Kavi wrote: ↑Sat Mar 21, 2020 9:53 pm
About darkness and light came another association of Väinämöinen's "syntysanat" and "Logos"... How the whole book of Genesis starts.
Maybe recitating "OM" is this method?
Sounds highly likely. There’s some personal trouble for me to find the silence from the richness and brilliance of the Logos, but there’s some sort of calmness to it that I can relate to the voice of silence in the way I personally perceive it, which is more about the Mother than the Son. I guess this tells me how I still tend to see the Son in more Luciferian way, rather than actual embodied emphasis on Christ or the androgyne Avalokitesvara or the Guanyin where the same bodhisattva as a Mother is underlined (or maybe this is not about time and development, but tells about how the Lucifers fall is about the embodied experience). Hope this makes some sense to you.
When talking about these monumental archs of silence and a voice, it brings me back to the black metal topic. For me one of the most intriguing ideas in the genre has been the wholeness ”necrosound” brings to it. The idea that from the production to playing style and riffs and melodies creates a methaphor of one whole idea – as if a singular primordial ray of light emerging from the darkness. This I perceive in the simple yet powerful records of early Burzum, Darkthrone and Beherit. I guess there’s a vein meant for each of us to suck from in music; for me mixing melodic metal to black metal in the way Dissection does, moves the vision further in to the culture of today rather than being at the source. But, again this might be just my own interpretation. What I mean by culture of today is that I can not anymore listen to melodic (death) metal or music clearly influenced by it, without hearing egoistic showmanship in those type of melodies. In that area I don’t hear the silence between the notes anymore; its as if notes were just placed there half randomly. The images they summon up for me is muscles and guitars, which is in one way a satanic image of otherness to me, but it doesn’t feel too fruitful as a thing of the past, when I myself appreciated more of the technical capabilitites of playing the guitar. Yet there’s some exceptions, that may reveal I’m not quite hitting the nail with these notions; Emperor has some more melodic stuff which summons up much more romantic and even primordial images for me, especially so with the combination of lyrics. Guess I have some problem or coloured vision of the Swedish approach, or its about incorporating melodies in to the riffs themselves and sticking in the ”singular” vision.
I have actually alot of creativity problems with this dualism when working with other than black metal music, as sticking to too much a singular idea often confines good ideas away leaving a music piece somewhat bare and lacking life, while writing riffs the idea drives me for the veins of gold.