1. says

    Very decent review. I’ve been listening to the CD for the past couple of weeks, and I like it a lot. It’s taken me a few years to appreciate this style of vocal, but I am starting to appreciate, and I have no reservations whatsoever about what the instruments are doing. Grand stuff. Seems to me that they are doing for black metal what Helmet did for another kind of metal in the Nineties.

  2. Enda says

    Wow, thats really great. I usually really dislike metal but love this. Its almost more like post-rock style guitars with black metal vocals and drums. Burst-beats,,,, I like it!

  3. marc says

    I’ve been listening to it for a few weeks and I have to say I’m wholly absorbed by it. I keep thinking about ‘Glory Bronze’ whilst driving, making dinner, reading a book. I think this statement is just more grist for the mill for the purists.
    This is the most misunderstood release of the year; something that gets called “black metal” or “death metal” only to have purists describe how it flaunts their rules. It’s not “scary” enough or whatever. It’s not scary at all, and it’s not trying to be (at least to me). Reviews (and maybe purists) miss just how deliberate and almost stately it is – Fox’s drumming obscures the slow, steady melodic progression.
    I’d just love a review that dealt with the music as it is, and not for the dearth of corpse paint involved. I’d like a review that dealt with melody and not the supposed incongruity of Hunter’s appearance and vocals.

  4. J.V. says

    I listened to a few tracks. Veins of God was my favorite. I’m very heavy into hard rock and metal music of shifting meters. And I don’t mind instrumentals. For example: Rush, Dream Theater, Symphony X, Meshuggah and Ron Jarzombeck’s various projects, like Blotted Science, whose album Machinations of Dementia is off-the-chart genius for a meter-counter like me. (Mastodon comes into the picture too, as do Protest the Hero and Mekong Delta). There’s also math metal, of course, but I can only listen to bands like Botch and Dillinger Escape Plan in small snatches as yet.

    So Veins of God was nice and complex in that department. It crunched around for a little while at 6/4 at the beginning of the tune (I think), but then it went off the rails, which was fantastic. I’ll be back to analyze it more closely in the future.

    What contemporary composers write stuff like this? The first movement of Glass Symphony 8 is the closest I can find. The meters shift like crazy, and unlike most contemporary music, where the meter is hidden implicitly in the soundscape, it keeps the beat in your face. The Rite of Spring is the gold standard, of course. And Steve Reich has any number of interesting rhythmic works, too.

    Don’t get me wrong. I love-love-love the music of Ligeti, Scelsi, Lutoslawski, Penderecki, Feldman, Albert and others, but I can only appreciate its genius when I’m giving it my full attention, in a quiet chair in a quiet room. When I’m out there behind the wheel, fighting traffic on the expressway, Lux Aeterna isn’t exactly going to do it for me.

    So where’s the concert music for fighting traffic on the expressway? Petterssen has his moments, as do Andriessen and even Rautavaara. And Ginastera has some interesting quartets, too. But I haven’t found anything to match Glass Symphony 8’s first movement or Rite of Spring in the department of music that’s invigorating, rhythmic, compelling, compulsive and traffic-fighting.

    Where (else) should I be looking? Maybe I need to look more carefully at the composers I’ve named above, and just pull excerpts — one movement here, one movement there — into a compilation recording, sticking to just the bits that are complex and compulsive.

    Maybe, given the example of Rite of Spring, I should be looking at dance music? Chairman Mao? I’m not very familiar with Adams. I’ve been kind of staying away from him. Should I try him more heavily?