Tag Archives: The End Records

Artist Dissection Storm Of The Light’s Bane Rock Pop Music Heavy

Release Date: 27 June 2006. Attributes: Discs:1. Label: The End Records ( ENDB ). Product Type: Compact Disc. Catalog : 73. UPC: 654436007326. Configuration: D: CD. On their final full-length album, Dissection further refine their brand of icy black/death metal with impressive and frightening results. The guitars, with their gloomy minor-key riffs and intentionally blurred tones, feel like a cold wind on the permafrost. The drums are speedy, intricate, and precise, while frontman Jon N dtveidt’s vocals — delivered in an evil, mid-range rasp — top off what amounts to just a nightmarishly dark sound. To put it another way, very few bands could get away with an album cover that depicts the Grim Reaper riding across the snow on a black horse while holding a scythe and an hourglass; Dissection is one of them. The songs themselves (six of them, excluding the guitars-only intro and the pseudo-classical piano outro) are all expertly crafted mini-epics. There is a strong sense of thematic unity tying each song’s various riffs and sections together, and the soaring, darkly majestic guitar melodies are consistently memorable. Sure, there is a little bit of melodrama here, but Dissection is most certainly on top of their game, and Storm of the Light’s Bane is deservedly hailed as a landmark in the melodic black/death metal genre.

Artist Ulver Shadows Of The Sun Rock Pop Heavy Metal Compact Disc

Release Date: 9 October 2007. Attributes: Discs: 1. Label: The End Records ( ENDB ). Product Type: Compact Disc. Catalog : 89. UPC: 654436008927. Configuration: D: CD. Shadows of the Sun offers a new slant on the sort of electronic art pop sound that Ulver have been developing off and on since 1999 s Metamorphosis EP. Along with 2005’s return-to-form Blood Inside, it is one of their stronger efforts this decade, following several years of experimentation with instrumental electronic music. Those experiments have informed both of these albums, but they have been incorporated into more or less songlike structures (although one would struggle to find any verse-chorus-verse patterns here). That is a good thing, given that leader Kristoffer Rygg’s vocals have always been a strong point of their music. Shadows begins with a tranquil, almost ambient organ figure, followed by the entry of Rygg’s close-up vocals, which later float off into the distance. Standout “All the Love” follows, beginning in similar near-ambient fashion before percussion enters for the first time on the album near the one-minute mark. This song has a fantastic arrangement that includes a dense carpet of keyboard tones along with some well-placed trumpet flourishes, electronic glitches, and piano melodies toward the end. Subsequent songs maintain this blend of electronics, intermittent (and very subdued) percussion, and other “real” instruments (or are those samples ), including some nice cello and string-section touches. All in all, this is an enjoyable, at times hypnotic album that consolidates a lot of the different strands of Ulver’s music over the previous decade. They have developed a unique, quickly identifiable sound during that time, and this album is a nice variation on that signature sound.

Agalloch Pale Folklore Product Type Compact Disc Heavy Metal Rock Pop

Track Title. 1 She Painted Fire Across The Skyline (Part 1). 2 She Painted Fire Across The Skyline (Part 2). 3 She Painted Fire Across The Skyline (Part 3). 4 The Misshapen Steed. 5 Hallways Of Enchanted Ebony. 6 Dead Winter Days. 7 As Embers Dress The Sky. 8 The Melancholy Spirit. Not only was Agalloch’s Pale Folklore an astoundingly ambitious and accomplished debut, it made for a stark geographical anomaly, since its eclectic, avant-garde folk-metal was the sort of thing one would expect to emerge from Scandinavia — not Portland, OR. Epic, atmospheric, deeply melancholy, yet extremely heavy, its songs showed the same level of daring cross-pollination as those of Norway’s Ulver or Sweden’s Opeth, as well as off-the-beaten-path experiments with folk music forms pioneered by Finland’s Amorphis, among others — yet unquestionably treaded its own, unique path. The album’s fascinating journey begins with the three-song suite titled “The Painted Fire Across the Skyline,” featuring forceful, driving power chords, elegiac melodies on acoustic guitar and piano, and half-whispered, half-screamed vocals backed by mood-enhancing icy winds. Next (and get a load of these titles!) comes the astonishingly beautiful “The Misshapen Steed,” alternating painfully sparse keyboard tinkling with lush mock-string orchestrations; followed by a return to more energetic dark metal intercut with melancholy quiet passages on stunning achievements like “Hallways of Enchanted Ebony,” “Dead Winter Days,” and “The Embers Dress the Sky” Finally, colossal closer “The Melancholy Spirit” brings all of these elements around for one final, inventively varied go-round, while also introducing an odd, choppy guitar figure reminiscent of the Police.

Agalloch Mantle Product Type Compact Disc Heavy Metal Music Rock Pop

Track Title. 1 A Celebration For The Death Of Man. 2 In The Shadow Of Our Pale Companion. 3 Odal. 4 I Am The Wooden Doors. 5 The Lodge. 6 You Were But A Ghost In My Arms. 7 The Hawthorne Passage. 8.And The Great Cold Death Of The Earth. 9 A Desolation Song. Agalloch’s second album, The Mantle, is a leaps-and-bounds improvement over their first full-length, 1999’s Pale Folklore. That wasn’t a bad album, but it was hampered by a low-budget production job that didn’t suit the sophisticated tone of the music. The improved production is the first thing that stands out here, evident in the more detailed arrangements, the classier guitar tones, and the fuller overall sound. That said, the music itself has also evolved and matured. Along with the Katatonia-inspired guitar work and grim, scratchy black metal vocals also present on Pale Folklore, a number of other sounds work their way into The Mantle, among them prominent acoustic guitar-strumming and cleanly sung vocals, Scandinavian-tinged folk guitar-picking (the middle breakdown during “I Am the Wooden Doors” is straight out of Ulver’s bag), timpani percussion, and a few subtle electronic interludes. It is not just the range of sounds that’s impressive, though, but rather how smoothly they are woven together, creating an album that flows from beginning to end, using its entire 68-minute running time to make its point without wearing out its welcome. Agalloch’s biggest strength, much like the early work of Ulver and Katatonia, is their ability to create an epic type of listening experience without resorting to bombast or heavy-handedness, and that quality is plainly evident here. Factor in the excellent artwork and packaging (which features photos of the bandmembers looking very poised and European), and you have one of 2002’s most accomplished and surprising metal-related albums. ~ William York, Rovi.