I love this guitar playing (or effect)! It makes this part very unearthly!

Mercs - Entrance

"The Beast of Madness" from the album "In Nomine Satanas"

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RAGNAROK - The Beast Of Madness

The sixth track of the almighty Wolves In The Throne Room's newest masterpiece, "Celestial Lineage."

Wolves In The Throne Room - Astral Blood

TAAKE - Fra Vadested til Vaandesmed

Watain - Waters Of Ain

Ophidian

Lyrics:
Cunoaşterea tăcută

Atîrna cerul, de sus pămîntul
De sub rădăcini, agăţat de glie,
În funie dreaptă întinsă-i zarea
Şi prinde-n colţ de cer văzduhul.

Îndreptat e ne-rostitul de necrezut, 
Descătuşat e ne-vorbitul dăscălit,
...departe de tot...
Acolo unde înţelepţii se aşează 
La veacul de somn.

În urmă şi-a urmat chemarea
În umbră i-a fost mereu zarea.
...departe de tot...
Acolo unde toate gîndurile mor...

Să lăsăm cuvîntul să doarmă ...
Lipsind de vorbe, mută-i mintea,
Senină-i fruntea...

Gînduri curg, şi acoperă lumea,
Ghem de fire înnodate, 
Se în-coardă şi a-coardă
În tot ce-i fals şi nu vibrează.

Cînd făcutul nefăcut, 
Ce-a trecut prin netrecut
A zăcut şi-a petrecut
Prin făr’ de loc,
În făr’ de vreme...

Ochii înceţoşaţi şi tulburi, 
De-o mare de semne,
Ce-n van presară înfăţişare,
Înecînd privirea
Şi-nrobind vederea 
De a sa lucire.

Să lăsăm cuvînt să doarmă,
Oblojindu-şi lumea-i surdă... 
Îndărăt de oarbe semne 
Rînduiască peste timpuri 
Cu tîlc rostit şi tăinuit, 
Iscălit în chemări de veghe
Pînă-n cea din urma moarte.


Cunoasterea Tacuta

Take a look at the figure on the cover of Longing, the debut from Seattle doom duo Bell Witch. Its eerie presence is appropriate for a record defined by inescapable haunting and loss. On these six songs, bassist/vocalist Dylan Desmond and drummer/vocalist Adrian Guerra play patiently, and sparingly; they appear to be carefully purging themselves of an inexplicable force corrupting their bodies. Instead of going for a frontal assault, piling riffs upon riffs upon riffs, they opt for something subtler, a spacious approach that affects the entire nervous system.
The album opens with a 20 minute journey into despair, "Bails (of Flesh)", a track that will likely weed out those who can't handle the unrelentingly downcast feel of the record. The tracks get shorter from there, but they also get sparser. Of note is "Longing (the River of Ash)", which grows more drawn out as it progresses. In this music of solitude, it's the loneliest track by far. Metal's defined by exaggeration, but the title Longing is perfect here: Desmond and Guerra want to go back to where pain didn't consume their reality.
A duo's primary challenge is to find a way to fill up space with minimal equipment. Usually, when a doom band's a two-piece, the guitars are double-amped and so downtuned that a bassist becomes irrelevant. Bell Witch flip this convention, employing a six-string bass in place of a guitar. (Often, one can hardly tell it's a bass.) Even lacking guitar, Desmond constructs melodies reminiscent of funeral doom acts like Skepticism and Esoteric, adding a touch of American dirtiness from his experience as the bassist of Samothrace.
There is one exception where the bass doesn't masquerade as a guitar. "Beneath the Mask", save for a sample from the Edgar Allen Poe-inspired film The Masque of the Red Death, is a five-minute drumless drone piece, where notes fly off and subsequently wither like Icarus on 33 1/3 RPM. The clean bass is more lonesome and more eerie than the distorted bass that the album's built upon. "Mask" seems like the perfect track to incorporate a sudden blast of hisses, feedback, screams-- something to make the listener jolt. It doesn't, and that suspense, like walking over rows of false trap doors, adds to the creepy atmosphere.
Throughout, Guerra's growls are complementary of the genre, and he even throws in a few blackened shrieks on "Rows (of Endless Waves)". Desmond's clean vocals, however, are more compelling, taking different shapes throughout the record. His warm, forlorn style carries the latter half of "Bails (of Flesh)", turning maudlin doom into perverted praise music. It's not a far stretch to imagine this being played in some church that worships self-destruction, congregants raising their hands up high, arms bleeding from cutting themselves. Desmond gives hails and salutations to the misery, like Om learning of a terminal illness diagnosis.
The previously mentioned "Rows" sees Desmond's voice become more delicate, almost crushing under the weight of the music. Frailty is important to the variety of doom Bell Witch explores, but rarely does a vocal performance capture what it is to stand on the line between sanity and madness. Desmond will whisper certain lines in "Rows", adding emphasis without raising his voice. He channels dISEMBOWELMENT's Renato Gallina on "Longing" making that track a true successor to the Australian doom-death quartet's 1993 classic Transcendence into the Peripheral. Remember that editorial arguing that metal vocalists are irrelevant? It wasn't entirely without merit, but Desmond challenges that line of thinking. He's got a cleverness and sense of space most vocalists don't possess. His voice is much like the music itself: it reverberates around, as if wandering and looking for a way out of this despair. Open and wide-reaching as it may be, there's also a sense of weighty claustrophobia in his voice, as if it's carrying his burdens, and the burdens of others, too. (via Pitchfork.com) 

Bell Witch - Rows (of endless Waves)

Impaled Nazarene - Blood Is Ticker Than Water

Exercises in futility

Exercises in futility IV

Taken from the new SUMMONING album "Old Mornings Dawn" 

https://itunes.apple.com/album/old-mornings-dawn/id644342377
http://shop.napalmrecords.com/old-mornings-dawn.html
http://shop.napalmrecords.com/summoning-old-mornings-dawn-earbook-special-edition-ep.html

SUMMONING - Old Mornings Dawn

The Name
A powerful dark presence of an intense nature, connected with the local nature and with its spirit, ascending and descending, shaping through the clouds of the present. You can sometimes feel it is there, but you cannot grab it. Only your clean mind and soul can came close of its presence. From the very beginning we shaped ourselves into relating with it, so that is now part of us. That’s how we understand Negura Bunget.
Negura Bunget is a black fog coming from a deep dark dense forest. The name tries to picture somehow the kind of atmosphere, both musical and spiritual we’d want to create through our music. It has also a symbolical nature, standing for the inexpressible parts of our ideology. The two words are also from the Tracic substrate of the Romanian language (the oldest one, containing about 90 words) as the interest for our local history and spirituality is something of crucial importance and meanings for us as a band.

Cunoasterea Tacuta

Negura Bunget

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