The different tracks sound intriguing on their own but also work well together and give the album the feeling of an experimental conceptual record. All these elements make this record the most controversial release of the band.
Some fans still see it as the black sheep in the extensive discography of the Portuguese gothic metal pioneers while others hail it as the band's most courageous and gripping output. In a certain way, both camps are absolutely right. On the other side, this unique album is the radical climax of a progressive genre change and everything but boring from an objective point of view. There are several great tracks on this album.
The mixture of calm sounds inspired by lounge music and louder parts inspired by symphonic gothic rock in "Can't Bee" is quite representative for this album and works best in this song. The beginning of "Tired" samples Mozart's Requiem. Reviews Review Policy. Alt Metal. Progressive Metal.
Doom Metal. Flag as inappropriate. See more. Amanethes is the ninth studio album by Swedish gothic metal band Tiamat. It was released on May 2, The album was more positively received than Tiamat's previous releases, in part because of its return to their earlier metal sound in a few songs, while keeping the gothic rock in other songs.
Passage is the fourth album by Swiss industrial metal band Samael, released on 19 August through Century Media.
On this album, the band opted for more intensive use of keyboards and industrial sounds, drifting from their black metal roots and progressing in a different direction. Lyrically the band abandoned satanic themes and veered more towards the occult and the cosmic.
Darkness and Hope Instead of silence, interference bips can be heard for 2 minutes - A hidden track entitled "O Mal de Cristo" starts at Total length:. I am seeing someone Sneaking through my troubled blood… I am feeling someone Starving for my troubled love….
Watching over you Sometimes inside of you Watching over you Sometimes inside of you. The eternal dictator Of your perpetual distraction The eternal collector Of things that were never done The eternal agitator Of a war you never fought The eternal demonstrator Until you prove me wrong. Watching over you Sometimes inside of you Watching over you Long-dead inside of you.
I will manipulate you Until it becomes a vice I will dispose of you Until it becomes a vice Let me exaggerate you Distort you from inside out love you by different rules fuck you up to your soul. I will dispose of you. I will manipulate you I will discard of you but I will believe in you.
You can disappear here Without knowing it You can disappear here Without believing it. And they will wait for the Man With that ridiculous fairy hand To work on their lives And to re-adjust their faith. All the spineless people Will walk again Will walk again Will agitate And ejaculate. Obviously a lot was lost in the change of style. A lot of the theatrical overly-gothic style of the previous albums has been stripped away and in particular the lead guitar work is almost completely gone!
There are no solos, fills or big guitar hooks and guitarist Ricardo's trademark style isnt really there. As a big fan of old school classic metal, this is something I really miss on the album, especially as the lead work on previous album Sin was so good. This could all be pretty negative, but in fact the new stuff that replaces the old easily makes up for it. According to the booklet, the music was written almost interely by synth player Pedro and the music is very synth driven, with guitars used as a downtuned rythm part.
For me it conjurs up images of Jack The Ripper era London with an added science-gone-wrong kind of perversion, like the soundtrack to From Hell if David Lynch had directed it! This is probably my favourite production ever : Although not conceptual at all, the album has a lot of strong central themes which hold it all together.
This is my basic take on it: The album opens with the faint sound of oscillating static noise out of which the main beat of opening track Soulsick appears, with the rest of the perscussion and accompanying electronics layered on with a "wait for it"-style opening vocal by singer Fernando and then a huge roaring main riff kicks in.
At the end, after the somewhat cathartic "Tired" the album closes with a sort of 'rebirth' in trippy electronics-free instrumental "k" and then after the last note, it drops back to the oscillating noise from which it came. Of course, thats just how I see it but thats what's great about the album in that its very interpretational and theres a lot to interpret. My favourite little detail has to be the bizarre "phone call" setup of the fantastically named "I Am The Eternal Spectator". The track opens with an odd synth part after which Fernando kicks in with a rather over the top "I am the eternal spectator..
After a few listens, I realised that there is actually the quiet sound of a woman picking up a phone and saying "hello" before Fernando comes on and the intro sounds noticeably like an abstract phone ring put to a pounding marching drumbeat.
It's like some random woman receiving a phonecall from God!?! As for the music itself ie the tunes! There's no Opium or Alma Mater, or even an Abysmo.
When I saw the band live, they didnt play a single track from the album which shows that there are no big fan favourites I doubt the band would never not play Opium for example. Although there is a glossy mechanical sheen that, like with most albums with this type of production and musical approach, can make everything a bit samey, there is actually a surprising level of heaviness and calculated viciousness Im not sure if BFX is my favourite Moonspell album, because I really miss a lot of the elements from the others but as an 'experience' type of album it works perfectly.