AMENRA’s first release for Relapse Records is at once a departure and a momentous act of deliverance. Stepping outside the run of albums titled Mass I-VI, De Doorn casts a 21-year journey from the heart of Belgium’s crusading hardcore scene to world-renowned, spiritually guided innovators in an enthralling new light. Ritual, remembrance and hard-won rebirth have always been at the heart of Amenra’s colossal, soul-purging approach. Centered around frontman Colin H. Van Eeckhout, but marked out by a transcendent unity of purpose, their albums have acted as totemic, personal marker points, a means to process individual grief as a shared, cathartic experience. Their live shows are acts of incendiary, communal exorcism that reach a cusp of sublime, out-of-body experience. A closely knit collective, they transport you to a febrile state where confrontation of pain, transformation and true healing can occur. Amenra have always been profoundly bound to their hometowns around Flanders, the weight of that area’s war-torn history. The sacrifice and sense of a larger purpose that bridges the fragility of humanity and the pull of an immaculate ideal is carried as an ever-present resonance. No more is this apparent than in the spectacular, commemorative events the band have performed in recent years - to mark ending of the First World War; the band’s 20th anniversary; and the departure of long-time band member Levy Seynaeve. At the SMAK Museum Of Contemporary Art in Ghent’s 19th-century, monument-strewn Citadelpark in May 2019, they offered a communal recognition of loss and letting go. Here, audience members were invited to make their own offerings, placing personal notes of acknowledgment in wooden structures created by Indonesian artist Toni Kanwa Adikusumah, before they were brought out into the park and set alight as an act of recognition and release - a forging of hope from the flames. Written for the purpose of that rite, De Doorn (‘The Thorn’) occupies a place between Amenra’s recorded and live work, less a testimony to the band’s individual bereavements, more an invitation for others to come forward, and to pass through darkness into light. Where the Mass albums have taken the form of solitary struggles whose fearless honesty has aligned itself to the most intrinsically human of chords, the dynamics of De Doorn are as stricken by destiny as ever, but sonically looser. Guided to a lesser extent by the band’s characteristically immense, behind-the-beat traction, it’s more lush, immersive, steeped in sonorous, cathedral-echo ambiences amplified to the point of static-infected instability and carrying passages of deeply intimate spoken-word that feel like being drawn in to the most hallowed of confidences. Its themes of dialogue and the passing of knowledge are echoed in the combined vocals of Colin and Oathbreaker’s Caro Tanghe. Her spectral presence on the opening Ogentroost acts as both counterpoint and complement to Colin’s stricken howl as the song cycles between enervation and helplessly compelled momentum. Their whispered devotions in the following, vast, hallowed atmospheres of De Dood In Bloei leave you feeling as though you’re bearing witness to the most private of conversations. The first Amenra album to be sung entirely in Flemish, De Doorn imparts a universal power by digging deep into local customs. Not just allowing for a greater range of expression through the intimacy, allowances and layers of meaning granted by your native tongue, it takes inspiration from Flemish forms such as Kleinkunst, a folk-based musical wave driven by storytelling, and the passing of wisdom through generations. Yet as with every Amenra release, De Doorn is an act of observance that recognises the path travelled by fully experiencing the moment, as a rite of consummation, reckoning and deliverance. That state of transition is exemplified in the closing Vor Immer, a hushed, plaintively wracked coda that bursts into newborn, world-in-your eyes transfiguration where sheer, sense flooding experience becomes a blazing threshold where rupture and rapture become one. The thorn is the most potent of symbols - in religious terms, a reclamation and an agony as a mark of transformation. It’s the nagging reminder of vulnerability and it’s the violent protector, without which beauty cannot thrive. For the cover of De Doorn, it’s been cast in bronze - a thing of value and a memorial, each band member given their own piece to symbolise their own pain and their belonging to the greater whole. In bronze, it is both nature and something else - a mark of singularity and a portal to a continuity that we all share. As Amenra have acknowledged once more, it’s one that hears our call, even when we feel we are at our most alone.
Damn, I loved all the previous Albums full-heartetly but this one dwarfs them all! Recieved the CD last week, it´s running multiple times a day since then. A Masterpice!
I've been digging and digging and relentlessly needling like a dirty syringe for a sound to scratch a dire and painful itch that I never knew had a remedy until I heard the last few moments of this song. The more I hear this band the more I absolutely resonate with what they are doing. Beauty.
I've taken shrooms and listened to AmenRa. Closing my eyes and listening in that state put in a state of paralysis and images of thorny limbs and branches engulfed me. This was all before I seen this video. That shit changed me. I went dark in that state. It was kinda traumatic. I'll do it again though.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
AMENRA’s first release for Relapse Records is at once a departure and a momentous act of deliverance. Stepping outside the run of albums titled Mass I-VI, De Doorn casts a 21-year journey from the heart of Belgium’s crusading hardcore scene to world-renowned, spiritually guided innovators in an enthralling new light.
Ritual, remembrance and hard-won rebirth have always been at the heart of Amenra’s colossal, soul-purging approach. Centered around frontman Colin H. Van Eeckhout, but marked out by a transcendent unity of purpose, their albums have acted as totemic, personal marker points, a means to process individual grief as a shared, cathartic experience. Their live shows are acts of incendiary, communal exorcism that reach a cusp of sublime, out-of-body experience. A closely knit collective, they transport you to a febrile state where confrontation of pain, transformation and true healing can occur.
Amenra have always been profoundly bound to their hometowns around Flanders, the weight of that area’s war-torn history. The sacrifice and sense of a larger purpose that bridges the fragility of humanity and the pull of an immaculate ideal is carried as an ever-present resonance. No more is this apparent than in the spectacular, commemorative events the band have performed in recent years - to mark ending of the First World War; the band’s 20th anniversary; and the departure of long-time band member Levy Seynaeve. At the SMAK Museum Of Contemporary Art in Ghent’s 19th-century, monument-strewn Citadelpark in May 2019, they offered a communal recognition of loss and letting go. Here, audience members were invited to make their own offerings, placing personal notes of acknowledgment in wooden structures created by Indonesian artist Toni Kanwa Adikusumah, before they were brought out into the park and set alight as an act of recognition and release - a forging of hope from the flames.
Written for the purpose of that rite, De Doorn (‘The Thorn’) occupies a place between Amenra’s recorded and live work, less a testimony to the band’s individual bereavements, more an invitation for others to come forward, and to pass through darkness into light. Where the Mass albums have taken the form of solitary struggles whose fearless honesty has aligned itself to the most intrinsically human of chords, the dynamics of De Doorn are as stricken by destiny as ever, but sonically looser. Guided to a lesser extent by the band’s characteristically immense, behind-the-beat traction, it’s more lush, immersive, steeped in sonorous, cathedral-echo ambiences amplified to the point of static-infected instability and carrying passages of deeply intimate spoken-word that feel like being drawn in to the most hallowed of confidences. Its themes of dialogue and the passing of knowledge are echoed in the combined vocals of Colin and Oathbreaker’s Caro Tanghe. Her spectral presence on the opening Ogentroost acts as both counterpoint and complement to Colin’s stricken howl as the song cycles between enervation and helplessly compelled momentum. Their whispered devotions in the following, vast, hallowed atmospheres of De Dood In Bloei leave you feeling as though you’re bearing witness to the most private of conversations.
The first Amenra album to be sung entirely in Flemish, De Doorn imparts a universal power by digging deep into local customs. Not just allowing for a greater range of expression through the intimacy, allowances and layers of meaning granted by your native tongue, it takes inspiration from Flemish forms such as Kleinkunst, a folk-based musical wave driven by storytelling, and the passing of wisdom through generations. Yet as with every Amenra release, De Doorn is an act of observance that recognises the path travelled by fully experiencing the moment, as a rite of consummation, reckoning and deliverance. That state of transition is exemplified in the closing Vor Immer, a hushed, plaintively wracked coda that bursts into newborn, world-in-your eyes transfiguration where sheer, sense flooding experience becomes a blazing threshold where rupture and rapture become one.
The thorn is the most potent of symbols - in religious terms, a reclamation and an agony as a mark of transformation. It’s the nagging reminder of vulnerability and it’s the violent protector, without which beauty cannot thrive. For the cover of De Doorn, it’s been cast in bronze - a thing of value and a memorial, each band member given their own piece to symbolise their own pain and their belonging to the greater whole. In bronze, it is both nature and something else - a mark of singularity and a portal to a continuity that we all share. As Amenra have acknowledged once more, it’s one that hears our call, even when we feel we are at our most alone.
Très bon groupe hélas peu humaniste fermé dans sa bulle ne communiquant pas avec son public....froid comme la glace
The ending of this song is the absolute highpoint of the album. It cuts deep.
Gives be a big ol' stank face (in a good way)
They are exploring deeper part of human nature
Sorrow, fear, rage, malice, regret, and pain. that's what this song makes me think of for some reason.
I listen this album every day during my workout…love it 💪
Damn, I loved all the previous Albums full-heartetly but this one dwarfs them all!
Recieved the CD last week, it´s running multiple times a day since then. A Masterpice!
Amazing, almost hurts listening to it. So much emotions.
One of the most emotionally raw bands I've ever heard.
Deep vibe. Darkened world. 🌑🤘🏽🙋🏾♂️
Heard this on "Wake up at the other end of the universe". Very cool!
I've been digging and digging and relentlessly needling like a dirty syringe for a sound to scratch a dire and painful itch that I never knew had a remedy until I heard the last few moments of this song. The more I hear this band the more I absolutely resonate with what they are doing. Beauty.
god damn this one made me tear up.
Some translations of the songs would be really aweomse
Malakai sends his regards
Why peeps keep refrencing Malakai??
@@UnclePhillyMyAss it a wrestler from aew
@@localjobber3250 Yeah but what does he have to do with Amenra??
@@UnclePhillyMyAss He uses Ogentroost from this album as his entrance music
@@jbasti227 so what. Nobody cares. This is Relapse Records. Not AEW, what the hell is AEW
This is what I mean by saying "art can touch your soul!"
Turn off the adds during the song Relapse
Indeed..fucking blasphemy!
Tommy Tommy Tommy Tommy END
Malakai Black sent me.
How are you not verified?
I'm sorry but what's that? A book it says but not much about it
Juste phénoménal !
Breathtaking.
Caro's screaming at 10:00 burned down my house
I desperately pray she comes back to the music scene someday, she made a few appearances at AMENRA shows in the last few months, 🤞
I really like this. Was sent here by Malakai Black aka Tommy End. Would be pretty awesome if you all let him use this as his theme in AEW.
I also sent here by Mr. Black
Same he sent me here too. All hail
We are Tommy's friends
🤘🏽🐐
@@localjobber3250 not this one
Malakais theme is called "Ogentroost"
Que música linda, velho. Nunca me canso de ouvir
Love this track so much, ending the show with it this Wednesday \m/
Do I hear Caro Tanghe?
You do.
Awesome
Pure emotion into it
I’m here to join the House Of Black
Please sign here
🕯📝📂🗡⚖🪑🛋🍻🍻🍻
Name one other songs by the band.
@@OmegaRedFan De Evenmens, Ogentroost, Children of the Eye.
- HOUSE OF BLACK REPRESENTATIVE.
@Anthony Aguilar Am Kreuz, From Birth To Grave, From Shadow to Light, To Go on; live without afterlife, a solitary reign, Voor Immer
Muito bom!!
Malakai Black. Nuff said.
Metal and Rustling are not the same
@@OmegaRedFan No crap? He recommended he's fans to check the song out because this is he's favorite band and he uses this as he's entrance music.
C'est leur meilleur album ☀️☀️☀️
excellent
JAAAAAAAAAAAAAAA
🔥
🖤
Hey you
Omega Massif, Isis, Pelican, Russian Circles, Cult of Luna, Oathbreaker, The Black Heart Rebellion, Mantar, Neurosis
Nice list. I would like to add Rosetta.
I Would like to add King Woman, YOB, Monolord, Triptykon
This list is awesome because I just got into this genre because of Isis and found Amenra recently, so much stuff to check out.
I've taken shrooms and listened to AmenRa. Closing my eyes and listening in that state put in a state of paralysis and images of thorny limbs and branches engulfed me. This was all before I seen this video. That shit changed me. I went dark in that state. It was kinda traumatic. I'll do it again though.
⚡⚡⚡⚡⚡
🍻
Who are here after Malakai black debut in AEW.
F******* Great
who is doing vocals here?
Colin and Caro Tanghe
@@TheVexed1984 oh.. so that's where this high pitched scream comes from? Thanks!
@@adhominem_ Caro has performed with them live before on Aorte Ritual, but I read she's now part of the band.
@@TheVexed1984 whaaaaaat? That's interesting! Not a fan of the hipster BM aka Oathbreaker but those vocals are quite on point here.
@@adhominem_ haha why hipster? See for so long I've thought of many of these bands as hipster shit including converge but it is good nonetheless..lol
fucking amazing
Hêt
....u wrestling nerds are mainstreaming my last bastion of unique and emotionally healing art. Cut it out. Buy the album. And then go away.
This is exactly what I've been trying to say.
Nobody cares about Mally Kay Black.
What is it bra?
@@longliveavalonstop watching wrestling it's fake
🖤
🖤
🖤