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Lux Occulta torrent

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Info hash:5AA0F0D3F0CB558C00D6BE70FCADED4B12BD80BA
Category:Categories > Music torrents > Metal torrents
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Torrent added:2007-05-29 21:12:05
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Genre: Extreme Avant-Garde MetalrnLyrical theme(s): Destruction, Emotions, Armageddon, NihilismrnOrigin: Poland (Dukla (early), Krakow (now)) rnFormed in 1994rnLast label: UnsignedrnStatus: On holdrnrnLast known line-up:rnJarosoaw "Jaro.Slav." Szubrycht - vocals (Haemorrhage (Pol), Terror (Pol))rnU.Reck - keyboards (Neolith)rnKastor - guitar (Atrophia Red Sun)rnVogg - guitar (Decapitated (Pol))rnMartin - bass (Decapitated (Pol))rnrnFormer/past member(s):rnPeter - guitarrnG\' Ames - guitar (Haemorrhage (Pol))rnJackie - bassrnKriss - drums (ex-Neolith)rnAemil - drumsrnrnGuests:rnGerard Niemczyk - drums (ex-Holy Death (Pol), Schismatic, ex-Mordor (Pol), Symbolic Immortality (Pol), Death Sea)rnIndia Czajkowska - vocals on "The Mother And The Enemy"rnDawid Kosiarkiewicz - virtual analog synthesizer & synth basses on "The Mother And The Enemy"rnWoodzimierz Kossak - bassoon & contrabassoonrnZbigniew Szmatooch - keyboards, bass synthesizer (Mortuary (Pol))rnDorota Szostak - vocals on "My Guardian Anger"rnMagdalena Drozdowska - viola on "My Guardian Anger"rnMaria Kowalkowska - viola on "My Guardian Anger"rnrnAdditional notes:rnLux Occulta means Hidden Light.rnrnThe band call their style "Occult Metal".rnrnThe band plays a very profound and experimental form of metal. They started off as a atmospheric black metal band with an epic theme. Overtime, they\'ve evolved into a black/death metal band with jazz, industrial, ambient and even pop elements/parts on their fourth album.rnrnTheir first full-lenght album is a kind of very dark doom metal with epic elements.rnrnIndia Czajkowska, responsible for female vocals on "The Mother And The Enemy", is a composer and a singer, and also a model in Poland.rnrnLux Occulta is one of the most unique black metal bands to emerge in some time, and is the clear BNR favorite among Polish metal bands. They formed in late 1994 and have released four albums and an EP, with the last two, My Guardian Anger and The Mother And The Enemy, being simply outstanding. Guardian is the more focused, a veritable frenzy of technical black metal, most notable for some brilliant keyboard and drum work. This is one of the most original black metal albums to be released in several years. By contrast, Mother, released two years later in 2001, is the more experimental, featuring several tracks that harness the energy of the previous album, but also containing songs that branch out in bizarre directions, such as the odd but ultra-cool Portishead-styled trip-hop of "Midnight Crisis" and "Yet Another Armageddon", and the industrial death march of "Gambit". Again, an outstanding album, albeit so diverse as to possibly confuse fans expecting a more straighforward album. Clearly this was a band not afraid to try something different, always a commendable trait. A brilliant band. [BNR]rnrnForever Alone Immortal (1996)rnrn1. The Kingdom Is Mine (i Saw The Beginning)rn2. Homodeus (throne Of Fire)rn3. Sweetest Stench Of The Dead (the Battlefield)rn4. The Third Eye (illuminatio)rn5. Apokathastasis (out Of Chaos)rn6. Bitter Taste Of VictoryrnrnReview by Pedro Azevedo of chroniclesofchaos.com (9/10)rnFirst thing that caught my attention was the brilliant cover layout: the band\'s name ("lux" meaning light), the album title, and the way the picture itself fit the rest. And, as a matter of fact, so does the music... fit the rest, I mean. If I had to describe this album (er, actually, I do have to describe it) I\'d precisely use the name Lux Occulta and the title _Forver Alone. Immortal._. Throughout the 55 minutes of this very well-produced album, Lux Occulta show an impressive array of creativity, songwriting skills, and musicianship. All this mixed with the interesting look I already mentioned makes one hell of an album. Lux Occulta are essentially a melodic black metal band, showing some classical music influences and often using a very doomy atmosphere (hence the appropriate title). About the classical influences, well, this six-piece band knows how to use their keyboards for diversity, and they sometimes include an acoustic guitar, a flute (which is once used during a fast black metal part - which are always melodic and well played - besides some other flute solos) and a cello (which performs particularly well in the excellent third track). These instruments, as well as all the keyboard orchestral effects, blend in extremely well, giving an overall feel that, again, fits the title. But what would this be without the talent? Besides being great musicians in what concerns playing (tight guitars and bass, technical and powerful drumming, well used keyboards), they also come up with constantly remarkable melodies (the classical influences I mentioned being important here) that team up with the good black metal and doom parts to create a great album. I must mention the third track, the one with lots of cello, which is great, as well as the last one (the sixth), which is probably the doomiest: the vocals in that track are like a combination of a regular black metal voice with Aaron\'s (My Dying Bride) weeping voice, and the song is the very essence of the album\'s title (there I go again). So this was undoubtedly the album which surprised me the most in 1996, and one I won\'t hesitate in recommending to any metal fan. "The awakening has begun..."rn(article submitted 16/3/1997)rnrnDionysos (1997)rnrn1. The Birth Of The Racern2. Blessed Be The Rainrn3. Chalice Of Lunar Bloodrn4. Nocturnal Dithyrambrn5. Ecstasy & Terrorrn6. Upwards To Conquer HeavenrnrnReview by Pedro Azevedo of chroniclesofchaos.com (9/10)rnAfter having impressed me with their _Forever Alone. Immortal._ [CoC #18], Lux Occulta have now released another brilliant piece of epic, doomy, symphonic black metal. Changes in the balance between desolation and grandeur have occurred, though, as some of the doom has been forsaken in exchange for more rapturous symphonies that often reach excellent quality (as before) and elevation levels. Perhaps an increase in pace has happened as well, but this doesn\'t mean that _Dionysos_ is more of a \'pure\' black metal album than its mostly mid-paced predecessor; as a matter of fact, perhaps the opposite is actually true, due to the greater rawness of _FA.I._. Ultimately, though, Lux Occulta have kept the basis of their own distinctive style (whatever name should it have) intact, all changes having been of superficial nature. Perhaps the most significant changes occurred outside the musical domain, concerning the graphical and lyrical direction. Even though both have again been well taken care of, I\'m not especially fond of their new subjects (especially when compared to those in _Forever Alone. Immortal._). The production is much better in _Dionysos_, resulting in a far stronger sound, and the guitar work is also better than usual in most keyboard-based black metal albums. Like in _FA.I._, Lux Occulta have done an outstanding triumphant ending for this album, which is indeed full of highlights.rn(article submitted 10/3/1998)rnrnMajor Arcana: (The Words That Turn Flesh Into Light) (1998)rnrnAlbum containing unreleased material from 1995-1997 period. Includes 3 newrnsongs, covers of Danzig and The Sisters Of Mercy plus the whole, remasteredrndemo "The Forgotten Arts" (tracks 5-9).rnrn1. Love (Garden Of Aphrodite)rn2. Heart Of The Devilrn3. When Horned Souls Awakern4. Burnrn5. Creationrn6. Lovern7. Warrn8. Passing Awayrn9. The PathrnrnMy Guardian Anger (1999)rnrn1. The Heresiarhrn2. Kiss My Swordrn3. Trianglern4. The Opening Of Eleventh Sephirahrn5. Nude Sophiarn6. Cubern7. Library On Firern8. Mane-Tekel-FaresrnrnReview by Pedro Azevedo of chroniclesofchaos.com (9/10)rnA band that has impressed me with every release so far [CoC #18, CoC #29], Lux Occulta did not fail to do so again with _My Guardian Anger_. Starting with an interesting album title and very good front and back cover art, Lux Occulta proceed to constantly challenge you throughout the record with their uncanny blend of aggression, technicality and avant-garde ideas -- a bit like what Solefald could have done instead of their disappointing _Neonism_ [CoC #43], but more metal-oriented and with a different sound. Indeed, the sound on _My Guardian Anger_ essentially leans more towards death than black metal elements, compared to the band\'s past efforts, but the keyboard work, arrangements, sudden rhythmic and contextual changes and musical influences therein defy classification. Very heavy, crushing, driving, and forming such a rapid yet fluid sequence of acute changes, the music just does not allow distraction. Be forewarned that this is a record unlikely to make much sense initially, but things really start finding their places after repeated listens and the massive fluidity, strength and creativity of it all fully surfaces. Challenging and remarkable.rn(article submitted 12/8/2000)rnrnThe Mother And The Enemy (2001)rnrn1. Breathe Inrn2. Mother Pandorarn3. Architecturern4. Most Arrogant Life Formrn5. Yet Another Armageddonrn6. Gambitrn7. Midnight Crisisrn8. Pied Piperrn9. Missa Solemnisrn10. Breathe OutrnrnReview by Pedro Azevedo of chroniclesofchaos.com (8.5/10)rnMost discs on the market today tend to fit snuggly into some category or another, or else sound like a combination of a couple of styles. Of course some other albums go a bit further in terms of experimentation and avantgarde tendencies as well, with greatly varying degrees of success. However, after five years of reviewing music for CoC, still once in a long time a record comes along that leaves me quite bewildered by its sheer complexity and uniqueness. Lux Occulta\'s fourth full-length effort _The Mother and the Enemy_ is one such record. It is perhaps useful to mention at this point that Lux Occulta have always tended to be a rather unique band, with the possible exception of their second album _Dionysos_. But saying that _The Mother and the Enemy_ simply builds upon what experimentation could be found on its predecessor _My Guardian Anger_ [CoC #48] is quite an understatement. It might even appear that way until track five, though. The first three tracks after the brief intro (titled "Breathe In") show you what you will believe to be the new Lux Occulta -- that is until "Yet Another Armageddon" comes along to start proving that you were only seeing the tip of the proverbial iceberg. Those initial tracks, in their uniquely jagged, jazzy and progressive extreme metal style, resemble a reasonably expectable follow-up to _My Guardian Anger_: more inventive, even if overall slightly less powerful, but still very dynamic. Then "Yet Another Armageddon" arrives, with sombre, ethereal female chanting, atmospheric sound effects and a background beat, not entirely dissimilar to a very dark Portishead. This track really comes as one of the most surprising moments I can remember coming across in a long time while listening to an album for the first time, in the sense that it is so damn unexpected -- and very good as well. "Gambit" then contributes to the mix a more electronic/industrial-sounding broken dirge that brought to my mind some elements of Thorns. Not bad at all, but a bit too long. And then, when you expected Lux Occulta\'s more "normal" style to return, "Midnight Crisis" instead goes back to the dark, melancholic female-led style akin to "Yet Another Armageddon", completing a remarkable 16 minute long intermezzo that seems almost unrelated to the rest of the album, and yet somehow manages to fit in nicely. Only afterwards does the style found in the early tracks reappear, in the form of "Pied Piper" and "Missa Solemnis". The latter goes into an ambient-esque passage midway through, combining ghostly chants with varied sound effects and what sounds to me like a saxophone in the background -- but that is just an example of the kind of unpredictable creativity you will find in this record. "Breathe Out" then melancholically closes the album with more atmospheric beats, saxophone and female vocals. The jazzy touches, the ambient passages, the electronic innuendos, all combined with Lux Occulta\'s vibrant extreme metal and the more subdued parts with female vocals, result in one of the most original albums I have come across in a very long time indeed. The production on the metal tracks is a bit disappointing, and all the complexity and variety may become somewhat tiresome on occasion; but after sufficient listens, _The Mother and the Enemy_ can also become a very enjoyable collection of music, as long as you are able to take in a lot of different styles being skillfully performed and blended into quite a unique album.rn(article submitted 12/4/2002)rnrnTotal size: 554MbrnrnBitrate: 320 CBRrnrnTracker: Komodo Village

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