Manes Vilosophe
code666 Code018 2003
By Russell Garwood
Manes are another genre-defying group of musicians to release their latest album under the code666 moniker; now a sextet, the Norweigan band released three demos and one album of cold, unsympathetic black metal as a duo, before expanding to the present line-up. Their current sound marks a great evolutionary advance from previous works, containing electronics, dance elements, occasional nods to jazz and blues, trapped within a rock/metal template. Also prevalent is a personal touch, making all the songs on "Vilosophe" both memorable and affecting, while top notch songwriting makes this the kind of album which requires effort not to listen to non-stop for fear of spoiling it. Distinctive vocals come courtesy of Tommy Sebastian and Asgeir Hatlen, whose style of high, slightly fragmented singing is juxtaposed by occasional harsher - yet still strangely melodic screaming. The two guitarists, Eivind Fjoseide and Tor-Heige Skei (also electronics, programming and sequencing) play unforgettable hooks, whether in distorted or cleaner sections, and several passages are drowning in multiple lines. The prominent bass of Torstein Parelius is excellent; rather than being limited to a supporting role it often plays such complex lines that the instrument becomes an integral part of the music. This leaves the drums of Rune Hoemsnes which are also well performed; live sections are effective and match the sound to perfection, while programmed sections give some songs a jungle feel.
The element that makes "Vilosophe" a truly outstanding album for me, however, is the wistful, remorseful vein that runs throughout, making each sober song positively drip melancholy. From the sparse pianos contrasting heavier sections of "Terminus A Quo/Terminus Ad Quem", through the chilled, almost trip-hop influenced "White Devil Black Shroud" to the epic melodies and seedy sax of "Ende", a sadness permeates Manes work which successfully gels a varied sound. Hence a very high quality is maintained throughout, and picking standouts seems a ridiculously hard task the only track Im sure wouldnt be on the list is the closing effort "Confluence". This comprises five minutes of German speech with some unnerving drones beneath; its effective, but not to the same high standard, musically or atmospherically, as the other tracks. While "Vilosophe" may be met with some animosity from more traditional metal fans, it is a must for all lovers of emotional, groundbreaking music.
code666 Code018 2003
By Russell Garwood
Manes are another genre-defying group of musicians to release their latest album under the code666 moniker; now a sextet, the Norweigan band released three demos and one album of cold, unsympathetic black metal as a duo, before expanding to the present line-up. Their current sound marks a great evolutionary advance from previous works, containing electronics, dance elements, occasional nods to jazz and blues, trapped within a rock/metal template. Also prevalent is a personal touch, making all the songs on "Vilosophe" both memorable and affecting, while top notch songwriting makes this the kind of album which requires effort not to listen to non-stop for fear of spoiling it. Distinctive vocals come courtesy of Tommy Sebastian and Asgeir Hatlen, whose style of high, slightly fragmented singing is juxtaposed by occasional harsher - yet still strangely melodic screaming. The two guitarists, Eivind Fjoseide and Tor-Heige Skei (also electronics, programming and sequencing) play unforgettable hooks, whether in distorted or cleaner sections, and several passages are drowning in multiple lines. The prominent bass of Torstein Parelius is excellent; rather than being limited to a supporting role it often plays such complex lines that the instrument becomes an integral part of the music. This leaves the drums of Rune Hoemsnes which are also well performed; live sections are effective and match the sound to perfection, while programmed sections give some songs a jungle feel.
The element that makes "Vilosophe" a truly outstanding album for me, however, is the wistful, remorseful vein that runs throughout, making each sober song positively drip melancholy. From the sparse pianos contrasting heavier sections of "Terminus A Quo/Terminus Ad Quem", through the chilled, almost trip-hop influenced "White Devil Black Shroud" to the epic melodies and seedy sax of "Ende", a sadness permeates Manes work which successfully gels a varied sound. Hence a very high quality is maintained throughout, and picking standouts seems a ridiculously hard task the only track Im sure wouldnt be on the list is the closing effort "Confluence". This comprises five minutes of German speech with some unnerving drones beneath; its effective, but not to the same high standard, musically or atmospherically, as the other tracks. While "Vilosophe" may be met with some animosity from more traditional metal fans, it is a must for all lovers of emotional, groundbreaking music.
