“Melodies rife with the delicacy of raw, unadulterated romance. Lyrics emanating a requiem for often unrequited love”
To be honest, I wasn’t too sure what to expect from Fall Of The Summer Heart. The first thing that caught my attention was the length of the track – almost 13 minutes!
I had assumed that the time would be somehow occupied by a chorus or bridge on repeat, steadily wearing itself away. What I encountered however, was something else entirely.
A musical masterpiece, with an eight part song cycle. A full year’s worth of songwriting and inspiration was packed into this. I have never heard this much diversity in a single song since the legendary Bohemian Rhapsody (not a comparison I use lightly).
Here are the titles of all eight parts:
I/Maze of Your Heart
II/Silver Tears of Rain (My darling dear)
IV/Fall of The Summer Heart
VI/Victoria (Miss India)
VII/Lost At Sea
VIII/A Ghost of Myself
As far as recording goes I’m very lucky to have a supremely talented group of musicians/friends around me. I think of music in very cinematic terms,telling stories with sounds and musical colour. Because I’m a multi-instrumentalist I’ll lay down the basic drums,guitars,keys and lead vocals. Bass and recording wizard Carl Jennings plays a giant role throughout the journey. Kori Pop,a wildly creative musician, brings the track alive with her magic vocals!
When Bill calls me in to contribute vocals to Foreign Films material, I am always game. Because he has such a creative and solid sense of harmonic structure, it ends up being a singers playground! First, I listen for any instrumental hooks that vocals may be able to pull out even more. Secondly, I see if there are any obvious harmonies to add to his main vocal part. After these bases are covered…it’s time for the real fun!! When working on Fall of the Summer Heart, I tried to imagine my vocal parts as characters in scenes from a movie. Carl Jennings is a serious mastermind when it comes to producing vocals – he inspired vocal parts that I never would have imagined – like the weirdly charming “tralala’s” in Part V/She Disappeared and the tribal “ooh la la’s” in Part VI/Victoria (Miss India).
– Kori Pop
I wrote the lyrics to Sea Salt about a year after being laid off from my job as a research technician. I had just started playing music again in a band and was working in a bar. My friends and family were concerned that I wasn’t moving forward, despite my efforts to find another job in my field. It was incredibly frustrating to live in an economy where I was told there would be jobs & I could afford to have debt to obtain an education, & have that promise left unfulfilled. I had plans laid out for myself. I didn’t know where I was going or how I was going to get there. And who do you blame for this economy? Me? My parents? The baby boomers? Capitalism? It turns out that patience paid off because now I am here doing what I love, but at the time it felt very hopeless.
The song is not to me about giving up but waiting it out and seeing what lies ahead instead of trying to control your future. Change is inevitable… people should stop trying to resist it or they will end up stuck in the past filled with regret.
I’ve recently stumbled upon some really great music by The Last Days, a post black metal band. I was somewhat surprised/disappointed at the lack of information on this particular genre on the internet. So I decided to investigate further. That was when I found Aurélien Di Sanzo, administrator of several post black metal band pages on Facebook. Here on IndieVerse, he provides some really great insights into this often misunderstood genre.
I’ve chosen one of the more sedate tracks for you to listen to while you read this article. Just hit play on the music widget below
-Mark[audio:http://indieverse.emasters.info/wp-content/uploads/2013/11/The-Last-Days-Soul-Of-City.mp3|titles=The Last Days – Soul Of City]
I’m Aurélien from France. I’m the guy who created the first post black metal community on the Internet (http://postblackmetal.forumsactifs.com ). Years ago, I’ve also created some fan pages dedicated to the first post black metal bands : Shyy, The Last Days, Onryō and Sun Devoured Earth. I’ve also interviewed a lot of bands (Alcest, Les Discrets, Falloch, The Last Days). At the very beginning, it was a really underground style and I did my best to promote it over the internet. I guess I somehow dedicated few years of my life to post black metal, I’ve been in touch with an incredibly amount of post black metal bands. Nowadays, I’m not the only one, as post black metal almost became a trend. It’s not so original anymore to say that you’re playing in a post black metal band and, as a matter of fact, a lot of bands are copying the others.
That’s a complicated and tricky question. I will divide my answer in different paragraphs.
Historically, you have to know that the “post black metal” tag was used by a journalist to qualify the first Amesoeurs record, which dated back to 2009. Almost every one agreed to say that post black metal emerged from France which is not entirely true. To me, the Australian band Austere was playing a kind of post black metal few years before. Same idea with Agalloch from the US.
Musically, it’s a mix between black metal and post rock. Some idiots said that there also some shoegaze elements but it’s not really true in my opinion. From this, came all the stupid nicknames such as “blackgaze” and “shoegaze black metal”. I’ve even heard “romantic black metal” once, which I found pretty funny afterall.
Conceptually, it’s mainly about what I like to call “urban disease”. It’s a Baudelarian concept, taken from “Les petits poèmes en Prose” (1869). Lyrics are usually about empty streets at night, blurry neons, black and white perception, the feeling of being lost in big cities, the isolation of the self in the night, the fact that the city has not the same face during the day and the night. About this, Amesoeurs was definitely the first one to bring this urban image both in its lyrics and images. Bands like Lantlôs, Heretoir, The Last Days followed months later, even if they were already existing. There are lot of post black metal bands in Germany nowadays!
Its different simply by the fact that musically and lyrically, it deals with opposing feelings: black metal and hatred, slightly misanthropic atmospheres mixed with the beauty of post rock, the poetic and quiet feelings that you can feel at night. What I like the most is that there is a a complete coherence in post black metal: you have images which illustrate the lyrics and the music. It’s so artistic. Concerning this artistic approach, I want to add that it’s obviously Alcest who brought this to the table, releasing beautiful artbooks with very high quality images, conceptual lyrics and almost esoteric music. Even if Alcest is not a post black metal to me, we can definitely say that without Neige, we would have never heard post black metal or, at least, not in the same way.
Lantlôs, Heretoir and Infinitas from Germany. Amesoeurs, The Great Old Ones and Je from France. Austere, Germ, Grey Waters (Tim is a true genius!) from Australia. The Last Days from Mexico. Apocynthion from Spain. Hypomanie from the Netherlands. Lately… I want to say Deafheaven from United States, they’re incredible.
Mike McFadden, the driving force behind Animal Years tells us more about his song.
“Meet Me” was an easy song to write. Easy in the sense that I had the idea for the song and plenty of lyrical content to work with. Emotionally it was one of the most difficult songs to write because of the circumstances that were going on while I was writing it.
I was living in Baltimore last year when a song that I had written was selected to be in a huge ad campaign for Pennzoil. With the money I made I quit my comfy job at Johns Hopkins University and decided I was finally going to move to New York and be a musician full-time.
The lyrics are loosely based on my trying to convince someone to stay with me even though we would be apart most of the time, but also talking about the uncertainty of picking up and moving to a new place with much uncertainty about the future.
Now that I’ve lived in New York for over a year, “Meet Me” takes on a much different tone for me when we play it live. I think more about the things that I’ve overcome, and am happy that I’m able to look back on what I’ve left with appreciation rather than regret. This excerpt is a great example of this, talking about how then I was upset with the situation but now have come to terms:
“I had half a mind to come back, you had a reason to let me in, but I had so much more to tell you way back then”