The Never Ending Now Playing Thread

i suddenly remembered today that i forgot Simen's birthday... :oops: so kinda belated, i'm playing his entire discography today, including obscure Dagoba i just found out about (It's Alll About Time is quite cool actually! :headbang:)

np: Borknagar // The Archaic Course ♥♥♥:worship:♥♥♥
 
Dont u hear on Universal a heavy reminiscence to that album?
absolutely not! it's like comparing apples and oranges to me. several people have mentioned that but i could never understand the reference... :rolleyes: every single track of TAC is just epic! it's catchy, beautiful, harmonic. None of this is applicable to Universal (for me). But i might just be missing some less obvious clues because of the complexity of the total picture? :rolleyes:
 
Agalloch - Fire Above, Ice Below

This is such an emotional track. I get teary-eyed almost every time I listen to it. Somehow this track pierces me through and through, especially the last two minutes of it. Such an astounding band that sounds like no other.
 
oh well, i couldn't care less about God of War, but if you say so... maybe the rest of the album does sound heavy enough? dunno, i have only checked out Opeth's contribution.
I do think that Mikael's clean vocals sound just nauseously sugarsweet (= gay) lately... (like Watershed f.ex.) Even George Michael doesn't sound so sugary :rolleyes:

just listen to the story...



Kratos was the youngest and most promising captain in Sparta's army, quickly gaining recognition due to his violent tactics. During an attack by a barbarian tribe, they were outnumbered. Before being killed by the barbarian king, Kratos summoned Ares, the Greek god of war, and offered his soul in exchange for a victory.He continued to serve Ares until the god tricked him into killing his own family, after which he served several of the Greek gods for a decade. After becoming tired of serving the gods to erase the memories of his family's murder, he contacted Athena, who offered him forgiveness if he was able to stop Ares' destruction of Athens. After defeating several monsters attacking the citizens, Kratos saves the city's oracle who tells him to retrieve Pandora's box in order to defeat Ares. Kratos succeeds in this task, but is killed by Ares and sent to Hades. After escaping from the underworld he returns to Athens and confronts Ares, regaining control of Pandora's box and using its power to kill the god. When he discovers that the gods' forgiveness does not include allowing him to forget his mistakes, he attempts suicide, but is stopped by Athena who informs him that he has been granted Ares' throne on Mount Olympus.
 
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This is one weird album, but really cool at the same time.

 
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My Dying Bride - The Crown of Sympathy (from Darkest Eyes DVD). I like how Aaron performs it there. He seems to feel what he sings in some extent.
 
what's wrong with virus?
i think it's a very strong album, a good mix between old day's brutality and today's alien sound :lol:
i loved each and every track :oops:

I like it. their best since Into the Abyss, but it's not so consistent. The first half it's too damn great and the 2nd is just really good. A Taste seems to be more solid, each track is as good as the rest.

absolutely not! it's like comparing apples and oranges to me. several people have mentioned that but i could never understand the reference... :rolleyes: every single track of TAC is just epic! it's catchy, beautiful, harmonic. None of this is applicable to Universal (for me). But i might just be missing some less obvious clues because of the complexity of the total picture? :rolleyes:

I hear the reference mainly on the guitars. The riffs used on Universal are very like TAC and Q. The difference is really obvious as you said: The emphasis on TAC was the epicness, and most of epic shit is really simple and to the point, with a really epic and sing along chorus. Now is the complexity and 'lack' of structures, 'avantgarde' vocals, technical execution of each instrument, complex layers of melodies (sometimes with sustained dissonant/tense moments), etx. Just hear My Domain riffs and compare them with the rest of the album. U'll see that they are very alike.

I'm pretty sure that Øystein is able to compose tons of songs like Oceans Rise or Winter Millenium, but what's the point about it?
 
I hear the reference mainly on the guitars. The riffs used on Universal are very like TAC and Q. The difference is really obvious as you said: The emphasis on TAC was the epicness, and most of epic shit is really simple and to the point, with a really epic and sing along chorus. Now is the complexity and 'lack' of structures, 'avantgarde' vocals, technical execution of each instrument, complex layers of melodies (sometimes with sustained dissonant/tense moments), etx. Just hear My Domain riffs and compare them with the rest of the album. U'll see that they are very alike.

I'm pretty sure that Øystein is able to compose tons of songs like Oceans Rise or Winter Millenium, but what's the point about it?
hmm now i think i know why this reference has completely escaped me: i found guitar work on Universal a bit uninspired.

It's also possible to sound both totally complex and avant garde AND catchy and beautifully harmonic at the same time (Age of Silence is what immediately comes to mind). Avant garde, progressive, however you want to call it, doesn't necessarily need to mean dissonant jarring sounds and discordant harmonies. The point of composing at least 2 songs like those you mentioned per album is to create beautiful pleasing for the ear music. There is nothing wrong with that. You can have both: experimental complex AND nice and organic. That's why i so love Vintersorg and Age of Silence. Of course, they can choose to go any direction, but i don't have to follow. There is a reason why i don't like bands like Ved Buens Ende...
 
hmm now i think i know why this reference has completely escaped me: i found guitar work on Universal a bit uninspired.

It's also possible to sound both totally complex and avant garde AND catchy and beautifully harmonic at the same time (Age of Silence is what immediately comes to mind). Avant garde, progressive, however you want to call it, doesn't necessarily need to mean dissonant jarring sounds and discordant harmonies. The point of composing at least 2 songs like those you mentioned per album is to create beautiful pleasing for the ear music. There is nothing wrong with that. You can have both: experimental complex AND nice and organic. That's why i so love Vintersorg and Age of Silence. Of course, they can choose to go any direction, but i don't have to follow. There is a reason why i don't like bands like Ved Buens Ende...

Age of Silence is really soft and they can play any crazy shit and sound good, like Ulver can do it now. The heaviness is something that I should consider too, cause Borknagar is really much more heavy than Vintersorg, AoS, Arcturus and so many others. Still I think Borknagar reached the perfect balance on Empiricism, so after that album they had 2 paths: get back to BM like they did on Q or get more progressive. The latter was the obvious choice, like Vintersorg did after CG.

With Universal I felt something after too many spins. I think they don't wanna play black metal or any really extreme metal form of music anymore. I had the impression that if they could, they would be playing 70's prog rock instead. When I hear Solens, I feel the same.

Sad thing you don't like Ved Buens Ende, it's a great band, incredibly influential and original. I guess then you don't like Code and Virus?

np: Anata - Drain of Blood.
 
Age of Silence is really soft and they can play any crazy shit and sound good, like Ulver can do it now. The heaviness is something that I should consider too, cause Borknagar is really much more heavy than Vintersorg, AoS, Arcturus and so many others. Still I think Borknagar reached the perfect balance on Empiricism, so after that album they had 2 paths: get back to BM like they did on Q or get more progressive. The latter was the obvious choice, like Vintersorg did after CG.
yes i agree. Yet i think in case of Vintersorg, it was the right choice. He managed to pull it off. And Solens Rötter is my fav. Vintersorg album. It just sounds like a perfect balance between all possible variables in the equation. But obviously, you cannot compare Vintersorg with Borknagar...
Sad thing you don't like Ved Buens Ende, it's a great band, incredibly influential and original. I guess then you don't like Code and Virus?
i don't know Virus. About Code, i didn't like them on cd. However, when i saw them live (together with Borknagar last september), i was really impressed. I guess it's a live band? dunno, sometimes you have that... Their vocalist is so charismatic on stage, he just grabs your attention and never lets it go until the set is over... Somehow i don't feel that on cd. I listened to their albums after i saw them live again, i don't know why but it just doesn't impress me that much still. I guess some magic is gone...
 
I actually thought Virus was stronger than the new one. Partially the new one suffers from the stupid compression issue, but the tracks were not nearly as stand out as on Virus, IMO.

virus contains one of the best songs probably written by hypocrisy.
i'm desperately in love with war path :oops: