GREEN CARNATION — Journey to the End of the Night (review)

GREEN CARNATION — Journey to the End of the Night album cover

Album · 2000 · Progressive Metal

3/5 · 2022-04-28
lukretion

Green Carnation’s first full-length album is a frustrating affair. There are glimpses of greatness that however struggle to emerge from a sea of meandering songwriting and underdeveloped arrangements. The Norwegian band is the brainchild of Tchort (aka Terje Vik Schei) who, after a past playing bass and guitar with Emperor and Satyricon (and a stint in prison), put together Green Carnation as an expression of a musical vision that combines elements of gothic metal, doom, avant-garde and progressive rock. For this ambitious experimental project, Tchort recruited an excellent score of musicians. The Botteri brothers (In The Woods…) played bass and guitars, while the relatively unknown Alf T. Leangel was recruited on drums. A score of guest vocalists (both male and female) also appeared on the album, including Vibeke Stene (Tristania) and Synne "Soprana" Larsen (In The Woods…). Meanwhile, Leif Wiese (Opus Forgotten) played violin on a handful of tracks.

The album is dedicated to the memory of Tchort’s late daughter and the music is inevitably dark, dense and desolate. Gothic and doom metal are suitable references, but Green Carnation are a strange creature that does not rest easily within the confines of a well-defined genre. Experimentation is the norm, and the album contains plenty of influences. Vaguely Floydian psychedelic progressions and sound effects abound. The song structures are fluid and dilated, and rarely follow standard repetitions of verses or choruses. A lot of the vocal parts are improvised and the various vocalists experiment with different styles, from soprano singing, to gothic crooning, to spoken parts. At times, the album reminds me of the most experimental side of Tristania. But Journey to the End of the Night is much more desperate and obscure, and less refined compared to Tristania and other similar gothic metal bands.

In truth, the record makes for an uncomfortable listen. The vocal improvisations are somewhat hit and miss. Often, the singing is devoid of any melodic structure and rather difficult to follow (also because sometimes the vocals are mixed really low). The irregular song structures are also challenging, especially when you have songs that exceed the 10-minute mark (half of the songs on the album do so) with plenty of tempo changes and new sections that provide very few reference points to the listener. At their worst, these songs come across as plodding and directionless (“Under Eternal Stars”). However, when Tchort’s genius finds the right spark, great things happen. It’s the case of “My Dark Reflections of Life and Death”, a fantastic piece of music that takes the listener on a dark, introspective journey interspersed with clean guitar arpeggios, repetitive doomy riffs, chilling vocal melodies, and ominous sound effects. Here the rough edges of Green Carnation’s music are met with the right arrangements and melodies, providing a magical combination that feels spontaneous and sophisticated at the same time.

Alas, “My Dark Reflections of Life and Death” stands alone as a marvellous beacon of light in an otherwise rather difficult and uncertain album. Ultimately, Journey to the End of the Night holds the same morbid fascination as a car crash: it’s hard not to star,e even if you do not like what you see. I feel the same towards this album: I struggle to penetrate its deep, complex musical armour and I can only enjoy it in small doses. But it possesses a special, dark aura that springs from genuine pain. And when this darkness finds the right voice, the music is sublime.