#A Symphonic Tragedy

[x--daughters-of-darkness--x]

DIANNE feat. Arjen Lucassen ► A Symphonic Tragedy (official music video)

#dianne van giersbergen #A Symphonic Tragedy #Youtube

[metalcultbrigade]

Theatre of Tragedy - Virago. 26/05/1999

#metalcultbrigade #metal #gothic metal #symphonic band #symphonic metal #theatre of tragedy #artists on tumblr #art

[harmonycorrupted]

Feeling nostalgic listening to Velvet Darkness They Fear... Theatre of Tragedy achieved such a organically great bundling of styles here that’s nicely accompanied by equally gritty and ethereal “Beauty and the Beast” type vocals. The drum parts could have been better but I enjoy it for what it is… not least due to an amazing passage in this track, featuring parts of The Masque of the Red Death dialogue😉

And I mean… c’mon, just look at that cover art😏

#gothic metal #symphonic metal #theatre of tragedy #velvet darkness they fear #music #music reccs #beauty and the beast #death metal #music recommendation #death doom metal #Youtube

[riemmetric]

I’ve made myself a Spotify playlist (that I constantly update) of symphonic/gothic metal songs of my core favourite female fronted metal bands (Nightwish, Epica, Within Temptation and all the others that sound similar to them) and putting it on always fills me with immense amounts of joy. It’s called “quintessence” because at the end of the day, this is my music taste in a nutshell. I thought I should share it, for anybody who’s looking for something to listen to in this genre and doesn’t know what to click on, a comfort playlist for symphonic metal fans. 

#i take good care of arranging these songs so there are no two songs of the same band one after the other #it is really a comfort playlist to me. whenever i play it i'm filled with such warmth. here is where i belong #symphonic metal #symphonic metal playlist #gothic metal #gothic metal playlist #nightwish #epica #tarja turunen #delain #tristania #within temptation #diablo swing orchestra #revamp #Theatre of tragedy #xandria #just tagged the first ten bands on the playlist

[gbhbl]

EP Review: Draconian Reign - Tragedy Eternal (Seek and Strike)

Epic-sounding brutal heaviness is the core aspect of Draconian Reign and with this new EP, they make it undeniably clear that they are one of the UK’s most exciting extreme prospects.

UK symphonic blackened deathcore group Draconian Reign will release their forthcoming EP, Tragedy Eternal, on 5th May via Seek and Strike Records. Draconian Reign comment: We definitely spent more time planning each song as a journey for the listener. There are more orchestral passages, but we are very much a riff-driven band. We take influence from bands such as Dimmu Borgir and The Black…

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#Deathcore #Draconian Reign #EP Review #Seek and Strike #Symphonic Deathcore #Tragedy Eternal

[cuntess-carmilla]

Goth music for Evanescence fans

Are you an Evanescence fan (casual or avid) interested in finding actual goth music?

Well, here's a playlist full of like 98% female-fronted goth songs that are mostly Rock-based with dark emotional themes, dramatic riffs, creepy yet beautiful atmospheres, the occasional symphonic element or classic piano, and haunting vocals. The few songs with male vocalists tend to match the particular dark and miserable vibe of Fallen + pre-Fallen Evanescence.

What qualifies me to make such recommendations? I may be an Evanescence hater now (sorry), but they were the band that introduced me to dark alt music when I was 14 in 2006, and were my absolute favorite band for two years before that (special interest level obsession) until I discovered real goth music in early 2007.

Disclaimer: Before ANY goth comes at me for having included Theatre of Tragedy songs in a goth playlist, you cannot convince me that Aégis specifically ISN'T a Gothic Rock album plain and simple. It sounds NOTHING like their Gothic Metal. You can patently hear the Sisters of Mercy influences in songs like Poppæa or even of The Banshees in Samantha. Some songs in that album are even more Ethereal Wave than Gothic Rock such as Siren, Angélique or Cassandra.

Evanescence fans should try out everything between Theatre of Tragedy's debut and Aégis tbh, even if only Aégis is goth. They were SO good and Liv Kristine's vocals are both angelical and technically pristine. She sounds even better live.

Bands I particularly recommend to Evanescence fans interested in goth music:

Die Laughing: I fell in love with them in 2009 because I instantly thought "This is how Evanescence would sound if they were actual Gothic Rock". Beautiful soft mezzo-soprano vocals, full melancholy, epic compositions.

(old) Dead Souls Rising: Darkwave with hints of classical composition (the vocalist is also a violinist), haunting mezzo-soprano vocals and a persistent preocupation with romanticized death.

Diva Destruction: Extremely brooding Darkwave by a pianist and dramatic alto singer. Intense atmospheres, good balance between synths and Gothic Rock guitars. Songs about heartbreak and betrayal.

Virgine Dramatica: Gothic Rock and Darkwave with delicate and emotional soprano vocals. PURE romantic doom with beautiful keyboard arrangements and highly melancholic atmospheres.

[WARNING FOR FLASHING LIGHTS IN THE VIDEO]

This Ascension: Between Gothic Rock and Ethereal Wave. Gorgeous, sometimes nearly operatic mezzo-soprano vocals, can go almost neo-classical or downright so in some tracks. Poetic, dark romantic, masterful musicianship.

The Shroud: Started out as Gothic Rock with hints of Deathrock, ended up Ethereal Wave. Delicate mezzo-soprano vocals, poetic, gloomy and brooding lyrics, a fixation with literature and all things antique and romantic.

Autumn: Gothic Rock with guitars a bit heavier than most of the genre. Lyrics about despair, dramatic alto vocals, intensity and darkness. I think they represent even more what Evanescence would sound like if they were actually goth than Die Laughing does.

Requiem in White: Legitimately operatic soprano vocals. Shredding Deathrock guitars with Ethereal Wave influences. Brooding, extremely romantic and atmospheric.

#Spotify #Youtube #evanescence #goth #gothic

[lafemmemacabre]

Idk why the takeaway for so many people in the notes of That Post that's less than 12 hours old but already regret is that I haven't listened to Proper Gothic Metal.

I got my start in the dark alt music scenes through Symphonic Metal and Gothic Metal. I fucking old (old) Tristania and (old) Theatre of Tragedy. I own a physical copy of In a Reverie by Lacuna Coil since 2007. There's no dark alt millennial who's not aware of who Lacuna Coil are.

Mid tier Gothic Metal bands compared to mid tier Deathrock or Darkwave bands from Bumfuck, Nowhere are usually a lot more accessible and commercially successful.

Please be serious and also improve your reading comprehension.

[jc-martin-og]

"The Godspeed Messenger"

The sky stretched out before me in a deep blue expanse. As I flew, my eyes do no more than scanning the ground below, looking for messages to deliver as I hope not to fall like the others.

Even if my wings ache from my endless flight, I constantly look for safety, but the sky is filled with nothing but danger. I dutifully carry their messages through the turbulence of war.

In every beat of my puny heart, meant that something was reaching those who needed it desperately. A task I was forced to carry, even if the danger was ever-present.

-

All I remember is that I was deprived from my freedom and sent vulnerable to face in a struggle of men by myself.  Always as a carrier of secrets and words, a messenger of peace from one hand, but a messenger of death sometimes.

I’ve been swept away and asked to bring news of loss and death countless times, that I wish for a gentle hand to free me from this immaterial cage I fly every time.

-

But alas, I cannot escape from this tragedy of chaos and despair. My wings yearn for freedom, a dance in the air, and a return home I’m not so sure I could even fulfil.

Across the desolate, darkened skies, over hell itself that men kind has brought upon these lands. Bodies lay strewn, nameless and forgotten. Their eyes now forever closed, gone is their hope for peace. Left in its wake only for sorrow and despair.

I turn away and fly, my heart heavy stays with grief. But I mustn't falter from my current mission, for I must allow to one more broken soul to live on.

-

The sky full of carnage is, and so is the grown below, from the symphonic clash of bombs and guns. I flap my wings, watching with admiration as the destruction of nature consumed the world below me.

I never imagined that for my eyes, destruction could be so frightfully beautiful sometimes. But man’s war had shrouded the land in darkness, so I flew on, for my guidance from the heavens above has allowed me to live another day, in this hellish ground.

-

I hunch in my cage once the message is done, alone and afraid for my next affair to be here soon. I know the endless struggle will tomorrow call for my fate.

Through the bars I can see sky again, but I know I must eventually return afraid. My wings are a reminder of a life of freedom no longer mine, instead a symbol of mastery in war that I have delivered for endless miles.

I dream of taking a Godspeed flight, out of dread once again, as far away from this life as I can get. But I worry that my wings one day to turn broken and featherless, to never ever feel the sun in a soar of freedom, high in the air.

-

But despite the gnawing fear, there is a glimmer of hope in my heart, that one day they’ll let me untied to their insanity and I’ll fly far away.

That one day men will feel my freedom again, and the world that vanished in disgrace, will be safely discovered once more in full bloom peace.

Original date of publication: 31/03/2023 Made using MediBang

#writer #art #artist on tumblr #artist #digital art #poetry #writing #indie writer #pigeon #ww1 #ww1 fiction #world war one #military history #world war 1 #ww1 history #painting #painter #poet #poets on tumblr #writers and poets #poetic #poems #original poem #short poem #short writing #writers #writers on tumblr #writerscommunity #birds #digital drawing

[girlcavalcanti]

since today is his (657th!!) birthday I thought I'd share some of my favourite introductions and papers about Shakespeare's Richard II :D

Introduction to Richard II - Peter Ure https://drive.google.com/file/d/1lLotHKEFKhN1NAh63iBU6xl7u6SOgY5_/view?usp=drivesdk Richard's evolution through the play and possible interpretations of both him and the play. Shoutout to the author for having the balls to say that the tragedy is a personal one, not a clash of personalities.

Introduction to Richard II - Andrew Gurr https://drive.google.com/file/d/1lN9GmeeCtPEGNsml0veOt95aQg8VWM3H/view?usp=drivesdk This one is for who doesn't agree with the usual interpretations of Richard as an actor/poet and Pater's concern with metadrama. Couldn't be me, but it scratches my brain.

Richard II - Derek Traversi https://drive.google.com/file/d/1lGHgP4mVH3sIqB3C6n5SK5pGgO4JhpcA/view?usp=drivesdk Featuring many hot alternatives to "Richard is a whiny whore". Seriously, a great paper. It's worth reading.

Symphonic Imagery in Richard II - Richard Altick https://drive.google.com/file/d/1lMzz9wag6MjUdVeK5xNzkYtDV2aWy7V5/view?usp=drivesdk Exactly what it sounds like. The whole thing is a symphony and the themes... Are the themes. As in, musical themes. Very beautiful, very powerful. One of the sexiest papers I've ever read.

they're all really good I prommy. I read them all while sleep deprived as shit on an eight hour flight so I know what I'm talking about

#sorry they're a bit crusty #but they're ths ones i personally smuggled away from a college library #good times #(it was 2.5 months ago) #anyway #richard ii #shakespeare #english literature

[unhelpfulfemme]

Another thing I like about Halt and Catch Fire is how it deconstructs the idea of the creative visionary ahead of their time pushing society into the future.

On that show, everyone is kind of a visionary and no one is. If you think about it, all their breakthroughs are a result of their natural tendencies and interests meshing well with the current state of the technology, and their natural tendencies are a product of their histories and temperaments.

Cameron specializes in software, and what she is obviously most interested in is human-computer interaction. This makes sense - at some point she describes herself in middle school as someone who didn't know how to communicate with others, until she was introduced to computers and was thrilled to learn that she could communicate with something she could understand. Computers fulfill her emotional needs, in a way. So whether Cameron will be the innovator is almost entirely a function of how much the current trends or oncoming trends mesh well with her internal perception of computers as something to interact with. She is heartbroken when Joe takes out the proto-chatbot out of The Giant but easily dismisses Donna when Donna pushes to expand Community, because Community isn't about talking to computers, it's about people talking to other people, which to Cameron is initially incomprehensible. Cameron only recognizes the value of Community when she meets several people with trauma similar to her own, and sees how they resolved it not by talking to a computer but by talking to other people. Cagey, asocial Cameron also likes technically complicated things, because she perceives a kind of intimacy and specialness in being the only one to understand how something works. It's a kind of a shield between her and the world, again deriving from the way she found validation and intimacy in working with computers as a kid. Like a jealous lover, she prefers the conversation to be 1-on-1. No wonder she is aghast at the rise of plotless first-person shooters and demands for game controls to be explained - to her it's stupid, ungrateful people unwilling to put in the work necessary to build an intimate relationship with the computer.

Donna is clearly a hardware girl and her most brilliant moments come from creative hardware solutions, but she also spent at least a couple of years as a housewife with two small children and can see the benefit in being able to communicate with other people long-distance. She also grew up in a very image-oriented household and sometimes struggles with similar tendencies herself, so she is also quick to recognize the liberating potential of being anonymous on the internet (Cameron, who is not only uninterested in socializing or making a good impression but also gleefully shows off her worst traits to everyone else - she is the ultimate "queen big dick" - could never). But Donna really isn't that into software, or the newer hardware - in late S4 she fixes up an old radio and admires its old-school simplicity, contrasting it with the newfangled chip-based technology that she dislikes. The tragedy of Donna is that, probably due to her early pregnancy, she never had the chance to work on complex hardware for long enough to make a name out of herself in that field, and hardware is expensive enough that she can't do it at home on the regular or have access to truly innovative stuff outside of a corporate setting like Cameron or Tom did with their more software-based interests (she had to work a random job late into her pregnancy to be able to somehow hustle up the parts for the Symphonic). So it's no wonder that she opts out of the industry entirely and focuses on getting money to people who might need it, a process whose difficulties she's intimately aware of. This way she gets to participate in the more hardware-based stuff in some way - look how happy she is to explore the robotics lab in late S4!

Joe is clearly into literature so he recognizes the potential for a good story, and he is also obviously good at perceiving power plays and imbalances and similar entanglements that are somewhere on the edge between strategy and sociology and politics in a broad sense. This also makes sense, because he grew up near at least some centers of power, and being a queer kid who was aware from an early age of how his social standing was based on a lie probably didn't help. The best illustration of how his moments of savantry are based around strategy games is what he does with the antivirus software: the idea doesn't come from Joe's great technological insights (LOL), it comes from his analysis of several situations happening to him simultaneously - various people reacting to his trustworthiness or lack thereof, and then Cameron having his and his company's balls in a vice grip because she's able to destroy their data or hold it hostage (as Paul Atreides said, "He who can destroy a thing, controls a thing."). So this is where the idea comes from - it's basically an arms deal for a new kind of warfare. And then he leverages this into telling a fanciful larger story about security and safety and society and human rights, probably inspired by being an mlm during the AIDS crisis, because he is a good enough storyteller to position himself as some kind of a messiah, but also because he is aware of the strategic and sociological implications of large powerful entities getting to pick and choose who and what gets to be safe and the psychological effect this has on people (note how his struggle with the board to keep the software free overlaps with the subplot of him having to deal with the homophobic business partner - someone involved in Joe getting a government contract - who explicitly says that he wishes all the gays would just die of AIDS).

Gordon is an optimizer - I don't think we've ever seen him have a truly innovative idea, ever, but give him a prompt, even an impossible one, and he will perfect it, optimize it, streamline it beyond your wildest dreams. It's no wonder Gordon is underappreciated because he's exactly the kind of detail-oriented person who is cast aside in favour of larger, more bombastic personalities, but when the name of the game is slow and steady improvement Gordon does better than anyone because he takes what already exists and makes it better in every way possible. Gordon is kind of an anxious person, and kind of a nitpicky one in most situations (he keeps correcting other people's exaggerations and incorrect statements, it's no wonder he gets along with Kate so well), and he often resists qualitative change but he pushes "the state of the art" forward as much as any of the others. He is an artisan, as reflected in his idea of custom-built boutique computers. This is why the worst thing that can happen to him is his neurodegenerative disorder - it threatens the attention to detail and precision and finesse that make his work truly stand out.

I really enjoyed taking apart these characterizations but I guess that my broader point is that while all these people are brilliant in their own way, they are also not brilliant in many other ways, and rather than being invincible geniuses their success is based entirely on moments when the constantly shifting technological zeitgeist overlaps with their innate way of perceiving the world for a brief moment before the innovation itself necessarily eventually causes a second-order change that creates a new, less compatible status quo.

The narrative is almost Hegelian in its approach; a great man does not create historical reality himself but only uncovers the inevitable future, because what he is personally striving for currently matches up with the broader movements of the world. But if it doesn't, the great man is fucked no matter how great he is - Ryan was more ahead of his time than arguably anyone, and ended up where he did through a combination of various personality flaws and systemic factors.

#halt and catch fire #i am not normal about this show and I will be making it everyone else's problem for the forseeable future

[beevean]

I noticed that the tracks of Order of Ecclesia were named very differently from Japanese to English, most famously the boss themes that reference past games in the series. Some of the original names are quite interesting: there are plenty of reference to obscure musical instruments and compositional techniques.

An Empty Tome: Twilight Stigmata (黄昏の聖痕)

Oncoming Dread: Testudo for the Repose of a Soul (鎮魂テストゥード)

Heroic Dawning: Dicantos of Daybreak (黎明ディカントス)

I honestly don't know what "dicantos" means, or if indeed it's the correct spelling.

Ecclesia: Ecclesia - Introduction (エクレシア・序章)

Vanishing: Elegance -Dash- (雅-疾走-)

Sapphire Elegy: Elegy of a Crimson Pearl (紅珠エレジー)

Destiny's Stage: Harp of Beginning (萌芽の竪琴)

Chapel Hidden in Smoke: Tormented Refuge (燻しの隠れ家)

the verb 燻す means both "to smoke something" (like food, not like tobacco) and "to oxidize", but according to Wiktionary and Goo, it can also mean "to torment".

Serenade of the Hearth: Serenade of the Mallow (葵セレナーデ)

Yamane called this track "Serenade of Healing" in her piano cover

Symphony of Battle: Rhapsody of the Fighting Spirit (闘魂狂詩曲)

A Clashing of Waves: Sea Route Cut Through Waves (波断の海路)

断 can mean anything from "cutting" to "decision" to "refusal".

Rhapsody of the Forsaken: Rhapsody of Indigo Lament (藍愁ラプソディ)

Interestingly, in Symphony of Battle "rhapsody" is written in kanji, while here it's written in English through katakana.

Jaws of a Scorched Earth: Giant Cliff of Scorched Earth (焦土の大巌)

Unholy Vespers: Cathedral of Holy Husks (聖骸カテドラル)

Wandering the Crystal Blue: Wandering into the Deep Blue (紺碧の彷徨)

Dissonant Courage: Distorted Black Shivers (歪みの黒凛)

Edge of the Sky: Azure Virginal (瑠璃色ヴァージナル)

Tragedy's Pulse: Beat of the Wild String (荒絃鼓動)

荒 can mean "wild" or "desolate", 絃 is the string of a bowed instrument, and 鼓動 means "beat" in the sense of palpitation

Hard Won Nobility: Virtuous Variation (高潔なる変奏曲)

Trace of Rage: Trace of Rage - Conversation (激昂の軌跡～会話～)

激昂 could also be "excitement", or generally strong emotions

Sorrow's Distortion: Binding Spell of Sorrow (悲哀の呪縛)

Lament to the Master: Trace of Rage (激昂の軌跡)

In Japanese, the connection between this track and the one above, that plays when Shanoa is communicating with Albus's soul, is more obvious.

Stones Hold a Grudge: Old Grudge of a Feudal Castle (宿怨の居城)

Welcome to Legend: Waltz of the Evening Moon (宵月のワルツ)

Passing into the Night: Fantasia of a Lovely Dream (麗夢幻想曲)

Chamber of Ruin: Expectation of Madness (狂気の思惑)

The Colossus: Gargantuan (ガルガンチュア)

Order of the Demon: Evil Symphonic Poem of Silk Gauze (繻紗魔交響詩)

Rituals: Ricercare (リチェルカーレ)

Consummation: Time of Demise (終焉のとき)

Armory Arabesque: Arabesque Canon (唐草カノン)

#castlevania #order of ecclesia #ricercare got me in the feels #i am sure it's intentional #albus is a researcher after all ;A;

[a-silent-symphony]

Here are all the songs Nightwish have never played live (by Metal Hammer)

Symphonic metal giants Nightwish have recorded around 117 songs, with only 34 never seeing the light of day

If you’ve ever seen the Finnish symphonic metal giants Nightwish at one of their 951 gigs (at the time of penning this list), there’s a good chance you’ll have heard them play Nemo, Wish I Had an Angel and Dark Chest of Wonders. The band’s top three most-played songs all come from the 2005 album Once, but what are they not playing?

With the help of tour Bible and gig reviewer’s best friend, Setlist.fm, we found 34 tracks from the band that have never been played live. For context, there are around 117 recorded songs in their discography; “around”, because their later albums have frequently been accompanied by a second disc of purely orchestral versions, and because Tuomas Holopainen has a penchant for composing songs that go over the 25-minute mark and consist of multiple movements.

Some of these, like the Lappi (Lapland) quadrilogy, are treated as four separate tracks here per the album’s tracklisting, whereas songs like The Greatest Show On Earth are treated as one long song. Cover songs that are B-sides such as Where Were You Last Night, and the instrumental Imaginaerum soundtrack album, haven’t been included, nor has the second disc of Human. :||: Nature.

Now that we’ve explained our highly sophisticated scientific methodology, below are the songs that have never seen the stage lights. Is your favourite Nightwish song on here? Get ready to strap in, and nerd out…

Angels Fall First (1997)

Besides the recently released Human. :||: Nature, the band’s debut album is the one they’ve delved into the least when it comes to live shows: the aforementioned Lappi (Lapland) and the largely acoustic Nightwish demo have all been skipped over, as have the mellow Return to the Sea and the folky Nymphomaniac Fantasia.

Oceanborn (1998)

The release of Oceanborn saw the band start to tour outside of Finland, and with the 1998 record full of tracks like Sacrament of Wilderness and Passion & The Opera, you could forgive them for overlooking The Riddler and Nightquest. Though if you ask us, we might swap Walking In The Air for either.

Wishmaster (2000)

From the band’s second-most played record, there are just two songs they’ve consistently skipped over: the mournful ballad Two for Tragedy, and the histrionic Bare Grace Misery, a song with a delightfully melodramatic chorus that frankly deserves at least one live outing.

Century Child (2002)

2002’s Century Child and the addition of Marko Hietala’s powerful voice ushered in a new era for Nightwish and brought what would become a new setlist staple in the form of the stunning Ever Dream. It’s not surprising they favoured other songs over the slow, plodding Forever Yours and Ocean Soul, but we reckon that the sultry Feel For You should have its day in the sun at least once. Speaking of which…

Once (2004)

Once is big for many reasons: their most played album, their last with Tarja Turunen, and the one that gained them a significant new following outside of Europe; of all its songs, only one has never been played, and it’s the guitar-driven Dead Gardens.

Dark Passion Play (2007)

The Dark Passion Play tour was, and still is, Nightwish’s biggest tour to date, which is why it comes as little surprise that they’ve played nearly every song on the record with the exception of the sweet mid-tempo For The Heart I Once Had and the vitriolic Master Passion Greed.

With the latter widely understood to be a thinly-veiled jab at Tarja’s husband, perhaps the band felt that playing the song live would be taking things a bit too far, or that those bitter feelings are best left in the past.

Imaginaerum (2011)

With a feature film to promote and another massive world tour, only the instrumental Arabesque and the gentle folky ballad Turn Loose The Mermaids were missed off the setlist for the Imaginaerum shows. The latter, featuring a gorgeous violin solo by Pekka Kuusisto, definitely deserves to be heard in a live setting.

Endless Forms Most Beautiful (2015)

Enter Floor Jansen to take Nightwish into their Attenborough-metal era. Nothing says “I’ve got a National Geographic subscription” like writing an instrumental track called The Eyes of Sharbat Gula as tribute to the publication’s most iconic cover photograph, featuring the piercing green-eyed stare of a young Afghan woman. Of course, instrumentals are tricky to do justice live, so we’ll let them off for not giving this one an airing.

Human. :||: Nature (2020)

They band are only now touring their most recent record two-and-a-bit years after its release, thanks to a little something we’d probably rather not think about anymore, but so far they haven’t shown any love to the album opener Music (except as an intro played over the PA), Procession or closing track Endlessness. Watch this space.

Deeper Cuts

Like any band with as many albums and singles as Nightwish have, they bring out the odd B-side from time to time. Personally, we’d love to hear Floor have a stab at the ludicrous The Heart Asks Pleasure First, a sweeping, cinematic waltz from with some eye-wateringly high notes and beautiful violin outro.

They’ve also never played Away, Lagoon, Live to Tell The Tale, Once Upon a Troubadour, Sagan, Sleepwalker, The Wayfarer or White Night Fantasy. While there’s probably little chance of them playing Erämaan Viimeinen unless Floor really knuckles down in her language studies, perhaps Tuomas’ wife, Finnish singer Johanna Kurkela, could join in for the Dark Passion Play-era jig.

#Nightwish #2023 news

[jarenka]

Here is the small excerpt from the opera I've listened today, and IT SO FUCKING GOOD. I've listened Khayrullina's music before, and I loved it, so I bought tickets to her opera, completely ready to not understand anything (it's in Tatar and it was preformed in concert hall, not in the opera theatre) and only listen beautiful music. There were subtitles. The staging was surprisingly good for an opera staged on a small part of concert hall scene with the full symphonic orchestra behind singers' backs.

And the opera itself is a MASSIVE BANGER. I mean it. It's not just "I've listened the opera of a local young composer, it has very nice music, I think other local classical music enjoyers would agree with me", you can put it straight to any major opera theatre repertoire, and it won't be out of place there. It has beautiful music, clear and clever plot, very good libretto, interesting characters and of course sea of tragedy. It's about two writers, husband and wife, Qawi Näcmi and  Särwär Ädhämeva, who both were arrested during the Great Terror (they survived it), and the librettist handles this theme really well without any The Boy in the Striped Pyjamas type of shit.

I was crying like a baby in the end, and people around me were crying too.

#music #classical music

[mymarifae]

do you have any recommendations for metal songs without so much screaming?

HMMMMM............................

moonlight haze - they're a symphonic metal band! i Really like them their music is BEAUTIFUL

leprous - I LOVE THESE GUYS TOO lots of very very very kickass guitar and you're not going to encounter much (if any but i can't remember for sure) screaming with them

(^ this is one of my favorite songs ever hehe)

stone sour - there's absolutely screaming in these guys' music sometimes but from what i remember off the top of my head they also have a good number of songs where there's none/it's very minimal. might be kinda russian roulette if you're looking to avoid screaming entirely but if you don't mind some here and there they might be fun for you!

survive said the prophet - a very energetic alternative metal band! perfect so long as you don't mind a little screaming here and there

(another one of my all time favorite songs ^^)

future palace - not 100% sure if this qualifies as metal but whatever. they don't have a ton of music out yet i think they're a relatively new band but i like them so far >:) the lead singer's voice is LOVELY

delain - another symphonic metal band! unlike moonlight haze they do utilize screaming in their music sometimes but! it's not in everything they put out and it's minimal when it is there

caligula's horse - very interesting music <3 i don't recall hearing any screaming from them but it's been a bit since i last went through their discography

coheed and cambria - i think. this is closer to progressive rock but um what the fuck ever man . you might enjoy them <3 lots of experimentation through all of their albums so they're a ton of fun to listen to

reliqa - it's also been a while since i went through their discography so i can't say for sure how much screaming you'll encounter here but it shouldn't be a lot

in this moment but specifically their albums a star-crossed wasteland, the dream, beautiful tragedy, and ritual - this might be a little harsher than what you're wanting, but. <3 screaming is actually a little hard to quantify with in this moment's music - because of how maria brink's voice just. is. like she just sounds like that (and it's so fucking cool). i'd say out of all their albums these four are definitely the... well "soft" would be the wrong word to use but you won't find as much consistent screaming. for the most part.

(maria wrote this song about her son and i already found it beautiful but knowing that makes me want to cry a little every time i listen to it now)

if you're willing to take some time to sift through their discographies to find what you might like/you don't mind a liiiiiittle more consistent screaming i'd also recommend amaranthe, a light divided, black veil brides, and eidola !! have fun ^^

#this was hard . i listen to a lot of screaming.had to really think about it #mailbox

[mywifeleftme]

189: The Haxan Cloak // Excavation

Excavation The Haxan Cloak 2013, Tri Angle (Bandcamp)

Through his work as the Haxan Cloak and as a film composer (notably on a couple of Ari Aster pictures), Bobby Krlic has helped define the modern aesthetics of what we might call Upsetting Music:

Extremely low frequency synthesized bass with a subliminal roar

Slow, deliberate, violent industrial percussion with a ton of reverb

Creepy whirring noises that simultaneously evoke machinery and insects

Staticky, panned whooshing sounds, that suggest rapid movement captured on degraded video tape

Piercing whines, reminiscent of alarms or the shrill violin notes exploited in scores like Psycho

Snippets of higher pitched noises that sound like muffled or glitched recordings of human cries

Unlike traditional symphonic scores or even the kind of throbbing but ultimately melodic progressive electronic stuff used in ‘80s horror scores, this music largely eschews melody in favour of manipulating sounds to provoke a visceral sense of unease as directly as possible. Electronic music made its initial inroads into horror in the late ‘70s largely because it was cheap to produce, but the runaway success of independent/low-budget films with keyboard-heavy scores like John Carpenter’s Halloween made the aesthetic popular. Since then, genre film has continued to evolve alongside the darker strains of electronic music, from schlocky early ‘90s flicks that incorporate techno and horrorcore rap, to the way industrial became de rigueur for a certain variety of desaturated, nihilistic, almost fetishy brand of cheap ‘00s torture flick.

Independent of this history though, I think there’s something specific about recent horror and thriller filmmakers’ embrace of dark ambient/drone music like Krlic’s that links to Western contemporary anxieties and how these audiences experience fear. I remember many years ago (I’m 51) reading an article in a film theory class about how the rise of automation in the early 20th century kicked off a minor craze in the newspapers of the day for grisly stories about bodies being maimed by trams and the like. The author argued that these sorts of accidents were a new form or vector of terror specific to the industrial age, and that there was a corresponding spike in depictions of these tragedies in contemporaneous films, which tended to pull their subject matter and aesthetics from the well of public worries. Genre music has evolved along parallel lines. Traditional orchestral horror scores derive from ominous motifs found in classical music and opera, which reflect older notions of how evil and despair should be depicted—a Christian understanding of evil, with attendant tropes. A world mediated by religion and versed in devotional music (masses, hymnals, Gregorian chant) would naturally imagine Satanic music as its inversion (dark, baroque renditions of the religious cannon) or opposite (“primitive” tribal music).

By the middle of the century a secularized notion that evil might derive from the personal psychoses of individuals, or (as the tram reading suggested) the indifference of technology and institutions, became widespread, and was duly reflected in the cinema. Today, in the West anyway, our bodies are more insulated than ever before from daily exposure to the sorts of violence depicted in horror films, and our fears have become more secularized and more abstracted still. Our most immediate experiences of dread and bodily harm have tended to come from what we witness on our screens, the fear of seeing something troubling. At the same time, filmmakers have realized that the sonically unsettling aspects of ominous symphonic music (extreme high and low frequencies; disharmony; jerky rhythms) could be divorced from the orchestral context, leaving artists with a set of specific tools for physically startling audiences in tandem with the action onscreen.

Krlic’s music is a product of these parallel processes. As noted, much of his work prioritizes psychological and physiological effect above all, pushing these notions (in his Haxan Cloak work especially) about as far as they can be taken outside of extremist genres like harsh noise and powerviolence. When he makes his synths literally growl, our bodies respond to the perceived threat, even though we know what we’re hearing isn’t produced by a living animal. Some of what he’s exploiting, again, is stuff that goes back to our base threat-detecting instincts, but the overtly technological aspect is also the sound of horrible things both real and simulated we’ve seen through media. Staticky screams and the scrape of metal on concrete summon the spectre of snuff films, hostage videos, extreme BDSM porn, war footage, and all of the movies, video games, and music videos that have adapted their imagery to get a rise out of people. It also, especially to a broad subset of “average” moviegoers, sounds like the type of music people who want to rape and murder your family would listen to for kicks.

There is a good deal more going on in Krlic’s music than simple fearmongering though—we can look at Excavation, his second and final LP to date as the Haxan Cloak,as part of a long lineage stretching from ‘60s experimental electronic music like White Noise through Nurse with Wound, Aphex Twin, and Nine Inch Nails among many others. “The Mirror Reflecting (Part 2)” eventually reveals a sequence of austere, crystalline guitar-like sounds that post-metallers Agalloch might’ve produced; “Dieu” opens with some subterranean breakbeats and chopped up samples that nearly threaten to look in the direction of a dancefloor before a creepy violin quells the thought; the rain-drenched “The Drop” flashes a bit of a Baths-style emo/downtempo vibe when it isn’t trudging past the sounds of dark satanic mills. Just as some people will hear Excavation as sadistic junkie music, others will no doubt find it an exceedingly warm and plush casket to disappear within, the overwhelming weight of its sounds divorced of violent associations, just signals strobing across the darkened hemispheres.

189/365

#the haxan cloak #bobby krlic #ari aster #a24 #horror movies #horror music #halloween music #halloweek #dark techno #dark ambient #electronic music #'10s music #music review #vinyl record

[999-roses]

anyone else get periods of like. idk intense weepiness like the world is just so massively suffocatingly beautiful? humans struggling through history (history including the present) and the horrors are so real and sometimes we've turned on the ones closest to us but we [humanity at large] didn't give up. or the vast symphonic cacophony of human languages, spectrums of expression like a ray of light striking an opal, scattering into innumerable dazzling scintillations, but in this sea of delightful chaos, I can speak to you. and across the confines of language we reach out to express to connect to spark and see the spark in the Others, across cultures across time we will build bridges aashdahdhahhhhhh infrastructure and architecture is so cool this glorious experiment of life on life on life and all its expressions will continue and hopefully will continue even when I'm gone.. well, it must coalesce because the threat of nuclear war and annihilation means ALL humans lose. eons of love cannot end here. the ultimate tragedy of the last link of a broken chain

or maybe i just got off my sleep schedule and insomnia/staying awake wayy too long swerves my brain into mania-lite zone send help someone force me to sleep. why am i crying about the ability to see colors.

#+ delete later maybe idk #+ rambling time #+ my poasts #even while mildly incoherent my brain go BRRR NO NEW COLD WAR #back to slow. unpaved. & uneven path of self-study #fucked up sleep schedule is so bad for me but! when else would i raptly listen to new world symphony or revisit butterfly lovers concerto #yo its kind of fucked up that i dont have the attention span to sit down & listen to whole symphonies when not hopped up on insomnia #rachmaninoff mood tho tbh