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Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Only occasionally are we confronted with glimpses of a discordant underbelly, the prospect of decay and menace of less hospitable soundscapes. Where there are forays into rhythm, subtle percussion crashes and amplifies the emotional undercurrent.
The trusty triumvirate are joined by a string quartet and guest musicians, the likes of Austrian electronic music legend Christian Fennesz, renowned theremin sage Pamelia Kurstin, Norwegian jazz musician Mathias Eick, among others whose contributions enrich the album's distinctive sheen.
Among these warm, sonic arrangements — mostly linear constructs that unite variants of looping electronics with crisp organic instrumentation — there are glimmers of baroque pop in Rygg's vocal work, often delivered in the lower register. Each word uttered a negotiation: between loss, questions and the oftenuneasy terms of their acceptance.
A cover of Black Sabbath's downtrodden classic, "Solitude", is right at home in its folds. Shadows of the Sun possesses a power to prompt reflection like few things do, particularly where existential matters are concerned.
We, too, may come to take the furthermost purview. The Ankole, an East-African bull whose mesmerizing lyreshaped horns grace the album's stunning cover art, are a dying breed expected to disappear within decades. Our own sun fares somewhat better in this equation. It will be several billion years before it swells nearly a hundred times its current diameter in a spectacular last hurrah.
Ample time to wonder: "What happened to us here? Echo Chamber Room of Tears 2. Bring Out Your Dead 3. The Power of Love The sad remains from our Caesarean banquet.
Two songs we kind of left on the drawing board but resumed work on this summer. Additionally, a cover of a childhood favourite — one we actually started some twelve—thirteen years ago — from the time we first started thinking about making "pop" music. Mastered this week by The Bricoleur. Thanks to David Hall and Vivek Venkatesh for their wonderful work on videos to accompany these two new songs, using footage from our concert at Labirinto della Masone , Italy, June 3rd.
Also in order is a big shout out to Birk Nygaard, BN Visuals , for his general laser dementia and documenting this special occasion.
Birk will join us on the road this November, and we hope to see some of you out there. A physical version is likely later. There's simply no time to prepare one right now, as we have a tour to get ready for. But please keep an eye on the House of Mythology. Spotify, iTunes, etc. Please spread and share at will, we don't have the patience to wait for the music machine hubbub. This is the age of the internet, innit?
Thank you for listening. Ulver, The Colony Room, November 11 Just after midnight a black Mercedes Benz rushes through the dark streets with a horde of ravenous paparazzi on tow. In the Pont de l'Alma tunnel the car swerves into a roof-supporting pillar and in the echo of the metallic roar dies Diana, the Princess of Wales. The world has lost one of its greatest icons and the morbidity of popular culture hits a new high.
The story is strangely resonant with the myth of the Greek goddess Artemis Roman: Diana and the hunter Actaeon, who, after having seen the goddess bathing naked, is turned into a stag and torn to pieces by his own hunting hounds. Such historical quantum leaps often occur in Ulver's musical universe, which has never been bound by any physical law.
And the band's unruly play with myth, history and popular culture has never been more manifest than now. From the assassination attempt against Pope John Paul II on one day in May , to the queer, black house with the address California Street, San Francisco, better known as the headquarters of Anton LaVey's Church of Satan — Ulver moves seamlessly through time and space, and manages, in their own strange ways, to create a coherent tableau with a deeply personal backdrop. Those familiar with this stubborn pack of wolves from Oslo will not be surprised that they also this time round are shifting shape.
Never afraid of challenging or redefining current musical conventions, Ulver has now enacted what they are calling "their pop album". You don't have to worry about vexing radio humdrum or pastel ear candy though — Talk Talk and Music Machine are pop music as good as any in the universe of Ulver.
A universe where "pop" is more a mark of distinction, denoting immediacy and possible body movement. Factory Records and Welcome to the Pleasuredome. The Assassination of Julius Caesar is an album the band has been longing to do for many years, to delve into the music of their childhood, along with the now fading memories and drifting clouds of romance. Not since Shadows of the Sun , now ten years of age, has the band worked under such clearly defined criteria, staying true to an aesthetics.
Such music is never easily conceived, but Ulver's unyielding ethos of following their instincts has again showed them the way. Fear of repetition and standstill is just as instinctive in the mind of this group as hunger is for their counterparts in nature. The result is epic and wide-scoped as a historical drama, without ever mollycoddling the listener.
Since Ulver was formed a quarter of a century ago, their musical odyssey has taken them round the world in many shapes. This year will see them perform in select places with a new spectacular live production. And even if Ulver might have brought home the game with their most ambitious and majestic work thus far, rest assured that the wolves will keep on following you through the night.
The people involved have changed and will change from project to project, according to its nature and time and place of realization. Thank you. Ulver, Oslo, February 28, Design by Valnoir Metastazis Click image to enlarge.
Photo by Seth Beaudreault Click to enlarge. Click image to proceed to the Roadburn site. Click images to proceed to the Neuropa site.
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