#jonas renske

[iamthecomet]

psst hey Comet

found this for ya

Holy shit thank you!!!!!! I am being doted on today and it is LOVELY ♥. JUST LOOK AT THEM. I'm normal, very normal, normal normal normal. not even a little bit feral not at all. FUCK. It's worse when he's with Jonas too, there is just something about how touchy they are with each other that makes me hfuias;dkfh as.

#comet comments #sphylor #unmasked ghouls #per eriksson #jonas renske #unmasked ghoul #normal #very normal #FUCK #The way I want to dig my teeth into his sodomizer tattoo #I am FERAL

[gbhbl]

EP Review: Fascination Street Sessions by Ihsahn (Candlelight Records)

Norwegian progressive metal pioneer Ihsahn returns with his latest release, Fascination Street Sessions EP on March 24th via Candlelight Records. Since 1991 Ihsahn has defied expectations and pushed boundaries. More than any other artist to emerge from the fertile black metal scene of the early ‘90s, Ihsahn has firmly established himself as an unpredictable maverick. Frontman and chief composer…

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#Arch Enemy #Candlelight Records #Dimmu Borgir #Dom Andra #Fascination Street Sessions #Fascination Street Studios #Ihsahn #Jens Bogren #Jonas Renske #Katatonia #KENT #Opeth #Øystein Aadland #Powerwolf #Tobias Ørnes Andersen #URM Academy

[rockyoushow]

Rioghan Released A Third Single And Music Video SIGHT Featuring Jonas Renkse

Rioghan Released A Third Single And Music Video SIGHT Featuring Jonas Renkse

Promo picture: Aarni Visuals / Mikko Parkkonen. Hair & makeup by Laura Salo Creative Finnish Rioghan is set to release her debut album ‘Different Kinds Of Losses’ later in 2022 via Inverse Records. The album has been made in collaboration with Jonas Renkse (Katatonia), Einar Solberg (Leprous), Teemu Liekkala (ex-Manufacturer’s Pride, Red Eleven) and Teemu Koskela (ex-Celesty). The third single…

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#Jonas Renske #Katatonia #Leprous #Rioghan

[abasketofnothing]

yall sleeping on jonas renske

#thinking #having emotions

[metalindex-hu]

Ihsahn – Megjelent az új EP-je

Ihsahn – Megjelent az új EP-je - https://www.femforgacs.hu/ihsahn-megjelent-az-uj-ep-je-2/ -

Fascination Street Sessions címmel adta ki új kEP-jét Ihsahn. Az Emperor főnökének kislemezére ezuttal két vanodatúj dal, valamint a svéd KENT zenekar Dom Andra dalának feldolgozása kerül fel, amelyben a  Katatonia  frontembere, Jonas Renske vendégeskedik.

Az EP azokból a számokból áll, amelyeket Ihsahn Jens Bogren producerrel vett fel a Fascination Street Studios-ban Örebróban, Svédországban. Ebben a projektben Ihsahnhoz csatlakozott régi dobos társa, Tobias Ørnes  Andersen és Øystein Aadland billentyűs, aki The Observer című dalban vokálozik is.

“Az eredeti ötlet az volt, hogy valódi hangszerek csúcskategóriás felvételeit rögzítsük egy nagyszerű stúdióban, csodálatosan beállított dobokkal, gitárokkal, basszusgitárokkal, sőt egy régi Hammond orgonával. A gitárokat Fender kombókkal rögzítettünk és analóg pedálokkal stb…

Az egész egy csodálatos élmény volt, és nagyon tanulságos, mivel szeretek mindent, ami a zenei produkcióval kapcsolatos. Az URM Akadémia csapat hihetetlen volt, és úgy gondolom, hogy a 14–16 órás munkaidő ellenére mindenki jól érezte magát. Nagyon örülök annak, hogy minden ilyen jól összeállt.” – mondta Ihsahn.

#Hírek

[danzameccanica]

Non sono mai stato un grandissimo fan della seconda ondata dei Katatonia (forse, oggi, stiamo parlando addirittura di una terza ondata) e ammetto di aver perso per strada la band con Viva Emptiness. Ma Il momento in cui hanno sfornato Last Fair Deal Gone Down è stato per quel che mi riguarda l’ultimo centro della band. Personalmente non ho storto granché il naso quando col passaggio da Brave Murder Day a Discouraged Ones; anche se li ho conosciuti in modo cronologicamente disordinati, non ho avvertito quell’aura di “tradimento” che si poteva già leggere qua e là fra i forum. A conti fatti, pure Dance of December Souls e Brave Murder Day non sono poi molto diversi mantenendo una sottile linea di continuità. Questa continuità muta pur rimanendo lontana e sfocata sino al disco del 2001. Last Fair Deal Gone Down è forse il momento più pop e meló della band; la voce di Jonas Renske non sarà più cosi soave e le chitarre non saranno più così semi-distorte. Quello che ancora oggi non sopporto più dei Katatonia è la produzione davvero troppo metal, le chitarre piene e il sound quadrato. “Dispossession” è una perfetta canzone soft-rock, dolce e orecchiabile; quando le chitarre si distorcono si sente tutto il bagaglio alternative-rock-metal dei primi anni 2000, dagli Staind a i A Perfect Circle… d’altronde tutto il mondo si stava aprendo al lato più atmosferico del nu-metal e alla conseguente riscoperta dell’emo. Ma forse la band più vicina sia come sonorità sia come distanza geografica può essere i Kent, famosissima formazione svedese pop-rock dai punti in contatto con Radiohead e Placebo, e dai sapori fortemente melodrammatici. I Kent potrebbero essere l’anello della catena che unisce questi Katatonia al mondo alternative rock.

Qui, ora più che mai, le sapienti mani dei Katatonia riescono a mantenere riff saldi che richiamano il loro passato a fraseggi pop-rock di immediata assimilazione. “Chrome” ha addirittura dei sample che ai frequentatori più attenti del metal estremo non possono non ricordare quella parentesi di sperimentazione dei My Dying Bride con 34,788% complete. Tutto l’album è composto su questa dicotomia fra musica e testi che, rivelano un continuo e costante ossimoro. I testi sono molto tragici, parlano di incendi, di suicidio, di solitudine estrema, di bullismo e omicidio di gruppo; ma le musiche li dipingono come se fossero delle favole, dirigendo una specie di cinico film alla Von Trier… tra l’altro non so se è un caso che il bagno lurido della copertina abbia dei richiami a The Kingdom. E fa molto strano apprendere e capire queste cose quando magari è una settimana che fischietti o canticchi “Teargas”; o “Sweet Nurse”, una tenerissima ballad quasi trip-hop che parla di una babysitter che invece di far la ninna-nanna mette dà del sonnifero al bimbo in fasce (e chissà se sia davvero sonnifero). Last Far Deal Gone Down è a mio avviso il punto più alto della seconda fase dei Katatonia: è un disco con melodie che difficilmente emergeranno in passato; il songwriting riesce ancora ad essere fortemente debitore dal passato più recente (si consiglia di ascoltare anche il bonus CD allegato nel 2011) ma un tale calore nella produzione, nella cura dei suoni rimarrà così ben custodito solo qui, solo all’interno di queste quattro sporche mura di mattonelle e ruggine; questo bagno sudicio che sa di sequestro, che sa di orrido ma anche di familiare.

#Katatonia #Peaceville #2001 #gothic #metal #Sweden #swedish #A Perfect Circle #Staind #Kent

[infraredmag]

Ihsahn Announces New ‘Fascination Street Sessions’ EP + Shares “Contorted Monuments”

IHSAHN Announces New ‘Fascination Street Sessions’ EP Feat. Jonas Renske (Katatonia) Shares New Single “Contorted Monuments” Listen HERE Recorded as Part of an Online Educational Project With Urm Academy and Producer Jens Bogren Norwegian progressive metal pioneer Ihsahn returns with his latest release, the ‘Fascination Street Sessions’ EP, on March 24 via Candlelight Records. Ahead of…

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#Freeman Promotions

[ghostcultmagazine]

ALBUM REVIEW: Katatonia - Mnemosynean - Peaceville Records 

ALBUM REVIEW: Katatonia – Mnemosynean – Peaceville Records 

It has been thirty years since drummer / vocalist Jonas Renske and Anders “Blackheim” Nyström began a musical journey that would see them evolve from a studio-only project  exploring their darker musical tastes to becoming one of the most respected purveyors of melancholic and post-Gothic music; always evolving with each album, embracing Gothic and progressive metal, and always distinctively…

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#album reviews #Anders “Blackheim” Nyström #B-sides #Black n&039; Roll #covers #death rock #doom #Epic Doom #Frank Deafult remix #Goth Rock #Jonas Renske #Judas Priest #Katatonia #Melancholia EP #melancolia #metal album reviews #Mikaël Åkerfeldt #Mnemosynean #music reviews #Peaceville Records #progressive metal #Rarities #Steve Tovey #Stoner Doom

[velpecula]

#katatonia #music #Spotify #metal #rock #jonas renske

[dailykatatonia]

Sanctitude, 2015

#katatonia #dailykatatonia #jonas renske #sanctitude #metal #my gifs

[moss-wizard]

#holy shit this compilation of reinterpretations of lustmord tracks looks incredible #bohren?? ULVER???? ihsahn??? enslaved??? dang #mono?? jonas renske?!?? #what the FUCK how did i only just now find out about this #Bandcamp

[hanalbal]

#happy birthday to jonas renske #youre very good at being sad #music

[markedasinfernal]

Hey there! I came across the song Pleasure by Bruce Soord and Jonas Renske - it reminded me a lot of your angbang dynamic and I thought you might enjoy it.

Hi anon! I had never heard this song before, but after a quick search and play, yeah, I like it! I definitely see how it fits with my Angbang vibe. Nice call, anon, cheers :) 

#asks #Anonymous

[fmslife]

via Billboard

#MusicNews #Billboard

[metalindex-hu]

Esa Holopainen: Silver Lake (2021)

Esa Holopainen: Silver Lake (2021) - https://metalindex.hu/2021/06/01/esa-holopainen-silver-lake-2021/ -

Nem vagyok akkora Amorphis-rajongó, hogy visszafojtott lélegzettel vártam volna a főnök (a csapatot alapító gitáros-dalszerző), Esa Holopainen szólóalbumát. Arra azonban kíváncsi voltam, hogy ez alkalommal vajon milyen zenei kalandozásra invitál bennünket, amire az anyazenekar lemezein ne lett volna lehetősége. Másrészt a neves vendégénekesek illusztris listája is csalogatóan hatott rám. Azt persze valószínűleg mindenki sejti, hogy hősünk nem tudott kibújni a bőréből, és a Silver Lake dalain nagyon is érezhető a neves finn csapat védjegyének számító hangzás és hangulat. Mondjuk azt, hogy egy Amorphis light-ot kapunk, amiben Esa nagyobb teret enged az északi tundrák jeges fuvallatától borzongó lélek rezdüléseinek, és természetesen a szólisták egyéni karaktere is sokszínűvé varázsolja a palettát, eltávolítva ezzel a végeredményt az alapcsapat munkásságától.

A zenei gyökereket persze nem lehet eltagadni: a jól ismert, hullámzó, hömpölygő gitársound, amelyet selymesen suhogó szintihangzás mos alá, egyik 21. századi Amorphis-album világától sem lenne idegen. Talán Holopainen gitárjátékára vetül valamivel több fény ezen az albumon, de ez sem tolakodóan, a többi hangszerest háttérbe szorítva történik. S ha már a zenésztársak szóba kerültek: Gas Lipstick-et, a HIM egykori ütősét leszámítva számomra ismeretlen muzsikusokról van szó, akik sejthetően Holopainen szakmai baráti körébe tartoznak. Az alapcsapatot Esa mellett Pasi Heikkilä basszusgitáros, Sampo Haapaniemi dobos és Vili Itäpelto billentyűs alkotja, hozzájuk csapódnak alkalmi jelleggel egyéb hangszeresek – furulyás, szaxofonos –, illetve vokalisták.

A csodaszép címadó nóta fél-akusztikus lírája rögtön az elején megteremti az elmélyüléshez szükséges emelkedett, bensőséges hangulatot. Ezt máris tekinthetjük a gitáros jutalomjátékának: ehhez hasonló, andalító pillanatokra Amorphis-lemezeken ritkán szokott sor kerülni. Jonas Renske, a Katatonia frontembere két számot is kapott. Tenorja remekül passzol ehhez a muzsikához. Az első általa énekelt dal, a Sentiment is akusztikus alapokról indul, libbenő, hintáztató ritmusait fuvola hangja lassítja, állítja le kíméletes szelídséggel.

A lemez első igazi csúcspontja a Storm, amelyet Håkan Hemlin, a Nordman nevű svéd etno-rock duó énekese ad elő. Nemcsak a refrén fülbemászóan dallamos, de Holopainen szólója és a dal tempója is magával ragadó.

Az egyik kakukktojás az albumon az Einar Solberg (Leprous) által prezentált Ray of Light, ami olyan, mint egy kissé rockosított, a 90-es évek első feléből származó diszkó nóta. Mintha George Michael vagy Jimmy Somerville ragadta volna magához a mikrofont… s mindezt az orkesztra markáns basszus- és csilingelő szintihangokkal festi alá. Gáznak nem mondanám, inkább csak meglepő, és Holopainen sokszínű zenei érdeklődését bizonyítja.

Az ezt követő Alkusointu, ha lehet, még egzotikusabb. Főszereplője a népszerű finn színész, az idén már 76 esztendős Vesa-Matti Loiri, aki anyanyelvén beszél rá a fájdalmasan szép muzsikára, a hatást pedig szaxofon bevetésével és egy kisebb billentyűszólóval igyekeznek a végletekig fokozni.

Amorphis-fanoknak nem kell bemutatni az In Her Solitude előadóját, hiszen Tomi Joutsen orgánuma ezer kilométerről is felismerhető, és jó ideje szintén az egyik alapkomponense a finnek muzsikájának. Itt hörgéséből és dallamos énekéből is kaphatunk ízelítőt, a középrészben pedig angyali női hangok lebegnek el a zenei hullámai fölött.

Kezdése alapján a Promising Sun-t is vélhetnénk Amorphis-szerzeménynek, a mikrofon mögött azonban itt a Soilwork pacsirtája, Björn „Speed” Strid áll. Számomra egy kicsit túlságosan is lágy az éneke, és körülötte a zene is megmarad langymeleg hőfokon. Nálam leginkább ez a dal húzza lefelé az átlagot, mivel – a lemez jó néhány másik nótájával szemben – semmilyen téren nem nyújt kiemelkedőt.

Kedvenc dalom az albumról – ki gondolta volna? – az Anneke Van Giersbergen hangján felcsendülő Fading Moon. Úgy tűnik, a holland énekesnő nemcsak Arjen Lucassennek és Devin Townsendnek, hanem újabban Holopainennek is az egyik első számú múzsája. (Emlékezhetünk, Anneke az Amorphis legutóbbi albumán, a 2018-as Queen of Time-on is „szóhoz” jutott.) Ez a nóta egy szokatlanul izgalmas kentaur: mintha két különböző számból vágták volna össze. A verzedallam nem különösebben fogós, a zene is fáradt középtempós, a refrénhez azonban begyújtják a rakétákat, és – számomra – az év egyik legjobb énektémáját vezetik elő.

A műsort záró Apprentice-ben újra Jonas Renkse remekel: hangja elringat, „king of nothing/ruler of everything” sorai pedig mélyen megragadnak bennem. A dal szövegében még nem állt módomban elmélyedni, az idézett szavakat azonban nem nehéz magára a zenére vonatkoztatni: nem királya semminek, mégis ural mindent az életemben, életünkben. A Silver Lake pedig egy majdnem tökéletes zenei élmény – és nem csak az északi muzsikák szerelmesei számára.

[happymetalgirl]

Bloodbath - The Arrow of Satan Is Drawn

Bloodbath are perhaps representative of, or at least very near, the pinnacle of success for a supergroup like theirs. Formed by members of Opeth and Katatonia to have an outlet to indulge their old-school death metal urges, Bloodbath has become a much more seriously and carefully taken project since its inception, and has become one of death metal's most revered names. Before, in the group's early years, the members, while bringing an unfairly stacked level of talent to the table, were not shooting for much beyond an enjoyable side project for themselves. The bar wasn't set too high despite the incredible quality on the roster, and naturally, the band obliterated their own expectations and became a more desirable force to be reckoned with in the genre. Two decades in, though, and expectations have been raised. Bloodbath isn’t just the fun little side gig it started out as anymore. This isn’t just a little extra material from the likes of Nick Holmes, Jonas Renske, Peter Tägtgren, and fucking Mikael Åkerfeldt, for the metal world to look at like as a nice little bonus. Not anymore. Bloodbath is seen, rightfully so, as an elite contributor to the death metal game. There’s a certain expectation surrounding each release now that transcends the band’s inadvertent beginnings. It’s not just a couple of great players getting together for a jam sesh now; it’s the banner under which some of the genre’s biggest names have gathered to showcase their continued excellence. And I have loved that aspect of Bloodbath. It feels like they’re like death metal’s Olympic team and all these great performers are coming out to make their genre proud. And that anticipation has led to the arguable classic status of Nightmares Made Flesh and the wealth of winning material on each subsequent album.

If anything has been lost along this amateur-gone-pro story (even through they were hardly ever amateurs), it seems like it’s the carefree spirit that characterized the band’s early releases. They’re seasoned professionals now and they have built the stadium they have to keep filling now. Granted that tangible passion to tribute the style of old in their earlier releases was due in part to the release of all that pent up inspiration through competent means, but they don’t seem to have just that raw urge to indulge in the sounds of old now. Naturally, it’s their job, and they’ve been doing it for two decades now.

Nevertheless, Bloodbath don’t sound stale or bored, and each album release is still an exciting prospect for them to provide the modern landscape with an offering of the classic stuff.

So coming off of the band’s first release with Nick Holmes providing the growls in 2014, Grand Morbid Funeral, which doesn’t feel like it was that long ago, Bloodbath seem to have approached this album very thoughtfully with the successes and drawbacks of that previous album being taken into consideration. And even if this album is still a pretty expected form of Bloodbath, it shows.

The band seem more in-tune with Nick Holmes now, enough so that they have mustered to confidence to branch out on this album a bit, not mostly to new territory, but in all sorts of directions in the way they approach their now-patented version of old-school death metal. But the band do seem to be working in more black metal influences on this record than before, especially in the guitar-work

The opening track, “Fleischmann”, sets this precedent early with furious blast-beat drumming and dissonant guitar chords opening the track before its down-tuned slowdown, leading into the carnivorous death metal riffage of the fiercely riffed lead single, “Bloodicide”. The band do well on the many straightforward death metal cuts on here like the slowly but incineratingly burning “Levitator” and the contrasting gallop of “Deader” to reaffirm their dominance on the genre. The one stale example of this approach is the “Cancer of the Soul” redux of “March of the Crucifiers”. The song is reliant on the savor of the simple guitar riff to carry the recycled vocal rhythm, which this album’s production does not facilitate well.

I suppose now is as good of a time as any to squash one main issue I have with this album, the very cloudy, unflattering mixing. The guitars’ fantastic, distinct tone from the previous album is here as well, but the strings are all so clumsily blended together they obscure each other in the more fully-involved segments of the album that when they all play together at least one part is getting buried in the mix. The production seems to be an adjustment to the more heavily black metal direction the band take on a lot of the tracks on the album, trying to get that thick haze of blackened distortion for the parts that benefit from it. And it works alright in those moments, but it’s not the most conducive mix for the band’s more death-metal-driven parts, which are still the majority.

The band do mostly overcome this awkward production choice by playing to the style it caters, and making the album less about its mixing and more about its content. The indulgent palm-muted grooves and black metal tremolo picking on the ever-compounding progression on “Only the Dead Survive” make for a prime example of Bloodbath’s compositional ambition being put to good use over a longer piece that bucks the previous songs’ structural trend with plenty of fire in its breath and the kinds of ideas that might have easily tempted any of the band members to reserve them for their main projects. This is definitely the shining moment on this record.

The band go off on a few slightly unusual paths, but ultimately bring the same musical weaponry and ferocity with them wherever they go, like the somewhat thrash-inspired riffing of “Wayward Samaritan” or the . The very black-metal-influenced “Morbid Antichrist” shows the band’s creativity with the dynamics of the slow groove they utilize on the verses and the apocalyptic tone they cultivate so naturally to fit the subject matter of the song, and the subsequent down-tuned groove of “Warhead Ritual” shows the band overcoming the poor mixing on the album with very centralized riffing that certainly brings the invigorating energy it’s supposed to.

The band’s oddest foray comes at the very end of the album in the form of the very Floridian, slasher-film-inspired “Chainsaw Lullaby”, which almost sounds like it even takes some cues from Rob Zombie with its pre-chorus’ choppy vocal delivery.

Bloodbath are not really providing the boisterous assertion of their presence and showy display of their knowledge of how death metal is done that they have on albums past. But to peg them as uninspired or lethargic on this album would be quite exaggerated. The band clearly wanted to make this a rounded album and made a lot of hard, but well-processed choices about where and how they showcase their greatest strengths. And for the most part, I think they made the right choices, even if they didn’t quite adjust properly for all of them at the soundboard. This album is not blowing me out of the water, but it would be unjust to call it simply serviceable; it does well to show Bloodbath’s strengths from many angles, and those strengths are certainly visible, even if the view is a little fuzzy. It’s the kind of album that makes me hope for either one of two things though for the future of this line-up of Bloodbath: either a greater commitment to the black metal elements they clearly found themselves so infatuated with here or a recalibration to the standard, old-school death metal that they have made their modus operandi, because the band only cover so much over the course of an album of this size that I think they’ll have to pick what they most want to represent, and do so to the fullest without much distraction.

#bloodbath #the arrow of satan is drawn #death metal #black metal #metal #heavy metal #new music #new album #album review #review