Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June It's one of the most unforgiving opening tracks I've ever heard; It's not SUPPOSED to be enjoyed, and it really can't be, at least not until the first, brief burst of melody explodes in at three minutes, one of the few instances of beauty that Type O Negative is willing to allow into their music.
Otherwise, it's some of the most frightfully and willingly ugly music that metal has ever churned out. This song and the title track are the sole epics of 'World Coming Down'; while there are other, just as long songs, none of them have the same grandiosity and beautiful hopelessness as these two tracks. This is not a failure: it's entirely intended to be this way, and any more openly beautiful music than that would destroy the fragile musical environment that Type O Negative so carefully constructs on this album.
That's really what I think this album is about. It's not really about the construction of the music, the riffs, the melodies, anything: it's about taking you back when the ideal of 'goth' was present. This has literally nothing in common with 'gothic' style Victorianism or romanticism. This is supposed to be filthy, ugly, and utterly hopeless and drug-addled. And it succeeds remarkably at conveying this precise atmosphere, time, and place.
Early Type O Negative was mostly about conveying the appearance of goth; late Type O Negative was about taking its stereotype to a ridiculous level and having fun. But this album was the culmination of those efforts towards such an image, after the early, raw, punky attempts to reach it, and before the desperate overshooting of it: this little album, as they say, is just right. This is pretty close to being completely unenjoyable, and I can't imagine an album like this any other way.
It's ugly, awkwardly played, amelodic most of the time, and generally extremely slow, bordering on funeral doom speed at times. And due to its contempt for the world, musical standards, and the last vestiges of beauty it holds, it's a masterpiece that perfectly accomplishes what it sets out to.
Type O Negative has always been, in its heart, a theatrical entity. All the elements are presented in dramatic fashion, taken beyond the thresholds of what we would probably think of as silly, and through a precise combination of sarcasm and seriousness, make you a believer.
The musical vocabulary is the same: big, churning metal chords altered with tiny blues bends and technical twists, giving the music a psychedelic, almost nightmarish edge. Drums alternate between painfully slow doom crushing and uptempo rock and punk beats, both of which work effectively because they're so restrained: there's nothing in the drumming that takes attention away from the guitars, keyboards and vocals, which are the heart of the music here.
Keys are employed sparingly, and are used as root note accents or for filling in when guitars are absent, often working in tandem with the crucial groove of the bass guitar.
In the end, though, the vocals are what carry the music: Peter Steele alternates between his infamous low-key goth crooning and higher, more openly melodic cleans, with the occasional abrasive hardcore shouting section to add variation during the more aggressive segments. But such segments are rather few and far between: the atmosphere here is a sort of simmering misanthropy and a beautiful sort of pain that still isn't 'gothic' in delivery.
One of my central complaints about metal's illustrations of depression and sadness is that they're much too idealistic and teenaged in tone.
Most metal bands have clearly never experienced genuine depression, as it's not the gothic romance they portray it to be. The atonal moments of Type O Negative capture the truth of it: depression is much more an abstract, featureless misery than it is something beautiful. The riffs flawlessly express this: amorphous, languishing collections of lethargic, dissonant notes, with just a fragment of minor key melody to give a trace of emotion to it And that's all there really should be, as that's all there is during periods of depression: a trace of emotion, more a memory of what it's like to feel than any feeling itself.
But the more incredible thing they're able to do is in the openly melodic segments, with their bittersweet beauty that fits the New York goth style and allows us all to look into it. This beauty isn't a celebration of a depression, but a celebration of beauty in ugly places.
It's the beauty in natural disasters, in inevitability, and most importantly, in the fact that you, yes, you, will not be remembered after you're gone. Type O Negative celebrates our insignificance, how non-existent the footprint each one of us leaves on our world will be. This is the musical equivalent of standing on the edge of the river at night and looking longingly at the city before you, surrounded by people, and yet the loneliest person in the world.
That is beauty. I saw Type O Negative live in early Peter Steele, who had just gotten out of prison and recently broken his cocaine addiction, looked older and more haggard than I'd ever seen him before. There was a certain hopelessness and apathy about his performance: most of the notes on his bass were hammered, and he generally seemed to not want to be there, despite the uptempo and more fun nature of the songs.
But moreover, there was an acute depression about him: as he gazed on the audience, composed almost entirely of teenaged goth girls, all dolled up for their weekend concert, and the boys they dragged along with them who were clearly hoping they could get laid if they only dressed up and acted to part enough , you could practically hear him thinking "This is not what I wanted.
Peter Steele won't play material off 'World Coming Down' because it reminds him of the worst part of his life: I had no idea that it was an album about the future. It's said that Peter Steele was going through a valley of life during the writing process of this album, and the anguish and gloom truly comes through in the atmosphere and songwriting methods of this album.
Gone are the tongue-in-cheek attempts of "Bloody Kisses" and the more commercial, catchy moments of "October Rust. More emphasis is given to production here, which seems more bass-heavy and fuzzy than past releases. Josh's keyboards aren't as prevalent here, but the album still contains a sometimes menacing ambience that TON are known for. The most notable change in TON's sound on "World Coming Down" is the music itself; the dreamy, sometimes soothing soundscapes found on "Bloody Kisses" are nowhere in sight here.
Instead, the listener is treated to a nearly overwhelming dose of crunchy Sabbath-esque riffs, bittersweet melodies, and Peter Steele's incredibly deep vocals, which seem to contain even more despair than the band's previous "deep" cuts. Ex: "Christian Woman", "Bloody Kisses", etc.
The band seem to have no concern with taking shots at the usual thrash numbers which spotted previous albums, and concentrate on making the dirge-like moments as crushing as possible.
And by God, do they pull it off. Each of these songs is intended to suggest the possibilities of the deaths band members may suffer: " Sinus " as death from cocaine use, " Liver " as death through alcohol abuse and " Lung " as death from smoking. In an ironic foreboding, Steele once told a close friend that he could not bear to listen to "Sinus" after it was mixed and completed, because the sound of the heartbeat escalating to its furious pace after the cocaine-snorting sound effect actually drove him to the point of an anxiety attack because of its realism.
The last song of the album, " Day Tripper ", is a medley of three Beatles songs. An additional song recorded during the recording of this album, " 12 Black Rainbows ," was issued as the B-side for the " Everything Dies " single; later, it was included on the compilation album The Least Worst Of with two other outtakes from the same session " It's Never Enough " and " Stay Out of My Dreams ".
Even so, the bottom line is that Type O Negative never put out a 'bad' album, each one has distinctive character and style that fans kindle to. Josh Silver's eerie key-playing gives WCD a familiarly gloomy atmosphere to Disintegration and is arguably the dark heart of the album.
This is a masterpiece of ultimate despondency -only with Type O's uniquely aware fashion, if not as prevalent here. Type O is just sorry that you had to hear it. Listen to it in the dark for maximum effect. Tweet Recent reviews by this author. Life of Agony Ugly. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. November Learn how and when to remove this template message.
Main article: Type O Negative discography. Retrieved April 27, Retrieved October 26, The New York Times. April 20, Retrieved August 22, The Washington Post. Retrieved August 28, Type O released seven studio albums, with their most recent being 's Dead Again. April 19, Retrieved November 3, Rock Hard. Listening to it a lot today because a good friend recommended it and I'm trying to get used to it, but I still don't know what to make of it.
I guess I give them credit for being unique. So far, I like this one the best. Review Summary: Dark, Melodic, and Atmospheric. What more could you ask for? Rank: for MasterBait 4. Type O Negative is not your every day metal band. Of course the fact that it is original does not make an album great. That is just one of those things that make it slightly more listenable than other forms of metal. The real reason why this album is so fantastic is because of the different approach to writing music.
Instead they use a variety of effects to establish an atmosphere or mood if you prefer. Everything about it is dark and sinister.Apr 25, · Discover releases, reviews, credits, songs, and more about Type O Negative - World Coming Down at Discogs. Complete your Type O Negative collection/5().