#arabrot

[nofatclips]

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

[igel365]

harinemusic 2022 Just a couple of my favorite Digital Harinezumi 3.0 live music pictures from last year. More here: https://derohlsen.blogspot.com/2023/01/photography-2022-harinemusic.html

[doomedandstoned]

THE DOOMED & STONED SHOW

~Season 5, Episode 16

This episode is another in our Doomed Cinema series and features a selection of music inspired by an obscure documentary called 'Madness & Medication' (1977), which explores the then emerging treatments of electroconvulsive therapy and psychosurgery. There were worries about the rampant and unchecked experimentation happening on the mentally ill and these potent fears, along with the stigma of mental illness itself, was the subject of a well-known film from the same time period: 'One Flew Over The Cuckoo's Nest' (1975). To match the mood, Billy Goate has cobbled together dark and twisted selections by Cough, High on Fire, Pallbearer, Saint Vitus, Thou, Usnea, and more.

PLAYLIST

THE PAIN OF MADNESS (00:00) Bloody Panda - "Hashira" (01:04)

BETWEEN SANITY & INSANITY(09:42) Saint Vitus - "In The Asylum" (09:57)

HERE WE GO (18:09) ÅRABROT - "Murder" (18:37) Aseethe - "Sever The Head (Part II)" (20:05)

A SHOCKED MIND (23:56) Usnea - "Demon Haunted World" (24:34) Cult of Occult - "Ni" (31:09)

NO ONE HAS DIED...YET (43:59) Undersmile - "The Unthinkable" (44:38)

ECT (56:28) Thou - "Terrible Lie" (NIN Cover) (57:11) High on Fire - "Madness of an Architect (1:01:19)

NO ONE KNOWS (1:08:18) Brainoil - "Preface to Madness" (1:09:27) KOOK - "Frequency 8" (1:14:00)

LOBOTOMY (1:21:42) Valborg - "Anomalie" (1:22:29) Ov Moros - "Madness" (1:26:40)

PSYCHOSURGERY (1:32:07) TRANZAT - "Hopeless Skies" (1:32:39)

ORBITAL UNDERCUTTING (1:41:56) Hössferatu - "Hand of Madness" (1:42:47) Pallbearer - "Dancing in Madness" (1:44:00)

PLAYING GOD (1:55:48) 71TONMAN - "Torment" (1:56:33) As I Die At My Desk - "Skin" (2:05:45)

FOR BETTER OR WORSE (2:14:07) Yarrow - "Well Worn Zero" (2:15:03)

WHAT DO WE ACTUALLY KNOW? (2:31:20) COUGH - "Mind Collapse" (2:32:04) Chalice of Suffering - "Whispers of Madness" (2:44:12)

SOME SAY IT'S EXPERIMENTAL (2:50:42) Weird Tales - "Madness" (2:51:16) Doomster Reich - "Midnight of Madness" (3:02:00)

FINALLY, IT'S OVER (3:11:52) Khanate - "Fields" (3:12:30)

LAST WORD (3:32:21)

  *If you dig the music, show the bands some love!

☀

Big thanks to all of our High on Fiver patrons for supporting the show. You're monthly rewards are incoming! Find out how you can become a patron of the podcast here.

(Illustration by Gustave Dore)

[ghostcultmagazine]

Mono Books Exclusive London 20th Anniversary Show with Orchestra and Special Guests

Mono Books Exclusive London 20th Anniversary Show with Orchestra and Special Guests

Avant-garde Metal legends Mono will invade London this December to celebrate the band’s 20th anniversary. The band will curate the “Beyond The Past” event, headline the Barbican in London on 14th December with an orchestra and they’ll be joined by specials guests Alcest. As part of the anniversary, they are also curating two other shows that weekend with Boris, envy, Arabrot, and Svalbardplaying

[matarifes]

Kristonfest: The Hellacopters, Earthless, Dozer y Nick Oliveri'sMondo Generator completan el cartel del próximoKristonfest 2019, sumándose así a KADAVAR,Turbowolf, Church of the Cosmic Skull y Arabrot Official Entradas por día y bonos ya disponibles:www.kristonfest.com

[thirteenseventyseven]

#arabrot #2018 Haunting chilling beauty #palegicrecords #color #vinyl gorgeous https://www.instagram.com/p/Bo5Eg4BhJJs/?utm_source=ig_tumblr_share&igshid=7c3fc68tzrg1

[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…

[archiced]

Årabrot ‎- The World Must Be Destroyed - Limited Edition on Tri-color Black/Clear/Pink vinyl (Hard Love Edition - 333 ex) #arabrot #theworldmustbedestroyed #pelagicrecords #noiserock #postpunk #vinyl #vinyllove #vinyllovers #vinyladdict #musiconvinyl #vinylgeek #vinylporn #vinylclub #vinylcollector #vinylgram #vinylcommunity #vinylrecords #vinylcollective #coloredvinyl #recordcollector #recordplayer #recordoftheday #records #spinninrecords #vinylcollection #vinyljunkie #instavinyl #igvinylclub #nowspinning #coloredvinylclub @arabrot @pelagic_records https://www.instagram.com/p/COFf0WwsBmX/?igshid=1i5a10p4kl06e

[tomorrowhittoday]

Lustmord e Karin Park (Arabrot), ascolta "Twin Flames"

Lustmord e Karin Park (Arabrot), ascolta “Twin Flames”

25 Giugno Pelagic Records pubblicherà “ALTER” il disco collaborativo fra Lustmord e Karin Park degli Arabrot. In anteprima potete ascoltare il brano di 11 minuti “Twin Flames”:

[nofatclips]

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

[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. 

[matarifes]

Os proponemos un reto: Si nos ayudais a llegar a los 5.000 seguidores, ¡anunciamos otros dos artistas que actuarán en la próxima edición del Kristonfest! Solo has de compartir el cartel para que llegue a más gente

[ghostcultmagazine]

ALBUM REVIEW: Insect Ark – The Vanishing For over eight years, Dana Schechter and Ashley Spungin created heavy, eerie soundscapes as Brooklyn-based duo Insect Ark.

[gjww]

Last print of the year! If you managed to catch @arabrot and @borisdronevil on their recent tour you may spot this risograph print I made at their merch table. There’s still a couple of shows left, so go give your eardrums a battering. #illustration #art #design #risograph #screenprint #gigposters #riso #print #screenprinting #boris #japan #arabrot #norway #doom #metal #riffs https://www.instagram.com/p/B6JJY_AJE8c/?igshid=na89sk81j2oh

[archiced]

Årabrot ‎- Norwegian Gothic - Limited Edition on Tri-color White/Clear/Pink vinyl (Hard Love Edition - 333 ex) #arabrot #norwegiangothic #pelagicrecords #noiserock #postpunk #vinyl #vinyllove #vinyllovers #vinyladdict #musiconvinyl #vinylgeek #vinylporn #vinylclub #vinylcollector #vinylgram #vinylcommunity #vinylrecords #vinylcollective #coloredvinyl #recordcollector #recordplayer #recordoftheday #records #spinninrecords #vinylcollection #vinyljunkie #instavinyl #igvinylclub #nowspinning #coloredvinylclub @arabrot @pelagic_records https://www.instagram.com/p/COFfrbzsqQU/?igshid=1ftlq69cpd3lu

[tomorrowhittoday]

Arabrot, guarda il video di "Pygmalion"

Arabrot, guarda il video di “Pygmalion”

Il nuovo album degli Arabrot  “Who Do You Love” è uscito ai primi di Settembre per Pelagic Records. Per promuovere il disco è stato realizzato il videoclip di Pygmalion, che potete vedere qui sotto:

La band farà una manciata di date in Europa di supporto a Rosetta e The Ocean, con una sosta a Milano:

31/10 – DE Karlsruhe,…