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SATYRICON “Deep Calleth Upon Deep”, Napalm Records 2017

Approaching SATYRICON is a meta-textual, meta-musical thing, Satyr and Frost sumptuously providing us with points of reflection to their artistry . We’ve heard that, while Now Diabolical and especially Age Of Nero were „a wall of sound“, the 2013 and 2017 releases aimed at „dynamics“, apparently understood as a less dense soundscape with freedom and amplitude of arrangement. With Satyricon (2013), says Frost, rooms were opened which Deep Calleth Upon Deep explores. The songs are filled with „magical energies“, he continues, although he said the same about Now Diabolical. Being vague is inescapable for SATYRICON, relying on „moods and atmosphere“ rather than any genre definitions.

Considering technicalities, in Now Diabolical we have prominent drums (and bass by none other than Lars Norberg), the „wet“ luscious sound remaining relatively unchanged through Age Of Nero. SATYRICON was a symbiotic duo, powerful drums suppporting fierce vocals.

Satyricon - Deep Calleth Upon Deep

Satyricon – Deep Calleth Upon Deep

That changed in 2013: „the dawn of a new age“ promised by the band saw them taking a more „progressive“ introspective direction with nostalgic flair, while retaining both the previous drive and the ability to deliver a memorable, emotive melody.

If the self-titled album was SATYRICON’s melancholic autumn, in Deep Calleth Upon Deep nature has withdrawn into its black-and-white winter. The vocals are subdued (even monotonously recitative, yet appealing), and despite the widely advertised variety in instrumentation, the sound seems dominated by dissonant guitar, as if rehearsing a bleak delayed finale.

It seems to be Satyr’s individual undertaking – he’s always been a leader, but this feels like a solo record. SATYRICON’s token of brilliance with Rebel Extravaganza was a tribute to disdain; Volcano’s „freight train“ consolidated the feeling and opened room for melody which would dominate a few records, culminating majestically in Live At The Opera. Deep Calleth Upon Deep summons us with echoes from SATYRICON’s entire discography: it feels like either Satyr revisiting his legacy, or exploring SATYRICON (and other) tropes, sometimes resorting to self-quotation (we hear Phoenix at the end of Brethren In The Dark). There’s a PANTERA feel in the title track, and The Ghost Of Rome could have been a MOONSPELL song.

The album picks up on Satyr’s contemplative, melancholic tone first heard on Now Diabolical, while departing as far as possible from the smoothness of that record. There’s no problem if traditional songwriting is entirely abandoned, giving way to improvising/experimenting with structure (a play with SATYRICON’s straightforwardness), as in Blood Cracks Open The Ground, which is almost a jazz piece coloured by neoclassical passages. Such elements are atypical for SATYRICON and drawing parallels with Ihsahn; similarly, the song Dissonant is reminiscent of SHINING – puzzling to hear, since Rebel Extravaganza is perhaps more original than the avant-garde Norwegian band. Alongside all this, we have honest (sometimes blatant) cliches in terms of both lyrics and song development, making us question the postmodernist mood we have surmised. The two sides of Satyr’s personality which flowed along on Now Diabolical, are clashing here: the deep-feeler and innovator is being challenged by the „rock-star“ who put forth an „epic“ hymn like Mother North and a commercial hit like Phoenix; this accompanied with reason-defying lyrics such as:

„In the rain alone with your demons claw
Now, let your brother help if the palace falls
And the dragon dies we’ll let the mothers mourn“

There’s difficulty in assessing the album: on one hand, we have its pretense of being experimental, appealing to an intelligent and mature listener, and on the other, there’s the explicit appeal to a simpler, young audience, experiencing metal as cliche: a tendency which already manifested itself, at least lyrically, in 2013. Satyr was never a poet; however, in earlier albums he conveyed infectious emotion.

Who knows – the existential personal adversitiy behind the record might have been difficult to voice out. Satyr reportedly links the notion of black metal to that of the blues – it’s a bottomless feeling. „Dark was the night, cold was the ground“, the legendary transcendent piece by Blind Willie Johnson whom he reportedly admires, has no lyrics.

This record in particular is far from deserving the staggering extolment received by sycophantic journalists, yet Satyr’s appeal and SATYRICON’s fame cannot be denied. If black metal is a mood, an expression of innermost psyche, let judgment be reserved in favour of yielding to the musically-erotic and the depths of Thanatos alike. I was not going to address this release (mainly out of respect for the delicacy of Satyr’s personal journey), but the artist visited my sleep, during New Moon, on the eve of the album’s release; without Frost, unfortunately, of whom I’m an ardent admirer.

To summarise more rationally, this is a diverse record falling in the „progressive post-black“ tradition. If it had done it maturely and consistently, it could have earned high acclaim; alas, its wanderings without sufficient innovation leave a feeling of aimlessness.

Best: Blood Cracks Open The Ground
Worst: Deep Calleth Upon Deep

Diana Chavdarova (5/10)

BLIND GUARDIAN, SATYRICON и GOTTHARD са акцентите във Фрактура тази неделя

На 14 юни (Диема ТВ, 24:00 ч.) в аудио-визуалната “Фрактура” ще бъде направена премиера на новите клипове на NIGHTWISH, THE DILLINGER ESCAPE PLAN, MORGOTH и MARILYN MANSON.

Пред камерите на Васко Катинчаров ще застанат BLIND GUARDIAN и ще бъде представено новото концертно DVD на SATYRICON. Освен това, ще бъде припомнено какви истории разказaха GOTTHARD на миналогодишното издание на фестивала “Kavarna Rock”.

Водещият Васко и Blind Guardian

Водещият Васко и Blind Guardian

Зрителите ще научат последните музикални новини от седмицата, в рубриката “Караоке” ще пеят заедно с GUANO APES, LACUNA COIL ще правят кавър на DEPECHE MODE, а класическата песен ще бъде нa PRIMUS. Клипове и концертни песни на ARCH ENEMY, 2CELLOS, AMORPHIS, TESSERACT, HAMMERFALL, MUSE и IN THIS MOMENT също ще намерят място в настоящото издание на шоуто.

Предаването Фрактура се излъчва по телевизия Диема в неделя от 24:00 ч. с пълно повторение всеки петък от 00:30 ч.

SATYRICON and The Unbearable Passion of Being

SATYRICON have long been defining – and defying – just what that thing might be, “black metal”. They define it by their very background, while defying the prevailing, largely unreflected notions the conservative metal scene loves to stick by.

SATYRICON’s statement is of Black Metal as the indefinable, the obscure energies that pierce through us, while demanding their musical expression. Black and bottomless in their epistemological obscurity, the solitary existential hero is resolved at bringing them to artistic shape.

Satyricon

Satyricon

An intellectual framework is essential for understanding black metal, namely the black metal of which Satyricon maintains to be prime source and example. Indeed, there are no other tamers of energy like Satyricon, not swerving an inch from the pit of their inspiration.

There is simply no drummer like Frost. And Frost’s monstrous tribal power is situated within an intricate structure, provided by the band leader/composer.

What is unique about SATYRICON, and in our humble opinion puts them in a position above all, is the interplay of contemplation and aggression, which they deliver organically. While in other masterful bands (e.g. Enslaved, but also the whole tradition of “dark” and/or extreme progressive metal) these dialectics are apparent in the counterpoint of dreamlike versus harsh lines, there’s no telling apart of both these aspects in SATYRICON’s music. Both sides are at fine interplay here, but in reality indistinguishable. SATYRICON is meltingly intense with the cool awareness of passion being the mistress to rule their act.

Satyricon

Satyricon

SATYRICON are warriors of sincerity. The battle for the Truth black metal has had as its slogan, is but a battle for ourselves. And while this might sound trivial, it must not have been easy for Satyr to free himself from the burden of demands placed upon him. Metal fanatics could crush any aspiring, sensitive, ingenious artist with their narrowness. It is interesting to note that many artists have broken out of punk rock and into their unbounded artistic legitimacy, while metal artists’ vastly valuable but slightly different projects have been spitefully crushed and the artists’ wings broken.

Black Metal, in its individualistic pathos, can afford not to care. If the “genre” (in big inverted commas) can be defined by anything, it is the downright resentment of limits. This all important message SATYRICON has made sure to reiterate verbally, as well as musically. If you want to know what black metal is, refer to SATYRICON. Name it very, very intense rock music, and also be safe – while being aware “rock’n’roll” is but a Negro euphemism for libido. Black metal should then be the act of ultimate liberation of these ecstatic, violent potencies.

Satyricon

Satyricon

In the musical manifestation of SATYRICON, everything’s allowed. This is a progressive band in the most authentic sense. From the early outlines of black metal as genre, through the complex compositional infernalia of Rebel Extravaganza, from there transitioning into the works in the overall frame of “rhythm-and-metal” (popularly referred to black’n’roll, that notion not exhausting Satyricon’s exploration of slightly more minimalistic limits), and to the lush contemplation of their last studio delivery, this is a band the seriousness of whose music has culminated in its choral arrangement with Live At The Opera.

Whether chorally and orchestrally emphasized, or delivered in underground clubs, Satyricon’s music is equally poignant. It is Romantic per se. In the club where the author of these lines had the privilege of seeing them, our souls were torn out.

Satyricon

Satyricon

The atmosphere of sunset warmth the last studio album emitted somehow pervaded the show. There was no pretense, no showing of muscles, and no lustrous image. There was simply the promise: we’re here, and we’re not leaving without you.

The pre-history of such a commitment would be the extensive tour the band did in 2008/9, which left them pressed by the expectations and demand of their product, so successfully executed. It might have been that the imposing artistic output of 2008’s Nero had distanced Satyr from his soulful calling. The mantra of the “truth” in art, of the inseparability of art and existence, rings loud within the artist. It is down with grandiose presentation and all about essence now – a delight for the fan who is interested in the psyche of the loved artist, rather than in hearing “the old songs”.

Satyricon

Satyricon

What is not to love about Satyr – the perpetual wink in the eye, the occasional clumsiness, the intolerance for ignorance, the uncompromising professionalism, not least the vulnerability and surrender to her majesty, the Music. There’s no need for an artistic mask, for there’s nothing more compelling than the man in his integrity, who, after exploring his diverse aspects in consecutive albums, is now giving us himself. There are art-rock greats that are entertainers. There are prophets of humanity like the blues masters, who enamor us by wearing their hearts on their sleeve, skipping intellectual distance.

Satyr has chosen to be the latter kind. His doom might not be much different from the heavy-hanging blues, and he is now showing us that his musicianship and interaction with the audience are marked by a warm spontaneity not unlike the very first originators’ of our genre: making one feel at home, wanted, and liberated. There’s no menace in SATYRICON any longer, there’s the need to be together, and a passionate appeal for the audience to participate. The “existential fear questions” have seemingly dissolved, and with our newly embraced strength, we can get down. There’s no “us” and “them” anymore; the extremity of genuine expression celebrates our communion. It was a feeling like no other to scream the lines together with Satyr. The concert was a gift, and the musical gems – and jams – deeply appreciated.

Satyricon

Satyricon

The soundscape seemed subdued, while enthralling in its tension. SATYRICON are such masters. There’s hardly anything about them which hasn’t been thought out in great depth. The lighting was also impressive, reflecting the atmosphere. It felt like a continuation of the tour for “Satyricon” (2013), an album which has been underplayed live, and perhaps needed longer time to take root.

The setlist was a wisely calculated balance between all albums, with other underplayed songs able to render the fan ecstatic.

Shortly after the intro, the gripping Rite Of Our Cross sets in. Satyr’s vocal phrase cuts through, but unlike the sharpness of Metal God Halford, there are the roughs of a blunt edge that sting. I cannot get enough of Satyr’s vocals, and would have undoubtedly placed him at Number One in a recently published chart of Best Extreme Metal Vocalists by a popular magazine. “Fear!”, “Rage!”, “Lust!”, the spat-out lines cannonade.

Satyricon

Satyricon

The density is somewhat relieved through the amplitudes of the three subsequent songs (Our World, Diabolical, Crow), allowing us to merge with the dynamics, and eventually prepare for another burner: Filthgrinder. The tentative “act two” of the set brings more of the new, followed by an input of the old, getting the “die-hard” traditional fans fully onboard.

The logical center of the concert consists in another three pieces, namely A New Enemy, Die By My Hand, and Infinity Of Time And Space.

A New Enemy deserves a whole chapter of its own. It is a song which Frost himself has claimed “a favourite”, a vessel of that “magical energy”. The fan will forever be puzzled why the song has hardly been played live in the past few years. It was Frost’s playground, his field to deploy all the powers that work within – powers known only to him, but tangible and elating to all. The response was quick, the room illuminated by the audience’s exaltation.

Satyricon

Satyricon

Die by My Hand introduced keyboard sampling of the band’s choral arrangement for the Opera. Disappointingly but predictably, it didn’t work quite well. It never does – and here’s for hoping Satyricon does as many more live orchestral collaborations as it truly deserves. The song carries intricate dynamism which the choir in the Opera performance lifts and emphasizes – as it does Satyr’s genius in general. In a rock’n’roll setting, however, the song is best left speaking as originally intended.

Infinity Of Time and Space launched us into Satyr’s introspective dreamscape. It was a breath of space, and an allowance of time to sneak into the artist’s intimate withdrawal. After favourites such as Pentagram, the artist formally announced his defiance of being “entertainer”, and his fondness of free jamming – an inclination the more perceptive of his audience have witnessed throughout.

Satyricon's Setlist

Satyricon’s Setlist

There were the audience’s favourites still to follow and challenge our necks, with Repined’s absence being felt on this tour. Another thrilling piece I seem to be missing, is Nocturnal Flare; and it would just be brilliant if SATYRICON revived The Scorn Torrent in the future.

The overall feel was indeed that of jamming. Of unassuming unpretense. Of being one with the fan. Of being a fan. I didn’t sense a distance between Satyr’s banging head and mine, between the band’s timing and the audience’s.

And this is what leaves blissful expressions on people’s faces. Metal legends or otherwise. The Dawn Of A New Age tour has, by all accounts, been nothing short of a declaration of mutual love.

Diana Chavdarova

(after The Dawn Of A New Age tour at Szene, Vienna, 19.4.2015)

SATYRICON обявиха съпорта си на предстоящото турне

През април Black Metal легендите SATYRICON предприемат турнето „The Dawn Of A New Age“, за да подкрепят предстоящото си концертно DVD, носещо заглавието „Live At The Opera“, което предстои да излезе чрез Napalm Records.

Като съпорт бяха обявени две групи от Осло: FAENSKAP и VREDEHAMMER. Изборът им не е случаен – SATYRICON винаги са се стараели да подкрепят родната си сцена като дават шанс на групите да пътуват с тях по турнета.

Satyricon - Live At The Opera

Satyricon – Live At The Opera

FAENSKAP са млада банда, подписала с Indie Recording. Самата група издава своя албум „Give credits where credits is due“, който е продуциран от Anders Odden (CADAVER, MEGENTA, ORDER, SATYRICON). Това привлича вниманието на Indie Recordings, сега групата работи по своя дебют за лейбъла. Те са подгрявали такива групи като MAYHEM, KVELERTAK, AVENGED SEVENFOLD и SATYRICON на концерти в Норвегия. Бандата смесва всички видове Metal в свой собствен музикален разствор.

VREDEHAMMER се предвожда от фронтмена Per Valla, който е бил част от различни екстремни банди като ALLFADER и ELITE.  Техният последен албум „Vinteroffer“ е номиниран в категорията за най-добър Metal албум за норвежката награда Spellemannprisen тази година. Те успешно смесват метъла от старата и модерната школа.

Ето и датите от „The Dawn Of A New Age“:

04.04.2015 NL – Nijmegen / Doornroosje
05.04.2015 FR – Oignies / Le Metaphone
06.04.2015 FR – Paris / La Machine
07.04.2015 UK – Manchester / Sound Control
08.04.2015 UK – London / Scala
10.04.2015 BEL – Durbuy / Durbuy Rock Festival
11.04.2015 GER – Bochum / Matrix
12.04.2015 GER – Wiesbaden / Schlachthof
13.04.2015 CZ – Prag / Akropolis
15.04.2015 GER – Munich / Bachstage Halle
16.04.2015 CH – Pratteln / Z7
17.04.2015 FR – Montbéliard / Impetus Festival
18.04.2015 IT – Pordenone / Deposito Giordano
19.04.2015 AT – Vienna / Szene
21.04.2015 PL – Warsaw / Progresja
22.04.2015 GER – Berlin / SO36
23.04.2015 GER – Leipzig / Werk 2
24.04.2015 GER – Hamburg / Markthalle
25.04.2015 SE – Malmö / KB
26.04.2015 SE – Stockholm / Nalen

news_satyricon_tour_2015

На 8 септември 2013 г. SATYRICON направиха специален концерт в Норвежката опера и балет, където свириха заедно с Хора на норвежката национална опера. Шоуто бе част от голям културен фестивал, провел се в Осло, и бе заснето професионално. Изданието „Live At The Opera“ ще излезе на 1 май на компакт диск и DVD чрез Napalm Records. Може да бъде видяна песента „Die By My Hand“.

Satyricon - Live At The Opera

Satyricon – Live At The Opera

Napalm Records ще издадат DVD-то „Live At The Opera“ на SATYRICON

Норвежките Black Metal легенди SATYRICON подписаха договор с австрийския лейбъл Napalm Records за издаване на предстоящото концертно DVD, носещо заглавието „Live At The Opera“.

Самият Satyr коментира нещата около изданието така: „Цялата история започна с това, че направихме по този начин една песен, “To The Mountains”, година и половина преди това на едно шоу.  Ние я представихме на затворено събитие в главната зала на операта заедно с Кралския норвежки оперен хор. Това бе много вдъхновяващо. Тогава казах на диригента, че искам да направя по-голямо шоу като това. Той хареса идеята, и двамата постъпихме сериозно към начинанието.“

Satyricon - Live At The Opera

Satyricon – Live At The Opera

На 8 септември 2013 г. SATYRICON направиха специален концерт в Норвежката опера и балет, където свириха заедно с Хора на норвежката национална опера. Шоуто бе част от голям културен фестивал, провел се в Осло, и бе заснето професионално. Изданието „Live At The Opera“ ще излезе на 1 май на компакт диск и DVD чрез Napalm Records. Може да бъде видяна песента „Die By My Hand“.

За да подкрепят изданието, SATYRICON ще предприемат турнето „The Dawn Of A New Age“:

21.02.2015 NOR – Bergen / Blastfest
04.04.2015 NL – Nijmegen / Doornroosje
05.04.2015 FR – Oignies / Le Metaphone
06.04.2015 FR – Paris / La Machine
07.04.2015 UK – Manchester / Sound Control
08.04.2015 UK – London / Scala
10.04.2015 BEL – Durbuy / Durbuy Rock Festival
11.04.2015 GER – Bochum / Matrix
12.04.2015 GER – Wiesbaden / Schlachthof
13.04.2015 CZ – Prag / Akropolis
15.04.2015 GER – Munich / Bachstage Halle
16.04.2015 CH – Pratteln / Z7
17.04.2015 FR – Montbéliard / Impetus Festival
18.04.2015 IT – Pordenone / Deposito Giordano
19.04.2015 AT – Vienna / Szene
21.04.2015 PL – Warsaw / Progresja
22.04.2015 GER – Berlin / SO36
23.04.2015 GER – Leipzig / Werk 2
24.04.2015 GER – Hamburg / Markthalle
25.04.2015 SE – Malmö / KB
26.04.2015 SE – Stockholm / Nalen
19.06.2015 FR – Clisson / Hellfest

Satyricon - Live At The Opera

SATYRICON издават „Live At The Opera“ на CD/DVD

На 8 септември 2013 г. SATYRICON направиха специален концерт в Норвежката опера и балет, където свириха заедно с Хора на норвежката национална опера. Шоуто бе част от голям културен фестивал, провел се в Осло, и бе заснето професионално. Изданието „Live At The Opera“ ще излезе през април на компакт диск и DVD, от което може да бъде видяна песента „Die By My Hand“.

За да подкрепят изданието, SATYRICON ще предприемат турнето „The Dawn Of A New Age“.

Satyricon - Live At The Opera

Интервю със SATYRICON във Фрактура тази неделя

На 30 март (Диема ТВ, 24:00 ч.) в аудио-визуалната “Фрактура” ще бъде направена премиера на новите клипове на GOTTHARD, NORMA JEAN, OF MICE AND MEN и WINGER.

Пред камерите на Васко Катинчаров ще застане Satyr от SATYRICON, който ще разкаже интересни истории от живота и кариератa си. Ще бъде представено новото DVD на THERION и ще си припомним, какво се случи на миналогодишното шоу на HAMATOM на фестивала “Sofiа Rocks”.

Водещият Васко

Водещият Васко

Зрителите ще научат последните музикални новини от седмицата, в рубриката “Караоке” ще пеят заедно с NIRVANA, а класическата песен ще бъде на PRIMUS. Клипове и концертни песни на ROTTING CHRIST, KILL DEVIL HILL, OVERGAME, CHROME DIVISION, SUICIDE SILENCE, ANGERCURE, BEHEMOTH и PRETTY MAIDS също ще намерят място в настоящото издание на шоуто.

Предаването Фрактура се излъчва по телевизия Диема в неделя от 24:00 ч. с пълно повторение всеки петък от 00:30 ч.

SHINING, MISERY INDEX и H2O на Brutal Assault 2014

Норвежците SHINING, както и американските банди MISERY INDEX и H2O потвърдиха участието си на чешкия фестивал Brutal Assault 2014.

news_brutal_assault_shining_no

Организаторите съобщиха, че вече са онлайн формите за заявка на настаняване на следния адрес: brutalassault.cz/en/accommodation

Досега на афиша на деветнадесетото изданиена Brutal Assault са: SATYRICON, NIGHTFALL, HACKTIVIST, VENOM, SODOM, KATATONIA, AOSOTH, CRUACHAN, WORSHIP, SIX FEET UNDER, IGNITE, HAVOK, CONVERGEPENTAGRAM CHILE, MORS PRINCIPIUM EST, SICK OF IT ALLTESSERACT, SEVERE TORTURE, IMPALED NAZARENEDAGOBATHE DEVIN TOWNSEND PROJECT, INQUISITIONGORGUTS, KRABATHOR, BRING ME THE HORIZON, IN MOURNING, REPULSION, VICTIMS, HAIL OF BULLETS, AMON AMARTH, AUGUST BURNS RED, BENEDICTION, MY DYING BRIDE, OBITUARYNERVECELL, PYREXIA, SARKE и THE CHURCH OF PUNGENT STENCH.

Вече е пусната и ексклузивната продажба на билети на сайта на Brutal Assault.

Mrazek

Нови попълнения на Brutal Assault 2014

Новите попълнения на чешкия фестивал Brutal Assault 2014 са: SATYRICON, NIGHTFALL, HACKTIVIST, VENOM, SODOM, KATATONIA, AOSOTH, CRUACHAN, WORSHIP, SIX FEET UNDER, IGNITE и HAVOK.

news_brutal_assault_satyricon

Организаторите съобщиха, че вече са онлайн формите за заявка на настаняване на следния адрес: brutalassault.cz/en/accommodation

Досега на афиша на деветнадесетото изданиена Brutal Assault са: CONVERGEPENTAGRAM CHILE, MORS PRINCIPIUM ESTSICK OF IT ALLTESSERACT, SEVERE TORTURE, IMPALED NAZARENEDAGOBATHE DEVIN TOWNSEND PROJECT, INQUISITIONGORGUTS, KRABATHOR, BRING ME THE HORIZON, IN MOURNING, REPULSION, VICTIMS, HAIL OF BULLETS, AMON AMARTH, AUGUST BURNS RED, BENEDICTION, MY DYING BRIDE, OBITUARYNERVECELL, PYREXIA, SARKE и THE CHURCH OF PUNGENT STENCH.

Вече е пусната и ексклузивната продажба на билети на сайта на Brutal Assault.

Mrazek

SATYRICON in Berlin – a nostalgic flare… (and a Frost-esque reflection on music)

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It is quite difficult to describe the feeling of seeing Satyricon live after four years; with a period of more than a year (2008-2009) having been dominated by them through the extensive and explosive Age Of Nero tour. The emotion is, of course, personal to begin with. The band do have their loyal and passionate – even fanatical – following; to the extent of a young man banging on the tourbus door after the gig in Berlin: „I must meet Frost!“… After all, we ourselves waited for hours to meet the band in the cold November night. The layers of personal memories and the excitement of a gathering long overdue, are there. In addition – and more objectively – we must definitively state this is a band ingenious. Precisely the reason we took the ‘trouble’ of flying from Sofia to Berlin for this gig.

I must say I was a bit apprehensive. Having attended the ‘Nero’ tour about ten times, I was secretly hoping for the same sweeping energy; furthermore, I was curious how the controversial new record would be delivered live in its intricacies, anticipating a resolution of what to make of the record. ‘Satyricon’ (2013) certainly carries the flair of nostalgia. That sweet feeling of decadence, of autumn, of twilight, and ultimately of maturity. On the one hand, a feeling burdened with the experiences of the past, carrying on their undertones, producing a richness of expression. On the other, nostalgia could be a feeling of loss, of generally being devoid of the past and its content.

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While my emotion is highly subjective, I was seeking that presence, that fullness in the Berlin delivery; and what I got, is rather complex to describe. The concert began quite differently from what I’ve witnessed on the Nero tour. There was that definite overtone of the ‘old school’, which seems to also characterize the new record. Surely, a majority of fans are happy with precisely that. ‘Satyricon’, if summarized laconically, is perhaps a gift for them. I suppose these fans have not sensed the depletion of energy, of punch and a power, which devotees to the past decade of Satyricon would expect. Most would go with the ‘Mother North’ flow, and they would be right in themselves. But I was anxious in my expectation of Now Diabolical: the song that blew me off every time I heard it. This time… it did not. The vibe did not pick up. I was puzzled by how deplete of energy the opener to the marvelous Satyricon 2006 could sound.

Luckily, the songwriting gem that followed, namely Black Crow, delivered. I was ready to be immersed in more musical splendor. I couldn’t wait to hear whether my impression of Nocturnal Flare being the best song off the new album, would be confirmed. I was hoping that other songs would also deliver. To cut a long story short, the concert stood on three pillars: Black Crow, Nocturnal Flare, and To The Mountains. The rest was a more or less lax (or laid back) musicianship, far too melodic guitars, and catchy tunes, e.g. Nekrohaven, Fuel For Hatred, King (mind you, Fuel could – and have been – a blast in the past, but here it also sounded routine). Sadly (very sadly!), we did not get Repined Bastard Nation: a tune which I cannot imagine being played without madness.

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Around the dancy post-punk feel of the gig, revolved and intersected the aforementioned feel of the ‘old days’, with four songs from pre-Rebel albums, and the sumptuous Our World It Rumbles, Infinity Of Time And Space. I was curious what I would get from the latter, but no, it definitely didn’t have the groove and magnetism of Nocturnal Flare. All in all, even Pentagram Burns struggled to be dynamic. Density did not characterize this concert; however, I was content with the quality that three rock-solid songs delivered. There needn’t be that manic feel anymore (and surely, we’re all getting older), in order for a song to be intense. Intensity is brought just by the quality of songwriting and the rendition. Sometimes I wonder whether Satyr realizes – or cares, even – about his compositional genius. With an effort, more Nocturnal Flares could have come out of Satyricon 2013, instead of the wandering through territories not immanent to Satyricon (‘progressive’ black metal in the vein of Enslaved, etc.). All criticism aside, I would rush to see the band again, not sparing any means. I can’t, however, free myself from the feeling that music is no longer Satyr’s main passion. Like Michael Caine gives an impression that rather than being on camera, he’d prefer to be lounging in his London restaurant smoking a Bolivar, it seems Satyr would rather be somewhere else.

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I’d like to thank the guys for being kind enough to sign autographs, and Frost particularly, for the warm and responsive vibe I always get from him. And could it be otherwise, with the man who once said: „It’s a passion for music that has brought me and us to devote our lives to Satyricon. You can always try to analyze this further and see that music in a way is tied to life and vitality but I haven’t really brought the thought or analysis that far. I just know and I feel that there’s passion for music and I observe that music invokes very strong things and very strong feeling in me. It pulls strings and being a performer myself it feels like the only way I could go. I cannot really even think of my life as something detached from music now. Ten years ago perhaps I could but not any more and passion for music must be what does it. I cannot conceive of it differently.“

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Also in 2009: „As far as black metal in general goes, I simply think it has gone through a perfectly natural evolution. There is really nothing dramatic with what has happened. It has grown and matured and gotten more complex just like any living organism. But a revolution rather than just slow evolution is now called for, I think.“

„Different people have different needs and aspirations in life. I am much more strongly linked to music than (…) an established life. This is the reason why I have dedicated so much of me to the music.“

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I humbly think that passion in itself is a revolution, an antidote to establishment per se. In the light of all the recent Satyricon’s statements that the 2013 album should „pave the way for the future of black metal“, I hardly think the genre follows a linear movement. There are a few unique bands (Samael, Enslaved etc.) who have followed their own line of evolution, with passion always being the unifying moment, the base to which everything could be reduced – a base resolutely extreme, unambiguously intelligent, yet running far deeper than the conscious.

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To summarize, Satyricon may have lost their edge (or are taking a break from walking that thin line which makes a good performance astonishing), but they will always be known for the rich, rather hermetic, completely unique (and certainly ‘progressive’) compositions, together with a first class live delivery. A world of their own we hope will never crumble.

The darkness shall be forever, the beautiful darkness…

Diana Chavdarova

Satyricon, Berlin, Lido, 28.11.2013

С нетърпение очаквах да чуя какво ще ни предложат „Сатирикон“ след бомбастичния тур, след дългото затишие и последвал нееднозначен албум. Чудех се дали впечатленията ми от албума биха се затвърдили. С една дума, оказа се, че да.

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Почти няма следа от суровата енергия от предишни албуми и турнета. Концертът в Берлин започна лежерно и „олдскуул“, с интро от новия албум, последвано от Hvite Krists Dod. Now Diabolical, която досега винаги ме е разбивала, шокиращо мина някак незабелязано. Black Crow ме грабна – това просто е великолепно парче. Оказа се, че концертът се крепи на три пилона: Black Crow, Nocturnal Flare, To The Mountains. Nocturnal, любимо ми от новия албум, звучи още по-прекрасно на живо.

Запитах се: защо ли Сатир не се уповава повече на композиторския си гений? Какво е целял с откровено комерсиалния „Сатирикон“ 2013? От една страна, явно да погъделичка олдскуул феновете, а от друга, тези на които се нравят пост-пънк ритмите и мелодиите на King, Nekrohaven. Дори Fuel звучеше слабо. Много се надявах да чуя Repined, но не би. Infinity Of Time And Space не звучеше инслейвдски, а също й липсваше интензитет и динамика. Като цяло китарите бяха твърде мелодични, а музицирането – рехаво. Мисля, че за Сатир музиката просто е престанала да бъде приоритет.

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След доста мръзнене до турбуса, се сдобихме и с автографи. Фрост бе особено мил, както винаги. Дано групата продължи да има фанатични фенове… като младежа, блъскащ по вратата на буса: „Трябва да се видя с Фрост!“, който зарази и случайно минаващ възрастен гражданин не съвсем с всичкия си, и последният взе да приглася: „Искам Фрост!“… Като цяло, доста забавна и ведра картинка. Нека споменем и любезните германски фенове, които не пропуснаха да се зарадват, че сме дошли чак от България, и пратиха поздрави на милата ни родина.

Диана Чавдарова

Сатирикон, „Лидо“ – Берлин, 28.11.2013

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