THEMES FROM WILLIAM BLAKE’S THE MARRIAGE OF HEAVEN AND HELL
the Index…
Disc 1 - 49:00 |
|
…Other Ulver Releases Bergtatt
[1995] |
Related Stuff (in terms of band
members)…
Borknagar - Borknagar
[1996] |
File this one under "Music for the
Chronically Open Minded." Norway's Ulver
has always had the rather keen reputation as being one of the most diverse and
unpredictable bands in (and now considerably outside) the metal spectrum. With a back catalogue comprised of atmospheric
forays into black metal, all acoustic, instrumental campfire ditties, and of course that
under-produced, unbearable nightmare that was 1997's lycanthropically inclined Nattens
Madrigal, it should come as no surprise that this follow-up has very little, if
anything, in common with its predecessors, even less so than the predecessors had amongst
themselves. With their conceptual trilogy
consisting of Bergtatt (1995), Kveldsjanger (1996), and the
aforementioned Nattens Madrigal now well under their belt, the band has shed
the last remnants of their trollish roots - a most welcome move in this reviewer's opinion
- and have set upon to traverse the much more convoluted and labyrinthine, and at the same
time infinitely more rewarding paths that are avant-garde music. And this is where Themes... comes
in, musically and lyrically a gigantic step into uncharted terrain. For any band...
|
If tackling William Blake's controversial
poem isn't enough of chore, there is also the whole matter of utilizing the vast
assortment of synthesizers and electronics, and above all, doing it well. Yep, synthesizers and electronics happen to play
quite the dominant role here. While it is
rather impossible to put a label to Ulver's enormous - and enormously ambitious - musical
vision (aside from that all encompassing "avant-garde" tag), Themes'
music delves into and is strongly centered on the electronic realm, occasionally taking
the time to branch out into industrial-like heaviness, eerie atmospheric soundscapes, and
for old times sakes, spicing things up with a dash of nostalgia - some metal and acoustic
bits, albeit all coated with a cloak of the band’s one of a kind sound. And if anything, the band certainly has the time
to explore every cerebral nook and cranny that such diversity would naturally bring along;
two CDs and over a hundred minutes of music (if you count the 20 minute chunk of silence
towards the end) are given to painting the most brutally involving musical portrait
of Blake's unique literature. |
In case you are unfamiliar with this
particular piece of writing, let us pause a moment whilst I provide a brief background. The Marriage of Heaven and Hell is an epic
poem consisting of twenty-seven plates (think pages).
Without digging too deeply into its many underlying subtleties, a pleasure I shall
leave to the listener, what the work essentially does is refute the traditional approach
to the Bible by reversing the roles of Heaven and Hell, thereby valuing evil over
goodness, dark over light, and so forth. Blake
uses "personal" anecdotes - the "Memorable Fancies", philosophical
musings, extended allegories, and various forms of stream of consciousness to give shape
to the idea that existence as we know it requires the absolute duality of Heaven and Hell,
and that organized religion seeks its separation (and is thus a very very bad
thing). In a way, The Marriage... is
something of a blueprint for modern day Satanic dogma, and if anything, it makes for a
positively fascinating read. |
Now then...What is truly extraordinary
about the album is how the entire thing comes together; Blake's words - charismatically
sung, spoken, chanted, whispered - permeating the layer upon layer of the lavish,
synthesizer soaked sounds. Keep in mind
though, as integral a role as the electronics play on the album, the music is not purely
or even emphatically electronic, so if you're expecting to shake your booty to some
particularly tripped out rave, don't. In
fact, the music is not anything, if not a complete, utter epitome of unconventionality,
identifiable only by being exemplary of the ever-shifting doppelganger that is Ulver. Capable of fleshing out every dark emotion, every
lurid undertone of the poem, Themes... weaves a rhythmic, hypnotic tapestry
that, innominate as it is, can't help but pull you into Blake's twisted world of enigma
and ambiguity. Be it the fiery intonation of
Hell's Proverbs, or the surreal meeting with the Prophets, the apocalyptic vision of the
Leviathan, or the darn near triumphant tenets of a coming revolution, Ulver captures the
unique essence that is William Blake with naught but unequivocal perfection. |
Of course Themes... would not
be the true reward that it is without asking for something in return, and truth be told,
put something in you'll have to - as ye sow so shall ye reap and all that. Getting well acquainted with Blake's poem
beforehand is a definite prerequisite, and the two discs will beg your utmost attention
and concentration, so you'll have to provide that as well.
Know this though - if you are willing to put in the effort, you'll be rewarded with
what is easily one of the most incredible pieces of music in recent memory. From the stylish packaging, to the audiophile
sound quality, to the music contained herein (well, duh), Themes... is an
incredible, cinematic tour de force of pure, unbridled vision and inspiration. Simply put - and God knows I do not use the term
often – it’s a freakin’ masterpiece.
Blake could have never imagined anything like this.
Or better yet, this is exactly what he would have imagined. And doesn’t that say it all? |
…and
my rating is…
9.3 |