{"id":10146,"date":"2013-12-02T15:47:18","date_gmt":"2013-12-02T13:47:18","guid":{"rendered":"http:\/\/egophobia.ro\/?p=10146"},"modified":"2013-12-24T20:51:52","modified_gmt":"2013-12-24T18:51:52","slug":"fly-away-my-hope","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=10146","title":{"rendered":"Fly away my hope…"},"content":{"rendered":"

[The Poetry of My Dying Bride]<\/strong><\/p>\n

de \u015etefan Bolea\n<\/p>\n

 <\/p>\n

\nHammerworld Stage, Pepsi Sziget, august 2004. A\u015fteptam concertul My Dying Bride cu interes modic. Nu eram 100% fan. Aveam alte priorit\u0103\u0163i, ca de pild\u0103 Amorphis sau Children of Bodom. \u00cent\u00e2rziere de 30 de minute, apoi intro-ul de org\u0103 “Here comes the Bride”. Forma\u0163ia, apoi Aaron Strainthorpe, vocalul. Era \u00eentr-adev\u0103r o apari\u0163ie: purta o jachet\u0103 alb\u0103 (care ar fi putut sem\u0103na cu o c\u0103ma\u015f\u0103 de for\u0163\u0103 stilizat\u0103), bra\u0163ele fiindu-i pictate cu ni\u015fte vini\u015foare s\u00e2ngerii, care d\u0103deau impresia copacului cunoa\u015fterii. Alura sa era \u00een totalitate romantic\u0103, p\u0103rul lung dat pe spate \u00eentr-o dezordine aparent\u0103, ochii injecta\u0163i. A \u00eenceput \u015fi a terminat show-ul \u00een trans\u0103. M-a captivat personalitatea sa (impresia de reprezentant al post-romantismului) \u015fi seriozitatea \u015fi dedica\u0163ia cu care a preg\u0103tit spectacolul. \u00cenv\u0103\u0163asem c\u0103 muzica este o \u015ftiin\u0163\u0103, la fel cum \u015ftiin\u0163ific\u0103 este arta de a captiva publicul, de a-l ridica mai sus dec\u00e2t nivelul scenei. Am ie\u015fit de la concert mai degrab\u0103 meditativ dec\u00e2t euforic. O revolu\u0163ie se face pe ascuns \u00eentr-un cort \u00eemp\u0103unat de mul\u0163imi semi-con\u015ftiente, pe o insul\u0103 unde doar o minoritate ascult\u0103 metal. Revela\u0163ia se arunc\u0103 la fel ca “m\u0103rg\u0103ritarele pentru porci”, la \u00eent\u00e2mplare – la fel cum influen\u0163a mental\u0103 este mai degrab\u0103 p\u0103relnic\u0103, subliminal\u0103, partea vizibil\u0103 fiind doar headbanging, stagediving \u015fi moving the masses.
\n <\/p>\n

\nAm \u00eenceput s\u0103 ascult \u015fi am \u00eenceput s\u0103 \u00een\u0163eleg c\u00e2te ceva din My Dying Bride. \u00cen orice caz, a \u00eenceput s\u0103 m\u0103 intereseze. A\u015f putea s\u0103-l fixez (s\u0103-l \u00eencadrez \u00eentr-o categorie) pe Aaron\/My Dying Bride, dar nu asta urm\u0103resc. Din punct de vedere muzical, epic doom metal. Din punct de vedere “literar”, influen\u0163e romantice-simboliste. L-a\u015f putea compara cu Poe, Blake sau cu Baudelaire. Din punct de vedere filozofic, existen\u0163ialism, vitalism, etc. Dar a\u015f vrea s\u0103 lecturez (la fel cum se poate asculta) poezia lor \u00een sine, prin ea \u00eens\u0103\u015fi. Am s\u0103 \u00eencep cu un poem recent (chiar prima pies\u0103 a noului album, “Songs of Darkness, Words of Light”, 2004): “The Wreckage of My Flesh”(R\u0103m\u0103\u015fi\u0163ele c\u0103rnii). Primul lucru care m-a izbit a fost intro-ul death\/black metal – un fel de t\u00e2nguiri “demonice”, care trimit la un Iov vampirizat. Apoi, versurile continu\u0103 simplu, punctual: “Loathsome I’ve become.\/ A creature so undone. Wretched and broken.\/ Cannot find my faith.\/ Any God will do.” Atmosfera specific\u0103 de cazan a doom-ului, \u00eenc\u0103rcat\u0103, ap\u0103s\u0103toare singularizeaz\u0103 versurile. Tobele \u015fi basul sunt aproape orce\u015fti, \u015fi prin aceasta vreau s\u0103 spun c\u0103 sim\u0163i amenin\u0163area, suspans-ul, preg\u0103tirea. Este deschiderea unui univers \u00een care predomin\u0103 Teoria Capcanei. Vocea lui Aaron seam\u0103n\u0103 cu vocea unui profet dintr-o alt\u0103 lume: este sl\u0103bit\u0103 (pianissimo), pierit\u0103, fatalist\u0103. \u015ei interesant c\u0103 aceast\u0103 simfonie a destinului valorific\u0103 mai degrab\u0103 arbitrarul, non-sensul: “Any God will do.” Ca \u015fi cum profetul ne-ar spune: “Ceea ce spun este de maxim\u0103 importan\u0163\u0103 pentru voi, dar nu m\u0103 obosesc prea tare, pentru c\u0103 \u015ftiu c\u0103 nu m\u0103 ve\u0163i asculta.” Dou\u0103 versuri ecleziastice “Nothing said is new.\/Nothing said is true.” preg\u0103tesc ruperea: “Fly away my hope…”
\n <\/p>\n

\n

Acum ritmul piesei se schimb\u0103 \u015fi chitara melodic\u0103 preia controlul: “The embrace of shade holds me dear\/ Eats me away.\/Loose the dogs of disgrace upon me.\/ I have no faith.\/ Raise the poor outcast I have become.\/ I am undone.” Orga particip\u0103 la configurarea atmosferei, d\u0103 impresia de \u00een\u0103l\u0163ime, de ascensiune. Revine leitmotivul “undone” (distrus, terminat, la p\u0103m\u00e2nt). Piesa este foarte ritmat\u0103, act-ul lui Aaron fiind mai degrab\u0103 recitare, acompaniat\u0103 de chitar\u0103, baterie \u015fi org\u0103. “Calm is the air. Still is the sea.\/ The valley of death keeps calling me.” Atmosfera oarecum contradictorie dintre imagini \u015fi mesaj este sus\u0163inut\u0103 \u015fi de muzic\u0103: un fel de bl\u00e2nde\u0163e se degaj\u0103, de parc\u0103 morbiditatea ar da transcenden\u0163\u0103. Fatalismul (care \u00een cazul acestei piese se bazeaz\u0103 pe \u00een\u0163elegere) \u015fi acest post-modern “triumf al mor\u0163ii” nu mai trezesc furia, nu mai se bazeaz\u0103 pe o violent\u0103 sugrumare a receptorului, ci sunt \u00eembr\u0103cate \u00eentr-o melancolie serafic\u0103 din partea unui emi\u0163\u0103tor neparticipativ \u015fi autist.
\n <\/p>\n

\nDin nou o cezur\u0103, \u00een care muzica se ridic\u0103 – terapeutica ascensional\u0103 este sus\u0163inut\u0103 de org\u0103. “Oh, Christ above, whom I love.\/Lost to me.” Un fragmentarium care seam\u0103n\u0103 cu telegramele ini\u0163ia\u0163ilor, dezolarea cunoa\u015fte doar breviar, ea nu poate curge ne\u00eengr\u0103dit\u0103, nu are nevoie de stil sau retoric\u0103. Felul acesta punctual de exprimare nu este m\u0103rturia unui dispre\u0163, ci semnific\u0103 -repet- tocmai fatalismul, indicibilul \u015fi des\u0103v\u00e2r\u015fitul ini\u0163ierii.
\n <\/p>\n

\n

“Make this day like the night.\/ songs of darnkess. Words of light.” Pe falie este introdus tocmai mesajul – titlul albumului apare ca un oximoron des\u0103v\u0103r\u015fit, la limita sau \u00een interiorul spa\u0163iului dintre c\u00e2ntecele \u00eentunecimii \u015fi lumile luminii. Ascensiunea las\u0103 rest: dup\u0103 \u00een\u0103l\u0163are subiectul (re)cade \u00een sine \u00eensu\u015fi – tonul este la final confesiv “Strewn in black decay.\/ None shall I obey.” Interiorizarea, \u00eensingurarea cere generalitate \u015fi universilatitate: “The wreckage of my flesh\/ The nakedness of my death.” Stricarea c\u0103rnii \u015fi goliciunea mor\u0163ii sunt poate stema sau spuma pe care le las\u0103 \u00een urm\u0103 audi\u0163ia acestei piese.
\n <\/p>\n

\n

\u015ei acum, salt \u00een trecut, pentru a \u00een\u0163elege mai mult sau poate pentru a \u00een\u0163elege altfel: “Black God”, ultima pies\u0103 de pe “Turn Loose the Swans” (1993): “Thy every look and every grace\/ so charm whenever I view thee\/ ’til death overtake me in the chase\/ still will my hopes pursue thee.” Vocea prelung\u0103 feminin\u0103 a Zenei este fracturat\u0103 (\u015fi completat\u0103) de \u00eeng\u00e2narea punctual\u0103 a lui Aaron. Sunetul este mult mai simplu, mai frust – atmosfera este de data aceasta gothic\u0103. Sintetizator (atmosfer\u0103 industrial\u0103), ni\u015fte acorduri la pian \u015fi sunetul amplu al viorii (melancolic gen roman\u0163\u0103) – “Black God” sun\u0103 ca o rug\u0103ciune, ca o mantr\u0103 pentru dou\u0103 voci, una care te ridic\u0103, alta care te coboar\u0103. Aaron este demonul (cobor\u00e2torul) \u015fi Zena este zei\u0163a (femininul \u00een ipostaz\u0103 platonic\u0103), agentul transcenden\u0163ei. Ceva medieval este \u00een aceast\u0103 \u00eempletire dintre vocea feminin\u0103 (intona\u0163ie care trimite la ritualurile Wicca sau la \u015famanismul indian) \u015fi recitalul lui Aaron, care indic\u0103 vr\u0103jile \u015fi noteaz\u0103 vertijurile. Piesa este un poem despre fascina\u0163ie (am putea spune, dup\u0103 Culianu, deochi), o vraj\u0103 (charm), care este mai puternic\u0103 dec\u00e2t fiin\u0163a, sau \u00een orice caz mai peren\u0103. Cezura este sus\u0163inut\u0103 de vioar\u0103, care preia rolul pianului \u015fi sus\u0163ine tema – pianul doar acompaniaz\u0103 acum. “Then when my tedious hours have past, \/be this my last blessing given\/ low at thy feet to breathe my last\/ and die in sight of heaven.\/” “Black God”, \u00eenainte de a fi un poem religios, este un poem de dragoste. Este vorba bine\u00een\u0163eles de acel tip de dragoste care cere dedica\u0163ia complet\u0103, dragoste pentru care trebuie s\u0103 te distrugi pentru a fi iubit. \u00cen final acordurile de pian \u015fi sunetul viorii se completeaz\u0103 – vioara taie mai \u00een profunzime, pianul are rolul obsesiv pe care \u00eel putem reg\u0103si la Bacovia.
\n <\/p>\n

\n

Poate aceasta este realizarea complet\u0103 a poeziei sau una din finalit\u0103\u0163ile ei cele mai benefice: s\u0103 fie \u00eempletit\u0103 cu muzica, s\u0103 dea na\u015ftere la muzic\u0103. Nu este doar un \u0163el simbolist (De la musique avant tout chose…), este \u015fi o cerin\u0163\u0103 supracon\u015ftient\u0103 a vremurilor noastre. Generaliz\u00e2nd, conexiunea primeaz\u0103, important\u0103 este sinestezia. Mi-a\u015f dori s\u0103 v\u0103d videoclipuri dup\u0103 poemele lui Brumaru sau piese metal (de ce nu chiar sonate?) inspirate din carnea poemelor lui Gellu Naum. \u015ei, invers, descompunerea muzicii \u00een poezie este, de asemenea, cathartic\u0103.<\/p>\n

 <\/p>\n

\nDiscografie My Dying Bride
\n 
\nTowards the Sinister (demo) (1990)<\/p>\n

God is Alone (ep) (1991)<\/p>\n

Symphonaire Infernus et Spera Empyrium (1991)<\/p>\n

As the Flower Withers (1992)<\/p>\n

The Thrash of Naked Limbs (1992)<\/p>\n

Unreleased Bitterness (1993)<\/p>\n

Turn Loose the Swans (1993)<\/p>\n

I am the Bloody Earth (1994)<\/p>\n

The Sexuality of Bereavement (1994)<\/p>\n

The Stories (1994)<\/p>\n

The Angel and the Dark River (1995)<\/p>\n

Trinity (1995)<\/p>\n

Like Gods of the Sun (1996)<\/p>\n

34.788%… Complete (1998)<\/p>\n

The Light at the End of the World (1999)<\/p>\n

Meisterwerk I (2000)<\/p>\n

Meisterwerk II (2001)<\/p>\n

The Dreadful Hours (2001)<\/p>\n

The Voice of the Wretched (2002)<\/p>\n

Songs of Darkness, Words of Light (2004)<\/p>\n

 <\/p>\n

\n#
\ntext reprodus din EgoPHobia #2<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

[The Poetry of My Dying Bride] de \u015etefan Bolea   Hammerworld Stage, Pepsi Sziget, august 2004. A\u015fteptam concertul My Dying Bride cu interes modic. Nu eram 100% fan. Aveam alte priorit\u0103\u0163i, ca de pild\u0103 Amorphis sau Children of Bodom. \u00cent\u00e2rziere de 30 de minute, apoi intro-ul de org\u0103 “Here comes the Bride”. Forma\u0163ia, apoi Aaron […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1005,125],"tags":[1165,1129,943,1024,1021,39],"class_list":["post-10146","post","type-post","status-publish","format-standard","hentry","category-egophobia-39-40","category-invitat","tag-egophobia-39-40","tag-invitat","tag-muzica","tag-muzica-literatura","tag-my-dying-bride","tag-stefan-bolea"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2DE","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10146","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10146"}],"version-history":[{"count":1,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10146\/revisions"}],"predecessor-version":[{"id":10147,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10146\/revisions\/10147"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10146"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10146"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}