0:10 Spectre of Extiction 4:50 The Paradox 9:30 The Nighmare of Being 13:20 Garden of Cyrus 17:40 Touched by the White Hands of death 21:40 The Fall into Time 28:18 Cult of Salvation 32:39 The Abstract Enthroned 37:03 Cosmic Pessimism 41:31 Eternal Winter of Reason Hail At the Gates prrs!
**The Nightmare Of Being by At The Gates on Apple Music (press release and commented tracks, source: Apple Music)** With their seventh album, Swedish death metal masters At The Gates have delivered a finely crafted concept album about pessimism. “I guess I had an amateur view of pessimism, as most of us do,” vocalist and lyricist Tomas “Tompa” Lindberg tells Apple Music. “I thought it was just the ‘glass is half empty’ kind of thing.” Some initial research led him back to American author Thomas Ligotti, whose horror fiction Lindberg had read while working on his 2017 side project The Lurking Fear. Then At The Gates guitarist Martin Larsson recommended Ligotti’s nonfiction. “It’s basically an introduction to pessimism,” Lindberg says. “I got about halfway through and realised that this worldview is very death metal.” The result is _The Nightmare of Being_, a ripping and majestic death metal album influenced by the writings of Ligotti, Emil Cioran, Peter Zapffe and contemporary philosopher Eugene Thacker, whose ideas surfaced in the first season of HBO’s _True Detective_. Below, Lindberg takes us through each track on _The Nightmare of Being_. 0:10 **“Spectre of Extinction”** “Since [1995’s] _Slaughter of the Soul_, we’ve written almost every track to fit the sequence and flow of the record. So ‘Spectre of Extinction’ was really written as an opener with the classic metal intro thing-acoustic guitar, big Judas Priest chord swinging out, and then At The Gates after that. The middle part was written specifically for Andy LaRocque to play a solo. I call it the Death part because it really sounds like _Human_ by Death. Lyrically, it’s basically the introduction to the idea that we’re the only species conscious of our own mortality.” 4:50 **“The Paradox”** “This is the only one that was not written for this place in the sequence. It was written very early on in the songwriting process, and it turned out to be this weird death metal song, but it has a lot of the classic Mercyful Fate vibes to it-very melodic at certain points. We had it hidden later in the album, but then [mixing engineer] Jens Bogren said, ‘This is a monster. This has to be the second or third track, guys.’ And then Andy LaRocque and [engineer] Per Stålberg said the same thing, so we put it at number two. It’s a little bit of a rager in that sense.” 9:30 **“The Nightmare of Being”** “I’ve done this on a few records now, where the title track is the whole concept of the album in one song, basically. This has a line about the ‘parasites of the subconscious’ which I really like-even if we are aware of our mortality, we’ve got to have a defense mechanism to keep us sane. Our subconscious is always tricking us because all this pain and suffering is too much to take in. So the ‘nightmare of being’ is basically the pain of existence. It’s a heavy, slow song with lots of acoustic parts, and the end is almost like a breakdown-we never wrote something that heavy before.” 13:20 **“Garden of Cyrus”** “This is one of the curveballs of the record. I think the big challenge of this album for us was to build upon what we started on _At War With Reality_ and _To Drink From the Night Itself_-the orchestration, different arrangements-just seeing how far we could take that without losing what is At The Gates. This one has the dreaded saxophone, so my hope is that someone listens and recognises At The Gates, even if it sounds like a Goblin or King Crimson song in a way.” 17:40 **“Touched by the White Hands of Death”** “Again, it’s about the instrumentation. This was really written to come after ‘Garden of Cyrus’ with a really slow build by a low flute. If you were to play that on electric guitar, it wouldn’t have the same emotional impact, because every instrument has its own voice and emotional tone. But then it turns into a classic At The Gates thrasher in a way. Lyrically, it connects to the opening track because it’s about the knowledge of mortality again, and this song is about those defense mechanisms being attacked.” 21:40 **“The Fall Into Time”** “If you get the vinyl, this would be the start of side B. It’s really heavy, with a slow build and almost like a free-form prog part in the middle. It reminds me of the more epic songs we’ve had before, like ‘Neverwhere’ from the first album or ‘Primal Breath’-like a triumphant, majestic kind of piece. Lyrically, it connects to Cioran’s ideas about the fall into time, the whole Adam and Eve thing with the apple of knowledge, which connects with his pessimist philosophy.” 28:18 **“Cult of Salvation”** “This one is based more directly on the defense mechanisms which I talked about before. The first person to talk about this was a Norwegian philosopher called Zapffe. He talks about religions, states and worldviews as distractions, and about trying to live your life aware that you have these defense mechanisms. For example, we create music as an escape from the everyday struggle. But as long as I’m aware that I’m using it as a defense mechanism, then I can actually live my life a bit more fully and understand why I work the way I work. I love the middle part here-an homage almost to Goblin.” 32:39 **“The Abstract Enthroned”** “I think this is the one that changed places with the ‘The Paradox’, actually. It was a latecomer to the record, with a big orchestral part in the end and a great guitar solo. This one is a little bit more like pure death metal. You can almost hear the Morbid Angel in parts of the verses. It’s the only really aggressive song on the record. It deals with religion and how we enthrone the abstract, basically putting blinders on ourselves to be able to cope with life. I unintentionally put the word ‘virus’ in there somewhere. That’s the only pandemic reference there is.” 37:03 **“Cosmic Pessimism”** “Musically, we really wanted to do something different here. We wanted a monotonous, almost oppressive musical landscape, similar to some of the krautrock bands like Neu! or Tangerine Dream. I had read three books by one of the current writers about pessimism, Eugene Thacker, and then I stumbled upon his personal email. I sent him a really long email explaining the concept of the record and dared to ask if he would want to participate in some way. He allowed me to use some passages from his book _Cosmic Pessimism_ in the lyrics, which I did as a spoken-word part.” 41:31 **“Eternal Winter of Reason”** “This was written specifically as a closer. I feel it’s the most emotional song on the record. [Bassist] Jonas [Björler] really wanted to try something else, too-if you notice, only the chorus riff returns. All the other riffs just build and build. I think there’s eight riffs or something, but they never come back. Lyrically, I tried to describe the emotional impact that this concept had on me as a person. There are some really strong, melancholic riffs, so I couldn’t do anything else but give in emotionally. So it’s like closure: What did I learn emotionally from this record?”
There is so much to love about this album. It really is the most progressive At the Gates album yet. Cult of Salvation and Touched by the white hands of death basically showed 30 years of At The Gates Clone bands how it's done. ;-) The diversity of guitar tones on this album is subtle but insanely good. Every single harmonic fits perfectly in the mix of every track. I'm really blown away by the performances, tones and production. Tompa's vocals are a lot more considered and deliberate than past efforts and hats off to the engineer for the delay, verb and eq on those vocals. How they manage to sit in the front of the mix while still sitting behind the guitars is nothing short of witchcraft. LoL I have a feeling it's going to get better with every listen, like At the Gates albums from the 90s do.
The Fall of Time is my favourite here. And is a good example of everything this album has done right. Progressive, not only in terms of melodic progression but with dynamic instrumentation and a unique sonic field. It is at once a nod to their earlier composition and a bold step forward for them as figureheads of melodic death metal.
@@lordgnarington I just gave that track another listen. It's phenomenal. The samples and orchestration jump out and feel lively. The more dynamic parts sound have a vibe that goes from Sabbath to Hawkwind without feeling awkward. I like how the single coil sounding guitar parts build up to the big Terminal Spirit disease guitar tones. Man, I'm going to spend the next decade trying to achieve some of these sounds. :-p I have to say, I wasn't too blown away by any of the albums since reforming, but this one is different, but in plenty of ways, far better than the old albums.
Im calling it now, Best record of 2021 this will be at the top of every year in pole. Its a timeless masterpiece ......these are really easy to spot and I guarantee that this is that
One of thee top best Melodic Death Metal bands of all time. At The Gates is highly influential to soooooo many metal bands. Hoping one day they get the opportunity to come on tour to Pittsburgh Pa USA
I LOVE THE FACT THAT THE BAND FINALLY BROKE THE MOLD!!! About time!!! I love the new twists in this album and how they kept the essence at the same time. BEST ATG album since Slaughter probably...
Immense subtlety is ever so present throughout.Almost a reflection on all their work included together!!!!!!!!!!!!!!!!People would kill to get this great dynamic sound.Chuck Schldiner eat your heart out.
I've been waiting for this masterpiece since 2018. These guys never disapoint. It is absolutelly perfect at all. Dark Tranquillity was also perfect. Im waiting for new Carcass, I hope it can be as good as those ones I've said.
I was not expecting much considering how I was let down by their previous releases (post SOTS of course), but I'm pleasantly surprised this one is really solid !
My copy just arrived. This album is AMAZING. ATG at its best. Unfortunately the pressing of the gold splatter edition is not tolerable. I had to give it back. But I've ordered the Artbook version instead.
I like the Red in the Sky album the best. Its avant garde, free jazz, and death metal. One of the most unique albums I ever heard. SOTS is also very unique and inspired many bands and I love it. I like this new album so far even though I don't get the same feeling as hearing their earlier albums. The intensity is different. Or maybe the production is whats holding me back from liking the songs more for what they are. If they recorded this the way they recorded SOTS for example, it may resonate more with me as an older fan.
*AT THE GATES - The Nightmare Of Being (2021)* *Tracklist* 0:10 - Spectre of Extiction 4:50 - The Paradox 9:30 - The Nighmare of Being 13:20 - Garden of Cyrus 17:40 - Touched by the White Hands of Death 21:40 - The Fall into Time 28:18 - Cult of Salvation 32:39 - The Abstract Enthroned 37:03 - Cosmic Pessimism 41:31 - Eternal Winter of Reason
**The Nightmare Of Being by At The Gates on Apple Music (press release and commented tracks, source: Apple Music)** With their seventh album, Swedish death metal masters At The Gates have delivered a finely crafted concept album about pessimism. “I guess I had an amateur view of pessimism, as most of us do,” vocalist and lyricist Tomas “Tompa” Lindberg tells Apple Music. “I thought it was just the ‘glass is half empty’ kind of thing.” Some initial research led him back to American author Thomas Ligotti, whose horror fiction Lindberg had read while working on his 2017 side project The Lurking Fear. Then At The Gates guitarist Martin Larsson recommended Ligotti’s nonfiction. “It’s basically an introduction to pessimism,” Lindberg says. “I got about halfway through and realised that this worldview is very death metal.” The result is _The Nightmare of Being_, a ripping and majestic death metal album influenced by the writings of Ligotti, Emil Cioran, Peter Zapffe and contemporary philosopher Eugene Thacker, whose ideas surfaced in the first season of HBO’s _True Detective_. Below, Lindberg takes us through each track on _The Nightmare of Being_. 0:10 **“Spectre of Extinction”** “Since [1995’s] _Slaughter of the Soul_, we’ve written almost every track to fit the sequence and flow of the record. So ‘Spectre of Extinction’ was really written as an opener with the classic metal intro thing-acoustic guitar, big Judas Priest chord swinging out, and then At The Gates after that. The middle part was written specifically for Andy LaRocque to play a solo. I call it the Death part because it really sounds like _Human_ by Death. Lyrically, it’s basically the introduction to the idea that we’re the only species conscious of our own mortality.” 4:50 **“The Paradox”** “This is the only one that was not written for this place in the sequence. It was written very early on in the songwriting process, and it turned out to be this weird death metal song, but it has a lot of the classic Mercyful Fate vibes to it-very melodic at certain points. We had it hidden later in the album, but then [mixing engineer] Jens Bogren said, ‘This is a monster. This has to be the second or third track, guys.’ And then Andy LaRocque and [engineer] Per Stålberg said the same thing, so we put it at number two. It’s a little bit of a rager in that sense.” 9:30 **“The Nightmare of Being”** “I’ve done this on a few records now, where the title track is the whole concept of the album in one song, basically. This has a line about the ‘parasites of the subconscious’ which I really like-even if we are aware of our mortality, we’ve got to have a defense mechanism to keep us sane. Our subconscious is always tricking us because all this pain and suffering is too much to take in. So the ‘nightmare of being’ is basically the pain of existence. It’s a heavy, slow song with lots of acoustic parts, and the end is almost like a breakdown-we never wrote something that heavy before.” 13:20 **“Garden of Cyrus”** “This is one of the curveballs of the record. I think the big challenge of this album for us was to build upon what we started on _At War With Reality_ and _To Drink From the Night Itself_-the orchestration, different arrangements-just seeing how far we could take that without losing what is At The Gates. This one has the dreaded saxophone, so my hope is that someone listens and recognises At The Gates, even if it sounds like a Goblin or King Crimson song in a way.” 17:40 **“Touched by the White Hands of Death”** “Again, it’s about the instrumentation. This was really written to come after ‘Garden of Cyrus’ with a really slow build by a low flute. If you were to play that on electric guitar, it wouldn’t have the same emotional impact, because every instrument has its own voice and emotional tone. But then it turns into a classic At The Gates thrasher in a way. Lyrically, it connects to the opening track because it’s about the knowledge of mortality again, and this song is about those defense mechanisms being attacked.” 21:40 **“The Fall Into Time”** “If you get the vinyl, this would be the start of side B. It’s really heavy, with a slow build and almost like a free-form prog part in the middle. It reminds me of the more epic songs we’ve had before, like ‘Neverwhere’ from the first album or ‘Primal Breath’-like a triumphant, majestic kind of piece. Lyrically, it connects to Cioran’s ideas about the fall into time, the whole Adam and Eve thing with the apple of knowledge, which connects with his pessimist philosophy.” 28:18 **“Cult of Salvation”** “This one is based more directly on the defense mechanisms which I talked about before. The first person to talk about this was a Norwegian philosopher called Zapffe. He talks about religions, states and worldviews as distractions, and about trying to live your life aware that you have these defense mechanisms. For example, we create music as an escape from the everyday struggle. But as long as I’m aware that I’m using it as a defense mechanism, then I can actually live my life a bit more fully and understand why I work the way I work. I love the middle part here-an homage almost to Goblin.” 32:39 **“The Abstract Enthroned”** “I think this is the one that changed places with the ‘The Paradox’, actually. It was a latecomer to the record, with a big orchestral part in the end and a great guitar solo. This one is a little bit more like pure death metal. You can almost hear the Morbid Angel in parts of the verses. It’s the only really aggressive song on the record. It deals with religion and how we enthrone the abstract, basically putting blinders on ourselves to be able to cope with life. I unintentionally put the word ‘virus’ in there somewhere. That’s the only pandemic reference there is.” 37:03 **“Cosmic Pessimism”** “Musically, we really wanted to do something different here. We wanted a monotonous, almost oppressive musical landscape, similar to some of the krautrock bands like Neu! or Tangerine Dream. I had read three books by one of the current writers about pessimism, Eugene Thacker, and then I stumbled upon his personal email. I sent him a really long email explaining the concept of the record and dared to ask if he would want to participate in some way. He allowed me to use some passages from his book _Cosmic Pessimism_ in the lyrics, which I did as a spoken-word part.” 41:31 **“Eternal Winter of Reason”** “This was written specifically as a closer. I feel it’s the most emotional song on the record. [Bassist] Jonas [Björler] really wanted to try something else, too-if you notice, only the chorus riff returns. All the other riffs just build and build. I think there’s eight riffs or something, but they never come back. Lyrically, I tried to describe the emotional impact that this concept had on me as a person. There are some really strong, melancholic riffs, so I couldn’t do anything else but give in emotionally. So it’s like closure: What did I learn emotionally from this record?”
excelente producciòn, At The Gates volvio a comienzos de los noventas Jonas Björler que tremenda participaciòn en sus cuatro cuerdas, Adrian Erlandsson que manera de pegarle a los tarros es perfecta ejecuciòn, increible majestuoso, por su parte Martin Larsson una tremenda guitarra sin ella no ubiese sido posible lograr ese tremendo sonido oscuro que representa a At The Gates como en su historia musical underground, un deber tenerlos, escucharlos y recordar esos tremendos producciones, excelente, un Death Metal al craneo con muchos recuedos del pasado.
* Band : AT THE GATES * Album : "The Nightmares of Being" * Copyright : 2021 Century Media Records * Genre : Melodic Death Metal * Origin : Sweden (Gothenburg) * Years Active : 1990-1996, 2014 - Now * Producers : Jens Bogren, Andy La Rocque & AT THE GATES * Recording & Engineerings : Jens Bogren, Andy LaRocque, Per Stalberg, Martin Jacobsson & Ludde Nasval * Additional Recording & Engineerings : Bo Lund Sorensen & Russ Russell * Mixing : Jens Bogren, Thomas Hedblom & Russ Russell * Mixing Assistant : Ricardo Borges * Mastering : Jens Bogren * Cover Artwork : Eva Nahon * Lay out : Carsten Drescher * Recorded & Engineered at Sonic Train Studios, Studios Grondal & Welfare Sound Studios * Mixed & Mastered at Fascinations Street Studios * AT THE GATES are : 1. Tomas Lindberg (Vox) 2. Martin Larsson (Guitars) 3. Jonas Stahlhammar (Guitars) 4. Jonas Bjorler (Bass, Mellotron, Piano, Hammond, Organ & Keys) 5. Adrian Erlandsson (Drums) * Strings Orchestra : 1. Danielle Van Berkom (Violins) 2. Jost Pijnappel (Violins) 3. Tino Fjedli (Violins) 4. Fredrik Hulthe (Violas) 5. Rajmun Follman (Cello) 6. Jo Quail (Cello) 7. A.A.Williams (Cello) 8. Gunnar Hjort (Classical Guitars) 9. Andy LaRocque (Classical Guitars) 10. Peter Nitsche (Double Bass) * Brass Orchestra : 1. Lars Eric Almberg (Bass Tuba) 2. Marcus Carlsson (Bassoon) 3. Jill Widen (Flute) 4. Alberto Alvares Garcia (Clarinet) 5. Anders Gabrielsson (Sax) 6. Anna Van Hausswolff (Organ)
0:10 Spectre of Extiction
4:50 The Paradox
9:30 The Nighmare of Being
13:20 Garden of Cyrus
17:40 Touched by the White Hands of death
21:40 The Fall into Time
28:18 Cult of Salvation
32:39 The Abstract Enthroned
37:03 Cosmic Pessimism
41:31 Eternal Winter of Reason
Hail At the Gates prrs!
MC Vaginator
Timestamp Thomas thx dude you saved my ass :D
... 🤘 🇸🇪
Thank you kindly!
**The Nightmare Of Being by At The Gates on Apple Music (press release and commented tracks, source: Apple Music)**
With their seventh album, Swedish death metal masters At The Gates have delivered a finely crafted concept album about pessimism. “I guess I had an amateur view of pessimism, as most of us do,” vocalist and lyricist Tomas “Tompa” Lindberg tells Apple Music. “I thought it was just the ‘glass is half empty’ kind of thing.” Some initial research led him back to American author Thomas Ligotti, whose horror fiction Lindberg had read while working on his 2017 side project The Lurking Fear. Then At The Gates guitarist Martin Larsson recommended Ligotti’s nonfiction. “It’s basically an introduction to pessimism,” Lindberg says. “I got about halfway through and realised that this worldview is very death metal.” The result is _The Nightmare of Being_, a ripping and majestic death metal album influenced by the writings of Ligotti, Emil Cioran, Peter Zapffe and contemporary philosopher Eugene Thacker, whose ideas surfaced in the first season of HBO’s _True Detective_. Below, Lindberg takes us through each track on _The Nightmare of Being_.
0:10 **“Spectre of Extinction”**
“Since [1995’s] _Slaughter of the Soul_, we’ve written almost every track to fit the sequence and flow of the record. So ‘Spectre of Extinction’ was really written as an opener with the classic metal intro thing-acoustic guitar, big Judas Priest chord swinging out, and then At The Gates after that. The middle part was written specifically for Andy LaRocque to play a solo. I call it the Death part because it really sounds like _Human_ by Death. Lyrically, it’s basically the introduction to the idea that we’re the only species conscious of our own mortality.”
4:50 **“The Paradox”**
“This is the only one that was not written for this place in the sequence. It was written very early on in the songwriting process, and it turned out to be this weird death metal song, but it has a lot of the classic Mercyful Fate vibes to it-very melodic at certain points. We had it hidden later in the album, but then [mixing engineer] Jens Bogren said, ‘This is a monster. This has to be the second or third track, guys.’ And then Andy LaRocque and [engineer] Per Stålberg said the same thing, so we put it at number two. It’s a little bit of a rager in that sense.”
9:30 **“The Nightmare of Being”**
“I’ve done this on a few records now, where the title track is the whole concept of the album in one song, basically. This has a line about the ‘parasites of the subconscious’ which I really like-even if we are aware of our mortality, we’ve got to have a defense mechanism to keep us sane. Our subconscious is always tricking us because all this pain and suffering is too much to take in. So the ‘nightmare of being’ is basically the pain of existence. It’s a heavy, slow song with lots of acoustic parts, and the end is almost like a breakdown-we never wrote something that heavy before.”
13:20 **“Garden of Cyrus”**
“This is one of the curveballs of the record. I think the big challenge of this album for us was to build upon what we started on _At War With Reality_ and _To Drink From the Night Itself_-the orchestration, different arrangements-just seeing how far we could take that without losing what is At The Gates. This one has the dreaded saxophone, so my hope is that someone listens and recognises At The Gates, even if it sounds like a Goblin or King Crimson song in a way.”
17:40 **“Touched by the White Hands of Death”**
“Again, it’s about the instrumentation. This was really written to come after ‘Garden of Cyrus’ with a really slow build by a low flute. If you were to play that on electric guitar, it wouldn’t have the same emotional impact, because every instrument has its own voice and emotional tone. But then it turns into a classic At The Gates thrasher in a way. Lyrically, it connects to the opening track because it’s about the knowledge of mortality again, and this song is about those defense mechanisms being attacked.”
21:40 **“The Fall Into Time”**
“If you get the vinyl, this would be the start of side B. It’s really heavy, with a slow build and almost like a free-form prog part in the middle. It reminds me of the more epic songs we’ve had before, like ‘Neverwhere’ from the first album or ‘Primal Breath’-like a triumphant, majestic kind of piece. Lyrically, it connects to Cioran’s ideas about the fall into time, the whole Adam and Eve thing with the apple of knowledge, which connects with his pessimist philosophy.”
28:18 **“Cult of Salvation”**
“This one is based more directly on the defense mechanisms which I talked about before. The first person to talk about this was a Norwegian philosopher called Zapffe. He talks about religions, states and worldviews as distractions, and about trying to live your life aware that you have these defense mechanisms. For example, we create music as an escape from the everyday struggle. But as long as I’m aware that I’m using it as a defense mechanism, then I can actually live my life a bit more fully and understand why I work the way I work. I love the middle part here-an homage almost to Goblin.”
32:39 **“The Abstract Enthroned”**
“I think this is the one that changed places with the ‘The Paradox’, actually. It was a latecomer to the record, with a big orchestral part in the end and a great guitar solo. This one is a little bit more like pure death metal. You can almost hear the Morbid Angel in parts of the verses. It’s the only really aggressive song on the record. It deals with religion and how we enthrone the abstract, basically putting blinders on ourselves to be able to cope with life. I unintentionally put the word ‘virus’ in there somewhere. That’s the only pandemic reference there is.”
37:03 **“Cosmic Pessimism”**
“Musically, we really wanted to do something different here. We wanted a monotonous, almost oppressive musical landscape, similar to some of the krautrock bands like Neu! or Tangerine Dream. I had read three books by one of the current writers about pessimism, Eugene Thacker, and then I stumbled upon his personal email. I sent him a really long email explaining the concept of the record and dared to ask if he would want to participate in some way. He allowed me to use some passages from his book _Cosmic Pessimism_ in the lyrics, which I did as a spoken-word part.”
41:31 **“Eternal Winter of Reason”**
“This was written specifically as a closer. I feel it’s the most emotional song on the record. [Bassist] Jonas [Björler] really wanted to try something else, too-if you notice, only the chorus riff returns. All the other riffs just build and build. I think there’s eight riffs or something, but they never come back. Lyrically, I tried to describe the emotional impact that this concept had on me as a person. There are some really strong, melancholic riffs, so I couldn’t do anything else but give in emotionally. So it’s like closure: What did I learn emotionally from this record?”
I like the progressive elements on this album, I like the dark atmosphere, yet At The Gates does not lose its identity. Amazing album.
MC Vaginator
AMEN!!!!
🤘🏾🇦🇷
30 years later still one of my favourite bands...🔥
you don`t look forty something
@@sudacagamer filters... 😁
I wish I had smoken those cigarettes 🚬
They kill it for sure!!
This is a revelation for people who like prog, jazzrock AND metal! Long live ATG!
At the gates never disapoint me
Thanks century media for support us.and sharing this masterpiece 🎉🎉🎉🎉
When the world needs them most, At the Gates didn't disappointed. God bless metal🙏🤘
... 🤘 🇸🇪
*Satan bless 😅
That this didn't win the Swedish grammy is a crime. Incredible album from start to finish.
Thank you Tomas for tearing your vocal cords off for 30 years with passion and intensity.
Waking up to this at 4am on a Sunday morning in Sydney, Australia is the BEST!!!
Not wrong. Still dark and rainy here in Qld. Perfect backdrop for a bit of new ATG
@@robbartnik2940 MC Vaginator
There is so much to love about this album. It really is the most progressive At the Gates album yet. Cult of Salvation and Touched by the white hands of death basically showed 30 years of At The Gates Clone bands how it's done. ;-)
The diversity of guitar tones on this album is subtle but insanely good. Every single harmonic fits perfectly in the mix of every track. I'm really blown away by the performances, tones and production. Tompa's vocals are a lot more considered and deliberate than past efforts and hats off to the engineer for the delay, verb and eq on those vocals. How they manage to sit in the front of the mix while still sitting behind the guitars is nothing short of witchcraft. LoL
I have a feeling it's going to get better with every listen, like At the Gates albums from the 90s do.
The vocals do sit perfectly in the mix! Listenable, effective, and a welcome improvement from the mixing of their previous album!
The Fall of Time is my favourite here. And is a good example of everything this album has done right. Progressive, not only in terms of melodic progression but with dynamic instrumentation and a unique sonic field. It is at once a nod to their earlier composition and a bold step forward for them as figureheads of melodic death metal.
@@lordgnarington I just gave that track another listen. It's phenomenal. The samples and orchestration jump out and feel lively. The more dynamic parts sound have a vibe that goes from Sabbath to Hawkwind without feeling awkward. I like how the single coil sounding guitar parts build up to the big Terminal Spirit disease guitar tones.
Man, I'm going to spend the next decade trying to achieve some of these sounds. :-p
I have to say, I wasn't too blown away by any of the albums since reforming, but this one is different, but in plenty of ways, far better than the old albums.
Well said my friend i couldent agree more
Ye but
14:58 ATG playing with Sax, its a proove that miracles exists, ATG still alive!!
Que obra de arte se jalaron At The Gates. Saludos desde San Juan de Past⚭ Colombia 🇨🇴
this feels like such a gift right now, another masterpiece for the books.. thank you At the Gates !
MC Vaginator
... 🤘 🇸🇪
At The Gates is very oginal melodic death metal all albums is great. The Nightmare Of Being rulez in 2021. Greetings from Poland.
... 🤘 🇸🇪
Fall into time has a beautiful Maiden-ish vibe 🥰
When I listen the albums of 92 and especially 93 years, I really believe the band is unique and left unforgettable mark in death metal history 🎉
This is a masterpiece of an album musically and lyrically
Awesome album. They have been reading a lot of Thomas Ligotti and cioran
One more awesome piece!! Lots of prog, jazz parts, the use of what seems a sax, and the usual heavyness! Natural born classic!!
Great album, experimental, nostalgic, powerful 🔥
Im calling it now, Best record of 2021 this will be at the top of every year in pole. Its a timeless masterpiece ......these are really easy to spot and I guarantee that this is that
One of thee top best Melodic Death Metal bands of all time.
At The Gates is highly influential to soooooo many metal bands.
Hoping one day they get the opportunity to come on tour to Pittsburgh Pa USA
This album is incredible.
I'm in love with this song. I need this art work ❤
Even Genny G showed up on this one. Love you guys. I'll be listening this nightmare for days , weeks. such as all at the gates' albums.
The theme of the album is more than everything!
Well, my whole year just got better.
Congratulation .... amazing masterpiece.... beautiful saxophone in Garden of Cyrus track... 🤘🤘🤘🤘👌👍🤩🤩🤩
De locos ufff!!
This band is unique.... I like them a lot..
So far my fave album 2021. Everything is perfect here! Music, production, all instruments and vocals sound amazing. Thanx for this masterpiece!!
The kings return to claim their crown 🙌
I LOVE THE FACT THAT THE BAND FINALLY BROKE THE MOLD!!! About time!!! I love the new twists in this album and how they kept the essence at the same time. BEST ATG album since Slaughter probably...
17:40 Touched By The White Hands Of Death is probably my favorite from this album.
same dude
@@chrissauer1498 MC Vaginator
Only played it a couple of times so far but I love it. ATG never disappoint!
Immense subtlety is ever so present throughout.Almost a reflection on all their work included together!!!!!!!!!!!!!!!!People would kill to get this great dynamic sound.Chuck Schldiner eat your heart out.
1曲目のSpectre of Extiction良いなー。もうメロデス系聴くのは10年くらい卒業してたけど、昔の感性久しぶりに呼び起こされました。47歳より。
goose bumps
Better then the last record. They are getting there. I like the prog sound.
Se reinventando sem perder a essência !!!! Soa renovado mas com selo AT The Gates de qualidade !!!!
I feel like they have combined the whole swedish melodeath scene with this album
I've been waiting for this masterpiece since 2018.
These guys never disapoint.
It is absolutelly perfect at all.
Dark Tranquillity was also perfect.
Im waiting for new Carcass, I hope it can be as good as those ones I've said.
Killer tone 😍
Best modern At the Gates album IMO
The best album of 2021. Period.
...GODS OF MELODEATH!..🔥🤘🔥
... 🤘 🇸🇪
I was not expecting much considering how I was let down by their previous releases (post SOTS of course), but I'm pleasantly surprised this one is really solid !
Thank you for showing me the official album stream it rocks hard.
Great album! I love it! Love the progy Kraut rock vibe. Two thumbs up At The Gates. Fav track: Cosmic Pessimism
Great album! 🤘🤘🤘
*At The Gates at the top of their expressivity♥ Absolute masterpiece! \mm/*
MC Vaginator
... 🤘 🇸🇪
My copy just arrived. This album is AMAZING. ATG at its best. Unfortunately the pressing of the gold splatter edition is not tolerable. I had to give it back. But I've ordered the Artbook version instead.
What’s wrong with it? I cried bitter tears because I couldn’t get hold of one. 🥺
@@nicola6323 MC Vaginator
I loved this album very much! I was shocked by garden of cyrus (mindblown)
Various yet consistent work, really nice!
MC Vaginator
曲ごとの、少し動く画像も雰囲気出てて良い👍
Death metal with Sax now that's cool
11:26
this is just another level of music
Great album in its different style!
Been waiting for this masterpiece to come, everybody enjoy!!
Totally one of the bands that never made me feel sorry for being their fan.
Keep it up
MC Vaginator
only one world can describe it ¡a masterpice!
Excellent album!
Waiting waiting
MC Vaginator
I like the Red in the Sky album the best. Its avant garde, free jazz, and death metal. One of the most unique albums I ever heard. SOTS is also very unique and inspired many bands and I love it. I like this new album so far even though I don't get the same feeling as hearing their earlier albums. The intensity is different. Or maybe the production is whats holding me back from liking the songs more for what they are. If they recorded this the way they recorded SOTS for example, it may resonate more with me as an older fan.
The first track is easily my favourite. Such a great opening!
One of the most complex and complete metal album in the last few years! 🤘
wasn't a huge fan of the come back material, but I dig this. Great job, guys!
Another masterpiece!
Beautiful stuff! Such a surprising album, yet clearly At the Gates! 🤘🖤
Bästa albumet tills nu 🤘🏻
MC Vaginator
Album top💚⭐
Great new album!!
MC Vaginator
thanks M excellent album Hail At The Gates
*AT THE GATES - The Nightmare Of Being (2021)*
*Tracklist*
0:10 - Spectre of Extiction
4:50 - The Paradox
9:30 - The Nighmare of Being
13:20 - Garden of Cyrus
17:40 - Touched by the White Hands of Death
21:40 - The Fall into Time
28:18 - Cult of Salvation
32:39 - The Abstract Enthroned
37:03 - Cosmic Pessimism
41:31 - Eternal Winter of Reason
... 🤘 🇸🇪
My favorite part is the section between 00:00 - 45:10. Fuckin noice 🤘
You guys caved my skull in from the very first song.This shit has VITALITY!
**The Nightmare Of Being by At The Gates on Apple Music (press release and commented tracks, source: Apple Music)**
With their seventh album, Swedish death metal masters At The Gates have delivered a finely crafted concept album about pessimism. “I guess I had an amateur view of pessimism, as most of us do,” vocalist and lyricist Tomas “Tompa” Lindberg tells Apple Music. “I thought it was just the ‘glass is half empty’ kind of thing.” Some initial research led him back to American author Thomas Ligotti, whose horror fiction Lindberg had read while working on his 2017 side project The Lurking Fear. Then At The Gates guitarist Martin Larsson recommended Ligotti’s nonfiction. “It’s basically an introduction to pessimism,” Lindberg says. “I got about halfway through and realised that this worldview is very death metal.” The result is _The Nightmare of Being_, a ripping and majestic death metal album influenced by the writings of Ligotti, Emil Cioran, Peter Zapffe and contemporary philosopher Eugene Thacker, whose ideas surfaced in the first season of HBO’s _True Detective_. Below, Lindberg takes us through each track on _The Nightmare of Being_.
0:10 **“Spectre of Extinction”**
“Since [1995’s] _Slaughter of the Soul_, we’ve written almost every track to fit the sequence and flow of the record. So ‘Spectre of Extinction’ was really written as an opener with the classic metal intro thing-acoustic guitar, big Judas Priest chord swinging out, and then At The Gates after that. The middle part was written specifically for Andy LaRocque to play a solo. I call it the Death part because it really sounds like _Human_ by Death. Lyrically, it’s basically the introduction to the idea that we’re the only species conscious of our own mortality.”
4:50 **“The Paradox”**
“This is the only one that was not written for this place in the sequence. It was written very early on in the songwriting process, and it turned out to be this weird death metal song, but it has a lot of the classic Mercyful Fate vibes to it-very melodic at certain points. We had it hidden later in the album, but then [mixing engineer] Jens Bogren said, ‘This is a monster. This has to be the second or third track, guys.’ And then Andy LaRocque and [engineer] Per Stålberg said the same thing, so we put it at number two. It’s a little bit of a rager in that sense.”
9:30 **“The Nightmare of Being”**
“I’ve done this on a few records now, where the title track is the whole concept of the album in one song, basically. This has a line about the ‘parasites of the subconscious’ which I really like-even if we are aware of our mortality, we’ve got to have a defense mechanism to keep us sane. Our subconscious is always tricking us because all this pain and suffering is too much to take in. So the ‘nightmare of being’ is basically the pain of existence. It’s a heavy, slow song with lots of acoustic parts, and the end is almost like a breakdown-we never wrote something that heavy before.”
13:20 **“Garden of Cyrus”**
“This is one of the curveballs of the record. I think the big challenge of this album for us was to build upon what we started on _At War With Reality_ and _To Drink From the Night Itself_-the orchestration, different arrangements-just seeing how far we could take that without losing what is At The Gates. This one has the dreaded saxophone, so my hope is that someone listens and recognises At The Gates, even if it sounds like a Goblin or King Crimson song in a way.”
17:40 **“Touched by the White Hands of Death”**
“Again, it’s about the instrumentation. This was really written to come after ‘Garden of Cyrus’ with a really slow build by a low flute. If you were to play that on electric guitar, it wouldn’t have the same emotional impact, because every instrument has its own voice and emotional tone. But then it turns into a classic At The Gates thrasher in a way. Lyrically, it connects to the opening track because it’s about the knowledge of mortality again, and this song is about those defense mechanisms being attacked.”
21:40 **“The Fall Into Time”**
“If you get the vinyl, this would be the start of side B. It’s really heavy, with a slow build and almost like a free-form prog part in the middle. It reminds me of the more epic songs we’ve had before, like ‘Neverwhere’ from the first album or ‘Primal Breath’-like a triumphant, majestic kind of piece. Lyrically, it connects to Cioran’s ideas about the fall into time, the whole Adam and Eve thing with the apple of knowledge, which connects with his pessimist philosophy.”
28:18 **“Cult of Salvation”**
“This one is based more directly on the defense mechanisms which I talked about before. The first person to talk about this was a Norwegian philosopher called Zapffe. He talks about religions, states and worldviews as distractions, and about trying to live your life aware that you have these defense mechanisms. For example, we create music as an escape from the everyday struggle. But as long as I’m aware that I’m using it as a defense mechanism, then I can actually live my life a bit more fully and understand why I work the way I work. I love the middle part here-an homage almost to Goblin.”
32:39 **“The Abstract Enthroned”**
“I think this is the one that changed places with the ‘The Paradox’, actually. It was a latecomer to the record, with a big orchestral part in the end and a great guitar solo. This one is a little bit more like pure death metal. You can almost hear the Morbid Angel in parts of the verses. It’s the only really aggressive song on the record. It deals with religion and how we enthrone the abstract, basically putting blinders on ourselves to be able to cope with life. I unintentionally put the word ‘virus’ in there somewhere. That’s the only pandemic reference there is.”
37:03 **“Cosmic Pessimism”**
“Musically, we really wanted to do something different here. We wanted a monotonous, almost oppressive musical landscape, similar to some of the krautrock bands like Neu! or Tangerine Dream. I had read three books by one of the current writers about pessimism, Eugene Thacker, and then I stumbled upon his personal email. I sent him a really long email explaining the concept of the record and dared to ask if he would want to participate in some way. He allowed me to use some passages from his book _Cosmic Pessimism_ in the lyrics, which I did as a spoken-word part.”
41:31 **“Eternal Winter of Reason”**
“This was written specifically as a closer. I feel it’s the most emotional song on the record. [Bassist] Jonas [Björler] really wanted to try something else, too-if you notice, only the chorus riff returns. All the other riffs just build and build. I think there’s eight riffs or something, but they never come back. Lyrically, I tried to describe the emotional impact that this concept had on me as a person. There are some really strong, melancholic riffs, so I couldn’t do anything else but give in emotionally. So it’s like closure: What did I learn emotionally from this record?”
a mes yeux le meilleur album 2021 et il faudra tapé trés trés fort pour les déloger
Not really an ATG fan but this is some piece of work!
Yeahhhhhh . Waiting for this video
MC Vaginator
excelente producciòn, At The Gates volvio a comienzos de los noventas Jonas Björler que tremenda participaciòn en sus cuatro cuerdas, Adrian Erlandsson que manera de pegarle a los tarros es perfecta ejecuciòn, increible majestuoso, por su parte Martin Larsson una tremenda guitarra sin ella no ubiese sido posible lograr ese tremendo sonido oscuro que representa a At The Gates como en su historia musical underground, un deber tenerlos, escucharlos y recordar esos tremendos producciones, excelente, un Death Metal al craneo con muchos recuedos del pasado.
* Band : AT THE GATES
* Album : "The Nightmares of Being"
* Copyright : 2021 Century Media Records
* Genre : Melodic Death Metal
* Origin : Sweden (Gothenburg)
* Years Active : 1990-1996, 2014 - Now
* Producers : Jens Bogren, Andy La Rocque & AT THE GATES
* Recording & Engineerings : Jens Bogren, Andy LaRocque, Per Stalberg, Martin Jacobsson & Ludde Nasval
* Additional Recording & Engineerings : Bo Lund Sorensen & Russ Russell
* Mixing : Jens Bogren, Thomas Hedblom & Russ Russell
* Mixing Assistant : Ricardo Borges
* Mastering : Jens Bogren
* Cover Artwork : Eva Nahon
* Lay out : Carsten Drescher
* Recorded & Engineered at Sonic Train Studios, Studios Grondal & Welfare Sound Studios
* Mixed & Mastered at Fascinations Street Studios
* AT THE GATES are :
1. Tomas Lindberg (Vox)
2. Martin Larsson (Guitars)
3. Jonas Stahlhammar (Guitars)
4. Jonas Bjorler (Bass, Mellotron, Piano, Hammond, Organ & Keys)
5. Adrian Erlandsson (Drums)
* Strings Orchestra :
1. Danielle Van Berkom (Violins)
2. Jost Pijnappel (Violins)
3. Tino Fjedli (Violins)
4. Fredrik Hulthe (Violas)
5. Rajmun Follman (Cello)
6. Jo Quail (Cello)
7. A.A.Williams (Cello)
8. Gunnar Hjort (Classical Guitars)
9. Andy LaRocque (Classical Guitars)
10. Peter Nitsche (Double Bass)
* Brass Orchestra :
1. Lars Eric Almberg (Bass Tuba)
2. Marcus Carlsson (Bassoon)
3. Jill Widen (Flute)
4. Alberto Alvares Garcia (Clarinet)
5. Anders Gabrielsson (Sax)
6. Anna Van Hausswolff (Organ)
piece of art
This album better than the last time... definitely my playlist... great comback
Heroes ♥
Great set of songs
Nice work. This album rips when it needs to but it’s not more of the same.
MC Vaginator
def needed this in my life, gets a triple D E S C E N T rating
EXtraño pero impredecible álbum, INteresante Propuesta
Ponele, jajaja aguante🤘🏾
10/10 💥🤘🖤
MC Vaginator
Desde Bogotá escuchando este buen álbum de esta buenísima banda...from Colombia present🤟😎🇨🇴
Desde Argentina 🇦🇷🤘😎
@@irocka8129 Saludos brother!🤟😎🇨🇴🇦🇷
los dioses del melódico, severa expresión y complejidad
Saludos capos
Amazing album 🤘
Greetings from Ukraine!
at the gates no falla!
🤘🏻🤘🏻🤘🏻
MC Vaginator
Wow "Touched by ..." is really good
So good 🤘😈
👍👍👍
MC Vaginator
14:58 King Crimson vibe
Can´t wait!
MC Vaginator
Got one word to describe this album... "masterpiece"
... 🤘 🇸🇪
Spectre of Extinction is my favorite track