Trollheart's Listening List 2015/2016

The Batlord · 12-22-2015, 03:38 PM

Damn mods.

Tristan_Geoff · 12-22-2015, 03:43 PM

Quote:

Originally Posted by The Batlord

Damn mods.

Admin was online not too long ago.

The Batlord · 12-22-2015, 03:55 PM

Damn Yac.

Trollheart · 12-22-2015, 04:24 PM

Jeez, what's it come to when you can't even show pictures of headless naked chicks?? World's gone mad!

The Batlord · 12-22-2015, 04:32 PM

That's a decapitated, naked, fat dude. You can see his dick.

Trollheart · 12-22-2015, 05:01 PM

Quote:

Originally Posted by The Batlord

That's a decapitated, naked, fat dude. You can see his dick.

With boobs. I wasn't sure, and, and this may surprise you, I wasn't looking down between the legs! So I assumed it was a fat woman. Looks like someone got ahead anyway!

Also, shove your stupid recs where the sun don't shine (ie Dublin): I want proper recs, if any at all. And I don't even know that I want any. That's a long list already.

Trollheart · 12-23-2015, 05:46 AM

Title: Act III: Bitterness
Artiste: Funeris
Year 2015
Nationality: Argentinian
Rank:Novice
Genre: Funeral Doom Metal
3

Expectations: When I tried to explore funeral doom metal for Metal Month III, I was quickly turned off by not only the crushingly slow pace (which I could deal with) but the lack of variety and interest in the vocals, which seemed to consist of long-drawn out moans and howls with no real discernible words. Funeris, on the other hand, really impressed me, and maybe I just listened to the wrong band. Either way, I'm hoping this will live up to the promise of Funereal Symphonies, though I will allow this is their second album in the same year, and so will cut them some slack if it isn't quite another masterpiece of funeral doom.

1. Flor de mi miseria: There's no confusion as to this being doom metal anyway, with big heavy ponderous drums and crushing guitar riffs moving at a snail's pace as we open. In case you weren't aware, Funeris is a one-man-band, with everything played and sung by Alejandro Sabransky, which only ups my praise for his outfit, which really he manages to make sound like a full band. (It's a complete coincidence, by the way, that this and the next album to be reviewed are both metal bands with one member). There's something unutterably grand and majestic about his music, even if I can't understand a word he's growling, sorry singing; can't even tell if it's in English. But as I found out this year, doom and funeral doom in particular is more about weaving a tapestry of feelings and emotions, creating an ambience and atmosphere than it is about creating individual songs. This is music you just get lost in, drown in, and may find it hard to make your way back out of, if you want to.
2. Muerte lenta del destino: Some beautiful, lonely violin and cello starts this one off, and it's another long one (the previous track ran for over eleven minutes, this one goes for just under ten), crawling of course but with that same stately sense of reverence, almost like a funeral itself, which is I suppose the point. Batty used to talk about riffs crushing him, and I never quite understood what he meant, or how that could be good. Since listening to Funeris, I totally get it. This music just pounds you into the earth, and you want more and more. Actually slightly speeding up here on the guitar, more a gentle canter than a power metal gallop or anything, but still an increase in tempo, if only very little. A real moment of relief, as it were, as the heavy feedback, percussion and bass all fall away in the fourth minute to allow some very reflective guitar to take the tune, though for less than a minute before the full ensemble at Sabransky's command comes back in, taking with it some more violin, which again helps to somewhat lighten the heavier vibe.
3. Pax aeterna: This is the only instrumental on the album, though with the dark, indecipherable vocals it kind of doesn't make a difference really. It's also well the shortest track, at just over four and a half minutes. There's an almost power metal guitar (though much much slower of course) and moaning violin to open, slow, measured drumming accompanying the melody like a slave driver beating out the rhythm or the lead mourner at a funeral striding purposefully and determinedly along, head down, eyes looking neither to left nor right. There's an almost anthemic feel to it, with a sense of the celtic too.
4. Falling through depths: I'm not quite sure why half the tracks are in Spanish and the rest in English, but I'm sure Alejandro knows what he's doing. Totally crushing slow riffs, vestiges of keyboard work behind them, maybe the odd violin but mostly it's powerful, brutal guitar and growls that sound like they come up from the very pit of Hell itself. Does indeed give you the feeling of falling into a bottomless well or something.
5. Time is a gallows: The longest track on the album at just shy of thirteen minutes and opens with a surprisingly light and upbeat guitar, though of course that doesn't last as the standard heavy guitar punches it aside. It can still be heard in the background, doggedly trying to bring a ray of sunshine into this dark domain, but it's doomed from the beginning. As we reach the halfway point though, things do calm a little and we even get soft synth and quite spectacular piano, all percussion now faded out. This continues for about a minute before it all crashes back again for the big heavy ending.
6. Pax aeterna (String ensemble version): I know I don't normally go for bonus tracks, remixes or alternate versions, but this sounds like it could be worth listening to. And after all, there are only six tracks here, so who's it gonna hurt? I enjoyed the instrumental on track three, interested to see how he orchestrates it up here. Will it change a Green to a Blue? Yes. Yes it does. Beautiful.

Final result: To create one almost perfect album a year is something else. To get out two such opuses is incredible. To do it entirely on your own is nothing short of phenomenal. Really, either of the last two albums could be on my AOTY list, and it's hard to choose between them, but since my first exposure to this guy was on Funeral Symphonies, the effect that had on me gives that album the edge, so it'll be going on my list. But if there weren't so many other albums I wanted to honour by including them, this could be on it as well. Superb stuff.

Rating:

Trollheart · 12-24-2015, 09:14 AM

Title: Autumn Eternal
Artiste: Panopticon
Year 2015
Nationality: American
Rank: Apprentice
Genre: Atmospheric Black Metal/Folk Metal
6

Expectations: I'm just hoping to be impressed and moved again, as I was with particularly Roads to the North.

1. Tamarack's gold returns: Well that is just perfect! Starts off with the lonesome cry of a wolf or coyote, then soft acoustic guitar and violin in very much a folk idea. Just beautiful, and really conjures up the scene of rolling hills stretching out beyond a forest to a distant horizon. Sea sounds really add something to this. Ends very ambient, with either footsteps or the sound of someone chopping wood. Very rustic.
2. Into the north wood: Now we get the black metal side of Panopticon as things rack up and Austin Lunn's guttural screamed vocal comes in. Powerful guitar work, thundering drums. Slows down in the last minute on rolling drums and a sort of dramatic march with pealing bells
3. Autumn Eternal: Another big heavy number, but it has a loping, almost power metal rhythm to it, which is really nice to hear. Very catchy. Even has a nice sort of introspective little piece in it. Love this so much. It goes totally ape**** in the fifth minute as Lunn just kicks everything up to ten, including his vocal.
4. Oaks ablaze: Well titled, as it just burns along from the off. It's almost chaotic, but you realise Lunn has everything tightly under control, and this is his great strength: to be able to control all of this meticulously and yet make it seem like he's just thrashing about. It's a rare talent. To underline this, in the midsection everything is reduced to a single soft guitar and sound effects before the drums crash in, but relatively unobtrusively and the guitar riff takes us on to the sixth minute before it fires up into life again. Excellent.
5. Sleep to the sound of the waves crashing: Unsurprisingly, the sound of waves softly sighing open this, with pealing bells though this time they're not doomy at all, almost hopeful, then a hammering guitar pounds through with rattling percussion and we're off. Some fine and quite strong violin (I'd almost say fiddle: what's the difference? I don't know, I just think of fiddle as being generally played in a faster, more uptempo and fun way whereas violin usually comes across to me as sad and serious) then everything --- and I mean everything! --- stops in minute four and we're left with nothing but the sound of the surf. Sharp violin now slides in alongside another, softer one and a quite breathtaking passage begins, almost classical. Bells coming back in, reminds me of a wedding in a cathedral. Now the harder guitar kicks back through and the tempo rises again as we head into the final few minutes.
6. Pale ghosts: This sort of continues from the previous track, pounding along from the off with a really superb melody; you could actually hear a crowd chanting along to this onstage (he probably doesn't do live work, but if he did/does). Slows down to a softer guitar with a great vocal chorus in the last minute or so.
7. A superior lament: Considering this has lament in its title, it's a surprise to find it kicking off as a powerful, uptempo rocker with screaming guitar and rolling drums, really rocking along. Another fantastic vocal chorus/choir and this song is so emotional I can feel it in my bones. Ah, but now it just got about a thousand times better with decipherable vocals and a beautiful, majestic melody. I love this guy. And I love whoever turned me on to him. I think it was Loathsome Pete. Whoever it was, thank you so much. This, the longest track on the album, is an eleven-minute piece that feels like it's about six, and it's over way too soon.
8. The winds farewell: Beautiful soft acoustic guitar, somewhat in the vein of the opener, but with gentle electric wailing softly behind it. Gets stronger as it goes along, really building, and I think you can call this an instrumental. Certainly a stirring and fitting way to end such a powerhouse of an album.

Final result: It's yet another album that defies description or review. There is no way you can appreciate how good this is unless you listen to it. I don't have the words, the descriptive power, and you're not getting a loan of my ears. Do yourselves a favour and add this to your own listening list. You'll be glad you did.

Rating:

Trollheart · 12-27-2015, 05:23 AM

Title: Sovran
Artiste: Draconian
Year 2015
Nationality: Swedish
Level: Novice
Genre: Gothic/Doom Metal
6

Expectations: I will forever be grateful to Carpe Mortem for introducing me to Draconian, during Metal Month II. Their Arcane Rain Fell was a revelation, one of the better atmospheric metal albums I have ever heard. I note that their previous vocalist, Lisa Johansson has since departed, so I'm intrigued to see if the new singer makes that much of a difference, if this will be another masterpiece?

1. Heavy lies the crown: Well it's definitely more Doom than Gothic or even Ambient, as I found Arcane Rain Fell to be, but the new vocalist, Heike Langhans, is a decent replacement for Lisa, and Anders Jacobsson's guttural vocals complement her clean ones very well. Good opener, epic and dark.
2. The wretched tide: The spoken word stuff on this works well. Dark and powerful, with Heike's vocals lightening the tone very slightly. Gets a little faster than you might expect for Doom Metal, guess that's the Gothic coming through.
3. Pale tortured blue: Kind of a gothic ballad,with some really nice orchestral style keys and a lovely yearning vocal from Heike.
4. Stellar tombs: Ooh, some nice female vocal harmonies on this. It's really great the way Anders always sounds angry and Heike peaceful and placating; kind of like listening to the Devil sing with an angel. Works exceptionally well. Overall though, this album is not grabbing me in any way as ARF did. It's good, but kind of just that.
5. No lonelier star: Anders takes the lead here. I do like how though he growls it's easy to understand what he's singing. His spoken word stuff is good too. Heike makes an appearance towards the end, but it's been worth waiting for.
6. Dusk mariner: It's becoming harder for me to write about this, as much of it sounds pretty much the same. It's all good, but I just can't pick out anything specific about the later tracks. Draconian here seem to have found a formula which works, and stick to it pretty religiously, dividing the vocals pretty equally. This works well for the listener, who doesn't get too many surprises, but not so well for the reviewer, who struggles to separate track from track.
7. Dishearten: Oh, a double spoken vocal. That at least is different. And now we're getting a fast guitar solo, which is also different. Don't see any real chance of a Blue on this album though, even if it is all very good.
8. Rivers between us: As close as you'll get to a Doom ballad, with an appearance from Crippled Black Phoenix's Daniel Änghede.
9. The marriage of Attaris: The unfortunate thing is I was able to leave this playing, go out of my bedroom, go downstairs, let the cat in, come back up and know I had not missed anything. It's all great, sure, but pretty much the same generally, which is a pity.

Final result: Something of a letdown; not a bad album by any means. Quite a good one in fact, but has nothing of the fragile beauty and ethereal tenderness of Arcane Rain Fell. Maybe that album was unique in their catalogue. Pity, as I had hoped they would be a band I could really get into, but on the strength of this, though I would listen to the rest of their discography, I wouldn't be as excited about it or as moved about it as I had originally expected to be.

Rating:

The Batlord · 12-27-2015, 09:43 AM

It's their eight album. Are you really expecting them to still be on top of their game? Go do some actual research and find out what albums are most worth checking out, you lazy ****. It's called "RYM".

12-22-2015, 04:24 PM	#84 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,971	Jeez, what's it come to when you can't even show pictures of headless naked chicks?? World's gone mad! __________________ Trollheart: Signature-free since April 2018

12-23-2015, 05:46 AM	#87 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,971	Title: Act III: Bitterness Artiste: Funeris Year 2015 Nationality: Argentinian Rank:Novice Genre: Funeral Doom Metal 3 Expectations: When I tried to explore funeral doom metal for Metal Month III, I was quickly turned off by not only the crushingly slow pace (which I could deal with) but the lack of variety and interest in the vocals, which seemed to consist of long-drawn out moans and howls with no real discernible words. Funeris, on the other hand, really impressed me, and maybe I just listened to the wrong band. Either way, I'm hoping this will live up to the promise of Funereal Symphonies, though I will allow this is their second album in the same year, and so will cut them some slack if it isn't quite another masterpiece of funeral doom. 1. Flor de mi miseria: There's no confusion as to this being doom metal anyway, with big heavy ponderous drums and crushing guitar riffs moving at a snail's pace as we open. In case you weren't aware, Funeris is a one-man-band, with everything played and sung by Alejandro Sabransky, which only ups my praise for his outfit, which really he manages to make sound like a full band. (It's a complete coincidence, by the way, that this and the next album to be reviewed are both metal bands with one member). There's something unutterably grand and majestic about his music, even if I can't understand a word he's growling, sorry singing; can't even tell if it's in English. But as I found out this year, doom and funeral doom in particular is more about weaving a tapestry of feelings and emotions, creating an ambience and atmosphere than it is about creating individual songs. This is music you just get lost in, drown in, and may find it hard to make your way back out of, if you want to. 2. Muerte lenta del destino: Some beautiful, lonely violin and cello starts this one off, and it's another long one (the previous track ran for over eleven minutes, this one goes for just under ten), crawling of course but with that same stately sense of reverence, almost like a funeral itself, which is I suppose the point. Batty used to talk about riffs crushing him, and I never quite understood what he meant, or how that could be good. Since listening to Funeris, I totally get it. This music just pounds you into the earth, and you want more and more. Actually slightly speeding up here on the guitar, more a gentle canter than a power metal gallop or anything, but still an increase in tempo, if only very little. A real moment of relief, as it were, as the heavy feedback, percussion and bass all fall away in the fourth minute to allow some very reflective guitar to take the tune, though for less than a minute before the full ensemble at Sabransky's command comes back in, taking with it some more violin, which again helps to somewhat lighten the heavier vibe. 3. Pax aeterna: This is the only instrumental on the album, though with the dark, indecipherable vocals it kind of doesn't make a difference really. It's also well the shortest track, at just over four and a half minutes. There's an almost power metal guitar (though much much slower of course) and moaning violin to open, slow, measured drumming accompanying the melody like a slave driver beating out the rhythm or the lead mourner at a funeral striding purposefully and determinedly along, head down, eyes looking neither to left nor right. There's an almost anthemic feel to it, with a sense of the celtic too. 4. Falling through depths: I'm not quite sure why half the tracks are in Spanish and the rest in English, but I'm sure Alejandro knows what he's doing. Totally crushing slow riffs, vestiges of keyboard work behind them, maybe the odd violin but mostly it's powerful, brutal guitar and growls that sound like they come up from the very pit of Hell itself. Does indeed give you the feeling of falling into a bottomless well or something. 5. Time is a gallows: The longest track on the album at just shy of thirteen minutes and opens with a surprisingly light and upbeat guitar, though of course that doesn't last as the standard heavy guitar punches it aside. It can still be heard in the background, doggedly trying to bring a ray of sunshine into this dark domain, but it's doomed from the beginning. As we reach the halfway point though, things do calm a little and we even get soft synth and quite spectacular piano, all percussion now faded out. This continues for about a minute before it all crashes back again for the big heavy ending. 6. Pax aeterna (String ensemble version): I know I don't normally go for bonus tracks, remixes or alternate versions, but this sounds like it could be worth listening to. And after all, there are only six tracks here, so who's it gonna hurt? I enjoyed the instrumental on track three, interested to see how he orchestrates it up here. Will it change a Green to a Blue? Yes. Yes it does. Beautiful. Final result: To create one almost perfect album a year is something else. To get out two such opuses is incredible. To do it entirely on your own is nothing short of phenomenal. Really, either of the last two albums could be on my AOTY list, and it's hard to choose between them, but since my first exposure to this guy was on Funeral Symphonies, the effect that had on me gives that album the edge, so it'll be going on my list. But if there weren't so many other albums I wanted to honour by including them, this could be on it as well. Superb stuff. Rating: __________________ Trollheart: Signature-free since April 2018

12-24-2015, 09:14 AM	#88 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,971	Title: Autumn Eternal Artiste: Panopticon Year 2015 Nationality: American Rank: Apprentice Genre: Atmospheric Black Metal/Folk Metal 6 Expectations: I'm just hoping to be impressed and moved again, as I was with particularly Roads to the North. 1. Tamarack's gold returns: Well that is just perfect! Starts off with the lonesome cry of a wolf or coyote, then soft acoustic guitar and violin in very much a folk idea. Just beautiful, and really conjures up the scene of rolling hills stretching out beyond a forest to a distant horizon. Sea sounds really add something to this. Ends very ambient, with either footsteps or the sound of someone chopping wood. Very rustic. 2. Into the north wood: Now we get the black metal side of Panopticon as things rack up and Austin Lunn's guttural screamed vocal comes in. Powerful guitar work, thundering drums. Slows down in the last minute on rolling drums and a sort of dramatic march with pealing bells 3. Autumn Eternal: Another big heavy number, but it has a loping, almost power metal rhythm to it, which is really nice to hear. Very catchy. Even has a nice sort of introspective little piece in it. Love this so much. It goes totally ape** in the fifth minute as Lunn just kicks everything up to ten, including his vocal. 4. Oaks ablaze: Well titled, as it just burns along from the off. It's almost chaotic, but you realise Lunn has everything tightly under control, and this is his great strength: to be able to control all of this meticulously and yet make it seem like he's just thrashing about. It's a rare talent. To underline this, in the midsection everything is reduced to a single soft guitar and sound effects before the drums crash in, but relatively unobtrusively and the guitar riff takes us on to the sixth minute before it fires up into life again. Excellent. 5. Sleep to the sound of the waves crashing:** Unsurprisingly, the sound of waves softly sighing open this, with pealing bells though this time they're not doomy at all, almost hopeful, then a hammering guitar pounds through with rattling percussion and we're off. Some fine and quite strong violin (I'd almost say fiddle: what's the difference? I don't know, I just think of fiddle as being generally played in a faster, more uptempo and fun way whereas violin usually comes across to me as sad and serious) then everything --- and I mean everything! --- stops in minute four and we're left with nothing but the sound of the surf. Sharp violin now slides in alongside another, softer one and a quite breathtaking passage begins, almost classical. Bells coming back in, reminds me of a wedding in a cathedral. Now the harder guitar kicks back through and the tempo rises again as we head into the final few minutes. 6. Pale ghosts: This sort of continues from the previous track, pounding along from the off with a really superb melody; you could actually hear a crowd chanting along to this onstage (he probably doesn't do live work, but if he did/does). Slows down to a softer guitar with a great vocal chorus in the last minute or so. 7. A superior lament: Considering this has lament in its title, it's a surprise to find it kicking off as a powerful, uptempo rocker with screaming guitar and rolling drums, really rocking along. Another fantastic vocal chorus/choir and this song is so emotional I can feel it in my bones. Ah, but now it just got about a thousand times better with decipherable vocals and a beautiful, majestic melody. I love this guy. And I love whoever turned me on to him. I think it was Loathsome Pete. Whoever it was, thank you so much. This, the longest track on the album, is an eleven-minute piece that feels like it's about six, and it's over way too soon. 8. The winds farewell: Beautiful soft acoustic guitar, somewhat in the vein of the opener, but with gentle electric wailing softly behind it. Gets stronger as it goes along, really building, and I think you can call this an instrumental. Certainly a stirring and fitting way to end such a powerhouse of an album. Final result: It's yet another album that defies description or review. There is no way you can appreciate how good this is unless you listen to it. I don't have the words, the descriptive power, and you're not getting a loan of my ears. Do yourselves a favour and add this to your own listening list. You'll be glad you did. Rating: __________________ Trollheart: Signature-free since April 2018

12-27-2015, 05:23 AM	#89 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,971	Title: Sovran Artiste: Draconian Year 2015 Nationality: Swedish Level: Novice Genre: Gothic/Doom Metal 6 Expectations: I will forever be grateful to Carpe Mortem for introducing me to Draconian, during Metal Month II. Their Arcane Rain Fell was a revelation, one of the better atmospheric metal albums I have ever heard. I note that their previous vocalist, Lisa Johansson has since departed, so I'm intrigued to see if the new singer makes that much of a difference, if this will be another masterpiece? 1. Heavy lies the crown: Well it's definitely more Doom than Gothic or even Ambient, as I found Arcane Rain Fell to be, but the new vocalist, Heike Langhans, is a decent replacement for Lisa, and Anders Jacobsson's guttural vocals complement her clean ones very well. Good opener, epic and dark. 2. The wretched tide: The spoken word stuff on this works well. Dark and powerful, with Heike's vocals lightening the tone very slightly. Gets a little faster than you might expect for Doom Metal, guess that's the Gothic coming through. 3. Pale tortured blue: Kind of a gothic ballad,with some really nice orchestral style keys and a lovely yearning vocal from Heike. 4. Stellar tombs: Ooh, some nice female vocal harmonies on this. It's really great the way Anders always sounds angry and Heike peaceful and placating; kind of like listening to the Devil sing with an angel. Works exceptionally well. Overall though, this album is not grabbing me in any way as ARF did. It's good, but kind of just that. 5. No lonelier star: Anders takes the lead here. I do like how though he growls it's easy to understand what he's singing. His spoken word stuff is good too. Heike makes an appearance towards the end, but it's been worth waiting for. 6. Dusk mariner: It's becoming harder for me to write about this, as much of it sounds pretty much the same. It's all good, but I just can't pick out anything specific about the later tracks. Draconian here seem to have found a formula which works, and stick to it pretty religiously, dividing the vocals pretty equally. This works well for the listener, who doesn't get too many surprises, but not so well for the reviewer, who struggles to separate track from track. 7. Dishearten: Oh, a double spoken vocal. That at least is different. And now we're getting a fast guitar solo, which is also different. Don't see any real chance of a Blue on this album though, even if it is all very good. 8. Rivers between us: As close as you'll get to a Doom ballad, with an appearance from Crippled Black Phoenix's Daniel Änghede. 9. The marriage of Attaris: The unfortunate thing is I was able to leave this playing, go out of my bedroom, go downstairs, let the cat in, come back up and know I had not missed anything. It's all great, sure, but pretty much the same generally, which is a pity. Final result: Something of a letdown; not a bad album by any means. Quite a good one in fact, but has nothing of the fragile beauty and ethereal tenderness of Arcane Rain Fell. Maybe that album was unique in their catalogue. Pity, as I had hoped they would be a band I could really get into, but on the strength of this, though I would listen to the rest of their discography, I wouldn't be as excited about it or as moved about it as I had originally expected to be. Rating: __________________ Trollheart: Signature-free since April 2018