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The Never Ending Way Of Orwarrior CD+DVD, Import

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Page Artiste Orphaned Land


Détails sur le produit

  • CD (9 février 2010)
  • Nombre de disques: 1
  • Format : CD+DVD, Import
  • Label: Mis
  • ASIN : B0031ZWZD6
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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Format: CD
A écouter....un savant mélange de metal et de musique "orientale"
Je trouve les arrangements super réussis le livret avec les versets de la Torah en Hébreu (et sur le CD) très original
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Amazon.com: HASH(0x9345a8ac) étoiles sur 5 11 commentaires
11 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x92d86d44) étoiles sur 5 Album of the year already? 5 mars 2010
Par Justin G. - Publié sur Amazon.com
Format: CD
This is a hard review to write, because no matter what I say, I don't think I can do justice to this brilliant album. Still, on the off chance that I can convince someone to try this album; I'll give it a shot.

The Never Ending Way of ORwarriOR is the latest album from Israeli progressive metal band Orphaned Land, and is the long awaited follow-up to their 2004 masterpiece Mabool. Expectations were high regarding this album. After all, when you spend half a decade recording an album, it had better be exceptional. Fortunately The Never Ending Way of ORwarriOR lives up to expectations in every possible way, and in fact exceeds them.

If you're unfamiliar with Orphaned Land, I'd call them a progressive metal band that evolved from a more straightforward death metal sound. Like Opeth, Orphaned Land combines the best elements of death and progressive metal, particularly the use of both clean and growled vocals. And like Opeth, Orphaned Land benefited from the services of Porcupine Tree mainman Steven Wilson as producer for this album. Orphaned Land also incorporates traditional Middle Eastern musical elements prominently into their unique brand of metal.

The Never Ending Way of ORwarriOR is, quite simply, Orphaned Land's crowning achievement. Like Mabool, The Never Ending Way of ORwarriOR is a concept album, though I haven't spent enough time with the lyrics to have a handle on the story yet. The scope of the album is massive, with a high level of orchestration and a common spirit that runs throughout the album, whether it's an acoustic song like "His Leaf Shall Not Wither," a song like "Sapari" with lots of Hebrew singing, or a deathly thrasher like "Barakah." The intricate progressive musicianship, traditional Middle Eastern elements, symphonic elements (courtesy of the Arab Orchestra of Nazareth) and the clean, growled and occasional female vocals (from Shlomit Levi) all come together flawlessly for an album that works quite well song by song, but becomes something truly magnificent taken together.

It's early, but The Never Ending Way of ORwarriOR is already a contender for the year's best metal album, and is probably one of the best progressive metal albums released in the last decade. If you're a progressive metal fan and are open to death metal style vocals, this isn't even an optional purchase. Just add it to your cart now. If you're a fan of creative, intelligent death metal (think Cynic and Opeth), this is also a must-have. It's not just an album to listen to, The Never Ending Way of ORwarriOR is an experience, and one that stays with you long after the album ends.

Edition Notes: The Special Edition version of The Never Ending Way of ORwarriOR comes in a thick, sturdy double-digipack with a bonus DVD that features the standard "making of" footage as well as an additional track "Estarabim" that's apparently a popular Turkish song. I'll probably never watch the DVD more than once, but I love the packaging and am compelled to get these Special Editions when possible.

Edition Notes 2: Century Media also released a "Tour Edition" version of The Never Ending Way or ORwarriOR that includes a second disc with "Estarabim" as well as a few other demos, alternate versions and video clips. I wanted the extra tracks, but I wasn't exactly thrilled about having to re-buy the album to get them. The standard jewel case is also a step down from the deluxe packaging of the Special Edition.
10 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x92efd1e0) étoiles sur 5 A fantastic follow up to Mabool 15 février 2010
Par Justin T. Melanson - Publié sur Amazon.com
Format: CD
I don't believe that we all know whom Orphaned Land is just yet, so I am going to put a short introduction to them to start off. They are a doom/oriental metal band that hails from Israel, fusing traditional Arabic instruments and chants with brutal guitar riffs. Known for their previous release, 2004's Mabool: The Story of the Three Sons of Seven, they also released other albums prior to this, in 1994 they released Sahara, their first ever, which was originally a demo, and in 1996 they also released El Norra Alila. Fast forward to 2010, and we now have The Neverending Way of ORWarriOR, the follow up to Mabool. How does it stack up? In a word, brilliant. Kobi Farhi and the gang pulled out all the stops and it shows.

The album itself is a concept album, like Mabool, therefore a fair amount of care has gone into it's production, as evidenced by the sheer amount of time the tale takes to be woven. It tells of the tale of the "warrior of light" and his battle against darkness from the outside, as well as within himself, and it does so over three parts that divide the overall track listing. To listen to just a few tracks of it would not do it justice at all, to really get the full on feel for it, one needs to listen to the entire album start to finish.

While "Sapari" is a fantastic song, it is just the start, from there, it goes to "From Broken Vessels" which starts off with a piano intro, building up with guitars, and then kicking into gear with some growling vocals and some kickin' riffs. Definitely a great real start to the whole thing if I say so myself, and it goes to show how Orphaned Land has evolved as a group. Of course, there are softer moments in the album, but usually they're no more than 2 - 3 minutes, as shown by the next track "Bereft In the Abyss", a ballad and a pretty nice one at that, definitely not a favorite, but it shows off Kobi's clean vocal skills, which have been polished to a fine shine that if it were something you could see, it'd blind your eyes.

From here, we have "The Path Part 1 - Treading Through Darkness" which starts off slow for the first few minutes, even coming complete with traditional Arabic instruments before an awesomely heavy guitar riff comes through and the growls only serve to enhance the atmosphere. Overall, it's a really nice track, and definitely does not interrupt the flow of things at all. Of course, following that is "The Path Part 2 - The Pilgrimage to Or Shalem" which has female vocalist Shlomit Levi singing all by her lonesome to start with, before you hear a nice guitar riff instrumental backed by orchestral violins that while it doesn't last long before the vocals kick in, is very nice to hear regardless. The Path duology are definitely highlights for sure. Very epic, very fitting, and showcasing Orphaned Land's talents in a fantastic way.

Following is "Olat Ha'tamid" which has what I believe is Hebrew street singing to start off with, before getting into the full song, where Kobi sings in the language as well, the flow is almost seamless, and definitely is a nice fill before the rest of the epicness continues. "The Warrior" starts off with flute and orchestra played by the Arab Orchestra of Nazareth, as well as Kobi speaking in Arabic overarching this orchestral score for the first minute or so before he begins singing with this orchestral background, and then builds to a slow, crunching metal riff that sets the tempo for the rest of the song. Utterly brilliant, it does this without one genre cancelling the other out. It is definitely another stand out track.

Continuing onward, another short ballad comes into play, "His Leaf Shall Not Wither" which I feel is an okay track, not what I'd call great by any stretch of the imagination. It does it's job of giving your ears a brief respite from the heaviness of some of the other tracks before seaguing into "Disciples of the Sacred Oath II" which is a follow-up to "Disciples of the Sacred Oath" which was on El Norra Alila's Deluxe Edition, and this is again, another heavy hitter, it kicks right in off the bat, and doesn't let up either. It's a very interesting piece that I personally love, but others might not appreciate it's flavor.

Another piece sung by Shlomit Levi, "New Jerusalem" is a sad and sombre track, but it showcases her vocals, something that she's never really had a chance to do before with the shorter tracks, and wow, this woman can sing. There is definitely moments of heaviness when the electric guitar and drums kick in, and they enhance, of course, Kobi takes over after about two minutes before it goes back to Shlomit herself, it's another standout, and definitely one of my favorite songs on the album.

"Veyahi Or" is a short but sweet track, consisting of some great guitar, and subtle use of strings throughout, there is just something about this track that combines spoken narration, and some awesome vocals throughout it's short time, that just hits it all on the right chords with me. "MI?" is another short track, starting off with distortion that makes it sound like it's being played through a phonograph, of course, it clears up after a minute, uses echoing a plenty, and while Kobi does a nice job of singing throughout, I feel this is not exactly a favorite, definitely a weaker track on the album.

"Barakah" which follows immediately after, more than makes up for it though, heaviness a plenty here, again with the subtle use of strings in certain places, but for the most part, it's a straight up metal fest with growling a plenty to be heard after a minute and a half into the song or so, before it kicks into something that sounds like it'd be great to dance or headbang like a madman to, with some clean vocal breaks and a spoken narration as well. Another standout track that definitely deserves a listen from start to finish.

"Codeword: Uprising" is the second to last track, and it has such a brutal intro to begin with, easily the heaviest track on this album, some great instrumentation, plenty of growlling, this shows that Orphaned Land can easily go toe to toe with some of the best, it's an awesome track, definitely hit all the right chords, simply put, this does not let go until the end of the song itself.

The last track is the best one, "In Thy Neverending Way" is such a fine conclusion to what I feel is an awesome album. It's a slower track, that in a way, reminds me of a Lacuna Coil piece and that is a good thing as I like that band too. Great use of heavy riffs and traditional Bouzouki throughout, it is such a nice song, and I feel it should be the next single off of ORWarriOR, the way Kobi sings an open call to peace with this song, and then the spoken passage towards the end of it concludes this album on a positive note, Orphaned Land should be applauded for writing such a brilliant piece of music to conclude this album. I feel this is one of their best songs, it just left me saying "Wow" at the end.

What can I say? This is a fantastic follow up to Mabool, and definitely worth a listen for anyone who is an Orphaned Land fan. One should bear in mind that this is not Mabool, part 2, but rather an album that deserves to stand on it's own, and stand on it's own it does. Yes, it's lengthy, but I don't feel this is a bad thing, I feel I got what I paid for and then some with this fantastic album. The last two tracks in particular are standouts.
7 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x92efd258) étoiles sur 5 As good as Mabool, if not better 28 février 2010
Par Murat Batmaz - Publié sur Amazon.com
Format: CD
The Never Ending Way of ORwarriOR is the much-anticipated successor to Orphaned Land's highly acclaimed 2004 release Mabool. Much like its predecessor, this is also a concept album about the battle between light and darkness, but truth be told, I haven't fully explored the lyrics and story of the disc, as I've always been more interested in the band's music rather than conceptual ideas.

Musically, the album sees Orphaned Land growing into a tighter musical force, capitalising on their foundation of heavy meets light in the form of myriad traits. Be it Kobi Farhi's bestial death growls or his melodic clean singing, the wonderful female vocals of Shlomit Levi, or the marriage of traditional instruments with the metallic thunder of bass, guitar, and drums, the songs are distinctly marked by the Orphaned Land sound we all know.

Of course there are the shorter, slower-paced numbers like the acoustic-based "Bereft in the Abyss" and "Olat Ha'tamid", combining Hebrew singing with a catchy, Middle Eastern main melody; however, they have been carefully integrated into the flow of the album in order to provide sharper contrasts to the more progressively tinged pieces like "Treading Through Darkness" and "The Pilgrimage to Or Shalem", which are basically the two parts of a single composition. The former features soft, lullaby-like clean vocals atop a neat acoustic melody, a discreet symphonic element, and a sweet string section before gaining momentum and building towards a heavier finale with plenty of growling and harmony vocals. On the other hand, the second piece places heavier focus on nimble instrumentation, without ignoring the achingly beautiful female vocals. From its syncopated drum patterns to the spoken parts to the dense, chaotic rhythm sections, the song proves Orphaned Land have certainly refined their songwriting abilitities.

The guitar work on the album is possibly Orphaned Land's best, not only from a technical standpoint but also melodically. Being the result of many years' of work, The Never Ending Way of ORwarriOR boasts some of their most melodically driven songs. The guitar theme that appears in the second half of "Treading Through Darkness" or the long yet truly enchanting solo on the amazing "The Warrior", complete with some of the best singing on the whole album. The main melody is offered first via the vocals and then through Yossi Sassi Sa'aron's guitar and climaxes with an intense run-out passage.

"Disciples of the Sacred Oath II" is arguably the band's most diverse song to date, as it mixes a plethora of chants, both Yemeni and Hebrew, death growls, fierce double bass drums, complex instrumental passages, traditional instruments such as the saz and chumbush, as well as film score-like melodies that attest to the band's indisputable interest in 70's Turkish music. Those of you who will get the special edition with the DVD can also hear the band's cover version of Turkish rock giant Erkin Koray's classic piece "Estarabim".

The album's finest duet between Kobi Farhi and Shlomit Levi is definitely "New Jerusalem". Unlike many others, I do not think that the album opener "Sapari" is among the album's highpoints, as it places too much emphasis on the melodic chorus. "New Jerusalem", on the other hand, despite its slow pace, is a great accomplishment in that it is characterized by a wonderful melody which never gets in your face, or the excellent trade-off between acoustic and electric instruments.

Porcupine Tree mastermind Steven Wilson is present in a mixing capacity. He also contributes amazing keyboards to the songs, lending pieces like the aforementioned "The Warrior" an extra dimension -- it is his atmospheric synth line that heightens the scope of Yossi's guitar solo. Also, you can feel his presence on "M I ?" which eerily recalled Opeth the first couple of times I heard it, mostly due to the mixing -- the shift from the silent singing to the doubled vocal part is simply astonishing.

I've heard this disc maybe twenty times in only two days and it just keeps getting better. It is going to be a personal favourite of 2010. Highly recommended.
HASH(0x92efd5e8) étoiles sur 5 The Never Ending Way of Orphaned Land 26 mai 2012
Par Zadion - Publié sur Amazon.com
Format: CD
Orphaned Land may have very well sealed themselves as one of the most creative and talented bands of the 2000s. For people unfamiliar with Orphaned Land, they are an Israeli band that play a certain unique mix of progressive metal (think Opeth, not Dream Theater), Middle-Eastern folk metal ("Oriental metal"), and death metal. (Note that the death metal elements are in limited amounts; the riffs used are more melodious than brutal, and the strongest death metal element is Kobi Farhi's growling, and that does not dominate the record.) They're also known for their incredibly long wait period between albums (eight years between El Norra Alila and its successor Mabool, and six years between Mabool and its successor - this album), but the material they release is of very high quality.

I discovered Orphaned Land in early 2011 with their 2004 masterpiece Mabool. While their pre-2000s material is less than amazing, I considered Mabool one of the best albums I'd heard in a long time. What really grabbed me is that, while nearly every album I liked and loved in the last year started off as a big "meh" or seemed good at best then grew into something I enjoyed significantly, I knew from the first listen that Mabool was something special. Successive listens opened the album up to me more, and it became one of my most played albums of the last few years. In late 2011, I finally listened to The Never Ending Way of ORwarriOR, and I realized it may very well be better than its almost-perfect predecessor. Let me make myself perfectly clear: The Never Ending Way of ORwarriOR succeeds on every single level. I could go on for paragraphs about all of the little nuances that make this album so surprisingly good, but I won't. I will instead focus on the basics and the highlights.

The production (done by Steven Wilson) is crisp and clear, the mixing always puts emphasis on the appropriate instrument, and every instrument is noticeable (except for the bass, as usual, but even it stands out occasionally). Kobi's clean vocals are majestic, and his death growl is vicious. The instrumentation is top notch - especially the guitars, which constantly produce some of the best riffs I have ever heard. They even hired an orchestra (Arab Orchestra of Nazareth), which peppers melodies (such as violins) throughout the album.

What is perhaps most noteworthy is the fact that the album never feels excessive, despite it being over 78 minutes long with 15 tracks. This is because the album goes through multiple styles and moods, and each song flows with strong progression, never doing the same thing for too long. One of the things that really makes this album for me is how songs such as "From Broken Vessels" and "The Path Part 1 - Treading Through Darkness" (the two biggest highlights of the album for me, with "From Broken Vessels" working its way as perhaps my favorite song of all time) flow through multiple complex rhythms. They don't hover on the same riff for 5 minutes, but rather take the listener through a musical journey.

Of course, not every song is built around these complex rhythms. "The Warrior" puts emphasis on heavy orchestration and a long, winding solo. As well, while all of the songs strongly incorporate the Middle-Eastern folk, some songs such as opener "Sapari" and "Olat Ha'tamid" put more emphasis on that Hebrew sound. There's also several songs that abandon the heavy and complex riffs for a soft, yet deep and passionate sound ("New Jerusalem," "M i ?," and closer "In Thy Never Ending Way (Epilogue)") - and they all do it very well, forging some of the best elements of the album for me (such as "In Thy Never Ending Way (Epilogue)" which ends with a stunningly beautiful piano outro). Then there's "Vayehi Or," "Barakah," and "Codeword: Uprising" which are all groove-oriented, and feature less of the progressive, complex rhythms while still retaining their heaviness (and honestly, Orphaned Land never get overly heavy).

Then there's the lyrics, and that may very well be what separates Orphaned Land from the rest of the flock of folk metal bands (if their Middle-Eastern format and heavy progressiveness wasn't doing that already), and metal bands in general. These lyrics are positive and uplifting, while still being deep and complex. Rather than chanting about Satan or Paganism, their lyrics speak of Biblical matters and the Abrahamic religions (and in a positive light, too!). They manage to do this without seeming religious (or "preachy") in the very slightest, but rather intelligently do so through the use of conceptual lyrics (this is their second concept album now) and insightful quotes ("His Leaf Shall Not Wither" quoting Psalms 1, a passage in "Disciples of the Sacred Oath II" which quotes the Qur'an, and is sung in Arabic by the way). To be more specific, this album is a concept album about a metaphorical "Warrior of Light" (ORwarriOR), who, according to Kobi Farhi, is no Messianic figure, but rather the inner self. He related it to having a candle in a completely dark room; with the candle, you can see answers to what's in the room, but without it, you can see nothing. The album seems to dictate this warrior's journey to... extinguish the darkness, so to speak. It's very intelligent, and the way they show off the Abrahamic religions positively is a very welcome change, especially to worshipers of one of the religions (such as I).

This conviction leads to an overwhelming amount of passion therein. "The Path Part 1 - Treading Through Darkness" overflows with this passion; the emotion runs deep through the song, and it convinces me of what they do. It's deep, heartwarming, and beckons an emotional response from the listener. The aforementioned softer songs above also have this emotion running through them explicitly, but even in the heavier songs this passion rises to the top and dominates the sound. Every song radiates with the pain of the Israelis throughout history. In the music, I can hear their suffering, I can hear their loss, but I can also hear their hope. This cluster of emotions are the strains of the music's passion; the passion that emanates from the music constantly and releases an unexplainable atmosphere.

To put it quite simply, Orphaned Land seem unstoppable. The way they mix their styles alone is unique, but to create such mesmerizing and creative music the way they do makes them phenomenal. I weighed giving this 100%, but I'm not sure I could consider any album "perfect." There are no flaws here, and almost everything is great, but not everything is.... say, "From Broken Vessels" kind of great. Nonetheless, this is about as perfect as an album can get. The Holy Land has given us one of the best folk metal albums, one of the best progressive metal albums, one of the best albums released thus far this century, and one of the best albums period. I consider this a must-listen for any fan of metal, and especially fans of folk metal and progressive metal.
HASH(0x92efd720) étoiles sur 5 A must-have for progressive metal fans everywhere 4 septembre 2010
Par LeftRightMiddle - Publié sur Amazon.com
Format: CD Achat vérifié
I have never been a fan of growled death-metal vocals, to the point that I've often discarded bands off-hand the moment they venture into that style. Instead, I've mostly listened to the softer end of the progressive metal genre, enjoying such bands as Dream Theater, Pain of Salvation, Ayreon, Transatlantic, and the like.

After hearing two of the "softer" tracks off this album while listening to Last.fm, I immediately sought to hear more. I was surprised when the lead singer began growling in the second track, but even more surprised to find that I truly enjoyed it. For this band, moving between orchestral, death metal, acoustic, Hebrew, and progressive metal styles is incredibly natural, to the point that all one truly notices is a change in character to match the feelings portrayed by the storyline.

I strongly encourage all fans of progressive metal to listen to this album, even if you, like me, typically shy away from the heaviest end of the genre. I have a feeling many of you will be pleasantly surprised.
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