BLUTMOND - " Thirteen Urban Ways 4 Groovy Bohemian Days" - REVIEWS
- Thread starter Emi
- Start date
http://www.metal.it/album.aspx/12812/10397/
7,5/10
Suonare Black Metal comporta nella stragrande maggioranza dei casi l'assunzione di un'attitudine e di un'estetica che possono risultare forzate oltre che pacchiane, quasi come a dover timbrare un cartellino per non essere etichettati come "false". Succede anche di imbattersi in gruppi a cui proprio non interessa nulla la necessità di farsi catalogare, come nel caso di questi svizzeri Blutmond che proprio in forza di queste motivazioni non potevano che incidere per la nostrana Code666, etichetta da anni all'avanguardia, in tutti i sensi. Thirteen Urban Ways 4 Groovy Bohemian Days non è soltanto un titolo bizzarro da dare ad un album Black Metal, o che comunque sia attinge da questo filone, è la degna rappresentazione di come i Blutmond intendono la musica: senza confini, pronta a sperimentare, originale e dalla visione personale. La base su cui poggiano le canzoni è ovviamente di estrazione estrema, soprattutto Black Metal, ma è quello che ci costruiscono sopra a contare in maniera determinante; elettronica, synth, arrangiamenti effettuati con il sax, oppressione urbana, un concept delirante, mischiate tutto quanto insieme e forse riuscirete ad avere una vaga idea di quello che suonano questi ragazzi. You vs. The Modern Lifestyle Obsession, Friday - Trapped In Mental Disorder e Martini Midnight Madness già dai titoli sembrano porsi come dei manifesti di forte derisione nei riguardi della realtà che ci circonda, non soltanto a livello lirico, ma anche strettamente musicale visto e considerato che riescono a destrutturare in tutta tranquillità l'idea comune che abbiamo in fatto di Metal estremo. Generalmente il songwriting è molto robusto e solido, i brani sono ben studiati e malgrado questo non perdono in scorrevolezza. Se vi piace contaminare la vostra mente con proposte al limite... accomodatevi pure, la Code666 è qui per voi.
7,5/10
Suonare Black Metal comporta nella stragrande maggioranza dei casi l'assunzione di un'attitudine e di un'estetica che possono risultare forzate oltre che pacchiane, quasi come a dover timbrare un cartellino per non essere etichettati come "false". Succede anche di imbattersi in gruppi a cui proprio non interessa nulla la necessità di farsi catalogare, come nel caso di questi svizzeri Blutmond che proprio in forza di queste motivazioni non potevano che incidere per la nostrana Code666, etichetta da anni all'avanguardia, in tutti i sensi. Thirteen Urban Ways 4 Groovy Bohemian Days non è soltanto un titolo bizzarro da dare ad un album Black Metal, o che comunque sia attinge da questo filone, è la degna rappresentazione di come i Blutmond intendono la musica: senza confini, pronta a sperimentare, originale e dalla visione personale. La base su cui poggiano le canzoni è ovviamente di estrazione estrema, soprattutto Black Metal, ma è quello che ci costruiscono sopra a contare in maniera determinante; elettronica, synth, arrangiamenti effettuati con il sax, oppressione urbana, un concept delirante, mischiate tutto quanto insieme e forse riuscirete ad avere una vaga idea di quello che suonano questi ragazzi. You vs. The Modern Lifestyle Obsession, Friday - Trapped In Mental Disorder e Martini Midnight Madness già dai titoli sembrano porsi come dei manifesti di forte derisione nei riguardi della realtà che ci circonda, non soltanto a livello lirico, ma anche strettamente musicale visto e considerato che riescono a destrutturare in tutta tranquillità l'idea comune che abbiamo in fatto di Metal estremo. Generalmente il songwriting è molto robusto e solido, i brani sono ben studiati e malgrado questo non perdono in scorrevolezza. Se vi piace contaminare la vostra mente con proposte al limite... accomodatevi pure, la Code666 è qui per voi.
http://www.soundshock.com/index.php...n-ways-4-groovy-bohemian-days-cd-review-metal
Ditching the face paint and emerging with a somewhat epic philosophy on the state of modern life - Blutmond (previously named Totenstille) have stripped themselves of their black metal basics, with a raw intent to ground themselves as purveyors of well something.
Conjuring up unique soundscapes, Thirteen Urban Ways 4 Groovy Bohemian Days serves as a form of urban exploration; it captures the utter hopelessness at how miserable municipal living can be.
From opening track Mind Da Gap, with its fusion of thundering riffs, strange static sounds, sirens and footsteps - the album advances as a cocktail of calm, oppressive and equally brutal tracks reflecting the chaos of urban sprawl. Flittering between an onslaught of brutality and bluesy, stoner riffs before jolting into biting vocals and thunderous drums, Working Poor, Yuppie Yeah taps into the manic mindset of Blutmond. However, when set against more consistent tracks offering black metal finery like Blind Date Broadway and Friday - Trapped in Mental Disorder, the chaotic structuring will not appeal to all as the flow of the album is persistently disturbed.
Endowed with intricacies and a smattering of influences across a wealth of genres, Blutmond inject a great deal of character into their music and are undoubtedly onto something. It may take some convincing but there is something inexplicably attractive about these Swedes.
Reviewed by Victoria Walsh
Thirteen Urban Ways 4 Groovy Bohemian Days is out now on Code666
Ditching the face paint and emerging with a somewhat epic philosophy on the state of modern life - Blutmond (previously named Totenstille) have stripped themselves of their black metal basics, with a raw intent to ground themselves as purveyors of well something.
Conjuring up unique soundscapes, Thirteen Urban Ways 4 Groovy Bohemian Days serves as a form of urban exploration; it captures the utter hopelessness at how miserable municipal living can be.
From opening track Mind Da Gap, with its fusion of thundering riffs, strange static sounds, sirens and footsteps - the album advances as a cocktail of calm, oppressive and equally brutal tracks reflecting the chaos of urban sprawl. Flittering between an onslaught of brutality and bluesy, stoner riffs before jolting into biting vocals and thunderous drums, Working Poor, Yuppie Yeah taps into the manic mindset of Blutmond. However, when set against more consistent tracks offering black metal finery like Blind Date Broadway and Friday - Trapped in Mental Disorder, the chaotic structuring will not appeal to all as the flow of the album is persistently disturbed.
Endowed with intricacies and a smattering of influences across a wealth of genres, Blutmond inject a great deal of character into their music and are undoubtedly onto something. It may take some convincing but there is something inexplicably attractive about these Swedes.
Reviewed by Victoria Walsh
Thirteen Urban Ways 4 Groovy Bohemian Days is out now on Code666
http://www.planet-loud.com/recordreview.php?album_id=12891
Blutmond list their music as post rock meets black metal, which sounds both exciting, and ultimately a depressing slog of tedium. What Im greeted with however in the opening, if pointless track entitled Mind The Gap, is a double-bass drum surge of sound that lasts for 30 seconds, followed by the sound of someone starting a car engine and the wail of the outside world.
As opening tracks go, its a strange one. It however bleeds nicely into You Versus The Modern Lifestyle Obsession, which takes the black metal template and feeds it through a thrash filter. The gargled vocals manage to sound incredibly apathetic and bitter at the same time. The juxtaposition of the odd sounding slow elements, along with the baffling techno pound about halfway through, leaves me to think someone accidentally leaned on the demo button of a casio during the recording. Rebellion attempts a stuttering, jaunty bounce of quite ethereal laid-back desert rock, that sort of works; whilst Friday Trapped In Mental Disorder builds on a growling intro, before erupting into predictable but throaty stoner-metal, complete with odd time changes and staggered riffage. Unfortunately, Blind Date Broadway is so incredibly lazy, even the musicians sound like theyve given up halfway through, however Cry.sys mashes post-rock soundscapes, trippy beats, looped and overlapping vocal samples, tribal drumming and nu-metal scratches, making it one of the most interesting and well developed tracks by Blutmond. Martini Midnight Madness, which sounds like the title of some punk rock song, is actually a romp of stomping percussion and sludge-metal bombardment that builds with increasing urgency and a slight progressive lean.
Suburbs A Lamentation or a Social Frustration reverts back to the death-metal vocals and smothering thrash-meets-black metal sharpness, before switching to a soft, almost jazz-club manner, which is quite frankly baffling, but breaks the tracks unremitting enthusiasm. A troubling, yet enticing listen from a band mashing ideas and genres into one big infusion of sound. - Rating [7]
Blutmond list their music as post rock meets black metal, which sounds both exciting, and ultimately a depressing slog of tedium. What Im greeted with however in the opening, if pointless track entitled Mind The Gap, is a double-bass drum surge of sound that lasts for 30 seconds, followed by the sound of someone starting a car engine and the wail of the outside world.
As opening tracks go, its a strange one. It however bleeds nicely into You Versus The Modern Lifestyle Obsession, which takes the black metal template and feeds it through a thrash filter. The gargled vocals manage to sound incredibly apathetic and bitter at the same time. The juxtaposition of the odd sounding slow elements, along with the baffling techno pound about halfway through, leaves me to think someone accidentally leaned on the demo button of a casio during the recording. Rebellion attempts a stuttering, jaunty bounce of quite ethereal laid-back desert rock, that sort of works; whilst Friday Trapped In Mental Disorder builds on a growling intro, before erupting into predictable but throaty stoner-metal, complete with odd time changes and staggered riffage. Unfortunately, Blind Date Broadway is so incredibly lazy, even the musicians sound like theyve given up halfway through, however Cry.sys mashes post-rock soundscapes, trippy beats, looped and overlapping vocal samples, tribal drumming and nu-metal scratches, making it one of the most interesting and well developed tracks by Blutmond. Martini Midnight Madness, which sounds like the title of some punk rock song, is actually a romp of stomping percussion and sludge-metal bombardment that builds with increasing urgency and a slight progressive lean.
Suburbs A Lamentation or a Social Frustration reverts back to the death-metal vocals and smothering thrash-meets-black metal sharpness, before switching to a soft, almost jazz-club manner, which is quite frankly baffling, but breaks the tracks unremitting enthusiasm. A troubling, yet enticing listen from a band mashing ideas and genres into one big infusion of sound. - Rating [7]
http://www.bleeding4metal.de/index.php?show=review_de&id=3085
8/10
Das ist eine interessante Scheibe. Die anfängliche Euphorie angehörts solcher Hammertracks wie 'You vs. the Modern Lifestyle Obsession' wird schnell konterkariert durch den Ärger über selbstdarstellerisch-pseudoavantgardistisches Gedudel ala 'Rebellion'.
Schade ist das schon.
Denn BLUTMOND sind sowohl gute Musiker als auch gute Songwriter, was sich an riffig-griffigen Brechern wie 'You Vs The Modern Lifestyle Obsession', 'Working Poor, Yuppie Yeah! (A_a 3000)' oder 'Suburbs - A Lamentation Or A Social Frustration!' zeigt. Eine Hymne wie erstgenannter Song gelingt auch nicht jedem alle Tage. Trotzdem nerven mich BLUTMOND all zu oft mit endlosem, selbstdarstellerischem Gedudel. Stünden dem nicht immer wieder hervorragend herausgearbeitete Melodien, Riffs und Songparts gegenüber, hätte ich diesem Album sicherlich sehr viel weniger Zeit gewidmet. Hört euch mal 'You Vs The Modern Lifestyle Obsession' ab ca. Minute 3:30 an und ihr wißt, was ich meine. Sowas fesselt einfach.
Wäre das ganze, übrigens sauber produzierte Album derart gestrickt, würde ich knapp unter der Höchstnote bewerten. Gedudel aber und unzusammenhängender Aufbau des Albums kosten hier richtig Prozente. Kurz: mit ihrem 'AKERCOCKE'igen, etwas melodiöseren und etwas weniger kranken Black Metal haben BLUTMOND völlig unabsichtlich, so scheint es irgendwie, stellenweise 10-Punkte Levels erreicht. Mit dem hirnlosen, unpassenden Jazzkneipengedudel dazwisschen sinken sie auf Arschbombenniveau ab. Dass das sicherlich nicht an meinem zu eng gefassten Geschmack liegt, sieht der geneigte Leser oft genug, wenn ich DIMMU BORGIR, SLIPKNOT und DEVIN TOWNSEND in einem Atemzug als meine Faves nenne.
Was zum Teufel soll ich nun mit all dem anfangen, hä?
Also gut! Ich ignoriere das pupertäre Gedudel und bewerte nur die gelungenen Songs und das gibt in Summe 'ne lockere 8.
Hört euch einfach 'You Vs The Modern Lifestyle Obsession' an und entscheidet, ob der Song den CD-Preis für euch wert ist. Für mich wäre er es.
PS: die Spielzeit ist 'ne Schätzung. Ich habe nicht die geringste Lust, Minutenzahlen gedownloadeter mp3-files zu addieren.
PPS: Bandpics interessieren mich nicht. Wo sind die Texte? Mal wieder ?
Gesamtwertung: 8.0 Punkte
8/10
Das ist eine interessante Scheibe. Die anfängliche Euphorie angehörts solcher Hammertracks wie 'You vs. the Modern Lifestyle Obsession' wird schnell konterkariert durch den Ärger über selbstdarstellerisch-pseudoavantgardistisches Gedudel ala 'Rebellion'.
Schade ist das schon.
Denn BLUTMOND sind sowohl gute Musiker als auch gute Songwriter, was sich an riffig-griffigen Brechern wie 'You Vs The Modern Lifestyle Obsession', 'Working Poor, Yuppie Yeah! (A_a 3000)' oder 'Suburbs - A Lamentation Or A Social Frustration!' zeigt. Eine Hymne wie erstgenannter Song gelingt auch nicht jedem alle Tage. Trotzdem nerven mich BLUTMOND all zu oft mit endlosem, selbstdarstellerischem Gedudel. Stünden dem nicht immer wieder hervorragend herausgearbeitete Melodien, Riffs und Songparts gegenüber, hätte ich diesem Album sicherlich sehr viel weniger Zeit gewidmet. Hört euch mal 'You Vs The Modern Lifestyle Obsession' ab ca. Minute 3:30 an und ihr wißt, was ich meine. Sowas fesselt einfach.
Wäre das ganze, übrigens sauber produzierte Album derart gestrickt, würde ich knapp unter der Höchstnote bewerten. Gedudel aber und unzusammenhängender Aufbau des Albums kosten hier richtig Prozente. Kurz: mit ihrem 'AKERCOCKE'igen, etwas melodiöseren und etwas weniger kranken Black Metal haben BLUTMOND völlig unabsichtlich, so scheint es irgendwie, stellenweise 10-Punkte Levels erreicht. Mit dem hirnlosen, unpassenden Jazzkneipengedudel dazwisschen sinken sie auf Arschbombenniveau ab. Dass das sicherlich nicht an meinem zu eng gefassten Geschmack liegt, sieht der geneigte Leser oft genug, wenn ich DIMMU BORGIR, SLIPKNOT und DEVIN TOWNSEND in einem Atemzug als meine Faves nenne.
Was zum Teufel soll ich nun mit all dem anfangen, hä?
Also gut! Ich ignoriere das pupertäre Gedudel und bewerte nur die gelungenen Songs und das gibt in Summe 'ne lockere 8.
Hört euch einfach 'You Vs The Modern Lifestyle Obsession' an und entscheidet, ob der Song den CD-Preis für euch wert ist. Für mich wäre er es.
PS: die Spielzeit ist 'ne Schätzung. Ich habe nicht die geringste Lust, Minutenzahlen gedownloadeter mp3-files zu addieren.
PPS: Bandpics interessieren mich nicht. Wo sind die Texte? Mal wieder ?
Gesamtwertung: 8.0 Punkte
http://metalreview.com/reviews/5860/blutmond-thirteen-urban-ways-4-groovy-bohemian-days
8.3/10
If Blutmond is willing to name their album Thirteen Urban Ways 4 Groovy Bohemian Days, then perhaps they're willing to try anything. Experimentation is certainly something this Swiss outfit isn't afraid of, but their latest album actually goes well beyond mere experimentation. Bohemian Days (excuse the abridgement) ties together much of what metal musicians have been toying around with for quite some time now. Although Blutmond has, in the literal sense, put away the corpse paint for good, the band still uses traditional aspects of black metal as the foundation of their overall sound. The difference is that synthesizers, trumpets and everyday sounds of urban life play just as big a role in the music as the guitars, drums and howls. So before you black metal purists start turning in your graves (oh...I forgot...some of you are still here) you might want to consider the following: Ihsahn, Samoth and and Frost are the first people you should thank for coming up with the brilliant idea (no, I'm not being facetious) of using automated electronic beats in "Total Warfare - Sea Serpent Remix," in their lesser known side project Zyklon B. So no, Blutmond isn't reinventing anything and they're not pioneers of a new genre, but they piece together a lot of metal's past experiments that would have otherwise been laying around and going to waste...and they do it quite well.
Have you ever listened to your headphones at a low enough volume that your surroundings start fitting themselves into the music? With Bohemian Days, the listener gets the same effect without having to be in a boisterous billiard hall or overcrowded metropolis. Thirty seconds into the album, sounds from everyday life are immediately thrown into the mix, as the sounds ot a door closing drown out the tumultuous black metal coming from behind it. It's no different than leaving your house with the music playing, really. The album proceeds in the same fashion, giving the listener proper dosages of enriched black metal while still reminding them that sounds from everyday life can play just as big a role in our music as any instrument. Whether Blutmond's future live performances will resemble Stomp in any way remains to be seen, but Bohemian Days is certainly as theatrical as it is engaging.
If you're wondering whether Blutmond's transitions are as spontaneous as their song titles, the answer is a resounding yes. Halfway through "You VS The Modern Lifestyle Obsession," heavy techno beats accompany the drums before completely taking over. The synthesizers aren't overbearing by any means, as they're only prevalent in a few songs. In "CRY.sys," emotional guitar melodies are paired with two-step/dubstep beat patterns followed by some turntable scratching and mixing. If, ten years from now, you find yourself wondering why metal has managed to outlive so many other modern genres of music, it's bands like this you should be thanking. Blutmond not only knows how to write traditional black metal songs better than most of today's bands, but they incorporate computerized technology into their music smoothly and with maximum fluidity. Additionally, tracks such as "Friday - Trapped in Mental Disorder" perfectly fuse together the depressing attributes of jazz and suicidal black metal. It's as if Miles Davis came down on a rainy day to produce one last song with Niklas Kvalforth.
The only potential problem with Bohemian Days is that the pure black metal tracks are so brilliant (think Shining or Watain) that all of its other facets seem to water down the atmosphere. With the exception of the trumpet, Blutmond hasn't quite figured out a way to make the everyday sounds of urban decay sound very emotional. Perhaps they come closest to this in "Metro Asthetix," where a man and woman discuss war crimes while rain and thunder can be heard in the background, as slowly paced guitars continuously ring out notes of emptiness. If, in its future ventures, Blutmond could produce more tracks of this nature, the results would be unfathomable. Until that time, we are left with yet another example of fine metal musicians who wanted to further expand their music in a variety of ways. Bohemian Days is an enjoyable, creative, emotional and contemporary take on the metal community's outlook on its dying world.
Bear witness to black metal -- a genre once shunned by many is now becoming a fine and delicate art. This is a sign of things to come.
8.3/10
If Blutmond is willing to name their album Thirteen Urban Ways 4 Groovy Bohemian Days, then perhaps they're willing to try anything. Experimentation is certainly something this Swiss outfit isn't afraid of, but their latest album actually goes well beyond mere experimentation. Bohemian Days (excuse the abridgement) ties together much of what metal musicians have been toying around with for quite some time now. Although Blutmond has, in the literal sense, put away the corpse paint for good, the band still uses traditional aspects of black metal as the foundation of their overall sound. The difference is that synthesizers, trumpets and everyday sounds of urban life play just as big a role in the music as the guitars, drums and howls. So before you black metal purists start turning in your graves (oh...I forgot...some of you are still here) you might want to consider the following: Ihsahn, Samoth and and Frost are the first people you should thank for coming up with the brilliant idea (no, I'm not being facetious) of using automated electronic beats in "Total Warfare - Sea Serpent Remix," in their lesser known side project Zyklon B. So no, Blutmond isn't reinventing anything and they're not pioneers of a new genre, but they piece together a lot of metal's past experiments that would have otherwise been laying around and going to waste...and they do it quite well.
Have you ever listened to your headphones at a low enough volume that your surroundings start fitting themselves into the music? With Bohemian Days, the listener gets the same effect without having to be in a boisterous billiard hall or overcrowded metropolis. Thirty seconds into the album, sounds from everyday life are immediately thrown into the mix, as the sounds ot a door closing drown out the tumultuous black metal coming from behind it. It's no different than leaving your house with the music playing, really. The album proceeds in the same fashion, giving the listener proper dosages of enriched black metal while still reminding them that sounds from everyday life can play just as big a role in our music as any instrument. Whether Blutmond's future live performances will resemble Stomp in any way remains to be seen, but Bohemian Days is certainly as theatrical as it is engaging.
If you're wondering whether Blutmond's transitions are as spontaneous as their song titles, the answer is a resounding yes. Halfway through "You VS The Modern Lifestyle Obsession," heavy techno beats accompany the drums before completely taking over. The synthesizers aren't overbearing by any means, as they're only prevalent in a few songs. In "CRY.sys," emotional guitar melodies are paired with two-step/dubstep beat patterns followed by some turntable scratching and mixing. If, ten years from now, you find yourself wondering why metal has managed to outlive so many other modern genres of music, it's bands like this you should be thanking. Blutmond not only knows how to write traditional black metal songs better than most of today's bands, but they incorporate computerized technology into their music smoothly and with maximum fluidity. Additionally, tracks such as "Friday - Trapped in Mental Disorder" perfectly fuse together the depressing attributes of jazz and suicidal black metal. It's as if Miles Davis came down on a rainy day to produce one last song with Niklas Kvalforth.
The only potential problem with Bohemian Days is that the pure black metal tracks are so brilliant (think Shining or Watain) that all of its other facets seem to water down the atmosphere. With the exception of the trumpet, Blutmond hasn't quite figured out a way to make the everyday sounds of urban decay sound very emotional. Perhaps they come closest to this in "Metro Asthetix," where a man and woman discuss war crimes while rain and thunder can be heard in the background, as slowly paced guitars continuously ring out notes of emptiness. If, in its future ventures, Blutmond could produce more tracks of this nature, the results would be unfathomable. Until that time, we are left with yet another example of fine metal musicians who wanted to further expand their music in a variety of ways. Bohemian Days is an enjoyable, creative, emotional and contemporary take on the metal community's outlook on its dying world.
Bear witness to black metal -- a genre once shunned by many is now becoming a fine and delicate art. This is a sign of things to come.
http://blackterrormetal.com/index.p...---Thirteen-Urban-Ways-4-Groovy-Bohemian-Days
Bella definizione: Urban Black Metal, così si definiscono questi svizzeri, autori di un secondo album che vuole essere avveniristico ed innovativo.
I Blutmond, in questo disco, mettono veramente tanta carne al fuoco ed è difficile capire se è solo tanto fumo o un succoso arrosto. È evidente una cosa però, che questa band non piacerà agli oltranzisti, che si sentiranno un po presi in giro, dato che in effetti i Blutmond, nel black metal, ci mettono veramente di tutto, non sempre con la giusta cognizione.
La loro musica è robusta e fredda, con molte parti veloci e riff di chitarra potenti e distruttivi; non è quindi qualcosa di commerciale, anzi, è una continua sperimentazione. Nella mistura dei Blutmond cè qualche innesto elettronico tamarro alla Aborym, dei momenti simil jazz ed altri che sfociano nel rock alternativo americano. Nel complesso, la struttura portante può ricordare band come Frost, quindi il post black metal in genere.
La tendenza costante dei Blutmond è quella di strafare: nel disco si alternano pezzi riusciti, con altri che non convincono a pieno, soprattutto perché sembra che, a volte, la band voglia essere a tutti i costi moderna e al passo con i tempi, quindi mette degli elementi che avrebbe potuto evitare, che nel contesto risultano gratuiti ed inutili (mi riferisco soprattutto alle parti elettroniche).
Il talento cè e lidea di fondo non è male, soprattutto nei testi, dove la band si cala nella vita delle metropoli ed affronta tematiche estremamente moderne, cercando il più possibile di essere attuale.
È un compito arduo quello degli innovatori e spesso si rischia di fare dei buchi nellacqua. Questo disco, per ora, ci dice che i Blutmond fanno una musica al di sopra delle loro possibilità artistiche, pur avendo alcune idee non male, specie quando si tratta di fare atmosfera.
Mi aspetto, in futuro, qualcosa di più da questi svizzeri, che hanno intrapreso un percorso indubbiamente interessante, ma difficile da portare a compimento. La loro musica è moderna, ma non è fredda e statica, fra le pieghe nasconde una oscura malinconia: è su queste sensazioni, più che sulla spasmodica ricerca di modernità stilistica, che si deve basare il futuro del loro percorso artistico.
Bella definizione: Urban Black Metal, così si definiscono questi svizzeri, autori di un secondo album che vuole essere avveniristico ed innovativo.
I Blutmond, in questo disco, mettono veramente tanta carne al fuoco ed è difficile capire se è solo tanto fumo o un succoso arrosto. È evidente una cosa però, che questa band non piacerà agli oltranzisti, che si sentiranno un po presi in giro, dato che in effetti i Blutmond, nel black metal, ci mettono veramente di tutto, non sempre con la giusta cognizione.
La loro musica è robusta e fredda, con molte parti veloci e riff di chitarra potenti e distruttivi; non è quindi qualcosa di commerciale, anzi, è una continua sperimentazione. Nella mistura dei Blutmond cè qualche innesto elettronico tamarro alla Aborym, dei momenti simil jazz ed altri che sfociano nel rock alternativo americano. Nel complesso, la struttura portante può ricordare band come Frost, quindi il post black metal in genere.
La tendenza costante dei Blutmond è quella di strafare: nel disco si alternano pezzi riusciti, con altri che non convincono a pieno, soprattutto perché sembra che, a volte, la band voglia essere a tutti i costi moderna e al passo con i tempi, quindi mette degli elementi che avrebbe potuto evitare, che nel contesto risultano gratuiti ed inutili (mi riferisco soprattutto alle parti elettroniche).
Il talento cè e lidea di fondo non è male, soprattutto nei testi, dove la band si cala nella vita delle metropoli ed affronta tematiche estremamente moderne, cercando il più possibile di essere attuale.
È un compito arduo quello degli innovatori e spesso si rischia di fare dei buchi nellacqua. Questo disco, per ora, ci dice che i Blutmond fanno una musica al di sopra delle loro possibilità artistiche, pur avendo alcune idee non male, specie quando si tratta di fare atmosfera.
Mi aspetto, in futuro, qualcosa di più da questi svizzeri, che hanno intrapreso un percorso indubbiamente interessante, ma difficile da portare a compimento. La loro musica è moderna, ma non è fredda e statica, fra le pieghe nasconde una oscura malinconia: è su queste sensazioni, più che sulla spasmodica ricerca di modernità stilistica, che si deve basare il futuro del loro percorso artistico.
Da Jester
New Metal Member
- Sep 28, 2010
- 5
- 0
- 1
http://www.avantgarde-metal.com/content/reviews2.php?id=539
BLUTMOND
Thirteen Urban Ways 4 Groovy Bohemian Days
Release: 2010
Label: Aural Music / Code666
Avantgenre: Pornographic Jazz Metal
Duration: 63:54
Origin: Switzerland
Official site: http://www.myspace.com/blutmondofficial
Review online since: 12.10.2010 / 21:51:48
.........................................................................................................................................................
Dear readers of AGM.com, meet the Swiss gentlemen of BLUTMOND.
The first sign of their existence reached me on a sunday afternoon via E-Mail. A certain "Jerry" of said collective asked me for label suggestions as they were trying to find a home for their freshly recorded album "Thirteen Urban Ways 4 Groovy Bohemian Days". Well, I have to admit I was intrigued - the mail itself and the optics of their MySpace-page had a certain style, so I asked if it was possible to hear the album. It was and after the first listening I could only think: "Why the hell do they not already have a label?". In short: "Thirteen Urban Ways 4 Groovy Bohemian Days" is one of the most diversed, ambitious, thrilling and inventive albums I have heard for a long time, and I am not talking only underground here. Most established bands could do well with a little bit of their creativity. Luckily for BLUTMOND, Code666 shared my view and signed this up-and coming, promising band in the meantime.
Frst of all - BLUTMOND do offer a fresh mix of Black Metal with smoky cyber-jazz, early Gothic Metal with Pop, raging Black Metal with ambient passages, rainy and damp Backstreets with pornography. After releasing "Endzeit", their debut album featuring well-executed but mediocre Black Metal, BLUTMOND have managed to grow far beyond their musical base and recorded something which takes a unique view on modern times - they have become representatives for Metal as it should sound these days, rooted in the traditional Metal styles and yet surpassing those with a visionary view into the future of our most beloved music style.
Second, their approach is, while sounding sincere in what they are doing, more of the cynic and ironic takes on urban centered Metal, and their point of view (though not musicwise) reminds me a little of LIFELOVER, T/M/K or even V.E.G.A. Something modern; darkness related to daily life. The whole album reeks of dirty streets, hangover, whiskey, vomit, sperm and Hookers in neonlight. The production of Markus Stock provides, modern and clear though it is, the needed amount of dirt and unpolished agression, and - most important erases the least bit of doubt that BLUTMOND do not know how they have to sound whole after another transition between Black Metal, Jazz, Rock, Gothic or Drum n Bass. Yet, the most impressive thing is that you'll find yourself wondering many times after repeated listens where you have heard this ONE part before only to recognize that, yes, you have heard it before: On "Thirteen Urban Ways 4 Groovy Bohemian Days" (best example: The stand-out track "Cry.Sys" godlike!). Hardly does a band achieve this feat, sounding as if you have know them since long when you couldn't have.
Well, I could go on and on and on about "Thirteen Urban Ways 4 Groovy Bohemian Days". In the end, there is one little adjective which should serve as a definite "must-buy" suggestion and describes the whole album best:
Sexy.
BLUTMOND
Thirteen Urban Ways 4 Groovy Bohemian Days
Release: 2010
Label: Aural Music / Code666
Avantgenre: Pornographic Jazz Metal
Duration: 63:54
Origin: Switzerland
Official site: http://www.myspace.com/blutmondofficial
Review online since: 12.10.2010 / 21:51:48
.........................................................................................................................................................
Dear readers of AGM.com, meet the Swiss gentlemen of BLUTMOND.
The first sign of their existence reached me on a sunday afternoon via E-Mail. A certain "Jerry" of said collective asked me for label suggestions as they were trying to find a home for their freshly recorded album "Thirteen Urban Ways 4 Groovy Bohemian Days". Well, I have to admit I was intrigued - the mail itself and the optics of their MySpace-page had a certain style, so I asked if it was possible to hear the album. It was and after the first listening I could only think: "Why the hell do they not already have a label?". In short: "Thirteen Urban Ways 4 Groovy Bohemian Days" is one of the most diversed, ambitious, thrilling and inventive albums I have heard for a long time, and I am not talking only underground here. Most established bands could do well with a little bit of their creativity. Luckily for BLUTMOND, Code666 shared my view and signed this up-and coming, promising band in the meantime.
Frst of all - BLUTMOND do offer a fresh mix of Black Metal with smoky cyber-jazz, early Gothic Metal with Pop, raging Black Metal with ambient passages, rainy and damp Backstreets with pornography. After releasing "Endzeit", their debut album featuring well-executed but mediocre Black Metal, BLUTMOND have managed to grow far beyond their musical base and recorded something which takes a unique view on modern times - they have become representatives for Metal as it should sound these days, rooted in the traditional Metal styles and yet surpassing those with a visionary view into the future of our most beloved music style.
Second, their approach is, while sounding sincere in what they are doing, more of the cynic and ironic takes on urban centered Metal, and their point of view (though not musicwise) reminds me a little of LIFELOVER, T/M/K or even V.E.G.A. Something modern; darkness related to daily life. The whole album reeks of dirty streets, hangover, whiskey, vomit, sperm and Hookers in neonlight. The production of Markus Stock provides, modern and clear though it is, the needed amount of dirt and unpolished agression, and - most important erases the least bit of doubt that BLUTMOND do not know how they have to sound whole after another transition between Black Metal, Jazz, Rock, Gothic or Drum n Bass. Yet, the most impressive thing is that you'll find yourself wondering many times after repeated listens where you have heard this ONE part before only to recognize that, yes, you have heard it before: On "Thirteen Urban Ways 4 Groovy Bohemian Days" (best example: The stand-out track "Cry.Sys" godlike!). Hardly does a band achieve this feat, sounding as if you have know them since long when you couldn't have.
Well, I could go on and on and on about "Thirteen Urban Ways 4 Groovy Bohemian Days". In the end, there is one little adjective which should serve as a definite "must-buy" suggestion and describes the whole album best:
Sexy.
Da Jester
New Metal Member
- Sep 28, 2010
- 5
- 0
- 1
METAL HAMMER
printed DE
6/7 (!)
Songwriting: 6/7
Sound: 6/7
Hörspaß: 6/7
"Achtung, Achtung! ENDZEIT war gestern, heute ist THIRTEEN URBAN WAYS 4 GROOVY BOHEMIAN DAYS! Die schweizerischen Black-Metaller BLUTMOND haben eine Metamorphose durchschritten, zwei Mitglieder hinfort gespült. Der neu eingeschlagene Weg ist im Avantgarde/Post Black Metal beheimatet, und es gibt nichts, was es nicht gibt: scheppernde, harsche und steif hämmernde Electronic/Industrial-Sounds mitten in High-Speed-Gepolter, plötzlich ein grooviger Pungent Stench-Part, dann wieder lässiges Gejamme aus dem Hinterhof. (Dark-)jazzige Bläserelemente und saitiges Gefummel, "Field Recordings" von einer gemütlichen kleinen Bierbank-Party. Alles ummantelt von gemütlich wogendem, bisweilen satt rasantem Black Metal, der gelegentlich leider doch einige Längen mit Standard-Black-Metal-Ausuferungen und zu weit reichenden Atmosphären-Darstellungen hat. Hier sticht jedoch das über zehnminütige 'Martini Midnight Madness' enorm wohltuend heraus. Überhaupt machen die Song-Titel im Allgemeinen schon mal Laune, was der Album-Titel bereits verheißt: 'You Vs. The Modern Lifestyle Obsession', 'Working Poor, Yuppie Yeah! (A/a 3000)' oder 'Friday - Trapped In Mental Disorder' lassen gleich aufhorchen...
Diese Scheibe ist eine echte Erfahrung, allerdings nicht für Szenebeschränkte, sondern nur Freigeistern zu empfehlen!!"
Thomas Sonder
printed DE
6/7 (!)
Songwriting: 6/7
Sound: 6/7
Hörspaß: 6/7
"Achtung, Achtung! ENDZEIT war gestern, heute ist THIRTEEN URBAN WAYS 4 GROOVY BOHEMIAN DAYS! Die schweizerischen Black-Metaller BLUTMOND haben eine Metamorphose durchschritten, zwei Mitglieder hinfort gespült. Der neu eingeschlagene Weg ist im Avantgarde/Post Black Metal beheimatet, und es gibt nichts, was es nicht gibt: scheppernde, harsche und steif hämmernde Electronic/Industrial-Sounds mitten in High-Speed-Gepolter, plötzlich ein grooviger Pungent Stench-Part, dann wieder lässiges Gejamme aus dem Hinterhof. (Dark-)jazzige Bläserelemente und saitiges Gefummel, "Field Recordings" von einer gemütlichen kleinen Bierbank-Party. Alles ummantelt von gemütlich wogendem, bisweilen satt rasantem Black Metal, der gelegentlich leider doch einige Längen mit Standard-Black-Metal-Ausuferungen und zu weit reichenden Atmosphären-Darstellungen hat. Hier sticht jedoch das über zehnminütige 'Martini Midnight Madness' enorm wohltuend heraus. Überhaupt machen die Song-Titel im Allgemeinen schon mal Laune, was der Album-Titel bereits verheißt: 'You Vs. The Modern Lifestyle Obsession', 'Working Poor, Yuppie Yeah! (A/a 3000)' oder 'Friday - Trapped In Mental Disorder' lassen gleich aufhorchen...
Diese Scheibe ist eine echte Erfahrung, allerdings nicht für Szenebeschränkte, sondern nur Freigeistern zu empfehlen!!"
Thomas Sonder
http://dontcountonitreviews.blogspot.com/2010/10/blutmond-thirteen-urban-ways-4-groovy.html
Let's Get Serious Now.
Blutmond is a "black metal" band from Switzerland. This is their second full-length album and following a straightforward, to me, black metal release, this comes out. Having no prior contact beyond seeing the album title and listening to a song from their first album, once, I had no idea what to expect.
Starting off, the reason the above term "black metal" is used in quotations should be obvious to anyone looking at that album title. The thirteen tracks on this album are more in common with groups like Arcturus, Vulture Industries, and Solefald than groups like Archgoat or Gorgoroth, but there's plenty of middle ground. When talking black metal, purists won't think of this, but I don't think that fans of prog and avant-garde will think of this when thinking of groups similar to the former above either.
This album walks a very fine line between the previous black metal sound of their debut and avant-garde progressive tendencies of more modern groups. Honestly, these songs don't so much have their own style as the bands above do, but seem to take the Mike Patton road by just hopping from one genre to the next, even though that black core still remains, hear the opening song You vs. The Modern Lifestyle Obsession. There are more than a few parts on this album where the band cross into jazz, while riffs then selves can sound like anything from thrash to blues, Rebellion.
When this band sound their best is actually when they are doing more abstract sounding things in their music, like when it's a laid-back jazz section or a more industrial part. Though it seems like certain tracks are more entertaining than others, the band certainly do have a handle on taking more abstract riffs and patterns and fusing them together with more straight ahead black metal. But like mentioned above, the band still have their black metal roots and there are several tracks on here where the band still rip out some more aggressive black metal, Blind Date Broadway or Good Morning World. While I personally find these tracks to be less entertaining, they are certainly not adventurous, often infusing elements of death and thrash metal into otherwise normal sounding tremolo picking.
For a black metal record, even one as avant-garde as this one is, this album is still not original enough, for me, to excuse it's over an hour length. I found a few moments in the middle of the album that were just lackluster and dragged on a bit too long for my own personal taste. Having said that if maybe two or three middle tracks were taken out, this would certainly be a great record, since the opening few and closing few tracks of the album are just great material.
Overall, a promising record from a promising band, and while there were a few moments that did not hold my attention, this is a solid release. I can't say that this will be the avant-garde record for this year, for me at least, but it is still very good. If you like avant-garde groups like those mentioned above, definitely check this album out, it's right up your alley.
Overall Score: 8
Highlights: Working Poor, Yuppie Yeah! (A/A 3000), Friday - Trapped In Mental Disorder, Suburbs - A Lamentation Or A Social Frustration!?
Let's Get Serious Now.
Blutmond is a "black metal" band from Switzerland. This is their second full-length album and following a straightforward, to me, black metal release, this comes out. Having no prior contact beyond seeing the album title and listening to a song from their first album, once, I had no idea what to expect.
Starting off, the reason the above term "black metal" is used in quotations should be obvious to anyone looking at that album title. The thirteen tracks on this album are more in common with groups like Arcturus, Vulture Industries, and Solefald than groups like Archgoat or Gorgoroth, but there's plenty of middle ground. When talking black metal, purists won't think of this, but I don't think that fans of prog and avant-garde will think of this when thinking of groups similar to the former above either.
This album walks a very fine line between the previous black metal sound of their debut and avant-garde progressive tendencies of more modern groups. Honestly, these songs don't so much have their own style as the bands above do, but seem to take the Mike Patton road by just hopping from one genre to the next, even though that black core still remains, hear the opening song You vs. The Modern Lifestyle Obsession. There are more than a few parts on this album where the band cross into jazz, while riffs then selves can sound like anything from thrash to blues, Rebellion.
When this band sound their best is actually when they are doing more abstract sounding things in their music, like when it's a laid-back jazz section or a more industrial part. Though it seems like certain tracks are more entertaining than others, the band certainly do have a handle on taking more abstract riffs and patterns and fusing them together with more straight ahead black metal. But like mentioned above, the band still have their black metal roots and there are several tracks on here where the band still rip out some more aggressive black metal, Blind Date Broadway or Good Morning World. While I personally find these tracks to be less entertaining, they are certainly not adventurous, often infusing elements of death and thrash metal into otherwise normal sounding tremolo picking.
For a black metal record, even one as avant-garde as this one is, this album is still not original enough, for me, to excuse it's over an hour length. I found a few moments in the middle of the album that were just lackluster and dragged on a bit too long for my own personal taste. Having said that if maybe two or three middle tracks were taken out, this would certainly be a great record, since the opening few and closing few tracks of the album are just great material.
Overall, a promising record from a promising band, and while there were a few moments that did not hold my attention, this is a solid release. I can't say that this will be the avant-garde record for this year, for me at least, but it is still very good. If you like avant-garde groups like those mentioned above, definitely check this album out, it's right up your alley.
Overall Score: 8
Highlights: Working Poor, Yuppie Yeah! (A/A 3000), Friday - Trapped In Mental Disorder, Suburbs - A Lamentation Or A Social Frustration!?
www.obliveon.de
BLUTMOND
THIRTEEN URBAN WAYS 4 GROOVY BOHEMIAN DAYS (63:55 min.)
AURAL MUSIC / CODE 666
Mit Beginn der ersten Töne von Thirteen Urban Ways 4 Groovy Bohemian Days fühle ich mich ohne Umschweife mitten in einer Art vertontem Rob Zombie Splatter: scheinbar durchgeknallt, aber anspruchsvoll gestaltet. Man hat sich konzentriert auf, ja, worauf eigentlich? Experimentellen, unkonventionellen Black Metal. Vielseitig zeigen sich die Jungs auf insgesamt dreizehn Stücken, die unterschiedlicher nicht seien könnten. Von synthetischen, elektrischen Schepperklängen, die mal Hard Rock Gefilde streifen, über Alternative Rock bis zu jazzigem Geplänkel deckt die Formation eine beachtliche musikalische Palette ab und schält sich dann wieder mit hartem Black Metal Sound aus der Pelle. Dabei bedient man keinerorts das typische Black Metal Klischee, sondern überrascht mit Stilbrüchen und Cuts innerhalb der Stücke. Gleiches gilt für die Stimme von Sänger John, der sich abwechselnd kreischend, schreiend, grölend oder auch mal ganz seicht und besonnen zeigt. Diese Mischung mag bei manch einem Corpsepaintfetischisten zu Startschwierigkeiten führen, und, mal ehrlich, mit einem einzigen Durchlauf ist es hier kaum möglich, das Gesamtkunstwerk in seiner Gänze zu durchleuchten. Eines fällt aber sofort ins Auge: man hat sich Zeit genommen, etwas Einzigartiges zu schaffen, nimmt bewusst lieber einmal zu oft die ein oder andere musikalische Abzweigung, aber schafft es trotzdem scheinbar immer den eigenen roten Faden im Fokus zu behalten. Auch die brachialen Übergänge innerhalb der Stücke werden stilsicher aufgelöst und, hat man sich erst einmal richtig auf das Ganze eingelassen, verstärkt sich der Eindruck, als sei diese nicht alltägliche Variante des Black Metal doch irgendwie harmonisch und erfrischend neu. Für den Wagemut und das hohe Niveau der Stücke verdienen sich die Jungs noch einen Extrabonus. Auch wenn man hier vielleicht den berühmten Ohrwurmhit vergebens suchen wird und sich die Musik nicht sofort jedem erschließt, haben Blutmond ihre Sache anspruchsvoll gemeistert und vielleicht einen kleinen Farbtupfer in der mitunter trüben Black Metal Welt hinterlassen. Eine außergewöhnliche CD mit starkem Wiedererkennungswert.
8/10 - CG
BLUTMOND
THIRTEEN URBAN WAYS 4 GROOVY BOHEMIAN DAYS (63:55 min.)
AURAL MUSIC / CODE 666
Mit Beginn der ersten Töne von Thirteen Urban Ways 4 Groovy Bohemian Days fühle ich mich ohne Umschweife mitten in einer Art vertontem Rob Zombie Splatter: scheinbar durchgeknallt, aber anspruchsvoll gestaltet. Man hat sich konzentriert auf, ja, worauf eigentlich? Experimentellen, unkonventionellen Black Metal. Vielseitig zeigen sich die Jungs auf insgesamt dreizehn Stücken, die unterschiedlicher nicht seien könnten. Von synthetischen, elektrischen Schepperklängen, die mal Hard Rock Gefilde streifen, über Alternative Rock bis zu jazzigem Geplänkel deckt die Formation eine beachtliche musikalische Palette ab und schält sich dann wieder mit hartem Black Metal Sound aus der Pelle. Dabei bedient man keinerorts das typische Black Metal Klischee, sondern überrascht mit Stilbrüchen und Cuts innerhalb der Stücke. Gleiches gilt für die Stimme von Sänger John, der sich abwechselnd kreischend, schreiend, grölend oder auch mal ganz seicht und besonnen zeigt. Diese Mischung mag bei manch einem Corpsepaintfetischisten zu Startschwierigkeiten führen, und, mal ehrlich, mit einem einzigen Durchlauf ist es hier kaum möglich, das Gesamtkunstwerk in seiner Gänze zu durchleuchten. Eines fällt aber sofort ins Auge: man hat sich Zeit genommen, etwas Einzigartiges zu schaffen, nimmt bewusst lieber einmal zu oft die ein oder andere musikalische Abzweigung, aber schafft es trotzdem scheinbar immer den eigenen roten Faden im Fokus zu behalten. Auch die brachialen Übergänge innerhalb der Stücke werden stilsicher aufgelöst und, hat man sich erst einmal richtig auf das Ganze eingelassen, verstärkt sich der Eindruck, als sei diese nicht alltägliche Variante des Black Metal doch irgendwie harmonisch und erfrischend neu. Für den Wagemut und das hohe Niveau der Stücke verdienen sich die Jungs noch einen Extrabonus. Auch wenn man hier vielleicht den berühmten Ohrwurmhit vergebens suchen wird und sich die Musik nicht sofort jedem erschließt, haben Blutmond ihre Sache anspruchsvoll gemeistert und vielleicht einen kleinen Farbtupfer in der mitunter trüben Black Metal Welt hinterlassen. Eine außergewöhnliche CD mit starkem Wiedererkennungswert.
8/10 - CG
