Personally, I listened to this three times back to back upon receiving it, which is proof enough of this point, and further underlines my assertion that this album warrants your detailed attention, regardless of if the contributing projects are familiar or not. Conceptually, sonically and visually, this a veritable feast for the ear, eye and mind. The Hunters In The Snow is an intensely dark and atmospheric album Conceptually a genuine masterpiece.
This new release of the German label The Epicurean surprises us with its careful sound aesthetics, pondering the ambient with noise segments, perfectly implemented to the pre-eminent dynamics of the work — reflexive, clamoring dynamics The Hunters In The Snow is a convincing and analytical album. Bei den drei Musikern, die in den einzelnen Tracks immer wieder in anderen Konstellationen auftreten, liegt diese Deutung nah, denn mit ihren kontemplativen Soundscapes zwischen Ambient und dunklem Industrial arbeiten sie weitgehend abstrakt und intuitiv.
Durch den Kontext der Bilder kann sie an weiterer Tiefe nur gewinnen. In this second world, Stefan Hanser discovers introspection, noise and a caliginous darkness Once again we must praise the masterful ability of Hanser when conceiving covers. Allegory Of Vanity, respects the aesthetic balance raised in this saga, offering us another impressive perspective of his macabre style.
In it Hanser appears again represented, hiding his face after the characteristic and enigmatic means by which he is known. Perhaps we are attracted by its stoic apathy, or by its rhythmic nihilism, but in any case, the atmosphere evokes the best moments of Anenzephalia as far as claustrophobic sensations are concerned. Anemone Tube continue to craft something unique and complex from noise, ambient, industrial and sound art. Incredibly handsome work. Without a doubt. April " If I were to call it something, and this might be a very, very large stretch that makes me look idiotic, I would call it dronegaze.
No matter the genre, if the music experience is unique, then it is worth the price of admission, so to speak. Anemone Tube and the fledgling Blossoming Fern Records putting this album are on the right track. The distillery is open! Drink your fill! Hypnotic, engaging and mysterious Trotz allem hat es alles, was ein Release dieser Acts braucht.
Hopefully that is allowed! Aggressive and fluctuating, mysterious Kate McDonald. Roberto Alessandro Filippozzi. This album has been long awaited and is a veritable feast for the eye, ear and mind Richard Stevenson. The answer is simple: 'this'. Topped off with a great package, gold on black paper and a booklet of paintings and quotes, this is a rare thing these days. Ein Juwel! C tape. Masterpiece of experimental noise. It clearly shows that from the start Anemone Tube has put a lot of thought into the structure of his work and the way that sounds interact with each other as well as the listener.
This tape is less plodding, atmospheric or conceptual than newer albums, but considering the time it came out, it would feel right at home as harsher counterpoint to a lot of the industrial influenced synth projects of the time, without being flat-out harsh noise or typical European PE.
These are heavy slabs of corroded electronics, preserved beautifully by Danvers State. In this side of the record the tragedy and the miracle of life are equally expressed, asserting that one cannot exist without the other. We are reminded of the emotion that overcomes us, when we are witnessing beauty of the sublimest kind — admiration and awe, mixed with sadness.
As soon as something is born, its death becomes inevitable. That sort of realisation can only be awakened in the truest forms of art, and that is what we are faced with here. BRUME creates environments ranging from the completely abstract to the vaguely specific, using elements such as voice samples, loops, wide-ranging drones, ghostly ambiences, noise, various electronics and even percussions. The loops and voice samples roam throughout the track list like persistent ghosts wandering in a transcendental, shapeless purgatory, reciting their obsessions as a you would recite a mantra.
Ballard , generates an interplay between the consciousness of the own impermanence and feeling save within the sounds. He stands at the edge of oblivion, unblinking, and notates it all to see. Oublier Et Mourir then acts as a psychopomp to the living, describing the afterlife and all its strange angels with a rich, complex tonal pallet that is more Bach than Bastard Noise. If only every member of the underground had this dedication towards their craft!
It is a rare and precious combination, to have talented and adept composers and sound artists looking into the subtle hues and strata of living and dying; reflecting upon memory, thought, passions. Gerade letztere sollte man bei dem mittlerweile schon recht alten Genre Industrial mit all seinen epigonalen Erscheinungen durchaus lobend hervorheben. An exceptionally strong and unsettling work. A combination of brutal, grim noise, recorded sounds, spoken word and machinery turned into heavy, slow rhythms It grips the listener with admirable force, never letting go until the 45 minutes of the recording are over.
And it still makes me want to listen to it again. I'm a sucker for loops and physical sounds. And all this in an appealing design — what do you want more? We find ourselves beyond the walls of sleep. Great release. On the debut full length Existence, a nearly hour-long disc released in a hand-numbered limited edition of copies, Anemone Tube is at it's heaviest, constructing seven bulky tracks that move from gorgeous ambient dronescapes to crushing, loop-heavy walls of distortion and menacing melodic tracers undulating over grinding rhythmic throb, sort of like what I'd expect a collaboration between Wolf Eyes and Maurizio Bianchi to sound like, although you can also draw lines to Throbbing Gristle, SPK, and violent early UK power electronics when tracks like 'Choke Down' and 'The Encounter III" get into full swing and start obliterating speakers with ferocious torrents of factory distortion.
I really dig the way that Existence manages to balance the haunting, atmospheric drones and buried deconstructed rhythms with the louder, brutal passages of rumbling machine filth, making this much easier to digest than many of Anemone Tube's peers. Packaged in an elegant jewel case with a large panel booklet glowing in fiery, fractaled reds and oranges, imprinted with mysterious pictograms.
The sounds range from beautiful ambient soundscapes to more harsh, loopy noise tracks. Layers of distorted rhythms, haunting drones and rumbling Industrial Noise make this a recommended release for fans of early Orphx, Throbbing Gristle and SPK. The tracks Anemone Tube has written for this album are somewhere between harsh noise "Secondary master" or even the power electronics of "Choke Down" , and calmer ones, made of distant drones and long soundscapes that carry a dark mood "Red waves" and it violin-like high pitched sounds, "Flesh and bombs".
This CD evens dwells into quasi-electronic understand "undistorted electronics" on "Continuity" and the very dronesque "The encounter II" which progresses slowly into a new harsh, loud and noisy track. Very well done, this CD demonstrate how mature Anemone Tube is. From noise material that can compare tothe new american noise scene think Troniks or Fusion Audio to soundscapish and abyssmal tracks, the diversity of this CD adds to his quality and brings some fresh air to breathe between the most suffocating tracks.
Really well done, this is for sure a success for a debut album, and I guess that Anemone Tube is going to make quite a name for himself in the noise scene. The impression of new sound is felt while listening to this great work mixing many influences but in a very personal manner. Atmospheric parts a really mind escaping invitations and powerful ones will pulse your brain. Definitely a Great project to discover or to follow if you want something new in noise sound construction. Get this one now!
Originally this was supposed to be Anemone Tubes last release, as Stefan was meaning to stop making noise and to concentrate on his graphic designing. Nonetheless, as the text 'A new beginning " in the inner sleeve of this CD suggests, Stefan has maybe decided to continue with Anemone Tube and apparently is preparing new material as we speak. This CD the other hand contains material recorded between and it represents the more harsh side of Anemone Tube.
Of the six tracks included, more than half are probably the noiseiest material ever heard from this band, but instead of plain harsh 'noise, they often bear clear structures and occasionally even rhythms that keep them from becoming too static. Also, the layers of distorted electronics and diverse sounds are so dense and detailed, that the tracks remain quite interesting throughout.
Combining the extreme flushes or white noise with some low frequency electronics also quarantees, that the sound contains an essential amount of of strength, The more calm, harsh ambient side of Anemone Tube is presented here on "Red Waves" as well as on the title track which is my absolute favorite of the CD with its slowly evolving layers of massive sound. As a sort of a "new start'" for Anemone Tube this CD serves well and I hope that Stefan has enough enthusiasm arid vision to keep developing the material onwards.
J Degenerate Magazine Any extreme music fans in the room? This is not non-stop japnoise frenzy from beginning to end; indeed, the Japanese influence can be felt on various tracks, but the album rather proposes various paths, amalgamated one with the other, all in a total nervous fashion: power-electronics, old-school industrial, hardcore noise, drones, subdued deconstructed rhythms …the middle track of the album its nucleus , :EXISTENCE, based on an essentially ambient backbone, deranges, in the same way the more saturated tracks of the disc do.
An album that is striking in its intensity. Beeld je in dat je ergens op het drukste kruispunt van het land staat temidden van het niet aflatende en helse geluid van boorhamers, overvliegende jets, krijsend verkeer en ondefinieerbare stemmen die constant in- en uitfaden. Diegem, jawel… Het contrast met de golvende illbient van 'Red Waves' en 'Continuity' is enorm.
Die twee tracks roepen de verstilde sfeer op van een net gebeurde lustmoord. I Passi Di Liu, while maintaining a traditional folk feel places more emphasis on atmospherics than the folk melodies they are generally associated with. Borghi's vocal takes on an almost sacred feel on 'Gli Equiseti' amidst soft bass tones and gentle atmo-wash. It's this moody atmospheric touch that makes Albireon so distinctive here. I Passi Di Liu is sung and spoken in Italian and is concerned with memories of a lost beloved one - a point amply conveyed by the mood of the music and cover art.
The sound is so fragile that it almost breaks, as it does on 'Cerbastri', a skewed folk ballad set against woodwind and background whistling. Even when guitars and piano enter the fray, the effect is slight, as they appear little more than embellishments to Borghi's haunting vocal.
The same goes for 'Naufraghi' where Borghi's vocal hovers over classical piano notes, reverbed guitar and atmospheric hum. The spoken voice on 'Nymphalidae' is surrounded by creaking electronics, ringing guitar notes and ambient drone and when eventually an acoustic folk strum does appears it remains distant. I Passi Di Liu carries elements of ethereal and traditional folk, and on initial listen the entire thing may sound too understated to cause much of an effect. Repeated listening, however, shows I Passi Di Liu to be an effective transitional release from Albireon.
It will be interesting to discover how Albireon follow this up. Schade, dass Albireon es nicht verstanden haben ein abwechslungsreiches und songschreiberisch spannungsvolles Album zu erschaffen. Dann kann man sich auch voll auf die guten Seiten des Albums konzentrieren. Kronik Per crescere e diventare adulti Liu' deve morire. E' la natura. E' la sua legge. Se vuoi diventare uomo devi perdere le illusioni e i sogni del fanciullino. Da giunco devi trasformarti in roccia in modo che le pioggie ti schiaffieggino senza effetto. Per crescere musicalmente deve morire la parte ingenua di un suono, il bozzolo che la protegge.
Albireon l'ha fatta morire, l'ha persa nello scorrere del tempo, spogliandosi della struttura del folk di umore nero e dimenticandola nel mondo passato. E' indubbio. Trasuda nostalgia dai testi, che sono poesie, al libretto, dai toni delicati e dolenti. E' come se tutti gli strumenti e i musicisti con loro abbiano fatto un passo indietro, poi siano rimasti in silenzio per ore, per anni, fino a cogliere il lieve rumore del cuore che batte, fino a carpire il brusio della lacrima che scappa veloce dalla guancia di Liu'.
E' pregno di piccolezze che lo fanno completo. Liu' deve morire ma non deve essere dimenticata. Squarci di sole fendono le nuvole nel cielo, mentre passato e presente si confondono e sfumano in un abbraccio febbrile, fra scenari bucolici senza tempo, il chiuso di una stanza ombrosa ove giace un letto, e l'universo che sta nel cuore e nella mente.
In altre parole: emozioni emozioni emozioni. Per certi versi, un vero peccato. Da segnalare infine l'elegante booklet che accompagna l'opera, le cui pagine sono costellate dalle illustrazioni di Lorenzo Borghi, l'ideale controparte visiva agli umori malinconici e fanciulleschi che pervadono l'album. Tipo me. Davvero di pochi. Recensione di: mementomori , Voto:???? Cosa confermatami sin dal primo ascolto del disco, o meglio forse mi sono lasciato suggestionare dall'aver visto prima il dvd e poi aver ascoltato l'album.
E, ripeto, tanta tanta inquietudine. Bene, finora direte voi, ci hai rifilato le solite elucubrazioni mentali, ma stringendo: e la musica? E il dvd? Darksite This latest release for the Italian outfit Albireon , lead by Davide Borghi , sees some of the most introspective and enchanting moments in the history of the project. The ten tracks featured are drenched in foggy, oneiric ambiences, so thin and fragile, they give the unreal feel of being sculpted out of mist and are free-standing in an abstract dimension, a layer far above the reach of human beings.
Davide 's poetry is sublime as we are used to and learned to love. His words are delicate, they embed themselves gently in the surrounding mist. There's a fair bit of experimentation in the backdrops to this unreal story, billed as a "collection of memories of a lost beloved one". A solitary guitar moves shyly through the haze. Curiously, the last of the ten tracks spans about a quarter of the duration of the whole work, featuring more courageous experimentation, subtle noise and ambient research, that solitary guitar which occasionally picks up a melody, a strum duetting with background noises and the hazy vocals that turn ethereal at the apex.
Die hervorragende Cover- wie Bookletgestaltung malte Massimo Romagnoli, der mit gedeckten Farben sehr fein den Charme dieses Opus transportiert. La mezcla, en un principio chocante, va ganando enteros con cada nueva escucha gracias a su original propuesta. DSide Album licenziato dalla Palace of Worms e scrigno di profondi contenuti emozionali scaturiti dalla personale sofferenza di Davide Borghi riguardo la scomparsa di una persona a lui cara eppur ancora vivida e presente tra le note dell'opera, come una successione disincantata di tormento e struggevolezza.
Ci siamo occupati l'anno scorso della band di Reggio Emilia, precisamente in occasione del precedente album "Indaco", auspicando all'epoca strutturali interventi migliorativi sul piano tecnico: i risultati, come del resto ci attendevamo, sono infine giunti. In eterno. A tu prosze, "I Passi di Liu", wydana przez zmartwychwstaly niedawno Palace Of Worms to jak dla mnie jedno z najlepszych wydawnictw roku. I to slychac jak chyba nigdy dotad. Ma w sobie ten album cos z poetyki Canaan, podobnie silnie oddzialuje na emocje sluchacza, choc muzycznie - nie liczac wokalu w jezyku wloskim - to inne klimaty.
Ja wiem, ze uzywam tu takich troche kiczowatych, pseudogotyckich okreslen, ale nic na to nie poradze - "I Passi di Liu" naprawde bardzo silnie dziala na wrazliwego odbiorce. O wiele silniej niz wlasnie jakies tam gotyckie smuty.
W.B. Yeats "The Second Coming". Analysis of an Apocalyptic Poem
A juz najbardziej wzruszajace sa ostatnie sekundy ostatniego fragmentu "Gennaio", jakby z pokora godzace sie z bezlitosnym losem. Piekna plyta, a najlepsze jest to, ze to zupelnie niespodziewany strzal. Ale czyz nie takie lubimy najbardziej? Il gruppo capitanato da Davide Borghi ancora una volta ci introduce nel suo mondo fatato fatto di colori tenui e delicati, dai contorni minimali e incerti.
I vari brani sono delle istantanee fredde e crepuscolari di pensieri e situazioni. Un lavoro che mi sento di paragonare ad alcune cose di Colloquio quello di alcuni demo del passato o dei grandi Nenia. La descrizione di un dolore inconfessabile e intenso che accompagna la protagonista del racconto. Da centellinare e assaporare lentamente. Ottavio Chiodo. Ma anche se questo non fosse stato l'argomento da trattare, personalmente dubito che il gruppo sarebbe rimasto ancora fedele a una proposta quasi interamente acustica, folk o neofolk che la vogliate chiamare; una "divisa" che comunque sarebbe andata stretta, e per questo portata male.
Dieci brani che sono come un grande respiro, un unico grande sguardo suddiviso in dieci scene, in dieci momenti che, senza che ce ne accorgiamo, si fondono in un bellissimo caos di percezioni. E' un album da ascoltare come se lo si facesse veramente quel grande respiro, chiudendo poi gli occhi per sentire l'eco di quei passi. Gianfranco Santoro. Since the early demos and albums, Albireon has always been involved in a guitar-driven wave music: this new album is a strong step away from neofolk compositions into an album of gloomy, mournful laments, led by Davide Borghi's solemn voice.
The darkness of the sound creates a kind of nihilistic expression: everything sounds pretty desperate, surreal and distant when riverbed guitars and classical piano begin to play, the effect is slight, as they appear little more than embellishments to Borghi's vocals. Guitar sound is so minimalist and dissonant and it's the texture of evocative songs like "Gli Equiseti" and "Cendra", reminding somehow of early Current Side line Except for some early demos, cdr's and mcd's, this is the 3rd official full length of the Italian Albireon.
Since its inception in , the project always has been involved in guitar-wave music. This new album is presented as their most emotional piece to date. That's hard to say or confirm, but they for sure tried to compose a kind of melancholic ballad style. The darkness of thesound creates a kind of nihilistic expression. Everything sounds pretty desperate and surreal.
Unfortunately they never really touched my most sensible snare. The Italian language never convinced me when listening to gothic music and that's one of the main reasons why Albireon has never become one of my favorites. But it's not only about language! The music does not totally catch me and I don't really find some real emotional content here. It's all about feeling and vibes, but I'm missing some kind of melody or carrying lyrics. Kogaionon Tare incalcit proiectul lui Davide Borghi!
Inceput in urma cu zece ani, se pare ca areusit sa se faca cunoscut in Italia prin cateva materiale underground. Cu o muzica mai degraba de film, soundtrack melodic, axat pe chitara, keyboards, flaut si pian, echipa lui Davide ne prezinta acum cateva piese interesante, ce penduleaza intre Dark, NeoFolk si Ambient, cu un accent pedimensiunea teatrala, cam greu de descris in cuvinte. Nota Dark este uneori balansata de aroma unor balade remarcabile si unde vocea interesanta a lui Davide pare sa graviteze in jurul unui sound exclusivist, elitist. Destul de greu de inteles acest proiect, cu un mesaj deloc comercial si o abordare originala… dar pentru cei interesati in ciudatenii, ALBIREON poate fi o alegere inspirata.
Rating: 0. Quello che ci ha fatto ballare dalla fine degli anni '80 e che ancora oggi riscontra apprezzamenti sul dancefloor, sebbene la proposta artistica sia ridotta all'osso. Dopo varie produzioni, tributi a band come Cure e Mission e comparse su varie compilation, senza dimenticare i tre album precedenti, questo gruppo americano merita in pieno la propria consacrazione ed un posto legittimo sotto i riflettori. Nicola Tenani. Darksite Welcome to those good'ol'days. Good, I hear you say? Death punk-goth-rock of vintage connotations can be classified as good, specially when conceived and executed with a good dose of know-how.
Second Skin do know their way to the market square, selling unsuspecting 'ballads' manufactured with a perverse sense of cartoonesque malevolence that is subtly scaring. From Rozz Williams through Virgin Prunes all the way to very early Sisters of Mercy , they pick and mix clues of a musical past and revive them with nonchalance in a work that is bound to titillate abundantly the batcave-styled posse that still crawls impudently the underground scenes worldwide. Anyone else might find this simply anachronistic. But then, they simply need no apply.
Gothtronic Illa Exuro In Silentium is the fourth album by these stylish deathrockers. The sound of Second Skin is reminiscent of the late 80's and early 90's goth-rock, with Rozz Williams' Christian Death as a clear point of reference. The band performed live with Christian Death in the 90's, so the musical connection went beyond mere inspiration. The album kicks off with the alienating, ominous sounds of "She burns", after which "The West" and the driving "Kick and scream" treat us to swinging and melodious deathrock. After the dramatic tunes of "Unwritten" the more restrained sounds of "Prince harming" and the wry "Birthday girl" make for a placid landing.
In comparison to many current acts this piece of skilfully crafted goth-rock appears very serious and confident. Great care has been taken for the CD-booklet, the fold out insert is even so bulky that it hardly fits in. With this strong album Second Sking can attract a new following, embarking on a tour with these new tunes is highly advisable. This work is F Best track I cannot say bullshit, all the tracks are hypnotic, pure controlled madness inside the perfect dome of wave-death-rock.
Thank you Second Skin. Versacrum Anche i Ghoultown qualcheduno se li ricorda? A me erano simpatici! Produzione ottima, grande cura nel packaging, i Second Skin li promuoviamo senza titubanze! In particolare, Arron, ha suonato al fianco di illustri nomi dello spessore di Rozz Williams, Shadow Project e The Mission UK, sviluppando progressivamente ulteriore esperienza nella manipolazione del dark sound accorpandolo a misurati influssi wave-goth. Song di chiusura "Birthday Girl" muove meccaniche scansioni ritmiche su un comparto vocale appassionato e visionario dalle trame decadenti.
Una performnce di tutto rispetto, elaborata senza gratuiti virtuosismi. Sperimentatene gli effetti. Siamo ad un solo soffio dall'eccellenza. Self Halloween. The ancients celebrated it as the dawn of a new year. A time when the veils between the worlds are thinnest, when otherworldly entities walk among us. I could go on and on with accolades for this album!
This album immediately demands to find its way frequently into the CD player. Doch da es diese ja durchaus gibt…. Rosa Selvaggia Siamo al secondo lavoro uscito con la Palace of Worms per il trio proveniente dall'Arizona. Insomma, un lavoro musicalmente ottimo al quale per esser perfetto manca forse solo un po'di polvere sulle spalle Info: www. Well, that describes Second Skin's music — shining and fresh! A prime example is their fourth full-length album, Illa Exuro In Silentium.
The atmospheric She Burns ushers in disembodied spirits, who guide us on this dark journey. The West conjures dusty images of the Old West, but with an ominous, Vampiric feel. I love the deep vox in Kick And Scream, which has a hint of an Adam Ant feel; and the title is just what you'd be doing if someone tried to stop you from dancing to this song.
The luxurious, decadent The Narcissist takes us through the looking glass darkly. The seedy, decadent London Bridges conjures images of Jack the Ripper. A Methunderstanding has a psychedelic edge, coming at you in a haze. I love the guitars and vocal harmonies in Black Picket Fence, which delivers the classic American Dream- Gothic style.
Unwritten is ominous and desolate. There is a bit of an Eastern flavor to Prince Harming — one where you hope the dragon slays the prince! Birthday Girl is the opposite of a celebration.. Death Rocks wieder neu zu beleben bzw. Death Rock! Death Rock klingen! PR — 8,5. While this band is mainly active in the writing for compilations and movie soundtracks, they're also a band properly speaking.
I don't exactly know what I've to figure from such a label, but musical wise I heard a sound reminding to the good-old new-wave decade. Some Sisters Of Mercy perfume hangs over this album, which will definitely please to some heavy nostalgic. Most of the songs remain rather quiet while some songs don't contain that much vocals. Dark guitar wave is the main characteristic for those Americans, which bring us back in time. It's not bad, but not setting the world alight! Pe un Schelet Death Rock dar si cu trimiteri spre Dark Gothic, trupa ne prezinta un sound modern, bazat pe chitari electrice explozive, baterie ritmata, keyboard bombastic si voce masculina impunatoare!
Avem si piese industrializate, si cu iz Electronic dar si pasaje lente, la limita melodiei… totul este intr-o nota destul de intunecata, glaciala, sobra! Din alt punct de vedere, s-ar putea ca albumul sa fie o mica bijuterie iar fanii sa-l considere un album cult! Their music always bring a heavenly mixture between medieval music and other ethereal waves. The medieval influences and other troubadour ballads remain the main source of inspiration, but the writing evolved a bit. O Quam Tristis still plays different authentic instruments, but the electronic input becomes more important.
Some might find it regrettable, but I think it's a kind of process in constant evolution. There've been always more resemblances between both bands, which here again appears quite fast. The female and male vocals are like pure troubadour chants. The songs remain mainly inspired by old secular and liturgical poems from the Middle Ages. You definitely sometimes feel like being in the Middle Ages by the simple force of the O Quam Tristis music!
I definitely remain a lover of their music! A bit comparable to Qntal and Helium Vola but with a more acoustic sound. Les Chants Funestes is their fourth album and this again features the sacral atmosphere created by a well balanced momentum of medieval instrumentation and modern electronic influences. The presence of a bass guitar next to synthesizer sounds and male and female polyphone singing with the use of the Latin language, adds an extra dimension.
The musical bandwith goes from medieval times until the baroque age and on Les Chants Funestes for the first time even rock and darkwave influences can be traced in the atmosphere of some of the tracks. O Quam Tristis really delivers in again adding extra elements to their enchanting musical world, which makes Xymox atmospheres, meet those of Dead Can Dance and Estampie.
The music of this outfit is mandatory stuff for those who love danceable medieval sounds. Another peculiarity is to have lyrics in Latin language and this unusual characteristic enrich a formula which already was really interesting. A must have! Jahrhunderts zu verbinden ist ebenfalls offensichtlich. Petersburg Ausstellung findet. Alle Klangcollagen auf dem Oeuvre weisen einen alten fast vergessenen Geist auf, der damals wie heute unter der Begrifflichkeit Dark Wave kursiert e und mit dem heutigen Gothic- bzw. Mittelalterkram keine Gemeinsamkeiten hat — hier trifft der Terminus Old School definitiv zu!
Ou seja, bem ao estilo da banda mesmo, num misto de Darkwave, Medieval e Gothic. PR — 7,0. Chaque morceau est un moment de jouissance. Un album tout simplement magnifique. Un album.. Si: basso e sintetizzatori dai quali nasce un suono tipicamente cold wave, magistralmente fusi ad atmosfere antiche, quasi liturgiche, confermate ed evidenziate dalla polifonia di voci sia femminili che maschili, campioni di strumenti antichi e testi in latino.
Kogaionon Noul album al acestor muzicieni insista parca mai mult ca niciodata pe latura Rock amestecata cu Electronic, insa intr-o forma originala, mixand inedita Ethereal, Folk Medieval si Electro-Soft. Vocile feminine au savoarea lor, cele masculine intervin pe alocuri inteligent, avem clapa, atmosfera, mandolina, chitra bass, chitara acustica, elemente baroc… de toate pentru toti. Cel de-al patrulea album al muzicienilor pare a fi cel mai reusit dintre toate, insa ceva tot le lipseste pentru a putea spune ca acestia au ajuns la apogeu..
No obstante siguen fieles a sus principios. Darksite Fourth full-length effort by this French outfit, offering their own take on darkwave, combinincg electric and electronic with a good dose of medieval thematic, and an intricate vocal performance combining male and dual female vocalists contributing a blueprint for a sound that the band is continuously shaping into an own direction.
The building blocks are the tested and tried ideas that bands such as Qntal and Collection D'Arnell Andrea have uniquely shaped up over several years and I suppose I can be forgiven if I state that O Quam Tristis Not the most original trail one could think of, but truth is that the album is sparkly and enchanting, and despite the obvious references to other acts pursuing the same wave, it does not sound much derivative, more like belonging to a certain school and building on it with a very own sensibility.
Middle age poetry and liturgical texts mean the focus is on spirituality, but the loud interaction between traditional and modern instrumentation leaves the formed quite scarred, as the electronic elements tend to prevail, primarily in the form of atmospheric synths and a geometric drum machine that could do with a bit of thickening to better fit the bill. On the whole, I do enjoy the uplifting character of the twelve tracks on Les Chants Funestes , which ends up being a bit at odd with the album title after all!
DSide Ensemble francese che accorpa sia voci maschili che femminili di evidente ispirazione medievale e barocca. La line-up conta cinque elementi: Emeric Lenotz, Katrina Kolsowska, Tomek Ashenazy, Ana Virsky e Hugues Dammarie il quale vanta militanze nei Collection d'Arnell-Andrea e nei Thy Violent Vanities, esperienze che hanno lasciato tangibili inflessioni anche in "Les Chants Funestes" accentuandone molti passaggi e caratterizzandone le arie. Edito dall'ormai leggendaria Palace of Worms questo collage dei OQT utilizza strumentazioni acustiche medievali sapientemente miscelate a moderne trame elettroniche edificando un insieme compositivo dalle mosse maestose e perfettamente scorporate da imprecisioni.
Raggiungiamo "O Abies" che ricorre a strategie di sottile programming, riverberi vocali delle coriste subito raggiunti dall'ormai inconfondibile timbrica del singer, lontane distorsioni chitarristiche, electro effects e drumming robotico: "Soros, Conjux, Gemma" ripercorre i moduli electro-medieval fin'ora intrapresi e "Verna Redit Temperies" si concede ad un richiamo dancefloor estremamente alternativo con drum beats programmati, refrain evocativo e keyboard modulata per la danza.
The actual name of the band has an imposed ellipsis after the last word, even though leaving it out would have been simpler for everyone. It certainly would have been for me, anyway. Therefore I'm going to be pettily rebellious by forgetting it ever existed, and if some ardent perfectionist fans feel cheated by its removal or my lack of respect then feel free to make your own stand and mentally insert it.
I'm sure the band would have wanted it that way. Though going by the sound of their latest disc, an omitted punctuation mark is going to be the least of their problems. However, I've never really been able to understand the justification behind the following unless it's all made up of close friends, family members and random reviewers giving them high ratings under duress.
Their style mixes subtle electro with clean, guitar-driven medieval music in the vein of a watered-down Qntal, each song being led my an intermingling of male and female voices which lend the songs an edge of Gregorian chant. It's certainly a good idea but as with many of these 'medieval' bands, what seems fantastic on paper ends up aurally as little more than a bland, underbuffed musical exercise which never quite manages to go the distance it should. The electro elements aren't there all the time, though. There are numbers that don't feature them at all and contain purely vocals and clean, plucked guitars such as the opener Oriens, or O Vox Prophetica which features purely female vocals and synthesised pianos and wind instruments.
The rest of the time the electro is there in full force, more so than in previous releases, but it's not the type of full-on, harsh industrial style that some bands experiment with. I always found Qntal's earlier works to be a bit too heavy on the electro which is certainly something that one couldn't accuse O Quam Trsitis of since the electro is always subtle and even refreshing at times and there are moments such as in O Abies and Verna Redit Temperies where it's quite refreshing on top of the medieval underlay.
The main problem for O Quam Tristis lies in the album's nature to create songs which are far too similar to each other and this, coupled with rather dull singing, doesn't do them a whole lot of favours. The guitar playing may be excellently done and the synth playing quite accomplished but the vocals are dreary and even dirgelike at times, creating quite a soporific aura. It's also common for both voices to fall below the notes they're trying to project and there are few things less inspiring than a song sung with no pep or vigour, and if the vocalists seem to be losing interest every so often it doesn't provide much hope for the rest of us.
There's normally a chance with some bands that things will improve in the long term, but for O Quam Tristis this isn't necessarily the case. Les Chants Funestes is their fourth album and doesn't stray at all from their previous material. I'd love there to be some beacon or semblance of promise here since the band can go further if they chose to unlock some kind of emotion - some spark of feeling - anything other than the dingy haze of tedium that gums up Les Chants Funestes.
Even though they may have an interest in medieval themes and music, this doesn't mean that this interest translates particularly well onto CD. The disappointing vocals and doggerel, tiresome compositions make this is a very lukewarm addition to the darkwave genre where the splendid work of other bands such as Dominion III and Helium Vola ruthlessly outshine it. Filth forge "Les Chants Funestes" is the fourth album by "O Quam Tristis… , where mixed female and male vocals, inspired by atmospheres going from the Middle Ages down to the Baroque, where acoustic traditional or medieval instruments combined with modern electronics never fail to conjure the sacral character of the music.
Due to the presence of synthesizers and bass guitar, this album has more rock and electronic influences than the previous ones. But like their whole production, medieval and aethereal sounds together with other troubadour ballads remain their main source of inspiration. Some of the songs evoke somehow the latest works of another important band called Qntal: there are lots of resemblances between the two acts.
The retreating Italian 8th Army's Alpini Corps succeeded in driving the Russian forces out of Nikolaevka, thus allowing the Italians to retreat to Axis lines. However this was at a huge cost - only a fraction of the original number of troops survived. Now Italian label Palace of Worms has produced this compilation album which is loosely themed around the battle.
There are eighteen tracks from as many Italian acts running the gamut from neofolk to darkwave to neoclassical and all points in between. This is a fantastic compilation, brimming over with creativity and imagination, showcasing the best in dark Italian sounds. Highly recommended. Ewan Burke. Darkroom Si apre con un bel brano di Albireon la compilation tutta italiana della label lombarda Palace Of Worms: con il lento, cadenzato ritmo delle percussioni e la poesia del testo che la caratterizzano, la canzone evoca l'immagine di un esercito che torna mesto verso casa.
Il disco si apre quindi con la forza evocativa del brano "Il Deserto Dei Tartari" a firma Albireon, e la successione delle tracce si nutre di immagini idilliache e inquiete nelle quali la scelta dei singoli brani si dipana come se un sottile filo artistico legasse il sampler nei piccoli dettagli, mai trascurati. La quarta traccia, "Der Morgen" dei Der Feuerkreiner, s'incastona perfettamente nel computo generale per la sua ipnosi, merito in gran parte degli equilibri tra voce e pianoforte e delle percussioni incalzanti ma delicate.
Gran ritmo di sarabanda rinascimentale per Emanuele Buresta, che dietro il monicker L'Effet C'Est Moi esalta la sua terra e la propria storia; araldi e vessilli propri delle Marche e di tutta quell'Italia in cui sventolavano fieri, accompagnati da suoni di rullante, trombe e tamburi la cui digitalizzazione contemporanea non ne rovina affatto il senso rievocativo.
Il classicismo eccelso degli Hexperos merita lo stesso prepotente successo che negli ultimi tempi, sia come Corde Oblique o in passato come Lupercalia, ha dato lustro all'arte di Riccardo Prencipe. Ostico ma dal carattere fortemente evocativo e funereo il brano di Symbiosis: le tremende immagini ambientali di Valerio Orlandini spaziano tra classicismi sinfonici e suoni industriali in un visionario vortice di morte ed inquietudine.
Struggente come fosse la soundtrack di una maledizione immaginaria la musica del triestino At The Funeral Of My Violet Rabbit, che riporta la memoria verso le mestizie desolate dell'animo di Le Triste Sire. Rating : 9 Nicola Tenani. Januar die 8. Meinungen transportiert. Wem dieser inhaltliche Ansatz zu abschreckend bzw. Coro Dell'Innominato. Ohne Wertung MK. Januar in Nikolayevka als Teil der Schlacht um Stalingrad gegen vier Sovietarmeen behaupten musste. Rock Underground A Batalha de Nikolaevka foi travada em 26 de janeiro de como pequena parte da maior Batalha de Stalingrado.
Mas na Europa tem se cultuado. PR — 9,0. Kogaionon Bazata pe un titlu din istoria celui de-al doilea razboi mondial, aceasta compilatie ne prezinta o suma de trupe italiene ce abordeaza partea NeoFolk, Martial si Ambient Gothic a muzicii. Un material destul de atractiv, cu trupe underground ce par a avea ceva de spus… Rating: 0. Darksite The latest sampler by cult Italian label Palace of Worms features no less than 18 artists belonging to the Italian dark underground, each contributing a track for a generous minute of sinister entertainment.
The themes covered range from martial through neoclassical over to apocalyptic and neo folk. No pop I'm afraid, quite the antithesis, in fact. The compilation is a rich listening, offering a truthful overview on the state of affair of the Italian scene. The majority of the acts on display are new to me, so it's brilliant to get the chance to know new artists in this context, which I'm positive is a good incentive to look in detail at this product. There's a running theme of grandeur and desolation, capturing the essence of war which is the theme of the sample, in the form of the battle of Nikolaevka which took place in a cold January around the small village, seeing Italian and Soviet troops fighting heroically if there's such a thing at the huge irrelevant cost of thousands of human lives.
Palace of Worms and its Italian contingent catapult themselves into the international scene armed with music instruments rather than cannons, painting on their pentagrams the despair tied to such chapters of history. A very worthwhile album offering lots to discover under dimmed lights. Sideline This sampler is all about the battle of Nikolaevka that was fought on January 26th, This battle was just a fragment of the larger and famous battle of Stalingrad.
It was a battle between the Italian and Russian armies, which now, nearly 66 years later seems to get a second life. Martial and apocalyptic neo-folk music have been launched by 18 projects. This sampler reaches some peaks, but unfortunately depths as well. Let's concentrate on the best parts and especially the one delivered by Symbiosis. This is definitely the absolute masterpiece from this conceptual sampler. I heard too much uninspired and flat compositions. I guess it's not a question to be into this genre of music or not, but I simply heard much better neo-folk and martial releases!
Gothtronic The self-willed Greek combo Daemonia Nymphe that strifes to let music from the ancient Hellenistic times revive with the use of specially prepared reproductions of authentic instruments releases their music through the French label Prikosnovenie, but this album with remixes from the releases on Prikosnovenie is released through the Italian Palace of Worms label.
This has been done beautifully and very well. This is great stuff! Review by TekNoir. De Subjectivisten Caleidoscoop Het is bekend dat de groep Dead Can Dance vele volgelingen heeft gehad en nog steeds komen er nieuwe bij. Daaronder zitten heel aardige bands, maar de leukste zijn juist die groepen die er een eigen invulling aan geven.
Vaak zijn dat ook groepen die met klassieke instrumenten werken. De Grieken mengen op ingetogen haast kale wijze gotiek met Griekse folk. De stemmige muziek leent zich door dat ingetogen karakter ook goed voor mixen. Op Remixes , u raadt het al, worden hun nummers -van met name de eerste cd- geremixed.
Erg leuke en uiteenlopende mixen zelfs. Geen van allen is bij hun folk-achtige muziek blijven hangen. Vrijwel iedereen heeft er met elektronica aan gesleuteld en de muziek van Daemonia Nymphe op eigen wijze ingekleurd. Peekay Tayloh Pantelis Kakaroglou doet dat zelfs tweemaal. De twee elektronica specialisten van het opgeheven Beefcake nu spelen de heren in Kattoo , Freude Am Tanzen en Wighnomy Brothers samplen de Grieken op subtiele wijze binnen hun mix van spannende idm en donkere ambient. Hun verrassende verschijning op deze compilatie komt waarschijnlijk door hun werk met Peekay Tayloh.
De mooiste mix komt van ene Basilis die heel fijntjes glitch rondstrooit door het uitgeklede origineel. Ook de andere onbekende mixers Nikodemos , Dani Joss en Supermarket gooien er op fijne wijze elektronica doorheen, die in het geval van Dani Joss zelfs aardig dansbaar wordt. Het is een verrassende remix-cd geworden, die misschien nauwelijks aansluit bij de originele muziek, maar wel erg lekker is en iets nieuws toevoegt aan de Daemonia Nymphe discografie.
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Auralpressure Daemonia Nymphe remixed seems an odd release to come from this recondite neoclassical stable, yet the myriad of artists attempt to retain the Hellenistic mystery and mastery. For the most part all the remixes feature electronic qualities bringing Daemonia Nymphe to a newer audience. Von Magnet, under the guise of Von Nymph for this remix, mixes female cries into the pulsating electronic rhythms weaving lyre and the powerful recitation of Phil Von in a sinuous orientalism. Nikodemos goths up ' Summoning Divine Selene ' with mock-industrial percussion and softly skirling synthesized sweeps.
Contributing two tracks to the remix album, Peekay Tayloh fuse folk guitar to trip-hop cadence and rasped noise with their ' Hymn to Bacchus ' remix. Gelid winds announce the ensorcelling remix of ' Nymphs of the ' by Basilis, retaining strong elements of the original with the flourish of the many stringed instrumentation and percussive hand drums.
Mimetic Fake drive a club track out of ' Message Horn's Enchanting Echo ' broken by moments of pan-fluted reflection before launching back into heavy bass and beat. In their second contributing track, Peekay Taylor contracts and shudders with a noisier glitch remix of ' Deads are Dead ' while preserving the loose folds of esotericism. Supermarket continues the modern electronic soundscape of eerie unresolving atmosphere and melody. Lastly, Dani Joss, delivers one of the darker mixes on the album with plodding percussive hypnotism broken in fragments of isolated vocals and shimmering oscillations.
The release is presented as an eight page full colour booklet, roughly DVD sized with the CD itself affixed to the last inside page. Rubicund, earthy tones saturate the booklet with the familiar silhouettes of the band composited artfully throughout. Riti dionisiaci e ninfe fascinose impalmano in guisa suadente tali ambientazioni soniche, ricreate impeccabilmente per tramite di una strumentazione tradizionale arpa, lira, percussioni e canto femminile in un idillio pastorale dai riflessi esoterici.
In questa occasione, il leader Spyros Giasafakis ha contattato alcuni dei suoi act elettronici preferiti al fine di reinterpretare una selezione delle composizioni dell'ensemble in chiave contemporanea: in questa fusione 'electro-acustica' tra antico e moderno, le rielaborazioni dei brani dei Daemonia Nymphe si caratterizzano per il loro innato charme, diafano ed altamente evocativo. Tra le sortite piu ugrave; rappresentative vanno debitamente segnalate l'onirico adattamento di "Hypnos" a cura di Beefcake, il delicato ed avvolgente mix de "Nymphs Of The" effettuato da Basilis ed il trattamento crepuscolare riservato al "Dance of the Satyrs Prayer Mix " da parte di Supermarket.
In linea di massima, le restanti tracce non deludono e certificano l'evidenza di un lavoro di gran classe. Un esperimento riuscito, peraltro forte di uno splendido artwork, al quale eacute; lecito augurare un pronto seguito. Michele Dicuonzo. Roberto Alessandro Filippozzi 8. Dette er, som man kan se av tittelen, en remixplate. Music club Quando l'impossibile non solo diventa probabile, ma pure reale.
Formazione in grado di coniare un suono tradizionale in tutto e per tutto, ma al tempo stesso perfettamente attuale e carico di forza creativa. Daemonia Nymphe intoxicates the senses with aged instrumentation, spoken words, deep chanting and a sultry and ritualistic sound, with the lyrics based on mythology. Sideline As an experiment Daemonia Nymphe were asked to provide samples of their handmade Ancient Greek instruments. The results were so exciting that front man Nikos Brass approached several artists, mainly from the electronic scene, such as Von Magnet, Beefcake and Mimetic Mute, to name just a few, to remix some of his tracks.
And see how the mix of analogue and digital instruments could fuse into the rebirth of his songs. This remix album contains honest re-interpretations, each track keeping their spirit but interestingly flavoured by their remixers. Though the originality resides in the fact that this is really a clash of both styles, and the electronics are far more present.
ES:7 ES. The sound of the reproductions of ancient Greek instruments we use is extraordinary and could easily be used for contemporary music. This gave me the idea to approach musicians mostly from the electronic genre, so that our songs take a different form and re-birth, having a new result combining the ancient sounds with modern ones.
All musicians who contribute to this work are some of our favourite, and each gives his own approach to our music, creating variety. Their voices are combined with Latin chants by male voices and very rich and versatile music to which the bandwith of the musical spectrum stretches from pure medieval folk on to modern electronic interpretations.
At other moments as a listener you find yourself watching a medieval tournament where heralds sound their horns. O Quam Tristis is a band that until now still is a relatively well kept musical secret outside the electronic medieval scene but this could change permanently with this album. Musically speaking this album is better than the previous cd of Q Quam Tristis and therefore this is a recommendation to everyone that can relate to the above description. This is a lovely record! Review byTeknoir. Alleen met een gymnasiumdiploma kom je in de band, aangezien alle teksten in het Latijn zijn.
De teksten, gezongen door zowel robuuste mannen en engelachtige vrouwen, zijn dan ook gebaseerd op liturgische en seculiere gedichten uit de Middeleeuwen. Anders is het gebruik van moderne elektronica naast de klassieke en oude instrumenten. Zo zijn twee nummers haast dansbaar, terwijl het decor eeuwenoud is.
Je zou het een moderne interpretatie van Middeleeuwse muziek kunnen noemen.
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Overigens is het op vele momenten ook heerlijk sereen en sacraal, ondanks de onderliggende beats. Een origineel album, vol onaardse schoonheid. Als Thy Violent Vanities opereren ze om die te vertolken middels liederen. Ze gebruiken op Come To Dust een gelijksoortig instrumentarium als bij hun moederband, dat wil zeggen moderne en traditionele instrumenten. De zang, vaak meerstemmig, is dan ook een sterk onderdeel van de cd; zeker Liesbeth's heldere stem is een mooi aanvulling op die van de zware jongens.
Voor de zware stof die ze behandelen is het redelijk opgewekt en up-tempo. Desondanks zou je de muziek als dark folk kunnen bestempelen, maar dan van het soort dat het daglicht prima verdragen kan. Chain D. While listening to O Quam Tristis I've been thrown back in the middle age. It's medieval folk with latin lyrics, if you're familiar with bands such as like Ataraxia, Qntal e Dead Can Dance "Aion" era you probably know what we're talking about. I like this album: it's solid, "focussed" but at the same time kinda heterogenous, it contains a various range of atmospheres.
Palace of Worms describes this record as "a modern interpretation of medieval and ancient folk music" and after all it's the best possible definition for a work like that. The most interesting thing of this release obviously is represented by the vocal parts gregorian chant have been a real turning point in the history of music since the male singers are good, but the female ones are even better.
This' the third cd by O Quam Tristis and the band shows how maturity helps to refine the "modus operandi" in songwriting. The funny thing is that while one may expect an epic record with a completely ethereal mood, "Mediationes ultimes" is full of mid-tempo "danceable" tracks Quoniam tu solus, Terrae for exemple. If you imagine a cd overwhelmed with evocative songs give it a chance since in the past some songs would have been a great soundtrack for a banquet.
Review by: Andrea Ferraris. Come definire altrimenti l'incanto di tracce del calibro di "O Langueo" semplicemente irresistibile , "Quoniam Tu Solus" e "Confiteor", laddove l'incastro dei vocalizzi maschili e femminili, la perizia strumentale e la suggestione dei testi in latino ricreano scenari estatici di grande impatto emotivo.
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Un'opera eccellente, peraltro forte di un ottimo, evocativo artwork: la quintessenza del sentore 'gotico' abita sobriamente questi generosi solchi. But the main goal is still not to create "authentic" ancient music because the band is mixing old instruments such as mandolas, psaltry, dulcimer and recorders with traditional electric ones lying on electronic loops and rythm patterns. In the beginning, the songs were quite only using anonymous medieval liturgic lyrics Heathen Harvest When medieval music comes to mind images of dusty churches and Gregorian chants instantly spring into the imagination.
Personally I have a penchant for medieval instrumentation though I have often found the vocals and lyricism used by many medieval musicians to be overbearingly liturgical as they often invoke images of Christian religious ceremonies taking place under the vaulted ceilings of ancient European cathedrals. For the last decade the neoclassical music genre has been experiencing a small renaissance of Neo-Medieval music led by artists inspired by the music and culture of the middle ages.
Musicians such as O Quam Tristis and The Soil bleeds Black have been working hard to bring an appreciation of medieval inspired music into our modern age. O Quam Tristis has entered this emerging music arena and firmly established themselves. This French ensemble comprised of five talented French musicians and vocalists have quickly made a name for themselves by offering listeners medieval inspired music that detours from the standard. Meditations Ultimes is O Quam Tristis third full length album and it sees the band coming to full maturity. Meditations Ultimes brings together fourteen medieval secular, liturgical and poetry inspired tracks in a very long album that is sure to satiate even the most demanding music listener.
If O Quam Tristis simply regurgitated a handful of medieval liturgical songs I would not be writing this review right now. What makes the music of O Quam Tristis inspiring and engaging is the band reworking of original medieval material. Utilizing modern technology and their own unique creative sensibilities O Quam Tristis transforms the dated material they use for inspiration into modern compositions filled with new life and vitality.
From the ashes of the past the band is able to coax forth fiery and festive compositions created from a melding of modern and medieval influences. The combination of vocals and guitars is expertly paired. After a brief passage bass guitar and violin join the composition accompanied by male vocals and backing female vocals. The song becomes dense with vocals and instrumentation that weave and intertwine flawlessly captivating the listener. The song transforms through moments of density to moments of open and airy instrumentation and solo singing allowing for a sense of development and a pause between denser moments in the composition.
The rhythms are crisp and clean and roll out of the speakers with enthusiasm and precision. Synthesizers and bass guitar join the electronic rhythms contributing a rock and liturgical feeling to the composition. Female vocals descend upon the song interweaving and wavering in a spell binding chant. Male vocals join the music adding a counter balance to the feminine energy of the female vocalists and flushing out the song.
As with previous songs the band moves the music through several different movements and passages holding the listeners interest and adding an element of intrigue as the listener waits to see what emerges next from the delicate maelstrom of music and chanting. O Quam Tristis leaves the biggest surprise for the last song. Of course the Latin chanting keeps the listener aware that this is no hippie band but rather the ever eclectic sound of O Quam Tristis.
O Quam Tristis have proven themselves proficient in hybridizing rock, electronic, and medieval music into an innovative new sound that breathes life back into medieval music and manuscripts while simultaneously making scared the rather soulless domains of rock and electronic music. O Quam Tristis also excels in delivering outstanding vocal performances that accompany their music. So many Neo-Medieval bands rely solely upon lead female vocals that any given album loses the listeners interest after a handful of songs delivered by enchanting yet redundant female vocalists.
O Quam Tristis has overcome this vocal obstacle by layering their song with multiple vocalists and utilizing the dynamics of feminine and masculine vocals in such a manner that inspires the listener and creates motivation and excitement. O Quam Tristis have mastered their art with Meditations Ultimes and have delivered an eloquent album of inspiring music. This, the third release from O Quam Tristis, continues the medieval folk chambers the band previously explored, yet with this album the band finds a more introspective and meditative aeries in their blend of electronic and medieval styles.
The French compact of five adorn and interleave their music and talents with four of the group being vocalists and all wielding mastery of digital and analogue instruments. Inspired by secular medieval life and poetry O Quam Tristis distance their selves from the plethora of Christianized gothic medieval acts spicing up old sacred favourites and are further detached by the mesh of modern and centuries' old music. Stirring female vocals gliss gossamer under silvered orchestration proffering sinuous, popular interpretations of old melody in turn backed by the diversity of complimentary male and female vocal harmony.
Electronic rhythms shuffle the listener's perception but the potent vocals permeate each track in polyphonic brocades, refined timbre of classically trained singers, like pagan incantations woven in the guise of reinvented folk. Without doubt the kaleidoscope of vocals set O Quam Tristis firmly apart from their brethren, with each vocalist distinct enough yet harmonious to work among each other; notwithstanding their intriguing and illusive rhythms and melodic instrumental interplay marbled amidst the dense foliage of the small choir one could almost forget that there is a great deal of electronic and modern backing behind the classic instruments so well hewn is each track.
A jewel case release of gradated textured card inlay and booklet of full eight-page colour replete with lyric sheet featuring the artwork of French 19th Century painter, Alphonse Muraton, featuring a grave digging monk contemplating his buried brethren below. Stillborn Magazine Finalmente il ritorno degli O Quam Tristis, a tre anni dal bellissimo Le Rituel Sacre il combo capitanato da Hugues Dammarie sforna nuovamente un album spettacolare, ancora una volta per l'italiana Palace of Worms Fatelo Vostro.
Kronic Gli O Quam Tristis sono sempre stati un gruppo di nicchia, sin dal debutto si sono presentati con una miscela di canti latini di estrazione liturgico religiosa e di basi elettroniche soffuse. Stile quindi perfettamente definito ma per questo anche rischioso. Det blandes bruk av tradisjonelle og klassiske instrumenter f. Le Fantastique. Funprox This is the third album by O Quam Tristis. I find it impressive to hear how the band improves with each album.
Both musically and in song writing the band has grown a lot since the first album.
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These rhythms are not dance beats like most of the time with Qntal, nor standard rhythm structures to accompany typical medieval gothic tunes like Helium Vola. Besides that, the medieval music which the band plays on top of this, sounds more authentic and pure then most bands in the gothic scene will ever sound. Especially in the melodic qualities of the compositions O Quam Tristis have clearly improved. The traditional medieval structures sound convincing, while the modern electronic elements fit in nicely, a combination which we know from bands like Qntal.
One of the most attractive features of the band is the harmonic combination of 'earthy' male vocals and ethereal female voices, in a somewhat comparable manner as for instance Love is Colder than Death. All songs have liturgical lyrics in Latin by the way. The musical spectrum of this album is quite varied by the way, from tranquil acoustic songs to dark gothic hymns to uptempo 'crossover' tracks. The electronic elements are combined with traditional instruments like bagpipes, flutes, dulcimer and percussion.
The absolute hit is 'Terrae', with an addictive beat, a wavy keyboard sound and a catchy refrain. It reminds me a bit of some material by Argine. Musicextreme This band is extremely original. At first they sounded to me like some sort of medieval sounding project.