![]() ![]() The album does not have a theme, but the songs share an element of darkness, endings, death and sacrifice – so the title seemed to fit for this particular collection of songs. However, the song titles also suggest different song contents. The album’s description coming from your label and the artwork suggest that the mysteries of the night constitute the basic theme of your new album „Eventide“. Who doesn’t enjoy validation? I don’t keep after it that much though, I’m more focused on the next few things… I’ve read a couple positive reviews, which is always encouraging. How did you perceive the reactions to your new record? That’s a hard question to answer – I think it was just circumstantial, there were some band tensions throughout this last album (Justin Siegler is no longer with TFOS), different life pressures, a changing world, job demands, the list goes on… Recently, you take a few years to release new albums. In your early days you released new material pretty quickly. Has the pandemic also affected the creation process or the song material of your new record „Eventide“?Īctually, no – the material for this album was started as far back as late 2017, and we had the album finished by 2019 – the pandemic just delayed the release. It’s really too bad we did not pull together as a country to end it once and for all, but we cannot do such things anymore in the USA it would seem. I am not afraid of science, so I took the vaccine – so I am ready for it. ![]() The thing I miss the most is live music, so I hope to partake in that again soon. How have you been coping under these circumstances so far? Dreamy.In the USA, the situation with the pandemic seems to be slowly getting back under control. This album comes to me as a bit of (almost) light relief after some of the more intense stuff that I've been listening to of late but it's got enough dark and doomy goodness to balance the lighter folky elements - and the almost progressive meanderings are another delight to be had as you let yourself sink lower and lower into soft and velvety pillows. The slow pick intro on Nothing Stands Obscured reiterates the band's stance they love the mellow juxtaposed against a screaming, heavy section - as do I. ![]() ![]() Each track seems to swing between the twin poles of mellow and heavy. Again, The Casting starts with thick, fuzzy guitars and muffled drums before the despairing wails of the black metal vocal come screeching in and then you're suddenly doused in all this regal soloing. Take Sidereal Course with it's watery wah-wah intro and an almost tidal surging vocal it implores you to join the band in a woodland glade or something.but then the heavier side creeps in, almost unnoticed, and what started out as a mellow dance around the Maypole has suddenly degenerated into a bloody sacrifice. It's hard to dissect this album into indiviudual pieces, and despite the similarity in structure, each song has its own identity. I'm also enjoying the roaming solos on the guitar and keyboard. It's a bit like Mountain's Nantucket Sleighride but bigger and heavier. But then the tune gets a bit chunkier and (have I become obsessed from all the noir metal?) a shrieking vocal slips in. A dapple of cymbal and a hushed, murmured vocal lets you know that you should sink back a little deeper into the cushions and enjoy this soothing balm (particularly after the intense period of black metal that I've just had). From the gentle picked introduction to Headwinds, one is immediately struck by Sleipnir's grand vision. Despite V being the fifth album from hard working duo Clayton Cushman and David Csicsely, the band shows no sign of easing up with their large-scale compositions that are based on Scandinavian literature and/or mythology. ![]()
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