DOPPELGANGERS XXII

  Spiral out-progresses itself on Mind Trip in A Minor! With an array of soulfully maneuvered styles; Psychedelic progressive Rock, Space- and copious Post-Rock oeuvres—the album is meant to be absorbed as a cataract-less stream. More than works.
   Omen throbs outwards splinting. Heralds of the un-Black Metal world, Antestor, permeate with a passaged dominance: A slight sympho work halfway through; atmospheric littering ahead, culminating with syncopation; Acoustics; And, violins.
  Featuring the artwork of Zdzisław Beksiński, The Horn Player.

Art Rock
Black Metal

 

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DOPPELGANGERS XIX

  They are hats, but it is how they are worn. Or what kind of hat. The Lady With a Red Hat, fuckin’ right Glenn HeadlyDirty Rotten Scoundrels. Below are two portrayals of what a woman ought to be, with Vita Sackville-West portrayed on the second item.

—William Strang
—Johannes Vermeer

DAEMONICIUM (THROUGH TIME AND DEATH)

  Art and metal have become very synonymous, limited to the palette of symbolism and/or lyrical expanse—for art that was was realized with no intention to end up as an album cover. The Vanitas and Black Metal, as far as the Mad Mane Machine is aware of, heeds back to Anaal Nathrakh—whose version was a minimalist achromatic all-inclusive approach, considering Audrey Flack‘s Vanitas.
  Daemonicium‘s Through Time and Death is a cross between a Vanitas and The Three Ages of Woman and Death. The album’s woman has fallen into a youthful stasis however, a reflection of Time’s eternity—if it’s immeasurable. The lyrics array an Old One who is constantly implored for penance.
  Displayed are riffs with proficiency, although more could have been achieved. Completely the symphonic eminence overshadows some of the instruments. Only minute bass breaks are syncopated, and even these are more of the exception—without much to write home about save for filler driller. It mostly comes out a snare and keyboard consecration when leads fortify their presence.
  The growls let-down at times on this record when paired against the spoken lyrics and shrieks. Without the keys, Through Time and Death would easily fall into the sphere of melodic Black Metal managing solos. It would not even gratify the void it is trying to fill. Falling and collapsing under its weight.
  Rusty may be a compliment to a metal band. Daemonicium may reciprocate the rusty, auburn crimsons of their cover inspirations but that is as far as it goes. The music pales a few hues in comparison. The woman’s stature gives way to a slight male elucidation and that skewers the lyrical content for the Mad Mane Machine in accordance to the Vanitas. Proficiency and purpose is key.

RE: DESIGN—EXPERIMENTAL

  Goth is aesthetic. Punk is attitude. I don’t wish to tie myself down. School is over, and my last project involved experimental apparel design. Any previous project was far from the blog’s topic, and even as the blog has slightly changed t incorporate a few objects, the would still not cut it. (Other than being unsatisfactory. Explaining. So punk.)

 

  I made a Steampunk inspired attire. Upper torso is adorned in a leather crop-top (originally to be cap-sleeved), whose rear was fashioned into a tail-coat design. It has a bishop collar with ingrained spikes and shoulder studs. 3 on either side.
  It has a  waistband with collapsible pipe cords, half split lengthwise for ease of attachment on the newly formed flat side.

  The lower torso is a circular skirt, opening at the front, and a half-cut pipe at the hemline of the right side. It is a theme garment. Best suited as a costume. The back is overrun by a spine with spikes contrived to reptile-like protrusions. From hairline to butt.

 Materials:
Recycled leather.
Golden chains/Golden studs.
Cardboard      —Spikes. Spine.
Nylon             Waisband. Holding plastic cords intact.
Plastic cords.
Aluminium foil Wrapping spikes and spine edges.
Black paint     Evening garment and material colour; exposed spine area and nylon.

HORRIFIED (IN THE GARDEN OF THE UNEARTHLY DELIGHTS)

  Whichever congregation achieves much the herald of ripe sapience. Doom Metal is the oldster who crouches forth; where the seminal genres copulate to promulgate the eternal torch of Metal. Being there from the advent and managing to lay distanced. Be here a style that straddles high art and its limiting conformities.
  In the Garden of the Unearthly Delights features a mark between the mentioned outlines. tainting its presence with shades of either side; either a keenness on non indulgence; or a failure to make the decisive leap. Horrified counter forth with an orchestra of gloom. Forlonness is an aura that unfolds like the wings of the fallen. Elisaph‘s Death Doom guitars sear around an orchestra that provides a rhythm for the most part. Pulsating at its opening and closure.
  The first of dark melancholy instrumental breaks plow with non word hymns of a female vocalist. But not to sway into the opera kind, nonetheless, the only feature. Turns out the orchestra is an elastic band! Getting to Down at the Valley of the Great Encounter, anticipatory drums presage the climax—and how immense Death Doom should be about. An ambulation of instruments: From the dramatic drums; to the soaring Death Doom guitars; to the album’s better growls. Taking the shape of the painting’s polymorphs—well thought-out mutations—before coruscating and embodying a cross-breed itself; where an acoustic shed bleeds into a short flute composition. To play the devil’s clarinet; an extended knows. This is another track that skirts with Black Metal.
  Horrified‘s ideas change oftenly, sometimes for the unfitting. 4 acoustics are a lot for a 39 minute record. Too many passages, where the triptych’s main are 3. They even manage to teeter on raw melodic Death Metal, the old school kind, as they harken The Poetry of War.
  The closing enchantment glides the sombre and solemn wake of drifting penance. The hoars: A L’enfer – la chute des damnés ; or L’ascension vers l’empyrée – le paradis portal. As the dead weight floats away, apart from the other Giger-esque cover.