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The music is graceful and light, the piano uniting with the strings to create an aura of beauty, happiness and enjoyment, as the crowds gather to marvel in this new accomplishment, under the rays of the morning sunlight. It is the symbol of the development, of the grandeur and pride of the British people in the Victorian era. Phrases such as “A microcosmic image of a nineteenth-century world. The throbbing centre of the Victorian multiverse” and “Class distinctions are dissolved in ripples of laughter and joy” are indicative of the fact that great intellectual and technological achievements have an impact to every civilian of a country, and can serve as common ground to produce positive activity, and to unite different tendencies, origins and ways of thought.
One noticeable point is that as the Acts progress and change, the musical style changes. This is not even a music album anymore, it's a perfect stage performance. "First Prince In Some Lower Court" is a bombastic number, quite Martial, wonderful drumming and wonderful lyrics, mentioning the Fatherland and echoing the overthrowing of Royalty.
Though the Carpe Noctem Festival I is long over, “Carpe Noctem Festival I - Sturmgewitter Ziehn Durchs Land” remains as a legacy to this great Belgium event. “Carpe Noctem Festival I - Sturmgewitter Ziehn Durchs Land” is a great split album featuring four great post industrial bands offering songs and alternative versions of songs that fans will not find anywhere else. The wait is over “Carpe Noctem Festival I - Sturmgewitter Ziehn Durchs Land” has finally arrived!
The connection between the cold war and human relationships can be made mostly because of the choice of Fabio to be influenced by the day to day life in the cold war. This life, especially that of the people living in the eastern part of Europe, was always fulfilled with fright for other people, even the person(s) living next to you. The music on “Proteus Soundtracks” grabs the uncertainties of people’s relationships and lays it right in front of the listener. Although the release does not contain vocals or lyrics on any of the tracks, the music seems to speak for itself.
Music may be described as a rather thick layer of distorted sounds together with deformed sounds, metallic gratings. The structure is devoid of rhythm, patterns or breaks. Slight variations occur in the distortion of sounds, especially in the higher frequencies, which may seem quite random.
The real beauty with this release, is that it's presented Live. As a stand-alone dark ambient release it's successful anyway, but as a Live perfomance, this is on another plane of existence. Unnerving, unrelentless, and ingenious.
Powerful mid-tempo stoner/hard-rock act "Dragonflies Terrain" opens the EP.
Fat and strong guitars plus simple drums give that good old rock-your-ass
effect. "Freeze the Flame" mixes hellish doom riffage with jumpy The
Melvins-like rock. Here goes another stoner action - "Haunted Gangster".
Again mid-tempo, again powerful 70s-influenced rock. But it has unusual
backing vocals in the chorus - quiet and melancholic. The melancholy
continues in "White Knuckle", which is faster and more emotional, a bit less
rocking and fat. It must be mentioned that Haieeta are not obsessed with
needless soloing which sometimes causes the loss of power in stoner and
related genre. Nevertheless, "Telepathic Love" features an interesting solo.
The last, but not the least - "Residual Hill". The 14 min long track is of
different approach. Doom metal riffs are followed by stoned metal and then
by a fine acoustic melody which bursts out in more and more doom with vocals
FXed this time.
The biggest down point on this album is the slower track, The Gate of Nanna, which is a Beherit cover. There are no keyboards throughout this song at all, and unfortunately it really hurts the EP. The Beherit cover aside though, the EP is really a significant release for the German black metal scene. This type of black metal seems to have all but died off there
Just like the newest release, everything about this album, whether spoken or written, is done in the band's Germanic mother tongue. So for an English reviewer whom knows only scarce bits of Deutsch, my abilities to tell you the stories and surrounding circumstances of Sein und Werden is quite limited. I do know that the word Werden means 'become', and judging from the album cover this could mean several different things. It could mean to decay away and become something new, to absorb into the earth or manifest yourself as new life. It could mean to literally shift into a new form. It could mean to let go of your false natures and become whom you really are. The albums is also split in two: The Nefolk section being labels "geist" (or ghost/spirit), and the metal side being labeled "Materie" (or material/earthly I assume...this word I am not familiar with). Take from these two words and separations what you may, but despite the tens of meanings that this album could possibly have, there is one true fact about this album: The music is incredible and beautiful as is everything Halgadom seems to put out.
Musically, Halgadom is slightly different than most pagan/folk bands to be found out in that particular subgenre of today. I say this because there is a very noticable lacking of the everpresent chanted clean vocals that are representative of this style. While there are very few moments of clean vocals to be found, this is almost always more of a war-like sound. In fact, though the band themselves are not (as far as I know) associated in any way with the R.A.C. scene, a great deal of the clean vocals resemble this raspy style. The harsh vocals are also catchy in their bombastic nature but at the same time they have a definite sinister side, and also include death vocals with the blackened ones which is quite another rarity in this style of music. It should also be known that the band has had diffeing styles through their previous albums. This album, Sturmwoge, is their first exclusively-metal album. The band is also closely related with the Neofolk scene.