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Emperor

Nottodon, Norway

Prometheus – The Discipline of Fire & Demise

 

NUCLEAR BLAST RECORDS NBR 685 — CANDLELIGHT CANDLE064

October 2nd, 2001

KICK ASS METAL HALL OF FAME ALBUM

AVANT GARDE METAL CLASSIC HALL OF FAME ALBUM

SCORE 100 OUT OF 100 BLOOD DRIPPING SKULLS

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Emperor UNLEASHED ON PLANET METAL  the all-time classic, In the Nightside Eclipse on February 21st, 1994, which saw heavy metal get it WORLD’S GREATEST HEAVY METAL BAND OF ALL-TIME.

CRADLE OF FILTH, which 3 days latter, on Febraury 24th, 1994 RELEASED AT THE TIME, and still is the NUMBER 1 HEAVY METAL ALBUM OF ALL-TIME IN THE INTERNATIONAL CATERGORY.

THE GODLY MAJOR RAGER Cradle of Filth “The Principle of Evil Made Flesh”.

I will never forget the day. When the Owner of KICK ASS METAL walked into the office and put Cradle of Filth’s “The Principle of Evil Made Flesh” in the WORLD’S GREATEST HEAVY METAL BAND OF ALL-TIME #1 RANKING/ #1 RATING POSTION ON our top 666metalgods666 best heavy metal bands of all-time category.

For those new to Heavy Metal, and not up on the heavier end of the heavier spectrum of true metal. Deicide had the  #1 World’s Greatest Heavy Metal Band of all-time they had the this from July 27th, 1990 until February 24th, 1994.

TODAY’S NEWS DATE IS JANUARY 20TH, 2017.

AND THE WORLD’S GREATEST HEAVY METAL BANDS OF ALL-TIME FOR 23 YEARS NOW.

#1 WORLD’S GREATEST HEAVY METAL BAND CATEGORY — INTERNATIONAL

CRADLE OF FILTH

WORLD’S GREATEST HEAVY METAL BAND 

SINCE

FEBRUARY 24TH, 1994 — PRESENT — TO INFINITY UNLESS TONS OF HEAVY METAL MUSICIAN GET

MASTERS DEGRESS IN MUSIC

#1 WORLD’S GREATEST HEAVY METAL BAND CATEGORY — NORWAY

CREST OF DARKNESS

WORLD’S GREATEST HEAVY METAL BAND 

SINCE

MAY 12TH, 1999 — PRESENT — TO INFINITY (THIS ALBUM MAY NEVER BE OUT CLASSED FOR WORLD-CLASS HEAVY METAL

THAT IS OVER HALF THE HISTORY OF 1980’S HEAVY METAL.

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But this Emperor all-time classic album, it is a true avant-garde metal classic. It fits perfectly in between spins of Cradle of Filth’s “Midian” October 30th, 2000 and Crest of Dakness “Project Regeneration” November 17, 2000 and Kovenant’s “Animatronic” November 16th, 1999.

For Norwegian Ranking Crest of Darkness is obviously the GREATEST HEAVY METAL BAND OF ALL-TIME. THIS HAS BEEN VOTED ON BY THE 700 OF US WHO HAVE WORKED ON THIS PUBLICATION. And the VOTE is always

Crest of Darkness 700 to 0. For 18 years in a row, For the VOTE in 2017 I believe we will be meeting in Las Vegas, Nevada, and vote on the Heavy Metal CLASSIC albums from May 12th, 2016 and May 12th, 2017 a few top 100 heavy metal album of all-time, in this era, but nothing as SAVAGE

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or FACE MELTING MOLTEN METAL occurred in this period of heavy metal history….!!!

KICK ASS METAL IS DEFINED AS SHARP DEADLY AND EFFECTIVE RIFFING WITH A SAVAGE FACTOR, AND A KILLER FACE MELTING KILLER GUITAR TONE.

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the below album review is saved here for posterity, and found origninally on the GODLY AVANT-GARDE METAL website and saved here for posterity.

….”Swansong isn’t always singing. Sometimes it’s a weak sigh of one who wished to reach the end crowned with olive leaves, and its strength is not heard. Sometimes it’s a mighty shout into fathomless void which the artist leaves after his departure, the very same dark cave that only a few selected ones can light. Facing this knowledge, the artist clears the stage and in the background the winds are howling – “let go of the leaving” and scatter the ashes of a gloomy farewell.
This shout is embodied in the last album of the best and most important black-metal band ever, Emperor. As a band that nourished courage and honesty within its music, Emperor did not hesitate to announce breaking-up after a decade. In a scene that recycles itself to death, where other bands are still struggling to pull their wagon and to extort last creativity sparks into an outcome that sheds black stains upon their repertoire and leaves a foul taste to their loyal audience, Emperor stands out as the ultimate lighthouse. Lending a comparison from another great band, this album is the “Strangeways, here we come” of the metal scene.
The uncompromised artistic integrity characterizing the band led into a last and pure burst of creation in the very deep meaning. A whole bleeding creation delivered as a concept album describing the last journey of Prometheus, the man of fire.

It is him – the one who knows before, the silent prophet, the man of fire. The one chosen to carry the swansong. Emperor was chosen to tell its fall. The symbiosis is perfect. The band that carries the fire in the instruments, voices and above all, in stomachs, gives a new mouth to the man that is compassion, pride and love. The man who fights for human freedom marches its final way and the listener can only shrink. Emperor created for him, for us, a world of ice and flames, natural as the sky above and earth underneath, like the bitter truth and the bitten lips. The album’s cover is grey and the booklet too, ornamented with bits of black and white. This is the message, this is the world and the fire colors have no place in it.

Musically, the album is an upgrading of Emperor’s previous “IX Equilibrium”, which stood for intelligent tight music, rich in influences that is rare to find within the genre of progressive with death-metal, paper-thin electronic flickering opposite of classical orchestration moments, all sewed by Ihsahn. In the “Prometheus” effort the complexity gathers more depth, but not over the emotions account, dripping from every note. It seems like an evasive definition such as ‘progressive black-metal’ would not do well with the album, although it somehow catches its musical structures. The ornament of the basic metallic guitar cloak is quite ethereal. It winks at ambient directions and sometimes at blatant electronic. This gives the mystical shades from the days of the beloved Norwegian yarn. The symphonic neo-classical touches are substantial as well, represented by barrages of violins along with crawling blackish riffs or whining cello upon ambience keyboards platform. The guitar parts are inspirable and it’s truly a pleasure listening to and behold that it’s possible to renew even in the archaic metal scene.

The opening track, “The Eruption” starts with a silent pipe-organ and within seconds drives into a storm that is death-metal planted in black-metal aesthetics. The song, like the others, is ever-evolved – here a complex progressive riff is presented and there blinks a gentle melody. Never silent. Vocals-wise, Ihsahn is at its best – the operatic attitude, showcased since glorified “Anthems to the welkin at dusk” days, stands here with all its beauty and strength. His clean voice is deep and lucid, steady yet becomes rounded in corners. He is Prometheus himself.
None of the songs fails to thrive, as suitable from a concept album which keeps a unified level of its phases. Nevertheless, two songs are the weeping heart of the album: the seven-minuet epos “The tongue of fire” is stunning with its prickly guitar opening, poured into beautifully breaking chorus with lachrymatory elegy: “The soul is never silent, but wordless”. The very same soul is silent in the keyboards part, enchanting like heavenly bells, with whispering drumming and blunt distortion. After that comes a touching combination between violins and a choppy, furious riff that represents Emperor perfectly as the genre founders. With a strike of a finger they bury it all. The enormous passion taking place in the song, the extential need in fire and its fleeing into grey clouds are driving Prometheus like a madman.
“In the wordless chamber” is the sound of cessation. The soul, locked in the metaphorical cellar, weeps the ills of the world, cries the lack of hope, through low and gurgled singing, based on another death-metal riff and French horn blows. Even though the symphonic arrangement is pushed to the background one cannot ignore its beauty. Here as well, the song breaks into a quiet part, yet again this weak violin, searching its way through the darkness and exploding into thick riffs, singing of desperation and disappointment itself. Prometheus tries to get out of this hell-hole.

In this album and in contrast to the myth, Prometheus isn’t immortal. In the closing song and most vicious one “Thorns on my grave” he’s wrapped in plastic coil and in harsh riffs, brought into the heart of the soil, as he asks the most barbed thorns will bloom from his tombstone, as his body will remain deep under, for he holds every pain and every death he cannot be released from. Emperor has those two gifts in their palm and now, the album ends with great silence.
The greatness of this album is not only the magnificent musical display that once more made anew the bleak black-metal rather than its essence. Prometheus is not walking among the gods. He is walking among us and also in this modern age there’s a place for this prophecies. This is the poetic work of Ihsahn, who stroke once again the peak and turned Prometheus into one of us. This is nothing but sharp and heart-stabbing poetry, from the fire creator and its deliverer, and it burns the listener’s soul as he burns with Prometheus. His stomach turns over, for he knows or not, that the fire lies deep within, always burning, always scorching. Most of the time it won’t find solace and it will annihilate its environment just like this album does….”

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Jobst

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TRACKLIST:

01 – The Eruption
02 – Depraved
03 – Empty
04 – The Prophet
05 – The Tongue Of Fire
06 – In The Wordless Chamber
07 – Grey
08 – He Who Sought The Fire
09 – Thorns On My Grave

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