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Forum » Albumes » Discografias » Tiamat - Full-Length Discography (1990-2012) (Death / Doom / Gothic Metal / Lossless)
Tiamat - Full-Length Discography (1990-2012)
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Tiamat - Full-Length Discography (1990-2012)

Death/doom/gothic metal/rock from Sweden, almost complete discography of 10 full-length
and one live albums, two singles and one best of compilation released
between 1990 and 2012.

Initially, the band played straightforward black metal under the name Treblinka. After having
recorded the album Sumerian Cry in 1989, vocalist/guitarist Johan Edlund
and bassist Jörgen Thullberg parted ways with the other two founding
members, and subsequently changed the name to Tiamat. The Sumerian Cry
album included re-recorded Treblinka songs and was released in June

After the debut, Edlund's leadership would modify the band's style with
influences ranging from Mercyful Fate, Candlemass, Pink Floyd and King
Crimson, with Sumerian lyrical themes. Polish guitarist Waldemar
Sorychta would produce and contribute instrumentation to many of the
band's albums, as well as those by Tiamat's own tour and labelmates,
including Moonspell, Rotting Christ, Lacuna Coil and Samael.

1994's critically acclaimed Wildhoney mixed raw vocals, slow guitar
riffs and synthesizer sounds which sounded different from other extreme
metal bands active at that time. An almost continuous forty-minute piece
of music, Wildhoney led to the band's appearances at the Dynamo[3] and
Wacken Open Air heavy metal festivals in 1995. The group would play a
second gig at Dynamo two years later.

Upon the release of A Deeper Kind of Slumber (1997), Edlund relocated
from Sweden to Germany and declared himself the only permanent member of
the band; all albums that would follow would cement the band into a
more gothic rock sound, quite different from the extreme music they did
in the years before, with recent albums showing a Sisters of Mercy and
Pink Floyd influence.

The band signed to Nuclear Blast in June 2007, and released their ninth album Amanethes on April 18, 2008.

On August 10, 2008, Thomas Wyreson announced that he was quitting the
band, stating that "it's just kinda hard to make everything work with
the family etc."

Their song Cain was also featured in the video game Vampire: The Masquerade – Bloodlines.

The band's tenth full-length studio album, The Scarred People, was released on November 2, 2012 through Napalm Records.

Tiamat At MySpace

1990 Sumerian Cry

1991 The Astral Sleep

1992 Clouds

1994 The Sleeping Beauty - Live in Israel (Live)

1994 Wildhoney

1994 Wildhoney (2001 Re-issued)

1994 Wildhoney (2007 Remastered)

1997 A Deeper Kind Of Slumber

1997 Cold Seed (Single)

1999 Brighter Than The Sun (Single)

1999 Skeleton Skeletron

2002 Judas Christ

2002 Judas Christ (Limited Edition)

2003 Prey

2003 Prey (2004 Re-Issued)

2007 Commandments (Best Of Compilation)

2008 Amanethes

2012 The Scarred People

"Fellow students. Over the past week there's been a lot of confusion, and so we've asked for this
assembly to clarify the difference between goth kids and vampire kids.
Let us make it abundantly clear: if you hate life, truly hate the sun
and need to smoke and drink coffee, you are goth. If, however, you like
dressing in black 'cause it's fun, enjoy putting sparkles on your cheeks
and following the occult while avoiding things that are bad for your
health, then you're most likely a douchebag vampire-wannabe-boner.
Because anybody who thinks they are actually a vampire is freaking
retarded." South Park (Season 12, Episode 14), 'The Ungroundable'

Johan Edlund and Tiamat have always startled me with their ability to
hurdle their musical shortcomings and produce unexpectedly delightful
records, and The Scarred People is one such diamond in the rough. For
all intensive purposes, the Swedes are flawed characters who make the
very most of what most would consider a limited skill-set, and
constantly reinvent and reinvigorate themselves through strong
songwriting, crafty and somberly beautiful lyrics rather than sheer
technical prowess or further progression through complexity. Though I'm
certain a portion of their fans abandoned them past Wildhoney, the point
at which they really started to tinker their death/doom roots into a
more psychedelic, atmospheric contraption, they've put out some damn
fine albums since, including the brilliant and trippy 1997 opus A Deeper
Kind of Slumber which I still consider their magnum opus, or the
amusing Skeleton Skeletron with its sultry, blunt vocal quips and rather
dramatic spin on Gothic rock, a more muscular Sisters of Mercy.

The three albums since that time have all had their moments, but I
actually didn't develop the same level of personal connection beyond a
handful of songs. Through The Scarred People, I've really found myself
returning to that same sense of immersion I once felt from their
1992-1999 material, and as a result I'm loving the hell out of nearly
every moment on this disc. To best describe it would be to take a tour
of the band's past 20 years of recordings. You've got a few of the
sodden, simply doom riffs circa Wildhoney sauteed in the psychedelic
escapism of A Deeper Kind of Slumber, synthesized symphonics redolent of
Clouds and the driving Gothic metal of Skeleton Skeletal, and that
opaque, cynical sense of humor which was abundant on more recent efforts
like Judas Christ. The album also presents an aesthetic merger with
Edlund's Lucyfire side project, not only by incorporating one of the
tunes meant for that act ("Thunder & Lightning" ), but through the
pervasive 'Gothic cowboy' sentiment that courses through the pacing and
structure of the music here. Guns at dusk, not dawn. As an individual
who has always appreciated the anthems of the black mascara sect nearly
as much as his fascination with harsher metallic climes, I'm admittedly
part of that choir Edlund is preaching to...

Yet I feel that The Scarred People has something for everyone. It's
grand, emotive, powerful and in truth accessible enough for your
girlfriend or the non-metal crew you run with (if applicable); and we'll
try not to hold that against it! Edlund's baritone prescription brings
to bear the very best ingredients of a Nick Cave, Andrew Eldritch, Peter
Steele or Fernando Ribeiro with astonishing humility, and his lyrics
remain poignant and perceptive despite the stark simplicity of their
architecture. Think of it as clever cafe-pop poesy through which a
deeper layer of shadows grasp out at the acute reader, but the subject
matter isn't rocket science: love, hate, drugs, and mythic
deconstructions rendered into a shot of verbal vodka. Wherever
necessary, Edlund's verses are complemented with a deeper, cavernous
chorus ("The Scarred People" ), or a higher pitched harmonic backup
("Winter Dawn" ), or even some samples in the brief snippets of "Before
Another Wilbury Dies". The voice is perfectly grafted to the deceptive
minimalism of the music, and unlike a lot of albums I get regularly for
review (or purchase), it's fascinating to explore the lyrics alongside
the riffs.

And of those riffs, there are very few misspent through the 50 minutes
of disc. Nothing intensely original or complicated, but as I mentioned
before, Tiamat simply don't need arpeggio noodling or rhythmic
acrobatics to convey an effective mood. These are brazen, loud and
highly atmospheric note choices which produce a potent, memorable girth.
Whether it's the doomy "384 - Kteis" in which the downward, drudging
chords are embellished with hellish funeral organs, pianos and random
distortia; or the mammoth rocking grooves of "Winter Dawn" which
wouldn't feel out of place on a Stone Temple Pilots, Pearl Jam or
Soundgarden record, Edlund and recent acquisition Roger Öjersson never
give us anything more than what we need, and boldly, whether in an open
chord pattern or a groove. But here again, The Scarred People is not
without a few surprises. The wailing rock excess of the "Before Another
Wilbury Dies" interlude isn't something I've heard before in the Swedes'
canon. The intro sequence in "Love Terrorists" rekindles their Pink
Floyd influence, and the cutesy and fragile melodic picking threaded
through the verses of "Messinian Letter" would be a radio worthy hit in
the hands of, say, Eric Clapton.

Perhaps the only guitar moment I wasn't taken in with is the "Tiznit"
instrumental, a fusion of clear acoustic guitar and trilling bird songs,
but it's nonetheless smooth as a river calm. Now, Tiamat's rock
oriented music doesn't exactly lend itself to a lot of divergent
experimentation through the rhythm section. With that said, I must laud
Anders Iwers' bottom end strumming and Lars Skjöld's beats are about as
fulfilling as the riffs will allow. The electronics coursing through the
tunes are all very subtle and well spaced, usually to provide some
added texture to a verse, and never overwhelming. There are moments of
pure orchestrated bliss like the intro to "The Scarred People" which
inaugurates the album, but they're succinct enough to flood the listener
with their majesty and kindly cede to the guitars. In fact, they often
grant the music a very 'upbeat' feel for Goth metal, and there are a
number of tunes here like "Thunder & Lightning" or the title cut
which seem like natural successors to the Sisters of Mercy's popular
"Temple of Love" anthem. In other places, like "The Red of the Morning
Sun" or "Radiant Star", Tiamat was channeling the slower material of
neighbors and countrymen Lake of Tears with these broad, doomy vistas of
cold, dry twilight desert.

This is just one of those immediately timeless experiences which I find
myself repeatedly returning to since picking it up a few months back,
and it goes without saying that it will not disappoint those who have
been digging on the band these last few decades sans interruption. I
wouldn't qualify this as a full on Gothic metal effort, because in truth
it's probably only around 40-50% metallic and the rest is heavy
psychedelic rock, but this distinction is irrelevant to the overall
quality, and the ratio of escape and enjoyment to moments of music
breaks pretty even. It's one of the best albums I've heard all year, but
not the sort which will bewilder you with dizzying fits of proficiency
or originality. Warm in cold in equal rotation, sad and triumphant,
addictive enough that I wish it had come with a Surgeon General's
warning. I'd love to smoke this album on the corner while donning dark
shades and leather, dreaming of caffeine, pale flesh and fishnet

Gothic Genre: Subgenre:Death / Doom / Gothic Metal / Rock Bitrate:Lossless Size:8.45 GB

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