Norway-based metal writer Karina Cifuentes brings us another interview, this time with members of Sweden’s Mist of Misery, whose new album Absence we premiered and praised in a review at our site here.)
So, you guys are by no means amateurs. Tell us about your other projects, and have any of you been to a school of music?
Mortuz: I have several other projects, such as Eufori and Soliloquium, and yes, I have been to a school of music, or rather a school of audio engineering several years ago.
Phlegathon: I also play guitar in Hyperion. For a while I studied various musical courses at The University of Stockholm, but I would not regard it as such a particularly serious undertaking.
On August 31, the Swedish band Mist of Misery will release their second album, Absence, through Black Lion Records, and today we have for you a full stream of the album’s nine tracks.
We first mentioned this album in late June on the occasion of the title track’s debut. That song has a dark and depressive atmosphere, but it’s also sweepingly beautiful, with the heart-aching melody carried aloft by waves of shining synthesizer orchestration and brought home by piano measures that are by turns wistful, soulful, and buoyant. And the vocals proved to be as emotionally powerful as the instrumental music — but also barbarically abrasive.
That was, of course, only one song from an album that was otherwise still shrouded in mist, waiting to be revealed — and it has proven to be as multifaceted and enthralling as the title track.
I’ve been playing catch-up on new and newly discovered music this weekend. It’s been a very good series of listening sessions, and now I’m up to my eyebrows in tracks I’d like to share. I posted one round-up earlier today, and in this one I’m focusing on new music in a blackened vein. But this post won’t exhaust all the black(ish) music that’s now burning in my head, and so my plan is to compile a second installment of Shades of Black for posting tomorrow. As usual, I’ve tried to select the songs, and to divide them between Parts 1 and 2, in a way that would provide a diverse listening experience.
When I reviewed Kaeck’s Stormkult last year, I identified two aspects of the music that I thought made it one of the brightest stars in the firmament of 2015 black metal releases: First, even in a genre known for its extreme intensity, Stormkult is extremely intense. For almost its entire duration, it’s a raging hurricane of sound — bombastic, terrorizing, and chillingly grim. If you want to be electrified by music, this will do it, and leave your head smoking.