neurosis through silver in blood full download Through Silver in Blood. Neurosis built their reputation on -- to put it one way -- long-winded compositions, making their a challenging listening experience for even the most dedicated fans. And their fifth album, Through Silver in Blood, doesn't buck the trend, diving headlong into the group's entirely unique experiments in ambient, progressive death metal with the mesmerizing 12-minute title track. With the exception of two minute-long interludes, much of the remaining material follows this blueprint, with abnormally long tracks like "Aeon" and "Purify" gradually building from simple melodies into trance-inducing epics. Conversely, other songs take an unbearably long time to develop, crawling toward their climaxes so slowly (see "Strength of Fates") -- or toward no climax at all (see the tortured screaming of "Enclosure in Flame") -- that one's attention span is severely tested. It is therefore of little wonder that Neurosis' appeal remains so selective. Approach with caution. Neurosis – ‘Through Silver in Blood’ Turns 20. We’ve been covering Oakland’s seminal progressive sludge outfit Neurosis heavily as of late, in conjunction with the band’s 30th anniversary. Through Silver in Blood , their most popular and historic album, turns 20 tomorrow. It’s the most iconic album Neurosis has made. The twin serpents of its cover grace the band’s collaboration t-shirt with Converge. Its lead single is their most-performed song (much more on that later). Putting Through Silver in Blood in context presents a challenge. It doesn't sound like much else on the market when it was released. Eyehategod comes closest, but Neurosis don’t share their blues roots or sneering poetry. The samples and chanting vocal delivery that characterize the album owe some debt to Godlfesh and bear some superficial resemblance to the first wave of rap metal of 1996, but Neurosis played with song length and form more than Godflesh, and as for rap metal, well, Korn used bagpipes too, but that’s where the buck ends. And while Through Silver in Blood does sound like a logical continuation of the last two Neurosis records, and , neither album approaches its darkness. A better companion might be Metallica’s Master of Puppets . Each is an early career highlight by a bay area band tempering a juvenile style of music with arch seriousness. The bands’ respective fanbases love these albums with equal fervor, preach them like gospel. Master sharpens Ride the Lightning like Silver sharpens Enemy of the Sun , and both songs contain some of each band’s most memorable songs. The spectre of heroin haunts each album as well: Master’s flexible title track was, on inception, inspired by speedballs, and after all, what enters the body through silver and into the bloodstream? But Metallica embody the gnosticism of classic metal. Neurosis are agnostic, not in terms of religious belief, but in terms of their relationship to the truth. Metallica fire accusations at society and at themselves on the basis that everyone, themselves included, deny the obvious truth of things—it is obvious that there is no god, it is obvious that society squashes individual agency. In contrast, Neurosis don’t settle on a single truth. The forces of the universe as heard in their music are unknowable. Metallica prize clarity. Neurosis obscure it, and 20 years later Through Silver in Blood remains opaque. The advent of easy-to-use music editing software offers a modern visualization of music, one which may be more well-suited to Through Silver and Blood than the classic bass and treble clef: the loop. Cycles of bass and guitar notes, rather than playing in synchronicity, repeat, stop, and then repeat again, dogpiled overtop one another like some ur-stringed instrument, a precursor maybe to the eight-stringed guitars and subterranean tunings of today. All three vocalists in Neurosis shout one another down in the middle of the mix, varied slightly in pitch, not so much calling and responding as reacting, paranoid, to unseen events. When something approaches clarity, another sound emerges to obscure it—the epic album highlight ”Purify” reaches something like a tough groove in its second half until John Goff’s bagpipes join in. Often these instructions are samples, and they dominate other sounds often, either as a repeated motif, like the feedback squeal in the title track, or on the cacophony of voices babbling about metaphysics on “Rehumanize” or the atomic bomb on “Become the Ocean,” the two interludes which roughly chop the album into three acts. This dogpile of changing patterns combine to form the thick mud that is the album’s calling card. It’s to the credit of producer Billy Anderson that the album is listenable at all. Beneath the murk, each layer of sound is just transparent enough to allow a listener to focus on what’s underneath. Like the overlaid images on the album cover, Through Silver in Blood can be seen as a confusing whole or more sensible parts presented with distraction. The murk clears for a moment, but even then Neurosis conceal meaning. Halfway through the tracklist at #5, and precisely halfway between the four song-long second arc of the album, at the Jungian plot climax, comes “Locust Star,” the closest thing to a hit single the band have. Through Silver in Blood ’s lone period of true silence, a sixteenth note rest, precedes its first verse. A caesura, a cue, it signals: pay attention, this is important. “Locust Star” presents a big anthemic vocal hook, but one with indistinct wordplay as its focal point: barks “Star reign down - on you,” but the “Reign” sounds like “rain.” That there’s an awkward pause right before “on you” only bends the hook more. The needlepoint of Silver is crooked, but that didn’t stop the song from getting a music video. I prefer this live video of the band performing at Ozzfest after Through Silver in Blood came out. Their appearance hints at maybe someone wanting the derided fest to be something with progressive weight. Or maybe some record exec just got confused by the bagpipes. I have rarely seen such palpable (if performative) hatred and loathing in live footage. The expression on Kelly’s face while he screams “stick him” over and over suggests pathology. Look out for pummeling his keyboard with two balled fists. He looks as though he’s about to cry while people in the background mill about looking for cheap beer, unimpressed. The members of Neurosis offer few insights. While they will play “Locust Star” and the title track, but rarely play anything else from the record (it’s been 9 years since they played “Purify”). Rarer is any communication on it. There’s no Decibel Hall of Fame entry for the band, and my guess is that an unwillingness to talk about Through Silver in Blood explains their absence. At this last Roadburn, Ian Cory told me that the band deflected questions about these songs during their Q&A. According to him, said they would have to “burn the place down” in order to play any deep cuts. In their defense, Through Silver in Blood sounds like a hard album to make. Its dense layering had to present a challenge in 1995 when it was recorded. Giving credence to that fact: the band did not make a record with Billy Anderson again; they chose instead to work with Steve Albini for all follow ups, none of which explore the thick murk of this record. If Neurosis cut metal’s timeline in half, and all post-metal follows them, then their own career is also bisected. We get Neurosis post- Through Silver in Blood . Their turning point remains as elusive, alluring, and challenging as it did when it was released. THROUGH SILVER IN BLOOD. NEUROSIS Through Silver in Blood ratings distribution. NEUROSIS Through Silver in Blood reviews. Collaborators/Experts Reviews. You�re instantly reminded that it�s a Neurosis album you�re listening to when you notice the tribal like drumming from . It�s one of the most characteristic trademarks in Neurosis sound and also a very unique feature that sets them apart from other bands in the genre ( or at least did in 1996). The vocals from Scott Kelly and Steve Von Till are aggressive hardcore shouts and they compliment each other extremely well. It�s so powerful with the high pitched and the more deep angry vocals. There are some pretty great slide guitar riffs that sounds so powerful and aggressive and even though most of the riffing is slow they are still exciting for me ( which is a bit of a mystery as I normally prefer fast metal riffing). The keyboards and samples from Noah Landis are mostly kept in the background but they mean a lot for the atmosphere of the songs. I really enjoy his effect orientated way of thinking/ playing. �s distorted bass playing also needs to be mentioned here as it brings much power into the music. It�s almost impossible to point out the highligts on Through Silver In Blood because the whole album is one 70:32 minute long highlight. Songs like the opening title track, Eye and Locust Star are are excellent examples of Neurosis when they are most aggressive, but the album also feature tracks of a different nature. Strength of Fates takes us into post rock territory with it�s long and slow building structure and Aeon is different with it�s use of both violin and piano. All songs are slow doomy and generally very heavy though. The production is perfect. It emphasise just the right things in the music at the right time. A very heavy and raw sound, but still sophisticated enough to hear every detail. Some albums grap your attention and won�t let go until they�re finished with you. That�s the case with Through Silver In Blood for me. As soon as I put on Through Silver In Blood it takes control over me and I just have to surrender to the dark and angry emotions the music evoke. The album decides when I�m finished listening to it, I�m helpless to its power. A bit dramatic I know, but never the less it�s pretty much true. Enemy of the Sun and Through Silver In Blood have many things in common but even though I really find Enemy of the Sun to be an excellent album, Through Silver In Blood takes Neurosis music to a new level and because of this I can�t give Through Silver In Blood less than 5 stars. This is a perfect dark, angry, doomy and experimental metal album. It�s highly recommendable. Neurosis is not the kind of band that is likely to engage much interest from progressive rock fans, no surprise given their harsh and brutally dissonant sound. But the fact that I'm only the second soul to pop in for a review of this particular masterpiece is still quite surprising. Through Silver In Blood brings out the best of all things Neurosis had been experimenting with. Tribal beats start pounding and building up with layers of electronic sounds and guitars, at 3 minutes, a heavy bass groove gets this monster rolling and it doesn't let down anymore. As in most sludge-core-whatever bands, the vocals might be the hardest bit to get into. Neurosis has the advantage of featuring two skilled shouters, one with those typical dry hard core shouts and another with a deeper grunting style. Luckily none of them tries to sing during the harsh tracks, an attempt at accessibility that would diminish the impact of this album. Neurosis are masters at dynamics. Their sound is very rich in texture, as they employ lots of sampling and sound effects. It ties them to the bands they got their inspiration from. Most obviously that is Swans of course, whose trademark is all over the place here, particularly on the hardest hitting tracks like Eye , Purify or Locust Star . Another ground-breaking industrial band that comes to mind is Foetus. The closing Enclosure in Flame has some traits of them. Neurosis add brutal doses of to that industrial sound, as if things weren't dense enough yet. No, easy digestible music is not Neurosis' trade. Luckily there's some room to breathe left and right, as in the opening minute of Purify . Neurosis were one of the biggest creative forces of the 90's, blending very diverse influences into a steaming melting pot that would spew a whole generation of copy-cats. Some of those produced excellent albums as well but none ever matched the fire and inspiration of this masterpiece. Approach with utmost care, this may hurt your ears and crush everything inbetween to pulp. The historical importance and influence of this album is immense. Whenever I'm talking about post-metal with someone new to the concept, the two albums I single out are Through Silver in Blood by Neurosis and Panopticon by Isis. The former pioneered the genre and the latter defined it. Peripheral considerations impact and context aside this is simply an epic, crushing and depressing album. The title track opener is a great snapshot of the bigger picture, repetitive commanding tribal drumming with long heavy riffs and desperate vocals. Doom metal is an obvious reference point but there is a lot more to TSiB in terms of atmospherics and structure, the path is often paved with massive building crescendos and eerie samples and sound effects that set it apart from doom and progress it further than sludge. The greatness of this album isn't in its influence or revolutionary approach or any single part. It is the unifying greatness of the album that elevates it above the rest. This is not the kind of album you can pick and choose songs from, you really need to set aside a good 70 odd minutes and listen to the whole thing through to be taken on a post-apocalyptic ride of human despair as it was intended. This album has a high emotional impact and if you let it you will easily get sucked in to the misanthropic vortex and come out feeling pretty gloomy by the end. Through Silver in Blood remains one of the great artistic statements of the relatively new post and sludge metal genres and continues to serve as both a guide and a benchmark for other bands who aspire to such heights. "Through Silver In Blood" can easily be defined as the greatest Sludge Metal album ever released. I've thought of Neurosis as a band of the critics, not of the public. This band seems to be praised to death by the first, but they tend to be overlooked by the latter, or simply not as appreciated. People who like any type of metal that is experimental in any way are pretty young, that weren't around or were not aware of liking it back in 1996, so a lot of people listen to "Through Silver In Blood" only after discovering that they love the genre, so when they listen to this, they might think that there's nothing new to it. But, in 1996, this was revolutionary, and today we find it a lot less so because of its major influence. Thus it's historical importance for some might precede the music itself. But doing so would be a huge mistake. Not everybody is comfortable with the existence of a genre such as "post-metal" ( I must admit I'm one of these), and rather define this as Sludge Metal, or even more precisely Atmospheric Sludge Metal. Lately I've seen this term use in a way that maybe wasn't what I was expecting: bands like Blindead or Ghost Brigade, to name two, have a lot of cleanness to their sound and of course a lot of repetition. As far as Neurosis is concerned, Atmospheric Sludge Metal is everything but clean. As a matter of fact, this album is one of the most face- melting, ground shaking records ever recorded. The heavy, loud parts are full of layers, including some reverb, which very successfully make the sound huge. The tribal drums give a pretty effective apocalyptic feel too. "Through Silver In Blood" has a lot of differences from their previous efforts, it is a lot more progressive and mature in its nature, and the most well done yet. Only a few elements, like the vocal style, persist, but even these have changed a bit, it almost feels like it plays a second role to the music. But things are so much different now, it almost feels like this is a completely new band from the one that recorded "Enemy of The Sun" only three years earlier. The progressiveness in Neurosis's masterpiece is highlighted with a genius use of sampling, unusual instrumentation (piano, bagpipes), strange metallic sounds and loops here and there, some nice, atmospheric moods that usually start a piece. From these moments, most of the times there is a phenomenon for which Neurosis is especially famous for: building, and climax. These songs start very slow, and have a beautiful crescendo that culminates with some of the most mind-blowing sound textures you'll ever hear, to then ease down a little bit, and perhaps start another build up. A pattern that isn't always respected (thank God), since each song is unique in its own way. Listening to "Silver In Blood" can almost be considered a visceral experience, its like finding yourself in the middle of the ocean in the dark of night, the water is at first calm but it slowly starts to be more agitated, until a huge seaquake creates these enormous waves that go right at you, and your struggling to survive on your little raft. When you listen to this, everything around you seems to be melting, or that maybe an earthquake is taking place. There are many ways, as you can see, to describe this monster. The structure of the album is consistent, and the flow of the songs is just perfect. The opening title track is a fantastic example of Neurosis new style, because of the layered sound, the samples, and the build-up. "Purify" is another long, perfect track, that has many parts, but all of them are majestically connected, the use of sampled loops here is perfect, and the surprising bagpipes at the end of the song give an unexpected touch of beauty. "Aeon" is another flawless Neurosis track, sounding, a bit different from the other two songs but still amazing. "Enclosure In Flame" is a very unusual way to finish an album; for ten minutes you listen carefully, thinking that the song will explode, but, even if it gets really close to doing so, there never really is a complete build up. "Strength Of Fates" has probably the most astonishing build up ever; from almost unperceivable sounds they arrive to a massive wall of sound, that kicks in at around seven minutes, and goes on for the remaining two minutes. The shorter songs are amazing as well; "Locust Star" has become a classic song for Sludge Metal", and "Eye", even though underrated, blows me away every time with its massively thick sound. Even the two interludes, that are basically puzzles of samples, are very well done, and their job perfectly. I literally have no complaints about "Through Silver In Blood". This is easily my favorite Sludge Metal record ever, and one of my favorite album of all time. If you're into metal in general, this album is absolutely essential. One could call the music of THROUGH THE SILVER AND BLOOD sludge metal rather easily, and it fits considering that most of the songs aren't high octane, have an incredible amount of thickness to them and any changes of song structure are few and far between. If we take the opening title track as an example, Neurosis spend a good amount of time simply setting up the main riff, mostly working with the thickness of the sound as well as the tension. If there is anything that Neurosis do fantastically, it's establishing perfect tension even if the riff they're currently on does not change a lick. It's that anticipation of whether the band will explode musically is what make the long tracks so gripping. As for the vocals, any chance at normal singing is reserved for the beginning of ''Strength of Fates'' (the common source of the albums' sound exceptions); the vocals are either halfway death grunting or full-blown hardcore punk-ish screams. There is a bit of murmured singing in the beginning of the aforementioned ''Strength of Fates'', but the vocals fit the music well without going into ridiculous pretention territory. They can give you a migraine only if you aren't fully prepared for the onslaught. To summarize the rest of the album, it's all about the tension. It's heavy, aggressive and booming only when it needs to be, and much of the buildup to this heaviness on the longer sounds implement pianos and softer tones to bother the atmosphere. You know that something loud is coming even if it's just a subtle guitar lick; that's the genius other reviewers have found in this gem and to a certain degree, I buy into that. THROUGH THE SILVER AND BLOOD is a whole 70+ minutes of mood-setting and tension buildup disguised as a collection of 7 songs. I am not counting the two transition pieces as songs, nor do I count them into my rating this time since they aren't too numerous. This thing is so different from the prog metal you're used to that it's worth the effort to investigate the hype. This is a perfectly balanced album that delivers all the right ingredients in the proper proportions. An epic affair if I do say. Although the main instruments include the usual metal suspects such as guitar, bass, keyboards and drums, there is also the occasional appearance of bagpipes, cello and violin. This is a post-metal masterpiece that flows brilliantly from beginning to end. Another one of those albums that rubbed me the right way upon first listen but consistently grows on me more every time I listen to it. Once again NEUROSIS doesn't rest on their laurels. They know exactly how to evolve from one album to the next taking risks by adding new elements but never deviating so far from their core sound as to totally alienate any dedicated followers. With a sound so successful I am thankful that they have chosen to retain a core sound as their template because it is a successful one that deserves a lot of room for exploration. Latest members reviews. Through silver in blood is one of the greatest and most influential and genre defining album of post-metal. The album is long, with it being a little over seventy minutes and there only being nine songs. The album is a mix of industrial music, sludge metal, and atmospheric music, which is essent . (read more) Post a review of NEUROSIS "Through Silver in Blood" You must be a forum member to post a review, please register here if you are not. MEMBERS LOGIN ZONE. As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). Requiem Metal Podcast Celebrates the 25th Anniversary of Neurosis’ ‘Through Silver in Blood’ With Four-Part Series. Here’s the best possible compliment we can pay Requiem Metal Podcast : Each episode is arguably the best thing they’ve ever done. There are episodes where hosts Jason Hundey and Mark Rudolph are fully on board with the topic from the jump, and episodes where one takes the opportunity to plead with and try to convert the other to the cause. Each episode is a journey, well-organized and informative—owing both to Hundey’s background as a teacher and Rudolph’s acumen as a designer (and longtime Decibel illustrator)—and radiating with the kind of warmth that can only come from two friends who’ve known each other forever. Requiem pulls out all of the stops with its four-part series on the 25th anniversary of Neurosis’ Through Silver in Blood , a landmark album in extreme music. This impossibly-overstuffed episode features interview segments with Steve Von Till and Noah Landis of Neurosis, testimonials from musicians and admirers (including D ecibel ’s Albert Mudrian and Daniel Lake), detailed commentary on the album and its myriad influences, and, of course, numerous references to random people from Michigan that most of us probably don’t know. Decibel checked in with Jason and Mark to chat about all things Neurosis and why this episode might be a true game-changer for Requiem Metal Podcast. At current writing, you’ve uploaded the first two (of four) parts of the deep-dive on Through Silver in Blood . Spoiler alert: five hours in, you still haven’t started dissecting the album itself. That’s a lot of context even for Requiem. Why do you think it’s important to lay this much groundwork for a band like Neurosis? Jason Hundey : I’ll take the blame for that—I famously get a little overboard and take a simple idea and complicate it. I think what was important for us was to do something different for an album of this magnitude. We didn’t want to just recycle past interviews, write-ups or the Decibel Hall of Fame feature on it. The challenge with some of these legendary records is that so much has already been dissected and there is limited podcast bandwidth and attention-span—it’s why we haven’t done traditional episodes on some of the most common or mainstream bands in metal. For us, the question is always: What’s the unique angle? We’ve done a couple of other episodes on other Neurosis records, and thought it’d be cool to do some more historical context with this episode- it was almost a challenge. Mark Rudolph : That might seem like overkill for some people, but that’s how deep we personally like to dive into music. If anything, this show is a very selfish endeavor. We’re recording the type of music conversations we’d normally have. I don’t think this is necessarily appropriate for every band, but Neurosis operates on a different level. You can have a visceral emotional reaction to the music and lyrics, but beyond that there is so much more to discover; the context, history and influences just deepen that appreciation. I think what’s so special about them is that they can be enjoyed purely on a surface emotional level or if you wish to go deeper there is a wealth of discoveries to make. Just like any great art there is a lot of leeway for interpretation. This episode is notable because it features your first interview segments with musicians who made the record—in this case, Steve Von Till and Noah Landis. Neurosis has always been pretty selective when it comes to doing interviews, so how did you approach them and what did your pitch look like? Hundey : I started putting out some fishing lines to some people to see who would bite, starting first with a circle of journalist friends, and then some musicians I thought were influenced by Neurosis. I pitched some ideas to Albert Mudrian and he said, “Here’s some emails—good luck!” I was fully prepared to be ignored, but Steve was receptive and very kind to my spastic emails. I told him we were looking to do something to honor the legacy. He joked that he wasn’t even aware it was the 25th anniversary, LOL! There was obviously an incredible opportunity here to commemorate the 25th anniversary of Through Silver in Blood . For the uninitiated, is this also the best album to start getting into Neurosis? Rudolph : I think so. It was their first album that really made an impact on me. I think it’s undeniable how emotionally raw TSIB is. It hit me at the right time too. I was 21 and just started working as a designer at . I’d moved from mid-Michigan to Lancaster, PA and had an emotional journey that seemed to parallel the harrowing narrative on Through Silver … I think it’s a modern analogue for the Odyssey , or any great journey of discovery and maturity. I realize that sounds rather hyperbolic, but emotionally that rings true. I think the fact that it’s so raw and desperate, that makes it the most immediate Neurosis album for a new listener to grab onto. Hundey : That’s a tough question—I agree 100% with what Mark said, but outside of “Locust Star,” the album could be really harrowing for someone new to the band, I suppose, but it’s certainly one of their crowning achievements, both for the band and for the heavy music world. They’re such a personal band that I feel like everyone has a unique attachment to a particular album—for me, was the first Neurosis album I cracked the code of, but intellectually, this album is an exorcism pinnacle for the band. I have to be in a certain mood—this is an album I take seriously, it’s not incidental music. No one puts Neurosis on in the background, especially not “Enclosure of Flames.” Rudolph (l) and Hundey captured in a rare moment of not recording a podcast. One of the interesting things that comes out is that Neurosis put together Through Silver in Blood during a period of great individual turmoil. Mike Hill of Tombs kicks off the first part of the series talking about finding the band during his own turbulent adolescence. Is unsettling music best experienced by listeners in unsettling situations? Hundey : As I alluded to before, I hold great reverence to what the band were trying to create with this as art. I appreciate when a band forces me to undergo a state of consciousness or mood change, and while I don’t always want to go to that serious of a place, for a band to bear these scars in such a state of vulnerability I find really admirable. I think that was the challenge of putting together the first two parts- to try to figure out what other music went to such dark places prior to this. I’m not sure we answered that question, but I can tell you that we tried. Rudolph : I don’t know if it’s best experienced in that state or if going through some type of turbulent time yourself opens you up to better understanding or absorbing it. There’s been many times in my life where specific albums have really helped me navigate the darkness. Some with greater impact than others, but I feel like if you’re in an emotionally vulnerable place and you come across music that vibrates at that same frequency, somehow it imprints on you in a deep way. What does the process of putting together a Requiem episode this long and immersive look like? Do you record the whole thing in one stream and break it up? Do you have an outline of where you generally want to do? And do you each have a Rocky -style training montage to prepare for the rigors of recording? Hundey : I just consumed copious amounts of coffee and sleep deprivation to punish my body into unlocking this record, and I probably looked like Charlie Kelly in a full state of madness trying to link all of this together. This one we did as one long continuous stream—it was a 10-hour session. Felt like a sweat lodge type scenario. It was less Rocky in Russia winter montage and more like a Lynchian cutaway to a cackling eyebrow-less elderly man followed by a blurry flame montage. Rudolph : We throw ideas around all the time, but for this one I think I mentioned doing another Neurosis album for an episode and we kind of just sat on the idea for a few weeks. Then Jason usually does the heavy lifting and the type of research that only a history teacher could. I usually offer suggestions to his outline and we massage the show into something that suits us both. Jason contacted the musicians and I handled the technical end of recording, but we both came up with questions for the Noah and Steve interview. Once we had all the pieces, we came up with the final running order and edited it into a cohesive show. I think the previous few months of recording more and having a more, full schedule got us into fighting shape for something this expansive. Is there any truth to the rumor that Mark and Jason were replaced with robots during the Requiem Metal Podcast hiatus, and the real Mark and Jason are being kept in an underground bunker, passing time by playing bridge with the real James Hetfield and Lars Ulrich? Hundey : Lars will not shut up but James has taught me the gentle art of beekeeping. Neither of them can beat me in Tecmo Super Bowl, though. Rudolph : I can’t confirm or deny. You’ve described the process of putting together this deep-dive as a “new level” for Requiem Metal Podcast. Will this change your process going forward? Can we expect even longer episodes with more testimonials, more interview segments, and even more sideways discussions? Hundey : I think it’s a model for future special episodes, and we are always looking to challenge ourselves, if it serves the idea. I think after putting together the History of Heavy Metal Countdown—it revealed to me the power of research and historical context. I wish we had this discipline when we put together the proto-metal episodes, but we were still in a state of becoming, perhaps, for lack of a better explanation. At the end of the day, this is a proud hobby, on top of the other commitments we have and not our full-time gig. Now if we could get some sponsorship and make this more economically feasible, that might be a different story. You guys know any influential metal operations that are interested [wink, wink]? Rudolph : I think this has shown us where we can take the show, but I don’t think it will be the norm. My favorite part of doing the show is talking with my good friend about stuff we love. When we do something like this again, it will have to be something that we’re both equally stoked about. I can say that we have some similar in scope episodes coming up, but they will be more genre focused than on a specific band. By the end of this, you will have talked to, about, and around Through Silver in Blood for 10+ hours. Is there anything left to say about the album? Rudolph : I believe there is. Granted not anytime soon, but albums like Through Silver in Blood keep offering up new insights as you age and experience the stages of life. This might be the most representative show of how deeply we both feel about music and the power it holds than anything we’ve ever done before. I feel like it’s a new foundation that we can build future shows upon. Hundey : I agree with Mark here, it’s such a personal album that I think there are always layers to still be revealed. I can confirm that, personally, we’re probably tapped out after 10+ hours. Now Paradise Lost, Katatonia, Anathema, Alice in Chains… Through Silver In Blood. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $8.99. Through Silver In Blood. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. About the album. 1 disc(s) - 9 track(s) Total length: 01:10:32. (C) 1996 Relapse Records, Inc. (P) 1996 Relapse Records, Inc. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Chopin : Piano Concertos. Live Thrash Attack. A Sun That Never Sets. Masters of Thrash. Playlists. Highway To Hell. The Alice Cooper story is, first and foremost, an extraordinary tale of “split personality”. Like something straight out of “The Strange Case of Dr Jekyll and Mr Hyde”, singer Vincent Furnier surrendered to the domination of showman Alice Cooper. But by his own admission, the man who always speaks of “Alice” in the third person in interviews remains a simple, completely normal guy in private, far from the stage where he enacts his excesses and provocations. Throughout a career stretching over 50 years, there is an evident streak of schizophrenia in his many stylistic changes. While we credit him with the invention of shock rock, he has ventured into almost every genre with varying degrees of success, from pop to nascent hard rock, with forays into heavy metal, new wave and industrial… As the birthplace of an ever-increasing number of metal groups, Sweden proved their worth internationally in the early 90s when a dynamic crowd of metalheads burst onto the scene. We look back in time to understand how Swedish death metal developed and what made it so original. Pink Floyd's ground-breaking album The Dark Side of the Moon was the result of a long creative process that began around 1968. A Saucerful of Secrets (the main track from the eponymous album) was, for Nick Mason at least, where it all began. Their next album Ummagumma (1969) gave each band member the opportunity to create a solo piece, though they would have to combine their talents if they wanted to hit the jackpot. Pink Floyd continued to search for the perfect record with Meddle, an album which highlighted their skills in the studio, and Atom Heart Mother, before they reached nirvana with The Dark Side of the Moon. And the album’s perfection hasn’t faded one bit.