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File Name:[Request] Tiamat - Full-Length Discography (1990-2012)
Download Torrent:[Request] Tiamat - Full-Length Discography (1990-2012)
Description:Death/doom/gothic metal/rock from Sweden, almost complete discography of 10 full-length and one live albums, two singles and one best of compilation released between 1990 and 2012.





Initially, the band played straightforward black metal under the name Treblinka. After having recorded the album Sumerian Cry in 1989, vocalist/guitarist Johan Edlund and bassist Jörgen Thullberg parted ways with the other two founding members, and subsequently changed the name to Tiamat. The Sumerian Cry album included re-recorded Treblinka songs and was released in June 1990.

After the debut, Edlund's leadership would modify the band's style with influences ranging from Mercyful Fate, Candlemass, Pink Floyd and King Crimson, with Sumerian lyrical themes. Polish guitarist Waldemar Sorychta would produce and contribute instrumentation to many of the band's albums, as well as those by Tiamat's own tour and labelmates, including Moonspell, Rotting Christ, Lacuna Coil and Samael.

1994's critically acclaimed Wildhoney mixed raw vocals, slow guitar riffs and synthesizer sounds which sounded different from other extreme metal bands active at that time. An almost continuous forty-minute piece of music, Wildhoney led to the band's appearances at the Dynamo[3] and Wacken Open Air heavy metal festivals in 1995. The group would play a second gig at Dynamo two years later.

Upon the release of A Deeper Kind of Slumber (1997), Edlund relocated from Sweden to Germany and declared himself the only permanent member of the band; all albums that would follow would cement the band into a more gothic rock sound, quite different from the extreme music they did in the years before, with recent albums showing a Sisters of Mercy and Pink Floyd influence.

The band signed to Nuclear Blast in June 2007, and released their ninth album Amanethes on April 18, 2008.

On August 10, 2008, Thomas Wyreson announced that he was quitting the band, stating that "it's just kinda hard to make everything work with the family etc."

Their song Cain was also featured in the video game Vampire: The Masquerade – Bloodlines.

The band's tenth full-length studio album, The Scarred People, was released on November 2, 2012 through Napalm Records.


Tiamat At MySpace


1990 Sumerian Cry

1991 The Astral Sleep

1992 Clouds

1994 The Sleeping Beauty - Live in Israel (Live)

1994 Wildhoney

1994 Wildhoney (2001 Re-issued)

1994 Wildhoney (2007 Remastered)

1997 A Deeper Kind Of Slumber

1997 Cold Seed (Single)

1999 Brighter Than The Sun (Single)

1999 Skeleton Skeletron

2002 Judas Christ

2002 Judas Christ (Limited Edition)

2003 Prey

2003 Prey (2004 Re-Issued)

2007 Commandments (Best Of Compilation)

2008 Amanethes

2012 The Scarred People


"Fellow students. Over the past week there's been a lot of confusion, and so we've asked for this assembly to clarify the difference between goth kids and vampire kids. Let us make it abundantly clear: if you hate life, truly hate the sun and need to smoke and drink coffee, you are goth. If, however, you like dressing in black 'cause it's fun, enjoy putting sparkles on your cheeks and following the occult while avoiding things that are bad for your health, then you're most likely a douchebag vampire-wannabe-boner. Because anybody who thinks they are actually a vampire is freaking retarded." South Park (Season 12, Episode 14), 'The Ungroundable'

Johan Edlund and Tiamat have always startled me with their ability to hurdle their musical shortcomings and produce unexpectedly delightful records, and The Scarred People is one such diamond in the rough. For all intensive purposes, the Swedes are flawed characters who make the very most of what most would consider a limited skill-set, and constantly reinvent and reinvigorate themselves through strong songwriting, crafty and somberly beautiful lyrics rather than sheer technical prowess or further progression through complexity. Though I'm certain a portion of their fans abandoned them past Wildhoney, the point at which they really started to tinker their death/doom roots into a more psychedelic, atmospheric contraption, they've put out some damn fine albums since, including the brilliant and trippy 1997 opus A Deeper Kind of Slumber which I still consider their magnum opus, or the amusing Skeleton Skeletron with its sultry, blunt vocal quips and rather dramatic spin on Gothic rock, a more muscular Sisters of Mercy.

The three albums since that time have all had their moments, but I actually didn't develop the same level of personal connection beyond a handful of songs. Through The Scarred People, I've really found myself returning to that same sense of immersion I once felt from their 1992-1999 material, and as a result I'm loving the hell out of nearly every moment on this disc. To best describe it would be to take a tour of the band's past 20 years of recordings. You've got a few of the sodden, simply doom riffs circa Wildhoney sauteed in the psychedelic escapism of A Deeper Kind of Slumber, synthesized symphonics redolent of Clouds and the driving Gothic metal of Skeleton Skeletal, and that opaque, cynical sense of humor which was abundant on more recent efforts like Judas Christ. The album also presents an aesthetic merger with Edlund's Lucyfire side project, not only by incorporating one of the tunes meant for that act ("Thunder & Lightning" ), but through the pervasive 'Gothic cowboy' sentiment that courses through the pacing and structure of the music here. Guns at dusk, not dawn. As an individual who has always appreciated the anthems of the black mascara sect nearly as much as his fascination with harsher metallic climes, I'm admittedly part of that choir Edlund is preaching to...

Yet I feel that The Scarred People has something for everyone. It's grand, emotive, powerful and in truth accessible enough for your girlfriend or the non-metal crew you run with (if applicable); and we'll try not to hold that against it! Edlund's baritone prescription brings to bear the very best ingredients of a Nick Cave, Andrew Eldritch, Peter Steele or Fernando Ribeiro with astonishing humility, and his lyrics remain poignant and perceptive despite the stark simplicity of their architecture. Think of it as clever cafe-pop poesy through which a deeper layer of shadows grasp out at the acute reader, but the subject matter isn't rocket science: love, hate, drugs, and mythic deconstructions rendered into a shot of verbal vodka. Wherever necessary, Edlund's verses are complemented with a deeper, cavernous chorus ("The Scarred People" ), or a higher pitched harmonic backup ("Winter Dawn" ), or even some samples in the brief snippets of "Before Another Wilbury Dies". The voice is perfectly grafted to the deceptive minimalism of the music, and unlike a lot of albums I get regularly for review (or purchase), it's fascinating to explore the lyrics alongside the riffs.

And of those riffs, there are very few misspent through the 50 minutes of disc. Nothing intensely original or complicated, but as I mentioned before, Tiamat simply don't need arpeggio noodling or rhythmic acrobatics to convey an effective mood. These are brazen, loud and highly atmospheric note choices which produce a potent, memorable girth. Whether it's the doomy "384 - Kteis" in which the downward, drudging chords are embellished with hellish funeral organs, pianos and random distortia; or the mammoth rocking grooves of "Winter Dawn" which wouldn't feel out of place on a Stone Temple Pilots, Pearl Jam or Soundgarden record, Edlund and recent acquisition Roger Öjersson never give us anything more than what we need, and boldly, whether in an open chord pattern or a groove. But here again, The Scarred People is not without a few surprises. The wailing rock excess of the "Before Another Wilbury Dies" interlude isn't something I've heard before in the Swedes' canon. The intro sequence in "Love Terrorists" rekindles their Pink Floyd influence, and the cutesy and fragile melodic picking threaded through the verses of "Messinian Letter" would be a radio worthy hit in the hands of, say, Eric Clapton.

Perhaps the only guitar moment I wasn't taken in with is the "Tiznit" instrumental, a fusion of clear acoustic guitar and trilling bird songs, but it's nonetheless smooth as a river calm. Now, Tiamat's rock oriented music doesn't exactly lend itself to a lot of divergent experimentation through the rhythm section. With that said, I must laud Anders Iwers' bottom end strumming and Lars Skjöld's beats are about as fulfilling as the riffs will allow. The electronics coursing through the tunes are all very subtle and well spaced, usually to provide some added texture to a verse, and never overwhelming. There are moments of pure orchestrated bliss like the intro to "The Scarred People" which inaugurates the album, but they're succinct enough to flood the listener with their majesty and kindly cede to the guitars. In fact, they often grant the music a very 'upbeat' feel for Goth metal, and there are a number of tunes here like "Thunder & Lightning" or the title cut which seem like natural successors to the Sisters of Mercy's popular "Temple of Love" anthem. In other places, like "The Red of the Morning Sun" or "Radiant Star", Tiamat was channeling the slower material of neighbors and countrymen Lake of Tears with these broad, doomy vistas of cold, dry twilight desert.

This is just one of those immediately timeless experiences which I find myself repeatedly returning to since picking it up a few months back, and it goes without saying that it will not disappoint those who have been digging on the band these last few decades sans interruption. I wouldn't qualify this as a full on Gothic metal effort, because in truth it's probably only around 40-50% metallic and the rest is heavy psychedelic rock, but this distinction is irrelevant to the overall quality, and the ratio of escape and enjoyment to moments of music breaks pretty even. It's one of the best albums I've heard all year, but not the sort which will bewilder you with dizzying fits of proficiency or originality. Warm in cold in equal rotation, sad and triumphant, addictive enough that I wish it had come with a Surgeon General's warning. I'd love to smoke this album on the corner while donning dark shades and leather, dreaming of caffeine, pale flesh and fishnet stockings.


As requested by a fellow member abate cruento from Italy!
Genre:Gothic
Subgenre:Death / Doom / Gothic Metal / Rock
Bitrate:Lossless
Size:8.45 GB
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Added:08/08/2013
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Last Seed Update30/04/2017 01:56:03


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