Por
vezes, o prestar homenagem termina numa cópia fraca e sem sentimento, mas há
aqui vários elementos que afastam essa ideia: o facto de ser um músico
conceituado – in my book at least – com provas mais que dadas nestas aventuras
das “Artes Negras”, e a noção de como levar a cabo um “tributo”, fazem com que
o mesmo seja um produto mais que válido (muito mais que válido). Esta Demo,
dada a conhecer ao Mundo em 2016, é composta por 1 Intro e 4 temas. Pelos
vistos, a mesma só era passível de ser obtida contactando o músico.
Pessoalmente, desconheço se tal ainda é assim ou se já há uma distribuição mais
ampla e global, especialmente tendo em conta que os 2 Splits que sucederam esta
Demo – com Reptile Womb e Hail Conjurer, ambos em 2019 – foram editados por
editoras – Black Omen Records e Bestial Burst – e até esse facto joga em benefício
do mesmo. Como me foi dito já há algum tempo por um dos membros de Forbidden
Temple, o Black Metal há muito que saiu do underground e se espalhou pelo
mainstream, pelo que esse sentimento de fidelidade é sempre bem vindo. Haja
consistência nas acções dos músicos e, desde que sigo este Senhor que esse é o
sentimento que retiro do mesmo. Pode, sim, ser uma daquelas jogadas
recorrentes, mas se é, não deixa de ser exemplar. Quase que se sente o mesmo
que aquando do primeiro contacto com o Black Metal, aquela honestidade, aquela
teatralidade que, naquele momento não era teatro, mas sim a visão que cada um
daqueles músicos tinha da música que tocava, do Black Metal. Hoje em dia
estranhamos, quiçá, esta postura e predisposição para com a música e o meio,
talvez porque não o concebemos como possível, hoje, em 2020, em pleno séc. XXI.
Ceremonial Torture, Witchcraft, Black Feast, etc e etc, seja pelo facto dos
finlandeses terem, porventura, outra postura perante o Black Metal, seja porque
as bases do género no país estão assentes numa estrutura deveras “visceral” e
associadas a uma postura, a uma estética, a uma espiritualidade ou o que quer
que seja, muito específicas e próprias, mas ainda se sente essa adoração ao que
foi feito no Passado.
Isto
sim, poderá soar a cliché e a discurso de embelezamento da obra, mas no final é
o sentimento que o ouvinte retira da música, que perdurará. No fundo, creio que
sinto falta de músicos que reneguem o Presente em detrimento do Passado,
insistam em não seguir uma linha “moderna” do Black Metal e emanem, de cada uma
das suas criações, aquele aroma a Morte e a Decrepitude, prestando assim uma real
homenagem ao Black Metal e à sua essência primordial.
ENGLISH VERSION:
Ceremonial Torture – “Majestic Dragon Moon” (2016)
Alerted by a friend with a refined taste in Black Metal - and who knows very well what I like - I arrived at this project. Late, really, but I'm here. By doing a quick search I quickly got to the roots of this multi-instrumentalist and, for those who, like me, understand that there is still Black Metal true to their roots, having only to "dig", the following names will bring a smile of satisfaction. Diabolus Flagellation, Necromonarchia Daemonum, Witchcraft, Black Feast, Moonfall, OfDoom, Under Horns, Necromantical Psalm, Throat Vomica. It should be noted that each of these projects / bands excels at what they do (or did, since not all are “alive”): Black Metal rooted in the old Finnish school (Beherit worship, with upgrades and variations). Here under the moniker Goatprayer Doom Predictor, but it could also be Goat Prayer of Black Baptism, Demonomancer of the Rising Curse of Witchery or Nazarene Beheader (hate me, but these gimmicks still mess with the juvenile Black Metal fan, who drew pentagrams and inverted crosses on the walls of the Lyceum). Finns in a process of worshiping the Greek Black Metal classics: Varathron and Necromantia. Use of a strong bass that feels like it's present, being one of the conductors of music. Key features provide gloomy environments and reminiscences of past times. It sounds dated, but it doesn't sound old, it doesn't sound inappropriate. There is a search here for that sound so characteristic of Greece in the 80s and 90s, delicate and “romantic”, but equally frightening and melancholy.
Sometimes, paying homage ends in a weak copy and
without feeling, but there are several elements that rule out that idea: the
fact that he is a renowned musician - in my book at least - with more evidence
than given in these adventures of the “Black Arts” , and the notion of how to
carry out a “tribute”, make it a more than valid product (much more than
valid). This Demo, made known to the World in 2016, consists of 1 Intro and 4
themes. Apparently, it could only be obtained by contacting the musician.
Personally, I don't know if this is still the case or if there is already a
wider and global distribution, especially considering that the 2 Splits that
followed this Demo - with Reptile Womb and Hail Conjurer, both in 2019 - were
edited by publishers - Black Omen Records and Bestial Burst - and even that
fact plays to the benefit of it. As I was told some time ago by one of the
members of Forbidden Temple, Black Metal has long since left the underground
and spread through the mainstream, so that feeling of fidelity is always
welcome. There must be consistency in the actions of the musicians and, as long
as I follow this Lord, that is the feeling I get from him. It may be one of
those recurring moves, but if it is, it is still exemplary. It almost feels
like the first contact with Black Metal, that honesty, that theatricality,
which at that time was not theater, but rather the vision that each of those
musicians had of the music they played, of Black Metal. Nowadays, perhaps, we
are surprised by this posture and predisposition towards music and the
environment, perhaps because we did not conceive it as possible, today, in
2020, in the middle of the century. XXI. Ceremonial Torture, Witchcraft, Black
Feast, etc. and etc., either because the Finns may have another stance towards
Black Metal, or because the bases of the genre in the country are based on a
very “visceral” structure and associated with a stance, to aesthetics,
spirituality or whatever, very specific and specific, but you still feel that
adoration of what was done in the past.
This may sound like a cliché and a speech to embellish
the work, but in the end it is the feeling that the listener draws from the
music, which will endure. Basically, I believe I miss musicians who renounce
the Present to the detriment of the Past, insist on not following a “modern”
line of Black Metal and emanate, from each of their creations, that aroma of
Death and Decrepit, thus rendering a real tribute to Black Metal and its
primordial essence.
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