Death In June
But, What Ends when the Symbols Shatter?
[NER]
When "The Wall of Sacrifice" album was released back in 1990, it was generally considered to be the last DIJ album ever. But since this album was released in 1992 things apparently didn't work out as planned, and we can all consider us lucky that they didn't. I've heard a lot of people claiming that this album is the finest piece of art DIJ have ever released. I never quite understood that though, I mean I considered it a good effort but DIJ have produced many of those. But along the way something has happened. I have revised my opinion and joined forces with the ones that I had trouble understanding initially.
When DIJ started out, their sound was loaded with electronic and (light) industrial influences. Their sound later evolved to a more pop like sound mixed with samples and electronic drones during the middle of the eighties and the acoustic guitar became increasingly used on later albums. However experimental, the sound of DIJ has never lost its dark emotions and wicked atmosphere. On this release DIJ main man Douglas P. presents a new sound, labelled (by others) as close to apocalyptic folk. Well, even "The Wall of Sacrifice" might be labelled folk, with the use of acoustic guitar in places, but here the pure electronic influences have vanished.
Beautiful music dominated by the acoustic guitar, layered with sombre keyboards and different kinds of other sound effects (even noise and drones) placed gently in the background. Add to that a very dominant and interesting bass line and you have "But, What Ends when the Symbols Shatter". DIJ captures the feeling of triumphant days long gone with the use of trumpets and bombastic percussion reminiscent of kettledrums. All this together with Douglas dark and monotone vocals deliver the optimal musical experience. This album also sees the collaboration between Douglas P. and David Tibet of Current 93 who contributes (among other things) some very interesting vocals on two of the albums tracks. The compositions are very toned down and excellent in their minimalism. The lyrics too are a work of genius and require thorough interpretation.
This album touches you at the bottom of your soul and guides you through your darkest, most wicked and sorrowful emotions imaginable and even might help you to understand them better. Like many other DIJ releases this one contains tracks I could certainly live without, but tracks like "Death is the Martyr of Beauty", "The Golden Wedding of Sorrow", "Hollows of Devotion", "The Giddy Edge of Light", "Daedalus Rising" and the title track have managed to make my miserable life a little better and my crosses a little easier to bear. In short: this is essential.
And to those who might think that DIJ don't belong on a site like LARM: SCREW YOU! This is as dark and as controversial as it gets. Try this one and you will agree. I know that I have the bad habit of hyping many a release, but this one deserves a: 10
© 2001 herr nebelwerfer
When DIJ started out, their sound was loaded with electronic and (light) industrial influences. Their sound later evolved to a more pop like sound mixed with samples and electronic drones during the middle of the eighties and the acoustic guitar became increasingly used on later albums. However experimental, the sound of DIJ has never lost its dark emotions and wicked atmosphere. On this release DIJ main man Douglas P. presents a new sound, labelled (by others) as close to apocalyptic folk. Well, even "The Wall of Sacrifice" might be labelled folk, with the use of acoustic guitar in places, but here the pure electronic influences have vanished.
Beautiful music dominated by the acoustic guitar, layered with sombre keyboards and different kinds of other sound effects (even noise and drones) placed gently in the background. Add to that a very dominant and interesting bass line and you have "But, What Ends when the Symbols Shatter". DIJ captures the feeling of triumphant days long gone with the use of trumpets and bombastic percussion reminiscent of kettledrums. All this together with Douglas dark and monotone vocals deliver the optimal musical experience. This album also sees the collaboration between Douglas P. and David Tibet of Current 93 who contributes (among other things) some very interesting vocals on two of the albums tracks. The compositions are very toned down and excellent in their minimalism. The lyrics too are a work of genius and require thorough interpretation.
This album touches you at the bottom of your soul and guides you through your darkest, most wicked and sorrowful emotions imaginable and even might help you to understand them better. Like many other DIJ releases this one contains tracks I could certainly live without, but tracks like "Death is the Martyr of Beauty", "The Golden Wedding of Sorrow", "Hollows of Devotion", "The Giddy Edge of Light", "Daedalus Rising" and the title track have managed to make my miserable life a little better and my crosses a little easier to bear. In short: this is essential.
And to those who might think that DIJ don't belong on a site like LARM: SCREW YOU! This is as dark and as controversial as it gets. Try this one and you will agree. I know that I have the bad habit of hyping many a release, but this one deserves a: 10
© 2001 herr nebelwerfer