El Tópic de Bell Witch [cuando el funeral doom se convierte en AMOR]

sirconradburns escribió:

Esto ya circula por ahí...

Oh

Ayer recibí mi copia en vinilo, pensaba que hasta septiembre no la iba a tener en casa, y la verdad es que me ha gustado mucho.

Veremos con próximas escuchas pero la primera escucha ha sido acojonante.

No lo había escuchado hasta hoy y muy bien.

Uff no sé, hubiera estado mejor como EP

Le daré más escuchas evidentemente, ya que los veo en directo en breve, pero más me habría cundido uno nuevo de Bell Witch

Mark your calendars for 8am ET / 2pm CET tomorrow, April 18th. We’ll be announcing something big and don’t want you to miss out.
Until then!

ostras... después de grabar un disco como Mirror Reaper, cualquier banda debería separarse... el listón es demasiado alto...

Un tirria inexplicable.

BELL WITCH - Future's Shadow Part 1: The Clandestine Gate



https://bellwitch.bandcamp.com/album/futures-shadow-part-1-the-clandestine-gate

21 de abril


Caen fijo en rb

Nothing's bigger than life. All vastnesses -- expanding space, infinite time -- crouch inside of consciousness. On a historical scale, to say nothing of a cosmic one, the individual human life vanishes, and yet it's the only aperture any of us get into reality. It's barely there, and it's all there is.

That's the paradox Bell Witch drives at. For more than a decade, the Pacific Northwestern doom metal band has sent tides surging over the seawalls of the song form, unravelling conventional expectations about the ways music stations itself in time to absorb a listener's attention. Rather than seek catharsis, the duo's songs heave themselves through time at a glacial pace, staving off resolution in favor of a trancelike capsule eternity. Invoking both boundlessness and claustrophobia in the same charged gesture, Bell Witch cultivates a sense of time outside of time, an oasis inside an increasingly frenetic media culture.

For their new album, The Clandestine Gate, bassist/vocalist Dylan Desmond and drummer/vocalist Jesse Shreibman exploded Bell Witch's bounds. Like 2017's lauded Mirror Reaper, The Clandestine Gate is a single 83-minute track -- a composition that pulses and breathes on a filmic timeframe. It constitutes the first chapter in a planned triptych of longform albums, collectively called Future's Shadow. "Eventually, the end of the last album will be looped around to the first to make a circle," says Desmond. "It can be continuously looped, like a day cycle. This would be dawn. The next one would be noon. The following one would be sundown, with dawn and sundown both having something of night."

Bell Witch began tracing the sequences that would form Future's Shadow in live performance while on tour with Neurosis and Mono. At first, Shreibman and Desmond planned to release each chapter in the sequence as they completed it, touring each album in between. Then, in early 2020, pandemic restrictions forced them to step back from that timeline. Locked out of their rehearsal space, they worked on what would become The Clandestine Gate at a slower burn than any of their previous projects. The album germinated over the course of more than two years, a pace that allowed their music to evolve organically to a state of more focused, grounded minimalism.

While traces of organ and synthesizer hovered over Mirror Reaper and Bell Witch's 2020 collaboration with Aerial Ruin, Stygian Bough Volume 1, The Clandestine Gate drew those instruments closer to the center of its compositions. "We started experimenting with letting more of the elements shine on their own," says Shreibman. The band reunited with their longtime producer Billy Anderson as they began negotiating these new compositional weights. The record begins with an eight-minute organ passage that builds slowly, like the susurrations of dawn, before Desmond's distortion-choked bass cleaves it open. Throughout their new material, Shreibman and Desmond also took the opportunity to implement new vocal strategies. "I wanted the vocals to be more active, rather than being on top of the soundscape," notes Shreibman. On The Clandestine Gate, Bell Witch's twinned voices build off of the chantlike textures of previous records while steering toward more developed melodic lines, structured harmonies, and rhythmic death metal growls.

The expansive scale of Future's Shadow gave Bell Witch more leeway to plumb themes that have long percolated throughout their work. The concept of eternal return -- that time doesn't end and death doesn't punctuate life, but both go on forever in an infinite loop no one can remember -- inflected the development of The Clandestine Gate after Desmond encountered the idea in Nietzche's book The Gay Science. "I read the eternal return concept and was like, 'oh, yeah, all of our songs have been about this all the while," Desmond says. "Anything could be applied to a cyclical point of view. The sun comes up every morning. Spring comes every year, winter comes every year. Everything has a cycle: a life, a death, an existence, a non-existence."

The films of 20th century Russian director Andrei Tarkovsky similarly supplied a framework for the movements of The Clandestine Gate and Future's Shadow as a whole. Tarkovsky's movies creep glacially, powered by the performances of his actors, which imbue his weathered landscapes with a tumultuous interiority. Simple actions -- carrying a candle across a room, tossing a metal nut into an overgrown field -- carry life-and-death weight, a strategy echoed in Bell Witch's suspension of minimal melodies across planetary expanses. "Tarkovsky's intention of poetry through visuals has a strong parallel to ours through sound," notes Desmond. "His drawn-out scenes are similar in execution to what we're doing musically, and his films are a big inspiration for this album and triptych."

The immense gravity of a work like The Clandestine Gate allows these ideas to simmer in a way that feels profoundly and somatically intuitive -- not just a philosophical exercise, but an embodied truth. By slowing down both their creative process and the tempo of the music itself, Bell Witch digs even deeper into their long standing focus: the way life spills on inside its minuscule container, both eternal and fleeting, a chord that echoes without resolution. As both the beginning and end of the Future's Shadow triptych, The Clandestine Gate opens a new chapter in Bell Witch's macroscopic minimalism: the start of a yawning orbit around an increasingly massive core.

Pues nada ya sabemos quién abre el mainstage el viernes.

Forforcio escribió:Pues nada ya sabemos quién abre el mainstage el viernes.

Me salvan el festi.

Por favor, por favor, por favor, por favor

Ahí lo tienes, sir conrad

Ahí estamos!

Me quedo sin Ashenpire, eso si. Putada, pero menos.

sirconradburns escribió:Ahí estamos!

Me quedo sin Ashenpire, eso si. Putada, pero menos.

yo lo decidiré en el último momento...

Que tocan, a la vez que Ashenspire?

la portada es una preciosidad...

Emeritus Pope escribió:Que tocan, a la vez que Ashenspire?

eso parece...

silver escribió:BELL WITCH - Future's Shadow Part 1: The Clandestine Gate



https://bellwitch.bandcamp.com/album/futures-shadow-part-1-the-clandestine-gate

21 de abril


Caen fijo en rb

Nothing's bigger than life. All vastnesses -- expanding space, infinite time -- crouch inside of consciousness. On a historical scale, to say nothing of a cosmic one, the individual human life vanishes, and yet it's the only aperture any of us get into reality. It's barely there, and it's all there is.

That's the paradox Bell Witch drives at. For more than a decade, the Pacific Northwestern doom metal band has sent tides surging over the seawalls of the song form, unravelling conventional expectations about the ways music stations itself in time to absorb a listener's attention. Rather than seek catharsis, the duo's songs heave themselves through time at a glacial pace, staving off resolution in favor of a trancelike capsule eternity. Invoking both boundlessness and claustrophobia in the same charged gesture, Bell Witch cultivates a sense of time outside of time, an oasis inside an increasingly frenetic media culture.

For their new album, The Clandestine Gate, bassist/vocalist Dylan Desmond and drummer/vocalist Jesse Shreibman exploded Bell Witch's bounds. Like 2017's lauded Mirror Reaper, The Clandestine Gate is a single 83-minute track -- a composition that pulses and breathes on a filmic timeframe. It constitutes the first chapter in a planned triptych of longform albums, collectively called Future's Shadow. "Eventually, the end of the last album will be looped around to the first to make a circle," says Desmond. "It can be continuously looped, like a day cycle. This would be dawn. The next one would be noon. The following one would be sundown, with dawn and sundown both having something of night."

Bell Witch began tracing the sequences that would form Future's Shadow in live performance while on tour with Neurosis and Mono. At first, Shreibman and Desmond planned to release each chapter in the sequence as they completed it, touring each album in between. Then, in early 2020, pandemic restrictions forced them to step back from that timeline. Locked out of their rehearsal space, they worked on what would become The Clandestine Gate at a slower burn than any of their previous projects. The album germinated over the course of more than two years, a pace that allowed their music to evolve organically to a state of more focused, grounded minimalism.

While traces of organ and synthesizer hovered over Mirror Reaper and Bell Witch's 2020 collaboration with Aerial Ruin, Stygian Bough Volume 1, The Clandestine Gate drew those instruments closer to the center of its compositions. "We started experimenting with letting more of the elements shine on their own," says Shreibman. The band reunited with their longtime producer Billy Anderson as they began negotiating these new compositional weights. The record begins with an eight-minute organ passage that builds slowly, like the susurrations of dawn, before Desmond's distortion-choked bass cleaves it open. Throughout their new material, Shreibman and Desmond also took the opportunity to implement new vocal strategies. "I wanted the vocals to be more active, rather than being on top of the soundscape," notes Shreibman. On The Clandestine Gate, Bell Witch's twinned voices build off of the chantlike textures of previous records while steering toward more developed melodic lines, structured harmonies, and rhythmic death metal growls.

The expansive scale of Future's Shadow gave Bell Witch more leeway to plumb themes that have long percolated throughout their work. The concept of eternal return -- that time doesn't end and death doesn't punctuate life, but both go on forever in an infinite loop no one can remember -- inflected the development of The Clandestine Gate after Desmond encountered the idea in Nietzche's book The Gay Science. "I read the eternal return concept and was like, 'oh, yeah, all of our songs have been about this all the while," Desmond says. "Anything could be applied to a cyclical point of view. The sun comes up every morning. Spring comes every year, winter comes every year. Everything has a cycle: a life, a death, an existence, a non-existence."

The films of 20th century Russian director Andrei Tarkovsky similarly supplied a framework for the movements of The Clandestine Gate and Future's Shadow as a whole. Tarkovsky's movies creep glacially, powered by the performances of his actors, which imbue his weathered landscapes with a tumultuous interiority. Simple actions -- carrying a candle across a room, tossing a metal nut into an overgrown field -- carry life-and-death weight, a strategy echoed in Bell Witch's suspension of minimal melodies across planetary expanses. "Tarkovsky's intention of poetry through visuals has a strong parallel to ours through sound," notes Desmond. "His drawn-out scenes are similar in execution to what we're doing musically, and his films are a big inspiration for this album and triptych."

The immense gravity of a work like The Clandestine Gate allows these ideas to simmer in a way that feels profoundly and somatically intuitive -- not just a philosophical exercise, but an embodied truth. By slowing down both their creative process and the tempo of the music itself, Bell Witch digs even deeper into their long standing focus: the way life spills on inside its minuscule container, both eternal and fleeting, a chord that echoes without resolution. As both the beginning and end of the Future's Shadow triptych, The Clandestine Gate opens a new chapter in Bell Witch's macroscopic minimalism: the start of a yawning orbit around an increasingly massive core.

Tiene la misma duración exacta del Mirror Reaper

Pues muy bien esto en directo, a pesar de ser música que no habíamos escuchado, con un bonito crescendo final.

Bolazo se han marcado estos dos

DeepFritz escribió:Tiene la misma duración exacta del Mirror Reaper

joder, nos han metido el mismo tema con otra portada

sirconradburns escribió:Pues muy bien esto en directo, a pesar de ser música que no habíamos escuchado, con un bonito crescendo final.

Bolazo se han marcado estos dos

El disco es una maravilla pero claro tienes que sacar hora y media sin molestias y con los 5 sentidos puestos para disfrutarlo. Las veces que lo he conseguido he sido un viaje alucinante

May 26 Seattle, WA @ Northwest Terrorfest
August 11 Jaromer, CZ @ Brutal Assault Fest
August 12 Regensburg, DE @ Void Fest
August 14 Antwerp, BE @ Kavka
August 15 London, UK @ Oslo
August 16 Sheffield, UK @ Corporation
August 17 Manchester, UK @ Bread Shed
August 18 Bristol, UK @ ArcTanGent Festival
August 20 Saint Nolff @ Motocultor
August 22 Nijmegen, NL @ Doomroosje*
August 23 Cologne, DE @ Gebaude 9*
August 24 Karlsruhe, DE @ P8*
August 25 Winterthur, CZ @ Gaswerk*
August 26 Lonate Ceppino, IT @ Black Inside*
August 27 Bologna, IT @ Cinema Perla*
August 29 Wroclaw, PL @ Stary Klasztor*
August 30 Leipzig, DE @ UT Connewitz*
August 31 Berlin, DE @ Lido*
September 1 Hannover, DE @ Cafe Glocksee*
September 3 Copenhagen, DK @ Killtown Deathfest*
October 11 Vancouver, BC @ Rickshaw Theatre+
October 12 Calgary, AB @ Dickens+
October 13 Edmonton, AB @ The Starlite Room+
October 14 Saskatoon, SK @ Louis'+
October 15 Winnipeg, MN @ Park Theatre+
October 17 St Paul, MN @ Turf Club+
October 18 Milwaukee, WI @ Turner Hall+
October 19 Iowa City, IA @ Gabe's+
October 20 Chicago, IL @ Sleeping Village+
October 21 Detroit, MI @ Smalls+
October 22 Toronto, ON @ Trinity St. Paul's Church Sanctuary+
October 24 Montreal, QC @ La Sala Rossa+
October 25 Portland, ME @ SPACE+
October 26 Boston, MA @ Sonia+
October 27 New York, NY @ (Le) Poisson Rouge+
October 28 Philadelphia, PA @ First Unitarian Church Sanctuary+
October 29 Baltimore, MD @ Ottobar+
October 31 Carrboro, NC @ Cat's Cradle+
November 1 Atlanta, GA @ Boggs Social & Supply+
November 2 New Orleans, LA @ Santos+
November 3 Houston, TX @ Black Magic Social Club+
November 4 Austin, TX @ The Parish+
November 5 Dallas, TX @ Texas Theatre+
November 7 Albuquerque, NM @ Sister+
November 8 Denver, CO @ Marquis+
November 9 Salt Lake City, UT @ Urban Lounge+
November 10 Boise, ID @ El Korah Shrine+

segunda escucha

es buen disco, qué duda cabe, pero mucho menos impactante que Mirror Reaper... lo iremos saboreando de nuevo...

en cualquier caso, como me sucedió con MR, es un trabajo que no se hace largo, ni me parece tedioso o innecesario... es hermoso, delicado y emotivo...

Me ha llegado esto por las cookies del teléfono

https://mariskalrock.com/actualidad/la-banda-que-ha-publicado-una-cancion-de-83-minutos-que-solo-es-la-primera-parte-de-una-trilogia/

Qué gran concierto dieron hace una semana en Holanda...

Bell Witch – The Clandestine Gate, from Future's Shadow Part 1: The Clandestine Gate (Doom Metal – Profound Lore Records). "To be absolutely honest here, I wasn't especially excited at the prospect of a new, one-track, 83-minute Bell Witch album. I was a fan of Mirror Reaper, but a bigger fan of Four Phantoms and I was afraid that whatever it is that was stretched out in the former, to the detriment of the latter, would just keep on going until we're left with a Bell Witch album that's clean bass going "plunk" every 30 minutes for two straight years. I was, however, mistaken. This isn't just a masterclass in making me feel very sad for very long, this, to me, is their best work yet. Emotional, nuanced, and just dynamic enough to keep you listening despite the fact of effectively losing the will to live around minute two. A doom metal masterclass".

Añadido el disco a la liga.

Procedan a votar y tendremos un buen disco de la semana, para variar...

sirconradburns escribió:Añadido el disco a la liga.

Procedan a votar y tendremos un buen disco de la semana, para variar...

escuchado de nuevo... son una banda genial, pero el factor sorpresa ha desaparecido...

Inmensos

Hank escribió:escuchado de nuevo... son una banda genial, pero el factor sorpresa ha desaparecido...

es comparable a ir por segunda vez con una ladyboy en Tailandia sí, es como todo

deniztek escribió:Inmensos

silver escribió:

Hank escribió:escuchado de nuevo... son una banda genial, pero el factor sorpresa ha desaparecido...

es comparable a ir por segunda vez con una ladyboy en Tailandia sí, es como todo

no he estado en Tailandia, nunca me llamó...

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Hank escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

deniztek escribió:

Hank escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

Te has pasado tres pueblos, Deniz tío.....

silver escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

Te has pasado tres pueblos, Deniz tío.....  

Lo siento, no volverá a acontecer

deniztek escribió:

Hank escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:Inmensos

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

pero si no me enfado, home...

Mirror Reaper fue una obsesión para mí... por eso este disco me ha sabido a poco, he disfrutado más el de Oak...

deniztek escribió:

silver escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

silver escribió:

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

Te has pasado tres pueblos, Deniz tío.....  

Lo siento, no volverá a acontecer

jajajaja

Hank escribió:

deniztek escribió:

silver escribió:

deniztek escribió:

Hank escribió:

deniztek escribió:

Hank escribió:[quot hae="deniztek"]

silver escribió:

Flipantes, amic

sí, pero nada como Mirror Reaper

Se puede disfrutar más de un disco de cada banda, estimado Hank

¿no me digas?



¿he dicho que no he disfrutado este?

el disco está bien, pero es más de lo mismo y 'peor'...

ahora resulta que me pueden gustar dos discos de una banda... no lo sabía...

Joder, no te pongas así
No iba de mal rollo, home.

Un saludo Hank

Te has pasado tres pueblos, Deniz tío.....  

Lo siento, no volverá a acontecer

jajajaja[/quote]

silver escribió:

Bell Witch @ Groove Estudios Y Ensayos https://www.bandsintown.com/e/105067158?came_from=206

stone the crow escribió:Bell Witch @ Groove Estudios Y Ensayos https://www.bandsintown.com/e/105067158?came_from=206

OSTIA WTF

Un puto martes y al día siguiente madrugo pero voy de cabeza

Si ayer vi que en woutick ya estan las entradas, pero bueno hasta que no haya confirmación oficial cautela.

Pero tiene todo el sentido del mundo porque van camino del Barroselas Fest.