being late. getting there, still in time. being able to stand in the very front. meeting some guys who i met on anathema‘s last concert. listening to anathema. rocking. having a great time. break, after 45 minutes. looking out for other guys who announced themselves for the concert, not seeing anyone. porcupine tree coming up. having another good time. for around two hours. then, silence, again. crowd flowing to the outside. checking out the merchandize. buying an anathema cd, getting it signed by the band, talking to the band. queueing up to fetch my jacket. meeting another mathematician i didn’t expected to see. seeing in the distance another one whom i knew to be there. leaving, alone. taking the tram. happening to see a friend in his kitchen from the tram window. buying some pizza. writing this crap. feeling good.
thanks for everyone who helped making this evening so great. i appreciate that a lot.

besides apocalyptica, there’s another creat classic/metal crossover to mention, lingua mortis by rage and the symphonic orchestra prague. this is not simply a version of some songs with an orchestra in the background (that’s more common, see, for example, metallica‘s s&m and dream theater‘s score), but a complete rewrite of several older rage songs for orchestra together with the usual rage instruments. my first contact with this really excellent piece of music was, again, the sampler dark winter nights, which contained the alive but dead.
this year, rage was on tour with the lingua mortis orchestra, playing in Київ, Санкт-Петербург, Москва, vizovice and, finally, at the wacken open air. originally, they were supposed to also play at the metal dayz in pratteln, but as these were cancelled, i had no chance to see them… :-(

yesterday i attended apocalyptica‘s concert in zurich. supported by the youngsters from sturm und drang, which were acting pretty professional, both from their playing skills, and their stage performance. that was pretty nice, though not exactly the kind of music i like to listen to.
then, after half an hour of sturm and drang and another half an hour of stage rebuilding and waiting, apocalyptica started off with an (as usual) great atmospheric intro. well. the show was simply great. though, i’m still not convinced that drums fit in there; though some songs a great with drums, most i would prefer to hear most songs without drums, or at least with less audible drums. fortunately they played some songs without, but just a very few… at least, they didn’t started to take a vocalist along their tour…
besides these things, though, the concert was really, really great! besides playing songs from the current album, worlds collide, they also played many older songs and also some metallica covers, and edvard griegs in the hall of the mountain king, one of my very favorite songs, declared by apocalyptica to be a great piece of norwegian black metal (i think they said that on their previous concert here in zurich, around two years ago).
after two encores, they finally left the stage, leaving back a thrilled and enthusiastic crowd.

i haven’t felt so young on a metal concert for a pretty long time now, as on today’s dream theater show in winterthur. on the outside, i really felt dressed strangely, as the number of metal t-shirts was pretty small and most people looked pretty normal. inside, the situation looked a bit different, probably the metalheads were a bit earlier :-)
another pretty strange thing was that the wardrobe was located 100 m outside from the entrance. that means, you have to give away your jacket, queue up in the line for the entrance and stay there, freezing, just wearing a t-shirt. but at least it was not raining…
well. besides all these strange things, and also besides the insane pricing of the tickets, the concert was great. even though symphony x had just around 40 minutes to play. at least, the break for cleaning up the stange was pretty short (around 20 minutes), so one had no chance to fall asleep in between… (i remember some breaks which came near to one hour…) the stage was decorated with giant ant puppets, although i couldn’t see them, too many heads in my way… another gimmick was a traffic light hanging above the stage, which showed red, then turned to yellow when the intro music started, and changed to green when the band began to play.
well. dream theater played for almost two hours and, as usual, produced a really good show. they played a lot from their current album, systematic chaos, some other songs and, as an encore, a long medley, going through different epoches of dream theater.

today i’ve been attending a festival in dietikon, eight bands playing in 9 1/2 hours. out of these eight bands, two were crap, and five were pretty good (finsterforst, trimonium, kivimetsan druidi, korpiklaani and moonsorrow), which made this festival quite a success. my two absolute favorites today were korpiklaani and moonsorrow, two finnish bands which were the main reason for me to show up at the festival after all.

the finnish humppa metallers korpiklaani entered the stage as the seventh band. as they started playing, the crowd basically went wild, everyone starting to move, to dance. it was simply amazing. the idea to combine humppa with metal is simply great. and they also played happy little boozer, to which a friend of mine once wants to dance drunken on a table (if you’re reading this: you missed a great concert!). unfortunately, korpiklaani had to leave the stage after one hour… i really want to see them again, and then a bit longer…

finally, as the eight band, moonsorrow—one of my favorite bands—appeared on stage. for 80 minutes. and even after the crowd has already been active for around eight hours of concerts (my bones were hurting, my neck aching, my brain complaining, my feet weary), people still managed to adequately honour the great music and stage performance by banging like crazy, by dancing to the great tunes. it was simply fantastic. unfortunately, it was over at some point. too bad.

conclusions:

• one should kick the sucking bands out of the schedule and increase the playing time of the best ones.
• one should replace the mixer by someone who more successfully tries to compensate the bad accoustics of the hall and does not simply makes it worse by fucking up the mixing…
• humppa rocks.
• moonsorrow rocks even more. (regardless what the bavarian guy is saying.)

and now, it’s time to grab some sleep. thank you and good night.

no, this post is not about the area of abstract algebra in mathematics, but about the experimental metal project abstrakt algebra founded after candlemass‘ dismanteling by leif edling. they released one album and started with a second, but ran out of money, and leif ended up escaping bankrupcy by re-using some of the second albums material to create another candlemass album, dactylis glomerata (named after a flower he’s allergic to). the 2006 reissue of dactylis glomerata contains as a bonus disk the unfinished version of the second abstrakt algebra album, entitled abstrakt algebra ii (now guess how the first one was called). well. the arrival of that one kicked me out of bed this morning, when the mailman rang the doorbell. but it was worth getting up for it, and even if it is not a very good album, it is not good, it is interesting, and it is one of the albums every mathematician who has a similar strange taste of music than me should have in his cd shelf. of course, together with their first album, which i just ordered. ;-)

right now i’m listening to mandylion by the gathering, their first album with the great dutch vocalist anneke van giersbergen. (if you’re interested, take a look at her new solo project agua de annique. if i recall correctly it’s not metal, so worth listening to for everyone reading here.)
this is one of the first metal albums i bought, after hearing the song leaves too many times on some sampler (called dark winter nights; that one also introduced me to rage and samael). it’s a really great, emotional song, touching me deep inside. probably the first song qualifying to be called gothic rock/metal which i loved listening to. a few lines from the song:

“now that you’re gone i don’t know
how to really feel inside
baring the hope to see you again
i guess i never will”

i’ll stop typing know, in favor of catching some sleep… closing with a tbl quote: thank you & good night!

if you’ve ever seen the cover of opeth‘s fifth masterpiece blackwater park, you’ll know what i mean with opethesque (if you haven’t, look here). i took some similar shots this morning throu the train’s window:

unfortunately i missed to catch some more impressions which were even more opethesque… well, maybe next time.

i first met swallow the sun on their concert in the z-7 in april, as a co-headliner of moonsorrow. lately, i’ve again started listening to their album hope, which i bought directly after the concert, and decided to get more, namely first their second album ghosts of loss and, finally, their debut, the morning never came. their music is dark, really dark. full of beauty, of intensity, of gloom, of melancholy. so intriguing, gripping me, making me longing for more. slow moments alternating with blasting, heavy moments. clear voice alternating with death voice, giving another example where death voice fits perfectly, increasing the intenseness of the music. as the line “insane pain” in the giant—one of my favorite songs—which, if presented in clear voice, would not making me shiver that much, would not paint the pictures in my head in such intense, vivid colors. a few lines from that song:

“i’ve been hiding this giant for too long
and it’s grown like a parasite inside me
under this shadow i’ve been walking
now it’s taken over me, and she…
the pure girl, leave me before it’s too late
or i will cut your wings”

another favorite of mine, gloom, beauty and despair, another song from the great ghosts of loss album (containing several twin peaks references), is not using clear vocals after all. the first three minutes, the music being slow, melodic, melancholic, the lyrics, telling the story of someone mourning the loss of his loved one, being barely understandable, as it’s screamed and whispered at the same time, making me feel the desperation, the anger, the mourning. simply beautiful. then, piano hits in, picking up the theme from the beginning, until the guitars and the death growls take over, the music still being slow, melancholic, but heavier, more desperate, making me feeling with the narrator.
i’m really looking forward to see them again.

yesterday i fell in love. again. with a song, called into cold light, the first track on unholy‘s third album rapture. it catches me. absorbs me. makes me feel like floating, like sitting on a boat, moving on the water with high speed, like flying through space, stars passing by, infinitely, monotone, yet never boring, full of power, psychedelic. somehow reminds me a bit of dream theater‘s constant motion, in particular it’s video, as it looks to me as if everything is in motion, no way to stop, no way to rest, no way to look back. reminds me a bit of life. constantly moving forward in time, not able to stop for a moment, no possibility to rest. making decisions in every moment, some of them good, most of them not. what happened cannot be undone. the music’s intenseness increasing every second, then, guitars hitting in, increasing the pace. hell breaking loose. drop-dead gorgeous. stunning. haunting. so intense, so beautiful. then, fade to black. the stream flows away, leaving me in blackness. again.