|
|
 |
|
Forum Terms & Rules
Please take a moment to review these rules detailed below. If you agree with them and wish to proceed with the registration, simply click the "Register" button below. To cancel this registration, simply hit the 'back' button on your browser.
Please remember that we are not responsible for any messages posted. We do not vouch for or warrant the accuracy, completeness or usefulness of any message, and are not responsible for the contents of any message.
The messages express the views of the author of the message, not necessarily the views of this bulletin board. Any user who feels that a posted message is objectionable is encouraged to contact us immediately by email. We have the ability to remove objectionable messages and we will make every effort to do so, within a reasonable time frame, if we determine that removal is necessary.
You agree, through your use of this service, that you will not use this bulletin board to post any material which is knowingly false and/or defamatory, inaccurate, abusive, vulgar, hateful, harassing, obscene, profane, sexually oriented, threatening, invasive of a person's privacy, or otherwise violative of any law.
You agree not to post any copyrighted material unless the copyright is owned by you or by this bulletin board. |
|
 |
|
|
|
Stormblast 2005 (Nuclear Blast, 2005)
The updated interpretation of the only really quality work from Dimmu Borgir, "Stormblast," removes apparently plagiarized keyboard tracks inserted by former keysman Stian Arstad and updates the sound of this classic work to match the now-trademark Dimmu Borgir hybrid of Cradle of Filth dramatics and underground metal sensibilities. While the instrumentalism is better and the beauty of these original songs shines through, the narrow filter through which the band have forced interpretation of these songs detracts from much of their beauty. The highly-touted drumming of Hellhammer, for example, is phoned in; any of a hundred thousand drummers could have done this quasi-Bard Faust interpretation that is invariant as if done in a weekend. Dynamics are squelched and the interplay of keyboards and guitars sloughed off; the result is that like a hardcore band, everything must be forced through the single instrument while drums keep time and vocals comment, which depletes the ambition of this album as well as its inherent aesthetic beauty. Not surprisingly, almost every song sounds like it was faded early, being incomplete because it lacks so many original elements. Undoubtedly, this will sell well, but then again, that has never necessarily been an indication of quality. |
|
|
|
|
|
|
 |
|
| |
|
|
