Twilight - "Monument To Time End"

[Zyklon]

Por isto é que querias saber a data oficial de lançamento do álbum.

yup.

A SL continua a dizer que sai no final deste mês, mas curiosamente já o tenho prai á uma semana.

Deve ser magia....

[Armageddon]

Até agora, um dos melhores lançamentos de 2010.

[Sludge]

Ainda nao atingiu a dimensao do anterior mas para lá caminha, está aqui um grande album sem duvida, vai continuar a rodar

[Demoniac]

Por isto é que querias saber a data oficial de lançamento do álbum.

yup.

A SL continua a dizer que sai no final deste mês, mas curiosamente já o tenho prai á uma semana.

Deve ser magia....

pensei que a SL fosse só lançar o vinyl.

[Zyklon]

Por isto é que querias saber a data oficial de lançamento do álbum.

yup.

A SL continua a dizer que sai no final deste mês, mas curiosamente já o tenho prai á uma semana.

Deve ser magia....

pensei que a SL fosse só lançar o vinyl.

Penso que o Lp só seja vendido naquele super-pack....á volta de 200 dolares.
Pelo menos é o que dá a entender.

[-Edges-]

do site da southern lord

OUT NOW!
sunn 0))) - "Monoliths and Dimensions" CD + 2xLP
Thou - "Tyrant" LP
Pelican - "Ephemeral" EP LP
Eagle Twin - "The Unkindness of Crows" CD +2XLP
Thorrs' Hammer - "Dommedagsnatt" (LP REISSUE!)
The Accused - "The Curse of Martha Splatterhead" CD& LP
Black Cobra - "Chronomega" CD & LP
Pelican - "What We All Come To Need" CD and 2xLP
Boris - 7" series
Black Breath - "Razor To Oblivion" EP
Virulence - "If This Isn't A Dream... 1985-1989" CD
Ascend - "Ample Fire Within" 2xLP
Black Breath - "Heavy Breathing" CD
Twilight - "Monument to Time End" CD

COMING SOON

Black Breath - "Heavy Breathing" LP
Goatsnake - "Flower of Disease" REISSUE CD &LP
Trap Them - "Filth Rations" LP
Twilight - "Monument to Time End" LP
Yob - "The Great Cessation" 2xLP
Burning Witch - "Crippled Lucifer (Ten Psalms For Our Lord of Light) 2xCD (reissue w/bonus material) 4XLP
Masakari - "The Prophet Feeds..." CD


Em relação a surpresa do pack ouvi por ai que podera ser o into darkness de Winter, pois pelos vistos a southern lord comprou os direitos do album.

[Demoniac]

Isso era ridículo..... o LP só estar disponível num pack. tou a contar que esteja disponível singularmente tb

[Zyklon]

Se for mesmo limitado a 550 copias não me admirava nada.
http://www.southernlord.com/subscription.php

[-Edges-]

limitado a 550 no pack ou uma primeira edição, agora limitado a a este numero não me parece e nem sequer é muito usual na southern lord podes ter agora uma edição em vinil colorido, depois vem o picture disc, so um exemplo o "oracle" tambem é supostamente limitado e ainda o arranjas nas mailorders normais, não a primeira edição mas outras repress, ou o "Oracle" que a caixa com 3 lp´s tambem ainda se ve por ai, edições da southern lord (se não estou em erro) ainda a pouco tempo vi uma em vinil castanho (?) que creio ser japonesa (acho que a daymare fez uma repress em vinil).
Por exemplo o vinil de pelican vende-se no pack e depois em separado no site da southern lord tambem 2 lp, agora se tem algo de bonus no pack isso deve ter pois não me pareçe que o pack mereça tanto destaque se assim não for (mesmo assim se o vinil surpresa for o de winter esta surpresa bastava. pelo menos para mim que gosto de winter).

[paulo figueiredo [RIP 2011/02/27]]

Tive nos últimos dias a oportunidade de ouvir este disco e gostei da abordagem que os Twilight fazem ao BM. Principalmente na soberba malha "Fall Behind Eternity".

[Sludge]

Depois de muitas audiçoes nao tenho a minima duvida que este album ultrapassa o anterior que era um daqueles albuns como á poucos, mas este tem qualquer coisa de unico e mágico, muito provavelmente esta aqui um dos melhores albuns do ano, nao é facil de digerir nem é para todos, mas ainda bem já que isto só prova a qualidade superior deste album, negro, envolvente, depressivo, melancolico, experimental, agressivo, ambiental etc......tudo isto e muito mais está bem presente neste album, felizmente que ainda vao aparecendo obras destas

[Besta_Quadrada]

Que grande álbum.

[Adolf Presley]

Este álbum vale pela "Red Fields", que é mesmo brilhante. O resto é palha.

[Microgaitas]

Este álbum vale pela "Red Fields", que é mesmo brilhante. O resto é palha.

São gostos; após imensas escutas, tenho a dizer que é um albúm bastante sólido, e se antes aquela "Fall Behind Eternity" me era estranha, devo dizer que agora, é uma grande faixa.
E concordo bastante com aquilo que o Demoniac disse: creio que a ideia foi tentar misturar Leviathan/LoC com Isis, e deu nisto... muito bom.

[Zyklon]

Coisas:

No not the twatty Vampire saga, John Mincemoyer speaks to the ultimate in black metal 'supergroups'...

Even though the original lineup read like a “Who’s Who” of the American underground black metal scene, Twilight front man, Blake Judd, bristles at the idea of labeling the newly reformed Twilight a “supergroup.”
“Yes, absolutely,” he replies. “For any of us to refer to Twilight as a ‘supergroup’ would be incredibly egomaniacal. Basically, saying that would be one of us suggesting that we’re all extremely important musicians or artists, and that kind of quality is not a quality that you will find in the personalities of any member involved in this group. You can thank the press and label marketing for the term ‘supergroup’ when used in reference to Twilight.”
The original lineup featuring Judd (then still using his Azentrius pseudonym), Wrest (Leviathan/Lurker Of Chalice), Lord Imperial (Krieg), Hildolf (Draugar) and Malefic (Xasthur), released their eponymously-titled album on Southern Lord in 2005. After going through the normal album-release cycle Twilight promptly disbanded.
Yet, the core members, Judd, Wrest and N. Imperial, felt that the debut left matters “unfinished,” and, ultimately, their desire to create music together drove them to reform Twilight although by this time Hildolf and Malefic were no longer attached to the project.
“Wrest, N. Imperial and I are all just extremely close friends in our personal lives, and we knew we had to be creative as a group once again. We tried to do a record a couple years ago about eight months before [Nachtmystium's] ‘Assassins: Black Meddle, Part I’ was recorded [The song ‘Your True Enemy’ on ‘Assassins…’ was written for the original second Twilight record, but the material was discarded]. So, after one failed attempt in 2007, we all went back to our own respective projects.
“Last year sometime in January, Wrest contacted me and said he was going to be in Chicago tattooing for three or four weeks and asked if he could stay at my apartment while he was in town. Of course, I agreed that he could use my place as a home base, and I mentioned to him that in the evenings we should go to the Nachtmystium rehearsal facility and work on some material for a Twilight record. He was very receptive to the idea. At the time, I had started writing some material with Stavros Giannopolous (The Atlas Moth) here in Chicago that was going to be for a different project, and I suggested to both him and Wrest that we take what we had to the rehearsal spot and see if we could turn it into Twilight material.
“After one practice with Wrest working with these two tracks that Stavros and I had been working on, we decided to ask Stavros to formally join Twilight and we went from there. We spent about two and a half intense weeks practicing almost every night for hours (just the three of us) working on material. During that time, we contacted Sanford Parker (Minsk) and asked him what was going on at the studio in the next few weeks, and by sheer luck, he had just had a band cancel…”
With that they soon found themselves in Parker’s Volume Studios working on the rough tracks that would become ‘Monument To Time End’, a much darker, denser, more fully realised and complex beast than the unfocused debut.
“The core of the music is written by Wrest and I,” says Judd. “Stavros contributed one full track and N. Imperial contributed one full track. Of course, these tracks were modified slightly by the rest of the group to make them collaborative pieces in the end. Aaron Turner (Isis) and Robert Lowe’s (Lichens) contributions came after all the music was written and most of it was recorded. In Aaron’s case, everything had been finished aside from his part, as he was unable to be at the actual recording due to the whole thing being so last minute. Rob came into the studio just before mixing and added his unique vocal parts. Aaron’s contributions came in the form of the underlying synth/noise stuff, some clean vocal work and some guitar pieces. Everything else was primarily handled by Wrest, Stavros, Sanford, and me.”
Where there any surprises while recording?
“I think the biggest surprise we had in the studio was when I went to the grocery store across the street to buy some cigarettes and a bite to eat and wound up slipping on a wet floor and snapping my leg in half,” Judd laughs. “This delayed the mixing process three months as I was home-bound during that time. This turned out to be the best thing that could’ve happened with the record though... it gave us all a lot of time to sit and listen to the rough mix of the record and really figure out what we wanted it to sound like in the end. I know for a fact had we mixed it at the end of the recording session, as we’d planned originally, it would be a much different and probably weaker record. It’s funny how awful things like severe personal injury can result in something good in the long run.”
The time spent in the studio was truly collaborative, unlike the debut.
“It was a good atmosphere,” admits Judd. “I think we were all just really curious to know what the end result would be, as the album was pretty much entirely written and assembled over the course of a few weeks. There was a focused vibe the whole time, too. We were all really excited about what we were doing and I think everyone wanted to make sure that their contribution was as strong as the others, and the end result I feel showcases every member’s finest qualities as song writers and players.”

Personally, the material Judd contributed was “originally being written to be on a future Nachtmystium release,” he reveals. “We put this together on such short-term notice, so there weren’t months of planning where I was writing specifically for Twilight. However, once Stavros and Wrest got their hands on the material, and N. Imperial took over with the lyrics and vocals, it changed the dynamics of the material I had quite a bit.
“The end result of ‘Monument…’ definitely influenced my writing and planning for ‘Addicts: Black Meddle, Part II’, as we used a lot of new studio trickery on the Twilight record that I was unaware we were able to do prior to this recording. So, I had some of those things in mind when writing the new Nachtmystium record. Specifically, the use of drum samples, different types of synthesizers, etc.”

With a new level of collaboration amongst members that included the newest members, ‘Monument…’ differs greatly from the debut.
“It would take me an hour to answer this question in as much detail as I’d like,” says Judd. “For starters, yes, the new members involved all contributed things unique to their styles, which is one aspect making ‘Monument…’ different. Also, the fact that we used a real studio had a lot to do with it. The debut album was recorded on a Tascam 424MKIII four-track... ‘Monument...’ was recorded digitally on a 24-channel board, which is quite a difference.
“But the main difference is that this music was all written entirely collaboratively by two or more members throughout the whole record. That has a lot to do with why it’s a way more cohesive record than the self-titled effort was. I look at the debut record as a demo more than anything. This is really more like the debut ‘album’ from the band.”

Such a difference, marked improvement, follows with Judd’s personal philosophy regarding Twilight and Nachtmystium.
“Well, I want each record to be better and an evolution from both band’s previous releases. With Twilight, my main goal was to make sure that the record was very cohesive, as I, and many others involved in the band and people in the press who reviewed the first one, felt the first album was kind of ‘all over the place’, and it didn’t flow as well as I would’ve liked. A lot of that had to do with the tiny budget we had to record it, which caused us to not have a whole lot of time together as a group to write and record with everyone in the same place at the same time. On this new, we had the time and the money to have everyone together in one place at one time, and we also had a ton of time to write and rehearse together at the Nachtmystium rehearsal room here in Chicago.
“So, the circumstances under which ‘Monument…’ was created under were much better than what we were dealing with on the self-titled album back in 2004. As for Nachtmystium, I really wanted to make sure that ‘Addicts…’ was as different from ‘Assassins…’ as ‘Assassins…’ was from ‘Instinct:Decay’. I think a lot of people may have been expecting another ‘psychedelic black metal’ record, like ‘Assassins…’ was. However, it would be very unlike Nachtmystium to crank out two records back-to-back that sound alike. We haven’t done that yet in ten years of being a band, and we weren’t about to start here. I think the end result was successful in that regard. I’m very pleased, as are the other members involved on this record, with the end results.”

“End results” would be a good way to describe the overlying concept behind ’Monument…’, which according to Judd means, “The album to us sounds like a soundtrack for the end of the world, so that’s where the title came from.”
So, what does Twilight offer that other bands do not?
“Collaboration between a group of musicians, many of whom, work entirely by themselves or are the main-visionaries of their own respective projects,” offers Judd. “Most members of this band are people that are very dominant (or entirely dominant in the case of Leviathan and Lurker of Chalice) in their own respective bands. This is a project where we all ‘check our egos at the door’, so to speak, and work as a unit, not as individuals.
“Also, I feel that the way we’ve created both records has been very chaotic. Most bands work for months, or sometimes years, on a record, and know every last little thing they’re going to do before entering a studio. We work completely oppositely than that. We had a very basic foundation prepared, and all the additional stuff, what we like to call the ‘gravy’, comes through on-the-spot experimentation in the studio. That’s why we really didn’t know what this record was going to sound like until we were in the mixing process. It’s a fun way to make records.
“Fortunately for this project, everyone involved I feel is a professional in their own right, so we don’t really fear that the end result could be awful,” he says laughing.

Judd hopes to enlist more collaborators under the Twilight banner, and one of the most prominent names on his list is Sonic Youth’s Thurston Moore.
“Yes. Sanford Parker’s partner at Semaphore Recording Studios (aka Volume Studios) is Jeremy Lemos, who is also Sonic Youth’s soundman. Thurston Moore is a fan of black metal music, which I learned recently, and given the easy connection to the band via the studio connections, we’re doing what we can to see if he’d be willing to contribute and work with Twilight on our next full-length album. There’s no guarantee of this happening at this time, but it does look promising. Hopefully, schedules will work out and we can make that happen someday. It would be more than an honor for me and everyone involved too work with someone from a legendary band like Sonic Youth. I’ve been a fan of that band since before I was even listening to metal back in the early ‘90s. So, hopefully, it will work out.”

Beyond Moore, Judd would like to work with others, and if collaboration with Moore transpires who knows what doors and creative opportunities such a move might open and create. Cliché, but the sky here, under Twilight, has no limits.
“Oh, yes, there are a ton of people I’d love to work with. I think our goal for the next one is to get Thurston involved, and who’s to say that even that will definitely happen. We’ll see… If there are talented people available who are interested that we know or have a connection to in one way or another, the possibilities are endless. Only time will tell if and when those potential people will get involved.”

Ultimately, the burning question for most is whether or not Twilight will ever perform live?
“We’d like to,” admits Judd, “but it’d be very difficult to get everyone together in one place for a solid week or more of rehearsals that would be necessary to get prepared to deliver a live show worth a shit. So, basically, it would cost a ton of money to make that happen since we’re all spread out all over the United States. Perhaps if we got some obscenely large offer financially from a festival or something, we could do it, but I really don’t see it happening. It’s also something that I like to keep as a ‘project’ band, personally. Nachtmystium is my outlet for live performance and I intend to keep it that way, unless of course we get an offer for something massive. That’s the only way we could feasibly do it.”

E para mim:

E pronto aqui está ele.
Este album de Twilight para mim é algo muito especial,primeiro porque gosto muito do primeiro e segundo porque junta numa só banda alguns do mais inspirados musicos vindos do Metal Extremo norte americano.
Numa breve introdução, esta banda surge no meio da decada passada e tal como agora tinha como elementos alguns nomes da cada vez mais emergente vaga de USBM sendo que quase todas as boas bandas desse universo tinham aqui um representante desde Leviathan,Krieg,Nachtmystium,Draugar e acabando em Xasthur.
Ora com isto tudo era natural que a banda fosse vista como algo interessante ou então não.
Esse album homonimo tinha algo que continua a ser fascinante mesmo com o sentimento algo "tosco" bem presente e a sonoridade bem crua conseguiu pelo menos por aqui criar um certo "culto" pessoal e que bem vistas as coisas acabou por ter o mesmo impacto noutros fans do estilo.
O projeto morreu com o tempo ou não fossem as bandas americanas demasiado carismaticas e impessoais, mas com o passar dos anos o crepusculo voltou a libertar uns raios de luz.
Com a saida do Malefic de Xasthur e do Hildolf de Draugar os elementos originais, neste caso o Blake ou Azentrious, o Wrest e o Imperial resolvem renovar a banda e fazer um update sonoro á sonoridade tosca e crua ouvida no primeiro album.
Juntamente com o Aaron de Isis, o Parker de Minsk e Stavros de The Atlas Moth, o trio inicial encontrou os elementos perfeitos para mais uma viagem de exploração apocalitica.
Quem conhece minimamente a obra destes três musicos sabe que isto seria mais que suficiente para deixar qualquer fan de musica extrema a salivar e mesmo que não se identiquem com este lado mais actual os ultimos albuns de Leviathan e Nachtmystium falam por si.
Juntando tudo isto o que se obtem?
Bem um album daqueles que nos deixa de joelhos ao fim de 2 ou 3 escutas.
Se por um lado se nota algumas influencias de Nachtmystium completamente aceitaveis diga-se a banda tem aqui momentos verdadeiramente arrepiantes que tanto vão beber a Leviathan como a Isis ou ao lado mais imperial da Dark-Wave conseguindo mistura-las e dissolve-las numa toada carregada de ambiente desolador, explosivo e apocaliptico este vindo mais do lado do Sludge-Post-Doom fodido que de melhor se ouve actualmente.
Primeiro exemplo a "Red Fields" é talvez um dos mehores temas jamais criados dentro deste genero (quando a musica explode depois daquela batida insana arrepio-me todo) consegue misturar o universo de Leviathan|LoC e Isis (ou noutro caso o som mais The Atlas Moth do Stavros) de uma maneira que acaba por definir aquilo que Twilight actualmente pode criar, enquanto noutros se assiste a um upgrade brutal do som do primeiro album confiram a "Convulsions in Wells of Fever" ou a excelente "8000 Years", por exemplo.
O lado mais digamos "BlackSludgeStoner" que a banda anunciou tem realmente aqui algum espaço ou não fossem todos os elementos "vidrados" no lado mais fumarento da musica extrema é quase todos eles de uma forma mais ou menos explicita costumam jogar com ele desde March Into The Sea,Lurker of Chalice os actuais Nachtmystium já para não falar em Isis ou Minsk estes mais evidentes e aqui estes universos fundem-se em grandeza com a sonoridade "i open my arms to the end of the world".
Com vocalizações divididas principalmente entre o Imperial,o Blake e por vezes na linguagem extremamente explosiva do senhor Jeff Whitehead os temas aqui são completamente sugados pela maquinaria do Parker e onde o Aaron dá um toque de diferença dando origem a uma hora de visões e quedas abismais para dentro de um enorme buraco negro.
Isto é assustador,negro e violento mentalmente de uma forma que nem mesmo eu estava a espera, secalhar nem eu nem ninguem é que este album é extremamente bem feito em todos os aspectos.
Aqui não se brinca com o som é o som que brinca connosco, nos sorri na cara, nos desmancha e que nos arranca cada pedaço de alma que temos cá dentro.
Bruto em envolvencia, sufocante no ambiente criado, carregado de visões apocalipticas onde o lado mais declamatorio dos vocalistas é usado como um martelo de Deus que nos esmaga e deixa um rasto de cor vermelha e amarela com um intenso cheiro a polvora e enxofre á sua passagem, neste aspecto a "Decaying Observer" parece anunciar o fim dos tempos e os acordes acusticos iniciais da "The Catastrophe Exhibition" apenas dão o toque final e nos lembra que isto é mais que um simples album de musica isto é energia bem negativa, mas ao mesmo tempo tão libertadora que nos explode nas mãos.
Curiosamente a primeira faixa cria em mim uma estranha sensação sonora, já que me faz lembrar os velhinhos Hades (agora Hades Almighty) não tanto na estrutura inicial da musica mas ao nivel do refrão e na voz usada aqui aliás parece mesmo uma especie de "Unholy Congregation" com elementos mais 70´s misturada com cenas mais actuais do lado do BM mais visionario e um tema que bem poderia ter sido criado por uns Wolves In The Throne Room.
Quando comecei a ouvir isto pensei para mim "fuck isto lembra Hades misturado com WITTR!!" e isso não é mau porque eu gosto bastante deles, alias considero mesmo esta musica uma das mais brilhantes no album.
Mas foi só aqui que notei as tais influencias exteriores aos musicos, já que os restantes temas são mesmo criados numa tonalidade USBM|Neuro-Metal das suas bandas principais e do melhor que se pode pedir actualmente dentro deste estilo.
Estas seis criaturas conseguiram criam um filha da puta de um album onde cada um trouxe consigo uma bolsa com produtos alucinogenicos dos seus projetos principais e aqui nada mais fazem que mistura-los para criar este album verdadeiramente fenomenal.
Para quem continua com duvidas acerca do USBM e da sua derivação sonora e criativa ao longo dos ultimos anos, pois bem o regresso de Twilight acaba com as duvidas e deixa a concorrencia para trás é que isto é mesmo fantastico e brilhante e ainda tem o bonus de vos dar um estalo na cara para acordarem.
Isto abriu o apetite para o novo de Nachtmystium, mas vai ser muito dificil alguma banda ultrapassar o poder que isto emana este ano...muito dificil mesmo.
Essencial!