yeah, and he still does, but not as much as I hate Torn. hahahaha
by the way, the avatar of the bird saying "Die" is your best one yet.
Discuss Reviews for "To Welcome the Fade"
- Thread starter Novembers Paul
- Start date
yeah, and he still does, but not as much as I hate Torn. hahahaha
by the way, the avatar of the bird saying "Die" is your best one yet.
chupe666
You may enter up to 25 ch
HAHAHAAAAA.
It's from the old Steel Mill site.
I just bolded the die part a bit.
http://user.dls.net/~dionysus/Gallery.htm
It's from the old Steel Mill site.
I just bolded the die part a bit.
http://user.dls.net/~dionysus/Gallery.htm
This is the English translation of the Spanish review found at www.MetalPlanet.cl:
Novembers Doom To Welcome The Fade
(Dark Symphonies) Release Date 2002 _
Fourth full length (second one under Dark Symphonies) from these Death Doomsters from USA. They keep alive this style, together with other giants like Morgion, Evoken and others, in the States. After listening the album several times, I decided to write these words while I get inspired looking at my girlfriends tender face. _
Some info, nowadays they have a new guest bassist who recorded this work because the woman bass player left the band after the recording sessions of The Knowing (personal stuff, she moves to other city). Straight to the point, in To Welcome The Fade the Opeth influences are very notorious and it is important to said that the production has a more compressed sound, not so ambient like his predecessor album. An example are the drums whose sound very compressed, it remembers me a lot the second album "Of Sculptured Ivy And Stone Flowers", but I insist only in the sound matter not other. _
Although my female boss hates the track by track reviews, I will describe the transcendent songs for me, in order of apparition. The fifth track "If Forever" is a very interesting acoustic song where the vocalist Kuhr highlights for first time in the band, he sings with a lot of inspiration, like never before. I ever feel that a general opinion is that the Kuhrs vocals are the lowpoint in the N.D.s music, so this progress is a good thing. The sixth track "The Spirit Seed" is other good one (ever the sixth!) it would be my favourite one, with a lot of Opeth influences again, with a lot of acoustic guitar lines, several kind of grunts, clean male and female vocals, an intelligent game of intensities... in all sense a great composition. In the next song, "Torn", apart of the female vocals performed by a guest vocalist (like it is tradition in N.D.), Paul experience with high registers, not usual in his style (I suppose hes Paul!). From the track 8 and between the 2 and 5, the album turns a bit boring and the songs pass one after other until the last one "Dark Fields For Brilliance" a very emotional song, with a final great riff, a genial work._
Seems like a voice whisper me in the ear: tell about the monotony, I have to be honest. Like a follower of the band for years, giving the responsibility of the monotony (almost a karma in the N.D.s music in this full length) to Kuhr wouldnt be just. I have the sensation of a extreme using of typical structures, there is something in the composition, maybe the continue using of recurrent ideas. Seems like they consume their resources quickly and in spite of they have all the weapons to give us a cult album, unfortunately they only impress in the beginning and almost always the songs decay in the middle. Maybe it is the thing that not allow that N.D. can access to the top metal bands considering the years they have in the scene. Anyway this is a very personal opinion and I dont want to be unjust or insolent, but I believe that The Knowing is superior in variety, contrasts and originality, although the current one is more dynamic. _
Finishing this review, I have to mention that the production is great, the album sounds powerful and giant, maybe for the work of the producer Neil Kernon, a famous one known by their prizes and work with monsters like: Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse. I also have to mention the wonderful artwork of the master Travis Smith, who again give a great plus to the production, like he did it in The Knowing. A must for the fans of the November ones. __
Mystical Corpse Lover_
Novembers Doom To Welcome The Fade
(Dark Symphonies) Release Date 2002 _
Fourth full length (second one under Dark Symphonies) from these Death Doomsters from USA. They keep alive this style, together with other giants like Morgion, Evoken and others, in the States. After listening the album several times, I decided to write these words while I get inspired looking at my girlfriends tender face. _
Some info, nowadays they have a new guest bassist who recorded this work because the woman bass player left the band after the recording sessions of The Knowing (personal stuff, she moves to other city). Straight to the point, in To Welcome The Fade the Opeth influences are very notorious and it is important to said that the production has a more compressed sound, not so ambient like his predecessor album. An example are the drums whose sound very compressed, it remembers me a lot the second album "Of Sculptured Ivy And Stone Flowers", but I insist only in the sound matter not other. _
Although my female boss hates the track by track reviews, I will describe the transcendent songs for me, in order of apparition. The fifth track "If Forever" is a very interesting acoustic song where the vocalist Kuhr highlights for first time in the band, he sings with a lot of inspiration, like never before. I ever feel that a general opinion is that the Kuhrs vocals are the lowpoint in the N.D.s music, so this progress is a good thing. The sixth track "The Spirit Seed" is other good one (ever the sixth!) it would be my favourite one, with a lot of Opeth influences again, with a lot of acoustic guitar lines, several kind of grunts, clean male and female vocals, an intelligent game of intensities... in all sense a great composition. In the next song, "Torn", apart of the female vocals performed by a guest vocalist (like it is tradition in N.D.), Paul experience with high registers, not usual in his style (I suppose hes Paul!). From the track 8 and between the 2 and 5, the album turns a bit boring and the songs pass one after other until the last one "Dark Fields For Brilliance" a very emotional song, with a final great riff, a genial work._
Seems like a voice whisper me in the ear: tell about the monotony, I have to be honest. Like a follower of the band for years, giving the responsibility of the monotony (almost a karma in the N.D.s music in this full length) to Kuhr wouldnt be just. I have the sensation of a extreme using of typical structures, there is something in the composition, maybe the continue using of recurrent ideas. Seems like they consume their resources quickly and in spite of they have all the weapons to give us a cult album, unfortunately they only impress in the beginning and almost always the songs decay in the middle. Maybe it is the thing that not allow that N.D. can access to the top metal bands considering the years they have in the scene. Anyway this is a very personal opinion and I dont want to be unjust or insolent, but I believe that The Knowing is superior in variety, contrasts and originality, although the current one is more dynamic. _
Finishing this review, I have to mention that the production is great, the album sounds powerful and giant, maybe for the work of the producer Neil Kernon, a famous one known by their prizes and work with monsters like: Kansas, Yes, Queensryche, Judas Priest, Nevermore and Cannibal Corpse. I also have to mention the wonderful artwork of the master Travis Smith, who again give a great plus to the production, like he did it in The Knowing. A must for the fans of the November ones. __
Mystical Corpse Lover_
chupe666
You may enter up to 25 ch
Why can't my name be Mystical Corpse Lover?
Not a bad review, he just points out some of the things that I kind of felt about this album actually, as far as rehashing stuff we've done. When we were finishing the writing, I honestly felt like the Knowing was a bit stronger overall, but this is really the first review I've seen that mentioned it. Although it was translated from Spanish, so he could've said anything.
And I guess I'm making a faux pas in presuming Mystical Corpse Lover is a he. Could be a she. It's a somewhat gender-neutral name.
Not a bad review, he just points out some of the things that I kind of felt about this album actually, as far as rehashing stuff we've done. When we were finishing the writing, I honestly felt like the Knowing was a bit stronger overall, but this is really the first review I've seen that mentioned it. Although it was translated from Spanish, so he could've said anything.
And I guess I'm making a faux pas in presuming Mystical Corpse Lover is a he. Could be a she. It's a somewhat gender-neutral name.
NvmbrsDoom5
Member
At the same time, one of the most common criticisms that I received from people after listening to "The Knowing" was that it didn't feel consistent and lacked "flow". I personally think this new cd has better flow when I listen to it.
I actually didn't feel like I rehashed anything with this cd, personally. The stuff I wrote for 'TWTF' doesnt really sound anything like the stuff I did on 'The Knowing' *shrug*
I think both albums stand out on their own and they both have their high and low points.....
I'm sick of debating about these fucking reviews anyhow. You read through this entire thread and you can easily see that there's so many different opinions, it's best for people to just buy the cd or download the mp3's and draw their own conclusions. As for me, I'm going to keep writing and playing the music I enjoy. If others enjoy it as well, then thats wonderful.....
I actually didn't feel like I rehashed anything with this cd, personally. The stuff I wrote for 'TWTF' doesnt really sound anything like the stuff I did on 'The Knowing' *shrug*
I think both albums stand out on their own and they both have their high and low points.....
I'm sick of debating about these fucking reviews anyhow. You read through this entire thread and you can easily see that there's so many different opinions, it's best for people to just buy the cd or download the mp3's and draw their own conclusions. As for me, I'm going to keep writing and playing the music I enjoy. If others enjoy it as well, then thats wonderful.....
See, I disagee. I think The Fade has songs on it, that we never did anything like before. Just about everythng Larry contributed, which was a good 50%, sounds like nothing we've ever done, and at least half of what Eric wrote was very different then anything he's done as well. I think it's all personal taste, but i feel the Fade is far superior to The Knowing, musically, and execuition and delivery of the songs. Some of the songs may not be our best, but thet at least all hold their own, which is more then most CD's I hear these days.
Each CD we've done has "skip" moments, where I never listen to anymore, and skip right by. The Fade only has one for me, where all the others have at the least, two.
maybe its time for a best ND CD poll? bahh. No one plays anyway. haha
This review can be found at: http://www.bludgawd.com/index2.html
NOVEMBERS DOOM
"To Welcome The Fade"
Dark Symphonies
I had heard these guys in the past and didn't mind them at all. This new disc reminds me alot of Paradise Lost and other bands of that genre. The songs are written really well musically and the harmonies are absolutely incredible. With layers of dark shadowing and orchestrated keyboards, Novembers Doom can depress even the happiest person. This is a fresh break from the metal I normally listen to and I am very impressed at the musical abilities of all the band members. The female vocals on this are amazing and sound really chilling, not like that operatic style which I despise so much, but well sung back up vocals. If you are looking for something refreshing, something a little more moody and less angry than your average metal band than I would recommend checking this out. While it isn't my forte in the least I can sit hear and enjoy listening to it all the same.
NOVEMBERS DOOM
"To Welcome The Fade"
Dark Symphonies
I had heard these guys in the past and didn't mind them at all. This new disc reminds me alot of Paradise Lost and other bands of that genre. The songs are written really well musically and the harmonies are absolutely incredible. With layers of dark shadowing and orchestrated keyboards, Novembers Doom can depress even the happiest person. This is a fresh break from the metal I normally listen to and I am very impressed at the musical abilities of all the band members. The female vocals on this are amazing and sound really chilling, not like that operatic style which I despise so much, but well sung back up vocals. If you are looking for something refreshing, something a little more moody and less angry than your average metal band than I would recommend checking this out. While it isn't my forte in the least I can sit hear and enjoy listening to it all the same.
NvmbrsDoom5
Member
I was just told by a friend of mine in England that we got a review in the new issue of Terrorizer. Apparently we got a 7 out of 10 (which is about standard for them), but we got blasted for "copying" Opeth and MDB as usual.....
Typical British critics.....if we sounded like Akercocke then we'd be gods....oh no wait I take that back. They'd just blast us for "copying" another one of their precious bands. Whatever.
Typical British critics.....if we sounded like Akercocke then we'd be gods....oh no wait I take that back. They'd just blast us for "copying" another one of their precious bands. Whatever.
NvmbrsDoom5
Member
And for the record, I think My Dying Bride and Opeth are both fucking excellent. Just thought I would say that in case anyone misconstrued my comments and thought that I was dissing them in any way.....Akercocke I could care less about LOL
This review can be found at: http://www.starvox.net/cdr/nd.htm
To Welcome The Fade is the fourth full-length studio release from Novembers Doom, the unsung veterans of Americas relatively small Gothic/Doom metal scene. It has been a long, wearisome journey for founding member and lyricist Paul Kuhr, who has seemingly met with every possible obstacle both within the band and the constant rotating line-up but his own personal experiences have threatened to slow him down. Thankfully for those of us who lie hypnotized by the sounds of emotion laden and atmospheric metal, the band has pressed on, receiving favourable critical attention and sincere praise with each successive release. After the crushingly bleak and blissfully dark lamentations of their debut Amid Its Hallowed Mirth (my personal favourite release from the band), Novembers Doom has developed its own unique sound. Their densely layered and harmonic guitar sound instantly sets them apart from contemporaries. With this latest release, the bands sound seems to have reached a pristine perfection - rich in melody, intensely personal and magnificently expressive.
Though the band is pure Doom in atmosphere and spirit, there are many bands currently active with a greater fidelity to harsher, colder funereal oppressiveness. While certainly nowhere near the realms of reaching commercial success, the bands latest collection of material is their most accessible yet, having the same progressive yet melodic qualities as Opeth, Katatonia, Dark Tranquility, and later My Dying Bride. The bands appeal will surely not be limited to fans of Doom alone, but the material comprising To Welcome The Fade stands alongside some of the greatest and authentic Gothic metal albums of the past decade.
Not The Strong forebears any lengthy, long winded album intros, and instead plunges right into the thick of things with a burst of snapping drums and sweeping guitar galloping, accompanied by intelligible death growls. The songs lyrics are sensitive, yet stripped of any flowery pretense. They are straightforward testaments of vulnerability:
If only my mother knew the real me
Her heart would break, for I am shame
Not the strong man she raised from birth
A coward, a child, a scared soul.
The song marches along through a melodic dual guitar serenade before sinking into a groove-oriented Sabbath-esque jam. Finally, it tumbles back into the moody melancholic harmonies that characterize the chorus and leave the listener mesmerized. Broken is also comprised of many rhythmic shifts, from the epic, shuffling crunch that starts the song to a slow watery guitar interlude that introduces the first clean male vocals on the disc, as well as the first appearance of female vocals. The female vocals at first did not sit very well with me. They werent the usual willowy, weak angelic whines that many metal bands employ, nor were they an attempt at grandiose operatic soprano work. Though barren of the usual clichés, I at first found the vocals to be rather average, mid ranged alto vocals with nothing all that remarkable in character. The overall techniques and style would be more at home on any given pop rock, or dare I say, contemporary country record. Not what you would expect in a dark metal band, and at first they definitely seem painfully out of place. It is not until you get to The Spirit Seed and especially the albums outstanding highlight Torn that they begin to make sense. But I jump ahead of my critique.
Lost In A Day continues along with cool shades of watery guitars and dense, fiery walls of heavy guitars. Within My Flesh is the albums doomiest track, with a lush acoustic intro that bursts into a sluggish, heart wrenching crescendo of gargantuan guitars and pounding drums. Venomous vocals deliver more pensive lyrics:
My bride to comfort me when all seems lost
A kiss upon my brow to soften my suffering
She means so well I havent the heart to tell her
My smile was forced
My mother cries for me when no one will
Her words of compassion swell my eyes
Its not fair this has happened to you
And Id do anything to take away your pain.
If Forever is a lovelorn acoustic ballad, with a powerful clean vocal performance and warm enveloping choir synths to thicken the sound. There is nothing remotely metal about the track, though a weighty and moving effort despite the absence of the bands usual morose metallic arsenal. The Spirit Seed flows through various movements, funneling down from a thick heavy collage of guitars and striking vocal harmonies into a churning sea of acoustic and chorused electric guitar passages, and a more effective use of Nora OConners vocals.
But it is indeed Torn which stopped me dead in my tracks and riveted my attention from the first note to the final dissonant echo of power chords. A deceptive indie rock jangle opens the track before an encompassing swell of electric guitar arpeggios and deep drums break the silence for a sequence of multi-layered darkness. The song sports three vocal styles, each representing a different character the female vocals sing of life where predictably the guttural vocals represent death. But in between is one of the sweetest and moving clean male vocal harmonies to represent torn. As I had mentioned, the female vocals here finally shine, and the simplicity and common realism that I at first disliked about them is exactly what makes them so poignant the female figure is within reach, and attempts to calm the raging emotions of the songs protagonist. She represents strength, healing, and caring, and the beauty of this is in the optimistic hint that such a blessing is attainable. But the vocalists darker and ugly side is skeptical, afraid, and resisting in order to prevent himself from being hurt again. And then there is the part of him that is torn and yearns to be safe and finally begin the process of healing. But his fear ultimately prevents him from being saved. It would take an eternity in Hell for my heart to rest in peace.
Sure, you can read in to nearly any song, but few bands actually inspire their listeners to do so. Novembers Doom actually provide their listeners with enough noteworthy lines to read between. For that, this band should surely be recognized not to mention the fact that they provide such remarkably appropriate music to accompany the lyrics as they unfold.
Dreams To Follow is a brief solo piano interlude, paving the way for the murky guitar arpeggios that ring out mournfully at the onset of the albums final track Dark Fields Of Brilliance. The final track is tragically animated by a bittersweet mood, hinting simultaneously of hope and defeat. The female vocals float alongside the clean vocals, until the guttural vocals sever their partially formed bond. The gloom builds for one final chilling and sonic climax of interweaving guitars and frigid synths, and then silence. The listener is left in a state of deep musing, emotionally devastated yet musically and artistically enlightened. You want more, and yearn for more, but are left hanging by the proverbial thread.
For all the nights I lie awake
And stare into the void
Just once I wish to grasp
Some glimmer of hope
Continuing to build on the majesty and grace that enriched their previous and masterfully hailed release The Knowing, To Welcome The Fade is a giant leap forward conceptually, musically, artistically, and lyrically for Novembers Doom. Though the album might be light for extreme Doom purists, it is nevertheless an unquestionable triumph for the progress of the band. This is a startlingly mature and well-written album that will enrich the collections of moody dark music fans the world over. Highly recommended to not only fans of Doom and Gothic Metal, but to all bleeding heart Romantics, regardless of their usual musical interests.
To Welcome The Fade is the fourth full-length studio release from Novembers Doom, the unsung veterans of Americas relatively small Gothic/Doom metal scene. It has been a long, wearisome journey for founding member and lyricist Paul Kuhr, who has seemingly met with every possible obstacle both within the band and the constant rotating line-up but his own personal experiences have threatened to slow him down. Thankfully for those of us who lie hypnotized by the sounds of emotion laden and atmospheric metal, the band has pressed on, receiving favourable critical attention and sincere praise with each successive release. After the crushingly bleak and blissfully dark lamentations of their debut Amid Its Hallowed Mirth (my personal favourite release from the band), Novembers Doom has developed its own unique sound. Their densely layered and harmonic guitar sound instantly sets them apart from contemporaries. With this latest release, the bands sound seems to have reached a pristine perfection - rich in melody, intensely personal and magnificently expressive.
Though the band is pure Doom in atmosphere and spirit, there are many bands currently active with a greater fidelity to harsher, colder funereal oppressiveness. While certainly nowhere near the realms of reaching commercial success, the bands latest collection of material is their most accessible yet, having the same progressive yet melodic qualities as Opeth, Katatonia, Dark Tranquility, and later My Dying Bride. The bands appeal will surely not be limited to fans of Doom alone, but the material comprising To Welcome The Fade stands alongside some of the greatest and authentic Gothic metal albums of the past decade.
Not The Strong forebears any lengthy, long winded album intros, and instead plunges right into the thick of things with a burst of snapping drums and sweeping guitar galloping, accompanied by intelligible death growls. The songs lyrics are sensitive, yet stripped of any flowery pretense. They are straightforward testaments of vulnerability:
If only my mother knew the real me
Her heart would break, for I am shame
Not the strong man she raised from birth
A coward, a child, a scared soul.
The song marches along through a melodic dual guitar serenade before sinking into a groove-oriented Sabbath-esque jam. Finally, it tumbles back into the moody melancholic harmonies that characterize the chorus and leave the listener mesmerized. Broken is also comprised of many rhythmic shifts, from the epic, shuffling crunch that starts the song to a slow watery guitar interlude that introduces the first clean male vocals on the disc, as well as the first appearance of female vocals. The female vocals at first did not sit very well with me. They werent the usual willowy, weak angelic whines that many metal bands employ, nor were they an attempt at grandiose operatic soprano work. Though barren of the usual clichés, I at first found the vocals to be rather average, mid ranged alto vocals with nothing all that remarkable in character. The overall techniques and style would be more at home on any given pop rock, or dare I say, contemporary country record. Not what you would expect in a dark metal band, and at first they definitely seem painfully out of place. It is not until you get to The Spirit Seed and especially the albums outstanding highlight Torn that they begin to make sense. But I jump ahead of my critique.
Lost In A Day continues along with cool shades of watery guitars and dense, fiery walls of heavy guitars. Within My Flesh is the albums doomiest track, with a lush acoustic intro that bursts into a sluggish, heart wrenching crescendo of gargantuan guitars and pounding drums. Venomous vocals deliver more pensive lyrics:
My bride to comfort me when all seems lost
A kiss upon my brow to soften my suffering
She means so well I havent the heart to tell her
My smile was forced
My mother cries for me when no one will
Her words of compassion swell my eyes
Its not fair this has happened to you
And Id do anything to take away your pain.
If Forever is a lovelorn acoustic ballad, with a powerful clean vocal performance and warm enveloping choir synths to thicken the sound. There is nothing remotely metal about the track, though a weighty and moving effort despite the absence of the bands usual morose metallic arsenal. The Spirit Seed flows through various movements, funneling down from a thick heavy collage of guitars and striking vocal harmonies into a churning sea of acoustic and chorused electric guitar passages, and a more effective use of Nora OConners vocals.
But it is indeed Torn which stopped me dead in my tracks and riveted my attention from the first note to the final dissonant echo of power chords. A deceptive indie rock jangle opens the track before an encompassing swell of electric guitar arpeggios and deep drums break the silence for a sequence of multi-layered darkness. The song sports three vocal styles, each representing a different character the female vocals sing of life where predictably the guttural vocals represent death. But in between is one of the sweetest and moving clean male vocal harmonies to represent torn. As I had mentioned, the female vocals here finally shine, and the simplicity and common realism that I at first disliked about them is exactly what makes them so poignant the female figure is within reach, and attempts to calm the raging emotions of the songs protagonist. She represents strength, healing, and caring, and the beauty of this is in the optimistic hint that such a blessing is attainable. But the vocalists darker and ugly side is skeptical, afraid, and resisting in order to prevent himself from being hurt again. And then there is the part of him that is torn and yearns to be safe and finally begin the process of healing. But his fear ultimately prevents him from being saved. It would take an eternity in Hell for my heart to rest in peace.
Sure, you can read in to nearly any song, but few bands actually inspire their listeners to do so. Novembers Doom actually provide their listeners with enough noteworthy lines to read between. For that, this band should surely be recognized not to mention the fact that they provide such remarkably appropriate music to accompany the lyrics as they unfold.
Dreams To Follow is a brief solo piano interlude, paving the way for the murky guitar arpeggios that ring out mournfully at the onset of the albums final track Dark Fields Of Brilliance. The final track is tragically animated by a bittersweet mood, hinting simultaneously of hope and defeat. The female vocals float alongside the clean vocals, until the guttural vocals sever their partially formed bond. The gloom builds for one final chilling and sonic climax of interweaving guitars and frigid synths, and then silence. The listener is left in a state of deep musing, emotionally devastated yet musically and artistically enlightened. You want more, and yearn for more, but are left hanging by the proverbial thread.
For all the nights I lie awake
And stare into the void
Just once I wish to grasp
Some glimmer of hope
Continuing to build on the majesty and grace that enriched their previous and masterfully hailed release The Knowing, To Welcome The Fade is a giant leap forward conceptually, musically, artistically, and lyrically for Novembers Doom. Though the album might be light for extreme Doom purists, it is nevertheless an unquestionable triumph for the progress of the band. This is a startlingly mature and well-written album that will enrich the collections of moody dark music fans the world over. Highly recommended to not only fans of Doom and Gothic Metal, but to all bleeding heart Romantics, regardless of their usual musical interests.
NvmbrsDoom5
Member
Man....thats the most thorough review I have ever read LOL
Y'know, honestly, even if the review would've said they didn't like the cd, I would still respect it for showing that the reviewer listened to it in depth and actually paid attention to detail......not just some jagoff with a free promo who skims through it once and decides its not "br00tal" enough for his tastes and then rates it lowly. I certainly dont expect every review to be this thorough, but I think its fairly obvious when certain ones come across as though they really didnt give it a serious listen, or didnt really know much about the genre to begin with.
And so everyone knows, the clean male vocals that keep getting mentioned in "Torn" are actually Eric. I don't think alot of people realise that.
Y'know, honestly, even if the review would've said they didn't like the cd, I would still respect it for showing that the reviewer listened to it in depth and actually paid attention to detail......not just some jagoff with a free promo who skims through it once and decides its not "br00tal" enough for his tastes and then rates it lowly. I certainly dont expect every review to be this thorough, but I think its fairly obvious when certain ones come across as though they really didnt give it a serious listen, or didnt really know much about the genre to begin with.
And so everyone knows, the clean male vocals that keep getting mentioned in "Torn" are actually Eric. I don't think alot of people realise that.
erik@digitalmetal
Member
turnloosetheswans
metal weirdoD
but akercoke rules....i snuggle goat of menendes quite often....but id wouldnt sport my novembers doom long sleeve with any pride if ya guys rode anyones nuts....and in all honesty this guy over here thinks ya guys stand on yer own... and akercocke completely rules....and y & t does too
ShadowLioness
\m/ \m/
and so on and so on...
Doooooooooooooood that was mighty fine reading!!! Nice to see a THOROUGH review like that
This Review found at: http://www.musicextreme.com
It is amazing how each time that November´s Doom makes a new album they achieve great results....their previous "The Knowing" was really brilliant, and this one is even better. Here we have ten tracks of pure November´s Doom style metal with all what that means: Good riffs, excellent melodies, strong vocals and a great klnowledge of song structure. Plus this time we have Neil Kernon producing this album and adding some great mixing. Each of the songs here has that depressive quality that November´s Doom´s music has and that have made them an unique band. And that is due to the combination of one heavy guitar with some melodies and because of the use of some keyboards and some clean guitars. Plus, to add to the anguished and dark feeling of the recording we have the female ethereal vocals by Nora O´Conner in some palces adding a lot of beauty and darkness with her voice. A must
It is amazing how each time that November´s Doom makes a new album they achieve great results....their previous "The Knowing" was really brilliant, and this one is even better. Here we have ten tracks of pure November´s Doom style metal with all what that means: Good riffs, excellent melodies, strong vocals and a great klnowledge of song structure. Plus this time we have Neil Kernon producing this album and adding some great mixing. Each of the songs here has that depressive quality that November´s Doom´s music has and that have made them an unique band. And that is due to the combination of one heavy guitar with some melodies and because of the use of some keyboards and some clean guitars. Plus, to add to the anguished and dark feeling of the recording we have the female ethereal vocals by Nora O´Conner in some palces adding a lot of beauty and darkness with her voice. A must
ShadowLioness
\m/ \m/
I thought there was more to the review the way that it ended like that...so I went to the actual site and found out otherwise, hehe. Anyway, I also checked out the interview with Larry, informative!
From: http://www.live4metal.com/
Novembers Doom - To Welcome The Fade (Dark Symphonies) Review By Steve
For whatever reason(s) I found this a daunting prospect to review. At first I didn't have the time to give it my fullest attention and there is so much going on, it demands to be listened to. Secondly Novembers Doom flit between styles effortlessly and that kinda threw me as well. But after I absorbed everything, I wandered what all the fuss was about, because this so accessible and a joy to listen to. Novembers Doom are essentially influenced by the (then) "Big Three of UK Doom". My Dying Bride, Anathema and (old) Paradise Lost. The latter being the more obvious. Add to that, their own unique qualities and a touch of folk, and you onto something very special indeed. Not The Strong comes out of the blocks with a full on Voi Vod inspired riff, the energetic foundation is merged into captivating Death/Doom that hasn't surfaced since Paradise Lost's Icon album. The guitars are to the fore, transferring from huge riffs to sublime leads with ease. And vocalist Paul Kuhr reminds you how good Nick Holmes once was before he started to croon. Broken sees the introduction of guest female vocalist Nora O'Conner, her gentle folky voice takes the ND sound off onto yet another tangent. Acoustic guitars and spoken word passages lighten the mood, her mesmerizing voice fills the background and Utopia is reached.
Within My Flesh sees another melodious acoustic intro, you're completely entranced before a monstrous Bride approved riff kicks in. The melancholic guitars weep gently and it's if the last 10 years never happened. Forget the commercial crap that masquerades as Metal these days, this is the real thing.
I did a search on Nora O'Conner on Google. All I got was info on an Irish folk singer of the same name. One and the same? Maybe. The folk part is obvious. Her captivating voice can transform a song in an instant. It's clarity and innocence reduces any aggressive intent to a soothing and calm oasis within seconds. Torn sees her take the spotlight before the clean vocals of Paul Kuhr join the fray for a heartfelt duet, before long his menacing growl returns. He flits between the two styles in glorious fashion. This is one of those releases I could rave about all day.
Novembers Doom have the quality to go as far as Paradise looked likely too before they lost the plot. After surviving ten years in a volatile industry, they deserve all the plaudits bestowed upon them.
Novembers Doom - To Welcome The Fade (Dark Symphonies) Review By Steve
For whatever reason(s) I found this a daunting prospect to review. At first I didn't have the time to give it my fullest attention and there is so much going on, it demands to be listened to. Secondly Novembers Doom flit between styles effortlessly and that kinda threw me as well. But after I absorbed everything, I wandered what all the fuss was about, because this so accessible and a joy to listen to. Novembers Doom are essentially influenced by the (then) "Big Three of UK Doom". My Dying Bride, Anathema and (old) Paradise Lost. The latter being the more obvious. Add to that, their own unique qualities and a touch of folk, and you onto something very special indeed. Not The Strong comes out of the blocks with a full on Voi Vod inspired riff, the energetic foundation is merged into captivating Death/Doom that hasn't surfaced since Paradise Lost's Icon album. The guitars are to the fore, transferring from huge riffs to sublime leads with ease. And vocalist Paul Kuhr reminds you how good Nick Holmes once was before he started to croon. Broken sees the introduction of guest female vocalist Nora O'Conner, her gentle folky voice takes the ND sound off onto yet another tangent. Acoustic guitars and spoken word passages lighten the mood, her mesmerizing voice fills the background and Utopia is reached.
Within My Flesh sees another melodious acoustic intro, you're completely entranced before a monstrous Bride approved riff kicks in. The melancholic guitars weep gently and it's if the last 10 years never happened. Forget the commercial crap that masquerades as Metal these days, this is the real thing.
I did a search on Nora O'Conner on Google. All I got was info on an Irish folk singer of the same name. One and the same? Maybe. The folk part is obvious. Her captivating voice can transform a song in an instant. It's clarity and innocence reduces any aggressive intent to a soothing and calm oasis within seconds. Torn sees her take the spotlight before the clean vocals of Paul Kuhr join the fray for a heartfelt duet, before long his menacing growl returns. He flits between the two styles in glorious fashion. This is one of those releases I could rave about all day.
Novembers Doom have the quality to go as far as Paradise looked likely too before they lost the plot. After surviving ten years in a volatile industry, they deserve all the plaudits bestowed upon them.
From: http://brotheris.host.sk/music-rvw-fade.php
You can love them or hate them, this won't change a fact that they are trying to do something different with each new album. Having lost their bass player (she rocked imho) Novembers Doom lost a small bit I loved in The Knowing. Anyway... Sometimes I think that with this album Novembers Doom tried to copy their last work (some tracks are very similar). The word 'copy' doesn't belong here really, because I think that band tried to take best they could from The Knowing. Album on the whole is quite different. Some will call its sound more 'gothic', but I won't do that. 'If Forver' may give you this impression, but I'd like to call it 'Candlemass compatible' That is just doom, this is how it evolves.
Guitar sound changed, first impression wasn't very good (demo tracks 'Not the Strong' and 'Dark Fields of Briliance'), but while listening I found that I like it. It is different to what I used to hear, it is softer. Ofcourse not all tracks sound this way. My favourite 'The Spirit Seed' isn't that soft on the guitar side. Non standard patterns, variety of voices (death,etc), The Scream (...liiives...) are wonderful. I would like to see more experiments come into this side (has a little black metal tunned in imho).
Overal this album sounds nice, has variety of songs which don't sound the same.
Lyrics mostly are simple, but who can blame them, it is doom, they don't pretend to write philosophical works (although not all songs are simple structured, just check out 'Torn'). Words expres feelings, you just have to open your mind and relive it all with music. Isn't it nice ?
Good work guys/gals, applauds go to you, I just have a wish: please don't turn into Yet Another Anathema Clone.
You can love them or hate them, this won't change a fact that they are trying to do something different with each new album. Having lost their bass player (she rocked imho) Novembers Doom lost a small bit I loved in The Knowing. Anyway... Sometimes I think that with this album Novembers Doom tried to copy their last work (some tracks are very similar). The word 'copy' doesn't belong here really, because I think that band tried to take best they could from The Knowing. Album on the whole is quite different. Some will call its sound more 'gothic', but I won't do that. 'If Forver' may give you this impression, but I'd like to call it 'Candlemass compatible'
That is just doom, this is how it evolves.Guitar sound changed, first impression wasn't very good (demo tracks 'Not the Strong' and 'Dark Fields of Briliance'), but while listening I found that I like it. It is different to what I used to hear, it is softer. Ofcourse not all tracks sound this way. My favourite 'The Spirit Seed' isn't that soft on the guitar side. Non standard patterns, variety of voices (death,etc), The Scream (...liiives...) are wonderful. I would like to see more experiments come into this side (has a little black metal tunned in imho).
Overal this album sounds nice, has variety of songs which don't sound the same.
Lyrics mostly are simple, but who can blame them, it is doom, they don't pretend to write philosophical works (although not all songs are simple structured, just check out 'Torn'). Words expres feelings, you just have to open your mind and relive it all with music. Isn't it nice ?
Good work guys/gals, applauds go to you, I just have a wish: please don't turn into Yet Another Anathema Clone.
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