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General / Biography / The Killers
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on: February 24, 2008, 11:39:15 AM
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 It had to happen eventually. When you survey previous exports from the city of Las Vegas: an assortment of suspect hair metal bands; one-hit wonder Toni Basil; err… Andre Agassi… It was only ever a matter of time that a group would emerge from Sin City to wipe the slate ceremoniously clean, giving the inhabitants of that Nevadan outpost some fresh hope and an escape from their culturally underperforming past. It’s evolution, see. The unique habitat in which our subjects developed, their native characteristics shaped by external factors (in this case Messrs. Morrissey, Bowie, Ocasek, Gallagher, Presley, Smith, Sumner, Corgan, Cocker, Byrne, Lennon, to name but a few…) would go towards creating a band so clearly the product of their environment and yet so perfectly adapted to becoming a truly dominant species in the world of pop. Ladies and Gentlemen, I present to you The Killers: Brandon Flowers – Vocals, Keyboards David Keuning – Guitars Mark Stoermer – Bass Ronnie Vannucci – Drums A Tale of Killers Past… It was late 2002. Brandon Flowers (yes, it is his real name) had been dumped by his one previous group, a synth-pop outfit named Blush Response, when he refused to move with the rest of the band to L.A. Cruelly ditched, but inspired by seeing Oasis play (incredibly, the Brothers Grim had made it all the way to Vegas in one piece) he saw that his life needed more guitars. When he clocked Dave Keuning’s small ad in a local paper naming that band as an influence – and what with Oasis not exactly factoring in the pasty Vegas music scene – he took it as fate that they should be together. “He was the only person to reply to my ad who wasn’t a complete freak”, remembers Dave, fondly. “He came over with his keyboard and we started going through song ideas straight away. I had the verse to “Mr Brightside” and he went away and wrote the chorus. That was the first song we wrote together and remains the only song that we’ve played at every single Killers show”. So far so romantic, then. The early core of the band was cemented and their amazingly-previously-unused moniker appropriated from a New Order video. The premise of said promo was to represent the perfect band – with the greatest song as well as model good-looks and youth on their side - to represent Barney & Co. That band was called The Killers. “It gave me the ambition that our actual band should be as perfect as their fictional band,” says Flowers. And so began our heroes’ journey... After trying out a couple of different bass players and drummers, Brandon and Dave met Ronnie Vannucci, a photographer at the Little Chapel of Flowers and student of classical percussion at UNLV, and Mark Stoermer, who was making ends meet as a medical courier (blood, urine, the odd body part – all glamour). In between these couldn’t-make-it-up day-jobs (Brandon, for the record, was a bellhop at the Gold Coast Hotel; whilst Dave garnered valuable training for his current all-the-ladies-love-an-axeman dilemmas whilst enjoying trysts with lady-shoppers at his Banana Republic job) the newly-complete Killers set to writing what we can assuredly state to be one of the most exciting debut albums you’ll have heard in a very, very long time. Writing in 120 degree temperatures in the garage that became their rehearsal room provided a suitably intense hot-housing effect. And when they couldn’t get into the garage they’d use Ronnie’s spymaster knowledge to gain mid-night access to the facilities available at his University’s music school. “There was about 2000 sq ft of luxurious practice space complete with drum sets, marimbas, cymbals, pianos etc… So, for about a month or two we lugged a Marshall to sing out of, a Deville to play the axe through, a Bassman for the keyboard, a bass cabinet for Mark and I used the UNLV pep drum band set,” reminisces Ronnie. “Though I’d like to make clear that no instruments were mistreated during this time as we are, and continue to be, respectful, professional and, last but not least, resourceful musicians.” It was during these pressurised sessions that The Killers began to live up to the expectations commanded by the roots of their name and wrote the bulk of the songs that were to comprise their debut album, the fittingly-titled Hot Fuss. Prolific writers, they were unearthing songs of jealousy and paranoia; tales about murderers, stalkers and Studio 54 AIDS victims; androgynous girlfriends and cuckolded boyfriends; and songs of ambition and the desire to rise above the everyday. Word soon spread further afield about The Killers. The band came to the attention of London-based independent label Lizard King, and they made their way over to the UK for their first ever gigs outside of Las Vegas (for some of the band this was even the first time they’d needed a passport) and a limited edition release of “Mr Brightside” in September 2003. Those lucky enough to catch these first London shows came away pretty much unanimously enamoured (“A head-mashingly brilliant arsenal of tunes… Right now few bands are a safer bet than The Killers”, glowed NME), while the group’s subsequent appearance at New York industry fiesta CMJ in October saw a swarm-sized buzz surround the band and a worldwide (ex-UK) deal inked with Island Records. From here, the boys set to work once more: touring the UK with British Sea Power; selling out their own headline shows, including a packed Valentines’ Day extravaganza at London’s ICA; playing with stellastarr** on a further support tour and, amidst all this, confidently self-producing their record, with final mixing expertise provided by the legendary Alan Moulder (U2, Smashing Pumpkins) and Mark Needham (Fleetwood Mac). It wasn’t all plain sailing, of course – there were mishaps aplenty over the three months that the recording took. The band were rocked by an earthquake that propelled Ronnie from his drum stool during the recording of “Believe Me, Natalie”; they had to battle through fires in the Simi Valley to get to the studio to record “Change Your Mind” (which appears on the U.S version of the LP); oh, and they thought they were actually going to die when their plane hit an air pocket and started free-falling while on their way back to the UK for their gigs in December 03. But somehow they made it through, and here we are, with The Killers all set to release their debut album. A Tale of Killers Present… Hot Fuss features eleven nuggets of reel-you-in storytelling genius and musical nectar that belie the incredible truth that, when it’s released on June15th, chief songwriter and lyricist Brandon Flowers will still only be 22 years old. These eleven tracks span from the “very Vegas – like Ziggy came to town” first proper single release “Somebody Told Me” (which glided into the Top 30 in March 04); the aforementioned “Mr Brightside” - a tale of jealousy that depicts that moment in a relationship when you realise that your other half might be playing away and this thought takes up residence in your psyche feeding the worst fears and visualisations your imagination can then throw at you. You’ll find two-thirds of a murder trilogy (oh yes – don’t rule out the possibility of a future concept album) in “Midnight Show”, which starts off harking back to “Lipgloss” before veering into far darker territory than old Jarvis would ever have flirted with, in Pulp days at least, and “Jenny”. These two are connected by the story of a murder of a girl by her jealous boyfriend (“There was water involved,” says Brandon, cryptically, “although he didn’t drown her”). The first part of the trilogy, “Leave The Bourbon On The Shelf”, will, you can be sure, make an appearance at some point in the future. It’s a deliciously ambitious series that belies the band’s tender years, and they’ve already decided they’ll be calling on our favourite dark lord actor James Spader for the video…. Elsewhere, meanwhile: “On Top” celebrates where Brandon feels the band is at, while stalker’s tale “Andy You’re A Star" and “All These Things That I’ve Done,” a future smash hit if ever we heard one, saw Flowers realise his dream of using a gospel choir in their recordings. This choir – “Sweet Inspirations” - are best known for their work with Elvis Presley, Jimi Hendrix, and Aretha Franklin. “It was such an amazing experience working with the choir in the studio that we decided to incorporate one into special live shows, including the the Spin Magazine show [at SXSW 04]," says Brandon “Hot Fuss” is, to sum up, a triumph. A triumph that will see the light of day concurrently in the UK on June 7th, and June 15th in the U.S. It will be accompanied by a major touring as well as a prestigious appearance at California’s Coachella festival and closely followed in the UK by an appearance at Glastonbury at the end of June. |
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General / Biography / The Kooks
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on: February 24, 2008, 11:33:58 AM
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 The first thing to learn about The Kooks (named, need we mention, after the track of the same name on ‘Hunky Dory’) is that, as their name suggests, they like to take a chance. But let’s get nineteen year old singer Luke Pritchard to explain: "Bands tend to do one thing and then stick to it" he says, constructing a roll-up beneath a tangle of Syd Barrett-esque curls. “With The Kooks we plan to do the opposite. When there’s so much music to explore, why limit yourself?” Brighton’s The Kooks are that rarest of pop entities: a scuzzy, fresh-faced group to fully restore your faith in the holy grail of English singer-songwriting stretching from Supergrass via (early) Blur to The Kinks and beyond. Their songs are crammed full of incidents on buses, bedroom mishaps -more of which laterand stinging teenage putdowns which will strike a chord with anyone who’s ever found themselves fumbling for clues on the sofa, but they’re also blessed with a cheerful irreverence most record companies would prefer was preserved in amber rather than rampaging across the nation’s venues. It doesn’t end there. Pin-sharp and scarily young (guitarist Hugh usurps Jared Followill as the youngest man in rock, having just turned seventeen), they also possess record collections which date back to the dawn of time. In the course of an hour The Kooks (Luke: vocals,guitar; Hugh Harris; lead guitar, Max Rafferty; bass, Paul Garred; drums) will happily rave about everyone from The Police to The Everley Brothers to Funkadelic to the component parts of medieval folk. Probe further and it turns out the first song they played together was The Strokes’ ‘Reptilia’. Conducting his own research program into the likes Of Neil Young, Nick Drake and Chuck Berry, Luke recruited louche bassist Max Rafferty (first gig: Jacques Loussier) and under the tutor-duping disguise of a ‘school project’ set about becoming The Kooks. Snapped up by Virgin following an incendiary four-song debut at the Brighton Free Butt, they have since found themselves heckled in Stoke, playing to horrifying ghouls (an ill-fated Hallowe’en bash in Liverpool) and mobbed on a national tour with The Thrills, all the while fine-tuning their youthful assault in a dis-used bread factory. “We all write songs and all love loads of different music so we argue a lot about how and what to play" continues Luke. “That’s what rehearsing is about for us. But because of the way Max and Hugh play there’s a soul and reggae feel to what we do which is vital. We’re a groove rock’n’roll band who want to make people dance..” First proof comes with The Kooks incredible debut single ‘Eddie’s Gun’. A grinding speed rocker beginning with Luke screeching “Did you see the way she looked at me?” amid an almighty shower of drumming, it ends with a four instrument pile-up and is as deeply impressive as a debut single gets. Second track ‘Sofa Song’ is -whisper it- even better. To these ears they’re the finest, most ecstatic celebration of youthful misdemanours since Supergrass’s ‘Caught By The Fuzz’ or -pass grandad’s ear-trumpet- The Who’s ‘Pictures Of Lily’. After all, as Max candidly points out, ‘Eddie’s Gun’ is about “erectile dysfunction”. The mind boggles at what the album (scheduled for 2006) will be like. “I want the album to include all types of music, no genres excluded” continues Luke, another long afternoon of rehearsals ahead. “From Bobby Womack to The Clash!” beams Max. “We don’t want to hide from taking risks,”adds Luke. “I liked the fact The Coral’s first album dared to be different. That’s what groups are there to do. We want to challenge what’s expected of us. But right now we’re about making great pop music. So many bands are scared of pop and they shouldn’t be. When it’s good, there’s nothing better. And we mean to have fun with it !”  |
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General / Biography / The Red Jumpsuit Apparatus
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on: February 24, 2008, 11:20:48 AM
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 Well, to make it short and sweet, We're five poor country boys from florida that gave up everything to share our music with people. But if you'd like to read into it more...feel free... What's in a name? Well, it depends who came up with it. In the case of Middleburg, Florida quintet The Red Jumpsuit Apparatus, it might mean anything. Jumpsuits can be sleek and fashionable, tight and revealing. Or they can be loose and homogeneous, suggesting redundancy and confinement befitting a jailbird. Red is often flashy and easily noticeable, but it's also the color of blood. And an apparatus allows a jumpsuit to be used for a specific purpose, such as leaping from an airplane - or it could be something sexual. After all, The Red Jumpsuit Apparatus are ballsy and emotional, pulsing with vibrancy and tenacity. They're strong, yet vulnerable, and they shift between musical styles with the confidence of superstars. Strange then that The Red Jumpsuit Apparatus means absolutely nothing. "It's 100 percent completely arbitrary," laughs singer Ronnie Winter. "When we started the band, we only cared about having a good time and writing good songs far more than coming up with some symbolic, incredibly intelligent name." "I think its funny when bands scramble their brains to try and come up with some unique, untouchable band name," adds guitarist Elias Reidy. "Why waste time thinking of something when we could be concentrating on music instead? The locals loved it, so we went with it." A brief listen to The Red Jumpsuit Apparatus debut and its obvious that these boys have spent a lot of time concentrating on their music. Their songs are flush with the determination, hunger and energy of youth (the average age in the band is 21). And while they tap into elements of pop-punk, pop, screamo, and metal, they combine them in a way that's both surprising and invigorating. "In a time when everything's labeled and categorized, you kind of have to try your best to step outside the box and be as unpredictable as possible to separate yourself," explains Reidy. "Yeah, but we like to mix unpredictability with the comfort and melody people want to feel when they hear a song," clarifies Winter. "You can't just be crazy, ridiculous. You have to stick to the point musically and make the song catchy to the listener." No worries there. On just their first record, The Red Jumpsuit Apparatus already have mastered the difficult art of ensnaring the listener, whatever particular style theyre delving into. Face Down blends propulsive, chugging guitars, a steady beat and yearning pop vocals and climaxes in a detonation of dissonance and a volley of screams. In Fate's Hands (the name of Reidy and bassist Joey Westwoods' former metal band) starts with plangent acoustic strumming then abruptly shifts into overdrive with start-stop guitars, tumbling drums and a chorus as angry as it is infectious. And Cat and Mouse is a melancholy ballad anchored by a repeating delicate piano line that surfaced as if by magic. "We were at a showcase for a record label, and we were pretty sure we weren't ready, so everyone was on edge," recalls Winter. "So, to calm his nerves, [guitarist] Duke [Kitchens] sat down with his guitar and just started playing. I walked up to him and said, Dude what is that? And he said, I just came up with it. So I said, Keep playing it. Dont stop. And I made him play for two hours straight while we wrote the entire song all the way through." In addition to being musically adventurous, Winter doesn't shy away from confessional, confrontational lyrics. The cantankerous Seventeen Ain't So Sweet addresses a female friend who has an amazing voice but has been unable to make a dent in the music industry because she doesnt look like a plastic pop idol, and the reflective, flowing Your Guardian Angel shows Winters letting down his guard and trying to express what it really feels like to be in love. But its Face Down, a scathing indictment of domestic abuse, which hits hardest. "Where I come from, you see it when you go to the store, you see it when you stop for a smoke, you see it all the time," Winter says. It's something everybody sees and doesn't do anything about because they're just so accustomed to it. I was the same way and I was a victim of it. So the best way I could think of to get people to not make the same mistake I did was to write about it." Winter and Kitchens, the only original members left in the band, formed The Red Jumpsuit Apparatus in 2003 just for kicks. For 18 months they wrote and rehearsed with no real intention of playing shows or recording an album. When some friends who heard them jam suggested they play out, The Red Jumpsuit Apparatus started booking gigs and were immediately embraced by the local scene. "We played this place called The Art Bar twice, and the second time we played it, we sold it out," Winter says.  Encouraged by the response, The Red Jumpsuit Apparatus contacted the owner of a local studio to see if they were ready to start recording. When the response was a resounding yes, they recorded their first EP, using it to promote themselves wherever they could - online and at local concerts, high schools, colleges, malls, beaches and other locations across Florida. Although the reaction was undeniable, the industry wheels didn't start turning right away. The band showcased for several labels to no avail, leading to discouragement between members, some of which left or were removed from the band. Determined not to give up, the remaining members posted ads around town looking for new members with the same level of dedication and motivation. After auditioning several dozen guitarists, Winter accidentally returned Reidys' phone call about the opening one night at 2 AM and the conversation eventually led him to meet up with the guys an hour later. The group clicked immediately - Reidys' playing style complimented Winters while providing a fresh perspective on the bands sound, and by the morning, the band had taught Reidy five songs. Their fan base continued to build to an almost unheard-of level for a local band, in-turn attracting New York-based management. Winter then added drummer Jon Wilkes (whom he met years ago when his old band jammed with Wilkes' group), and the current lineup was then completed when Elias brought in his childhood friend and former band mate Joey Westwood. "The whole situation was solely based on fate," recalls Reidy. "Originally, Ronnie randomly approached Joey in a record store and told him they needed another guitarist. After joining the band I re-introduced them to Joey who became the new bass player. It only made sense." Just a few months later, following a flurry of industry attention, the band signed with Virgin Records.  With their line up in place, The Red Jumpsuit Apparatus entered the studio last year with producer David Bendeth, who has previously worked with Hawthorne Heights and Breaking Benjamin. "We were blown away with the sonic-quality of the Breaking Benjamin album, so we were really excited to work with him," Reidy says. "Plus, he really understood our vision." "He really challenged us to make us a better band," Winter adds. "It wasn't always easy, and when we did something he wasn't happy with, he'd say, 'That's not good enough. You can do better and you're going to do better.' And you know what? We did." From the chugging riffs and serpentine guitars of Atrophy to the steely rage of Justify to the tender lament of Cat and Mouse, The Red Jumpsuit Apparatus are determined to get their music across to the masses. There may have been a time when they didn't know if they were ready to be heard, but those days are gone, and now they're eager to tour the world and beyond with the conviction that, when your music speaks so eloquently, who cares what's in a name. |
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General / Biography / The Suicide Machines
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on: February 24, 2008, 11:17:26 AM
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 Dan Lukacinsky - guitar/vocals Jason Navarro - vocals Filthy Stinking Rich - bass Ryan Vanderberghe - drums They've been together as a band for 12 years, survived five Warped tours, countless lineup changes, the "third wave of ska," and the rise, fall, and return of punk-pop, but as Detroit's Suicide Machines release their 5th album in 7 years, A Match And Some Gasoline, their music and mission are stronger and clearer than ever. "I know it's a total cliché for a band to say, 'This is the best material we've ever done,' so I would never say that," founding member Dan Lukacinsky states modestly. "But what I can say is this is the best record we've made in quite a few years." Since core bandmates Lukacinsky and Jason Navarro formed Suicide Machines in 1991, the group has released four powerful punk manifestos: Destruction By Definition (1996), Battle Hymns (1998), The Suicide Machines (2000), and Steal This Record (2001). But with A Match And Some Gasoline, they've happily found a new punk-rock home at SIDEONEDUMMY Records and co-produced their upcoming release with Bill Stevenson (of Descendents/Black Flag fame). SM had wanted to record with Stevenson since befriending him during a 1997 Descendents/Suicide Machines tour, because, Lukacinsky succinctly explains, "He understands punk rock." Recording and mixing A Match And Some Gasoline at Stevenson's Blasting Room Studios in Fort Collins, Colorado, Lukacinsky says he and his fellow Machines "really felt like we were working with someone who really knew what we were doing. It was a really great vibe, with everybody working together as a team to make the record happen - a true community effort." The resulting lean, mean Machines album is a refreshingly authentic antidote to the current glut of punk-lite clogging up TRL's airwaves. "Pop-punk is the only kind of 'punk' that gets shown on MTV, butt I'm sorry - that's not punk," Lukacinsky laments. "Suicide Machines, encompass bunch of different styles - hardcore, harder-edged thrash, punk, reggae, ska - and somehow we fit it all into what we do." It's notable that - after the last two virtually ska-free SM albums - ska is once again a prominent element on A Match And Some Gasoline. Now that the ska craze of the late '90s has subsided, the 2-Tone influence actually sounds fresh all over again in upbeat new Machines songs like "Did You Ever Get A Feeling Of Dread?," "High Anxiety." "I'm kind of happy that ska went away, because now it's safe to play it again," Lukacinsky laughs. "I didn't even think we were going to be able to write songs like that, but it just came out naturally. Knowing that it isn't the 'in' thing makes it so much more desirable to play now." Fads like pop-punk and the ska revival come and go, but the Suicide Machines proved long ago that they can and will outlast any trend. Meanwhile, on their new album they're upholding a longstanding proud punk tradition of political protest, on caustic, socially conscious tracks like "Burning In The Aftermath," "Your Silence," "Invisible Government," and "The Politics Of Humanity." "We've certainly had our share of silly songs, but writing songs that mean something is very important to us these days," Lukacinsky stresses, "because there's enough 'I lost my girl'-type songs out there. Like, 'Burning In The Aftermath' is about the human denial of the treat nuclear weapons, and 'Did You Ever Get A Feeling Of Dread?' is about how the government is banking on the hope that most people in this country are ignorant about what goes on behind the scenes. We're definitely not afraid to talk about more serious subject matter, because the day that we can't express our opinions about what's going on in this country is going to be a sad day. The scary thing is that a lot of people don't really want to hear about serious issues, but maybe now they'll start taking notice of what's going on and paying more attention to lyrics, since things are getting so preposterous in the world." Whether fans are paying attention to the Suicide Machines' potent political messages or equally potent punk melodies, it's undeniable that A Match And Some Gasoline is the kind of album that is essential listening for the year 2003  |
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General / Biography / Slagmaur
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on: February 24, 2008, 11:10:39 AM
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 Cari lettori di Black Metal Online, tenete a mente questo nome: Slaugmar. Nel primo aggiornamento di questo freddo 2008 vorrei porre alla vostra attenzione un lavoro uscito a metà dello scorso Novembre che per motivi di spazio non siamo riusciti a recensire entro la fine dell'anno. Il personaggio chiave che si cela dietro a questo moniker si fa chiamare General Gribbsphiiser ed è l'autore unico di questa terrificante opera che risponde al nome di "Skrekk Lich Kunstler", coadiuvato in sede di registrazione da Aatselgribb alla voce e Lt. Wardr alla batteria e alle tastiere. Ho utilizzato il termine "opera" non a caso e non solo a delineare questo lavoro come un lavoro di assoluta caratura, ma perchè va proprio inteso come un'opera sinfonica, un concerto dove il direttore d'orchestra infonde ai musicisti tutta la sua nera anima facendo vibrare le corde degli strumenti con l'odio e la desolazione dei suoi pensieri; donando il suo influsso tenebroso ad ogni nota, ad ogni movimento, ad ogni passaggio... "Skrekk Lich Kunstler" è un'opera e va ascoltato ed interpretato come un'opera. E' interessante fermarsi prima di parlare di musica e leggere le note esaustive che l'autore ha impresso nel booklet a mò di "indicazioni per l'uso" e per raccontare, o perlomeno tentare, ciò che quest'opera significa per lui. «Ci sono due modi per intendere quest'opera: potete odiarla, o potete capire cosa vuole significare», e potrete apprezzare se «siete quelle persone in grado di apprezzare la musica nel suo linguaggio universale, un linguaggio che parla a tutti coloro i quali hanno la mente aperta e non solo le orecchie.». L'autore ha impiegato oltre 900 ore (!) in studio per concepire questo "Skrekk Lich Kunstler" e la perfezione, la precisione meticolosa di ogni arrangiamento, di ogni momento è limpida fin dal primo ascolto; e di questo non si può che dare atto al suo compositore ed esecutore.  Non troverete "solo" Black Metal qui dentro, troverete musica oscura, dark, depressiva, struggente, ariosa, drammatica, melodiosa, incalzante, ma soprattutto, per utilizzare un'aggettivo che possa racchiudere un po' tutti gli altri; troverete una musica geniale. Le intuizioni sono di altissimo livello, l'opera racchiude in sè nel modo più totale l'anima nera del suo autore; gli obiettivi iniziali sono stati più che raggiunti, brano dopo brano in un cammino mistico verso l'ignoto più assoluto; scavando nelle nostre anime, nel nero che le circonda; entrare in simbiosi con le emozioni e le situazioni tenebrose che emergono durante l'ascolto; lasciarsi trasporare, compenetrare, avvolgere... Citare i brani è cosa assai difficile; non ci sono dei brani che non siano assolutamente adatti a questo disco, non ci sono brani che avrete voglia di "saltare" e passare oltre; è un cammino, un cammino difficile, tortuoso e profondo; un cammino verso un'orizzonte di dannazione e disperazione che passo dopo passo, centimetro dopo centimetro, si avvicina sempre più senza mai lasciarsi però toccare del tutto... La profondità è vasta, quasi insopportabile, echi di urla demoniache rieccheggiano nell'abisso che la circonda... Tempi rarefatti, ritmiche spezzate, arpeggi distorti, dissonanti, urla agghiaccianti; un pianoforte, note distinte di una tragedia; un'orchestra di anime dannate suona dal profondo della foresta ed accompagna con un sottofondo di note gelide il cammino di chi ha preso il sentiero di "Skrekk Lich Kunstler", avanti, ancora avanti... Pianti, lamenti, urla, e ancora eteree sensazioni, le note di archi maledetti, chitarre blasfeme; una musica che non dovrebbe essere udita, che porta nel profondo dell'abisso... All'interno dei nostri pensieri e delle nostre emozioni più nere... Un abisso d'odio e di dannazione. Vorrei chiudere questa recensione non dilungandomi più di tanto ma semplicemente utilizzando un'altra frase dell'autore; l'ultimo capoverso della sua introduzione che troverete nel booklet. Il mio parere l'avete intuito al di là della mera valutazione numerica. Ecco la frase: «Dopo tutto "Skrekk Lich Kunstler" è soltanto musica. Ma se voi volete ottenere il massimo da questo disco; se volete comprendere la mia anima e, cosa più importante, la vostra stessa anima; allora prendetevi un po' di tempo con "Skrekk Lich Kunstler". Esplorate i suoi diversi livelli. Ascoltatelo quando avrete sperimentato emozioni diverse e realizzerete in quanti infiniti livelli la musica può parlarvi; e parlarvi in un modo che le sole parole non potranno mai fare... QUESTO è Black Metal». |
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