"Agathodaimon"
- Serpent's Embrace
- Cellos for the Insatiable
- Light Reborn
- Banner Of Blasphemy
- Solitude
- Faded Years
- The Darkness Inside
"Agathodaimon"
Departure
автор:
Agathodaimon
жанры: german
альбомы: Chapter III
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We part for ever from today Farewell beloved one And I, unto may death, your way Will shun. I care not now where you may go You can no more bereave me Today the sweetest girl I know Does leave me. [Chorus:] And the air still moves my curtain As it used in times of yore... Moonlight down the lane uncertain Only you come nevermore Nor shall I as in former hours Build spanish castles high With star-lit windows, and with towers of sky, When, shivering with bitter cold Through winter nights uncertain I watched lest you perhaps unfold Your curtain. O what delight to stroll with you Beneath that flowering trees When poured its light their branches through, The moon. [Repeat Chorus] That I might catch with rapturous thrill The words that you let fall And that today I barely still Recall. How often did I secretly pray Swift night her sails would furl That we might thus forever stray Fair girl. [Repeat Chorus]
Мы расстаемся навсегда. Прощай любимая. Уходишь ты, но все теряя, Тебя не буду я искать... Мечта души моей святая, Отныне я один опять. Занавески колышет ветер, Словно в старые времена... И дорожка из лунного света, Только ты не придешь никогда. Не буду я как в дни былые Строить воздушные замки ввысь, Со звездными окнами и воздушными башнями. Когда, дрожа от жгучего холода, Долгими зимними ночами, Я ждал, что ты, быть может, раздвинешь Свои занавески. О, что за наслаждение гулять с тобой Среди этих цветущих деревьев, Когда свой свет сквозь ветви льет Луна. Занавески колышет ветер, Словно в старые времена... И дорожка из лунного света, Только ты не придешь никогда. Я мог ловить, с восторженным трепетом, Слова, которым ты позволяла падать. И они звучат в моей памяти, по сей день. Как часто я молился тайно, чтобы Скорее ночь убрала свои паруса. Чтобы мы могли так всегда заблуждаться В отношении честной девушки. Занавески колышет ветер, Словно в старые времена... И дорожка из лунного света, Только ты не придешь никогда.
Founded in 1995 Agathodaimon quickly began to gain a reputation for itself in the Black metal scene. The first record companies were already showing interest in signing them after their first demo due to excellent reviews in the underground and the major press as well as the bands strong live presence. Eventually the band decided to sign with Nuclear Blast after the release of a second demo and so ‘Blacken The Angel’ appeared in 1998, the most successful debut of a German black metal band up until now. After a number of gigs with bands like Dimmu Borgir, Benediction, Children of Bodom, Dismember and others the second album HIGHER ART OF REBELLION was recorded in Romania which showed the band more willing to experiment than ever. In spite of the small cuts, which had to be made in terms of the production, the album was once again enthusiastically received. After a headline tour around Europe and diverse festival gigs such as Wacken, Wave Gothik Treffen, Windo Rock etc the band recorded their forthcoming album. After a costly pre-production the complete album was recorded in the Kohlekeller studio with Kristian Kohlmannslehner and mixed in Commusication studio with Gerhard Magin (Crematory, Theatre of Tragedy etc.) where the bands debut originated. Without a doubt the sound is the best production from Agathodaimon to date with the last cuts being made by Magic Masters who have already worked with bands like Black Sabbath and Deep purple. The band was also capable of improving the song writing as well and this is confirmed in successful compositions on CHAPTER III. Starting with the opener ‘An Angels’ Funeral’ which begins with a dissection-like resemblance merged with gripping riffs and a furious guitar solo, the varied, keyboard influenced ‘Spiritsoldier’, the traditional Agathodaimon-sounding ‘Paradise Beyond’ laid with acoustic guitars and clean vocals, the melodic ‘The Ending of our Yesterday’, the groovy ‘Past Shadows’ to the wreaking ‘Departure’, the small intermezzo ‘Yesterdays Reprise’ and the atmospheric half ballad ‘Sacred Divinity’ where Agathodaimon’s experimental character leans towards the Marillion sound. The albums conclusion is found in ‘Burden Of Time; a further masterwork on an album which doesn’t let any weaknesses show and whose artwork was once again contributed to by the renowned Gerald Axelrod. A completely successful product, which will surprise true black metal fans, as well as those who see black metal in general as unstructured noise. ‘Chapter III’ clearly portrays the peak in the career of Agathodaimon to date and will further secure their position at the top of the German scene as well as strengthening their reputation abroad.