I had listened for myself and determined whether or not his criticisms were accurate. It was a very persuasive argument in the mean time; the very title of the album, the fact it contained two rerecordings of previous Skepticism tracks, the gimmicky recording technique, and so forth come together to predict validity without actually being sufficient indication of the contents within.
Actually listening to the album immediately put me into mind of one major lesson I derive from my own personal review efforts: I respond more quickly to music that reminds me of my own efforts as a musician, and Skepticism with their funeral doom style is the antithesis of myself. While my experience with the band’s previous efforts is limited, their particular take on the subgenre is still interesting on some level, as their overall choice of tonality and instrumentation seems to absorb all the doom and depression one might expect and replace it with the musical equivalent of barren, but sublime natural landscapes – mountain peaks, desert canyons, and so forth. That’s the ideal, at least; given that Ordeal‘s sloth makes it superficially resemble ambient music, and that plenty of both metal and ambient musicians turn towards Earth’s ecosystems for inspiration, it seems a reasonable goal. Still, something deeper and more fundamental wasn’t clicking, and in an attempt to more quickly absorb the structures of this album into my mind, I turned to pitch-shifting algorithms.
While playing Ordeal at three times its intended speed ended up making everything sound daft, it helped to reveal the underlying structures of Skepticism’s music. It turns out that, at least from a mathematical perspective, these compositions are definitely janky, as they are full of sudden shifts to subtly different material at odd intervals. In a style as slow and orderly as this, that seems a poor fit and makes for anything but an organic approach. This exercise also suggested, rather more sinisterly, that Skepticism’s compositions are perhaps assembled at a higher speed and then stretched out as necessary to create longer tracks. While I can’t confirm anything about how the music was constructed, I would not be fretting about it so much if the end result was not held back by its own awkwardness, and if the laggardly tempos didn’t make appreciating any musical moments a chore.
Since the rest of the band’s discography is at least superficially similar to this, I can at least extend Skepticism a hearty congratulations for making me doubt the value of the rest of their discography. That, if anything, is a (dubious) honor, but hardly one worthy of praise.3 Comments
Descending like a blessing from the sky comes another album by a legendary band which only nine years ago presented us with a masterful album vastly superior to what they had done since their debut.
In Ordeal we find a regression into their middle period while nods to Stormcrowfleet are discernible here and there without actually engaging and setting out on an undistracted trance like the younger band on that album.
Self-referential statements which rely directly on the established style of the band and the reputation it has already acquired makes this sound like one of the second rate bands that followed in their footsteps.
Already a tired band showing no signs of progression or development in style, we perceive a simplification of ideas on top of which a facade that sounds like Skepticism is erected.
Passing and forgettable, we find a Skepticism attempting to be as sparse as Worship, yet finding themselves in foreign territory.
Positioning chord after chord and following them in a slightly rock-like manner reminiscent of lesser “doom metal” acts, the motifs as themes are nowhere to be seen.
One must also ask, what happened to the singer’s voice? Is this on purpose?
Instead of the pictures in poetry and majestic motif colorations of Stormcrowfleet before “doom metal” was a thing, we have a band trying to impersonate itself.
Nobody asks a band like Skepticism to venture forth and put out new material because “it is time,” as if they were some puny mainstream band, but this here is probably the less inspired and most uneventful Skepticism album to date.
Tedious in a way that only a collection of uninspired references to all the different points in their discography could be, if this is a farewell, it is indeed a sad one.
Mannerisms in the guitars seem to be excuses only to keep them doing anything — a lack of worthwhile ideas is apparent.
Estranged from the poetry that they embodied, the repetition in Ordeal is odious rather than transporting.
Nuances are missing, everything that there is to this new release seems to be all placed at one level: that of the presentation.
The cover art should have been a warning.18 Comments
Today, Svart Records announces September 18th as the international release date for Skepticism’s highly anticipated new album, Ordeal. A legendary name in metal circles, Skepticism are widely hailed as one of the originators of funeral doom. Their first album for Svart and fifth overall, Ordeal is also the first Skepticism full-length since 2008’s Alloy. But instead of going the usual recording-in-the-studio route, the band decided to record this new album live before an audience on January 24th at Klubi in Turku, Finland, with the event also captured on film. A truly unique experience for a truly unique band, Ordealis a honest and accurate summary of what Skepticism is in 2015.
Keyboardist Eero Pöyry commented:
Recording the album live was a positive experience. I’ve come to think of Skepticism being at its best live, and the Ordeal session proved it for me. Having a whole day to concentrate in one shot at a perfect performance brought in a good pressure – and a bit of an ordeal, as well.
Adds drummer Lasse Pelkonen,
Recording live made the album sound a bit rough and dirty, which is suitable for us in any case.
The album will be available as a CD/DVD bundle and also as a LP/DVD set, featuring visual documentation of the whole Ordeal performance.
It is hard to think of a more street-credible approach to recording an album
I think metal is good only if one can recognize it as such by sound and arrangement. This happens on Ordeal. I am personally very happy with the new songs. They contain a lot of atmospheric changes and layering but still sound like Skepticism.
Guitarist Jani Kekarainen explains,
Life is an ordeal, the album is about ordeal, and making the album was an ordeal. To me, the music of Skepticism is essentially dynamic and atmospheric. These qualities in music are best presented live. Hence, recording live made it possible to capture the most authentic result for the album.
Finally, vocalist Matti concluded
It is difficult not to be and difficult to be; Ordeal is what music is – genuine without further explanation.
Tracklisting for Skepticism’s Ordeal
3. The Departure
4. March Incomplete
5. The Road
6. Closing Music
8. The March and the Stream
Finnish funeral doom metal band Skepticism performed their yet-unreleased fifth full-length album, Ordeal, in a live recording at Klubi in Turku, Finland on January 24, 2015. The event was also captured on film for an accompanying DVD to go alongside the album, in shades of what Empyrium did last years with their first performance in nearly a decade.
The band describes the new songs as “emotion-laden, crushing, and yet beautiful, more than ever before.” Visitors to the historic recording event received an exclusive re-issue of the band’s first 7” EP which was originally released in 1992. Ordeal will be released on Svart Records in May 2015 as a CD/DVD bundle and a LP/DVD set.
Skepticism commands a loyal following who want doom metal to fall neither into the nearly tuneless grinding of some doom-death or warmed over rock stylings of stoner doom, but prefer atmospheric and melodic music that creates a contrast within dark moods and can develop songs for a sense of being transported. The band formed in 1991 and since 1995 has released a stream of quality releases which remain enjoyed by a devoted cadre in the underground.
- The Departure
- March Incomplete
- The Road
- Closing Music
Plus bonus live versions of earlier tracks:
- The March and the Stream
Funeral doom innovators Skepticism plan to record their fifth album, Ordeal, live at Klubi in Turku, Finland on January 24, 2015. This marks a departure from their normal process of recording in studio but enables the band to record the album and video simultaneously for release on their new label, Svart Records, having transferred from Red Stream Records.
Visitors to the live show will also receive a re-issue of the first Skepticism 7″ EP originally released in 1992, which will be unavailable to the public. Skepticism formed in 1991, and recorded through the 1990s before unleashing their first full-length, Stormcrowfleet, in 1995.
Attracting fans for their ability to merge melody, theatrical song structures in the Celtic Frost style and abrasive slow and ponderous riffing in the best doom-death style, Skepticism took doom metal to the next level of slow and grinding music creating a pervasive sense of dread and resistance.
With their 1995 album Stormcrowfleet, Skepticism defined the funeral doom genre as entirely separate from the warmed-over rock of stoner and mainstream doom and, along with Winter, showed an entirely different direction for the future of that style. Since that time, Skepticism have released four full-length albums and two EPs to enthusiastic response by a dedicated fanbase.6 Comments
Funeral doom metal pioneers Skepticism have recently begun composing music for a new album planned for a late 2014 release. Alongside their countrymates Thergothon, Skepticism shaped this style from slow melodic chord progressions, sustained deathy vocals, and keyboards meshed to create an enveloping tapestry of sound.
The band have rebounded from the creative momentum lost after their first album Stormcrowfleet with their 2008 release Alloy, which showed a return to a more guitar-driven sound and songs which unraveled more subtly, creating an album of enduring quality. This showed the band resurrecting the metal within the Gothic doom and using it to drive song development past what more pop styles could offer.
Much like other metal bands, Skepticism are both rediscovering their roots and surging past them. A parallel can be drawn to recent Summoning, who recovered from a bout of misguided efforts by returning to an earlier composition style whilst creating albums which are expressively different and of quality. As a result, we have high expectations for this band’s next release.13 Comments