Greatest Death Metal Release (no bullshit 'top ten' lists!)

I like Scourge of God quite a bit more after this whole exchange.

Also, MegaMoose, he seems to like The Red in the Sky is ours quite a bit :rolleyes:
 
Not sure if it's been mentioned in the 13 or so pages so far but Psycroptic' "Sceptre of the Ancients" is worthy of insane amounts of praise. Might be a bit too full on for all you light-weights that would consider Opeth to be death metal but give it a try anyway. At the very least it will put hairs on your chest.
 
Scourge of God, I'm curious about what some of your favorite albums (of any genre) are.

Classical releases make up the bulk of my listening habits, and my favorites are too many to conveniently list.

Among non-metal, non-classical recordings, personal favorites include:

Maeror Tri - Language of Flames and Sound and Myein
Robert Fripp - The Gates of Paradise
Lustmord - The Place Where the Black Stars Hang
Puissance - Back in Control
Sol Invictus - In a Garden Green
Death in June - Burial
The Moon Lay Hidden Beneath a Cloud - A New Soldier Follows the Path of a New King
Dead Can Dance - Dead Can Dance and Aion
Dwight Yoakam - Guitars, Cadillacs, Etc. Etc.
Jean Ritchie and Doc Watson - Live at Folk City
Alison Krauss - I've Got that Old Feeling
Merle Haggard - A Workin' Man Can't Get Nowhere Today
The Mavericks - What a Crying Shame
Loreena McKennitt - The Visit
Red Clay Ramblers - Rambler
The Byrds - Turn!Turn!Turn!
The Beatles - A Hard Day's Night
The Doors - The Doors

I'm also a huge fan of Old Time 'country' (mountain music): Riley Puckett, The Carter Family, the Skillet Lickers etc.
 
It shows up from time to time throughout the album, but is especially prevalent in some of the early tracks like the title cut and "Kingdom Gone." It's not the classic twelve tone system by any means (and better for it), but several serialist techniques are applied to manipulating the creation of riffs (chiefly inversion and retrograde inversion, but also transposition, on occasion). This is combined with the heavy use of modalism and chromatic movement to largely liberate The Red in the Sky is Ours from the constraints of key, allowing rapid shifts of mood and tension without the ABRUPT (and sometimes irritating) breaks that more traditionally harmonic music requires.



Serialism is itself an application of set theory, and emerged explicitly as a means of making music seem more random and less predictable under tightly controlled circumstances.

Do you have any specific notational examples? Pitch sets or tone rows or anything of the like? Just curious.
 
Do you have any specific notational examples? Pitch sets or tone rows or anything of the like? Just curious.

Lacking perfect pitch or sheet music, the best I can tell you is that it sounds like most of the non-twelve tone serialism I've heard. "Kingdom Gone" in particular puts me in mind of some of the more unsettling passages from the later works of Shostakovich or Copeland, both of whom used serialist techniques side by side with other approaches.
 
wow, Scourge of God is like the NFU of death metal.

:lol: :lol: haha nice one

andt yet another great, articulate review for a fantastic album. spot on, SoG!

Scourge of God, I'm curious about what some of your favorite albums (of any genre) are.

Im quite interested to hear some of his favourite albums too, Death metal or not

Hey Scourge of God,

Is there a website where I can read all your reviews?

are you folks looking for a new dad or something?