АЛБУМИТЕ КУЛТ ЗА 2010 Г.

[viking]

В тази тема нека всеки представя с думи прости ,обложки и музика ако може албумите дето са му направили впечатление тази година ...забранено за псевдощангисти бивши мутреси- настоящи селяндури и помаци ,макета дс чиновници и комуняги отрепки

[viking]

започваме с нещо изключително и чакано от БЕЛИТЕ ХОРА вече 14 години



Varg Vikernes,човеккът банда Burzum, обяви, че новият албум на Burzum, озаглавен "Belus" ще излезе на 8-ми март от Byelobog Productions. Той също показа обложката на албума. Албумът е кръстен на древен европейски бог на светлината и невинността и се основава на легендата.



1. Lukans Renkespill (Lukan's Scheme)
2. Belus' Død (Belus' Death)
3. Glemselens Elv (The River Of Forgetfulness)
4. Kaimadalthas' Nedstigning (Kaimadalthas' Descent)
5. Besøk Til Kelio (Visit to Kelio)
6. Alvenes Dans (Elven Dance)
7. Alvegavene (The Elven Gifts)
8. Sverddans (Sword Dance)
9. Keliohesten (The Kelio Horse)
10. Morgenrøde (Dawn's Red)
11. Belus' Tilbakekomst (Belus' Return)

http://vbox7.com/play:3feaae97



It's been 11 long years and now the world will see the return of Burzum. The highly anticipated new album is entitled "Belus" after the name of the ancient European solar deity of light and innocence. "Belus" is not a religious album or an anti-religious album, nor is it a political one, but an attempt to explore the myths about Belus and unveil the oldest roots of our cultural heritage. The album deals with the death of Belus, his sombre journey through the realm of death and his magnificent return. In essence the album and the story of Belus is meant to be an entertaining story about something that once upon a time played a major role in the forming and shaping of Europe.

"The album has been made according to my heart and spirit, and not to fit into any particular genre or category, or to live up to anyone's obvious expectations". The music can best be compared to the music of some of the old Burzum albums; in particular the ground breaking "Hvis Lyset Tar Oss" and the atmospheric brilliances of "Filosofem", only the ambient parts present on these albums has been almost completely left out on "Belus". "There is no special reason for this, other than coincidence and the fact that I have for some time made more and better music on the guitar rather than on the keyboard".

"Inspiration for the album has come from a variety of sources, and I find my inspiration from fairy tales and myths, from classical music, from memories of what once was, from traditional music, from fantasy, from the wind and weather, from deep forests and running water, from the sky and the sunset, from misty mountains and from yellow leaves falling from age old trees".

"My ambition with "Belus" is to create something I - and hopefully others too - can listen to for years and years to come without ever growing tired of it, and at the same time to share with my audience the experience of getting to know Belus, as he might have been perceived by the ancient Europeans". The combination of lyrics and music makes this a fairy tale different from most others, and should appeal to all those who like transcendental music and love to see different things from a different perspective. "If I can make you dream when listening to this album, I believe I have done a good job".

"I am aware of the black metal association with the name Burzum, and I have no real and serious problem with that, but I personally see no reason to place "Belus" in any category. I think "Belus" musically transcends all existing categories, but if I have to choose one - and for the sake of simplicity - I will simply place it in the metal category".

[viking]

After years of research and writing, here is finally this long awaited book by Varg Vikernes. In this book Varg Vikernes explains the meaning of the Norse-Germanic myths and elaborates on their importance today and their impact on the Indo-European folksoul. Completely different from anything else ever written on the subject, it brings back meaning and life to the mythology of our people. This book will leave no one untouched; especially not the more fainthearted and "politically correct" Asatruers out there!



Albeit written in 1994 and published not until 1996, hence quite outdated nowadays, this book still remains an all-time classic. Varg Vikernes deals with the history and destiny of his native homeland - Norway - and appeals to his kinsmen to abandon the materialistic and antihuman "modernism" in favor of the ancient and heathen beliefs of their elders.

[viking]

дОБРИТЕ НОВИНИ ТЕЗИ ДНИ ИДВЪТ БЪРЗО





http://www.youtube.com/watch?v=xRHyNPPOJ44


http://en.wikipedia.org/wiki/Borknagar

[viking]

[viking]

велика група от братска Швеция

Новия албум Void e апотеоз на досегашното и творчество-бърз техничен ,мрачен DEATH METAL FROM GOTEBORG

http://www.youtube.com/watch?v=gkqHj9Q8 ... r_embedded



http://www.myspace.com/dtofficial

[viking]

И най-добрата Българска група коята издаде своя нов албум съвсем скоро

VRANI VOLOSA




http://www.myspace.com/vranivolosa

[viking]

Този месец има разбиване откъм качествени нови дългоочаквани албуми ....

Ред е на финландските хумпа зли варвари от FINNTROLL



http://www.myspace.com/officialfinntroll

Албума е смело мога да заявя най-добрата продукция ан бандата до сега -супер ритмични ,весели и много мрачни парччета съчетани с много финландски фолк и северно звучене SOUMI FINLAND PERKELE

[Poncho]

[DJ-я]

[vlade]

Reviews

BURZUM: BACK FOR THE FIRST TIME ON BELUS

Wednesday, March 3rd, 2010 at 5:00pm by Sammy O'Hagar

I can honestly say I’ve never had a more complicated relationship with a band than I’ve had with Burzum. Despite an ongoing fascination and reluctant adoration of black metal, I managed to all-but-avoid the band until a year or two ago (when I got my hands on Filosofem and had to confess that mainman/only-man Varg Vikernes had a good thing going). My main issue was what many of Burzum/black metal-in-general’s detractors also have: Varg’s outspokenly racist, anti-Semitic, and homophobic views, and (to a bizarrely lesser extent) his part in the rash of Norwegian church burnings and the murder of Mayhem’s Euronymous in the early ’90s looms larger than the music itself. While being an outspoken proponent of separating the art from the artist, there was something just off about enjoying Burzum: thinking Dave Mustaine was a born-again nutball, Lars Ulrich was a whiny millionaire, and Gene Simmons was a major-league asshole didn’t make me like their music any less. Even non-metal incidents of racism and anti-Semitism (Public Enemy’s Professor Griff referring to Jews as “wicked” in an interview and Elvis Costello drunkenly remarking that Ray Charles was an “ignorant nigger,” for example) didn’t lessen my appreciation for their work (though perhaps that had to do with extensive apologizing on both parts). But Varg’s Aryan-centric beliefs seemed like a line I couldn’t cross, that liking his music would somehow be justifying what he believed (I know there are many that still argue that). Putting a barrier between his music and me seemed like the wise thing to do.

Of course, singling out Burzum as deplorable when enjoying brutal death metal and some strains of grindcore where lyrical implications of horrific violence toward women are so par for course that it’s a cliché is laughably hypocritical at best; I have doubts that all extreme death metallers secretly have progressive feminist views in lieu of deep-seeded issues with women that they let breathe in goregrind and the like. So while saying that Vikernes’ values have nothing to do with anything in terms of his music is incredibly short-sighted, it’s just as ignorant to write off any music he makes — even if it’s not explicitly about racial purity — because his social beliefs are the literal polar opposite of yours. Even when realizing that, it still took me a while to warm up to Burzum. But once I did, I heard what so many of the bands that he inspired — Xasthur, Nachtmystium, Wolves in the Throne Room, and Krallice, to name a (very) few — had heard: long, droning, rambling buzzsaw riffs that almost always went on too long, but often showed flickers of brilliance. By the time he reached Filosofem — Burzum’s most mature outing in its original run — he’d provided a high water mark for both him and the genre. Of course, right after recording it, he brutally murdered a guy and went to prison. After being released last year serving sixteen years of his 21-year sentence (and recording a few ambient albums), he’s returned with his first black metal album since 1996 with Belus, a record that’s at once true to his origins (near-constant tremolo picking, blastbeats, raspy vocals) and a showcase for the artistic strides he’s apparently been internalizing for the last decade. It’s at once a return home and a fresh start, perhaps a fitting metaphor for the man’s journey.

Belus‘ modest leaps forward can’t be stressed enough: though Mayhem, Emperor, Darkthrone, Immortal, and Enslaved all had the opportunity to mature and become arguably better bands over the last fifteen years, Burzum was stuck in a (literal) state of arrested development, restricted by what kinds of music he could make and consume by prison. So what makes Belus interesting is that it’s basically Burzum 2.0, still very much consumed with buzzing, hypnotic riffs but also executed with a degree of focus not previously associated with the band. There aren’t any 25 minute ambient pieces right in the middle of the album, nor more 14 minute long songs that consist of one riff that’s cool for the first 5 then become an endurance test for the back 9: just seven songs (and an intro) of stately and occasionally staggeringly beautiful black metal. It isn’t a jaunt through the forest with spiked gloves and antiquated weaponry, but it’s clearly Burzum.

The album’s first proper song, “Belus’ død,” is a mid-paced black metal-by-numbers affair, though admittedly nice to hear coming from Burzum not separated by a decade and a half and a shitload of infamy. The next track, though, opens things wide up: “Glemselens elv” has a throbbing bass line, a hazy wall of guitars, and Vikernes’ blackened screaming and monotone singing in tandem. It’s familiar in some ways, but new in others: a melancholy lead guitar drives the song like most of what Burzum’s done, but it doesn’t feel as indebted to True Norwegian Black Metal as it has in the past, nor is it bogged down by the almost suffocating bleakness of Filosfem. There’s a lilting beauty that moves in waves over the span of 11 minutes that manages to give sad, nature-loving Ukrainian folk/black metallers Drudkh a run for their money. A reevaluated sense of purpose runs through the album: even when it veers back into black metal territory, as it does on “Kaimadalthas’ nedstigning” and two and a half minute bruiser “Sverddans,” it doesn’t feel as needlessly grouchy. By the time the one-two punch of “Morgenrøde” and “Belus’ tilbakekomst (Konklusjon)” close out the album in a collective 17 minutes of almost-shoegazy soundscapes, it’s not necessarily a surprise. Even in Belus‘ most jagged moments, there’s substance at its core. Varg was an angry man in his twenties when he went to prison; he’s most likely rejoined the world with more perspective after doing some hard living to make up for some stupid mistakes. The latter sounds evident on Belus.

Of course, how much he’s learned is up for debate, even still. Belus will most likely be known to most by its original title, Den Hvite Guden, which translates to “The White God.” Though Varg insists it wasn’t racial in nature, it’s a pretty ballsy move after the decade-plus of worldwide attention and controversy surrounding him (not to mention his casually racist and homophobic put-down of modern black metal that came along with the album’s initial announcement). So even now, liking Burzum can still have you labeled as a Nazi sympathizer. And on the one hand, no, it isn’t fair: Varg Vikernes has been responsible for some of the most important black metal, as well as some of the best, since a bunch of lanky dudes started making it in Norway in the late-80s. But on the other, racism, anti-Semetism, homophobia, and the like are sore subjects for some — this writer included — and immediately raise an ideological wall that, for many, is impossible to surmount. Like the Sex Pistols with punk rock, Burzum helped define black metal while also putting in place its most negative traits and stereotypes. Varg’s name (nor his band’s) doesn’t immediately conjure up abrasive black metal arpeggios or the genre’s atmospheric leanings, but instead the images of charred churches, the Norwegian media clusterfuck of his murder trial, or condemning those whose behavior he disagrees with as “stereotypical Negroes.” And this is completely his fault. But to those of us that can get past his views and past transgressions, there’s some excellent metal to be savored. Like black metal itself, there wouldn’t be such a lasting controversy if there wasn’t music some people found worthwhile alongside it. And Belus — even wrapped in the echoes of the past and the noise of the present — like Burzum’s best, is a considerable diamond in the very vast rough.

(4 out of 5 horns)

[viking]

Евала Владе

ето и най-заслужилите почести одвъд Океана

FEAR FACTORY -

Култовата американска банда се завърна със силен и мачкащ албум подходящ за всички възрасти и полове -с изключение на говедата и гейовете мачкащи китари ,синтри ,барабани и вокали с този албум на ушите бих отишъл на война за избивънето на голяма част от гнусното човечество

http://www.youtube.com/watch?v=9ZPwTPZ7 ... re=related

http://www.youtube.com/watch?v=vQOFOB55 ... re=related

Burton C. Bell – Vocals
Raymond Herrera – Drums
Christian Olde Wolbers – Guitar
Byron Stroud – Bass

http://www.myspace.com/fearfactoryofficial

[viking]

Новия албум на съседите ни от Гърция



Тук отчитаме силното българско фолк влияние върху тези талантливи музиканти идвъщи от иначе гнусната гърция Имащи дълбоки Бг корени в кръвтта си те са доказателство ,че КРЪВТТЪ Е ПО-ГЪСТА ОТ ВОДАТА

Албума е великолепен с умело вплетени родопски и беломорски наши етно мотиви от женското народно пеене


http://www.youtube.com/watch?v=C-ur-E1I ... re=related


http://www.youtube.com/watch?v=q9ush9IVKD4

[viking]

Дълго чакахме нещо ново със старото звучене от братска Норвегия ...най-сетне дочакхме .. след ВЕЛИКИЯ BURZUM e ред на една сборна формация идваща направо от ледените полета на ада

http://www.youtube.com/watch?v=--sNvBbPouY



Out of Norway's biggest and darkest metal bands rises Ov HELL. This group of Satan’s all-stars has been sharpening their teeth in some of black metal's most influential bands for many years. Known as key figures in bands such as Dimmu Borgir and Gorgoroth, Shagrath and King have come together to bring forward a new chapter in Norwegian black metal history. Ov HELL will carry on in the same tradition for which King and Shagrath are known, but the collaboration between the two will mark a new era for them both. Frost, Ice Dale and Teloch have been recruited for the first full-length release which is entitled “The Underworld Regime”. The album combines the best from two worlds - King's remarkable riffs and the distinguishable voice of Shagrath. The end result is a black metal album that contains all of the power and blast beats worthy of their evil pedigrees. Expect an assault on all false gods and hypocrisy that is of this world today.

[viking]

Време е да надвием себе си и да признаем ,че Франция понякога не е толкова гнусна държава съставена от гнусни хора ...има естествено изключения ,естествено ,че са от Нормандия

Представям ви келтик фолк метълите от BRAN BARR много важът -искренно ги препоръчвам на всички тук преглеждащи фенове

http://www.myspace.com/branbarr