#årabrot

[nofatclips]

Part II of Die Nibelungen by Årabrot, an excerpt from the soundtrack to Fritz Lang's legendary silent movie

[gbhbl]

Album Review: Årabrot – Of Darkness and Light (Pelagic Records)

Consistently unique, constantly eclectic, and commandingly interesting, Årabrot’s rock sound is always worthy of attention.

The last two decades have seen Årabrot shapeshift through multiple iterations and on October 13th, the latest version emerges with the arrival of their tenth album, Of Darkness and Light. Out via Pelagic Records. Consistently unique, constantly eclectic, and commandingly interesting, Årabrot’s rock sound is always worthy of attention. Ten albums in, and they continue to enthral in ways that few…

[thoregil]

2023-02-04 Årabrot - Byscenen

[sonicziggy]

"Going Up" by Årabrot https://ift.tt/kAdnZeQ

[blogovision]

blogovision 2023 150-200

150. Aversions - "You Wanted The Bike" (24) 151. Ryuichi Sakamoto - "12" (24) 152. Metallica - "72 Seasons" (24) 153. Saul Adamczewski - "Adventures In Limbo" (23) 154. Iggy Pop - "Every Loser" (23) 155. Overmono - "Good Lies" (22) 156. Sweeping Promises - "Good Living Is Coming For You" (22) 157. Coti K.,Yiagos Hairetis, Panos "Tsiko" Katsikiotis - "Ρ​ι​ζ​ι​κ​ό Φ​α​ν​τ​α​σ​ι​α​κ​ό / Radical Imaginary" (22) 158. Danny Brown - "Quaranta" (21) 159. Palms Psalm - "Ohana" (20) 160. Arooj Aftab, Vijay Iyer, Shahzad Ismaily - "Love In Exile" (20) 161. The Veils - "...And Out Of The Void Came Love" (20) 162. Victory Over The Sun - "Dance You Monster To My Soft Song!" (20) 163. Grave Pleasures - "Plagueboys" (20) 164. Hotel Lux - "Hands Across The Creek" (20) 165. Death Valley Girls - "Islands In The Sky" (20) 166. Kevin Morby - "More Photographs" (20) 167. May Roosevelt - "Pearl" (20) 168. Julie Byrne - "The Greater Wings" (20) 169. James Holden - "Imagine This Is A High Dimensional Space Of All Possibilities" (20) 170. Fews - "Glass City" (20) 171. KVB - "Artefacts" (19) 172. The Reds, Pinks & Purples - "The Town That Cursed Your Name" (19) 173. Me Lost Me - "RPG" (18) 174. Kate Davis - "Fish Bowl" (18) 175. Deeper - "Careful" (17) 176. Home Front - "Games Of Power" (17) 177. Pretenders - "Relentless" (17) 178. Liv Kristine - "River Of Diamonds" (17) 179. Bonnie Prince Billy - "Keeping Secrets Will Destroy You" (17) 180. Shabazz Palaces - "Robed In Rareness" (17) 181. Tirzah - "Trip9love​.​.​.​?​?​?" (17) 182. Evil Blizzard - "Rotting In The Belly Of The Whale" (17) 183. Bear Ghost - "Jiminy" (17) 184. Faidra - "Militant : Penitent : Triumphant" (17) 185. ††† - "Goodnight, God Bless, I Love U, Delete" (17) 186. Tuber - "Joyful Science" (16) 187. Acid Arab - "Trois" (16) 188. Feist - "Multitudes" (15) 189. Yeule - "Softscars" (15) 190. Manii - "Innerst I Mørket" (15) 191. Kofi Flexxx - "Flowers In The Dark" (15) 192. Årabrot - "Of Darkness And Light" (15) 193. Hyperculte - "La Pang​é​e" (15) 194. April Magazine - "Wesley's Convertible Tape For The South" (15) 195. Beirut - "Hadsel" (15) 196. HMLTD - "The Worm" (15) 197. Loopsel - "Oga For Oga / Eye For An Eye" (15) 198. Misanthropes - "The Misanthropes" (15) 199. Trevino - "Back" (15) 200. Telehealth - "Content Oscillator" (15)

[imaxyxia2]

Årabrot - Norwegian Gothic (Full Album)

[mmhradio]

Losin It With Luscious #172 Årabrot, Arnocorps, & Bob Vylan up the punx!

[arabrot]

Norwegian Gothic lyrics

Carnival Of Love

Oh, the bloodhounds spoor me down

They track the smell

The false breath on my mouth

They sense a corrupted past

Everything I’ve done

Everything I’ve pondered upon

Will be tracked down

And ripped to bits

The animal knows, the animal sense, the feeble animal in me, I have tried to hide for years,

It will be chased down

It will be chased down

And torn apart, left in sticky pools of blood.

The hounds don’t mind the chase, they want the catch

Oh, your guilty conscience, your ill will motivations, your sentimental anger, it will all go down,

So bring it down

Bring it down

The hounds don’t go for love, they go for your soul

The hounds don’t mind the chase, they mind the catch

This is the blast

The eternal close

The spiral

The final somersault

This is the end

This is the end

You can start laughing

You can start laughing

Rendered to a gory pulp by the bite of fate

Oh, for the carnival of love

The Rule Of Silence

Come ye worthy

You are a miracle

Your Φήμη talk

Your Φήμη talk

I observe the rising

I observe the serpent

Around the waist

Around the naked waist

Caveat, person

You’ll stumble and fall

Upon the sword

Upon the sword

Upon a cross you fester

Pinned deep

Deep in the ground

Oh, I abide by the rule of silence

Come ye worthy

Your swords are like feathers

It holds a tight grip

You hold a tight grip

I observe the rising

I observe dagger

Observe the sacred, secret

Sacred heart

Caveat, person

Your great white mare rears

As they smith old symbols to new brands

I bend those who love me

I bend you to love me

To will

Oh, I abide by the rule of silence

Feel It On

Chainsaw engines roar

The smoke lay thick

Over the timber

A noise silence the buzz

The crazed wood pop

And it crashes to the ground

Leaving a poignant whirlwind

Of a defining emotion

Feel it on

Feel it on

The omens to come

One out of a thousand

Solitary boles

Left on dirty ground

Like heads nailed to the prow

A head would fit each bole

As a part of a sinister pop art display

It’s a defining charade

Feel it on

Feel it on

The omens to come

The Lie

What I told was a lie

I guess I am pathological

The lies told are self-inflicted wounds

I’ve been corrupted for so long

Even the truth is altered

And moulded into lies

I’ve been forced to

Build these walls around me to

Confine my very existence

But it’s collapsing

But I’m a thinking man

I carry a little wisdom

If nothing else I do pretend

Above all I understand it’s a given truth

What I told was a I lie

The Crows

I’m a skeleton, no shadows

I’m mere mass floating

From above they send messages

Like tides they jolt through me

I’m pointing upwards

And the crows gather in the frozen trees down yonder

I wish I could touch the spot

With my mind

Let lust be divided

Into dots and numbers

Into geometry

And the crows gather in the frozen trees down yonder

The crows lift towards the sky

And spirits leave the body

To shape new symbols

And new thoughtforms

A reimagined lust

And the crows gather in the frozen trees down yonder

Kinks Of The Heart

The herd lie down circling

The dry skeleton of a tree

The hot sun burning

And the victim hit thrice

The victim hit thrice

The last dance is scorched to

The iris of the eye

The same eye tired from

Not weeping for the victim hit thrice

The victim hit thrice

Round and round it goes

The kinks of the heart

You must swallow it all

The kinks of the heart

I dream I am an argent

Chevron between fylfots gules

And I throw up the sacrilege

And the moon cast silver on the victim hit thrice

The victim hit thrice

Thunder blitz the heavens

Vile animals rabble the bones

Do you feel sentimental?

Judas dangling before your eyes

The victim hit thrice

Round and round it goes

The kinks of the heart

You must swallow it all

The kinks of the heart

The herd lie down circling

The dry skeleton of a tree

The hot sun burning

And the victim hit thrice

The victim hit thrice

Thunder blitz the heavens

I cast the augury of bones

Who hung himself there?

Judas dangling before your eyes

The victim hit thrice

Hailstones For Rain

The sun is scalding

My body is burning

But I feel nothing

The sun is scalding

But I feel nothing

But the scorn

We gave them hailstones for rain, uh uh uh

The sun is scalding

I feel nothing, but the scorn

From the seething crowd

I carry my load

I cry, I lament

For Golgotha ahead

We gave them hailstones for rain, uh uh uh

Hallucinational

There’s a future on the rise

Places no one’s ever been to

Young dreams slowly realise

at unthinkable speed

without any doubt

We’re in motion without moving

We are shining without light

We are flowers without blooming

We are thinking without minds

Everything is now before me

Hallucinational

(This Is) The Night

This is the night and the night is dark

This is the night and the night is dark

I can’t sleep

My head, it hurts

I am howling into the silence

This is the night and the night is dark

This is the night and the night is dark

I can’t think

My head, it hurts

I hear a sound

I am not supposed to hear

From the bog they say:

From the bog they say:

From the bog they say: They are coming …

This is the night and the night is dark

This is the night and the night is dark

I can’t concentrate

My head, it hurts

This is the night and the night is dark

This is the night and the night is dark

I can’t sleep

My head, it hurts

I am howling into the silence

I hear a sound

I am not supposed to hear

From the bog they say:

From the bog they say:

From the bog they say: They are coming …

This is the night

And the night is dark

I am howling into the silence

I am howling into the night

Hard Love

Beauty lose and beauty win

And you trade beauty for knowledge

But you pay with love, hard love

Love is a nail in the skull

You pay with hard love

It’s a surge that fosters the fires within

When hoisting her aloft I witnessed a smile

You pay with hard love

My dirty hands reaches out for the soul

I can’t muster enough love

To equal the feasts of the divine

There’s not enough love is this world

To match the beating of the heart

You pay with hard love

My dirty hands reaches out for the soul

Hounds Of Heaven

The snakes flee an imminence

They betray me as I betray you

They flee upon the prospects of trust

Down the hollows of the deep

They flee the hounds of heaven

They flee the adversary

They flee the nights and they flee the days

At unperturbed speed

Lo and behold, their cunning beguile

And all that’s born die

Heaven and I weep, I’m defenseless

You drove love from yourself

As you drove love from me

Now as the chase draw nigh

It is time to bid farewell

You better content yourself in me

Or nothing will ever content thee

Lo and behold, their cunning beguile

And all that’s born die

Heaven and I weep, I’m defenseless

You drove love from yourself

As you drove love from me

Deadlock

The ocean glints like crystals as the sun explodes

And hisses down into a blood-red dusk

Life pulses in and out

Life pulses in and out

In the deep corners of their rigid hearts

They look into the eternity and whisper ancient nostalgias

They’re futures are at a halt

They’re futures are at a halt

They stare into the darkness and damn the night

Silently bemoaning the lack of life

The repentance of their griefs the only hope

The repentance of their griefs the only hope

They feel sick from watching the spectacle

The pleasures of their existence has been transformed

Into a place of sickness and misery

Into a place of sickness and misery

The Moon Is Dead

Bow to the black moon

And your laughter will turn

Into silence

Your children will hunt your

Dreams and you’ll see

The Moon hanging there

Over our heads

Why such negligence?

The moon is dead

The moon is dead

The moon is dead

The moon is dead

Death takes more than courage

For the unsuspecting

And it is your tears

That will have to

Fill the empty holes

So bow

And prey your children

Will bow too

The moon is dead

The moon is dead

The moon is dead

Hanging over our very heads

The moon is dead

The moon is dead

Hanging over our very heads

All things are in flux

But the old ways are in my nerves

Worn thin from suffering

So bring light, bring light

Cause the night

Has fanned out the day

And forgotten about me

All lyrics by Kjetil Nernes, except Hallucinational by Karin Park 

[nofatclips]

L'eremita by OvO (featuring Årabrot) from the album Miasma

[doomedandstoned]

KristonFest Reveals Full Line-Up!

Doomed & Stoned is proud to be a sponsor of KRISTONFEST in Spain (which is just a fantastic destination for a heavy music festival), now approaching its 9th year! The full line-up of Kristonfest 2019 will include a headlining performance from The Hellacopters, who were one of the biggest highlights of this past summer's Psycho Las Vegas. It's so great to see those guys back in action!

Add to that the peerless wizardry of San Diego psychedelics Earthless, Sweden's beloved perpetual motion riff machine Dozer, Nick Oliveri's Mondo Generator, Berlin stoner stalwarts Kadavar, Norway's legendary Årabrot, the groovy new UK sensation Church of the Cosmic Skull and their fellows in Turbowolf...well, let's just say that Kristonfest is guaranteed to be the greatest celebrations of rock 'n' roll on the whole darned planet.

All roads lead to Madrid this spring, so mark your calendars for May 10th and 11th, secure your tickets forthwith, and make plans to join this all-points meeting of fuzz-lovers around the world!

Get tickets at www.kristonfest.com.

[m3t4ln3rd]

Årabrot's Kjetil Nernes showcases gear in new video

Norwegian outfit Årabrot have teamed up with Premier Guitar Magzine to showcase frontman Kjetil Nernes‘ rig. Recently, the group launched a pair of videos via Brooklyn Vegan of Nernes and pianist/keyboardist Karin Park‘s unique guitar and keys setups, as well as the magnificent, secluded old Church in which they live and create music. Årabrot’s 9th full-length album Norwegian Gothic is out now…

[sinceileftyoublog]

Årabrot Interview: Speaking in Tongues

BY JORDAN MAINZER

On Norwegian Gothic, Kjetil Nernes and Karin Park preach the gospel of Årabrot. The Norwegian band’s 9th full-length is, according to the band, the logical culmination of the noise they’ve been peddling for almost two decades. Recorded and centered around the Swedish church where Nernes and Park live, Norwegian Gothic takes equal thematic influence and reference from Theodore Adorno as it does David Bowie, its aesthetic filled with psychedelic folk and ecstatic rock and roll. 

Just take a look at the two-part video series associated with the record, encompassing three songs. On “Kinks of the Heart”, Nernes, dressed in his suspenders and wide-brimmed hat, and Park, pregnant in a flowing white dress, come to a town with a bible-looking book with the band’s name printed on the cover. They quickly round up a few townsfolk and cause them to reflect and act on their innermost desires, from sexual promiscuity to cross-dressing, over crackly guitar riffs and hard-charging drums. Part II is the sharp dance-punk synth jam “Hailstones For Rain” and washy, saxophone-laden “The Moon is Dead”, where Årabrot and their newfound cabal go to a local church--in actuality, the church where Nernes and Park live--to speak in rock and roll tongues to enrapture the crowd and later celebrate the summer solstice in a haunted-looking mansion, Nernes and Park nude as other folks dance around them.

Årabrot have fully embraced the idea of Norwegian Gothic as a statement for a while. The record was written starting in 2017, a year before their last full-length, Who Do You Love, was released. (Earlier this year, they also released an EP from the Who Do You Love sessions.) It was eventually recorded with producer Jaime Gomez Arellano (who Nernes calls “Gomez”) in London last year right before lockdown. There, they tracked drums, bass, and guitar before returning to the church for Park’s synthesizers, Hammond organ, mellotron, vocals, and overdubs. So while the album also features a number of other collaborators, like Jaga Jazzist’s Lars Horntveth, the spookiness of the church contextualizes the drama of the record, from the Kyuss-like opening guitars of “Carnival of Love” to the strings of “The Rule of Silence” and theatrical vocals of “Feel It On”. There’s also a number of spoken interludes, namely “The Voice” and album closer “You’re Not That Special”, that act as not just breaks or a comedown but, as they were culled from real-life thought provoking conversations the band had with friends, gives the album some substantial meat to back its purported philosophical influence.

Årabrot are holding out hope for some festival dates, like ArcTanGent in the UK in August, though I get the sense that, for once, their live streams so far are expertly curated displays of both Norwegian Gothic and Norwegian Gothic. Watching them perform “Hallucinational” from their church, Park’s spiritual singing and organ playing centering the band as much as the skulls that encircle them, I feel like I’m watching a production rather than a live show, yet one distilled to its raw emotion, and not just because it’s acoustic. Dressed in the same outfits as the characters from the short film, I’m unsure what’s an act and what’s not. What could be more gothic?

A couple months ago, I spoke with Nernes over the phone about Norwegian Gothic, which is out this Friday via Pelagic Records. Read our conversation below, edited for length and clarity.

Since I Left You: You say that Norwegian Gothic represents the culmination or combination of everything you’ve done so far. What about it makes it such a good summation of what you do as a band?

Kjetil Nernes: As a musician and an artist, you might say, I have a pretty specific idea of how I want things to sound and be. Usually, it’s really hard--it’s a goal you have far ahead in front of you, and you just aim to that goal. It’s really hard to get to that goal right away. It’s a process: You need to make a few albums, for example, to come closer to your main goal, and finally, it comes together. I felt like Norwegian Gothic was like that, for the past 10 years, or even for my whole career. We kind of reached that one goal we’ve had for a really long time. It has to do with songwriting, how it actually sounds, the lyrics, a number of factors. It’s also important to reach the next goal, too--it’s a never-ending process, in many ways. It doesn’t stop here.

SILY: What else makes Norwegian Gothic unique as compared to your other records?

KN: The fact that we brought in a producer for the first time made a big difference. We had Gomez. He made a big difference, for sure. Karin’s been a part of the band on and off for 10 years, but she was much more involved here, which made a big difference from the previous ones. When you’ve done as many albums as I’ve done and been involved in as many projects as I have, you get a little feeling for when things turn out slightly different from all the other times. I had that feeling with this one. I also had that feeling with The Gospel that was released some years ago.

SILY: The Gospel is my favorite record of yours, so it’s interesting to hear you compare it to this one...What about the song “Carnival of Love” made you want to open the album with it?

KN: That is an interesting question because me, Karin, and Gomez were debating back and forth about that for a long time. There were a number of different options. Maybe you agree with me: I feel that there a quite a few songs that could have opened the album. We could have chosen a faster and shorter song, and it would have been a little bit of a different vibe to the album. We had a friend who was involved at the time, and he really got a kick out of “Carnival of Love”, and that made us decide to open with it.

SILY: How do you generally approach sequencing, and was there a different way you approached it here?

KN: Usually, you get a feeling. Sometimes, the label or the management comes with a suggestion. They usually decide the singles--which songs to promote. When you pick out the singles, usually you put them very early on, especially these days, even though I personally prefer to put them somewhere else. Back in the day, if you look at David Bowie’s Ziggy Stardust, all of the hits end the album. Many of the bands in the 60′s did the same thing: The main single was very far out in the album. Nowadays, the attention span is maybe a bit different so they’re usually earlier on. From there, you just listen to the songs and get a feeling, but on this one, it was particularly hard. Doing The Gospel was incredibly easy. This one took days of back and forth, and we had a lot of different ways of approaching it.

SILY: There are a lot of cinematic aspects on this record, from the strings to the spoken word interludes. Do you think about your records in a cinematic sense?

KN: Maybe. I do see a lot of films and am inspired by films and thinking of an album as a way of traveling through something. That may be what you’re referring to, too. I enjoy albums, and I particularly love albums that make you feel like you’re on a journey. That’s very often my starting point for making albums.

SILY: As much genre territory as this album traverses, “Hailstones For Rain” is an aesthetic standout. Can you tell me about the arrangement and instrumentation of that song?

KN: It does stand out. The label saw it as a very psychedelic song. I didn’t think of it that way. It started with me writing this specific rhythm inspired by some of the stuff The Residents were doing in the late 70′s. They had these weird sort of synthesizer rhythms with basslines on top. It just developed when we played it a lot. Karin added the jazzy theme on top of it. Further on, Lars Horntveth from Jaga Jazzist is playing saxophone, and there are two synthesizers going, and later, Anders Møller is playing percussion on it. It just develops. It’s a rhythmical thing. It turned out pretty interesting, that track.

SILY: How did the interludes come about? Who’s speaking, and what’s the inspiration behind the words they’re saying?

KN: Me and Karin had finished a tour with Boris. We did a week of traveling around the UK and visiting friends two years ago. I was interviewing my friend, and it started out with me saying to him, “Why the hell do we do this?” I got some really good conversations out of it. The first one on the record is Karin before “Hallucinational”, talking about her experience before writing it. The second one is with the writer John Doran, the cofounder of The Quietus. The final one is Andrew Liles, who is part of Current 93 and Nurse With Wound. “You’re Not That Special”: That’s his words.

SILY: I really like the panning in the vocals on that last one. It’s a disorienting way to end the album...You mentioned the label thought “Hailstones For Rain” was psychedelic. For me, the true psychedelic song is “Deadlock”.

KN: Yes. Exactly. I would say the same. I agree--the label is German. [laughs] Germans usually have a different way of approaching things.

SILY: What’s the inspiration behind the album title?

KN: I have a good friend who used to be in Chicago; he used to work for Chicago Mastering [Service], Jason Ward. He sent me an email a few years ago where he described our music as Norwegian Gothic, so I wrote it down. Over the years, there have been a lot of questions like, “What is Årabrot? What is it all about?” I came to the conclusion when I started writing the songs for this album that [“Norwegian Gothic”] felt right describing these genres and as a title. He was also being tongue-in-cheek about [Grant Wood’s painting] American Gothic because we live in a church and kind of look like the people in the painting. I forgot to Google the title after we started the whole process of recording, and I discovered my friends in Ulver have a song called “Norwegian Gothic” and had released it as a single or an EP and have released t-shirts for it. I was like, “Oh no!” [laughs] I did talk to them, and they were totally fine with it. Maybe it’s a good reference point, too, Årabrot and Ulver.

SILY: What’s the story behind the album art?

KN: We did a live session in the church on the summer solstice--Midsommar. I’m not sure if you’ve seen the movie Midsommar.

SILY: I have.

KN: So you know it’s quite big in Sweden. It’s a special day in Scandinavia. The sun is out all day. In Norway, not so much, but in Sweden, it’s a big day, and they dance around the maypole, and there are all these parties going around. This year, we did a live stream, and because there were travel restrictions, we did this live acoustic set. By the end of the session, we did some photos, and literally, exactly on the time of the summer solstice at whatever time--2:00 in the morning or something--that photo was taken by this photographer on his iPhone. He was really tired and getting really grumpy and sour, and Karin asked, “Take one more photo!” We just stood there in that circle with the skulls and stuff. There was some magic to that moment, so he took the photo. Karin was also 6 months pregnant at the time, and you can see her holding her belly. 

SILY: Is there anything you’ve been listening to, watching, or reading lately that’s caught your attention?

KN: The last two Clipping. albums, the film Corpus Christi, and the book Perdurabo: The Life of Aleister Crowley by Richard Kaczynski. 

[orleff]

Галерия: Mono (23 април, Mixtape 5) | Rock The Night https://rockthenight.eu/galeriya-mono-23-april-mixtape-5/

[bizarrobrain]

"I Rove" by Årabrot - From "I Rove" EP (2009)

[bttrflyblu]

ÅRABROT - Lightning's girl (Nancy Sinatra Cover)