24 Aug Episode 70 – Solefald 1996-2015: A Red Episode With Black Edges
Extant since the mid 1990s, Solefald may have been the first Norwegian black metal band to entirely bypass the necro stages of development and arrive fully formed as a “post”/”avant” type mischief-maker on their debut album, The Linear Scaffold (1997). We have watched and listened from our perches as Cornelius Jakhelln and Lazare Nedland have evolved, escalated, provoked and pontificated through myriad stylistic vistas. ALL of it is highly recommend by Radical Research and celebrated on this, our 70th episode.
In March 2020, we posted Hunter’s essay on Solefald’s Neonism. It’s always available for your perusal here: http://radicalresearch.org/solefalds-neonism/
All drums on Solefald’s recordings are played by keyboardist/vocalist Lazare, except eighth album, World Metal, on which drums are performed by Baard Kolstad of Leprous.
Other bands the Solefald duo have been a part of: [Cornelius] Sturmgeist, G.U.T. / [Lazare] Borknagar, Age of Silence, White Void, Carpathian Forest, Asmegin
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Music cited, in order of appearance:
“Sivilisasjonen Slør / Ravnens Fall” (Jernlov, 1996 demo)
“Philosophical Revolt” (The Linear Scaffold, 1997)
“Speed Increased to Scaffold” (Neonism, 1999)
“CK II Chanel No. 6” (Neonism, 1999)
“Charge of Total Affect” (Pills Against the Ageless Ills, 2001)
“Nutrisco Et Extinguo” (In Harmonia Universali, 2003)
“Dionysify This Night of Spring” (In Harmonia Universali, 2003)
“Sun I Call” (Red for Fire – An Icelandic Odyssey Part I, 2005)
“Survival of the Outlaw” (Red for Fire – An Icelandic Odyssey Part I, 2005)
“Necrodyssey” (Black for Death – An Icelandic Odyssey Part II, 2006)
“Tittentattenteksti” (Norrøn Livskunst, 2010)
“2011, or a Knight of the Fail” (World Metal – Kosmopolis Sud, 2015)
Episode 71 preview: Paul Chain, “Resurrection in Christ“ (Opera 4th, 1987)
Radical Research is a conversation about the inner- and outer-reaches of rock and metal music. This podcast is conceived and conducted by Jeff Wagner and Hunter Ginn. Though we consume music in a variety of ways, we give particular privilege to the immersive, full-album listening experience. Likewise, we believe that tangible music formats help provide the richest, most rewarding immersions and that music, artwork, and song titles cooperate to produce a singular effect on the listener. Great music is worth more than we ever pay for it.