Intervju: Lisa P. Duse (Porta Vittoria)

 Lisa P. Duse (Porta Vittoria)

Mediterranean pop, Eurasia, against the modern world... all connected to the music of the band Porta Vittoria from Italy. For a long time I follow their work and I am fully committed to their music. With Lisa P. Duse talked a little bit and Webzine decided that the more promote their music in Serbia.

Official facebook page

1. Why the name Porta Vittoria? When and how was came that idea?

Lisa: The project name comes from a Milan area where We lived some years ago:  I’m referring to the neighborhood around the bypass stop through Porta Vittoria station. It was a degraded area abandoned to itself. You know sometimes crumbling places have a certain beauty; our followers surely do know well our “Aesthetics of ruins“ from Porta Vittoria music videos and album artworks.

2. You define your music as Experimental pop. What is the impact of that? 

Lisa: We’re beyond any easy catalogation because We take suggestions from different music genres. Sometimes the process of creation becomes like a ritual or an improvvisation, and its zenith is the evocation of a melody... this makes our experimentation properly “pop“, in a music background that’s filled with contradictory genres.

3. Debut album "Summer of Our Discomfort" was well received by the audience, which was to be expected. How are you satisfied with him? 

Lisa: We were lucky to get our debut album released by a cult label like Old Europa Cafe. We got some interviews and reviews, contacts for collaborations and the audience enoyed our weird music videos. It was a great satisfaction: We took three years to finish that album (three working years to release “Tales of Fallen Heroes“, too - also this could sound like a ritual, isn’t it?).

4. Tell us about Porta Vittoria new album “Tales Of Fallen Heroes“?

Lisa: I feel "Tales of Fallen Heroes" is far better than our previous album: more intimate, more consistent and mature. It has been 3 years of my life after all.  If I look at it from the distance I can see the reflection of my heart on it. Also, the release date (1 december 2016) calls to mind Aleister Crowley’s death (69 years ago). So may the blessing of To Mega Therion shine on "Tales of Fallen Heroes"!

5. You Often collaborate with other artists. What are your experiences of these cooperations? Will You continue to explore music with other musicians and artists that you'll be sharing the listeners?

Lisa: Collaborations are always good opportunities to try something completely different from what I am doing with Porta Vittoria and sometimes they are real heats for my creativity. It was a real joy to collaborate with artists like T.S.I.D.M.Z., Sonnenkind, Post Contemporary Corporation, Carnera ……… and last but not least the project "Accademia Prima".

6. What is the music for you ? In which way music defines  you?

Lisa: As I said before, music creation is a sort of ritual. I prefer to say I define music, and not the opposite, but... actually it can also be seen as a form of catharsis.

7. Porta Vittoria is member of Eurasian Artists Association. Can you tell us more about the EAA?

Lisa: Some years ago Sol from T.S.I.D.M.Z. invited us to become members of EAA. We discovered that The Eurasian Artists Association ideas are symbolically in line with our own music flow and creation process: a multipolar world of culture and tradition, basically against the caothic post-modern world. The world vision of EAA artists (musicians, painters, writers) emphazises a sort of spiritual come back to our deep roots, with a metaphysical approach to history and life.

8. Accademia Prima?

Lisa: Accademia Prima is a neo romantic avant-garde project I made with Marco de Marco (J Orphic) and Giovanni Leonardi (Siegfried/Carnera) and I was totally enthusiastic to be part of it.  We released the digital album "Prima Luce" in 2015 (https://accademiaprima.bandcamp.com/releases). For those who still have not come through the sound of Accademia Prima do not hesitate to look for our page into Facebook!

9. Plans for future?

Lisa: We’re working on a new track for a compilation to be released in mid 2017 by a brand-new italian label called Dornwald Records. This special project will feature Russian and Italian bands. Our tracks is titled “Total Kollapse“. At the moment I can’t reveal more!

10. A concert in Serbia, perhaps?

Lisa: Thanks, that could be a great experience. We received a lot of invitations to play live our music, unfortunately my will is to keep Porta Vittoria as a studio project only. We like the idea of a private and intimate fruition of our music. Maybe coming from a stereo system  in a dimly lit room.

11. And in the end what will you tell readers in Serbia?

Lisa: Thank You very much for reading this interview: please keep on listening good music :-D  and supporting the scene. A big thank you to Predrag for his time making this interview!

            

Najava: Nula objavljuje svoj EP "Kenoma"

Nula objavljuje svoj EP "Kenoma" 

EP "Kenoma" izlazi u digitalnom formatu za britansku izdavačku kuću Black Bow Records, pod pokroviteljstvom gitariste benda CONAN, Džona Dejvisa. Datum izdavanja je 24. februar.

Oficijalna stranica benda

EP čine tri pesme:

1. Trošenje tela

2. Silazak u prah

3. Usnuo - Savršen - Sam

EP je sniman u studiju Blaze krajem 2016. godine u saradnji sa Rastkom Rašićem i Milošem Mihajlovićem. Artwork potpisuje Dimitrije Miljković.

-Naša zamisao je da ime benda, ep-a i pesama bude na ćirilici, ali ako vašem konceptu objava više odgovara latinica nije problem-

Bend postoji od kraja 2013. godine i karakteriše se kao sludge metal. Iza sebe ima jedno demo kasetno izdanje (Grim Reaper Records, Stare Pazova) iz 2015. godine. Bend je nastupao kako samostalno, tako I na festivalima širom Srbije (Arsenal fest u Kragujevcu,  Ass kicking fest u Novom Sadu itd). 

Soundcloud stranica benda

Nulu čine:

Miloš Milošević - vokal

Milan Vićić i Strahinja Knežević - gitare

Marko Mijajlović - bas 

Milan Sarić - bubanj

Po izdavanju EP-a planiramo promotivne svirke o kojima ćete biti blagovremeno obavešteni :)

Recenzija: Heather Wasteland – Under the Red Wolfish Moon, (2016.)

Heather Wasteland – Under the Red Wolfish Moon, (2016.)

(Scroll down for English)

Nekoliko stvari me je privuklo ovom albumu.  Pre svega, to je činjenica da je jedan od mojih omiljenih likova u horor filmovima vukodlak.  Ni sam ne mogu da objasnim zašto je to tako.  Ali eto, jednostavno jeste.  Zatim, tu je činjenica da je muzika koja je prezentovana na ovom albumu totalno neverovatna, potpuno žanrovski nedefinisana, a opet tako mistična i nadrealna.  Da li muziku koju Heather Wasteland izvodi možemo da nazovemo folk metalom?  Pa ne znam baš da li bi to mogao sa sigurnošću da tvrdim.  Ja bih je  pre opisao kao mešavinu srednjevekovne muzike i nekih elemenata koji čine metal muziku.

Oficijalna fejsbuk stranica

Radi se o potpuno insrumentalnom projektu od četiri člana, i to tri basiste i jednog bubnjara.  Kao projekat, moram da kažem da je ovo prilično ambiciozan iskorak jer se prvo postavlja pitanje koliku će publiku ovakav jedan muzički projekat imati.  EP ima skoro celih 24 minute materijala, pri čemu se naslovna pesma ponavlja u dve verzije – regularnoj i singl verziji.  Ono što je svakako genijalno u ovom projektu jeste činjenica da je on pokazao koliko bas može biti zahvalan instrument.  Dok jedan od njih svira ritam, drugi cepa solo deonice.  Tu su zvuci syntha, raznih drvenih i žičanih instrumenata, ali su svi odsvirani u bas tonalitetu, tako da sve deluje kao veoma vešto osmišljena muzička avantura, čak se usudjujem reći, veoma interesantna za slušanje, čak i ako niste ljubitelj basa ili čak i ako sami ne svirate bas.  Dodavanje nekih vokala bi ovaj projekat sigurno upotpunilo. Ovako, ovde pred sobom imate veoma solidan muzički pasaž, vrhunski isproduciran, što je nekako i razumljivo u pogledu ovog projekta.  Sva tri instrumenta su na ovom materijalu definitivno odsvirali svoje uloge uz potpunu angažovanost.  I ponovo pitnje od milion dolara: Da li je ovo folk metal?  Ja ne bih rekao.  Interesantno za slušanje?  Definitivno.  U očekivanju nastavka priče, moja će se recenzija završiti ovde uz zaključak: sigurno ćete se iznenaditi nekim muzičkim rešenjima koja ćete čuti na ovom EP-ju.

Heather Wasteland – Under the Red Wolfish Moon

pagan metal (mada nisam siguran)

Independent (Decembar, 2016.)

Ocena: 7,5/10.

Recenziju napisao: Igor Živić

      

Heather Wasteland – Under the Red Wolfish Moon, (2016.)

There are few things that made this album attractive to me.  First of all, this is the fact that one of my favorite characters from horror movies is a warewolf.  I cannot explain why is that.  But, simpli, it is.  Then, there is the fact that the music on this release is totally unreal, completelly undefinitive in ters of the genre, and in the same time so mystical and surreal.  Can we pigeohole the music Heather Wasteland is performing as a pagan folk metal?  Well, I am not quite sure that I would be able to do that with absolute certainty.  I would rather describe it as a mixture of medeival music with some elements of metal.  

Here we have completely instrumental project, consisted of four members – three bass players and one drummer (!?).  As a project, I have to say that this is very ambitious step into umknown, because we have to ask how much this kind of musical project will be interesting for metal fans.  EP is made of almost 24 minutes of material, with the title track repeated in two versions – the regular one and the one relased as a single.  What is really work of a genius in this project is that it showed how gratifying bass guitar as an instrument can really be.  One of bass players plays rhythm, the second one rips some pretty cool solos.  Everything is enriched with the sounds of synth, manny diferent wooden and string folk instruents, all played in bass key, so everything packed sound as a cleaverly designed adventure, on moments very interesting for listening, even if you are not a bass guitar lover, od if you do not play it yourself.  Adding some vocals will definitelly make this picture fuller.  This way, yo have in front of yourself a very solid musical passage, with top notch production, which is understandable in terms of this kind of project.  All three instruments have definitelly played their roles in this material with 100% og their strengths and possibilities.  

And again, a million dollars question: Is this a pagan folk metal project?  I would not say so.  Interesting to listen to?  Definitelly!  In the time of the expectation of continuation of Heather Wasteland story, I will finish my review with these words: You will be surelly surprised by some musical solutions you will hear on this EP.

Heather Wasteland – Under the Red Wolfish Moon

pagan folk metal (although I am not sure about that)

Independent (December, 2016.)

Mark: 7,5/10.

Made by: Igor Živić

Recenzija: Gaoth - Dying Season's Glory, (2016.)

Gaoth -  Dying Season's Glory

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Projekat Fionn-a Stafort-a iz benda Celtachor, Gaoth, mi je od samog početka zapao za oko. Kao veliki fan Celtachor-a redovno pratim i samostalne projekte članova benda. Fionn je prošle godine bio vrlo aktivan, te samostalno izdao (a koliko sam pročitao reizdanje će ponoviti i velika atmosferik black metal izdavačka kuća), svoj prvi album Dying Season's Glory. Svu produkciju i tekstove pesama potpisao je lično Fionn. Fizički izgled albuma me je oduševio. Turobno drveće na cover-u albuma najavljuje kraj prirode i jednog godišnjeg doba. Opisuje savršeno atmosferu keltskih pejzaža i nasleđa (lični utisak). Album ima devet pesama otpevanih na engleskom jeziku. 

Oficijalna fejsbuk stranica

Otvara ga dosta upečatljivo uz zvuke ptica pesma, Autumnal Breath. Tonovi teški, ali prijaju. Vokal iz dubine, rifovi se rastežu i mi uživamo. Pesme su duge i sa namerom skrojene. U drugoj numeri Weeping of the Fens i trećoj Gaoth, tonovi su malo drugačiji i nekako "nežniji". Shvatamo da je album pravljen za posebne sladokusce atmosferik black metala. Vokal, iako u pojedinim momentima pomalo nejasan (ako je to uopšte zamerka) i dalje odlično vodi kroz čitav album. Tako istim intenzitetom uživamo u pesmama Will of Mountains (gde hodamo po keltskim planinama) i Waning of the Years, koja nas instrumentalnim tonovima vodi u sledeću šestu pesmu Where Leaves Depart. Jedan fantastičan instrumental, koji me je u potpunosti oduševio. Sedma pesma Astral Paths, lagani uvod i upravo preslušavamo najbolju pesmu na albumu (lični utisak). Vokal ovde ubija koliko je dobar. Muzika rastura naš organizam i mi uživamo. Došli smo do pretposlednje pesme, Dying Season's Glory. Pesma po kojoj album nosi naziv, pesma koja vas neće ostaviti ravnodušnim, a to ćete shvatiti kada je budete preslušavali. Spomenuću samo odlične rifove koji oduzimaju dah, dok se za ostalo sami morate uveriti. Svakako jedna od boljih pesama. Došli smo do kraja i do pesme The Burning Horizon. Beskrajni horizont je ispred nas, vatra nas okružuje. Nestajemo u potpunosti. Savršeno za kraj.

Utisci? Ako volite umetnost, volećete svakako ovaj album. Ali imajte na umu jedno, slušajte ga dok šetate po prirodi, šumi, stavite slušalice. Osluškujte oko sebe i shvatićete o čemu vam govorim. Čujemo se!

Gaoth -  Dying Season's Glory

Irish Atmospheric/Black Metal

Independent, (2016.)

01: Autumnal Breath

02: Weeping of the Fens

03: Gaoth

04: Will of Mountains

05: Waning of the Years

06: Where Leaves Depart

07: Astral Paths

08: Dying Season's Glory

09: The Burning Horizon

Ocena: 9,5/10.

                                                 

Gaoth -  Dying Season's Glory

Fionn Stafort project from a band Celtachor, Gaoth, for me from the very beginning caught the eye. As a big fan Celtachor routinely follow the band members solo projects. Fionn last year was very active, and self-released (and from what I read re-release will repeat big atmospheric black metal label), his first album Dying Season's Glory. All the production and the lyrics signed personally Fionn. The physical appearance of the album I was thrilled. Dreary trees on the album cover in announcing the end of nature and a season. It describes perfectly the atmosphere of Celtic heritage and landscape (personal impression). The album has nine songs sung in English.

It opened with a lot of striking with the sound of bird song, Autumnal Breath. Tones difficult, but good for you. Vocals from the depths, reefs stretch and we enjoy. Songs are long and deliberately tailored. In the second song Weeping of the Fens and third Gaoth tones are slightly different and "softer". We understand that the album made for special gourmet atmospheric black metal. Vocals, although in certain moments somewhat vague (if at all gripe) still awesome runs through the whole album. So enjoy the same intensity in the songs of Will Mountains (where we walk to the Celtic Mountains) and of the Waning Years, instrumental tones, which leads us to the next sixth song Where Leaves Depart. One fantastic instrumental, which I was totally thrilled. The seventh song Astral Paths, easy introduction and just listening to the best song on the album (personal impression). Vocal here how good kills. Music ripping apart our bodies, and we enjoy. We came to the penultimate song, Dying Season's Glory. The song which the album carries the title, song that will not leave you indifferent, and that you will realize when you listened. I will mention just a great riffs breathtaking, while the rest is up to you to convince. Definitely one of the better songs. We came to an end and the song The Burning Horizon. Endless horizon in front of us, fire surrounds us. Disappear completely. Perfect for the end.

Tips? If you love art, you'll love this album definitely. But remember one thing, listen to it while walking in nature, forest, putting on headphones. Listen around and you'll understand what I'm saying. See you!

Gaoth -  Dying Season's Glory

Irish Atmospheric/Black Metal

Independent, (2016.)

01: Autumnal Breath

02: Weeping of the Fens

03: Gaoth

04: Will of Mountains

05: Waning of the Years

06: Where Leaves Depart

07: Astral Paths

08: Dying Season's Glory

09: The Burning Horizon

Mark: 9,5/10.

Recenzija: Elsewhere Shine - Mater Morbi, (2016.)

Elsewhere Shine - Mater Morbi, (2016.)

 

Super grupe su uvek odlična zamisao. I treba ih imati što više. Kod nas se za mene izdvojila još jedna vredna svakog trenutka i pažnje. To je Elsewhere Shine. Već duže su na sceni, ali sada smo konačno ugledali prvenac. U pitanju je EP, Mater Morbi, koji ima svoje digi izdanje (Nocturne Media), a  ovih dana je doživeo i fizičko izdanje od strane Miner Records-a. To je dobro, jer smatram da album kada dobije svoju "plastiku", on u pravom smislu te reči živi i traje. Na ovom EP-u se dugo, detaljno i pažljivo radilo. To se oseća u svakom tonu dok sam se skoro pa višemesečnim preslušavanjem bavio.

Oficijalna fejsbuk stranica

 

Na njemu se nalaze četiri pesme i počinjemo sa preslušavanjem prve Mater Morbi. Simfonijski uvod obećava nešto novo i prija našim ušima. Uključuju se kombinovano muški i ženski vokal. Moć simfonije je totalno oko nas u svakom segmentu ove odlične igre. Podseća i na opera rock (lični utisak) i stvara odličan osećaj. Vokal fantastičan, klavijature maestralno zabiberile pesmu. Jednostavno odličan start. Prešli smo na drugu pesmu Perpetual Silence. E, ovde već udaraju drugačije. Ako su prvom numerom krenuli polako, sada napadaju. Nema potrebe za odbranom, jer napad je siloviti i pažljivo planiran. Posle silovitih rifova, uključuje se maestralni vokal. Tzeetzah razbija! Kada budete ovo preslušavali shvatićete moje reči. Podseća na Sabbath, Dio-a. Pesma traje, tonovi se razlivaju, a pred sam kraj razbijaju nas rifovima, direkt u glavu. Oporavili smo se nekako i prešli na sledeću treću numeru, Swan Nebula. Uživamo u glasu Bojane Panovske i muzici koju stvaraju Marko Sinadinović i Miloš Krsmanović. Stičemo utisak da smo u nekoj dvorani, sceni iz film "Fantom iz Opere". Osećaj je nestvaran dok uživamo u ovoj savršenoj baladi. Za kraj ostaje ono što su Stanići zakuvali, numera Suneater. Cepaju na prvu! Porodični vokali, dali su specifičan "šmek" ovom izdanju (lični utisak). Pesma nas vodi, daje nam smisao, razlikuje se. Uživanje je potpuno, smiraj pronađen, EP je završen.

Utisci? Svakako novina koja je oplemenila našu scenu. Ciljano rađena, što dovoljno potvrdjuje impozantan broj imena naše scene koji su uključeni u ovaj projekat. Stanići u svom studiju nasnimili, Boris Šurlan sve to miksovao na maestralan način kao i sve do sada. Izdavači su to pustili u etar i pred vama je jedno od najboljih EP ostvarenja naše scene protekle, a definitivno i ove godine. Ako mi ne verujete, poručite disk od benda ili pak izdavača i podržite scenu, nećete se pokajati!

 

 

Elsewhere Shine

Progressive Doom Metal 

Nocturne Media/Miner Records, (2016.)

 

01: Mater Morbi

02: Perpetual Silence

03: Swan Nebula

04: Suneater

 

Ocena: 10/10.

 

 

 

 

Recenzija: Myrkgrav – Taak og farvel, ida er blitt ei annen, (2016.)

Myrkgrav – Taak og farvel, ida er blitt ei annen

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Iza one-man projekta Myrkgrav stoji čovek koji se zove Lars Jensen.  On je zadužen za sve instrumente i vokale.  Od gostujućih muzičara, na ovom albumu je Lars angažovao Olava Luksengårda Mjelvea, čoveka koji je jedan od vodećih umetnika na hardinger violini.  Bas na sedam pesama je odsvirao Erland Antonsen, dok je clean vokale ne jednoj pesmi odradio Berndt Fjellestad.  Kao projekat, Myrkgrav se pojavljuje 2003, i odmah na početku se nameće kao veoma snažan konceptualan projekat sa jakim lirskim i vizuetlin tematskim vezama sa folklorom i istorijom Larsone domovine, Ringerike u Norveškoj.  Muzički, Myrkgrav je u osnovi ekstremni metal projekat, sa jakim osloncem na norvešku folk muziku.  Iako je u početku projekat bio na nivou sobnog black metal one-man projekta, vremenom je Myrkgrav izrastao u veoma zanimljivu i muzički složenu mešavinu nekoliko muzičkih stilova, ali i dalje je zadržava ekstremna metal osnova.  Ovo je dakle projekat koji se ne plaši da dopusti svom zvuku da evoluira.

Neko bi možda odmah rekao da je deset godina predug period izmedju dva albuma, ali upravo toliko je prošlo izmedju prvenca Trollskau, Skrømt og Kølabrenning (2006) i Taak og farvel, ida er blitt ei annen (izašao 26. oktobra ove godine na svim streaming servisima).  Kada ostane tako duga praznina izmedju dva albuma fanovi obično počnu da strepe da će bend koji budu čuli biti nešto potpuno drugačije od onog koji su slušali.  Ne retko se upravo to i desi, ali u nekim slučajevima to bude na dobro, a ne retko to bude razlog za razočarenje fanova koji su očekivali da čuju nešto drugo.  Generalno, u muzici su inovacije dvosekli mač i skopčane sa puno rizika.  Medjutim, u slučaju Myrkgrava, izgleda da je Larson uspeo da napravi album koji je logična progresija od onoga što se moglo čuti na debiju.  Ono što je možda i najveći Larsenov kredit na ovom albumu, jeste činjenica da je uspeo da tradicionalne norveške folk instrumente učini integralnim delom Myrkgrav muzičkog miksa, a ne da ih koristi samo radi stvaranja atmosfere. 
Na moju veliku žalost, kao što i sam naslov albuma nedvosmisleno nagoveštava (Taak og farvel, ida er blitt ei annen znači „Hvala i zbogom, vremena su se promenula“), ovo je isto tako i poslednji Myrkgrav album jer je Larson odlučio da ugasi ovaj projekat.  Činjenica je da se vremena menjaju, a sa njima se menjaju i ljudi, i to je neizbežno.  Zbog te činjenice, najprirodnije je bilo da u ovaj album budu uvršteni i novi aranžmani ili ponovno snimanje nekih starih pesama, što je ispalo kao svojevrsno muzičko odavanje slave starom Myrkgravu. 
Dok slušate album imate utisak kao da kroz durbin posmatrate prošla vremena, kulturu Ringerikea, Krokskogena, Nordmarka i Lommdalena, kao i okolnih oblasti u kojima je sam Larson odrastao.  Ovo vam dodje kao neka istorijska i kulturna razglednica, pretočena u muziku.  Pesma za pesmom vam pred oči donosi rukom crtanu ilustraciju u maniru poznatog norveškog autora, iliustratora, slikara i crtača stripova Kjella Aukrusta.  Nema štedjenja, jer je Myrkgrav u onome što je radio uvek bio epitom davanja fanovima punog paket-aranžmana.  Zbog toga je Larson ovog puta, zajedno sa Olavom Luksengårdom Mjelveom, osmislio čitav prateći vizuelni doživljaj onoga što ovaj album želi da predstavi – svet davno zaboravljenih priča i legendi, koje su bukvalno oživele u rukama i na instrumentima ova dva vrsna umetnika.  Njih dvojica su uspeli da ih vrate u istoriju i učine ih ponovo njenim integralnim delom.
Myrkgrav su definitivno jedan od onih projekata o kojem bi ljubitelji folk-metala trebali mnogo više da znaju, a odgovor na pitanje „zašto to nije tako“ sigurno treba tražiti negde u činjenici da je bend scenu počastio samo jednim full-lengthom pre ovog albuma.  Dok ga slušate, u misli vam naviru bendovi i projekti koji neguju sličnu folk-pozadinu – švedski Utmarken, Borknagar ili Enslaved, Baldrs Draumar ili Grimner, pa čak i Ishahnov projekat Hardingrok dolazi ovde u jednačinu.  Ali u isto vreme, ono šta Larson radi je ipak drugačije od pomenutih bendova i projekata.  Sve pesme sa vokalima su otpevane na norveškom jehziku, osim „Skjøn Jomfru“ koja je otpevana i na engleskom.  A kako bi i bilo drugačije, jer folk-projekat koji koristi bilo koji drugi jezik osim maternjem bi bio besmislen.  Žešće i više black metal orijentisane pesme su jednako dobre, kao što su više folk orijentisane pesme i instrumentali tako maestralno odradjeni da uspevaju da vas prenesu u vreme i priču o kojoj govore.  Produkcija je zaista odgovarajućeg kvaliteta, što dopušta svim folk instrumentima da dobiju odgovarajuće mesto u miksu.  „Finnkjerringa“ i „Om Å Danse Bekhette“ su pomenute dve starije pesme koje su oživljene na ovom albumu, i zaista, izbor je bez greške, jer ove pesme nekako savršeno zvuče u društvu novijih pesama, ovako osavremenjene.  I zaista, jako je teško iz ovako kompaktnog i snažnog albuma izdvojiti neke pesme koje kvalitetom odskaču od celine.  U slučaju ovog Myrkgravovog albuma, ovo bi bilo krajnje nelegitimno, jer bi se izgubio doživljaj koji ovaj album upravo i jedino kao celina pruža.  Jako mi je žao što od Myrkgrava više nećemo čuti ništa novo, ali jedno je sigurno, Myrkgrav su svoju priču završili najbolje što su mogli, jednim od najboljih folk-metal albuma koje sam ja ikada čuo.  I ne, folk-metal nije samo muzika uz koju se dobro napije i igra.  Ne!  Myrkgrav je ovim albumom pokazao da je folk-metal itekako važan žanr metal muzike, koji može da sceni da veoma kvalitetne albume, a ovo je sigurno jedan od njih. 

Myrkgrav – Taak og farvel, ida er blitt ei annen
folk metal
Pest Production, (2016.)

Ocena: 10/10.

Recenziju napisao: Igor Živić

       

Myrkgrav – Taak og farvel, ida er blitt ei annen

Behind the one-man project Myrkgrav is a manwhose name is Lars Jensen.  He is doing all instruments and vocals.  On this album he has had some guest musitians – Olav Luksengård Mjelve, the man who is one of leading artists on hardinger violine, bass on seven tracks was plaied by Erland Antonsen, and clean vocals on one track were done by Berndt Fjellestad.  As a project, Myrkgrav appears in 2003, and right from the beginning it shows itself as a strong conceptual project with strong lyrical and visual thematic connections witht he folklore and history of Larsons motherland, Ringerike in Norway.  Musically, Myrkgrav is in its basis, a extreme metal project, with strong leanings towards Norwegian
folk music.  Although in the beginning the project was at the level of room-black metal, with the time passing Myrkgrav has grown up in a very interesting and musically very demanding mix of several musical styles, but still this extreme metal basis was present.  So, what you have in front of you, is a project that is not afraid to let its sound to evolve.
Someboody might say already that ten years is a period of time that is too long in between two albums, but this is exactly hot musc time passed between the debue Trollskau, Skrømt og Kølabrenning (2006) and Taak og farvel, ida er blitt ei annen (got released in October 26th on all streaming services).  When such a long time distance is left in between two albums fans usually beginn to fear that the band that they would hear would be something totally different from what they used to listen.  Often this is exactl what happens.  In some cases that come out good for the band and the fans, but often it becomes the main reason for dissapontment of fans that expected to hear something else.  Generally, in the world of music innovations are a double edged sword, connected eith a lot of risk.  In the case of Myrkgrav, it looks like that Larson succeded in making an album that is a logical progression from what we could hear at the debue.  The thing that might be even the biggest Larson’s credit on this album is the fact that he managed to make traditional norwegian folk instruments to be an integral part of Myrkgrav’s musical mix, and not to use them only for the sake of atmosphere. I was devastated to hear that, as the album title foreshadows (Taak og farvel, ida er blitt ei annen means “Thank you and good bye, the time has changed”), this is the last Myrkgrav’s album, because Larson has decided to end this project.  The fact is that the time has really changed, and that people are changing with them, and that is unavoidable.  Because of that, it has been reasonable ti include in this album some new arangements of some old tracks, which appears to be some kind of musical glorification of old Myrkgrav.
During the time you will spend listening to this album, you will be under the impression of looking through the mignifying glass some past times, culture of Ringerike, Krokskogen, Nordmark and Lommdalen, and surrounding areas in which Larson has grown up.  This album looks like some kind of historical and cultural postcard, transferred into music.  Song after song are bringing in front of your eyes a hand drown illustration in the way of well known Norwegian author, illustrator, painter and cartoonist Kjell Aukrust.  There is no holding behind, because Myrkgrav was always so deep into giving the full package to the fans.  Because of that, this time, Larosn together with Olav Luksengård Mjelve, thought out the whole visual experience of what this album wants to present – the world of long ago forgotten stories and legends, that were resurrected in the hands and on the instruments of these two artists.  The two of them have managed to bring them back to life, and make them an integral part of the history, once again.
Myrkgrav are definitelly one of those projets that fans of folk-metal should know much more off, and the answer to the question “why is this not so” should be looked after in the fact that the band has only one full-length album so far.  And untill you listen to it, you will definitelly remember other bands and projects that are nurturing similar folk-background – Swedish Utmarken, Borknagar or Enslaved, Baldrs Draumar or Grimner, and even Ishahn’s project Hardingrock.  But in the same time, what Larson is dooing is a different story alltogether.  All songs with vocals have been sangd in native Norwegian language, except „Skjøn Jomfru“ that was sangd in English too.  The heavyer and more black metal oriented songs are equally good, as those which are more folk oriented or even instrumentals.  The latter ones are so masterfully done that the are complementing to the time and the story other songs are talking about.  Production is good, and it helpes to all folk instruments to get the proper place in the mix.  „Finnkjerringa“ and „Om Å Danse Bekhette“ are two older tracks that were re-recorded, and their choice is a spot on, because they sound so perfectlly fitting in the company of newer tracks.
It is very hard to pick some tracks that are standing out from the rest of the album that is so compact and strong as this one is.  In the case of this Myrkgrav’s album, even to try to do this is extremely illegit, because the listenet would loose the experience that this album only as the whole can give.  I am sad because we will not hear anything new from Myrkgrav in the future, but one is for sure – Myrkgrav has finished their story the best they could – with one of the best folk-metal albums that I’ve ever heard.  And not, folk-metal is not only a music that you can make you numb from alcohol with and dance your feet out.  No!  Myrkgrav has showh with this album that folk-metal is very important sub-genre of metal music, that can give to the scene very good albums, and this one is for sure one of them.

Myrkgrav – Taak og farvel, ida er blitt ei annen
folk metal
Pest Production, (2016.)

Mark: 10/10.

Made by: Igor Živić

 

                                     

Recenzija: Huldre – Tusmørke, (2016.)

Huldre – Tusmørke

[Scroll down for English] 

Huldre nam dolaze iz Danske i prave predivnu pagan-folk muziku o trolovima, vilama, starim nordijskim pričama i legendama...  Ovoj formuli ostaju verni i na ovom albumu.  Šest članova koji su svi veoma talentovani muzičari uspevaju da inkorporiraju u svoj muzički izraz više različitih intrumenata i tehnika sviranja, a opet ne izgubivši u tom procesu smisao.  Svoju muziku su obogatili nekim tipičnim srednjevekovnim instrumentima i njihovi scenski nastupi su veoma bogat vizuelni doživljaj, jer na binu obično ne izlaze bez dosta zelenila.  Nanna Barsley je osoba veoma moćnog vokala koju teško da možete da fotografišete dok je na bini, jer je stalno u pokretu, kao što je i njihova muzikam što samo pokazuje sa koliko energije i predanosti oni pristupaju svojoj muzici.  Tu su još i Troel Dueholm na flauti, Laura Beck na violini, na gitari i lauti je Lasse Olufson, basista je Bjarne Kristiansen a bubnjeve i ostale udaraljke svira Jacob Lund.  Verni svojoj nordijskoj tradiciji, ne odustaju od upotrebe maternjeg jezika (norveški i danski), ali kada njihova muzika jednom obuhvati i zarobi vaša čula, skoro da i ne primećujete da postoji jezička barijera. Nakon veoma uspešnog Intet Manneskebarn, bend je učesvovao na mnogim velikim svirkama i pobrao je brojne nagrade, uključujući i treće mesto na Wacken Metal Battle 2014.

Na ovom albumu su zasukali rukave i zaista odlučili da se širokoj svetskoj sceni predstave albumom koji je veoma pažljivo promišljen i izveden, tako da je veoma prijatan za slušanje.
„Jagt“, pesma koja otvara album je, već na samom startu, prava eksplozija finih i tananih melodija na flauti, violini, sa oštrim gitarskim rifovima i bubnjevima koji prosto eksplodiraju u vašim ušima.  Nanna suvereno vlada svojim glasovnim sposobnostima.  Produkcijski, ovaj album je uspeo da istanke sve finese i detalje koji muziku koju ovaj bend izvodi i čini tako posebnom.  Produkcija je mnogo izbalansiranija i nekako bogatija u poredjenju sa produkcijom na prethodnim Huldre albumima.  Već nakon prvog slušanja je jasno da je bend uspeo da svoju verziju folk-metala postavi na veoma visoko mesto.  „Hindeham“ je prosto pisana za živo izvodjenje, i predstavlja jednu od onih pesama koju jednostavno morate da čujete da biste poverovali da postoji.  „Varulv“ ponovo ističe Nannine vokalne sposobnosti, jer u ovoj pesmi ona svoj glas izvija do polu-operatičnih visina, dok su gitare i bubnjevi prosto usijani.  „Underjordisk“ je jedna od bržih pesama na albumu i prosto vam odaje utisak pesme koju možete da slušate jedino dok jurcate na konju.  „Skifting“ počinje sa finom bas linijom, da bi postepeno izrasla u pravi gigant od pesme u kojoj se vešto menjaju raspoloženja.  „Faestemand“ je još jedna od pesama koja ističe nebeski kvalitet Nanninog glasa.  „Morke“ i „Tearing“ su teškaši, dok „Tearing“ počinje sa nekim gotovo retro feelingom relizovanim zvukom gitare i svojim hipnotičkim ritmom.  Negde oko polovine violina čini da se pesma razvije u pravi folk-hard hitter.
Na ovaj album se čekalo četiri godine i vredelo je svakog dana čekanja.  Album pokazuje zreliji bend.  Jasan zvuk je pokazatelj da i u metal muzici postoje veoma kvalitetni muzičari koji itekako znaju da prave dobre kombijacije.  Fantastičan muzički doživljaj.

Huldre – Tusmørke

pagan folk metal

Ocena: 9/10.

Recenziju napisao: Igor Živić

Huldre – Tusmørke

Band Huldre are hailing from Danmark and they are making beautiful lpagan-folk music about trolls, fairies, old nordic stories and legends...  They have staied faithfull to this formula on this album too.  Six band members that are very talented musitians have successfully incorporated in their musical expression many different musical instruments and techniques, and again, their music hasn't lost any meaning and sense.  They have enriched it by some typical Middle Age instruments and their stage appearances are very rich visual expirience, because on the stage they are goind out with full scenography.  Nanna Barsley is a person with very powerfull vocal and you will have a big problem of photographing her on the stage, because she is in constant movement, so is their music.  There are also Troel Dueholm on flute, Laura Beck on violine, on guitar and lauta is Lasse Olufson, bass player is Bjerne Kristiansen, and drums and other percussions are plaied by Jacob Lund.  Their shows are true showcase of how much energy and dedication they are doing what they do best with.  Faithfull to their Nordic tradition, they are not giving up on use of their native language (Danish and Norwegian), but when their music at once possess your senses, you will even not notice that there is a language barrier present. 
After very successful Intet Manneskabarn, the band has took part in many big gigs and has reaped great revards, including the third place on Wacken Mwetal Battle 2014.  This time, they have rolled up their sleeves and really decided to introduce themselves with an album that is very well thought out and executed, so it is very pleasent listening experience.  „Jagt“ is a sond that opens the album, and right from the beginning, you have a real explosion of nice and gentle flute melodies, violine and sharp guitar riffs and drumms that are exploding in your ears.  Nanna is souvereign in her vocal delivery.  Productionwise, this album succeded in accentuating all the finesses and details that make the music this bend is performing so special.  Production is much more ballanced and somehow richer in comparison with the production on their previous efforts.  Already after first listen it is clear that the band positioned their version of folk-metal on very high place.  „Hindeham“ is simply composed for live performance, and is one of those songs that you simply have to hear to believe how it sounds.  „Varulv“ again puts Nannas vocals in full front, because in this track she is goind with her voise co some full operatic hights, and guitars and drumms are simply burning fire.  „Underjordisk“ is one of faster tracks on the album and gives the impression of the song that you can listen only 'till you are charging on the back of a horse into battle.  „Skifting“ beginns with nice bass line, but it gradually grows into a real gigantic song with many mood changes.  „Faestemand“ is another track guided by a the heavenly qualityof Nannas vocals.  „Morke“ and „Tearing“ are both heavy weights, with the latter one beginning with some almost rethro feeling realized through the guitar sound and trully hypnotic rhythm.  Somewhere at the half of the song, the violine makes it into another folk-hard hitter.
Four years fans oh Huldre hava had to wait on this album, and it has been worthy of waiting.  The album is showing that behind it is a more mature band.   Its clear sound is a evidence that in metal music there are many high-quality musitians that know how to make good musical combination.  Fantastic musical experience.

Huldre – Tusmørke

pagan folk metal

Mark: 9/10.

Made by: Igor Živić