Departure_Chandelier-Satan_Soldier_of_Fortune-CD-2024-GRAVEWISH
- Section
-
MP3/FLAC
- Group
- GRAVEWISH
- Size
- 69,93 MB
- Files
- 12
- Date
- 2024-10-19
NFO
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██▌ Artist...: Departure Chandelier ░▐██▌
░▐██ Album....: Satan Soldier of Fortune ░██▌░
▓▐██ Year.....: 2024 ▓▐██▓
▓▐██ Rel. Date: 2024-10-19 ░▐██▓
▐██ Genre....: Black Metal ██▌░
░ ██▌ Label....: Zero Dimensional Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Retail ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Intro (Napoleonic Battlefield Cleanup) 2:30
2. By Way of Torchlight from Parliament to Catacombs 6:13
3. Hard as a Coffin Nail 6:10
4. Accipitridae 6:13
5. Interlude (Graverobbers Profit Off the Fallen of Both 1:12
Sides)
6. Hail Dark Forces 5:46
7. Satan Soldier of Fortune 7:33
8. Outro (Dragged via Musket Straps and Set upon Bivouac 2:04
Fires)
37:41
Following a debut that bored more than it intrigued despite the mild
hype it managed to generate, Departure Chandelier dodge the very real
danger of melting into a cutesy novelty act with the follow up æSatan
Soldier of FortuneÆ. Here, they have their cake and eat it, maintaining
the Napoleonic garb but leaning into their real talents as black metal
revivalists par excellence.
Reaching to a form of Celtic Frost derived black metal that thrived
before Norway reigned supreme (referenced maybe only by Darkthrone out
of the big names of the Nordic set), Departure Chandelier operate with a
laser like focus on simple melodic themes, expressed via intermittent
guitar hooks sitting atop a foundation of basic, punk derived power
chord play, finding their harmonic counterpoint through clever but
highly accessible use of keyboards.
It is perhaps fitting that û despite being Canadian û they lift most of
their influence from Continental European black metal from the early to
mid-90s. The rich, flowing militarism, the marching tempos, the
pageantry supplemented with the moral ambiguity of power chord driven
black metal. Successfully working with these elements seems to elude
most contemporary voices, despite their utterly rudimentary form. Music
both dignified and simple is often the hardest craft to grasp for
experienced and beginner musicians alike.
In this sense, although Departure Chandelier may at first appear to be
nothing more than a cheap novelty on which to hang some disposable black
metal, there is at second glance something of real value at work, at the
meeting point of composition and thematic inspiration.
French history û and by extension European history û in the years
immediately following the French revolution is often overlooked by
metal, with the vast majority of bands preferring to linger in antiquity
or the cataclysms of post industrial military horrors. But the period
roughly following the American Revolution up to the start of the long
peace in 1815 was replete with religious anxiety, the fruits of the
scientific revolution beginning to ripen via industrialismÆs
reengineering of society, new forms of warfare on a scale not seen
before, and of course all manner of new political propositions û
beginning to coalesce around their left and right wing orientations û
filling the void left by the rolling heads of the old aristocratic
order.
But Departure Chandelier are not utterly at the mercy of this
intoxicating miasma of inspiration. Their focus is limited, preferring
to imply grandeur and chaos rather than frame it in concrete. The riffs
are austere but focused, the keyboards sprinkle the primal soup of
linear guitar and drum patterns with hints of scale and melodramatic
import, never falling into the trap of an obvious intentionality. By
cultivating this relatively modest interpretation of black metal, it
allows Departure Chandelier to truly immerse themselves û and by
extension the listener û in a project of retelling macro historical
events in sonic form, events that are too large and multi-dimensional
for one single artwork or discipline to frame satisfactorily.
This is a reappraisal of a historical period through a medium that has
largely ignored it until now. It displays an adept understanding of
black metal as an evolutionary process. A relatively modest form of
music as far as raw content goes. But a vehicle uniquely situated to
retell events too large for the individualist perspective. This process
is then inserted into the thematic material, allowing the two competing
dimensions to interact and enhance one another. Late first wave black
metal at the intersection of early symphonic forms is therefore given a
new lease of life, and a well trodden period of history receives a
fascinating retelling through a medium still grappling with its
contours.
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Files
| Path | Size |
|---|
| 00-departure_chandelier-satan_soldier_of_fortune-cd-2024.jpg | 1,03 MB |
| 00-departure_chandelier-satan_soldier_of_fortune-cd-2024.m3u | 512 B |
| 00-departure_chandelier-satan_soldier_of_fortune-cd-2024.sfv | 592 B |
| 01-departure_chandelier-intro_(napoleonic_battlefield_cleanup).mp3 | 4,32 MB |
| 02-departure_chandelier-by_way_of_torchlight_from_parliament_to_cataco | 11,18 MB |
| 03-departure_chandelier-hard_as_a_coffin_nail.mp3 | 10,92 MB |
| 04-departure_chandelier-accipitridae.mp3 | 11,07 MB |
| 05-departure_chandelier-interlude_(graverobbers_profit_off_the_fallen_ | 1,87 MB |
| 06-departure_chandelier-hail_dark_forces.mp3 | 10,89 MB |
| 07-departure_chandelier-satan_soldier_of_fortune.mp3 | 14,66 MB |
| 08-departure_chandelier-outro_(dragged_via_musket_straps_and_set_upon_ | 3,97 MB |
| departure_chandelier-satan_soldier_of_fortune-cd-2024.nfo | 19,30 KB |