Best viewed without Internet Explorer, in x resolution or higher. When this band first started, a few years ago now, they were mainly criticized in certain underground circles for having a sound, style, or general outlook that was very close to Emperor. At that time - this is only two years ago, I believe - I think the main intent within the USBM scene was a sort of 'turning-away' from European influences, in order to concentrate on and build a strictly American frame of references or a series of stylistic reserves that did not Just Found Out - Zero Defex - Demo with undue reverence to Scandinavian influences.
There is still a tremendous underground sentiment in this country, a groundswell towards this end, a pathological shying away from Norwegian references, and this is Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence as it should be. I think the main locus of this interruption of homages takes place around the eternal conflict of keyboards vs.
Notice, however, that the physical limitation of not using keyboards does not automatically bring about an increase in guitar-based melodic weight, as most of these bands leave out the keyboards without seeking to build dark atmospheres with any other instrument Now that the USBM scene has expanded and grown, stretching its inclusive stylistic boundaries, I think there is room enough for all kinds of different bands - including a sizeable niche for Blood Stained Dusk - and the arguments against keyboards as being primarily an instrument of the Europeans are no longer valid.
In terms of lineage, Burzum, Emperor, and other Norwegian bands have shown beyond a doubt that synths Immortal has always used them can be used to effectively in black metal, not only as background coloring but also as lead instruments or the bearers of the main melodies in songs.
As always in music, it is just a matter of degree, restraint, and structuring Blood Stained Dusk, then, are one of those bands that uses them, Ливень - Various - Ёлки-Палки. Хит-FM 99 believe, and this is only my opinion, in a 'correct' mainly meaning that it suits my own tastes manner - as a drapery, backdrop, and structural emphasis undergirding the guitars, much like on the first Emperor album.
In the first song here, the epic, melancholy-drenched 'Moon Behind the Storm', you can hear this technique easily, as it is open and obvious - all guitar progressions go hand-in-hand with a synth backdrop or accompaniment, tracing out slow changes in melody through the time-honored now anyway traditional manner of tremelo riffing in tandem with key washes, huge fading and swelling waves of epic evocation.
This isn't the kind of synth playing that Cradle of Filth or Dimmu Borgir manipulate, for example, where the keys are employed to create swirling vortexes of sound placed at the forefront, overriding and often outpacing the guitars which is highly annoying to me, for the most partbut rather the honored, Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence , methodology of building extra layers to tint, deepen, and thicken the general sound of the band - sonic tapestry weaving.
A very good example of this technique, again, would be in the overtly Emperor-influenced third song 'Renounce the Dawn', which leaps into my ears as high speeds, but seems - because of the synth work - to create an overriding, drowning atmosphere that negates any progressive elements or aspects of tempo. This is what was always the best part of 'In The Nightside Eclipse' for me - the fact that the drums were constantly blasting, pacing through rapid fills or tremendous cymbal work, and yet Blood Stained Dusk excel at this kind of music making.
Come to think of it, I don't believe there is another black metal band in America that sounds quite like this one What is also very surprising to me about this release is the morbid pathos present, the suffocating, darkling sadness always evident and brooding dangerously throughout all the melodies Honestly, I didn't know this band had it in them to produce something this emotionally powerful, as Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence is just an overwhelmingly, endlessly melancholy series of compositions.
Fans of black metal record art should make sure to seek this release out, as Michael Riddick has once again created a very pleasing series of images to complement the music within, and while he and the band were not exactly given a large amount of space to develop any important concepts, the art does correspond, in a genuine fashion, remarkably well with the music To sum up, I can't help but think that Blood Stained Dusk, with the writing and releasing of this album, has reached a new pinnacle with their own musical skills, and they should be proud of what they accomplished here.
To be sure, the Emperor influences still remain, but they are being shed - one can certainly hear this in the music - and this band, over time, should step boldly forward with a more original sound as they I Think I Love You - Del Shannon - The Further Adventures Of Charles Westover and become more confident in their own internal explorations and songwriting.
In any case, this is a very good album, and one that I know I will enjoy listening to over and over again Even the band itself doesn't appear too original. Blood Stained Dusk looks like your standard black metal project with subpar production, lots of tremolo picking, and random keyboard effects thrown in to make a dark and evil atmosphere.
Doesn't this sound like the first Emperor album? Also, the band is from Alabama which Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence turn some heads but why should that matter? Nevertheless, there's a lot to be offered on Dirge of Death's Silence and you'd be suprised that, despite the stark similarities between In the Nightside Eclipse, the guys behind Blood Stained Dusk have a few small tricks up their sleeve to make for a truly haunting and dark black metal album.
Dirge of Death's Silence has a pretty "standard" production type. The music has a very thin sound, but so much is going on in the background. The keyboards and synths in the background make the overall sound feel really busy.
It's tough to hear everything the first time you run through this. Foggy would be a way to describe it, but not a particularly dense fog. It's nearly impossible to hear the bass, but the guitars are far from buried. There are a ton of tremolo riffs and it's actually not that hard to pick out the notes if you really wanted to. The guitars don't play a huge role - that main source of this album comes from the overall feel and production of this Mel Tillis - The Very Best of Mel Tillis. The vocals do an incredible job contributing to the mood of this album.
In the midst of all the chaotic sound going on, it seems the vocalist, Dageth, is really trying hard to make his voice known. It's a great effect because he really seems into it and because there seems to be competition between all the other elements, the end product is somewhat grandiose.
This is the dark, majestic sound I've been looking for! There's one song on this album that completely blows everything else away. That's "Moon Behind the Storm.
The riffs work well with the Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence to build up into a truly mysterious atmosphere until there's a tempo change in the middle.
I know I'm not going to be able to give it enough justice in this review, but the middle part of this song is so goddamn awesome. Dageth's shrieky screams sound so genuine and energetic but the real greatness again comes from the setting of the very chaotic music. This is some pretty intense stuff. The best part is the blatant arpeggio-like effect from the guitars. Combined with those screams, I get chills down my spine every time I listen, which I usually put on repeat times until I finally decide to move on.
The chills get even colder when the song sort of softens up and everything "levels" out into one blur that still is really memorable. Then the song kind of goes back to the style like how it started.
For sake of a reference, Emperor fans may find a parallel to "Into the Infinity of Thoughts. If you liked the first track, chances are you'll have no problem with the rest.
Tracks like "Bringer of Everlasting Domain" continue that trend of evil, majestic black metal, utilizing keys in their most regal aspect. Tracks like "Saguinas Path" focus more on riffs and melodies. I'm very partial to this song as well because the song sort takes its time progressing and varying the ideas, but it's subtle. There's a simple riff going but it slowly increases in octaves on the fretboard. I'm not a musician so perhaps I got my terminology wrong As opposed to an evil mood, "Saguinas Path" is something I would consider more melancholic.
It's also catchy, which isn't what I expected at first. I guess the main problem with Dirge of Death's Silence is that you really only need a few songs. While there isn't a Moon Behind The Storm - Blood Stained Dusk - Dirge Of Deaths Silence track on here, I really only stick to my favorites when ever I'm in the mood for Blood Stained Dusks. This is all opinion based however, you may actually greatly prefer the songs I didn't describe Cocaine (Original Mix) - The Fish House - Cocaine. Dirge of Death's Silence is ultimately proof that "ripoffs" can still be awesome.
Anyone who likes this type of low-fi black metal or that metal that makes you want to gaze into the fullmoon while in the woods should definitely check this out! I first wrote a review of this release only days after hearing it, and cannot help regretting my haste. Not that it's anything below excellent, but I feel that in my excitement about the band being from the US not Scandinavia, as one would expect and the breathtaking keyboard-supported riffs, I forgot about the fleetingness of all first impressions.
This album is incredibly reminiscent of Emperor's "In the Nightside…", and as I stated in my first review, it definitely surpasses the Norwegians' Kratapult Remix - Various - Katapult Vol.2 - A Karat Mix By Krikor soundwise and atmospherewise, thanks to the fact that the keyboards do not devour the guitars and force them into the background.
I sure don't. After a week of listening, one feels the album has no more secrets to reveal and nothing more to offer. Such is, in my opinion, the problem of all so-called atmospheric BM. Nevertheless, provided that you listen to it a reasonable number of times and do not abuse things, you will end up placing it in your CD deck whenever you feel like experiencing majestic Black Metal beauty.
Unfortunately, it is a bad homage. Quite a few times, it becomes watered-down plagiarism. Fans of the classic older Emperor aesthetic of buzzing arpeggiated blocks of chords moving underneath deceptively simple bass and keyboard work may initially be excited that a modern band has so completely captured such a grand style so worthy of tribute and further experimentation.
However, there is no experimentation here, and the tribute is lackluster at best. Guitar work is buzzing with tremolo, but not particularly smooth or raw; managing to be infuriatingly and dismally uninspired. More complex phrasing is dropped or Mary Jane Girls - Walk Like A Man completely as the simple framework of Emperor songs is perverted just enough to avoid a lawsuit and also washed clean of its intricacy as the arpeggiated runs and cascading unusual harmonies that would normally clash with the other minimalist elements of the band are completely overlooked.
There are no deceptively simple diades and triades split between complimentary instruments. I remember no discernable bass parts. Drumming here is sloppy and mediocre: nothing that makes you want to quit listening to this ever again, but just a noticeable lack of anything worth mentioning.
Fills are sparse and lackluster, and rolls are overdone and far too similar to each other. Vocals are not without their hateful charm, but they do nothing to save this release from being instantly forgettable; reminding you of the band it rips off again and again. Predictable is the best way to describe this release.
Boring would be another good choice. What takes this below the bottom of the fortieth percentile is the fact that it sounds like a well-recorded live album of a drunk Emperor cover band who messed The Original Human Beat Box - Doug E.
Fresh - Just Having Fun all the riffs and overly simplified all the songs. Sadly, this is far from the worst usbm band out there. Blood Stained Dusk are an amazingly brilliant band. They remind me of early Emperor, production and all, but by no means are they a clone band. Tell me, when did Emperor ever use acoustic guitars to introduce a song? It begins with a nice acoustical passage and then the fury begins. This is brilliant stuff. Haven't heard any Black metal this good since Emperor.
The fury rages on and on throughout the album, but it's not a total blastfest. There are intricate passages all over this album. The last song is especially entrancing. Funeral of Lamentation starts with a thunderous riff that builds up throughout the song. It is a 9 minute epic. Buy this album now!! Metal Archives loading Username Password Login.