Review Album: OPETH – In Cauda Venenum

Recenzie album: OPETH – In Cauda Venenum

Muzica pentru mine nu este o forma statica de arta, nu trebuie sa ramana in acelasi loc.” a declarat Mikael Åkerfeldt de la Opeth intr-un interviu pentru Metal Injection. „Chiar daca am o cariera, si desigur a fi dragut sa imi mentin acea cariera, dar nu indetrimentul muzicii pe care o scriu. Nu cred ca as face o treaba foarte buna, sa fiu sincer, daca as scrie un album sau chiar o singura melodie dupa cum si-ar dori unii fani.”

Ce este muzica metal? In esenta sa metalul este, in spusele lui Åkerfeldt „agresivitate, onestitate, rebeliune”…iar in acest sens Cauda Venenum este cat se poate de „metal” si de Opeth. Urmarind acest album cu un spirit de libertate muzicala si un sentiment de smerenie, Opeth si-a cautat neincetat viziunea cu foarte mare determinare. Opeth a Depasit usor opozitia fata de schimbarea directiei lansad Cauda Venum, unul dintre cele mai bune albume pe care aceasta trupa l-a lansat.Image result for opeth

Cauda Venenum este o expresie in limba latina care inseamna „coada otravitoare” si tradusa aproximativ in „surpriza neplacuta la final” si ajunge sa fie cu doua versiuni pe acelasi album. Singura diferenta dintre cele doua versiuni, este limba in care au fost scrie versurile – unele in engleza si principala versiune in suedeza, limba nativa a celor de la Opeth.

Potrivit lui Åkerfeldt versiunea suedeza din Cauda Venenum este versiunea originala. Din cauza „nesigurantei”, Åkerfeldt a fost obligat sa reinregistreze intregul albumin limba engleza. Diferenta dintre limbi creaza o schimbare de feelind pentru vorbitorii de limba engleza. Dupa un studiu in prima faza a veriunii englezesti, diferenta de limba schimba cadenta si atmosfera generala a registrului vocal-dominant. (vezi piesa care deschide albumul „”Svekets Prins” („Dignity” in engleza)”.

Chitara solo foarte rezonanta si vocalizele apasatoare sunt vedetele acestui album indiferent de versiune. Melodicitatea dark, evil si neasteptata predomina facand sigur acest album ca fiin marca Opeth. Fiecare secunda a piesei „Dignity” este studiata si aleasa cu grija nelasant vreun buton sentimental neapasat, acest lucru fiind facut cu grija si in productie. Momentele cand solo-urile si vocile sunt facute sa straluceasca sunt integrate frumos si cu usurinta. Interludiile si aranjamentul pieselor sunt cu grija alese si in acelasi timp creaza o dinamica de poveste.

The Garroter” este o piesa jazzy si rebela folosind o varietate de instrumente acustice, tobe batute cu bete tip brush si armonii foarte dark. „Continuum” capteaza atentia ascultatorului prin percutia tensionata si coruri de voci. Intr-un mod tipic Opeth, melodia creaza intensitate si prin lungimea piesei care tine 7 minute. In locul folosirii vocilor growl si distors, pe piesa „Continuum” sunt folosite solo-uri raw de chitara, armonii si voci atmosferice subtile.

Comanda In Cauda Venenum AICI

In Cauda Venenum nu exista muzica de fundal. Acest album este din ce in ce mai bun, in timp ce avansezi in asultarea sa. Albumul este un succes clar, ducand spre cea mai buna compozitie pe care Opeth a facut-o intr-un deceniu; totusi pentru o trupa de anvergura celor de la Opeth este cam singurul album de o asemenea calitate. Alegerile facute pentru Cauda Venum nu sunt tipice trupelor de metal. Asa ca daca vei cauta un album brutal, acest album nu este alegerea potrivita. Piese soft si dreamy precum “Lovelorn Crime” nu sunt agresive si nici metal, dar sunt niste melodii frumoasece lasa ascultatorul cu acelasi sentiment ca si cum ar fi ascultat „Domination” prima oara. In timp ce Cauda Venenum contine piese extraordinar de bune, este totusi un album slow.

Mai pe scurt Cauda Venenum este cel mai bun album Opeth de la Heritage. Compozitia este una foarte buna iar noile viziuni ale trupei arata nivelul talentului trupei. Abordarea cantecelor este un fresh iar intrumentistii din Opeth dau tot ceea ce e mai bun in ei, de parca ar fi fost ultimul album scris. Energia este palpabila in fiecare track si este binevenita fanilor care isi doresc asemenea intensitate.

Comanda In Cauda Venenum aici =>

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Concert Transglobal Underground live Live Control

Concert Transglobal Underground live Live Control

There are few acts in the UK with as strong an influence, as complex a legacy, and as mysteriously legendary as Transglobal Underground. Trying to describe what it is and what it was has defeated the most eloquent of journalists, and those involved in TGU itself have made no effort to help, refusing to define themselves on the grounds that it wasn’t their job to do so, while rejecting any
signs anyone attempted to hang on them.

Bilete online: https://eventbook.ro/music/bilete-transglobal-underground-live-club-control

So what is Transglobal Underground? Well, over 25 years it’s been DJ/musical collective, one of the founders of global fusion, a working band famous for it’s scorching live shows, a techno soundsystem, a folk festival rabble rouser, a pop group, a club night, a Middle Eastern hit production team, an improvised study group for Indian classical music, an Albanian brass band, a duo..or was it an octet?…a seminar, a medicine show and several things no one involved would
admit to if they could even remember them.

It all started with a bunch of disgruntled musicians, singers, DJ, writers and sampler geeks hanging round the cramped offices of West London label Nation Records. Primitive computers were stretched to their full possibilities, beaten up analogue synths kept working by screwdrivers and willpower, mashed up cassettes and turntables serviced a heady concoction of club grooves, dub,
bhangra, rock, digital hardcore and oriental melody, relying on inspiration and a massive belief in the need to create something new.
The first result was a single called ‘Temple Head’ a track with a lot of inspiration from the UK bhangra scene, one foot in the into Manchester and indie scenes, and another in as to club music. The single gained a big club reaction despite many DJs being unsure whether to play it at 33or 45bpm. TGU were off and running….it took a couple of years for the music business to catch up, but catch
up it did in the mid 90s. This was due to, firstly, the club scene’s move into ambient and trance areas, secondly the top 40 success of TGU’s debut album ‘Dream of 100 Nations’ and thirdly the startling live shows, a colourful costumed fiesta with Natacha Atlas as chief vocalist the focal point. Atlas had spent years struggling to be understood and accepted, scraping a living dancing in cabarets in Brussels and working in the UK with the few artists who understood what she was trying to say. But now she was in her element. Bellydancing round club stages while deftly skipping over piles of MIDI cables in high heels and singing flawlessly in Arabic at the same time, she caused a massive stir. No one had seen or heard anything like her on UK stages before.

In the meantime the Transglobal live show never stopped being in demand. The explosion of the festival scene across Europe coincided with their 2007 release ‘Moonshout’ which won a BBC World Music award and led to the touring schedule growing worldwide, with visits to North America, India, South Africa,
Kazakhstan, Venezuela, amongst others. Other projects have followed since; the pan-EU electronic roots project
‘Gathering of Strangers’ in 2011, the pan Oriental project ‘In Transit’ that played at the 2012 London Olympics and ‘Kabatronics.’ the award winning collaboration with Albanian brass band Fanfara Tirana in 2014.

But the main line that goes through the history of Transglobal
Underground was defined at the beginning and continues onward. Onstage it’s a joyful and unpredictable journey into the bottomless vaults of the Transglobal catalogue, whether featuring Natacha and other members of the original lineup, or more recent and diverse additions to the TGU family. Over the years Transglobal Underground has developed a life of its own and goes where it will for it’s own
reasons. Everyone else simply follows.

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