更多关于 雷姆库尔特

凯克 _-_ stormkult

跟进布雷特·史蒂文(Brett Steven)’s 评论 of 凯克’s 雷姆库尔特, the present 评论 starts off where he left off: the fusion of styles in 雷姆库尔特 that are brought together under one unifying banner. The truth is that trying to split this album into its influences is almost pointless as it broke them down to such atomic and almost indivisible parts to build something that is completely their own. We may hear a trace of what Sammath or Kjeld 声音s like almost only because we were told that members from these bands participate here. Otherwise, we would be hard pressed to find concrete influences.The previously mentioned 评论 does a very good job at describing the album both in an evocative way, as in describing a picture and 通过 summoning the presence of other bands as to give the reader some idea of how 凯克 goes 关于 building their music, but in no moment does this imply that 凯克 actually 声音s 就像它们中的任何一个一样(当然,除了它们都是黑色金属这一事实之外)。

凯克’s “sound”可以细分为仪器填充的分层功能。首先,我们在底部有鼓。这些按钮更像是心跳而不是节拍器。典型的背景黑色金属鼓模式将使节拍保持标准节拍,但此处的鼓模式以有意的方式减小为只能描述为原始战斗鼓的某种东西,其唯一功能是在鼓风中产生深沉而响亮的振动。武术主人’s body. Guitars distorted to the poing of disfugurement provide the thickness of the 声音, 不es and chords themselves being barely recognizable through the fuzz and chaos of frequencies bent to the whims of an unfathomable will. Riding the maelstrom of riffs comes a coarse voice which simultaneously commands us out of lethargic inaction and commends us to embrace the defying and righteous — though heretical —光之天使的使命。与保罗让我们相信的方式相反,这种发光完全是笼罩在该死的流放长袍中的那个实体的真正本质。伪装成服装的服装,以避免从内心麻痹思想的强硬拥抱,以换取幸福的精神萎缩。在地下墓穴中回荡,为 雷姆库尔特 我们可以听到一个键盘,它勾勒出简短的旋律图案,使之在整个循环中相互对立并勾勒出轮廓,只是随着狂暴的吉他而变化,并从其肠子中产生,只是作为迷失,绝望的灵魂试图逃避即将来临的命运而回到它们身上被不容否认的现实所吸引。

What we have now, is a static picture of 凯克. But the enduring power of 雷姆库尔特 通过音乐的时间维度存在于生活运动中。确认在音乐元素上的主导地位,使之弯曲为死灵法师的滥用特征,即超越了神圣秩序所设定的界限,我们听到了音乐的剧烈困境。 无神的傲慢 coming to fruition in the reining in of a beast of unnatural origin. The experience through which 凯克 hauls our terrified soul appears at first as an indistinguishable blur. It is only after our eyes have time to adjust in the dim light pushed into corners 通过 an overpowering darkness that we see a pattern emerge in the frescoes on the walls splattered 通过 blood old and new. And from the synchronized layers of 声音 we hear subtle transformations that a moment ago seemed to comprise only one motif in repetition. Once we latch on to the combat-inciting beats, and the voice guides us over the patterns of the riffs as the melodies produced in the keyboard and a soloing guitar move in and out of our field of view, we start to envisage this humble temple in all the dimensions conceived 通过 its creator: the evolving motifs on the timeline as well as the entities represented in the melodies existing as reflections of the riff itself on parallel worlds.

虽然任何音乐都能正确地将自己发音为 包括 在所有必要的维度上,创作者很少真正想到所有这些维度。通常情况下,无论主张什么,都放弃整体来突出其中一个要素。当目标是整体时,会迷恋所有部分,以关注它们如何影响整体和整体。 根据他们自己的立场,这通常会导致阻碍沟通的各部分之间的关​​系失衡,因为整体的意图要么扭曲要么淡化到背景中,以取代自我的突出地位。这些注意事项 必须 包括事物的时间关系,这不仅是当前即兴即兴演奏中的乐器是如何相互作用的,还包括它们在整个歌曲中如何与不同部分相互作用。因此,平衡并不意味着静态的情况,即通过均衡向不同方向的拉力,一切仍然存在,而是获得了一种稳定的状态,而没有这种状态,则很明显 方向 将很难遵循。而且,尽管还应该记住,没有一个单一的公式可用来构成音乐,但每种传统都有其基于惯例的准则,没有这些准则,音乐就只能是现代流行音乐想要成为的:个性化的愉悦喷泉。

凯克 approach this ideal of balance in all dimensions from the particular filter of minimalist and raging black metal. In 雷姆库尔特 萨玛斯晚期外向混乱的脾气和肯耶德冒险的冲动不仅被引导,而且被融合和提炼到只剩下最基本的要件。这就是为什么尽管我们实际上无法在音乐中听到Sammath或Kjeld(除了可预测的表面观察,例如“主唱是一样的” or “it’也具有侵蚀性的黑色金属”),他们的音乐创作方法—从Sammath的自然主义暴力定义了一致而又独特的即兴演奏,到通过简单而又敏锐的节奏和旋律手段将节段融合在一起而使Kjeld的运动精致化,几乎使这种变化难以察觉, 雷姆库尔特 是由神和原始怪物生来的巨人。

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7 thoughts on “More on 雷姆库尔特

  1. 1349 说:

    乐队名称该如何发音?

    1. 菲尔 说:

      我的语言经验告诉我“Keck”, so I’ll use that.

      Sounds better than ack or cake anyway.

    2. 天蓝色Murakumo 说:

      I’我总是读为“Kye-eck” or “Kay-eck.”

      1. 莫洛科+ 说:

        我认为它的发音是:o-pe-th或op-heth。

        无论如何,有人想上网吗?

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