Archives for posts with tag: THE GREATEST HEAVY METAL BAND OF ALL-TIME

 

 

As a heavy metal fan I started in the Summer of 1978 and on February 24th, 1994 a few year before the internet and webZines. I came into work, and the Greatest album of all-time on our company’s news service desk, went from Deicide “Deicide” in June 27th, 1990, and @ that time in history we ranked/rated Cradle of Filth and “The Principle of Evil Made Flesh” as the Greatest Heavy Metal band and Heavy Metal album of all-time….then on May 12th, 1999 Crest of Darkness “The Ogress was UNLEASHED ON PLANET METAL…. There are 22 FUCKING ESSENTIAL Cradle of Filth releases, and we RE-buy the Cradle of Filth back catalogue every year. There is no Metal Archives or BNR Pages for Antiqva yet, but knowing the World-Class efforts and musicianship and superior work ethic of the artist involved in the project, this album is going to rule beyond belief…the initial buzzzzzzzzzz on this band was of course by Sabina Wahlman in Sweden who runs a couple of fan clubs where I am a member… for those new to Heavy Metal Lindsay Schoolcraft won our PERSON OF THE YEAR in 2013, we were the 2nd news service after RoadrunneR/Blabbermouth to cover that news  story !!!! I only read choice actual heavy metal webZines….so we are pretty sure we are the first to cover Antiqva!!!! We are looking forward to covering Antiqva, and will keep everyone up-to-date on there events and news updates !!!!

Cradle of Filth DISCOGRAPHY

THE PRIINCIPLE OF EVIL MADE FLESH

V Empire or Dark Faerytales in Phallustein

Dusk And Her Embrace

Cruelty and The Beast

PanDaemonAeon

From The Cradle To Enslave – MUSIC FOR NATIONS VERSION

From The Cradle To Enslave – Metal Blade Version

Bitter Suites To Succubi

Heavy Left-Handed and Candid

Lovecraft & Witch Hearts

Elven Burial Masses/ Live Bait for the Dead

Damnation and a Day

Nymphetamine

Peace Through Superior Firepower

Goodspped on the Devil’s Thunder

Darkly, Darkly Venus Aversa

Evermore Darkly

Midnight in the Ladyrinth

The Manticore and Other Horrors

Total Fucking Darkness

Hammers of The Witches

Dusk…and Her Embrace–The Original Sin

CONTACT INFO

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MORE INFO
Genre
A black metal / doom / classically orchestrated project
Band Members
– Xenoyr: Harsh vocals and lyrics (Ne Obliviscaris)
– Lindsay Schoolcraft: Ochestrations, piano, church organ, ethereal female vocals (Cradle of Filth)
– Urzorn: Guitars (Negator)
– Justine Ethier: Drums and orchestrations (Blackguard, Karkaos)
– Andy Thomas: Guitars and clean vocals (Black Crown Initiate)
– Memnock: Contrabass and bass (Susperia, Abyssic)
– Dalai: Cello (Dirty Granny Tales)
Hometown
Australia / Canada / Germany / USA / Norway
About
Black Metal meets the darker side of Classical Music. Project founded by Xenoyr (Ne Obliviscaris) and Lindsay Schoolcraft (Cradle of Filth)
Press contact
antiqvaofficial@gmail.com

 

https://www.facebook.com/antiqvaofficial/

 

 

 

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Photo above Fernanda Lira * Nervosa FAME

KICK*ASS*METAL’S 2016 Person of the year….aka GREATEST WORLD-CLASS VOCALIST — HEAVY METAL — INTERNATIONAL

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1983

Kate De Lombaert * Acid

1984

Doro Pesch * Warlock

1985

Leataher Leone * Chastain

1986

Dawn Crosby * Détente

1987

Claudia-Maria Mokri * Celtic Frost

1988

Jo Phillips * Masque

1989

Sabina Classen * Holy Moses

1990

Uta Gunther * Celtic Frost

1991

Dawn Crosby * Fear of God

1992

Sabina Classen *Holy Moses

1993

Martine van Loon * The Gathering

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1994 * NORWAY

Kari Rueslåtten 3rd and the Mortal

1994 * INTERNATIONAL

Andrea Meyer * Cradle of Filth

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1995 * NORWAY

Liv Kristine Espenæs * Theatre of Tragedy

1995 * INTERNATIONAL

Annke Van Giersbergen * INTERNATIONAL

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1996 * NORWAY

Liv Kristine Espenæs * Theatre of Tragedy

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1997 * NORWAY

Monika Edvardsen * Atrox

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1998 * NORWAY

Vibeke Stene * Tristania

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1999 * NORWAY

Kristin Fjellseth * Crest of Darkness

2000 * NORWAY

Kristin Fjellseth * Crest of Darkness

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2001 * NORWAY

Anja Natasha * Dismal Euphony

2002 NORWAY

Miriam Elisabeth  Renvåg ** Ram-Zet

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2003 * NORWAY

Kristin Fjellseth * Pale Forest

2003 * INTERNATIONAL

Sarah Jezebel Deva * Cradle of Filth

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2004 * NORWAY

Liv Kristine * Leave Eye’s

2004 * INTERNATIONAL

Chibi * The Birthday Massacre

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2005 * NORWAY

Miraim Elisabeth Renvåg *  Ram-Zet

2005 * INTERNATIONAL

Mia Coldheart * Crucified Barbara

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2006 * NORWAY

Neil Sigland * Theatre of Tragedy

2006 * INTERNATIONAL

Dominique Persi * Stolen Babies

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2007 * NORWAY

Emily A Saaen * Manes

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2008 * NORWAY

Carmen Elise Espenæs  *Midnattsol

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2009 * NORWAY

Neil Sigland * Theatre of Tragedy

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2010 * NORWAY

Mariangela Demurtas * Tristania

2010 * INTERNATIONAL

Ashley Jurgermeyer * Cradle of Filth

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2011 * NORWAY

Cecil Langlie *Omit

2011 * INTERNATIONAL

Margarita Monet * Edge of Paradise

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2012 * NORWAY

Miriam Elisabeth Renvåg * Ram-Zet

2012 * INTERNATIONAL

Christine Davis * Christian Mistress

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2013 * NORWAY

Catherine Paulsen * Trail of Tears

2013 * INTERNATIONAL

Lindsay Schoolcraft * Cradle of Filth

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2014 * NORWAY

Carmen Elise Espenæs  * Savn

2014 * INTERNATIONAL

Sonja Ruppersburg * Terminatryx

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2015 *NORWAY

Miriam Elisabeth Renvåg * Viper Solfa

2015 * INTERNATIONAL

Margarita Monet * Edge of Paradise

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2016 * Norway

Kirsten Jørgensen

 

2016 * International

Fernanda Lira * Nervosa

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2017 * International

Margarita Monet * Edge of Paradise

 

 

 

 

 

 

 

 

 

 

 

KICK ASS METAL WANTED TO APOLOGIZE TO THE HEAVY METAL COMMUITY FOR NOT PUBLISHING THIS ARTICLE, ON MAY 12, 2017 .

Since May 12th, 1999.

From May 12th, of each year to May 12th of the Next Year. We have been l@@king for the Greatest Heavy Metal album of all-time….As a Metal fan since 1978. I know most people know by now the readers who have meet me in person that THE GOLDEN AGE OF HEAVY METAL was from August 1st, 1981 to October 31st, 1986. But there have been a few dozen GOLDEN AGES FOR HEAVY METAL, The Death Metal AGE/THE GOLDEN AGE OF DEATH METAL, The Avant-Garde Metal AGE,/THE GOLDEN AGE OF AVANT GARDE METAL, The Gothic Metal AGE/THE GOLDEN AGE OF GOTHIC METAL…I have never been stuck in the TIME WARP of 1980’s METAL ONLY…..Most of my favorite albums are from

January 1st, 1993 to March 10th, 2003. Basically the Begin of the Gothic Metal age to Cradle of Filth’s “Damnation and A Day’.

THE EVOCATION I EXPERIECED WITH Crest of Darkness “The Ogress” was a MILLION TIME MORE POWERFUL than Metallica “Kill ’em All” on August 1st, 1983, when the second pressing hit the stores after the first press run on July 25th, 1983, Mercyful Fate “Melissa” on October 30th, 1983. or with Morbid Angel on May 12th, 1989…….exactly 10 years apart from Crest of Darkness “The Ogress” which happened on May 12th, 1999…..!!! Or Deicide

Sure there have been some close calls….Displin “Anti Life” was close !!! as well as Iperyt “Totalitarian Love Pulse”…..!!!!

We review actual heavy metal and actual world-class hard rock, world-class avant-garde, and World-Class Classical Music, every year on February 13th, of each year. We have to listen to the so called “Metal Media” and the “Metal Press” top album of each year…..and I am actually shocked at how our peers, and our inferiors….really do not know the essence of heavy metal!!!! Which makes there top 100 albums and albums of the year each year STRANGE AND BIZAREE TO SAY THE LEAST!!!!!!!!!!!!!!!!!

KICK ASS METAL offices were closed for the Weekend for the 18th anniversary of this KICK ASS METAL feature for MOTHERS DAY….!!!!!!!! I gave everyone off that weekend, and even myself…so for that reason and that reason only, that this article was not written on May 12th, 2017 !!!!!

In 2017 the TOP album so far is Infernäl Majesty “NO GOD” it will enter a TOP 100 or a TOP 700 ALBUMS OF ALL-TIME LIST FOR SURE, because that album is PURE FUCKING MOLETEN METAL…..!!!!!!!!!

CREST OF DARKNESS FOUNDED IN 1993 and it is May 21st, 2017 and GOING ON

30 YEARS OF THE GREATEST HEAVY METAL BANDS OF ALL-TIME !!!!!!!!!!!!!

LONG LIVE CREST OF DARKNESS !!!!

 

 

 

 

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KICK ASS METAL IS A DEATH METAL AGE PUBLICATION, because DEATH METAL is HEAVY METAL’s only GENRE that has practitioners who have 90 to 95 percent of its practioncers create heavy metal art at the GOLD STANDARD or EXCEED IT creating a NEW GOLD STANDARD. It is a common thread thought most heavy metal publication that 99.9% of 1980’s Heavy Metal artist could not achieve the gold standrard in the 1990’s….with the first wave of sell-out’s in 1985 and then the slow-down syndrome that occurred in 1987. Only Motorhead, Chastain, Doro, Attacker, Coven, Coven13, Satan,Razor, Sacrifice, Morbid Angel…and a few others still have FLAWLESS DISCOGRAPHIES, from the 1980’s heavy metal genre circa 2017, are still relevant to the topic here of WORLD-CLASS HEAVY METAL …. Motörhead is the only band from the 1980’s metal movement that has each album on our top 100 albums of the year. 99.9% of 1980’s Heavy Metal bands SOLD-OUT in either 1987, 1987, 1991, and definitely one has to start looking for new heavy metal artist in 1995.

 

Since July 27th, 2007 KICK ASS METAL IS ALSO A AVANT GARDE METAL PUBLICATION. Because GOTHIC and the AVANT GARDE are so interconnected it is impossible for us here a WORLD-CLASS MUSIC SPECIALIST, featuring World-Class Heavy Metal, World-Class Gothic. World-CLass Classical Music, World-Class Music and bands with World-Class Vocalist, and not naturally be attraced to the darkness and authenticity of Avant -Garde Metal. As a specialized press for World-Class Gothic Metal and TRUE NORWEGIAN GOTHIC METAL.

 

JANUARY 1ST, 1993 TO JULY 27TH, 2003

IS HEAVY METAL’S GREATEST GOLDEN AGE

AND

HEAVY METAL’S GREATEST GENERATION

 

IT HAS BEEN THE GOLD STANDARD HERE SINCE 1993.

WE GIVE COVERAGE TO THE TOP 700 ARTIST IN EACH GENRE

WE ALSO DO NEWS COVERAGE FOR ANY ARTIST HOW ARE HAVING ACHIEVEMENTS

SINCE WE DO HAVE A HALL OF FAME SECTION, WHICH IS THE BEST OF THE BEST OF ALL-TIME  

 

 

 

I was dreamin’ when I wrote this

Forgive me if it goes astray
But when I woke up this mornin’
Could of sworn it was judgment day

The sky was all purple
There were people runnin’ everywhere
Tryin’ to run from the destruction
You know I didn’t even care

‘Cause they say two thousand zero zero
Party over, oops out of time
So tonight I’m gonna party like it’s 1999

I was dreamin’ when I wrote this
So sue me if I go to fast
But life is just a party
And parties weren’t meant to last

War is all around us
My mind says prepare to fight
So if I gotta die
I’m gonna listen to my body tonight

Yeah, they say two thousand zero zero
Party over, oops out of time
So tonight I’m gonna party like it’s 1999
Yeah, yeah

Lemme tell ya somethin’
If you didn’t come to party
Don’t bother…

 

 

 

1999 HAS A SPECIAL PLACE IN THE HISTORY OF HEAVY METAL IT IS WHEN 

 

HEAVY METAL GOT ITS GREATEST HEAVY METAL ALBUM OF ALL-TIME 

 

 

 

CREST OF DARKNESS “THE OGRESS” 

 

FOR THE 700 PEOPLE WHO WERE ASK TO VOTE ON THE TOP 100 HEAVY METAL albums of all-time, back in 1980 and again in 1991 and again in 1993 and again in 1995 and again in 1999 and again in 2001. (1995-2001) because of the scams happening on the internet.  It is undisputed historic fact @ KICK ASS METAL. That Crest of Darkness “The Ogress” is the Greatest Heavy Metal Album and the Greatest Heavy Metal Band of all-time. Crest of Darknesss — 30 YEARS OF THE GREATEST HEAVY METAL BAND OF ALL-TIME…!!!

 

WORLD’S GREATEST HEAVY METAL BAND HEAVY METAL. 

 

EACH YEAR FOR THE # 1 RANKING WORLD’S GREATEST HEAVY METAL BAND NORWAY. 

 

THIS HAS ALWAYS NEVER BEEN DISPUTED HERE. 

 

THE VOTING FOR THOSE WHO WERE INVITED IS ALWAYS 

 

700 VOTES OUT OF 700 VOTES FOR THE NUMBER # 1 RANKING AS THE WORLD’S GREATEST HEAVY METAL BAND OF ALL-TIME

 

CATEGORY –NORWEGIAN NATIONAL, WERE A NORWEGIAN SPECIALIZED PRESS, SO THERE IS ALSO A INTERNATIONAL CATEGORY FOR HEAVY METAL ie bands NOT from NORWAY. 

 

 

On May 12th, 2017 it will be there 18th year as the World’s Greatest Heavy Metal Band of all-time!!! I just saw all the record label’s release rosters…!! But will gather and discuss it from May 1st to May 12th…..Article should be May 12th, 2017….Stay Tuned !!! 

 

1999 

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2000 

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2001 

 

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2002 

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2003 

 

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2004 

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2005

 

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2006

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2007

 

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2008

 

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2009

 

 

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2010

 

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2012

 

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2013

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2014

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2015

 

 

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2016

 

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2017 

 

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1980’s METAL MOVEMENT is only 37 years old on January 1st, 1980 to December 31st, 2017. Crest of Darkness, has had a 18 Year Domination as the World’s Greatest Heavy Metal band. The are only 13,505 days in the 1980’s heavy metal movement and Crest of Darkness has held the #1  Position as the World’s Greatest Heavy Metal Band for 6,570 days. Which is a Historic Record that probably will never be BEATEN because no one even tries to Out-Class What Ingar Amlien, Kristin Fjellseth, Roy Sætre Khantatat…aka Roy Kahn, Lars Christian Narum Jan Petter Ringvold , Arve Heimdal. And if you tried you can no’t never forget this fact that Crest of Darkness had as its Female World-Class Vocalist Kristin Fjellseth. It is this factor bands can get equal to Crest of Darkness, but can not top the world-class song-writing and world-class compostional skills of the Norwegian Metal Legends. 

 

Since Crest of Darkness has been Heavy Metal’s Greatest Band since May 12th, 1999. In 4 Short Months will be be announicing that while there are new top 100 heavy metal albums of all-time that happened in 2016, May 12th, 2016…to….the upcoming May 12th, 2017  will be the easiest year for Crest of Darkness keep its’ #1 Ranking in Heavy Metal as the World’s Greatest Heavy Metal band of all-time for the 18th year in a row….no real challenger, since Displin “Anti Life” in November 21st 2005 and Iperypt “Totalitarian Love Pulse” in November 7th, 2006. While those albums had a certain savage factor, Crest of Darkness is just still the best of the best. Heavy Metal has never seen a better band, or album after May 12th, 1999’s Crest of Darkness “The Ogress”. 

 

2001 for sure is my favorite year in Heavy Metal, but 1999 has a special place in KICK ASS METAL’s history and in our heart and nostalgia always abounds. 

 

 

Here are the best of the best albums from 1999 ….,not a top 100 albums of 1999 just GOLD STANDARD albums relevant through-out the REST human history. As long as PLANET METAL stays PLANET METAL !!!!!!!!!!!!!!!!!! 

 

 

Aborym “Kali Yug Bizzare” 

 

Cradle of Filth ” From The Cradle to Enslave” 

 

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Crest of Darkness “The Ogress” 

 

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Dismal Euphony “All Little Devils” 

 

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The Kovenant “Animatronic” 

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Eileen Küpper

 

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Kreator “Endorama”

 

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YES THIS KREATOR UNLEASHED ON PLANET METAL ONE 

OF THE 

GREATEST GOTHIC METAL 

ALBUMS OF ALL-TIME 

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Lacrimosa  “Elodia” 

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Lacuana Coil “In a Reverie” 

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Lux Occulta  “My Anger Guadian” 

 

 

 

Satryicon “Rebel Extravaganza” 

 

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Solefald “Neonism” 

 

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THE STRANGERS, from left: Gemma Ward, Kip Weeks, Laura Margolis, 2008. ©Universal Pictures

 

Notre Dame  “Vol. 1: Le Théâtre du Vampire” Released on Halloween October 31st, 1999 !!!!!!!!!!!!! 

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Opeth “Still Life” 

 

Tristania ” Beyond The Veil” 

 

 

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Slipknot “Slipknot” 

 

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Tiamat “Skeleton Skeltron” 

 

 

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Witchery ” Dead Hot and Ready” 

 

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Hector Berlioz: Symphonie Fantastique.

Dream of a Witch’s Sabbath.” John Elliot

Gardniner and Colin Davis handle this best.

The Damnation of

Faust, and Symphonie Funèbre et Triomphale.

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Johannes Brahms  Symphony #1 was the first substantial successor to Beethoven’s

symphonies Listen to the other three… as well. Herbert von Karajan and Bruno Walter do

these great justice.

Benjamin Britten: Sinfonia da Requiem, Four Sea Interludes from Peter Grimes…

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Anton Bruckner (1824-1896) Symphony #4 ….The Romantic. #5, #7, #8, and #9.

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Aaron Copland Billy the Kid, Rodeo,

Appalachian Spring, and a powerful Symphony #

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Paul Dukas  The Sorcerer’s Apprentice

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Antonìn Dvořák: His Sixth through Ninth Symphonies…The Noonday

Witch and his two sets of Slavonic Dances are quite rewarding…..

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Edvard Grieg  Peer Gynt Suite….written for a play featuring a journey into the Mountain

King’s hall, deep beneath the earth. You’ll know that episode when you hear it….

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Gustav Holst: The Planets is an evocative journey that has influenced countless film

scores. Perhaps the best piece to begin your journey into orchestral music.

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Alan Hovhaness: Symphony #50 “Mt. St. Helens,” has an explosive eruption section.

Symphony #22 “City of Light” is solemn and majestic.

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Aram Khachaturian: Symphony #2

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Franz Liszt  A Faust Symphony, Dante Symphony, The Mephisto Waltz, and Totentanz, are must-hear pieces for the

gothics….Les Preludes and Hunnenschlacht, and the two piano There’s a wonderful recording by Alfred Brendel of the

Piano Sonata in B minor along withFunerrailles… A de facto gothic heavy metaller

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Felix Mendelssohn A Midsummer Night’s Dream is full of

nocturnal shimmering and contains the famed Wedding March. His Forth Symphony, the

Italian, is energetic and tuneful with a furious tarantella finale. His overture The

Hebrides (Fingal’s Cave) is an excellent tone painting. Finally his romantic oratorio The

First Walpurgis Night….

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Olivier Messiaen Et

Exspecto Ressurectionem Mortuorum ….Turangalîla

Symphony

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Modest Mussorgsky  Pictures at an Exhibition in the Ravel orchestration and Night on

Bald Mountain in Stokowski’s version as seen in Disney’s Fantasia true classics

These both rank with Holst’s The Planets as perfect works of bombastic majesty   

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Carl Nielsen  His Symphony #5 …The Symphony #4, called “The Inextinguishable” embodies the exuberance and

inexorability of life.

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Carl Orff  Carmina Burana ….THE GREATEST ALBUM OF ALL-TIME ALONGSIDES CREST OF DARKNESS “THE OGRESS”

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CREST OF DARKNESS THE OGRESS

THE UNDISPUTED GREATEST HEAVY METAL

ALBUM OF ALL-TIME FOR OVER 18 YEARS IN A

ROW IN THE 37 YEAR HISTORY OF

’80 METAL

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Francis Poulenc  Concerto for Organ, Tympani and Strings often sounds as if it could

have been a score for a horror film.

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Sergei Prokofiev: The Symphony #5 …The Symphony #3 is very dark, dissonant and powerful. The Romeo and

Juliet ballet is full of deep passion and violence. Try the suite compiled by Michael

Tilson Thomas. The Alexander Nevsky Cantata is based on his film score. In particular,

the galloping “Battle on the Ice” movement rules beyond belief.

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Maurice Ravel    Bolero  

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Ottorino Respighi: The Fountains of Rome, The Pines of Rome, and Roman Festivals

are colorful, exciting pieces, very much like film scores.

Paul Tortellier conducts the

Philharmonia Orchestra on the Chandos label in a spectacular recording.

 

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TOVE LO

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KIMBERLY FREEMAN ONE-EYED DOLL FAME

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Nikolai Rimsky-Korsakov       The Russian Easter Festival Overture, Capriccio Espagnol,

Golden Cockerel Suite, and Scheherazade.

 Known for smoothing out Mussorgsky’s pieces, he was one

of the pioneers of orchestration and his own works are based on fantastic exotic tales.

Worthy compositions are the Russian Easter Festival Overture, Capriccio Espagnol,

Golden Cockerel Suite, and Scheherazade.

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Bedřich Smetana     Má vlast 

 My Country is a series of six symphonic poems describing Czech

legends and landscapes. It includes The Moldau depicting a river and it truly gives one

the sense of the ebb and flow of the water and the sites it passes.

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Camille Saint-Saens: His tone poem Danse Macabre, depicting death as a seductive

violinist, has been oft-quoted by other composers—and James L. McHard did his own wonderful

version on his synthesizers, and organ. His third symphony, the Organ Symphony, is splendidly

dramatic.

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Franz Schubert: He followed Beethoven with works generated by melody, and his art

songs are among the most expressive. The Symphonies #8 and #9 are potent constructs,

and you’ll note that the first movement of the Eighth, famous as the Unfinished

Symphony, has been used in film scores from the 1930s onward, such as Ulmer’s The

Black Cat.

Alexander Scriabin: A passionate and mystical composer whose interest spanned

Nietzsche and Blavatsky. The Poem of Ecstasy, Prometheus—Poem of Fire, and his

Piano Sonata No. 9 (Black Mass) are sure to delight.

Jean Sibelius: His Second Symphony is stark with a finale full of grandeur while his

tone poems deal with Scandinavian mythology, Tapiola being particularly foreboding.

The rest of his seven symphonies are landmark works worthy of hearing.

P. Sousa: His marches are peerless and any collection of them will make you perk up.

Instantly recognizable are The Stars and Stripes Forever as well as The Liberty Bell

which was used as theme music for Monty Python’s Flying Circus.

Johann Strauss: The “Waltz King” wrote unforgettable life-affirming pieces such as The

Blue Danube, Tales From the Vienna Woods, and The Bat.

Igor Stravinsky    The Rite of Spring

….The Firebird (with the “Infernal Dance of

King Kashchei”) and circus-themed Petrouchka are colorful, powerful, and enduring.

The suites from both of these ballets fucking rule!!

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Pyotr Tchaikovsky Symphonies #4, #5, and #6, The Nutcracker and Swan Lake ballets, the Romeo &

Juliet Overture Fantasy, and the always thrilling 1812 Overture with parts for actual

cannons written into the score……..

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Ralph Vaughan-Williams   Symphony #4  …The Symphony #7, “The Antarctic,” is based on his film score for

Scott of the Antarctic and it uses very pictorial means to evoke the vast power of nature in

that frozen wasteland, including wordless choirs and pipe organ. His Symphony #6 begins

in agony, has a pounding slow movement, a cynical scherzo with braying saxophones,

and then finishes with what seems to be a quiet portrait of desolation. Kees Bakels

recording on the Naxos label are excellent.

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Richard Wagner    Tristian Und Isolde

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 Richard  Wagener transformed opera into what he called a “Gesamkunstwerk”

meaning total theatre. Here all elements of the production from the music to the sets,

costumes, and lighting design must be controlled for maximum dramatic impact. He

made orchestral excerpts from these large scale music dramas to help popularize them

and recordings of these as well as the overtures make a splendid introduction to his

masterful music—Gerard Schwartz has recorded excellent compilations. Lorin Maazel’s

The Ring Without Words is a potent symphonic synthesis of highlights from all four

operas in the Ring cycle….

ZYKLON

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“THE MUSIC I CHERISH the most that has the most evocation ……………..can be categorized as
bombastic music for the symphony orchestra. Historically, this type of composition using
the orchestra for grand emotional expression as well as time scale began with Beethoven.
I here present profiles of several major composers whose work I find to be deeply
rewarding. They are worthy of your attention.
Ludwig van Beethoven (1770-1827): Musical Titan
Despite the prevailing cultural illiteracy, is there anyone out there who hasn’t heard the
name of the mighty Beethoven? And who is not familiar with the famous four-note
motive—three shorts and a long—that begin his incomparable Fifth Symphony? (Who
still recalls what that symbolized in Morse code during World War II?) Yet how many of
you have taken the time to explore the works of one of the titans of music, whose
compositions combine emotional heights and formal brilliance at a level that few have
approached?
Beethoven was the prototype of the maverick composer, who told his patrons
what he wanted to do, rather than vice versa (unlike Mozart, who enjoyed his life but was
constantly having to do what his patrons wanted). The youthful Beethoven was hailed by
Mozart as one who would make a stir in the world. Beethoven was thus accepted into
aristocratic circles and was supported by wealthy music fanciers who tolerated his gruff
manner and often unkempt appearance. In 1798 he became aware of a progressive loss of
hearing and finally became completely deaf by 1819. Despite this tragic handicap, he
continued to produce works that expanded western music to new heights of achievement
and he maintained his love of existence through all of these, choosing to celebrate the
forces of life in the face of his own tragedy. The dark current flowed through his being so
strong that he could continue despite the extinguishing of his sense to perceive the results
of his efforts. The sound world that existed in his imagination went directly down on
paper, for performers to later recreate so that we can share Beethoven’s musical visions.
Beethoven turned his efforts to just about every genre of music that was extant in
his time, transforming and expanding each of them, from chamber music and art songs to
concerti, large scale vocal works and symphonies. The emotional hallmark to be found in
all of these is a heroic sense of struggle and victory, the personal “I” making a direct
assault on the universe and bending things to its will. Though Beethoven did write works
on Christian texts, his Miss Solemnis being a prime example, he generally seemed to be
more attracted to works by Schiller and Goethe for inspiration, as well as Greek
mythological tales.
It is perhaps best to start one’s exploration of Beethoven’s music with his
symphonies. His Third Symphony, subtitled Eroica, was originally dedicated to
Napoleon. He failed to live up to Beethoven’s concepts of what an enlightened leader
should accomplish, so his name was removed from the dedication page. This symphony
amazed audiences at the time for being about half again as long as any previous work in
his genre. But Beethoven need this enlarged time-scale to explore his concept of the hero,
who is carried to the grave in the funeral march of the second movement.
His Fourth Symphony was on a smaller scale, but with Symphony #5 he achieved
a masterpiece. It details in an amazingly compact way the struggle through the victory,
and every movement, from the driven first through to the soaringly triumphant finale
emerging from a shadowy transition, is based on the opening motto. Symphony #6,
Pastoral, revels in a purely pagan appreciation of nature with Beethoven creating images
of brooks, bird-calls, a rainstorm, and a peasant wedding, but really depicting the glorious
emotions he felt by reflecting on the beauty of nature culminating in the final
movement’s hymn to nature. Symphony #7 intensely examines rhythm, concluding with
a Dionysian dance. Symphony #8 is compact and full of wit and humor. The renowned
Ninth Symphony is his largest. The first movement was unlike anything written before,
being colossal in sound. The scherzo is fugal and developed in sonata fashion, and its
movement is like the dancing of infernal flames. The lyrical adagio provides a soothing
respite before the expanded finale. For the first time, this concluding movement included
a chorus and vocal soloists in a celebration based on the never to be forgotten “Ode to
Joy.”
I suggest that you seek out the recordings by John Eliot Gardiner and the
Orchestre Révolutionnaire et Romantic, as he uses Beethoven’s tempo markings and the
ensemble of original instruments preserves the proper orchestral balance making the
detailed part-writing crystal clear. These pieces will repay repeated listening; they are to
music what Shakespeare’s plays are to literature. Start off with the Fifth Symphony and
partake of a sound world embodying man the prideful hero…
…You’ll be swept along in a current of upward motion, of evolution, of
titanic battle and ultimate triumph. Here the dark force in nature has been given an aural
existence. Hail Ludwig!
Gustav Mahler (1860-1911): Urbane Visionary
He composed one of the most dramatic and complex series of symphonies ever
conceived—they are my favorites. Nine were completed, while the Tenth was unfinished
at the time of his death but there are completions by musicologists and they are excellent.
The song cycle symphony Das Lied von der Erde preceded his Ninth Symphony and
Mahler himself saw it as an unnumbered symphony. As a student he was passionately
interested in Nietzsche and adored Wagner, and his major life career was as one of the
world’s leading conductors, celebrated for his detailed interpretations of Wagner and
Mozart.
His work grows progressively more complex over the course of his career, so it is
often well to start with his Symphony #1. It evokes nature in the first movement, has an
earthy peasant dance for a scherzo, a mocking funeral march for the slow movement and
an apocalyptic/triumphant finale. His Symphony #2 is subtitled Resurrection but it isn’t
what one would expect from the Christian point of view. Mahler intended it to symbolize
his own artistic triumph over negative critical response and it takes the paradigm of
Beethoven’s Ninth to even greater lengths and depths. His Third Symphony is his longest
and it embodies Mahler’s love of raw, pagan nature. The first movement is gigantic and
pictures the awakening of Pan and the volcanic paroxysms of life’s struggle. The
following five movements take one on an evolutionary journey through several worlds, of
plant life, of animals, of loneliness—a setting of a Nietzsche text, of naïve religion, and
finally of deep human passion.
The middle group of purely orchestral symphonies is complex and exciting. The
Fifth begins with a funeral march and finally ends in raucous triumph, based on a melody
he wrote for a song that lampooned people with unsophisticated tastes. The tragic Sixth
Symphony is one of the darkest pieces ever written, ending with a vast movement
interrupted by actual sledgehammer blows, shattering the symbolic hero of the piece. The
Seventh is sometimes called the “song of the night,” and it evokes the night in many
guises. His Eighth is another vast choral symphony, called at the premiere the Symphony
of a Thousand because of the gigantic forces needed to perform it. Mahler goes back to
Bach for contrapuntal thinking and sets a text invoking the creative spirit, and then
moving on to a setting of the final scene of Goethe’s Faust. His Ninth, written under the
specter of declining health, is a sophisticated leave-taking, wrenchingly despairing, then
finally resignedly detached. The unfinished Tenth goes even further in its despair, but
finally concludes with a cherishing love of having lived.
Hyper-emotionalism is the rule in this music. If you like this then keep going with
the rest of the symphonies in order, give them time and attention for it is repaid—get
Leonard Bernstein’s recordings, either the old on Sony or the new on Deutsche
Grammophon.
Richard Strauss (1864-1949): Celebrating Himself
Who could forget the thrilling opening music to Stanley Kubrick’s film 2001: A Space
Odyssey? Who hasn’t been moved by that sonic sunburst that Kubrick wisely used to
herald the birth of conscious intelligence in Man’s ancestors, and underscored the first
use of tools—a weapon, I might add? That magnificent fanfare was penned by Richard
Strauss as the opening for his tone poem Thus Spake Zarathustra, which was the
composer’s effort at creating an audio equivalent to Nietzsche’s iconoclastic book.
Strauss was known in his youth as a radical modern, shocking the critics with his
voluptuous music, whether it be purely symphonic or operatic. In his final years he was
considered to be an aging reactionary, co-opted by the Nazis, and thus generally ignored
by a world that had moved to embrace less human music, that had lost the ability to
appreciate splendor and skill. To the modern listener, he appears as an artist that created
works of great beauty overflowing with the joy and struggle of life.
Strauss actively rejected Christianity and its disgusting creed of self-sacrifice. He
saw life as a heroic battle and himself as his own God. Thus, when he composed a tone
poem called A Hero’s Life, one should not be surprised that he made it a selfportrait.
In this, he depicts himself as a mighty life-embracing warrior who enjoys a war
against his critics—lampooned as the toads that they were, and who enjoyed his sensuous
pleasures to the fullest.
He again celebrated himself and his family in the Domestic Symphony, a musical
depiction of grandiose proportions that glorifies his home life with his wife and child.
Though his detractors were always outraged at his self-glorification, they did not stand in
the way of his fame, achieved at an early age as both a composer and conductor.
Strauss’ mastery of orchestration was second to none, and he created soundscapes
that astonished audiences with the verisimilitude of their tone-painting. Listen to his Don
Quixote, where he uses woodwind and brass trills to sound like a noisy herd of sheep.
The storm segment of his An Alpine Symphony is one of the most violent and realistic in
all music literature, complete with both a wind machine and thunder sheet. We’ll speak
more of this piece.
As a young man, Strauss wrote Death and Transfiguration which depicts a man’s
recollections of his very full life while on his deathbed. Here he likened life to a series of
even more magnificent strivings after one’s goals which are attained. Death is finally
heralded by an ominous tam-tam stroke, yet the heroic spirit is not stopped, but soars on
to self-glory. When he ultimately lay dying, Strauss claimed that it was just as he
composed it years before.
His operas often caused scandals because Strauss was not afraid to embrace
unbridled lust in Salome or poisonous vitriol in Elektra using surprising dissonance for
the time to accompany lasciviousness and violence on stage. His later operas retreated
into a more genteel but elaborately crafted style influenced by Mozartean grace, such as
The Knight of the Rose and Capriccio.
This carnal philosophy of life permeated his work in all media, but it came most
strongly to the fore in his mightiest tone poem, An Alpine Symphony. Ostensibly, this
piece portrays a journey by a mountaineer, starting out in primal darkness, then greeted
by another blazing sunrise, and continuing until he reaches the mountain’s summit,
experiences an apocalyptic storm, and then descends to the final darkness of night.
Strauss said that the true intent of the piece was a representation of Man’s appropriate
existence. Here life is experienced as if it were a mountain to be conquered by dint of
personal struggle, in heroic harmony with the magnificence of Nature. He clearly defined
this as being in direct opposition to the Christian attitude towards life, and indeed the first
title of this piece, which he later dropped, was Antichrist. You will find here an utterly
Satanic embodiment of life. From out of the darkness, the rising theme of aspiration leads
to a birth in triumph, a “yea saying” to the challenges before one. Next, life is launched
with a vigorous assault on the universe that bears with it moments of astonishing beauty
as well as bracing terror. In the end, death comes, but the ascending theme still struggles
up out of the gathering darkness, expiring only in the final exhalation in a downward
glissando into the night of non-existence, the Black Flame guttering out, but with the
primal sounds of Nature still there to support the next hero to arise. No more Satanic a
view of the human condition has been put into sound.
For the listener new to Strauss’ works, I recommend that you seek out recordings
conducted by Herbert von Karajan and Karl Böhm, as these are superbly realized with
just the right touch of virtuosity and violence. First, listen to the tone poems that have
been mentioned in this article and if you enjoy them move on to his other orchestral and
operatic works. There is an exquisitely melancholy work for string orchestra,
Metamorphosen, which is a lament for the shattered culture of Germany at the close of
World War II, which may move you with its direct emotional expression. Strauss’ music
is rich and complex late romanticism which is decidedly passionate and totally Dionysian.
Be prepared for the intricate textures, chromaticism, and detailed development of
thematic material. At first, just let the sound sweep you along in its epic journey. Later,
there is much more to appreciate structurally, if such is your inclination. Try listening to
the rest of Thus Spake Zarathustra beyond the famed sunrise and you will be amazed at
how much more wonderful music it contains, fulfilling the promise of those first few
minutes. Yes, Strauss did conquer death, for by hearing his works you will feel his
essence moving within you. And you too will be transfigured.
Dmitri Shostakovich (1906-1975): Honest Witness
Dmitri Shostakovich was the great atheist composer who suffered under the tyranny of
Stalinist Russia, writing music that wryly commented on the totalitarian society in which
he lived. He found a way to produce works that could pass for the vapid “socialist realist”
paeans demanded by the government, yet still voiced opposition and mockery of the
dominant authoritarianism. He did not flee this society, but remained to bear witness to
the suffering and bravery of the millions who were prisoners to this grim nation.
You won’t find much that is light in Shostakovich’s work, for when it comes time
to be humorous his laughter is often worked into a shriek. Triumph comes not from the
forced public celebration, but from the intimate treasuring of the fragility of human
tenderness, like a rare and ephemeral blossom clinging to a barren crag. He is one of the
great symphonists, completing 15, directly inspired both in style and content by the might
ten written by Gustav Mahler. He also wrote 15 string quartets, and these are as
structurally dense as his symphonies and even more revealing in their exploration of
Shostakovich’s psychological states. There are as well film scores, operas, ballets,
concerti, piano works and pieces written for specific occasions—a wealth of exquisite
music that will take you years to fully explore.
His genius is to be starkly realistic in his exploration of the context of human
consciousness in a universe that is fraught with danger created by other humans whose
goal is control and suppression of individuality. Thus his work chronicles a struggle for
freedom that is dear to the hearts of all truth seekers, who must often hide their true nature from
the bigots who have the power to throttle their quest for the joys that life can offer.
Let us explore Shostakovich’s powerful works from his series of symphonies. At
the age of 19 his First Symphony made him an international star. It set the tone for what
was to follow, wittily commenting on prior works by Tchaikovsky by using the biting
satirical sense one finds in Mahler but in a uniquely Russian way. It was played the world
over and put Dmitri in the spotlight. His next two symphonies written under the watchful
eyes of the Soviet bosses are attempts to integrate modernist dissonant musical language
with messages supporting the “Glorious Communist Experiment.” These are oddly
hollow pieces, perhaps that in itself being a personal commentary.
His massive Fourth Symphony, deeply indebted to Mahler, carried dissonant
grotesquerie to new heights. Since Stalin had detested his opera Lady Macbeth of Mtzensk
written in a similar style—and to displease this boss literally meant you would be
dragged away in the middle of the night to be exiled to die in frozen Siberia—
Shostakovich withdrew this symphony before its official premier and produced another
one far more conveniently tonal, the Fifth Symphony, and it too had the sort of success
that the First had achieved. Listen to this work, with its almost Beethovenian first
movement—stern and well-developed, the scherzo a Mahleresque peasant dance, the
largo a darkly passionate lament, finished by a finale that works itself into a mighty
peroration. Of course, those who understand this finale see it as a forced celebration, and
conductors who knew the composer play this so that the triumph is more an agonized
pounding than an actual victory.
His Sixth Symphony used three movements to make its point, starting with an
adagio plumbing the depths of despair, influenced by the first movement of Mahler’s
8unfinished Tenth Symphony. Its scherzo then continues in the cheeky vein so definitive
of this composer, while the finale is a vigorous march, athletic and confident in tone. The
Seventh, called The Leningrad, was written while Shostakovich was in Leningrad, under
attack by the Nazis. He volunteered as a fireman to protect the city—a famous picture of
him in a fire helmet was circulated for propagandistic purposes. The first movement of
what is his longest symphony depicts Russia invaded by the mechanistic Nazis, who are
portrayed by a simplistic march that proceeds through a series of pedantic variations,
becoming more brutal as it goes along. This march is developed into battle music that
finally vanquishes the invader. The moderato is a wood-wind-dominated scherzo
movement with a harrowing climax and the adagio that follows has much poetry and
passion. The finale movement brings back the battle, reaching a truly bombastic
culmination with the return of the first movement’s main theme. This work was
supported by the Soviet government and was immediately played in the Western world as
a symbol of the Soviet people’s struggle against Hitler. Bartók was sick of hearing it on
the radio, so he parodied the Nazi march in his own Concerto for Orchestra.
The five movement Eighth Symphony was also a wartime work, but it grimly
explores the repressions of the communist regime, ending in a mode that is not shouting
victory, but which is more an appreciation of having survived a nightmare—just barely.
The government expected a triumphal choral Ninth, celebrating the end of the war. They
got a sarcastic brief symphony that challenges the skills of the musicians thumbs its nose
at convention. Stalin finally died, and so the Tenth Symphony is a personal work,
musically referencing one of Shostakovich’s love interests and mocking Stalin with a
fierce scherzo that ends with a scream.
His Eleventh Symphony is a vast tonal canvas often quoting Russian
revolutionary songs, ostensibly depicting a Tsarist massacre during a protest. But of
course it seems aimed at similar doings by the Soviet overlords. It is a long work, but
very evocative, almost cinematic in effect. The Twelfth is much like an “agit-prop” film
score, and it has a bombastic finale akin to the Seventh.
The Thirteenth Symphony is the one work by Shostakovich that should be heard
if you explore no other. Based on five poems by Yevtushenko, it is scored for full
orchestra, bass soloist and male choir. Here the sound of Russian Orthodox liturgical
singing is absorbed and transformed into a secular “Greek Chorus,” chanting texts
damning totalitarian repression in many forms. The first movement is a frightening
monument to the slaughter of thousands of Jews by the Nazis at Babi Yar. With its tolling
deep bell and explosive outrage, there are hair-raising passages that will astonish. The
second movement mordantly speaks about humor resisting all attempts to suppress it. The
third movement sadly depicts the tenaciousness of the women in the Soviet Union who
do their best with meager earnings to bring home food for survival, a heroism based on
drudgery so foreign to most Western people. The Fourth gets even darker, telling of fears
of all sorts, the worst being the fear to speak freely lest one be arrested and slaughtered
by those who watch. Finally, the fifth movement begins with Galileo and then other
creators finding “careers” that make them cursed for being truthful while “yes-men”
lackeys often succeed over these iconoclasts by catering to society’s rulers. The music
here is wistful, delicate, ironic and warm, knowing the scarceness of such bravery in the
face of the inertia of collective conformity. It is a masterpiece.
The Fourteenth Symphony was inspired by Mahler’s Das Lied von der Erde and
is for soprano and bass soloists, and string orchestra with percussion. It is based on
collected poems confronting death in many forms, and is thus a secular meditation on the
preciousness of life by examining the consequences of death. The final Fifteenth
Symphony sums up Shostakovich’s life with musical quotations of his own and other
favored composer’s works, with much parody, explosive lamentation, and finally a
strange icy calm detachment, ending with a warm smile that fades Cheshire Cat-like into
the air.
There is a set of the complete symphonies conducted by Rudolph Barshai, who
premiered the Fourteenth Symphony, that are exquisitely played with all the beauty,
terror, and mockery required. Other outstanding interpreters are Mravinsky, Rostropovich,
Rozhdestvensky, Ashkenazy, and Haitink.
And so, fellow non-believers, you will find this music to be worth your while as it
exhibits how an artist of wit and passion can resist dictatorship to speak his mind and
poignantly capture what it meant to be a person of awareness in a society that destroyed
so many who refused to conform.
Leonard Bernstein (1918-1990): Maestro of All Trades
On October 14, 1990 the world of music lost not only a star but an entire constellation
with the death of Leonard Bernstein, Composer, conductor, teacher, showman, egoist,
libertine—all were facets of this extraordinarily talented man who lived to suck the very
marrow from the bones of life. He made his own way, developing his talents to the fullest
and using his own mind as the arbiter of his direction, resisting those who would put him
off his goals from his father who opposed Lenny’s desire to be a musician to colleagues
who wished for him to limit his scope to one facet of music.
He is an example of a de facto Satanist in his concentration on enjoying the
present to its fullest. As a conductor, Bernstein was known as one of the most charismatic
and Dionysian of podium personalities, having won his way to a status that had
previously only been available to Europeans. I was fortunate enough to have witnessed
several of his performances and can vouch for the pure ecstatic galvanism of the
experience. He would completely identify with the composer of the work as he conducted,
whipping the orchestra into a performance that would be filled with blood and fire,
bringing the printed notes to life as if one were experiencing the music for the very first
time. We are enriched by the legacy of recordings he made over the entire span of his
conducting career. Indeed, everyone reading this will almost certainly have been
introduced to some classical music via one or more of Bernstein’s recordings. He
excelled in works that gave reign to emotion on a grand scale, particularly the
symphonies of Gustav Mahler.
As a conductor alone, Bernstein carved out a niche as one of the very greatest, but
he also found time to compose original music as well, ranging from symphonic works to
ballet scores and Broadway musicals. Again, I’m certain that all of you will have been
touched by his compositions at some point in your lives. He gains immortality from West
Side Story, and updated Romeo and Juliet set amidst rival gangs in Manhattan. This score
is permeated with the interval of the augmented fourth, known as diabolus in musica. The
milieu isn’t that important, but the responsive melodies he crafted matched the words to
perfection, and shall remain perhaps his greatest legacy.
For sheer non-conformist satire, one can turn to Candide, which tears apart the “Best of
all possible worlds” bunk by revealing the brutality of existence, the callous
monstrousness of hierarchies, both religious and governmental, and in the end, the need
to create your own meaning through what you yourself can do. The score sparkles with
musical witticisms and the libretto is equally wry. Bernstein had a lifelong struggle
against the idea of faith in external figures. He composed pieces that constantly turned
the focus for meaning back to Man himself. His Mass, though dated with rock-influenced
elements, was written as a condemnation of organized religion.
One of my favorite works is the Symphonic suite derived from the score to the
film On The Waterfront. Here we find a truly majestic symphonic poem which captures
the breadth of the struggle of life itself. It begins with a haunting, searching theme, then
segues into an aural depiction of the violence and brutality of existence. Later we are
embraced by a sweepingly romantic love theme. Throughout the work, these ideas are
developed and combined in a way that signifies the struggle of existence, full of tragedy,
but ultimately of triumph. The final peroration includes a combination of the opening
searching theme with the love theme, passion united with purpose to achieve the chosen
end. Life as a struggle, to stand above the herd and derive your own ends. Truly a
masterpiece. Another noteworthy aspect of Bernstein’s work is his depiction of New
York City for its full range of majesty and terror. He even composed the famous, “New
York, New York, a Hell of a Town,” tune, certainly a metallic gem.
In his personal life, Bernstein didn’t stint on his enjoyment of anything. Known
for having a mighty ego, and his talents certainly justified it, he also was reputed to be
generous to his friends and lovers of either sex. His desire for success and the magical
events that shaped his life prove that he knew where best to direct his energies.
Yes, he certainly had his flaws which included a certain vapidity concerning
socio-political issues. Here he often followed the liberal herd. His infamous party for the
Black Panthers was justly satirized by Tom Wolfe. But such things are minor when
compared to the musical legacy that remains. He truly lived a authentic kick ass existence, having
flamed and tossed the fires about him, igniting passions in those whom he touched. He
shall remain immortal in the brains and sinews of those whose respect and admiration he
has gained. Hail Leonard Bernstein! Bravissimo!
ORCHESTRAL WORKS:
Here follows a list of compositions beyond those mentioned above that are certain to
stimulate. This is by no means exhaustive, but is intended as a beginner’s guide for
commencing the journey into this vast world of extraordinary sounds. I sometimes note
particular conductors or recordings I consider to be KICK • ASS

 

FILM SCORES:
Here I list some favorite scores by each composer. If you enjoy these works, there are
many more scores from most, so keep on listening.
The Omen
The Titantic Soundtrack
Fright Night Music That Goes Bump In the Night
Elmer Bernstein: The Ten Commandments, Robot Monster, The Great Escape, Animal
House, The Black Cauldron.
Wendy Carlos: A Clockwork Orange, Tron, The Shining. Her albums of electronic
music, Beauty In The Beast, Tales of Heaven & Hell, Digital Moonscapes, as well as the
Switched-On Bach Series, should not be missed.
John Corigliano: Altered States. His Symphony #1 “Of Rage and Remembrance,”
mourning the deaths of many of his friends, is a powerful work with one of
the most frightening scherzos ever written.
Cliff Eidelman: Star Trek VI.
Danny Elfman: Batman, Darkman, Nightbreed, Sleepy Hollow, Peewee’s Big Adventure,
Mars Attacks, The Nightmare Before Christmas.
Elliot Goldenthal: Alien 3, Titus, Batman and Robin, Batman Forever, Cobb, Interview
with the Vampire.
Jerry Goldsmith: The Omen Trilogy, Patton, Star Trek 1 & 5, Alien, The Blue Max,
Planet of the Apes.
Bernard Herrmann: Psycho, Citizen Kane, The Day the Earth Stood Still, The 7th
Voyage of Sinbad, Journey to the Center of the Earth, Vertigo. My favorite film
composer.
James Horner: Aliens, Brainstorm, Krull, Glory, The Rocketeer, Star Trek 2 & 3.
Akira Ifukube: Godzilla, Destroy All Monsters, Godzilla vs. Destroyer, Ghidorah the
Three Headed Monster, King Kong Escapes. Most of Toho Studio’s classic monster films
were graced with his scores.
Wojciech Kilar: Bram Stoker’s Dracula. His Symphony #3, “September Symphony,” in
honor of the victims of 9/11 is a powerful work.
Erich Wolfgang von Korngold: The Sea Wolf, The Private Lives of Elizabeth and Essex,
The Sea Hawk, Kings Row. His only symphony is also a superb, post-Mahlerian work
utilizing themes from some of his film scores.
Basil Poledouris: Conan The Barbarian, Starship Troopers, Robocop, The Hunt for Red
October.
Leonard Rosenman: Beneath the Planet of the Apes, The Car, Star Trek VI.
Miklos Rosza: El Cid, Ben Hur, King of Kings.
Davis Shire: A Return to Oz.
Howard Shore: The Fly, Ed Wood, The Lord of the Rings trilogy.
Alan Silvestri: Predator 1 & 2, The Abyss, Van Helsing.
Dimitri Tiomkin: The Fall of the Roman Empire, The Guns of Navarone, Land of the
Pharaohs.
Franz Waxman: The Bride of Frankenstein, Sunset Boulevard, Taras Bulba.
John Williams: Dracula, The Fury, Close Encounters of the Third Kind, 1941, Star
Wars (I-VI), Superman.
Christopher Young: Hellraiser 1 & 2, The Fly 2.
Idol Pleasures ”
Liner Notes to the upcoming James L. McHard book The Future of Modern Music Volume 3 in the Event Mr. McHard Comes out of Retirement

 

 

ashleybreedothougothwhatittakesg8798798797898912


Crest of Darkness

(Norway)

“Welcome The Dead”

December 23rd, 2016

My Kingdom Music

Echo115

8 0160024 161155
THE IMMORTALS OF METAL ON THIS TIMELESS MASTERPIECE
Ingar Amelien • Bass/Vocals

Rebo • Guitar

Bernhard • Drums

Session Musician • Kristian Wentzel • Keyboards

Special Guest

Espen Reboli Bjerke • The Voice on

“Katharsis”

Ingar is dedicating “My Black Bride” To his Wife Laila. He is playing all the guitars on this song.
THE SONGS YOU LOVE AND AND KNOW BY HEART AND FOREVER BURNED ONTO YOUR DNA AND LEFT A INDELIBLE MARK ON YOUR PSYCHE…

Welcome The Dead

Chosen By The Devil

Scourged And Crucified

My Black Bride

The Almighty

Memento Mori

The Noble Art

Katharsis

 

crestofdarkness997765a9202014a987976654

 

The record review heavy metal fans have been waiting for the new Crest of Darkness “Welcome The Dead” . I have been  a Crest of Darkness fan since Day 1 of the first Head Not Found releases. If you have been following heavy metal such as I have since 1978 and starting with the heavier heavy metal with the heavier end of the metal spectrum, starting with the heavy end of The NWOBHM. And the Power Metal age from 1980 to August 1983 and the Thrash Metal age from August 1983 to August 1991. If you listen to actual heavy metal you know there as a Death Metal age started in Heavy Metal in June 24th, 1990 which is still going on today. Death Metal never got enticed by the trends in hard rock like Grunge and Nu-Metal which destroyed all of the 1980’s heavy metal artist, in the 199o’s and when all those bands got back to there metal roots, none of those artist were  no longer ranked here in our top 100 artist of a year, decade, or quarter century. From the POWER METAL and THRASH METAL movements, only Motorhead, Morbid Angel. Slayer and Razor were artistically relevant during the Death Metal age, since those artist never became a washed-up, via becoming conformist after being non-conformist artist, or being corporate rock when originally anti-establishment. 99.9876 percent of the 1980’s heavy metal bands did NOT survive the sell-out periods first wave of  bands going off the rails in three distinct era’s…..1985,1987, and 1991.

 

So there has been a DEATH METAL age since 1990, all the top 700 top ranking bands in actual heavy metal since 1990’s all have been 1990’s DEATH METAL-age artist. As a rule of thumb for collecting heavy metal. 1980’s metal artist were not part of the GOLD STANDARD during the 1990’s. With the exceptions of Heaten, Motorhead, Slayer, Razor and Sepultura I am talking the 1991-era. Motorhead is the only TRADITIONAL heavy metal artist to have 30 years as the one GREATEST HEAVY METAL band of all-time. Motorhead is the only Heavy Metal artist in histoy to have a 40 year career, as one of  the GREATEST HEAVY METAL artist of all-time. The Only one, from the GOLDEN AGE OF HEAVY METAL from August 1981 — October 1986…!!!!

 

Crest of Darkness has the number 1 # World-Wide Ranking World’s Greatest Heavy Metal artist here since May 12th, 1999. And coming up in May 12th, 2017 it will be 6,570 days as THE WORLD’S GREATEST HEAVY METAL ARTIST OF ALL-TIME. Which is a historic records that WILL NEVER be broken in heavy metal @ 6,570 days this is the longest WINNING STEAK IN HEAVY METAL, as the World’s Greatest Heavy Metal band, the average band like Metallica, i knew I would only get tops 5 albums of heavy metal from them, since there “sell out”/”washed-up” pattern is no different from 95 percent of the artist on the planet

 

When May 12th, 2017 I will have already will be writing the article that Crest of Darkness for the 18th year in a row, STILL HAS THE GREATEST HEAVY METAL album of all-time 18 years running and are one of a few of heavy metal bands to have 9 back to back to back to back to back to back to back to back to back TIMELESS MASTERPIECES, in a row, and were projecting it will ONLY BE MOTORHEAD/CRADLE OF FILTH/CREST OF DARKNESS to join MOTORHEAD, on the artist with being 30 YEARS AS THE GREATEST HEAVY METAL BAND OF ALL-TIME, no Heavy Metal band except Attacker and Satan…will check the facts on this. A heavy metal artist can not release albums NOT up to the GOLD STANDARD and expect to been on our top 100/top 700 albums of all-time list.

 

So Crest of Darkness wins the Norwegian National Heavy Metal album of the year in 2016, and for over 6,000 days 17 years in a row a historic first in heavy metal, retains it’s ranking #1 WORLD”S GREATEST HEAVY METAL BAND, from 1999, 2000,2001,2002,2003,2004, 2005, 2006, 2007, 2008, 2009, 2010, 2012, 2013, 2014, 2015, 2016, since today;s date is Deceember 27th, 2016….it is just common sense/ common decency to add after 2016, 2017…..!!!

 

crestofdarkness997765a9202014a987976654

hailtonorway_6666_78978625347

 

Crest of Darkness

Gjøvik, Norway

The World’s Greatest Heavy Metal band from May 12th, 1999 to INFINITY

crestofdarkesstheworldsgreatestheavymetalartistofalltime989797897897654

CREST OF DARKNESS 1993 TO 2017 GOING ON 

30 YEARS AS THE GREATEST HEAVY METAL BAND 

OF ALL-TIME

CREST OF DARKNESS 1993-2023 I WILL STILL 

BE WORKING HERE…

crestofdarkness30yearsoftheworldsgreatesthevymetalband98797878

CREST OF DARKNESS HAS 7 ALBUMS ON THE TOP 

50 AND TOP 100 HEAVY ALBUMS OF ALL-TIME LIST.

SINCE I STARTED COMPILING TOP 100 LIST IN SEPTEMBER 1980

crestofdarknessworldsgreatestheavymetalartistofalltime989789786657645543

 

CREST OF DARKNESS HAS 7 ALBUMS ON THE TOP 

50 AND TOP 100 HEAVY ALBUMS OF ALL-TIME LIST.

SINCE I STARTED COMPILING TOP 100 LIST IN SEPTEMBER 1980

kickassmetaltop100heavymetalalbumsofalltime987986543a331243223232423

CREST OF DARKNESS “THE OGRESS” 

FOR 18 YEARS IN A ROW, WHICH IS A

UNTOUCHABLE RECORD IN HEAVY METAL

HISTORY AT THIS POINT IN TIME 

DECEMBER 27TH, 2016 

AND WHEN THE 700 OF US WHO WORK 

ON THIS WEBZINE, WILL VOTE ON THIS 

AGAIN. NOTHING IN 2016 FOR SURE

2017 METAL LABELS TENTATIVE ALBUM 

RELEASES LOOK AWESOME BUT NOT BETTER THAN 2016.

 

THE GREATEST HEAVY METAL ALBUM OF ALL-TIME

WAS RELEASED ON MAY 12TH, 1999.

 

AND THIS 

RECORD WILL GO UNCONTESTED FOR ALL OF 

2017

 

AND CONSIDERING 2016

WHICH WAS ON OF THE GREATEST YEARS IN 

HEAVY METAL. BETTER THAN ALL 5 OF THE

GOLDEN AGE OF HEAVY METAL YEARS OF 

AUGUST 1981 — OCTOBER 1986 COMBINED 

 

crestofdarkness_the_ogress_worldsgreatest_heavy_metal_bandsince_may12th1999-2016

Going on 18 years in a ROW is 

Crest of Darkness “The Ogress”

May 12th, 1999 

crestofdarknesstheworldsgreatestheavymetalbandofalltime987957698574321

 

crestofdarknesstheogressthegreatestheavymetalalbumofalltime1999toinfintiy9784321

 

 

Crest of Darkness

crestofdarknessworldclassheaymetallegends8978988765742

crestofdarkness997765a9202014a987976654

Discography

 

1996 — Crest 0f Darkness “Quench My Thirst”  

crestofdarknessfquenchmythirst87977897878978789789789789789786777646434

crestofdarknessquenchmythirst9879789789789786544312345

 

1997 — Crest of Darkness “Sinister Scenario” 

 

crestofdarknessquechmythirst9879789654344654656987654325678

1999 — Crest of Darkness “The Ogress” 

 

crestofdarknesstheogressgreatestalbumofalltimeslipcase98789879879879898

 

crestofdarknesstheogresskickassmetalgreatestalbumofall-time879879789789789

crestofdarkness_the_ogress_worldsgreatest_heavy_metal_bandsince_may12th1999-2016

crestofdarknesskickassmetalheavymetalhallofame98797965463234567543214567876543

2001 — Crest of Darkness “Project Regeneration”

 

crestofdarknessprojectregenetaion87987979768564

crestofdarknesstheworldsgreatestheavymetalbandofalltime987957698574321

crestofdarknesskickassmetalheavymetalhallofamelegend9879789

2004 — Crest of Darkness “Evil Knows Evil”

crestofdarknessevilknowsevilkickassmetal-9789789897854

2007 — Crest of Darkness “Give Us the Power To Do Your Evil” 

 

crestofdarknessheavymetalhallofamelegends98797976564a122

2013 — Crest of Darkness “In the Presence of Death” 

crestofdarknessinthepreseneofdeathkickassnetall8978989789766567432

crestofdarknessinthepresenceofdeathkickassmetal97897896754753524132345

crestofdarknessinthepreseceofdeathlegends98978987685646352

2015 — Crest of Darkness” Evil Messiah” 

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crestofdarknesskickasmetalmetallegends98987978767432

 

2016 —  Crest of Darkness “Welcome The Dead”

crestofdarknesswelcomethedead987789t6

 

 

SATANIC METAL SINCE 1996!

Ingars’ brainchild Crest Of Darkness was conceived in the mid-nineties when his former band Conception was still at its peak. As opposed to Conception, the idea behind C.o.D. was unquestionable a product of Ingars’ passion for sheer sonic brutality and devotion to the satanic ideology according to Anton LaVeys’ Church Of Satan and the Satanic Bible. The contents of C.o.D.’s lyrics clearly reflect Ingars’ beliefs as well as his deep admiration for vampirism.

C.o.D.’s first album, the mini-album «QUENCH MY THIRST» was released in 1996 and kicked off a lasting collaboration with producer/engineer Nils H.Mæhlum at MLP-studio, Norway.

Second album and first full-length, «SINISTER SCENARIO» was released in 1997, both of the above through norwegian label Head Not Found/Voices Of Wonder.

Line-up «QUENCH MY THIRST»
and «SINISTER SCENARIO»
Ingar Amlien: vocals/bass/guitars
Nils H.Mæhlum: drums
Lars Christian Narum: keyboards

The next two albums were released through french label Listenable Records. Being a project in continual progress, C.o.D. diversifies its soundscape on third release, «THE OGRESS» -1999. At this stage, the borderline between black/goth/death shows a different direction for the band. Ingars colleagues from the now defunct Conception, Roy Khan and Arve Heimdal, both make their appearances on this album as well as Kristin Fjellseth contributing female vocals for the albums’ main character – The Ogress.

Line-up, «THE OGRESS»
Ingar Amlien: vocals/bass/guitars
Arve Heimdal: drums
Lars Christian Narum: Keyboards
Jan Petter Ringvold: Keyboards
Kristin Fjellseth: vocals

On forth release, «PROJECT REGENERATION», C.o.D. takes a far more aggressive turn than earlier. There are still potent contributions from both Kristin and Jan P. but the album reveals a more primitive, guitar-based in-your-face attitude than on previous releases. «PROJECT REGENERATION» also sets the standard for a turning point in C.o.D.’s development. What was originally a studio-project, starts growing into a vibrant band-unit.

Akke, who plays guitars on «PROJECT REGENERATION», becomes a full-time member of the band. He’s a former member of norwegian, infamous punk-rock outfit “Cockroach Clan”, as well as british defunct “The Yo-Yo’s” (featuring members of The Wildhearts, KMFDM and The Lurkers). Akkes’ straight-for-the-throat guitar-work seem to fit perfectly into the C.o.D.-blueprint.

Line-up, «PROJECT REGENERATION»
Ingar Amlien: vocals/bass/guitars
Akke: guitars
Fredløs: drums
Jan Petter Ringvold: keyboards
Kristin Fjellseth: vocals

In 2001, C.o.D. was narrowed down to a three-piece. In addition to Ingar and Akke, drummer Jarle Byberg joined the band and C.o.D. hit the roads for the first time ever. Several gigs in Norway, the very first Inferno Festival and a successful tour in France with No Return and Symbiosis made C.o.D. becomes an awe-inspiring live-act.

After Jarles’ departure in 2002, drummer Kjetil Hektoen becomes a full-time member of C.o.D. Kjetil is a young talented drummer who has already showed that he is much more than a newcomer. Beside of playing with C.o.D. Kjetil is also a member of another black/death metal band called Enthral, and for the first time C.o.D. have a drummer who is totaly dedicated to dark and extreme metal In 2004 Crest of Darkness released a new devastating and obscure creature; “Evil KnowsEvil”. -An album expressed with talent, originality, passion and intensity as a few ones are able to do nowadays. A unique synergy of aggression and freezing sensations. In a few words the ultimate conception of Extreme Metal able in blending Black Metal, Thrash assaults, great technique, blasting aggression and freezing atmospheres.

The album was recorded & mixed at MLP-Studio with the precious collaboration of the long-date friend Nils H.Mæhlum. The album was mastered at the well-known Outer Sound Studios with Giuseppe Orlando (NOVEMBRE).

Line-up, ”EVIL KNOWS EVIL”
Ingar Amlien: vocals/bass
Akke: guitars
Kjetil Hektoen: drums

After the release of this album Kjell Arne Hubred joined Crest of Darkness as a rythm-guitarist. First for doing live-performances with the band, but now he’s also a full-time member of the band. On a musical, professional and personal level, the current line-up appears to be Ingars’ ultimate trump-card for the eternal life-span of Crest Of Darkness.

Line-up’2005
Ingar Amlien: vocals, bass
Akke: lead and rhythm guitar
Kjell Arne Hubred: rhythm guitar
Kjetil Hektoen: drums

In the year 2006 Akke is leaving the band because of personal reasons. This was a big loss for Crest of Darkness, but after a lot of searcing the band finally found a new lead-guitarist called Rebo. Allready in the end of 2006 Rebo met his first challenge with the band. In November/December this year the band recorded their new album “Give Us The Power To Do Your Evil”. It was recorded in Outer Sound Studios in Rome/Italy with Giuseppe Orlando as produser. With this album Crest of Darkness are delivering a new dark and brutal piece of work. The album was released in the spring 2007, and as last time the label was My Kingdom Music.

Line-up, “GIVE US THE POWER TO DO YOUR EVIL”
Ingar Amlien: vocals, bass
Rebo: lead and rhythm guitar
Kjell Arne Hubred: rhythm guitar
Kjetil Hektoen: drums

The response on this album was amazing, and the album got great revews. The prestigious uk magazine TERRORIZER gave the album 9/10 points, and wrote: ” …..In the existence since the mid ’90s, this Norwegian ensemble has crafted an excellent black metall album worth repeated listens.Withering speed compliments the vocalist’s venom. The guitar solos exhibit an expressive ang highly emotive quality, which oddly works. ……”

Crest of Darkness are continuing to co-operate with My Kingdom Music, and after a long working period in total silence Ingar decides to launch a new chapter in C.o.D’s history and creates a colossal new masterpiece of extreme and powerful Black Metal. The result is “IN THE PRESENCE OF DEATH”, a deliriously dark and magnificent work. The recordings was done at Jam Productions in Oslo with Stian Aarstad (ex-Dimmu Borgir) as engineer. Parts of the album was also recorded at Gjøvik with Rebo as engineer. The well-known Endarker Studio in Sweeden mastered the album. The album was released in February 2013. The album got amazing reviews everywhere, and Norway’s finest metal magazine SCREAM voted “IN THE PRESENCE OF DEATH” to the album of the month!

Line-up, “IN THE PRESENCE OF DEATH”
Ingar Amlien: vocals, bass
Rebo: lead, rhythm guitar and keyboards
Kjetil Hektoen: drums

Additional musicians:
Kjell Arne Hubred: rhythm guitar
Stian Aarstad: keyboards

Right after the recordings of “IN THE PRESENCE OF DEATH” Jan Fredrik Solheim joins the band on guitars, replacing Kjell Arne Hubred, and the C.o.D was ready for the future!!

Line-up’2013
Ingar Amlien: vocals, bass
Rebo: lead and rhythm guitar
Jan Fredrik Solheim: rhythm guitar
Kjetil Hektoen: drums

”IN THE PRESENCE OF DEATH” was promoted with a few single conserts and an European tour together with Shining (SE) and Sterbhaus (SE). After this tour C.o.D. was going through new changes in the line-up. Kjetil and Jan Fredrik were leaving the band. Ingar said: “I’ve always followed my vision and I intend to continue doing so. I’ve put C.o.D. through some major changes over the past few years, but there is nothing dramatic behind this. As I’ve often experienced in my career, things just happen in a natural way when the time is right, without being forced to take any drastic decisions. Both myself and my band mates are developing all the time, and as a consequence it is often necessary to make changes in order to keep up with that development, and that is as it should be with any band.”

In September’2014 C.o.D. presented the line-up of today:
Ingar Amlien – vocals, bass
Rebo – lead and rhythm guitar
Bernhard – drums

It is this new line-up that is currently working on an EP to be released on My Kingdom Music at a date as yet to be announced. The band is progressing all the time, and the new material is expected to be the best the band has ever done. Ingar and Rebo have worked together in many years with great success. Bernhard, probably best known from Pale Forest, comes in with a lot of experience from different bands. With other words; It’s still a lot to come from Crest of Darkness!!

 crestofdarkness997765a9202014a987976654

Ingars’ brainchild Crest Of Darkness was conceived in the mid-nineties when his former band Conception was still at its peak. As opposed to Conception, the idea behind C.o.D. was unquestionable a product of Ingars’ passion for sheer sonic brutality and devotion to the satanic ideology according to Anton LaVeys’ Church Of Satan and the Satanic Bible. The contents of C.o.D.’s lyrics clearly reflect Ingars’ beliefs as well as his deep admiration for vampirism.

C.o.D.’s first album, the mini-album «QUENCH MY THIRST» was released in 1996 and kicked off a lasting collaboration with producer/engineer Nils H.Mæhlum at MLP-studio, Norway.

Second album and first full-length, «SINISTER SCENARIO» was released in 1997, both of the above through norwegian label Head Not Found/Voices Of Wonder.

Line-up «QUENCH MY THIRST»
and «SINISTER SCENARIO»
Ingar Amlien: vocals/bass/guitars
Nils H.Mæhlum: drums
Lars Christian Narum: keyboards

The next two albums were released through french label Listenable Records. Being a project in continual progress, C.o.D. diversifies its soundscape on third release, «THE OGRESS» -1999. At this stage, the borderline between black/goth/death shows a different direction for the band. Ingars colleagues from the now defunct Conception, Roy Khan and Arve Heimdal, both make their appearances on this album as well as Kristin Fjellseth contributing female vocals for the albums’ main character – The Ogress.

Line-up, «THE OGRESS»
Ingar Amlien: vocals/bass/guitars
Arve Heimdal: drums
Lars Christian Narum: Keyboards
Jan Petter Ringvold: Keyboards
Kristin Fjellseth: vocals

On forth release, «PROJECT REGENERATION», C.o.D. takes a far more aggressive turn than earlier. There are still potent contributions from both Kristin and Jan P. but the album reveals a more primitive, guitar-based in-your-face attitude than on previous releases. «PROJECT REGENERATION» also sets the standard for a turning point in C.o.D.’s development. What was originally a studio-project, starts growing into a vibrant band-unit.

Akke, who plays guitars on «PROJECT REGENERATION», becomes a full-time member of the band. He’s a former member of norwegian, infamous punk-rock outfit “Cockroach Clan”, as well as british defunct “The Yo-Yo’s” (featuring members of The Wildhearts, KMFDM and The Lurkers). Akkes’ straight-for-the-throat guitar-work seem to fit perfectly into the C.o.D.-blueprint.

Line-up, «PROJECT REGENERATION»
Ingar Amlien: vocals/bass/guitars
Akke: guitars
Fredløs: drums
Jan Petter Ringvold: keyboards
Kristin Fjellseth: vocals

In 2001, C.o.D. was narrowed down to a three-piece. In addition to Ingar and Akke, drummer Jarle Byberg joined the band and C.o.D. hit the roads for the first time ever. Several gigs in Norway, the very first Inferno Festival and a successful tour in France with No Return and Symbiosis made C.o.D. becomes an awe-inspiring live-act.

After Jarles’ departure in 2002, drummer Kjetil Hektoen becomes a full-time member of C.o.D. Kjetil is a young talented drummer who has already showed that he is much more than a newcomer. Beside of playing with C.o.D. Kjetil is also a member of another black/death metal band called Enthral, and for the first time C.o.D. have a drummer who is totaly dedicated to dark and extreme metal In 2004 Crest of Darkness released a new devastating and obscure creature; “Evil KnowsEvil”. -An album expressed with talent, originality, passion and intensity as a few ones are able to do nowadays. A unique synergy of aggression and freezing sensations. In a few words the ultimate conception of Extreme Metal able in blending Black Metal, Thrash assaults, great technique, blasting aggression and freezing atmospheres.

The album was recorded & mixed at MLP-Studio with the precious collaboration of the long-date friend Nils H.Mæhlum. The album was mastered at the well-known Outer Sound Studios with Giuseppe Orlando (NOVEMBRE).

Line-up, ”EVIL KNOWS EVIL”
Ingar Amlien: vocals/bass
Akke: guitars
Kjetil Hektoen: drums

After the release of this album Kjell Arne Hubred joined Crest of Darkness as a rythm-guitarist. First for doing live-performances with the band, but now he’s also a full-time member of the band. On a musical, professional and personal level, the current line-up appears to be Ingars’ ultimate trump-card for the eternal life-span of Crest Of Darkness.

Line-up’2005
Ingar Amlien: vocals, bass
Akke: lead and rhythm guitar
Kjell Arne Hubred: rhythm guitar
Kjetil Hektoen: drums

In the year 2006 Akke is leaving the band because of personal reasons. This was a big loss for Crest of Darkness, but after a lot of searcing the band finally found a new lead-guitarist called Rebo. Allready in the end of 2006 Rebo met his first challenge with the band. In November/December this year the band recorded their new album “Give Us The Power To Do Your Evil”. It was recorded in Outer Sound Studios in Rome/Italy with Giuseppe Orlando as produser. With this album Crest of Darkness are delivering a new dark and brutal piece of work. The album was released in the spring 2007, and as last time the label was My Kingdom Music.

Line-up, “GIVE US THE POWER TO DO YOUR EVIL”
Ingar Amlien: vocals, bass
Rebo: lead and rhythm guitar
Kjell Arne Hubred: rhythm guitar
Kjetil Hektoen: drums

The response on this album was amazing, and the album got great revews. The prestigious uk magazine TERRORIZER gave the album 9/10 points, and wrote: ” …..In the existence since the mid ’90s, this Norwegian ensemble has crafted an excellent black metall album worth repeated listens.Withering speed compliments the vocalist’s venom. The guitar solos exhibit an expressive ang highly emotive quality, which oddly works. ……”

Crest of Darkness are continuing to co-operate with My Kingdom Music, and after a long working period in total silence Ingar decides to launch a new chapter in C.o.D’s history and creates a colossal new masterpiece of extreme and powerful Black Metal. The result is “IN THE PRESENCE OF DEATH”, a deliriously dark and magnificent work. The recordings was done at Jam Productions in Oslo with Stian Aarstad (ex-Dimmu Borgir) as engineer. Parts of the album was also recorded at Gjøvik with Rebo as engineer. The well-known Endarker Studio in Sweeden mastered the album. The album was released in February 2013. The album got amazing reviews everywhere, and Norway’s finest metal magazine SCREAM voted “IN THE PRESENCE OF DEATH” to the album of the month!

Line-up, “IN THE PRESENCE OF DEATH”
Ingar Amlien: vocals, bass
Rebo: lead, rhythm guitar and keyboards
Kjetil Hektoen: drums

Additional musicians:
Kjell Arne Hubred: rhythm guitar
Stian Aarstad: keyboards

Right after the recordings of “IN THE PRESENCE OF DEATH” Jan Fredrik Solheim joins the band on guitars, replacing Kjell Arne Hubred, and the C.o.D was ready for the future!!

Line-up’2013
Ingar Amlien: vocals, bass
Rebo: lead and rhythm guitar
Jan Fredrik Solheim: rhythm guitar
Kjetil Hektoen: drums

”IN THE PRESENCE OF DEATH” was promoted with a few single conserts and an European tour together with Shining (SE) and Sterbhaus (SE). After this tour C.o.D. was going through new changes in the line-up. Kjetil and Jan Fredrik were leaving the band. Ingar said: “I’ve always followed my vision and I intend to continue doing so. I’ve put C.o.D. through some major changes over the past few years, but there is nothing dramatic behind this. As I’ve often experienced in my career, things just happen in a natural way when the time is right, without being forced to take any drastic decisions. Both myself and my band mates are developing all the time, and as a consequence it is often necessary to make changes in order to keep up with that development, and that is as it should be with any band.”

In September’2014 C.o.D. presented the line-up of today:
Ingar Amlien – vocals, bass
Rebo – lead and rhythm guitar
Bernhard – drums

It is this new line-up that is currently working on an EP to be released on My Kingdom Music at a date as yet to be announced. The band is progressing all the time, and the new material is expected to be the best the band has ever done. Ingar and Rebo have worked together in many years with great success. Bernhard, probably best known from Pale Forest, comes in with a lot of experience from different bands. With other words; It’s still a lot to come from Crest of Darkness!!

 

 

 

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THE TOP 5 ALBUMS OF ALL-TIME IN CHRONOLOGICAL ORDER ARE

COVEN – WITCHCRAFT REAPS SOULS AND DESTROYS MINDS

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MERCYFUL FATE — MELISSA

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CREST OF DARKNESS — THE OGRESS

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RITI OCCULTI — RITI OCCULTI

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LUCIFER –LUCIFER I

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KRISTIN FJELLSETH THE GREATEST WORLD-CLASS 

FEMALE VOCALIST THAT EVER LIVED

THE MOST IMPORTANT FEMALE VOCALIST THAT 

EVER LIVED IN THE FAMOUS GOTHIC 

BEAUTY AND THE BEST VOCALIST CONFIGURATION 

 

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What heavy metal fans will be talking about in 150 years and 700 years from now. Is that in 2016 Heavy Metal Had a Historical First. Since we are a specialized press for The True Norwegian Gothic Metal and True Norwegian Avant garde Metal Dark Metal Genres. We also keep a eye on the international metal movement bands not from Norway.

 

The Historical 1st we know to be true in 2016

THE ALBUMS OF THE YEAR — WINNERS — NORWAY

Crest of Darkness “Welcome the Dead”

are a Power Trio, and also a Power Trio are

THE ALBUM OF THE YEAR –WINNERS–INTERNATIONAL

who obviously are Nervosa, for those not up on heavy metal and thrash metal, Nervosa are the 2014 Debut album of the year Winners and also easily won the 2014 Heavy Metal album of the year Honors easily, with no competition from a million miles anywhere on this planet metal.

So it is pretty cool, that the 2016 Heavy Metal album of the year winners from Norway are a Power Trio, and the 2016 International Heavy Metal album of the year Winners are also a Power Trio Nervosa. And just when it could not get any better, since 1980s metal started in January 1st 1980. This publication since I have been writing and keeping records on heavy metal had a Debut album of the year category, since 1980. So with this in mind

ALL 3 ALBUM OF THE YEAR WINNERS NORWAY/INTERNATIONAL/DEBUT are all power trios!!!!!!!!!!!!!!

 

THAT IS A HISTORICAL FIRST IN OUR GLORIOUS 4Y YEAR HISTORY since February 13th, 1970…!!!!!!!!!!

And as far as the greatest years in Heavy Metal 2016 ranks up there with 1983/1986/1990/1991/1994/1999/2001/2014/2015 being personal favorite years.

I never bought the retro-trend idea that just the 1980’s metal were just the golden years, that is just nothing but nostalgia for the sake of nostalgia. Everyone’s favorite and most powerful music is from THERE YOUTH, but keep in mind, today metallers are more talented, more powerful, better riff writers, better virtuoso’s, better song-writters, and more charisma and better stage presence.

 

Death Metal and heavy metal has entered a new GOLDEN AGE OF HEAVY METAL starting in May 24th, 2012, when Abnormality, unleashed the GOLDEN STANDARD. Not for heavy metal of this century but the next and the last one as well….and a few month’s earlier in  August 16th, 2012 Nervosa released its debut self financed EP.

And yes at this time in heavy metal history I knew Nervosa would earn the #1 ranking/rating in thrash metal for the 21st Century, and when Abnormality unleashed “Contaminating The Hive Mind” everyone who has been following the Gold Standard in heavy metal knew this album put Abnormality @ The #1 ranking/rating for Death Metal not of this century the 21st century.

 

So historian today and in the future will look back in awe when two of the GREATEST HEAVY METAL BANDS of all-time, Abnormality and Nervosa battled it out for the 2016 Heavy Metal album of the year. With Nervosa coming out as the Winner!!!! This was based on the essence of each bands style since they both have a #1 World-Wide Ranking in there styles since 2012..!!!!!!

 

Both bands had very little competition this year, except Attacker “Sins of the World” and Darkness “The Gasoline Solution” are albums that will go on our top 100 albums of all-time, and are both KICK*ASS*METAL HEAVY METAL HALL OF FAME ALBUMS.

 

December 3, 1983 Slayer at the last hour, sweep Metallica’s leg from underneath them for the Debut album of the year in 1983 With Obviously Mercyful Fate “Melissa” being the 1983 album of the year.

 

33 years later on December 3rd, 2016

 

Heart unleashed on a unspecting audience ONE OF THE GREATEST LIVE ALBUMS OF ALL-TIME IN a CD/DVD called Heart Live Heart  “Live @ The Royal Albert Hall with the Royal Philharmonic Orchestra”.

But we decided to not revote on this Nervosa vs Abnormality vs Heart. Because we close the voting on October 30th, 2016 which we do ever year, once we read the record releases roster, and know, that if a band is at the upper 99.9 of all-time, in there genre, in heavy metal, that means, everything else is 99.8 percent to 99.1, in a best case scenario. Just looked over the last 15 days of 2016 and all the top 100 albums of this year were released weeks and months ago!!!

 

But the thing with Heart did not matter because 13 days later on December 16th, 2016  Nightwish did a leg sweeep on Heart for the Best DVD of the Year…BOTH OF THOSE RELEASE WILL BE KICK*ASS*METAL HEAVY METAL HALL OF FAME ALBUMS, going on my 50th year as a classical fan and  40th year soon as a metal fan, each year is equal to each other and while I do indulge in living in the past, but you can not be stupid enough to see THE FUTURE OF MODERN MUSIC, unfolding in front of your eyes, in real time, The Gold Standard to this era is easier to spot now in 2016, than say in 2006, 1996, 1986, 1976 ….because just like with all Olympic Records say the fastest runner, and the strongest body builder, all records were made to be broken, and I am still digging through the 123,456 bio’s of hard rock and heavy metal artist to see who is the successor to THE GOLD STANDARD IN HEAVY METAL THAT IS Abnormality and Nervosa and THE GOLD STANDARD IN HEAVY METAL THAT IS Mallika Sundramurthuy and Fernanda Lira.

 

The Higher a band ranks here the more we listen to there music, 250 spins for each album we consider for the TOP 100’s, 500 hours for our number #1 in each subgenre, then another 500 hours for each band if there is a December 3rd, 1983 Slayer “Show No Mercy” leg sweep. Which only 1983 and 2016 are the stand out years in heavy metal history…!!!!!!!!!!

 

All 3 of the album of the Year Winners in Heavy Metal in 2016 are all POWER TRIO’s and in 2016 THE WORLD”S GREATEST DEATH METAL VOCALIST went toe to toe WITH THE WORLD’S GREATEST THRASH METAL VOCALIST, easily putting 2016 as ONE OF THE GREATEST YEARS IN HEAVY METAL HISTORY !!!!!!!!!

 

 

 

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2016 HEAVY METAL ALBUM OF THE YEAR –INTERNATIOAL

NERVOSA * VICTIM OF YOUSELF * JUNE 3RD, 2016 * NAPALM RECORDS * NPR664

2016 HEAVY METAL ALBUM OF THE YEAR — NORWAY

CREST OF DARKNESS * WELCOME THE DEAD * DECEMBER 2ND, 2016 * MY KINGDOM RECODS

2016 HEAVY METAL DEBUT ALBUM OF THE YEAR WINNER

INDISCIPLINE   * Rio de Janeiro, Brazil

 

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This Neck*Breaking*News article was picked up from
RoadrunneR Records/Blabbermouth News Service, via Metal Forces webZine.
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Anthony Morgan of Metal Forces recently conducted an interview with CRADLE OF FILTH and DEVILMENT frontman Dani Filth. A couple of excerpts from the chat follow below.

On changing drummers in DEVILMENT, and the musical style of new DEVILMENT album, “II: The Mephisto Waltzes”:

“It was very amicable, the split with Aaron [Boast], because Aaron, our previous drummer, was moving house, and had a new job, and a lot of other commitments. So, he passed over the baton to Matt [Alston]. He actually found Matt for us, and I still play soccer with… Well, not at the present because he’s broken his arm… But I still play soccer and go drinking etcetera with Aaron. So, as I said, very amicable. Obviously, we played on our strengths with the writing from the first record, but most of the record… Well, half of the record — ‘The Great And Secret Show’ [2014] — was already written before Lauren [Francis, keyboards and vocals] and Colin [Parks, guitars] came onboard. With this album, they were there from the beginning, and so I think that’s why we see a stronger performance from both people. Yeah, it’s just bigger, better, darker, and more gothic. It’s more experimental, but not so experimental that it’s drifted away from what people expect of DEVILMENT. I mean, it’s not chalk and cheese between both albums.

“Like I said, we played on the strengths. There’s a lot of the groove and the heaviness and the catchy choruses carried over, but we have obviously… I mean, songs like ‘Hitchcock Blonde’ and ‘Dea Della Morte’, ‘Shine On Sophie Moone’ and ‘Full Dark, No Stars’ etcetera are very different from one another, henceforth why we released three singles prior to the album. One song doesn’t really do the album justice. The material’s quite eclectic, do you know what I mean? If we just released ‘Under The Thunder’, people would be expecting the whole album to be nine or ten songs of that, so I think by releasing ‘Hitchcock Blonde’ and ‘Full Dark, No Stars’, it gives you quite a good window into what the album is about.”

On the lyrical themes of “II: The Mephisto Waltzes”:

“The title is inspired by Franz Liszt, who basically wrote four piano pieces which concern themselves with the story of Faust. Faust is a guy that sold his soul to the Devil, and tried getting it back. ‘The Mephisto Waltz’ is also an American horror movie (1971), which took its title from the work of Franz Liszt as well, and is also a track by the MISFITS. It works very well with the artwork by Elena [Vizerskaya]. You’ve got this woman on the front who seems to be doing this sort of strange tarantella, almost this dance of death. It suggests that all of the tracks on the album are linked to devilish endeavours, hence the band being called DEVILMENT. At heart though, it’s essentially about dark emotions that are overcome.

“You’ve got ‘JudasStein’, which is about justice, and this creature being a magnet for all the sins of the world. Then you’ve got ‘Hitchcock Blonde’, which is pretty self-explanatory — about infatuation. You’ve got retribution, you’ve got oppression, obsession, fanaticism, death. You’ve got all of these very dark emotions that underline and underpin the record, but I think the record is very cathartic, as in it’s about a process. It’s like being in a cocoon, to come out better on the other side. It’s about overcoming all of these bad feelings, and then coming out positive on the other side. About overcoming depression, overcoming infatuation, or dealing with it, etcetera, etcetera. The process of writing that was cathartic in itself, because it is about getting all of your demons out — your musical demons out, your lyrical demons out — and cleansing yourself.”

On the musical style of CRADLE OF FILTH‘s next studio album:

“From what I do know, it’s a cross between ‘Hammer Of The Witches’ [2015] and ‘Cruelty And The Beast’ [1998]. It’s very melodic, very fast… Well, it’s not all fast. There’s some big, heavy tracks on there. Very ornate. There’s some great fucking riffs on there, amazing. Yeah, can’t really speak much about CRADLE. Obviously, it’s not a CRADLE interview. That will come in time.”

On CRADLE OF FILTH‘s next studio album being released in September 2017:

“It’s gonna be delivered the second week of May, and the reason for… I mean, it’s not being pushed out or anything like that. Whatever we release, it’s usually about two years afterwards. I think it’s just the fact that I’ve got another band makes it look like it turns around quite quickly, but it has to be released in September because of new management planning this big world tour which has to start in America on a certain date. So, the album has to be delivered and released… It all has to fall into a certain place. You can’t just go ‘Oh, we missed our deadline. Sorry,’ because otherwise, you miss your slot with releasing and with the record company, and everything they’ve got planned. So yeah, we’re free to do what we want for a certain amount of months, but then it all has to fit into a schedule.”

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Cradle of Filth 1994 to infinity — 30 YEARS OF THE WORLD’S GREATEST HEAVY METAL BAND IN HEAVY METAL.

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