playlist

Monumental Folkish & Folk metal playlist

1. Fleurety – Fragmenter av en Fortid disappeared from Spotify just a while ago, it will be added back when it comes back around. Full-length Min tid skal komme from 1995 is the real jewel of their discography. One of many “lost” metal releases that many consider a classic but most people have never heard about. It’s definitely a must checkup for fans of folkish metal.

1. Fleurety’s place was taken by Pillorian, the newly formed line-up of ex-Agalloch John Haughm. After Agalloch split into two pieces in 2016, the remaining three members went to form Khôrada that is due to release their first album. Pillorian‘s 2017 release Obsidian Arc starts with it’s brightest spots, By the Light of a Black Sun (+ Archaen Divinity) should sate most Agalloch fans.

2. Fen is not a band that I’ve tracked, even though it’s similarities to Agalloch have been known to me since their first full-length Malediction Fields in 2009. It is only lately that I gave a true chance to their unpolished first album and it unveiled a real jewel in Lashed by Storm. The weak clean vocals in the very end are it’s only grey spot. Fen’s 2017 release Winter materialized on my listening cycle; it does have some very atmospheric sections but its also really-frigging-long (75 minutes!). I would deem it very possible that a track from it appears to my playlists later on.

3.-4. As a humble praise, Wilderun‘s Sleep at the Edge of Earth might be my favourite metal release of past 5 years. It has a glorious quaternity Ash Memory (trinity has 3, quaternity 4, yeah i just looked it up from google…), from which 2 well fitting tracks were chosen. Hope and Shadow (II), and the The Faintest Echo (IV). The traces in the beginning of Hope and Shadow that clip in this collection are from the 1st track of the quaternity. Wilderun really took care to make it a logical entity which I then disturbed!

The Faintest Echo’s 3.20 monumental symphonic centerpiece and outro of the quaternity is a prime example why Wilderun’s output doesn’t pale in comparison with any symphonic and folk metal bands of today.

5. Tore Hund is by Ivar Bjørnson & Einar Selvik’s Skuggsjá. It is a project by Enslaved and Wardruna veterans, which may run below radar cause of it’s eccentric name that sounds like artsy folk music. Well um, it is kind of that actually, in a lot of ways Skuggsja sounds more like folk with metal elements than the other way around. Though even the folkier tracks often have a heavy backbone that owes to metal and makes these two elements come together naturally.

6. In Zuriaake‘s Afterimage of Autumn‘s most stunning moment, the chorus of 歸兮 / Return Journey Zuriaake seamlessly adds a traditional sounding Chinese tremolo melody to a slow doomy basis. Unfortunately I could not pick the name of this guitar like string instrument as the booklet is all in Chinese (except track titles). Zuriaake’s black metal focuses on entwining natural atmospherics, ambience with very overdriven guitars and depressive black metal vibe. I also reviewed them in the past (https://likemusictoyourears.com/2016/01/26/zuriaake-afterimage-of-autumn).

7. October Falls is an interesting beast for their first promo was metal but three of the first four official releases were acoustic guitar driven material with a lot of natural ambience. Since then they’ve mostly strolled on the metallic grounds, always with quality but rarely with something that really catches my ears. A Collapse of Faith Part III, from 2010 A Collapse of Faith must be their best track to date. I must admit however that I have spent way too little time in adjusting to 2013, The Plague of a Coming Age. That ought to be my next listen.

8. The noise / drone wall of Sol InvictusEnglish Murder‘s intro make it a significantly difficult piece. But I am not making these collections for layman listeners quick fix. The controversy and paradox of a folk track being actually heavier and darker than the following metal track make it a juicy addon.

9. Logically following Sol Invictus is Agalloch, who have listed Sol Invictus as one of their big influences. Agalloch is one of the very first metal bands that I got into and surely the first folkish metal band. Yet in their sound progressive elements, post-rock and melancholia are also ever present. Limbs 10 minute brilliance is started by deliciously annoyingly long 10 second note after which it goes all post-rock. Climbing to mountains, descending into valleys and drifting among the transparent mist.

I do appreciate a well timed and set up grunt, John Haughm’s 6.35 effort is one of the prime examples! “These boughs were said to be lost! Torn, unearthed and broken –  IYRRRRRRRRRRRR”. What the fuck is he even singing about? There must be something to it as it inspires genuine sing-along grunting from yours truly. When it comes to grunting, Haughm is right up there with Thomas Gabriel Fischer.

10. Skyclad‘s past two albums haven’t been nearly as notable as most of their 12 full-lengths before them (many of them are masterpieces after all). I would only rate A Burnt Offering for the Bone Idol and No Daylights Not Heeltaps on level with the new albums. However, on In The… All Together from 2009 Skyclad formed possibly the best track of their career, The Well-Travelled Man. The vocalist Kevin Ridley is on fire, shouting half of the track. Lyrics and composition communicate perfectly into a folky, dramatic, upbeat, yet melancholic tune with a heart-wrenching ending. Wow.

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Depression Overload – metal playlist

Funeral doom and depressive black metal is the bread and butter of this album (a playlist really, but I consider my playlists albums). It visits only a few other despairing terrains. This is no melancholy walk in the park as my previous playlists (Monumental funeral doom melancholy and Post-rock melancholia) but pure despair and depression. The darkness on the album is not sourced from incoherent extreme sewer sounds but tightly sounding bands that combine a great melodic sense with a feeling of hopelessness and misery.

1. It would not make sense to reveal all the cards in the beginning, so the beginning of the album is a light descent with some melodic funeral doom.

Shape of Despair is a band many of the melancholic melodic funeral doom bands model after. Their second album Angels of Distress (2001) is the biggest landmark yet strangely I seem to have picked tracks from their two newer ones in my playlists. Entwined in Misery is the best piece of their 2004 album Illusion’s play. It features hauntingly beautiful background keys that have lasted the touch of time extremely well. Pasi Koskinen’s growling kept getting deeper as Shape of Despair progressed in their career, peaking here. The new vocalist Henri Koivula (Throes of Dawn) does a tremendous job on their newest release, Monotony Fields (2015) as well.
All these years in absence
…forgiveness does not reveal itself…

…and emptiness falls before me…
And silences this life,


2. One of the best releases of 2015 Leviathan’s Scar Sighted is based on black metal but at it’s darkest it is pure nihilistic funeral doom. The title track is especially gloomy. The tortured screams and bright piano create a real contrast of depression and light.
Nil light reigns
Only tattered accusations
Paling to the comparison
Now utterly drained
And all wonder is banished
Life after life
Absorbing
Nothing


3. Evoken – Mournful Refusal. Evoken could be called a successor of nihilistic old school funeral bands like Esoteric, also having more in common with Thergothon and Skepticism than Shape of Despair. 2005 release Antithesis of Light (what a title!) benefits of its modern and crushingly heavy production. Hear also the dynamics, how beautifully Evoken has crafted a chorus with clean guitar and lovely bursty double bass drumming.
Waiting only prolongs the wanting
Living only prolongs the arriving
Death knows no regret of a mournful refusal

In sporadic tone, the composition of beauty
Turned grim and cold…


4. Lifelover (what a band name!), a lot of people loathe them and for a reason. Their sounds take some time to get used to, drum machine and quite amateuristic guitar sounds. Upon listening their masterpiece, Konkurs for the first time I thought: “Is this the masterpiece? Really?” But it’s a stunning grower with a soul that is very hard to find on any other release. The pitch-black humour in the depressive lyrics is the icing on the cake.

Stängt p.g.a Semester (closed because of semester) is an interlude unlike anything else on this album. A beautifully haunting acoustic track with despairing lyrics. One of the only instances were being forced to study ~8 years of Swedish in school has paid off.

På Svenska
Vem behöver glädjas åt sig själv
När vi kan skratta åt andra?
Vem behöver ha ett syfte
När det är urvattnat och saknar mening?
Vem behöver säga att “Jag mår bra”
När ändå ytan är det viktiga?
Innan jag åkte, lämnade jag bomber,
Där ni känner er som mest trygga
Jag kommer inte tillbaka
English translation
Who needs to be happy about their selves
When we can laugh at others?
Who needs a purpose
When it’s all dried up and lacks meaning?
Who needs to say “I feel good”
When the surface is what counts?

Before I left, I planted bombs
Where you feel most secure
I won’t return

5. A lot of people thought it a dick move when a couple years ago Ghost Bath swindled in being a Chinese band, but turned out to be American. They said that was because they wanted to keep actual identities/location anonymous and for affection of Chinese culture.

Prejudice labelled aside Moonlover is a fine release but Happyhouse is the lethal injection Ghost Bath is at it’s best in prescribing. Happyhouse brings in mind the “Mental Central Dialog” themes of Lifelover. It’s bright melodies and incoherently painful screaming vocals clash together to create a feeling of an mental asylum. The melodies are a bit predictable but twisted a little obscure, perhaps wee bit out of tune and so fucking good, all this predictability is a strength. A downright shuddering tune.


6. Drudkh – Solitude. Yes it’s a great track and yes it’s pretty long with a lot of repetition, in the right mode Solitude becomes a very meditative track. Solitude is one of the only instances of more melancholic terrain than the rest of the tracks, it’s true potential lies in its slow and somber orchestral main melody.

Solitude’s lyrics are from a poem of an Ukrainian artist Taras Shevchenko (Thoughts of mine, О thoughts of mine, 1839). The familiar slavic dramatic melancholy is easy to discover.

Ukrainian
Журбою
Не накличу собі долі,
Коли так не маю.
Нехай злидні живуть три дні –
Я їх заховаю,
Заховаю змію люту
Коло свого серця,
Щоб вороги не бачили,
Як лихо сміється…
Нехай думка, як той ворон,
Літає та кряче,
А серденько соловейком
Щебече та плаче
Нишком – люди не побачать,
То й не засміються…
Не втирайте ж мої сльози,
Нехай собі ллються,
Чуже поле поливають
Щодня і щоночі,
Поки попи не засиплють
Чужим піском очі…
English translation
Never knew I joy, nor will it
Come to me if I
Grieve ’thout end…. Let grief be short-lived,
Let it snake-like lie
Coiled within my breast and hidden
From the evil sight
Of my foes…. And may its laughter
Reach them not…. By night
And by day my thoughts are ravens;
Let them croak while my
Heart, a songbird, trills and warbles,
While it softly sighs,
Sighs and moans with none to hear it
Or to taunt it … Pray,
Let me weep, and do not try to
Wipe my tears away.
Let them flow and flood the alien
Field till that a priest
Comes and covers me with alien
Earth…. Ah, me! No peace
Grief will bring me….

English translation by Irina Zheleznova taken from http://taras-shevchenko.infolike.net/t-shevchenko-tr-by-irina-zheleznova-poem-thoughts-of-mine-o-thoughts-of-mine.html) I cannot speak Ukrainian so the English and Ukrainian parts may not match exactly.


7. Moonsorrow – Kuolleiden Maa. Listen, Moonsorrow is not most known for their depressive black metal vibes. But on Kuolleiden Maa they are nothing else.

Finnish
Olen siellä mistä kaikki alkaa uudelleen
Missä valo ei värejä näytä
Kaikkialle levittäytyy tasainen niitty
Vain taivas ylläni vaalenee
Käy rauhaisena vierelläni tuuli
Itse silmäni suljen ja itken
Tänne jään, kaipuuta vailla
Rikotun henkeni veden virtaan annan
English translation
I am there where everything
starts and
Where the light shows no colours
An even meadow stretching everywhere
Only the sky above me growing lighter
A calm breeze is blowing beside me | I close my
eyes and weep | Here I
shall remain, without yearning | My broken spirit I shall give to the streaming
waters
depression overload_edit

Illustration from British Library free to use Flickr

Monumental metal 4 – Epixperimental playlist

Bring out the weird again, epic experimental tracks! This playlist features bands from experimental terrain that have a solid basis on metal.

1. Rudra‘s Illusory Enlightment is “Vedic” metal from Singapore. Vedic comes from their incorporation of Sanskrit Vedic literature, philosophy and ancient mantras (shlokas) to blackened death metal basis. They also encompass traditional Carnatic music to their compositions. Illusory Enlightment’s top moment is the compelling chanting chorus. See also the review of their album Brahmavidya: Immortal I here.

2. Jumalhämärä is one of the many bands in Finnish experimental black metal terrain that has gotten more attention in the past 10 years. Along with bands like Oranssi Pazuzu, Abyssion, Mörkö, Jumalhämärä is probably the weirdest of the bunch. The title track of their most accessible album Resignaatio is a rare catchy, almost punky, track and in their catalogue that makes it an abnormality. Its deep bass rumbling intro turns into naturally flowing structure, captivating Finnish lyrics with supremely hooking riffing and stylish use of upstrokes. You know what they released after Resignaatio? A drone pipe organ album. Really.

3. December Wolves is one of the many bands I found from Earache presents: Metal – A headbanger’s companion (2007). It is from the CD 2 – Grindcore, but especially CD 6 – Leftfield is a great listen (Cult of Luna, Callisto, Scorn, Godflesh, Akercocke, Crotchduster etc.). Desperately Seeking Satan could be called leftfield, though its roots are firmly in black metal. The heavy use of voice clips, nihilistic lyrics and programmed drums combining industrial with violent black metal guitars make their 2002 release Blasterpiece Theatre have a sound appearance unlike any other.

4. The Meads of Asphodel – Children of the Sunwheel Banner (part 2). You could say that Metatron, the vocalist of Meads of Asphodel takes making lyrics a bit seriously. Their webpage has about 100 pages of text per album about the lyrical themes. So you can imagine it surges pretty deep. It seems the web page is unfortunately down at the moment though.

Sunwheel banner obviously references to nazis. I am not even going into the stuff of them being “nazis” because they are a metal band that has an interest of the atrocities of the past + uses the word “jew”. Oh and one of the 10 labels that has released their music has apparently released an NSBM release, jeez.

Like in one of my previous playlists Monumental metal oddities, I placed “cousin” bands The Meads of Asphodel and Sigh after each other. They have enough eccentric material to use for a few playlists. Also, the keyboard solo in Children of the Sunwheel Banner is played by none else than the main man behind Sigh, Mirai Kawashima.

5. Sigh – A Messenger From Tomorrow (I. The Message – II. Foreboding – III. Doomsday). The most epic track in Sigh’s catalogue. Surprisingly also one of the lightest ones, based on strong orchestral melodies. The lesser amount of heavy distortion guitars does not mean the composition wouldn’t be huge though. A Messenger From Tomorrow only further proves the multifacetedness of Sigh as a monstrously diverse band.

6. Negură Bunget – Cunoașterea tăcută. Negura Bunget’s 2006 release Om is one of the highlights of 2000s black metal in both song-writing and originality. The introduction of Romanian traditional instruments, epic soundscapes, shamanistic repetitive passages, raw production and very oldschool black metal elements blew many a mind. Cunoașterea tăcută includes one of those clean melodies (at 3.00) that makes you wonder on what plane of being it was conceived. Oldschool black metal riffing accompanied with traditional instruments and high-flying folk singing with the catchiness of bubonic plague.

7. Ufomammut – Daemons. What a Monster riff to close up their 2015 release, Ecate. That is all that needs to be said really.

Best albums and tracks of 2016

Also known as what new releases I happened to listen in a limited timespan of one year.

Last year I realized I’m not too old yet as many an album caused childlike enthusiasm. In the early 2016 it was mostly blasts from 2015 (Wilderun!) but as the year went on, 2016 unveiled a good amount of solid material. 2015 had higher peaks but 2016 did have its share of killers with a strong base level. As proven by 2015 reprise list that you can find on the bottom of this text, many of the best albums are going to be unveiled only later.


Best albums of 2016

Vektor — Terminal Redux – progressive sci-fi thrash metal – Vektor’s hyped 2016 release is astronomically progressive metal. Vektor was the best modern thrash metal band for years, it is about time for them to get recognition. For an album that sates and mildly bores the listener while delivering killer tracks (Pteropticon, Psychotrophia, Pillars of Sand) a bit over midway, it is astonishingly good but would be more enjoyable shorter. The last two tracks, Collapse and Recharging the Void manage to uplift the album to great heights again with surprising twists. It’s really not a better or worse album than their previous efforts but ridiculously good and full of everything tasty. 

Katatonia — The Fall of Heartsprogressive melancholic rock/metal – Some outerworldly charm with heartbreaking atmosphere. Drags time to time yet still wrenches heartstrings every minute. Passer‘s descending scale should be obnoxious yet it is genuinely alluring. How on earth did they make it work. I did not expect this at all, what a comeback.

Ivar Bjørnson & Einar Selvik’s Skuggsjá: A Piece for Mind & Mirrorfolk / folk metal – A project by Enslaved and Wardruna veterans, which may run below radar cause of it’s eccentric name that sounds like artsy folk music. In a lot of ways Skuggsja sounds more like folk with metal elements than the other way around. Though even the folkier tracks often have a heavy backbone that owes to metal and makes these two elements come together naturally. Stunning.


Excellent (9-)

jumalten_aika

Moonsorrow — Jumalten Aika – folk metal / black metal


Very good (8½)

Panssarijuna — Nyt Sattuu – trauma blues / rock

Omnium Gatherum — Grey HeavensWhen rather basic melodeath manages to excite me like Grey Heavens does, it’s worth a lot of points.

The Wounded Kings — Visions In Bonedoom metal


Good+ (8+)

King Gizzard & the Lizard Wizard — Nonagon Infinity – psychedelic rock / garage rock

Fleshgod Apocalypse — King – symphonic metal / neoclassical death metal

Oneohtrix Point Never — Garden of Deleteelectronic / experimental / IDM – Probably an album I was most excited about cause it’s such a fresh kick in the eardrums (I just found out it’s a November 2015 release but what the hell, it was an important album for me last year).

Haken — Affinityprogressive rock – Some of the best moments of 2016 but also completely lackluster tracks. Their 2013 record The Mountain which I also found this year would be up there among the best albums of the year.

Whispered — Metsutan – Songs Of The Void – Japan influenced melodic death metal 

Behexen — The Poisonous Path – black metal


Good (8ish)

Paradox — Pangea – oldschool thrash metal

Blaakyum — Line of Fear – thrash metal

King Goat — Conduit doom metal / heavy metal

Myrath — Legacy – progressive rock / metal

Anaal Nathrakh — The Whole of the Law – grindcore, black metal

Hebosagil — Lohtu – sludge

Tähtiportti — Eetterimessu EBM

If These Trees Could Talk — The Bones of a Dying World post-rock

Dark Lunacy — The Rain After The Snow melancholic melodic death metal

Trees of Eternity — The Hour of The Nightingale – atmospheric doom metal

Oranssi Pazuzu — Värähtelijäpsychedelic black metal – I wanted this to be the best album of the year but unfortunately it’s the worst in Pazuzu’s discography. Another of my personal hype albums with Vektor. Vektor delivered, Pazuzu sort of. It does have about 50 mins of solid material but there’s an extra 20 mins  on top.


We’re still good (7½)

Alcest — Kodama – blackgaze

Vola — Inmazes – djent / progressive rock

Mogwai — Atomic – post-rock

The Dillinger Escape Plan — Dissociation – progressive metal / mathcore / metalcore

Riutta — Sinun Täytyy Elää Vielä Kerran – progressive rock / indie rock

Sulphur — Omens of Doom – black metal


Okay (7ish)

Hanging Garden — Hereafter – melancholic rock / doom metal

Obscura — Akróasis – progressive metal

Glanko — Isometrik – downtempo / ambient / IDM

Wöljager — Van’t Liëwen un Stiäwen – neofolk

Insomnium — Winter’s Gatemelancholic melodic death metal – It was supposed to finally be a great album after all the pretty good melodeath they’ve done of late, repeating the same formula that drew so much blood in their early albums. In the end it’s just pretty good melodeath again with some quite stunning moments.

Be’lakor — Vesselsmelancholic progressive melodic death metal – Alike Insomnium, in theory Vessels is a really good album but there’s something bothering me. Maybe it’s the production that lacks danger, or the sounds that remind of Insomnium too much.


Okay- (6½)

Most 6ish albums I didnt listen enough and/or simply forgot about but these ones got a chance. None of them are bad but I’ve already heard similar stuff done way better or they elude my musical preferences.

KYPCK — 3epo – Doom metal

Reptilian — Perennial Void Traverse – Death metal


Oh well… (6ish)

Devin Townsend Project — Transcendence – progressive metal – I wanted to like Transcendence cause I dig Devin’s creative lunacy. However, Transcendence has an unbearable scent of virtues and purity. In a way it’s the opposite album to the chaotic nature of Deconstruction. Clean production, clean prog metal, fun for everyone. Not for me, I crave for some evil.

Spigu — Viimeinen papukaija – indie pop / country – Spigu’s first album from 2013 was one of the biggest surprises this year, if it was a 2016 release it would be on the very good category. Unfortunately Viimeinen Papukaija fell short. I don’t get the lyrics and the sprained bluegrass feel is replaced with compositions and themes so major key it doesn’t strike my positive nerve at all. At least the title track is a nice piece. I still haven’t lost hope on him.

Venetian Snares — Traditional Synthesizer Musicbreakcore / improvisational – My face when he finally… (makes an album that does not hold my interest).

Deathspell Omega — The Synarchy of Molten Bones – progressive black metal – Evil [x], atmospheric [x], virtuoso [x], good riffs [x], bad riffs [x], songwriting [-], thanks for coming see you next time. Even the dark lord must be thinking: “Man, these guys sure make worship hard for themselves, how about you just switch to a frigging goat sacrifice every now and then?”.


Best tracks of 2016

Haken – The Architect
Haken – Initiate
Oranssi Pazuzu – Hypnotisoitu Viharukous
Riutta – Valkoinen Kohina
Riutta – Lorenz
Hebosagil – Pian tämä kaikki on ohi
Oneohtrix Point Never – Animals
Katatonia – Residual
Katatonia – Passer
Trees of Eternity – Gallows Bird
Tähtiportti – Abraxas
Tähtiportti – Ihmeiden aika ei ole ohi
Vektor  – Mountains Above The Sun & Ultimate Artificer

Bubbling under

Brilliant tracks just below the first category. Except on a good day…

The Wounded Kings – Beast
Riutta – Pyhäjoki
Hebosagil – Peltirumpu
Oneohtrix Point Never – Sticky Drama
Alcest – Oiseaux De Proie
Moonsorrow – Mimisbrunn
If These Trees Could Talk – Swallowing Teeth
King Gizzard & the Lizard Wizard – People-Vultures
King Gizzard & the Lizard Wizard – Road Train
King Gizzard & the Lizard Wizard – Evil Death Roll
Omnium Gatherum – Storm Front
Vola – The Same War
Mogwai – U235
Sulphur – The Force of Our Fall
Sulphur – Gathering Storms
Trees of Eternity – The Eye of The Night
Vektor – Collapse
Ivar Bjørnson & Einar Selvik’s Skuggsjá – Tore Hund
Ivar Bjørnson & Einar Selvik’s Skuggsjá  – Rop frå røynda / mælt frå minne
Whispered – Tsukiakari


2015 reprise

a bunch of really interesting 2015 releases found too late


10

Wilderun — Sleep at the Edge of the Earthprogressive symphonic folk metal – The best album since 2014, or perhaps even further

9ish
Lost Soul — Atlantis: The New Beginning – technical death metal
Lik — Mass Funeral Evocation oldschool death metal
Hanging Garden — Blackout Whiteout doom metal / melancholic rock


Genocide Shrines — Manipura Imperial Deathevokovil: Scriptures Of Reversed Puraana Dharmurder – death metal
Akrabu — Ziggurat Ascension – acoustic folk / ritual

8
Barren Earth — On Lonely Towers – progressive death metal / melodic death metal
Satan — Atom By Atom – heavy metal
Janne Westerlund — Marshland – folk / country
Batushka — Litourgiya – melodic black metal
Slægt — Beautiful and Damned – heavy metal / black metal
Ghost — Meliora – heavy metal / hard rock
Venetian Snares — Your Face (When I Finally) – breakcore


Downfall of Nur — Umbras de Barbagia – atmospheric black metal
Zuriaake — 孤雁 Gu Yan – atmospheric black metal

Monumental Funeral Doom Melancholy playlist

This compilation is based on the best bits of melancholic funeral doom bands with some more funeral bits of melodic death doom and traditional doomster(s) in the midst. The playlist continues in the vein of a previous Post-rock Melancholia playlist.

The concept of funeral doom has at least two different schools. The “original” sound with bands like Thergothon and Esoteric is very nihilistic and evil mass of sound. Skepticism has something in common with those bands but the themes often revolve around nature. The other newer school fronted by Shape of Despair is not at all about evil but of a weeping melancholy. Both schools are obviously shared by the supremely slow tempos.

This compilation has a lot of content from the melancholic funeral school which I am personally more fond of. Skepticism and Thergothon have never appealed to me even though I enjoy some bits by Evoken, who are a direct successor of the old school funeral.

1. Half Light by one man Swedish outfit Doom:VS is quite a hard-hitter but with a superbly memorable chorus and lyrics that are almost as melancholic melodic funeral doom as possible.

2. Frailty is from the doom legend Paradise Lost‘s more recent albums, Faith Divides Us – Death Unites Us. A really memorable entirety. The track is perhaps a bit curious for a funeral doom collection but the weeping guitar lines in the end half are strongly reminiscent of many a track here.
I only realized the track’s true potential as I keep getting reminded of it in my work, the material I handle frequently has definitions of The Frailty Syndrome (Frailty is a common geriatric syndrome that embodies an elevated risk of catastrophic declines in health and function among older adults. Frailty is a condition associated with ageing, and it has been recognized for centuries.).

From the third track Lost & Catatonic the compilation slips into even deeper waters. It meanders effortlessly between very heavy, symphonic almost black metal bits and an extremely catchy and soft chorus. Lost & Catatonic was originally one of the tracks that triggered the biggest emotional response from Swallow The Sun‘s newest album Songs of the North 1. Later it was reported that in live setting a session guitarist would sometimes play the track instead of Juha Raivio. Understandable obviously given by the recent death of his spouse, the magnificently voiced vocalist Aleah Stanbridge.

4. Fragments by French band Remembrance is from their album Silencing the Moments (2008). Really some cliche melancholic funeral doom. It has all the basic elements from deep male growling to sparse hits, catatonic drummer, at times heavy at times extremely gentle guitars, background keyboards and angelic female vocals yet at their best they are tweaked so well it functions perfectly. Fragments is the song that has stayed with me most. I can’t think of any faults in it, its atmosphere is a real appealing slumbering mass. The hard & sparse hitting lamenting section at 5 minute mark is one of my favourites in any modern funeral doom band’s catalogue.

5. Shape of Despair is a band many of the more modern melancholic melodic funeral doom bands model after. Their second album Angels of Distress (2001) is the biggest landmark yet strangely I seem to have picked tracks from their two newer ones in my playlists. The Distant Dream of Life from Monotony Fields (2015) is nearly an absurdly short track for a funeral doom piece, clocking only 5.53 but its all tightly packed emotion. In the newest album Shape of Despair changed vocalist, and while I absolutely love Pasi Koskinen’s deep growling, the new vocalist Henri Koivula (Throes of Dawn) does a tremendous job as well.

6. Weighed Down With Sorrow by Insomnium is the best track they’ve ever made full stop. Never before or after have they gone this deep in doomish melancholy, the memorably sullen lyrics could be straight from the Finnish national epic Kalevala.

7. Her Withering Petals by The Fall of Every Season is 15 minutes long which may be a bit too much but its atmosphere stays intact and boy when the end comes, is it emotional or what. Machinae Supremacy sings about video game and action movie cliches in Player One “and in the end i’ll get the girl”. Translated into funeral doom, the same cliche is straight from the handbook of The Fall of Every Season:
This imagined warm touch was his relief.
Kneeling at her feet, ready for his sleep.
Had no longer wish to arise.
Put her arm around him, no more cries.
Slept there until the fierce cold awoke
to erase all tracks of life.

Venetian Snares Modern Classical Breakcore collection

Venetian Snares is Canadian Breakcore artist Aaron Funk who has released quite a few albums. This collection is based on the best bits of his modern classical works. At 53 minutes I had to leave a couple of songs out but I feel shorter length serves this kind of orchestral electronic clattering better.

Unlike many albums this collection does not go all in in the beginning, but is meant to collect steam along the way and in my opinion the last 4 tracks Room 379, Integraation, Senki Dala and Miss Balaton conclude as one of the strongest endings in the history of electronic music. I am humble, I know; but in actuality the strongness of the two whole tracks Integraation and Miss Balaton is to blame. That is not to say the beginning is weak,  I love Frictional Nevada but its end chaos is a bit annoying.

What really brought Venetian Snares into my regular playing cycle is these tracks; the way he mixes complex electronic music with organic sounding classical orchestrations. Among his other albums Venetian Snares has released two full modern classical electronic breakcore albums Rossz Csillag Alatt Született (2005) and My Downfall (Original Soundtrack) (2007). This collection is based around those two albums which have many of his best works.

After these albums Aaron Funk incorporated modern classical as a more subtle part of his style, a track may not necessarily be a modern classical track or something else. One can only stand so much classical violin squeaking which is why bunch of tracks having other elements along with the classical have been included in this collection (from albums Hospitality (2006), Detrimentalist (2008), My-so-called-life (2010), My Love Is A Bulldozer (2014)).

I wanted to include Hajnal and Kétsarkú Mozgalom from Rossz Csillag Alatt Született too but for the sake of big picture, I had to turn them off.

Post-rock Melancholia playlist

Melancholic post-rock slow burners collected to an album like playlist.

1. Moya is a sloooow starter from one of the biggest names of post-rock Godspeed You! Black Emperor. It is a post-rock collection after all, what would it be without some mood buildup :).

2. Glanko’s – 9003 (feat. Mote) is a really surprising sidestep by this idm artist. I repeat, an idm artist, yet its characteristics are of this collection, not of idm. Somehow his quite excellent Telekommand ep came to have this stunning blue ambient tuned piece with some mellow violin work. It is really surprising how close electronic music can get to post-rock.

65daysofstatic have a lot of electronic music influence and elements but 3. Unmake the Wild Light focuses on their organic side. I also can’t recommend their album Wild Light (2013) enough. From start to finish a terrific album which two sentences can’t do justice (duh). Unmake the Wild Light is a bit more hopeful track before the 3 closing tracks of this collection turn damn somber. The end quaternity is very close to my favourite 4 post-rock pieces all time.

4. Mogwai’s – No Medicine for Regret is a real slow burner, quoting some guy from last.fm because he said it best:
nomedicineforregretcomment

5. Dipole Experiment and 6. Les Iris both have endings to die for. Dipole experiments 11:35 minutes feel like 3 minutes to me and the massive orchestral end buildup is definitely among the most emotive I’ve ever heard.

Yes, like Glanko, Alcest is not an actual post-rock band but Les Iris has strong foundations in post-metal / post-rock. Not to mention it is one of the only tracks that can still feel like an ethereal two ton truck after Dipole Experiment’s gargantuanity. And it feels a lot cause I know the end is nigh. Via some gentle blastbeating, and it is funny how blastbeating can sound gentle but it does, Les Iris impeccably traverses to one of the most perfect endings known to man. Alcest has an ability to conjure a completely jaw-dropping melody all the sudden. The last minute of Les Iris is the most shining example of it.