Green Carnation
Journey To The End Of The Night
Prophecy Productions, 2000

Though this album was released in the year 2000, Green Carnation were formed in 1990 by guitarists Tchort and X. Botteri, bassist Christopher Botteri and drummer Anders Kobro, the band recorded the Hallucinations Of Despair demo before Tchort departed to fill the vacant bass position in Emperor, while the remaining members took on a new singer and became In The Woods...In 1998, Tchort and the Botteri brothers regrouped to pursue their original vision. Along with vocalist RX Draumtanzer and new drummer Alf T. Leangel, Green Carnation was revised and recorded Journey To The End Of The Night.

Musically, Green Carnation come across as a doomier and less enthralling In The Woods.... Of course, the fact that this music contains sounds that are being made by the Botteri brothers and appearances are made by female vocalist Synne Soprana makes it just a little difficult to not think of In The Woods... while listening to this album. There is a similar experimentation factor at play here. The songs are quite lengthy, weaving in and out of doomy metal excursions and airy atmospheric passages, while even dabbling in a similar dark psychedelia at times. Green Carnation's compositions act more as dark mini-journeys than songs, recalling at times the ITW... masterwork Omnio. But these similarities, while justified by the presence of certain musicians involved, are only in structure, not in feel. Where In The Woods... wrote dark journeys (that did, in fact, also act as songs) that were captivating and emotionally enveloping, Green Carnation's works often befall to aimless meandering and soulless performances and ideas. While it can certainly be argued that this album takes more than a few thoroughly attentive listens before the scope of its entirety starts to make its impact, the same can be said of the classic In The Woods... works. The bottom line is that Green Carnation are just not as engaging, musically or emotionally. It's easy to tune this album out at times, and I don't think that these tracks were constructed with that effect in mind.

As for individual performances, the Botteri brothers are, as always, phenomenal. Christopher's bass playing is always more than just the typical pulsating under-current employed by most bands of this nature, as he works in tandem with brother X in creating dark, introspective atmospheres that build to metallic climaxes. Together, they possess an approach and technique that is truly unique. Tchort's riffing is not quite as intriguing, but adequate enough for the material. His vision for this album and for Green Carnation itself, although not yet fully developed, is of more credit than his actual instrumental individuality. Drums are handled well enough by Leangel. Nothing spectacular, but he gets the job done. The vocal performances are where I have a problem, however. The lead male vocals by Draumtanzer are, at times, flat and annoying. In some sections his delivery is decent enough, but I would not have minded much if there were much less of his voice on this recording. The same goes for the female performances as well. Though delivered convincingly during particular moments (notably by the talented Soprana and Vibeke Stene of Tristania), they are just all over these tracks, sometimes ruining an otherwise pleasant atmosphere. I'd like to hear this album as an instrumental effort as something tells me that it would work better without the female vocal overload and the lifeless male vocals. However, it should be mentioned that the vocal performances were improvised in the studio with the contributors having little time to learn the material.

Journey To The End Of The Night is dedicated by Tchort to his deceased daughter, and it's the unfortunate event of her untimely passing that forms the concept of the album. Undoubtedly a weighty project for Tchort, the album succeeds on most levels aside from the vocal shortcomings and the sometimes wayward arrangements. It's easy to get lost in the cumbersome structures, yet the listener can use this to his/her advantage by not approaching the album in terms of individual tracks. Taken as a whole, it can be effective when acting as a journey through doomy soundscapes or simply as background music for whatever task is at hand. All in all a promising, if directionless, first effort from a band that surely will create even more interesting music in the future.

2003

Tracklisting

1. Falling Into Darkness
2. In The Realm Of The Midnight Sun
3. My Dark Reflections Of Life And Death
4. Under Eternal Stars
5. Journey To The End Of Night (Part 1)
6. Echoes Of Despair (Part 2)
7. End Of Journey? (Part 3)
8. Shattered (Part 4)

Green Carnation
Light Of Day, Day Of Darkness
The End, 2001

Light Of Day, Day Of Darkness is the second recording for Green Carnation. It features none of the musicians who made up the official line-up from Journey To The End Of The Night, save for guitarist and GC mastermind Tchort. It is also made up of one sixty minute track. Constructing a one-song full-length release is a tricky and challenging task. Few have attempted such an effort within metal circles and even fewer have succeeded in making such a recording work. Edge Of Sanity's Crimson comes to mind immediately when taking such works into consideration. Crimson was a monumental achievement not only for Edge Of Sanity, but for the metal genre as a whole. Crimson was a forty-minute journey through the realms of death/black/doom/power that succeeded on a number of levels from the master instrumentation to the powerful production. But the most important factor for this composition was the song itself, which maintained its flow and captivated its audience for its duration. It felt like fifteen minutes rather than forty. Light Of Day, Day Of Darkness joins Crimson at the throne of one-track album genius.

Gone are the meandering musical passages and cumbersome arrangements that crippled the otherwise impressive debut. The structure is tight and focused. Every passage has a meaning to the whole piece and nothing is here that doesn't belong. The foundation of this sound still resides in the atmospheric doom field, yet this time there is a healthy progressive rock element that plays a significant role in the delivery of the story. It's a musical journey in the true sense of the term. The In The Woods... comparisons can still be drawn, though to a lesser extent this time around, and they really are the only comparison I can comfortably make. The music rises and falls, paralleling the emotions expressed in the words. The inclusion of choirs and strings add to the grandiose vibe of the music, as does the outstanding production. The sound of this album is crystal clear and powerful.

Where the lyrical concept of Journey To The End Of The Night was based on the passing of Tchort's daughter, Light Of Day, Day Of Darkness was inspired by the birth of his son. The lyrics read as an introspective take on the journey of life. The challenge of matching the themes in the lyrics with the relating musical passages is met, the music really acting as a soundtrack for the story. The artwork in the packaging is also representative of both the music and lyrics. The photographs of serene landscapes and tranquil horizons taken by Tchort for each page of the booklet set an appropriate imagery to accompany the atmosphere in the music.

At an extra twenty minutes, the song/album is entirely compelling. The new players that Tchort has assembled for this effort are top-notch performers. While replacing the talented Botteri brothers is not easy, guitarist Bjorn and bassist Stein handle themselves very well here. Original drummer Anders Kobro (In The Woods..., Carpathian Forest) returns with his inventive and material enhancing skills, really tightening things up in the rhythm department. New vocalist Kjetil Nordhus is not very far removed from his predecessor, as he possesses a similar tone. But his delivery relates better to this material and he is overall more convincing. Throw in a number of guest musicians including a vocal appearance by In The Woods... Jan Kenneth and you've got an impressive collection of musicians who have clearly bought into Tchort's vision for this work.

All in all, this is just a fantastic work. All sixty minutes of this composition are thoroughly engaging. There are multitudes of bands who will never write one four minute song that is as compelling as the entirety of Light Of Day... Green Carnation have grown immensely from their debut and have created a classic album that stands as one of this genre's finest achievements. 

2003

Green Carnation
A Blessing In Disguise
Season Of Mist, 2003

After two releases of progressive doom-based metal, Green Carnation returns with a more condensed, less experimental effort. A Blessing In Disguise is nine songs averaging about six minutes in length. This is in contrast to the previous two works which saw a debut album that featured eight tracks averaging nearly ten minutes in length and a sophomore effort that was made up solely of one sixty minute composition. Musically, the overall foundational essence is basically the same. Dark, atmospheric and melancholy with occasional prog rock flourishes. Perhaps a bit less doom and more melody here. It's the same line up as the previous work, yet this time around Tchort allows a significant amount of ideas from fellow bandmates Kjetil Nordhus (vocalist) and Stein Roger Sordal (guitars, bass, harp).

And these ideas are well implemented into the band's sound. Album opener "Crushed To Dust", a Stein track, is a driving metal cruncher that recalls Sundown-era Cemetery more than the psychodelic-InTheWoods...ish progressive doom journeys that dominated the band's two previous releases. These songs are more accessible and straightforward than anything the band has attempted thus far. Yet they are so catchy and engaging that it hardly matters...that is, if you put aside initial expectations and accept this album for what it is. A song like "Lullaby In Winter" (Tchort/Kjetil) takes the aspects that Green Carnation have become known for and condenses those ideas into a beautifully constructed, focused wonder. The chilling, yet heartfelt and passionate vocal delivery by Kjetil makes for some astounding moments in this song, and album. The vocals on a GC album have never been so convincing and expressive. Similar winter-esque atmospheres are conjured up in the gorgeous "The Boy In The Attic" (Tchort) and the drifting-through-clouded-winter-skies majesty that is "Two Seconds In Life" (Kjetil). And then there are the melancholic grey-sky rockers in the shape of "Writings On The Wall" (Tchort) and "As Life Flow By" (Tchort/Kjetil), both highly addictive numbers with effectual choruses and razor-blade harmonies that ooze with the sweet sadness we've come to expect from the likes of Sentenced and Amorphis. "Myron & Cole" (Stein) could be lumped into this slot as well, but it is my feeling that this is quite possibly the single most convincing song this group have come up with yet, and therefore should be given it's own individual slot. A splendid merging of dark atmospherics and jagged metal riffery, complete with some truly outstanding vocal phrasings/deliveries....fantastic song.

On first listen, A Blessing In Disguise may come across as a play-it-safe approach to following up such a monumental work as Light Of Day, Day Of Darkness. However, after a few spins, it is quite clear that this is nothing short of nine fabulous songs, possibly an effect indicated by the album title...truly a blessing in disguise. What Green Carnation have done with this album is created something that was entirely unexpected by those who were familiar with their first two releases, and, therefore, leaving their future direction wide open. As brilliant a work as Light Of Day... was, it is A Blessing In Disguise that has already, in it's short existence, spent more time in my player than the first two works combined. I have formed a relationship with each one of these songs that is almost frighteningly intimate on a sonic level that will have a longer lasting effect on me than has previously been the case concerning this band's previous creations. Fantastic work.

2003

Tracklisting

1. Crushed To Dust
2. Lullaby In Winter
3. Writings On The Wall
4. Into Deep
5. The Boy In The Attic
6. Two Seconds In Life
7. Myron & Cole
8. As Life Flows By
9. Rain
 

Green Carnation
The Quiet Offspring
The End/Season Of Mist, 2005

A Blessing In Disguise was a success for this Norwegian band on a number of levels. Not only was it a fantastic collection of atmospheric, progressively-inclined metal/rock songs, but it was an intelligent move for a band who were following up a monolithic epic in the form of the single-tracked, sixty minute Light Of Day, Day Of Darkness. Similar to Finland’s Sentenced, Green Carnation’s first three releases turned out dramatically different from each other, admittedly while maintaining a related core guiding the sound throughout. Now, again like Sentenced, Green Carnation appear to have discovered an approach with which they feel comfortable with, as The Quiet Offspring patterns itself in a similar fashion as its predecessor.

The increased input of other members of the band has broadened Green Carnation’s soundpicture, proving the songwriting talents of guitarists Stein Roger Sordal and Michael S. Krumins as dependable as Tchort’s. While this music does not have aspiration that reaches the towering heights of Light Of Day, Day Of Darkness, the material comes across uniquely affective in such a way that is not as immediate as its predecessor. This is despite the many simplistic rock riffs that serve as foundations on which these songs operate, and heavy reliance on melodic hooks. The melancholy of the band’s sound is still present, though this time around it seeps through unnoticed initially, even during up-tempo rockers like "Between The Gentle Small And Standing Tall" and "Just When You Think It’s Safe".

"Lonely is the soul, empty are the eyes
Vague is the flame that used to burn in your eyes
Knocking before passing through the doors
The love that used to live here
Lives no more."

The true treasures within these songs are the impassioned choruses, particularly in "Dead But Dreaming", "Purple Door, Pitch Black", and the title track. Kjetil’s singing is powerful and engaging, and he does an admirable job of driving home the emotional essence of the songs with his rich and versatile voice. Indeed, Green Carnation, much like fellow Norwegians, In The Woods..., are quite skilled in the act of striking at the emotional core within the listener, and more than anything else this band does, it’s this talent that ultimately keeps one returning to their albums.

Perhaps the most appropriate display of the band’s atmospheric and emotional dynamic is "Pile Of Doubt", which traverses through a variety of moods creating a colorful and enveloping moment on the album. The quick riffing and double bass drumming descend like a glistening waterfall into saccharine harmonies and floating keys, making for an interesting representation of the elements that construct the architecture of Green Carnation’s sound. Elsewhere, songs like "When I Was You", "A Place For Me", and "Child’s Play" (parts one and two), emphasize the yearning and desperation of a darker destination, reached by brooding sound passages.

"Forced out of sleep
The dream was too real
And on the other side
I was you, and you were blind"

The theme of childhood experience is again explored, with allusions to the innocence of youth and the misunderstandings brought alive from confusion to a world of division to be found in most songs. While not a concept work in the true tradition of such, the childhood/adulthood theme forms the basis for the majority of the lyrics. Because the words are written from the position of the child, these themes are free of grandiloquent expression, yet communicated in close alignment with the perpetual dark that holds the triumph of complete tranquility hostage in every human being.

It’s a common occurrence for band’s to settle into a comfortable formula after a few recordings of experimental, wildly adventurous music. Amorphis, Sentenced and Tiamat spring immediately to mind, and one might suspect Green Carnation close to joining that list based on the more streamlined, accessible nature of the past two works. However, one gets the feeling from this band that there is much still left to discover within their world of sound creation, and after two bold and epic albums to begin their career, it seems natural that they would scale things down a bit. What Green Carnation have sacrificed in terms of experimentalism they have made up for with excellent songs rich with feeling and high musicianship. Even so, you never want a band to stop pushing themselves, as many seem to once their name has been established to some degree of significance. It’s a maneuver that would be a sure pity should this talented and creative act follow. The Quiet Offspring, regardless of where the band take their craft from here, stands as an accomplished work abundant with captivating moments as gifts presented through deceptive appeal.

10/23/05

1. The Quiet Offspring
2. Between The Gentle Small And The Standing Tall
3. Just When You Think It’s Safe
4. A Place For Me
5. The Everlasting Moment
6. Purple Door, Pitch Black
7. Child’s Play - Part I
8. Dead But Dreaming
9. Pile Of Doubt
10. When I Was You
11. Child’s Play - Part II

Green Carnation Homepage

Green Carnation Discography

Journey To The End Of The Night (Prophecy, 2000)
Light Of Day, Day Of Darkness (The End, 2001)
A Blessing In Disguise (Season Of Mist, 2003)
Alive And Well...Who Am I? Live DVD (Metal Mind Productions, 2004)
The Quiet Offspring (The End, 2005)
Acoustic Verses (The End, 2006)
A Night Under The Dam DVD (Sublife, 2006)