Éohum – Ealdfaeder EP (2016)

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ÉohumEaldfaeder (Mycelium Networks, 18 March 2016)

 

Have you ever noticed that the first example of something you hear — not all of the time, but pretty often — tends to have a profound impact on you and can color or influence your perception of any similar thing you hear later? For example, the first album you hear by a particular artist, even though that album might not be critically or generally viewed as their best work or even among their best, nevertheless will often establish itself as your favorite album by that artist. It’s an often-repeated joke, that upon an artist releasing new material, hipster-type people will commonly declare their previous albums (or their first demo) to be vastly superior. Since another cliche about hipsters is that they always claim to have heard of (or been fans of) a band or style of music before it had become familiar to the general public, it seems that claiming that an artist’s first material was better than their later work kind of goes hand-in-hand with having been familiar with that artist earlier than most other people — because it seems natural that in such a case one would indeed feel more of an affinity towards that earlier material, that having been the example of the artist’s work that was heard first. (I suppose it’s when these claims are made falsely, or as an affectation, that the derisive term ‘hipster’ would come into play, but that’s a different subject entirely.)

Anyway, the reason I brought up this discussion in the first place was that I had been thinking about my earliest encounters with black metal. Outside of a brief exposure to Celtic Frost at a rather young age, at a time when that vocal style was so far removed from anything I’d ever heard up to that point that I wasn’t even sure how to react to it, my relationship with black metal as a genre began somewhere around 1999-2000, at the height of the Napster era. I was in my early twenties and had started branching out as widely as possible, discovering anything I could get my hands on. Almost by accident, I had stumbled upon the Cradle of Filth song “Malice through the Looking Glass,” and it was like a whole new world had opened up to me. That orchestral introduction, and the way that unworldly shriek pierces through it, the insane-sounding metal arrangement that should never work juxtaposed with those symphonic elements but somehow it just does.

From there, I sought out anything similar I could find; I quickly developed an affinity for bands like Immortal and, especially, Emperor — anyone who was taking that black metal sound and combining it with other contrasting sounds. Sure, there was plenty out there that used the keyboards or samples in an over-the-top, cheesy manner, and I tried to avoid these as much as possible, but I also learned that once I’d experienced the symphonic variety, regular straight-up black metal just felt kind of stagnant and unexciting. And it all comes back to what I had heard first — so that, still to this day, I have a tendency toward music that blends different things in new and interesting ways. Today I’ve got an example to share with you: a Canadian band that includes some unexpected instruments within its arrangements …

 

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Metal Memories: The Time I Discovered Faith No More and My Life Was Forever Altered

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It had been rumored and speculated about ever since the band first announced that they were reuniting several years ago, but early last month it became 100% official: for the second time in less than a year, one of my favorite bands ever will be releasing a new album for the first time since I was in high school. Of course this is exciting news (that, until about five or six years ago, I would never have guessed would ever be happening again), and — with some amount of trepidation — I’m really trying to be optimistic about it. But that’s not what I’m here to tell you about.

By this point, I’m assuming any of you who would care at all about this band’s upcoming seventh album have already seen most of the information currently available — and probably even listened to one of the two pre-released singles that have come out so far. So I’m not really intending (or expecting) to inform anybody here. Instead, I’d like to take this opportunity to share an anecdotal description of my own discovery of the band, dating back multiple decades; perhaps to offer a little bit of insight into myself as a writer and a fan. I don’t know whether anyone will actually care about any of this, but considering how influential this was in my formative music-listening years, I felt like I ought to take the time to write it.

 

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