Adam’s Top 10 of 2010

     I would like to start off by stating (complaining?) that top whatever lists are always extremely hard for me. I don’t really listen to music as it comes out, I jump back and forth through the decades from day to day and may sometimes go an entire month without listening to anything released after 1990, and then hit many current releases the year or two following their appearance. For these reasons my list may appear somewhat weak due to the fact that I haven’t explored many 2010 albums at this point. That being said, I do love every one of the following sincerely and believe they are all outstanding releases! Here goes:

So Eddie looks a little different... get the fuck over it.

1.    1. Iron Maiden – “The Final Frontier” [Universal]

Well I certainly saw this coming! Maiden are, in my extremely un-humble opinion, the greatest metal band to grace the genre in its entire history. The Final Frontier holds true to their 30-year tradition of tried-and-true bombasticity (if that’s a word) and pseudo-intellectual fantasy. This album saw the band nudging their boundaries ever so slightly, with programmed drums on one track and some interestingly out-of-the-box guitar harmonies and tone. Though they are beginning to show their age (especially singer Bruce Dickinson and drummer Nicko McBrain) they are a rare example of a band that does not pretend to be 20 years younger in order to relive their glory days. The accompanying North American tour for this album was a resounding success though it comprised of nearly all songs from Maiden’s most recent 4 albums. The Final Frontier takes the high Maiden has been on since Dickinson’s 1999 return and kicks it into high gear.

2. Agalloch – “Marrow of the Spirit” [Profound Lore]

This album was, like the others, kind of a given. Agalloch are reaching new levels of musical maturity and grace, and Marrow of the Spirit showcases wonderful composition, production and lyrics as such. Of particular note is the epic Floydian “Black Lake Nidstang”, which features some of vocalist John Haughm’s best work to date, both lyrically and aurally. In addition, the drumming of underground metal great Aesop Dekker (who has toured with Agalloch since 2007) finally has a chance to shine on an Agalloch record. His loose, sparse feel provides exactly what the sweeping, atmospheric compositions need to give them a little punch without going overboard. Production-wise, I absolutely love this album! Agalloch production, especially drum sounds, has been a point of contention with me in the past. Though this CD retains the rough quality of previous ones, it is obvious that extra time and effort was spent on getting things mic’d, mixed and mastered properly. The first time I listened to this album all the way through in one go was during the first big snowfall of winter in late November. I walked around outside for the entire duration of the disc and loved every single second of it, which makes me certain that this is going to be a personal favorite for a long time to come.

3. Alcest – “Écailles de Lune” [Prophecy Productions]

This is one of those albums that will always have a special place in my heart. The songs on this disc are rarities in that they are so emotionally charged it makes listening to them a heavy, cathartic event. Listening to this album plunges me into the deepest, blackest depths of despair and at the same time lifts me up to the highest radiant happiness one could ever dream of. I’m going to just leave it at that.

4. Enslaved – “Axioma Ethica Odini” [Indie Recordings]

Axioma Ethica Odini is an incredible album, as should be expected from the masters of mythical metal themselves. In many ways this disc reminds me of 1970s progressive and hard rock, harkening back to classics such as Gentle Giant and King Crimson. It seems that Enslaved have pushed these influences forward even further on this masterpiece, which makes it appeal to me even more. The clean vocals on this album are absolutely incredible, like none that have ever been heard on an Enslaved record. Despite the epic songwriting and wonderful ebb and flow of tension and release on this album, the production kind of ruins it. Axioma Ethica Odini is the loudness war at its worst, and the waveforms of the tracks on this CD are giant, thick bars of compressed noise. Though most people casual listeners won’t notice, the drums and bass on this CD have little punchiness left in them and the guitars sound blown out and fuzzy. Once again shitty production knocks a perfect album down the list.

5. Gorillaz – “Plastic Beach” [Virgin]

Oh man… while I love the trip-hop musings of Gorillaz’ first two albums, there is something to be said for straight-up hip hop if it’s done well, and this album most certainly is. From beautiful orchestrations to groovy 70s funk-style drumming and basslines to Snoop Dogg, this album is undeniably eclectic. Damon Albarn’s poetic indictment of consumerism and wastefulness provides a powerful, serious message for the songs, but they do not overpower or bog down the album with overly dark imagery. “Empire Ants” is by far my favorite track, showcasing Albarn’s wonderful guitar/vocal work before exploding into a trippy psychedelic world of synth bass and surreal funk… it’s like swimming in a sea of Jell-o underneath a gold-glitter night sky with a lava lamp moon. This album features some amazing sample and programming work (particularly on the latter half of the album) and some great flow by a bunch of rappers I’m not cultured enough to recognize. Definitely another one to keep around.

What a fuckin' boss...

6. Reggie Watts – “Why Shit So Crazy?” [Comedy Central Rec.]

Ok, so this one is actually a DVD/CD, but I’m only putting the DVD here because A) having the visual along with the audio is important for this “genre” and B) I haven’t managed to find a copy of the CD yet. Anyways, Reggie Watts is basically one hilarious guy who uses stream of consciousness and improvisational comedy in his live shows. A lot of this is made up of a cappella songs he does by beatboxing and singing into a loop station and various effects pedals. It’s pretty much “anti-comedy” at its finest, as he spends about an hour or so using as many words as possible to say as little as possible. Really quite original and definitely worth a watch! In the immortal words of Mr. Watts himself: “Obviously, over an obvious amount of time, there’s an obviousness that's just… you can’t miss it!”

7. Sioum – “I Am Mortal, But Was Fiend” [Endless Field Studios]

Hailing from Chicago IL, Sioum released their first album this year. The disc was self recorded and mixed in Sioum’s basement over eight months, but you wouldn’t know it! The production on this CD is absolutely incredible, especially for a debut offering. The band consists of a guitarist, drummer and keyboardist, meaning there are no vocals whatsoever. I find that this helps gives the songs a certain sense of purity and primal energy, conveying raw power, anger, fear, sadness and happiness without words to get in the way and clutter them up. Influenced heavily by video game soundtracks, Sioum fuse synths and piano with post rock and doom riffs to create something totally unique and very very addicting! This album quite a masterpiece and these guys are definitely headed for big things in the future!

8. Kylesa – “Spiral Shadow” [Season of Mist]

I hadn’t heard of Kylesa until I reviewed this CD for the Inarguable last month (check it out!). This is one great sludgy band! They have two drummers and two singers (male and female), and they blend old-school hardcore very well with stoner rock and classic doom influences. This album is trippy but light and happy at the same time, which is a nice change from the “HOLY SHIT MY PSYCHE IS IMPLODING” trend in “stoner” genres recently.

9. Bongripper – “Satan Worshipping Doom” [Self-released] DOOOOOOM. Seriously, get this fucking CD (or LP if you’re lucky enough). This instrumental doom group from Chicago IL really knows what they’re doing… worshipping Satan. I guarantee this is some of the heaviest shit you’ll ever listen to.

10.  Defeated Sanity – “Chapters of Repugnance” [Willowtip Records]

Well, if you like Brutal Tech-Death you’ll love this, and if you don’t you should get it anyway. I don’t know too much about these guys except that this is some of the fastest, most mind-bendingly complex metal out there these days, and their drummer must have at least 8 splash cymbals (don’t worry, he uses them all). This shit will seriously melt your fucking face, and you’ll love it. Death metal simply doesn’t get any better than this. The bass drops, the slams, the epic blasting… and the fucking insane guttural vocals! It’s almost too much to handle… but it’s just the right amount.

Honorable Mentions:

11. Vit - “-“ [Self Released] Awesome and honest Ohio black/doom metal with great songwriting.

12. Dead Meadow -“Three Kings” [Matador] Classic 70s revival stoner rock, this is a compilation of great live material and a few new tracks.

13. The Flight of Sleipnir – “Lore” [Eyes Like Snow] Very well written stoner/folk metal, great earthy production as well.

2010 was an average year for metal and music in general. Mainstream metal got shittier and more overproduced as usual, borderline-mainstream metal bands sold out and got shitty. Production got even worse than last year, and concert tickets and t-shirts got more fucking expensive. Same old same old. I hope next year we see a return to classic production standards on more metal albums. Other than that, there is plenty of good music out there, and plenty of shitty music (both metal and otherwise). Oh and I'll always be game for more Maiden albums, and another US tour would be nice...

Pat's Top 10 of 2010

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1. Triptykon – “Eparistera Daimones” [Prowling Death Records]


Thomas G. Warrior had me hooked with the early releases of his band, Celtic Frost. He lost me at "Cold Lake", picked me back up with Monotheist (while discovering his first project. Hellhammer), and left me wondering what his next move would be. After growing to love Monotheist, I instantly fell in love with his new project, Triptykon. The music on "Eparistera Daimones" picks up where Celtic Frost, except the music is much better produced, the songs are better, and the band is tighter. Celtic Frost will always have a place in my heart, with Triptykon following close behind. I highly look forward to further releases from Tom and Triptykon.

2. Atheist – “Jupiter” [Season of the Mist]


After discovering Atheist because of the appealing band name, and listening to "Mother Man" (the opening track to Unquestionable Presence), I was completely blown away. The meshing of jazz and progressive elements with death and trash metal was a whole new experience for me and I instantly craved more. Shortly after discovering Atheist, I learned their bassist, Roger Patterson, had died in a tour bus accident, and the band was on an indefinite hiatus. Expecting nothing new from them, I continued on in my musical journey. Upon hearing of the release of a new Atheist record, I just had to pick it up and jumped at the chance. I was not disappointed. Good ol' Atheist was back, in full force. The difference is the music is much better produced, and they experiment a little further with dissonances and strange song composition. This record has put Atheist back on the map. Not only has it put them back, it has provided assurence that Atheist will be will us for a long time to come.

3. Enslaved – “Axioma Ethica Odini” [Indie Recordings]


Enslaved has proved, once again, that they are still on top of the Norweigon black metal scene. Releasing yet another gem, this album provides groovy, catchy, epic tracks (one right after the other). This album rocks hard from beginning to end without ever losing the listener along the way. I am super excited for more releases from this Norwegian project as well as tours to come.

4. Ludicra – “The Tenant” [Profound Lore Records]


After an extensive Agalloch kick, I browsed around the shelves of the internet to find what else other members of the band were involved in. Everything I found did not appeal to me, until I found Ludicra. Ludicra features Aesop Dekker behind the kit as well as other San Francisco black metal enthusiasts. This album stuck out amongst them all for its catchy songs of diverse nature as well as the drum work. This album helped me to become familiar with Ludicra and I look forward to subsequent tours and future releases.

5. Deathspell Omega – “Paracletus” [Norma Evangelium Diaboli Records]


This band took me a couple years to "get into". Along with subject matter that confused me, the song structure further took me for a ride. I am very happy to say that I kept at it. Today, I love the band. I have a good understanding about what they are about and I have come to appreciate the song structure, especially on this album. Along with the always alluring subject matter, they have created a create mix of old school black metal with Deathspell's own spin on the genre. This album kept me interested through and through. A great cap on the year, Deathspell Omega!

6. Agalloch – “Marrow of the Spirit” [Profound Lore Records]


After the bands last momentous full length release, "Ashes Against the Grain" (and subsequent tours), I was left wondering what was next. The news of a new album was very exciting and upon the albums release, I jumped at the opportunity to listen to it. I was left with a feeling of difference. Yes, it is a good album and the band is on top of their game, but nothing really "moved me". Sure, songs were composed very well and Aesop showcased his ability to blast in an Agalloch setting, but something was missing for me. Maybe it is the shadow of "Ashes Against the Grain" or I haven't listened to it enough. That is a personal issue for me to resolve. In any case, another great release from another great band.

7. Alcest – “Écailles De Lune” [Prophecy Productions]


This album truly moved me. At first, I did not like the idea of "pretty black metal". I grew to love the idea more and more after each listen and this album ended up being one my most frequent plays amongst my iTunes discography. Not only are the songs beautifully composed, but the use of clean and harsh vocals were placed accordingly, for maximum effect. Black metal does not always have to be raw, dirty, and depressing. Alcest proved all these ideas about black metal wrong with the release of the this album, and I cannot wait for another to arrive.

8. Rotting Christ – “Aealo” [Season of the Mist]


Rotting Christ is a band that I have been in and out of touch with. After a few years of being "off" of them and a few years of getting back "into" them, I took the announcement and release of this album with a grain of salt. I gave it a chance on a whim and was more than pleasantly surprised. This album gave off a different vibe than those of their previous releases. This album felt like "Greek album", rather than a stereotypical black metal album. The songs that grace this CD have a very authentic, Greek feel about them. This album feels like they are showcasing their roots (and in great form). For the reason of producing a great album with a Greek flavor, Rotting Christ has earned on spot on my top 10.

9. Exodus – “Exhibit B: The Human Condition” [Nuclear Blast]


In my opinion, Exodus gets no credit and no respect. These guys were around before Metallica (from the same area) and received no attention. Instead, they were buried by the Metallica machine and not given a second thought. Thankfully, Exodus survived the down times. Today, they have proved time and again that sticking to your roots is how to save your fans and gain new ones. Exodus has proven to be better than Metallica at what Metallica "started", and this album proves it. Exodus is still going strong, producing songs with epic lengths that vary in musical elements ranging from riff style and what not. I hope to hear more from these underground heroes very soon!

10. Overkill – “Ironbound” [Nuclear Blast]


What a great way to close out my top 10, another thrash epic! Overkill suffered from being buried by the Metallica machine (as well as other respective thrash metal acts). However, Overkill have shown the thrash metal world that they have not died. In fact, they are very far from it! This album is home to a tighter, more rehearsed band with awesome production and amazing songs (which are also very diverse in structure). I am glad Overkill have not hung up the hat yet. I hope they get thrashing on another album soon (as well as a tour).


HONORABLE MENTION SECTION


11. Abscess – “Dawn of Inhumanity”

12. Abigail Williams – “In the Absence of Light”

13. Envy – “Recitation”

14. Iron Maiden – “The Final Frontier”

15. Twilight – “Monument to Time End”

This year was an amazing year for the heavy metal community. So many great things to listen to and so many great shows and tours (as well as awesome bonds and memories). I eagerly await another active year in 2011!

- Pat

Sequences/Isolated Existence - "Graminaea/Poaceae" Cassette split

"Graminaea/Poaceae is an ode to a dying world. A dirge to an endless winter. An expression for the loss of nature's beauty."

Sequences is the ambient/drone project of my dear friend Niels, who also put together this year's two-disc compilation monolith "Der Wanderer uber dem Nebelmeer." This sonic journey is limited to 100 copies, 50 from each artist, so be sure to purchase the cassette here or download Sequences's side for 1 Euro at his BandCamp.

Support artists with talent!

-Jon

Elvenking - "Red Silent Tides" (2010) [AFM]

            

            The first three releases of Italy’s Elvenking are excellent. I noticed, however, a leaning toward accessibility on The Winter Wake in keeping with the period’s power metal trend of “finding the right melodies” and being altogether “heavier.” Though somewhat more straightforward than Wyrd I felt the album was a success and I looked forward to their next move. What seems to have happened, however, is one of folk metal’s most underrated bands gave up on their choice to follow a nearby path to the equally underappreciated Skyclad and attempted to blaze a new trail copying the least interesting elements of Children of Bodom (also a popular thing for European power metal bands to do at the time). The result was a lot of eye shadow, darker themes, and the album The Scythe. To this day I have little interest in that album in comparison to their other material. It is also difficult to feel the mood of dark themes about suicide et cetera from a band called Elvenking.

            In general the bands that chose to mime Children of Bodom did a fine job drawing influence from the music of the first three classic albums while simultaneously aping Bodom’s ridiculous subject matter and image. My complaint with Elvenking’s attempts at it was the apparent loss of most of the actual folk elements. After The Scythe, they went on to record an acoustic album, that seems to have fallen under everyone’s radar but which I am still eager to hear, entitled Two Tragedy Poets ...And a Caravan of Weird Figures. I hoped, then, they had returned to their original springs of inspiration and would put out another album as good as Heathenreel or Wyrd, but I was to be sorely disappointed by what came next.

            Genre blending is very much encouraged, but Elvenking cannot seem to decide if they are a folk metal band, a power metal band, a gothic metal band or a radio rock band. All of these things could work in theory, but between promotional images of them rocking out on stage like a popular metal band and dressing like mystical forest men it is difficult to grasp which rhetorical situation they are setting up. Their newest album, Red Silent Tides is a prime example of just how confusing things can get. The new album is not terrible; Elvenking did a fine job crafting the songs and performing them with passion and skill, they simply made an album that annoys me.

            It is the trademark of Red Silent Tides that a single song can be lame and awesome at the same time. “Dawnmelting” opens the album with promising strength that quickly dissolves with the Bon Jovi-esque first half of “The Last Hour.” The latter track kicks into gear (in a very nice early-Bodom way) at about two minutes and forty seconds, making me wonder how they managed it so successfully. At this point it’s clear that I just do not like the hair metal components of the song (and I do in fact like some hair metal, so it is not necessarily prejudice on my part), but this is to be the pattern for the rest of the album. Something about the way the majority of the album shifts between radio rock and seriously cool riffs and melodies while trying to convince me it is a soul searching record just does not feel genuine. Tracks like “Silence De Mort” and “Runereader” are pretty excellent most of the time, but are offset by irritating ones like “Possession” and “Those Days.” Somewhere along the way, it seems, Elvenking stopped writing thoughtful lyrics and started writing breakup songs.

            The majority of the strength of Red Silent Tides is in those moments in certain songs that are simply awesome. The choir part in “Runereader” and the synths and catchy fiddle-driven melodies of “The Cabal” (unfortunately countered by a chorus fit for a ditzy teen soap opera montage) are what I would not mind hearing more of from Elvenking; but they are sewn into a quilt comprised of some very faded patches.

            I might wake up tomorrow and decide the redeeming moments are enough to make me like this album, or I might continue to be annoyed by the way it excites and disappoints me at regular intervals. The first half is inconsistent and the second provides little to recommend itself. At the moment I’m enjoying the cover art most of all. What Elvenking has done on this album is reminiscent of power metal icon Tobias Sammet’s decisions to load 80’s pop rock into his music. Those who loved the early material of Edguy and Avantasia but found the later material lackluster will understand this connection when they hear Elvenking’s newest offering. Kudos for trying something new, though, I suppose.

-Bryan A. Wysopal

Official Elvenking Site

Interview with Mamaleek

"Truly Original. Mamaleek is experimental Black Metal exploring Middle-Eastern history, sorcery, and ritual."

-quoted from Enemies List.

The anonymous brothers behind Mamaleek have released two genre-bending albums to date, namely "Mamaleek" and "Fever Dream." Utilizing fierce intensity as a counterweight for ethereal, sometimes jazzy, and always slightly off-kilter atmospheres, this horrendously underrated band' third opus, "Kurdaitcha," will be released next year on Enemies List Home Recordings, better known as the home of experimental pop mongers Have a Nice Life and Planning for Burial. It would seem that this is the first Mamaleek interview, and I must say it is quite the honor, so, without further ado, here is an in-depth look into what makes Mamaleek "tick."

What is the story behind the name Mamaleek? Care to provide a brief history of the project?

I suppose the most honest answer is that Mamaleek is a compulsion and thus is difficult to understand, even for us. We don't have a mission statement or any useful way to understand the direction it takes. I began collecting aged songbooks of a particular nature and rearranging them in Portastudio recordings without any particular course or intention to take it further than some songs. Home recording has served as a practical solution for a complete lack of modern music-making machinery as well as a trusted, familiar aesthetic. Sometimes it works and sometimes it doesn't.

What is your writing and recording process like?

Slow and deliberate, despite the copious amount of coffee drunk.

What influences Mamaleek overall?

Troubling as this always is, for posterity's sake, worldly influences lately include: film works of Roy Andersson, Standish Lawder, and a lot of Robert Bresson. Musically, lately, Polish jazz: Tomasz Stanko, Krzysztof Komeda... among other varieties.

The Charlie Parker cover on "Fever Dream" was a pleasant, yet unexpected, surprise. Do you two have a background or any sort of formal jazz training?

One of us has years of experience and training in a wide variety of music styles, including jazz, and the other has virtually no training at all. The "jazz" vibe has been completely purged on Kurdaitcha and its follow-up, though I expect it to return, full-fledged, in the future.

Being brothers, does the family dynamic have an effect on the band itself? Why or why not?

It allows us to be more efficient with our time and avoid the petty fights that most bands fall prey to at some time or another. We know each other very well and we know what we like without having to discuss it ad nauseam.

Though I personally haven't heard it yet, I've heard wonderful things from Dan about your new, yet-to-be-released album, "Kurdaitcha". How do you two feel it compares and contrasts to "Mamaleek" and "Fever Dream"?

Kurdaitcha sweats similarly by conflating fiction and non-fiction. It's full of great "mistakes" and improvised moments. Much of it works on skeletal acoustic structures.

Why the anonymity?

I don't want to be responsible for such ugliness. We remain anonymous like God does...Who would want to be exposed for conceiving of such a reprehensible species?

What are your thoughts on the current state of music?

Much of the music I listen to was recorded ages ago and cannot, by anyone's definition, be considered "current." What I do often hear in public I find in the very least to be alienating, and at worst, terribly vulgar and depressing. This is normal. I'm sure if I were around in any earlier era, I would have felt the same creeping revulsion.

More often than not, Mamaleek is grouped in the "black noise" subgenre. Do you agree with this? What terms would you use to describe Mamaleek's sound?

Black noise? It sounds insulting. Though there are many associations one could make between our sound and black metal, we have acquired a love/hate relationship with it that becomes fleshed out in the music. Consider us as part of the non-aligned.

What does the future look like for Mamaleek?

The future, as we understand it presently, is uncertain as always, particularly with us being on different continents. Eventually, more recording, inshallah.

-Jon

Interview with de Rais of FUNERARIUM

Luxembourg is probably not the most popular area in Western Europe. Quite often overshadowed by neighboring territories Germany, France, and Belgium, Luxembourg truly is a region that is rewarding to anyone willing to deviate from typical European tourist areas. This being said, I was able to include parts of Luxembourg in my recent European travels, and what I discovered was quite a beautiful and independent region.

Upon return home, I could not help but wonder if there was a black metal scene in Luxembourg at all, due to its smaller populace. I began searching for bands worthy of listening to.

Funerarium was one of the first that I discovered. 

With a very satisfactory sound, this band is not just interesting due to its location. It could be in the heart of Germany, for all I care. Funerarium has proven to be a gem from its native homeland, and, I believe, should be considered as pioneers of the metal scene in the Grand Duchy of Luxembourg.

Upon discovery, I ordered their wonderful album "Valley of Darkness" and was quite impressed. I then was able to contact their representative member de Rais, who turned out to be an interesting person to talk to. This is what came of an interview done several months ago...

(The Inarguable) - Your band is from a small area in Europe that one would not typically think to find black metal. However, with Funerarium and other bands like Donkelheet, there seems to be an insurgence of a rising black metal scene. Is there much of a 'black metal' community in your area, or do you feel as if you are at the forefront of it?

(De Rais) - No, I have to disappoint you, in our small country there’s no real “scene” or whatsoever you would call it. The reason for this is that we are certainly a very unsociable group of people. Besides that nearly all our close friends have recently moved beyond the borders to Germany (for financial reasons essentially). The best time for black metal was- as generally everywhere- in the mid-nineties and we were at the time very lucky to have the city of “Trier” (Germany) not far away, as there were regularly a lot of gigs there. 

(TI) - Another related question to ask would be how you discovered this style of music in the first place?

(DR) - We discovered it through fanzines, a network of friends and one music shop in Luxemburg-City, that was very good at the time. Besides that, I think we were attracted to the bands that emerged as they generated the hate of mainstream music press and fans, as these were not capable to understand this form of art. In fact the most surprising thing was that all the persons that were interested in black metal (about 20 people) had come in contact one with each other mainly through the music (probably this was because they had the same form of feeling and thinking). 

(TI) - Luxembourg is known for being diverse in having three common languages: French, German, and Luxembourgish. We know that your song titles are in English for the most part, but what language do you and your bandmates commonly use? Are any song lyrics in any of these languages?

(DR) - We speak Luxembourgish. It’s an own “language”. In fact it is nearly 90 percent German with some special/own words. Generally it’s not admitted directly/openly that our language is very close to German because of the problems of the past (WW2, nazi-aversion, aso.) We could use our language for songs but we chose not to. We very rarely speak english so it’s a good occasion to practice it, haha. I think english simply has the best “pronunciation” and sounding, it’s as simple as that…

(TI) - Your songs are incredibly rich in atmosphere. With much reverberation and echo, Funerarium seems to sound as fluent as a bellowing wind. What do you feel influences your sound both as a band, and as a lyricist?

(DR) - Musically we are always searching for a so-called “epic/pagan” but grim atmosphere (like old Graveland; old Gorgoroth, Bathory, Darkthrone, and so on). We probably try to mix our interest for history and human abysses with some creative elements ( I would not call it phantasy but rather “imagination”). 

(TI) - I was incredibly fortunate to be able to find your music from the Unites States. However, it has been awhile since there was a full-length album. Are there any plans to release further albums in the near future?

(DR) - We had a deal with the label Undercover Records” (Germany) as we know the owner personally. He has done a good job, but we can not say exactly how we will continue. 

For the moment, we have not practiced as a band for nearly a year, because one of us has recently moved to Germany. But we will take on in 2011. But generally I have to say that we are not going to create time pressure. Good musical ideas and the subsequent song-writing need a lot of time, a thing that most of the bands of today seem to forget.

(TI) - Does Funerarium perform live shows?

(DR) - No, we are not a live band. We played only one gig in another constellation, with the band “Hexemeeschter” (means “Witchmaster”), in a cave in the woods, a real exceptional place which fits perfectly to the ghastly sound of black metal. 

(TI) - Are there any bands that you feel should be getting more recognition than they are?

(DR) - In speaking of contemporary bands, there are very few that I appreciate: Paragon Belial, Tulus, Urgehal, …

Old Bands: Sororicide, Forgotten Woods, Ved buens ende (absolute creativity). 

(TI) - Though Luxembourg is such a small region, there seems to be a fantastic history, and many wonderful areas. Contemporary cities, towns surrounding castles, densely-forested regions, and unique architecture are all to be found in this independent Grand Duchy. Do you feel as if your location influences you, or do you long for something else?

(DR) - You are right, we have in a sense a very special and naturalistic environment here. Sadly, we are, like the rest of the civilized world- in a vortex (I think it’s the right word?) of globalisation/ uniformism or whatever you would call it and so you have to struggle not to loose your regional uniqueness. Sometimes I envy countries like Iceland as they are an island and have lesser worries to demarcate and protect themselves….

(TI) - Finally, what do you think of the modern black metal scene?

(DR) - It’s 99 percent utter crap as people are more preoccupied in presenting their “unique” personalities and fast-done recordings to the “world” instead of trying to create their own thing. Internet has taken mystery from so many things, and you have to be very careful with your time in order not waste it with pseudo-social nonsense. My advice to a young band would be: take your instruments and practice ‘till your fingers bleed and please do not release every rubbish. 

(TI) - Thank you for your time; have you any parting words in regards to your last comment?

(DR) - I would like to finish with this quote from an American author: “An artist is always alone - if he is an artist. No, what the artist needs is loneliness”. 

-Elan

The Inarguable

Elan's Top 10 of 2010

 [Disclaimer - This is not a 'ranked' list at all.]

1. Burzum - "Belus" 

[Byelobog Productions]

With the release of Varg Vikernes from prison, half of the black metal scene wanted him dead, and the other half wanted to see if he could make a triumphant return to the music scene. Fortunately, he wasted no time in making the latter presumption a successful manifestation. What we are treated with is probably one of the last few original voices in black metal still beckoning out their branded call... with a bit of a style change from that of Varg's previous work, but still with recognizable and surprising attributes, this album lived up to its expectations in a way that was not expected of it.

2. Alcest - "Écailles de lune" 

[Prophecy Productions]

Alcest has come a long way from its lo-fi, buzzy black metal roots. Neige's prolific solo project had shocked the world with its previous full-length release, and its return ushered in a new slew of experimentation and melody. With extremely catchy hooks, its branded melancholic atmosphere, and an otherworldly theme, Écailles de Lune proved to be a worthy successor to any of Alcest's previous works. Painting a wonderful luminous picture with each hook of Neige's incredible clean guitar tone, this album made quite an impact.

3. Ludicra - "The Tenant" 

[Profound Lore Records]

Ludicra are one sick band. Their very existence is one which breathes negativity and spite. All the more reason for me to like their new album, The Tenant.

With passages that stick in one's head for awhile, and cathartic, haunting vocals, this West Coast metal band has offered unto us their best endeavor yet. This band has always been a step ahead of the music scenes that try way too hard to include them.

4. Overkill - "Ironbound" 

[Nuclear Blast Records] 

Overkill will not die down. After seeing them live this year on their twentieth anniversary tour, and hearing this new album, I have established that thrash bands do not have to wither away and become groove metal simply due to lethargy. No... Bobby Blitz's vocals still resonate strong, the music only gets faster, and the riffing only more memorable. This album pretty much proves that some things still get better with age.

5. Triptykon - "Eparistera Daimones" 

[Prowling Death Records]

Celtic Frost is no more... so to what does Tom Warrior turn? 

I'll tell you... he turns the volume nob to eleven.

If it were possible for this man's mind to purge something heavier, darker, and more chilling than this, even Satan would be afraid of it, so long as it were to maintain such a ridiculously heavy guitar tone. Some may call this 'Monotheist Part II', but they would be missing something. And part of that 'something' may include the varieties of atmospheres conveyed in this thoroughly crushing masterpiece.

6. Darkthrone - "Circle The Wagons" 

[Peaceville Records]

Darkthrone do what they want. Plain and simple. Blastbeats and frog vocals? Maybe sometimes. D-beat and old school metal influence? Definitely. Lyrics we can relate to even if they are strange? All of the time. With a settled production that does not take away any 'basement jam' feel, we are given a very personable and real record. And, I must say, the accompanying booklet is impressively thick, and gives total transparency to the making of the album. This may not be as memorable as 'Dark Thrones And Black Flags', but is a perfect album to jam with your friends. It will just make you love this band even more.

7. netra - "Mélancolie urbaine" 

[Hypnotic Dirge Records]

I must confess that I have not even heard this whole album yet. However, having a project on the same label has had its benefits and I have heard quite a bit of it, and so I must say that netra's debut full-length on Hypnotic Dirge Records is taking EVERYONE by surprise. Black metal? Check. Ambient? Check. Trip Hop? Uh... what? Okay, I guess check. Performing it very well under those circumstances? Definitely check. With a wonderful, pulsating atmosphere, passages that define the project's sound, and surprises the whole way through each song, this full-length is the most surprising thing to hit the 'experimental' black metal scene since... well, actually, this may be the most surprising thing to hit the 'experimental' black metal scene.

8. Celeste - "Morte(s) Nee(s)"

[Denovall Records] 

I will confess another thing... I really am not a big fan of hardcore, and, even more not a fan of hardcore influence in black metal. However, these young Frenchmen have proven to me that the two can coexist together when done right. Crushing, blazing, and infuriating, Celeste came out of the blue, without warning, and offered us this beast of an album that has quite the abrasive atmosphere to it.

9. Truppensturm - "Salute To The Iron Emperors"

[Ván Records]

Truppensturm are far too underrated for their own good. Come on, guys... this band is not just a Blasphemy rip-off band. With a militant vibe and aesthetic, as well as brutally heavy riffs and consistently brutal drumming, Truppensturm is the soundtrack to modern warfare. This music is what you would have in your head after you bash a soldier in the face with your rifle and kick him down a hill, and then throw a grenade down at the bottom of the hill. Sadistic, sickening, and glorious. Gah, I love this album. You have to love a band called 'Trooper Storm'.

(Disclaimer... I am neither sadistic, sickening, and/or glorious. At least not most of the time.)

10. Deep Mountains - "s/t" 

[Pest Productions]

Here is a band I discovered through Hypnotic Dirge's distribution. From Pest Productions in China comes a beautiful melding of folk music, Chinese black metal, and... hey, did I just say Chinese black metal? That should be enough. But no. It's not. They are musical geniuses that incorporate a good amount of haunting, somber clean passages while somehow sounding original, and not yet another black metal band with somber clean passages. Yep. Now buy it.

Overall:

Overall, this year was very exciting and was great for tours... however, I would have liked if more of the kind of music that I was into this year had been released this year. I often found myself looking to the past to find and discover new favorites from past years. There seemed to be a whole lot of 'post-drone-shoegaze-core-folk-with-emo-tendencies' kinds of albums, which are cool once in a while, but for a guy like me, I need some more straightforward, hard-hitting, pure, sure-of-oneself kind of albums to listen to. I don't care how many 'eclectic' influences your band has... if you don't have a definitive sound, you will not be interesting. All too often, these bands come up with an ultra-hazy sound that doesn't do anything except prove to be 'interesting', and nothing more. 'Interesting' won't get you anywhere... 'groundbreaking' will. Maybe I'm just not 'eclectic' enough (as one could easily assume due to my whole list being of some variation of metal), but this year really did not give me a whole lot of worthy options in other musical realms. If a 'post-drone-shoegaze-core-folk-with-emo-tendencies' album came out that was spectacular, it would have been worth mentioning... just because Aquarius writes a good review for your hastily-recorded album does not mean I will.

Anyway, here's to hoping that next year will usher in more albums devoid of trend and overuse of experimentation. And, here is also to hoping that no more great musicians will pass away anymore... we lost too many this year.

Honorable Mentions:

Ceplahophore - 'Peccatoris'

  [Barren Meadows Recordings] 

(Best ambient/sampling album of the year)

I Shalt Become - 'Poison' 

[Moribund Cult] 

(Making GOOD use of symphonic elements)

Lonndom - 'Viddernas Tolv Kapitel' 

[Eisenwald] 

(Wonderful folk music with metal roots)

Lantlos - .'neon' 

[Prophecy Productions] 

(I'll let Becker cover this one)

-Elan