Entombed - Clandestine Live CDRegular price $16.99 Save Liquid error (product-template line 177): Computation results in '-Infinity'%
02. Living Dead
03. Sinners Bleed
05. Blessed Be
06. Stranger Aeons
07. Chaos Breed
09. Severe Burns
10. Through The Colonnades
11. Left Hand Path
A unique Entombed experience with original members Nicke Andersson, Uffe Cederlund and Alex Hellid performing their second album “Clandestine” for the album’s 25th Anniversary.
Threeman Recordings now presents Act 2: The Entombed performance – A concert in two acts based entirely on the Swedish band’s acclaimed album "Clandestine" from 1991. It is a unique concert where the pioneering album is played from beginning to end. From the opening "Living Dead" to closing "Through The Collonades ".
In the first act, the Malmö Symphony Orchestra and Choir performs Clandestine, arranged for orchestra by Thomas Von Wachenfeldt (Wachenfeldt), with the original members from Entombed sitting in as part of the ensemble. In the second act, the band performs the entire album live in the original version for the very first time.
(- It is amazing to experience the musical journey with an orchestra and we really enjoyed the experience, says Alex Hellid)
(- Allowing Entombed’s suggestive music to meet Symphony Orchestra and Choir is a very creative and exciting concept. Composer Thomas Von Wachenfeldt’s arrangement contains challenges for both orchestral musicians and for me as a conductor, as the starting point has been to interpret the "Clandestine" in a classical, symphonic format, rather than plank the music outright, says conductor Josef Rhedin who will conduct the concert.)
Seasoned Music journalist / TV host Per Sinding-Larsen, is one of those who has a special place in the heart for the album "Clandestine":
- With "Clandestine" Entombed surprised the hard rock audience with force, weight and musical variation on an album that still feels relevant and strong. "Clandestine" not only became an instant trendsetter for Swedish and foreign death metal. This is music that belongs in the place of honor among the classics of the great Swedish record shelves.
Entombed was inducted into the Swedish Music Hall of Fame in 2014 with the following motivation:
"Hard rock is just as typical of growing up in medium-sized Swedish towns as football and mopeds. Hard rock is Swedish folk music with studded wrist bands instead of tasseled garters. After two decades of Anglo-Saxon hard-rock a Swedish band, Entombed, became one of the world leaders in death metal. A subculture that has spread throughout the world, mutated in various forms, and after 20 years continues to be just as vital. Entombed is part of the heavier internationalization of Swedish popular music - all categories."
The band was founded in 1987 under the name of Nihilist. With its catchy, versatile but still rock hard music Entombed pioneered Scandinavian death metal, which was different from its American counterpart mainly by the characteristic, chainsaw-like guitar sound. The special sound they got by tuning down their guitars three full steps (to C or less), by using a maxed out Boss HM-2 Heavy Metal pedal, in combination with a guitar running through a Boss DS-1 Distortion Pedal. The debut album "Left Hand Path" was released in 1990 and followed up the following year with "Clandestine".
For the 25th anniversary of Clandestine original members Nicke Andersson, Uffe Cederlund and Alex Hellid performed the album from start to finish together with the perfect fitting Robert Andersson (Vocals) and Edvin Aftonfalk (bass) of Morbus Chron. The evening also saw the Malmö Symphonic Orchestra featuring Entombed perform Thomas von Wachenfeldt’s stunning arrangement of Clandestine for orchestra.
FOLLOW THE UNFOLDING OF SWEDISH DEATH METAL
Thomas von Wachenfeldt on Entombed Clandestine album:
Paradigm exists on all levels. In all places, at all times. Sometimes they are easy to identify and evokes immediate effect. It could be a shot in Sarajevo or a bloody guillotine in Paris – events that change a whole world. But it may as well be an individual’s own life-world as, at a particular time and a special event on different levels, takes new turns. We carry everyone on such events.
In my own case, one of my biggest paradigm shifts occurred in a local market in neighboring town when I was 12 years old. Me and a friend stood and flown in a back with vinyl records and our eyes stuck on a suggestively cluttered album cover with a hugely cool logo. Entombed – Clandestine.
I had already enjoyed listening to heavy music and preferably listening to Hell Awaits on 33 rpm. My cassette with Metallica’s Master of Puppets, and Ride The Lightning on the B-side was always spinning in my Walkman. But when me and my friend came home to him and put the newly purchased album on the gramophone player, there came some horrific but still fascinating sounds through the speakers. This was something completely different – the true soundtrack to all the b and c horror movies I’ve ever seen. The atmosphere was hauntingly horrific. The record became my absolute favorite album and I immediately went to the record store in the nearby city of Hudiksvall. There I found the CD Left hand path and an Entombed t-shirt where “Satan älskar dig [Satan loves you]” was written on the back. I had found my first favorite band. And I was in my home village, basically alone with it. From Entombed, a search for new rushes began and behind the corner I found Morbid Angel, Deicide, Grave, Dismember and many others.
The years passed and during the second half of the 1990s, the death metal scene was poisoned by blues and rock. Unfortunately, Entombed was one of the, or to put it straight – the main reason, to cause Carcass, Gorefest and others to be demolished into blues or rock n ‘roll bands. I therefore left the metal scene and instead searched for darkness in Swedish folk music and the classical masters, which led me to study classical violin and composition for six years.
The years went by and during my career as a folk fiddler and violinist, the death metal scene recovered. My old favorite bands once again released music with artistic value and Entombed crowned a series of solid records with Serpent Saints. Over time, I searched back for my musical roots and started my own band Wachenfeldt. During the same time, I received a request from Tommy Rehn, who was planning a concert with his band Corroded and the Nordic Chamber Orchestra. I was asked to arrange for the orchestra and was asked what other band would suit the project. Without hesitation, I said Entombed and Clandestine. The tools I had received during my compositional studies helped me to understand Clandestine’s songs and structures on a deeper level. And beyond that there were obvious classical influences
Shortly thereafter Alex Hellid called me up and it showed that he had been thinking exactly the same thoughts. After about an hour in the phone, a marathon work began which took three months to complete. The mission was to “return” Clandestine’s songs into an orchestral form. My suspicions had proved true. The music of Clandestine was written after prolonged abuse of horror movies and, above all, the music by Christopher Young.
Initially, I thought that Entombed would play the songs as on the record and the orchestra would be there in the background. But after the first demo was sent to Alex, I realized that it would be the other way around. The orchestra should be in the forefront and the musicians in Entombed should sit among the other musicians in the symphony orchestra. This placed considerably higher demands on me as an organizer, as the arrangements would carry themselves and sound like regular symphonic music. But! This was far more interesting than it usually was with these kind of collaborations after Metallica and San Francisco’s symphony orchestra’s project S&M.
The work of arranging and orchestrating Clandestine has in many ways been an introspective journey. At the same time as I analyzed the smallest note at a micro level, many things have been revealed. First: Clandestine is at all levels nothing but an ingenious work and many times a thought has struck me. Did the four members Nicke, Alex, Uffe and Lasse act as mediators of a metaphysical power materialized by these four teenagers? Like the unyielding and fierce power that flowed through the young Mozart in his early work.
I have also realized that Clandestine have shaped a great deal of my aesthetic view and taste – regardless of whether I play classical music, Swedish folk music or death metal. I always come back to and have always been attracted to the gritty endless darkness.