_ _______ _ ...:... _ _______ _ ___ / .:::::::::::. \ ___ | / .. (:::::::::::::) .. \ | | . .:::::.`:::::::::::'.:::::. . | | .::.. `:::.::':::`::.:::' ..::. | _ _______ | .::' ::::':::::`:::: `::. | _______ _ \\ | | :: `' ::':`:: `' :: | | // \ | | `:. .::' . `::. .:' | | / . | | .::::::..::::' ... `::::..::::::. | | . | | `:::::::::::::::::::::::::::::::' | | .... | | `:' `::::: :: :: :::::' `:' | | .... | ' | : `. ': :: :: :: :: :` .' : | ` | |.....: . .......: :: :: :: :: : ...... . : ....| . ...................: : :: :: :: :: : : ................. . _____________:_____________ _____________:_____________ _ ___\` __ /_\` _______/_\` __ _/_\` /___ _ // __ / (/ ___/ (/ _ (/ /_______/\ _ _ /_________ ___________ ______/\ _ ______________/\__/_ _ \\\\\_________\__/\_________\__/\_____/\_____/\____________/f3!/// - -\-\-----------\__/----------\__/-------\_____/---------------/-/- - - -------------------: : :. ..:: :: . :------------------ - : : :......: :: :` ': :: : .....: : : ___ _ | | : ` ' : | | _ ___ _\---------- : | -------- : B E R C : -------- | : ----------/_ /_\ . : . ..:.. ..:.. . : . /_\ /// . . : : . . \\\ /: :\ /:: Artist :: Grylle ::\ :: Album :: Les Grandes Compagnies :: :: Year :: 2019 :: :: __ _ _ __ :: -:--\\-----------------------------------------------------------------//--:- :: \ / :: :: . Genre :: Black Metal Source :: CDDA . :: :: Label :: Antiq Records R.date :: 2019.05.27 :: _::__ Cat.nr. :: N/A Size :: 127,01 MB __::_ ::// \\:: ::/---------------------------------------------------------------------\:: :: :: /: Encoder :: LAME 3.100 -V0 :\ ..: Bitrate :: avg. 271kbps : . . Quality :: 44,1kHz/Joint Stereo . . . Website :: https://antiqrecords.com/bands/grylle __ __ _ . : _ ____ _ _ ____ _ : . _ __ __ .\\\\------- : | ---\ /---------------------\ /--- | : -------////. +/ -\------- | | ----\ tracklist /---- | | -------/- \+ /: . : : . :\ /:: ::\ :: 01. En la forest dennuyeuse tristesse 03:49 :: :: 02. Les DerniΦres FΘes de France 05:38 :: :: 03. France, qui te veult mal? 08:07 :: :: 04. Gothique Anjevin 09:47 :: :: 05. Hommaje a la Pomme de Pin 03:45 :: :: 06. Loz en Croissant 06:55 :: :: 07. Que chacun sonje a se pourvoir! 07:25 :: :: 08. Les guerres Picrocholines 07:16 :: :: 09. Quand je bois du vin clairet 02:22 :: :: 10. Le Pacte des Villes 06:17 :: :: 11. Wir Zogen in das Feld 03:44 :: :: ------- :: .. >> 65:05 .. __ __ _ . : _ ____ _ _ ____ _ : . _ __ __ .\\\\------- : | ---\ /---------------------\ /--- | : -------////. +/ -\------- | | ----\ release notes /---- | | -------/- \+ /: . : : . :\ /:: ::\ :: :: :: Les Grandes Compagnies presents 11 tracks and more than an :: :: hour of music. Becoming immersed in it is quite easy. :: :: Leaving it behind 65 minutes later is very difficult. In :: :: some ways it's like a time-traveling journey many centuries :: :: into the past, but not exactly like that. Rather than a :: :: pathway into a long-gone world that once did exist, it's :: :: perhaps more like being transported into a world of the :: :: imagination, an ingenious hybrid of the ancient and the :: :: modern that exists only there. :: :: :: :: The singular imagination that brought forth the album :: :: belongs to Hyvermor, a Frenchman who composed these 11 :: :: tracks, wrote the lyrics (borrowing from some old sources), :: :: and performed them with such instruments as flutes, :: :: psalterion, luthe, santoor, bass, and drums. He shared the :: :: vocal responsibilities with Griesche, who also performed :: :: flutes. And to further embellish the richness of the :: :: experience, he enlisted these guests in his own grande :: :: compagnie: :: :: :: :: Trumpet, Saxhorn and Buggle Horn: Lazareth (Peste Noire, :: :: Anceisural Eritance, Braquemaard) :: :: Mandolin: Bj÷rn (Peste Noire (live), Lemovice) :: :: Vocals: Monarque (Monarque, Sanctuaire, Sacrenoir) :: :: Krummhorn, Violas: Eduardo Antonello :: :: :: :: You won't find a single electric guitar in these lists of :: :: instruments. If you're like me, you won't miss them for an :: :: instant. :: :: :: :: How, you may ask, can music be located within the realms of :: :: black metal when it has no electric guitar and a profusion :: :: of old acoustic instruments in its place? In part, it is a :: :: matter of the vocals, which are usually harsh and ugly - :: :: serrated, strangled, and scorching. In part it is a matter :: :: of the spirit and mood of the music, which is quite variable :: :: but generally cast in melancholy, bitter, and diabolical :: :: moods. That's part of the hybrid quality of the songs; in :: :: addition to that, the music often rocks to the movement of :: :: head-moving drum beats that hadn't been invented 500 years :: :: ago. (Yes, you can head-bang to medieval music when it's :: :: paired with drumming this potent.) :: :: :: :: The music has a vivid sound, with the slight echo of a :: :: performance in a chamber of old stone, with spires and :: :: gargoyles standing guard. The melodies are irresistibly :: :: beguiling, made magical by that feeling of being transported :: :: to another time and place drastically different from our :: :: own. An edge of danger occasionally surfaces. The music also :: :: becomes soft, introspective, and lush in its richness. Every :: :: song begins to seem like a present being unwrapped, each one :: :: providing some new dark joy. :: :: :: :: The first time through the album, I felt like a light-headed :: :: adolescent, falling in love with each new song, each one :: :: like some new intoxicating sight passing me on the sidewalk, :: :: and then the next one, and the one that came next, each one :: :: turning my head with different allure. Some are mystical and :: :: haunting; some are lilting, and they dance. Some are steeped :: :: in loss, others are as bright as a wilderness stream in the :: :: sun, but just as lonely. :: :: :: :: The character of the instruments is an enormous part of the :: :: appeal. I grew up in the American South, and some of the :: :: strumming has the backwoods resonance of a banjo, evoking :: :: waves of nostalgia, even if those aren't banjos. The flute :: :: melodies are like spells. The bowing of the violas swings :: :: like an old folk dance, and weeps wretched tears. Sometimes :: :: you can hear Celtic airs, but the Celts seemed to be :: :: everywhere if you go back far enough. :: :: :: :: And the instrumentation changes from song to song. The album :: :: seems calculated to give you a new sound of some kind with :: :: each one. Even by the eighth track, an instrumental named :: :: "Quand je bois du vin clairet", which seemed to lead with an :: :: accordion (but it isn't that instrument), I was still :: :: discovering surprises. And it doesn't stop there. The :: :: vocals, by the way, shift as well, with clean song (both :: :: male and female) making almost as much of a contribution as :: :: all the goblin throats. :: :: :: :: The music sparkles so often, yet is in pain. It whirls in :: :: delight, but lives on dirt floors and doesn't have enough to :: :: eat. It sounds much more like the music of peasants than of :: :: lords. There is evanescent glory to be found here, and the :: :: agony of burying dead children. The joy in the music is :: :: fleeting and ever-haunted by the presence of death, the :: :: sounds of life when it knew it could be cut down suddenly, :: :: or in lingering misery, in its prime (and usually was). :: :: :: :: But despite the long shadows in these sounds, there's so :: :: much vibrancy, so much black magic. A truly remarkable :: :: album. :: :: :: :: . _ _ . :: \: :. \\ ___________ . ___________ // .: :/ __\____ :: ____ ___\ _ / BERC : 2019 \ _ /___ ____ :: ____/__ \\\f3! :: \\\ __ _/_________i_________\ /___/ /// :: cRO/// \ :: :\-\___________\_ ___ / _ _/___________/-/: :: / :: | . . _ _ _/ __/ . \_ _ _ . . | :: : :::::::: | | \\\\\/ _______\____|\ \///// | | :::::::: : :: | | -\-\/____/-------------\____\/-/- | | :: :: | | \ :|: / | | :: : : | . ` ::: ' . | : : . . | : ::: : | . . | :::....:::....::: | : ::::::::::::::::: : . :::''``:::''``::: . : ::: : . ::: . .:. :