Take a sneak peek at this fascinating chart: over the last few months, interest in hipster “indie metal” and “post-metal” bands has been fading like interest in a Justin Bieber death metal album. This could explain the vast nervousness and agitation among that group, who had a ten-year window to take over metal and use it for their own ends by replacing the original metal fans with a larger audience of quasi-mainstream SJW-style indie hipsters.
But they have failed.
As Google trends reveals, hipstermetal has been a flash in the pan, and these bands that received huge media attention from SJW journalists have collapsed. Even much more extreme and abrasive and non-hipster bands maintain a surprising degree of relative popularity in comparison to the dying indie/hipster metal trend.
Even Windir is more popular even today than Liturgy and Wolves in the Throne Room combined. Why is it that even though all these bands try so damn hard to sound like real black metal, true fans can always tell? Moreover, people with the true metalhead personality always end up gravitating to the real stuff. I think that’s because of psychological makeup and possibly even genetics related to brain structure.
In other news, the henhouse is clucking. But how they will be screeching when the destruction specialists appear for the first time. The anticipation is unbearable. The savoring of the flavor of the moment, as SJWs realize their gambit failed and they have now again been reduced to being low-paid entry-level workers in a world that does not care about their “Male Tears” mugs and bold, independent, brave and different social justice opinions…
Renowned post-metal band Wolves in the Throne Room have returned with a companion album to their 2011 release Celestial Lineage. Entitled Celestite, the new album shows the band moving the synth and acoustic components of the previous album to the foreground and thematically expanding upon them in a total divergence from metal instrumentation and structure. This release has less in common with Lord Wind or Burzum‘s prison albums, although some relationship could be established between Celestite and Ildjarn-Nidhogg’s synth work, in addition to Neptune Towers and perhaps various Beherit projects. Celestite primarily takes its inspiration from artists which are tangentially related to metal rather than derived from it, with Eno being the primary source.
Showing more heritage from avant-garde scoring than other ambient/neo-classical projects, Celestite reveals multi-dimensional composition winding its way from the beginning of a piece to its conclusion without a grounded climax or resolution. Microcosoms of intensity provide linking points to connect various melodic strands together, which along with blending recurring tones with expanding timbrel variance provides enough solidity to congeal central parts within the fluid nature of the album. Melodies are introspective and restrained, though the elongation of their motion increases the importance of each progression. When the album reaches its striving heights, sensation is heightened appreciably whilst still retaining a contemplative essence. Carefully considered, the contrast between the light synth aura which is the operative timbre of the album’s framework, the overlaying of organic winds and lighter keys, and the almost oppressive, technologically demonic and bass-heavy force that intrusively invades the melody and flattens it temporarily before returning, embodies a sonic portrayal of the struggle between the forest and the machine.
The artistic duality of nature versus mechanism constitutes itself again in our times in an art form which is dependent upon the modern and yet wary of it. Celestite may find a re-grounding point for Wolves in the Throne Room, and be an inspiring blueprint for all who seek to move beyond black metal in a backwards-looking yet inexorably-forwards direction – upwards, towards…
Former extreme shoegaze/indie band Wolves in the Throne Room released a lengthy track from their upcoming album Celestite Mirror. This time they follow the path of cosmic synth bands like Tangerine Dream, Neptune Tower and Jääportit. The new Wolves in the Throne Room uses of the flexible and grand sound of synthesizers to write sci-fi symphony that invokes a celestial world above our head.
Unlike Tangerine Dream and Neptune Tower, Wolves in the Throne Room demonstrate a clearer melodic pattern. Through the method of successive repetition and progress like a serial of logical thoughts, the music maintains the organizational strength of metal music while adding melodic development and an expansion of mood beyond the intense surging power of guitars. As a result, Celestite Mirror advances the heritage established by Tangerine Dream and Neptune Tower.
Whether Celestite Mirror emerges as a strong fusion of metal and cosmic ambient or not, it merits our anticipation. Metal possesses a will to catch up with classical music and always has, which is what the core fans of this genre expect and hope for too. The new Wolves in the Throne Room might fulfill the vision we dreamed of all these years.