THE TRVE POST - El post de lo extremo v2

Venga, ahora con otra obra monumental de Death/Doom. El abismo está cerca:

Esta gente es muy buena

The ever-inventive Ukrainian Black Metal band WHITE WARD unleash their defining third full-length "False Light", a grand work of exploratory depth and a remarkable expansion upon all that made 2019's acclaimed "Love Exchange Failure" such a triumph.

Always surprising and never less than captivating, from a base of rhythmically creative, furiously melodic Black and Death Metal the band shape-shift through a vivid suite of songs-as-journeys: seamlessly utilising hues of brass-led darkjazz and stately post-rock, foregrounding the evocative contributions of guesting clean vocalists in passages redolent of gothic Americana/post-punk and integrating virtuosic guitar leads, textural electronics and atmospheric sample-work.

Heavily conceptual and rich with meaning, the 8 dystopian tracks use overarching inspiration from "Intermezzo", a 1908 impressionistic novel by the Ukrainian author Mykhailo Kotsubinsky - in addition to works by Beat-writer Jack Kerouac and psychoanalyst Carl Jung – to explore government-sanctioned murders, imminent environmental catastrophes, police brutality, domestic abuse, the psychic emptiness of cities, falsity of modern mainstream culture and ill-effects of overconsumption.

"False Light" is a multi-layered success story – perfectly balancing tension and traction, restraint and resurgence, fatalism and focus into an indispensable record from a stunning band at the top of their game.

Esta gente es muy buena

The ever-inventive Ukrainian Black Metal band WHITE WARD unleash their defining third full-length "False Light", a grand work of exploratory depth and a remarkable expansion upon all that made 2019's acclaimed "Love Exchange Failure" such a triumph.

Always surprising and never less than captivating, from a base of rhythmically creative, furiously melodic Black and Death Metal the band shape-shift through a vivid suite of songs-as-journeys: seamlessly utilising hues of brass-led darkjazz and stately post-rock, foregrounding the evocative contributions of guesting clean vocalists in passages redolent of gothic Americana/post-punk and integrating virtuosic guitar leads, textural electronics and atmospheric sample-work.

Heavily conceptual and rich with meaning, the 8 dystopian tracks use overarching inspiration from "Intermezzo", a 1908 impressionistic novel by the Ukrainian author Mykhailo Kotsubinsky - in addition to works by Beat-writer Jack Kerouac and psychoanalyst Carl Jung – to explore government-sanctioned murders, imminent environmental catastrophes, police brutality, domestic abuse, the psychic emptiness of cities, falsity of modern mainstream culture and ill-effects of overconsumption.

"False Light" is a multi-layered success story – perfectly balancing tension and traction, restraint and resurgence, fatalism and focus into an indispensable record from a stunning band at the top of their game.

Vaya discón, impresionante. Mi disco del año.

De hecho...

El nuevo de Inexorum también está muy bien, el mejor que tienen hasta ahora. Simplificando, black muy melódico con toques de metal clásico.

Minnesota is a place of extremes. The winters can drag—snows often sit for months, forming an icy crust, while the cloudless, cheery sky lets any remaining warmth escape, and then come the quick springs and sauna-like summers with their mosquitoes and lazy days on the lake. At times like those, when the thunderstorms roll in, one's eyeballs freezing in February can feel like a distant memory.

Minneapolis' Inexorum works with the full spectrum of these extremes on their third full-length: Equinox Vigil. Like their previous two releases, it draws on the natural beauty and temperamental climate of the North Star State. However, where Lore of the Lakes and Moonlit Navigation each had a more celestial, nocturnal quality, Equinox Vigil is a restless, autumnal record that benefits from Inexorum's most richly layered melodies and cleanest production to date.

From its opening chords, the album moves at a gallop. It flows like a swift stream, carried by timeless lyrics that read like a description of a Caspar David Friedrich painting. Each song has a restless, Sehnsucht-infused quality sparked in part by Inexorum frontman Carl Skildum's escapes to the Minnesota wilds during the height of the pandemic. The lyrics, as on the title track, are full of moments of contemplation, using scenes of trees and sunsets as a foil for meditation on the self.

Closer "Such Impossible Sights" likewise contemplates the rise and fall of empires against the eternity of nature. Matthew Kirkwold's clean vocals add thrilling moments of aspirational, NWOBHM-tinged escapism at critical moments here. While Equinox Vigil feels new, it also reaches back to familiar frameworks repeatedly and rewards the listener with new flourishes on repeated listens.

It would've been impossible to make a record like this forty years ago, however—Skildum and Kirkwold achieve Inexorum's sound through a process of digital layering, with Skildum veneering several bands' worth of guitar lines to into riffs that glide over Kirkwold's basslines and digital drumming. The result is a maximalist LP that, while nominally black metal, is almost classical in its level of ambition.

A deeply lo-fi black metal work blooms here, but quite below the amazingly gritty vocals, the aggressive percussion, the intense bass line or the constant synth delineating the melody, it also has some atmospheric characteristics coming from the guitar tremolo picking.
Despite not being a typical black metal recipe it has a good songwriting, but it needs to be listened to in high volume to filter the noise and appreciate all of it.

A mi me está transportando.

Una de las bandas más extremas y bizarras que me he echado en cara.

El nuevo de Inexorum también está muy bien, el mejor que tienen hasta ahora. Simplificando, black muy melódico con toques de metal clásico.

Minnesota is a place of extremes. The winters can drag—snows often sit for months, forming an icy crust, while the cloudless, cheery sky lets any remaining warmth escape, and then come the quick springs and sauna-like summers with their mosquitoes and lazy days on the lake. At times like those, when the thunderstorms roll in, one's eyeballs freezing in February can feel like a distant memory.

Minneapolis' Inexorum works with the full spectrum of these extremes on their third full-length: Equinox Vigil. Like their previous two releases, it draws on the natural beauty and temperamental climate of the North Star State. However, where Lore of the Lakes and Moonlit Navigation each had a more celestial, nocturnal quality, Equinox Vigil is a restless, autumnal record that benefits from Inexorum's most richly layered melodies and cleanest production to date.

From its opening chords, the album moves at a gallop. It flows like a swift stream, carried by timeless lyrics that read like a description of a Caspar David Friedrich painting. Each song has a restless, Sehnsucht-infused quality sparked in part by Inexorum frontman Carl Skildum's escapes to the Minnesota wilds during the height of the pandemic. The lyrics, as on the title track, are full of moments of contemplation, using scenes of trees and sunsets as a foil for meditation on the self.

Closer "Such Impossible Sights" likewise contemplates the rise and fall of empires against the eternity of nature. Matthew Kirkwold's clean vocals add thrilling moments of aspirational, NWOBHM-tinged escapism at critical moments here. While Equinox Vigil feels new, it also reaches back to familiar frameworks repeatedly and rewards the listener with new flourishes on repeated listens.

It would've been impossible to make a record like this forty years ago, however—Skildum and Kirkwold achieve Inexorum's sound through a process of digital layering, with Skildum veneering several bands' worth of guitar lines to into riffs that glide over Kirkwold's basslines and digital drumming. The result is a maximalist LP that, while nominally black metal, is almost classical in its level of ambition.

Muy bueno, me ha gustado mucho

Vaya discazo de han marcado Darkane

Ostia los Darkane, qué míticos, le daré una escucha.

The Nest is a commissioned piece written on the occasion of Roadburn Redux 2021.

The Nest is: Wolvennest Featuring, Tommie Ericksson (Saturnalia Temple), Raven Van Dorst (Dool), Alan Averill (Primordial, Dread Sovereign), Meilenwald (Ruins Of Beverast), Déhà, Bones (Dread Sovereign).

Al principio no me gustó demasiado, obviando cosas, pero me ha acabado enganchando muchísimo. Me chocaba un poco la variedad quizás, llegando al post-punk, pero me ha resultado súper fresco al final.

Al otro que he estado enganchado aunque soy el único que conozco es el de Ibaraki.



A mí los cachos de black explícito a lo Emperor me ponen cachondísimo. Luego me he tenido que acostumbrar a las voces limpias de Matt Heaffy. De hecho lo he vuelto a intentar con Trivium a raíz de este disco, pero no son para mí. Es que no les veo nada. Pero a mí aquí me ha atrapado.

PD: iluso de mí, las partes black me hacen soñar con un disco de Emperor en 2023. No es que no me baste Ihsahn, es que EMPEROR.

A mí los cachos de black explícito a lo Emperor me ponen cachondísimo. Luego me he tenido que acostumbrar a las voces limpias de Matt Heaffy. De hecho lo he vuelto a intentar con Trivium a raíz de este disco, pero no son para mí. Es que no les veo nada. Pero a mí aquí me ha atrapado.

PD: iluso de mí, las partes black me hacen soñar con un disco de Emperor en 2023. No es que no me baste Ihsahn, es que EMPEROR.

Si lo que quieres es black metal a lo Anthems to the Welkin at Dusk o IX Equilibrium tienes el disco de Katharos de este año. Esta muy bien, y siendo realistas, si Emperor sacasen algo a estas alturas dudo mucho que alcanzasen este nivel. De verdad, buenisimo.



El de Ibaraki sentimientos encontrados. En si los temas estan bastante chulos pero creo que se le ha ido un poco la mano con la teatralidad y lo forzadas que suenan las partes vocales. Si a eso le añades un par de detalles raros (la intro y la outro, los sonidos de monedas del Mario Bros...) a mi gusto se queda en un buen disco de metal progresivo que podria haber sido incluso mejor con un productor detras limando asperezas.

Lo mas sorpendente, el tema que colabora el cantante de My Chemical Romance gritando, el mejor del disco y muy bien oirle en este registro tan blacker. Mejor que Heafy y que Ihsahn.

Si lo que quieres es black metal a lo Anthems to the Welkin at Dusk o IX Equilibrium tienes el disco de Katharos de este año. Esta muy bien, y siendo realistas, si Emperor sacasen algo a estas alturas dudo mucho que alcanzasen este nivel. De verdad, buenisimo.

Ostras, me lo apunto gracias, se me pasó, pero tiene buena pinta.

El de Ibaraki sentimientos encontrados. En si los temas estan bastante chulos pero creo que se le ha ido un poco la mano con la teatralidad y lo forzadas que suenan las partes vocales. Si a eso le añades un par de detalles raros (la intro y la outro, los sonidos de monedas del Mario Bros...) a mi gusto se queda en un buen disco de metal progresivo que podria haber sido incluso mejor con un productor detras limando asperezas.

Lo mas sorpendente, el tema que colabora el cantante de My Chemical Romance gritando, el mejor del disco y muy bien oirle en este registro tan blacker. Mejor que Heafy y que Ihsahn.

Coincido, aunque creo que me ha gustado algo más que a ti.

Es curioso lo que dices sobre la voz. Ihsahn nunca ha tenido buena voz, no sé si es técnica, limitación o qué. A mí me parece que Heafy ha intentado cantar a lo Ihsahn y eso hace que el resultado sea una voz sin fuerza, sin volumen ni definición.

Y sí, bastante mejor el tema en el que canta Gerard Way, incluso en el Nergal.