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In the 21st century, it is not uncommon for one of the harsher black metal bands to boast that "no keyboards were used on this album." That is their way of bragging that they consider themselves black metal purists and are distancing themselves from the more musical and melodic bands that comprise the symphonic black metal school of black metal. But when Marduk recorded Those of the Unlight back in 1993, black metal wasn't as diverse as it would later become; therefore, the more abrasive and brutish black metallers didn't feel a need to tell you what set them apart from keyboards-loving black metallers. And the word "brutish" definitely describes Those of the Unlight, which maintains the spirit of rawness that characterized its predecessor, Dark Endless. Granted, Those of the Unlight isn't as extreme as the amelodic grindcore bands that were raising hell in the late '80s and early '90s -- the tunes on this 1993 recording, unlike the grindcore material of death metal's lunatic fringe, have actual song structures -- but at the same time, no one will mistake this album for symphonic black metal. It's too rough and tumble; too jagged, too primal. Those of the Unlight is also mildly uneven; it isn't as consistent as some of the Marduk albums that came later. 2005's Plague Angel on Candlelight, for example, is actually a stronger, more consistent effort than Those of the Unlight. Nonetheless, this album has a lot going for it despite its imperfections. ~ Alex Henderson
Marduk: Joakim Af Gravf (vocals, drums); Morgan Hakansson, Devo Andersson (guitar); B. War (bass).
Audio Remasterer: Magnus "Devo" Andersson.
Those Of The Unlight Music Marduk Those Of The Unlight Songs | 1. | Darkness Breeds Immortality |
| 2. | Those of the Unlight |
| 3. | Wolves |
| 4. | On Darkened Wings |
| 5. | Burn My Coffin |
| 6. | 21 Sculpture of the Night |
| 7. | Echoes From the Past |
| 8. | Stone Stands Its Silent Vigil |
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Those Of The Unlight Music Those Of The Unlight Review
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Purchase Those Of The Unlight CD To buy, Click on price to add to cart | American Music Club Everclear CD (1991)
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EVERCLEAR, AMC's finest hour and one the '90s' most powerful albums, is simultaneously lush and searing, heartache and despair borne out in elegant arrangements that combine fragile prettiness and soul-baring howls of pain. Multi-instrumentalist Bruce Kaphan rose to the occasion of his production debut. The canyons of reverb on the instruments are strangely appropriate, highlighting the almost decadent, tragically beautiful feel of the songs. Keyboards, pedal steel, and acoustic guitars drift like abandoned ships swirling around in a colorfully tempestuous sea full of unknown nautical demons. Guitarist Vudi contributes some of the most artful, non-traditional sounds ever concocted by a "rock" axeman.
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Although they remained largely without peer when it came to pure Germanic thrash metal, by the time of 1990's Coma of Souls, Kreator's very successful formula had begun to grow a little tired. The fact that they were coming off perhaps their biggest album yet in 1989's Extreme Aggression didn't help matters, and despite its overwhelmingly solid songwriting, Coma of Souls still sounded somewhat repetitive to all but the most unquestioning of fans. Still, better too much of a good thing than nothing at all, and with their head-spinning musicianship and well-chosen stabs at melody, complex moshers like "When the Sun Burns Red," "Angels of Brutality," and the title song are guaranteed to thrill lovers of technically ...
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Truth be told, the Trembling Blue Stars routine was getting kind of stale by the release of Seven Autumn Flowers in 2004. With that album they crossed the line that divides reliable and predictable; no longer did the morose lyrics, melancholy vocals, minor chords and cheesy synths make a positive impression. Luckily for fans of the band, The Last Holy Writer is a comeback of sorts, certainly an improvement, and maybe even one of their finest records. How did they do it? It's hard to say because on the surface it seems like not much has changed sound or mood-wise. There's still a preponderance of downbeat lyrics and Bob Wratten hasn't suddenly traded in his mope for a smile, no fear of that anytime soon. The building blocks of their sound are mostly the same too. What makes a difference here is a boost in the overall energy level from unrelenting gloom to mostly sad, a slightly expanded sonic palette that makes room for field recordings and a wider range of drum sounds, and most importantly, some really ...
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Principally recorded at Woodcliff Studios, Sherman Oaks, California in January 1996.
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Beware of Darkness, the follow-up to California prog unit Spock's Beard's underground hit debut, The Light, is a complete exercise in MORE. Using George Harrison's beautiful song (but Leon Russell's version of it) as a take-off point, the band uses a full-blown choir, thundering guitars, and Neal Morse's growling vocal to create another valid and moving version of the tune. Beware of Darkness as an album is more "song-oriented" than its predecessor. It contains eight tunes instead of four and the longest, the closing "Time Has Come," is a mere 16 minutes, while the shortest, "Chatauqua," is a mere 2:49! In addition, the band's scope widened here; aside from references to Yes, King Crimson, and early Genesis, listeners can also hear elements of Gentle Giant, Emerson, Lake & Palmer, and Pat Metheny in the mix, too. However, all of them are subservient to Spock's Beard's tough, aggressively driven rock & roll approach. In many ways it goes beyond The Light, particularly because of its construction-like songwriting approach on "The Doorway," a tune written before anything on the band's debut album, where classically precise pianos give way to monstrously plodding basslines and knotty little synth riffs introduce those propulsive guitars and huge organ swells with a delicate vocal floating above it ...
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Swedish death metal supergroup Bloodbath arrive at their third release, 2004's Nightmares Made Flesh, having both reshuffled (drummer, now guitarist Dan Swanö making way for Satanic Slaughter/Witchery man Martin Axenrot) and exchanged (Opeth vocalist Mikael Åkerfeldt for top producer and multi-band member Peter Tägtgren) some of its all-star team -- the result of understandable constraints of time and other-band responsibilities. Not that this is a problem, mind you, since Bloodbath's raison d'être remains essentially the same: to provide an informal venting place for these musicians' most primal, death/black metal aggressions, as typified most of their early career projects, but which have generally become less integral to their more recent and, shall we say, more refined extreme metal pursuits. And, if anything, this latest Bloodbath configuration has managed to come up with an album that's all the more ferocious and overpowering in nature than its predecessor, if that's possible. Without disrespecting Swanö's multi-instrumental talents, it's often Axenrot's remarkable skills giving new offerings like "Feeding the Undead," "Bastard Son of God," "Stillborn Saviour," and the sudden-stopping complexity of "Cancer of the Soul," newfound muscle; and Swanö's ability to now focus ...
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| | Ming & Ping MP2 CD (2005)
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In the year since the release of Ming & Ping's 2004 debut LP MingPing.com, these Hong Kong-born, San Francisco-dwelling identical twins have become a small scale pop-cultural phenomenon, attracting a diverse and devoted cult following with their sublimely subdued, New Wave-inflected pop songs, smart visual style, and soft-spoken charisma. Though still flying under mass media's radar, Ming & Ping's videos, music, and image have spread rapidly across the globe via the Internet, surfacing in dance clubs, film festivals, and magazines from Japan to Great Britain. Now, with the completion of Ming & Ping's second LP, MP2 (Omega Point Records), it's clear that these brothers and their irresistible brand of electro/indie pop are just too much fun to remain buried in the underground much longer.The opening track, "A Little Different", eases listeners into the album - the gentle synthesizers and the brothers' round-and-round vocals weaving a pleasantly hypnotic web. From there the energy level rises quickly, cresting with the kinetic New Wave rave-up "Delete" and the propulsive synthpop cut "Midnight on the Bridge", with its haunting chorus of "we both wonder what it's like to drive our car / past the yellow line into the dark / looking up from the water, I'd see you smiling". Another standout, "Splendid", will have many listeners whistling its melody for weeks.Live, where they were once content to perform with their tape recorder and CASIO at coffee house open mics, the twins have since responded to fans' demands for a show more in keeping with their albums by assembling an act featuring Chinese emperors and giant wind-up cymbal monkeys, dazzling video projections, backing dancers, and a multi-talented supporting crew known as "The Ming & Ping Dynasty". The brothers ...
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