Black Metal.

Musical approach is a universal medium. Anyone that speaks any language can compose the same piece of music because there are universal techniques to accomplish these. Transferring a musical idea in your head out into the real world is just a matter of knowing how to play the instrument. Translating a verbal idea from one's native language to an entirely different language is far trickier. It's like trying to string out a guitar melody on a keyboard when you have little experience playing the keyboard.
You make the situation complicated needlessly - I could just as well say that transferring a lyrical idea in your head out into the real world is just a matter of knowing how to speak the language. Even that it would probably be a lot easier to find someone to translate a simple phrase than to learn how to play an instrument. But this is all dodging the main issue...

Basically, what I'm saying is that poor English is far more forgivable than decidedly poor musicianship as far as hindering the greater work is concerned, because musical failure is invariably detrimental, whereas verbal failure is more easy to overcome. Language is a versatile medium that allows one to decipher meaning where that meaning is confused and muddled. This is far more difficult to accomplish with notes.
...because I vaguely agree with your conclusion, though it seems to declare absolutes where I don't think they exist (and use fancy terminology to cover a lack of content, but that's another story ;)). Musical failure is perhaps more likely to negatively affect the outcome, but a slightly flubbed solo would probably be much less distracting than a chorus lyric clearly sung in garbled English (something like "I Got Erection" in a more "serious" artistic context perhaps, if you're familiar with Turbonegro).

I stand by my original point that both types of failure can negatively affect the final product, and I still disagree in principle that the onus should be placed on the listener to overcome the artist's failings. If you want to talk about one type of failure being more likely to cause damage than the other then I suppose I can agree, so long as we see that they both can be detrimental.
 
I stand by my original point that both types of failure can negatively affect the final product, and I still disagree in principle that the onus should be placed on the listener to overcome the artist's failings. If you want to talk about one type of failure being more likely to cause damage than the other then I suppose I can agree, so long as we see that they both can be detrimental.

I apologize, I didn't mean to imply this, though I see how my wording has led to that assumption. What I merely meant to say was that I personally am not bothered much by poor English, at least most of the time, and sometimes it's even endearing in a way like with Sarcofago. And while "if you are a false do not entry" sounds silly, I think that the intention of the artist here is clear and thus (for me) does not hinder one from properly engaging the song as a whole.
 
I've only spun it once so far, but I honestly can't see how anyone into Si Monumentum Requires, Circumspice and Kenose could not be into Fas - Ite, Maledicti, in Ignem Aeternum. It's obviously far too early to tell, but I think this may become my favorite Deathspell Omega album.
 
I've only spun it once so far, but I honestly can't see how anyone into Si Monumentum Requires, Circumspice and Kenose could not be into Fas - Ite, Maledicti, in Ignem Aeternum. It's obviously far too early to tell, but I think this may become my favorite Deathspell Omega album.
Considering that it has about 30% as much content as Si Monumentum, and maybe 60% as much content as Kenose (an EP...) I very much doubt it will ever be my favorite. Not that I by any means judge an album by how much content it has on it. I love Kenose and it is less than 40 minutes long. Fas is just a pretty poor listen overall; the good parts are amazing, the bad parts are excruciating and long.

Are we familiar with John Cage here? 4:33? It's his "song of silence". He performs the song by sitting at his piano and doing nothing. Some people think it is the frontier of music and a genius bout of experimentalism. Others think it is pretentious and silly. This is kind of how I view a lot of the new Deathspell, and I fall into the latter category.

I can also see how the album might really be appealing to people who don't listen to much other than metal. I'm not belittling those people in any way. The point is, the extreme minimal and ambient passages have been worked to death in a multitude of other genres: down-tempo, experimental ambient, neo-classical, and post-rock just to name a few. When I hear it in black-metal, and in what I consider a poorly executed way, it strikes me as unoriginal and a poor attempt at being "avant", regardless of whether that is their intention or not (I very much doubt that is their intention).
 
And while I agree that anyone who likes Si Monumentum and Kenose should like a lot of what happens on Fas, I don't expect them to necessarily like the album, because structurally and conceptually it is completely different and requires different things from the listener.
 
I heard some of DsO's material through myspace today and I was pleasantly surprised at how similar the riffs sound to some of the riffs on SMRC. I was under the impression that SMRC was a complete stylistic change from their older albums.

I'll definitely pick up Infernal Battles and Inquisitors of Satan in the next few months if I can.
 
I heard some of DsO's material through myspace today and I was pleasantly surprised at how similar the riffs sound to some of the riffs on SMRC. I was under the impression that SMRC was a complete stylistic change from their older albums.

I'll definitely pick up Infernal Battles and Inquisitors of Satan in the next few months if I can.

I'm actually quite enjoying their older material; it's like SMRC but more straightforward.
 
I'm actually quite enjoying their older material; it's like SMRC but more straightforward.

My thoughts exactly. SMRC has these lead guitar melodies that you start picking out after a few listens, while on these samples I've heard, they're easily heard and serve a larger purpose to the composition overall.
 
My thoughts exactly. SMRC has these lead guitar melodies that you start picking out after a few listens, while on these samples I've heard, they're easily heard and serve a larger purpose to the composition overall.

I'm also a bit biased because I enjoy raw, primitive black metal more than avant-garde/progressive black metal. I'll take Darkthrone over Bal-Sagoth any day.
 
um, i heard an ildjarn album the other day. it was a two diker called landscapes.

now if you like BM i more power to ya, i totally respect that. if you like other types of music, that awesome. BUT WHAT THE HELL IS LANDSCAPES?!?!?! how does that even count as metal? i heard that ildjarn was supposed to be one of the best black metal bands around, and i get a repetitive, no drums, no bass no vocals, no guitar... i dot know what to call it!!! its all the same! AND I LISTENED TO THE WHOLE THING TO REALLY SEE IF IT WAS ALL THE SAME TOO! AGGGGH! AND NOW THE SHIFT KEY IS STUCK! WHAT ELSE CAN GO WRONG?!