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Experimental/Post Metal • Norway

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Green Carnation biography
Hailing from Kristiansand, Norway, GREEN CARNATION was initially founded in 1990 by Terje Vik SCHEI (aka TCHORT) as a vehicle for playing Progressive Gothic/Doom Metal. Having recruited brothers Christian 'X' BOTTERI (guitars), Christopher 'M' BOTTERI (bass) and Anders KOBRO (drums) to the cause, the band took a year before issuing their demo "Hallucinations of Despair", by which time, TCHORT was offered the position of bassist with leading Doom Metal band EMPEROR. It seemed as though GREEN CARNATION was dead in the water, when the remaining members teamed up with Oddvar 'A.M' MOI to form Avant-Garde/ Post metal band, IN THE WOODS.

Throughout the mid 1990's, in addition to his involvement with EMPEROR, TCHORT also contributed material toward a number of other Doom/ Black Metal bands, including SATYRICON, EINHERIER and CARPATHIAN FOREST, however in 1998, he took the decision to resurrect GREEN CARNATION with the help of the BOTTERI brothers, and Alf Tore RASMUSSEN (drums). With the help of five guest vocalists and LEIF on violins, they recorded their debut, "Journey to the End of the Night" (2000), a 70 minute concept album, inspired by the tragic loss of TCHORT's daughter. The result was an emotionally laden, folk-inspired, Progressive/ Doom opus which took over 6 months of rehearsals before recording began, then a further 2 years before it was finally released, through German label, Prophecy Productions. After recording, the other band members departed, leaving TCHORT to find a completely new line-up for the follow-up.

Happily, Anders KOBRO returned to join up with TCHORT, providing the foundation and arrangements for the whole song which, after 2 years in the making, became "Light of Day, Day of Darkness" (2001). Endre KIRKESOLA (bass) was drafted in during pre-Production to help out, convincing former IN THE WOODS. guitarist Bjorn HARSTAD , Stein Roger SORDAL (bass) and Kjetil NORDHUS (vocals) to join the band in time for the studio recording for the album, a single 60-minute track, this time inspired by the birth of TCHORT's son. Employing thirty musicians as well as a children's choir, there is no denying the audacious scope and ambition of a project, producing arguably the longest single progressive metal track ever recorded.

Strong sales, critical acclaim and a growing reputation within the festival circuit encouraged the band to sign for French record label 'Season of Mist', for whom they released their third album "A Blessing ...
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Light of Day, Day of Darkness (Re-Release)Light of Day, Day of Darkness (Re-Release)
Prophecy Productions 2010
Audio CD$5.86
$9.99 (used)
Acoustic VersesAcoustic Verses
The End Records 2006
Audio CD$6.96
$1.29 (used)
Journey to the End of the Night (Re-Release)Journey to the End of the Night (Re-Release)
Prophecy Productions 2010
Audio CD$6.87
$51.84 (used)
The Quiet OffspringThe Quiet Offspring
Season of Mist 2013
Audio CD$4.93
$2.35 (used)
Blessing in DisguiseBlessing in Disguise
Season of Mist 2003
Audio CD$23.20
$3.59 (used)
Light of Day, Day of Darkness (Re-Release) by Green Carnation (2010-01-19)Light of Day, Day of Darkness (Re-Release) by Green Carnation (2010-01-19)
Prophecy Productions
Audio CD$47.00
Journey to the End of the Night (Re-Release) by Green Carnation (2010-01-19)Journey to the End of the Night (Re-Release) by Green Carnation (2010-01-19)
Prophecy Productions
Audio CD$41.64
Quiet Offspring by Green CarnationQuiet Offspring by Green Carnation
Audio CD$113.74
Alive And Well????in Krakow by Green Carnation (2010-01-26)Alive And Well????in Krakow by Green Carnation (2010-01-26)
Audio CD$45.02
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Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

GREEN CARNATION top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.42 | 63 ratings
Journey To The End Of The Night
4.14 | 304 ratings
Light Of Day, Day Of Darkness
3.66 | 107 ratings
A Blessing In Disguise
3.36 | 89 ratings
The Quiet Offspring
3.87 | 133 ratings
The Acoustic Verses

GREEN CARNATION Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.38 | 8 ratings
Alive And Well... In Krakow

GREEN CARNATION Videos (DVD, Blu-ray, VHS etc)

3.07 | 13 ratings
Alive And Well... Who Am I?/Live in Krakow
4.42 | 29 ratings
A Night Under The Dam

GREEN CARNATION Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

GREEN CARNATION Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.09 | 16 ratings
The Burden Is Mine...Alone


Showing last 10 reviews only
 The Quiet Offspring by GREEN CARNATION album cover Studio Album, 2005
3.36 | 89 ratings

The Quiet Offspring
Green Carnation Experimental/Post Metal

Review by Gallifrey

2 stars 10 Years On: Green Carnation's The Quiet Offspring

I don't think anyone really had a problem with A Blessing in Disguise, in the end. Sure, following up an album-long epic that has since become a prog metal classic with a song-oriented album is obviously going to get a bit of backlash, but what else were they going to do to follow it up? Retire? Do another one?

This, however, is not something that needed to happen. A Blessing In Disguise was an exercise in restraint, Green Carnation seeing if they could still make quality material after the non-restraint of Light of Day, Day of Darkness. And they did it well. That album had some incredible songs, with lengths that didn't make you nauseous, being progressive at the same time as being restrained, and was one of the best progressive albums of 2003, the only real sign of them slipping in quality was the really lazy "As Life Flows By" which sounded like a twenty-minute rush-job, with absolutely no complexity whatsoever.

The Quiet Offspring, unfortunately, offers no such compositional quality. Right from the intro we're treated to straight-up laziness. I mean seriously, how long did it take them to come up with the opening riff for the title track? Palm muted chugging in the most basic rhythm? Yeah, sure, this is exactly how we want to open the new record, let's show them how great we are at coming up with guitar riffs! The rest of this opening track is actually not as bad as the rest, aside from a rather edgy inclusion of a few swear words, but boy that intro had me rolling my eyes. It sounds like the sort of riff a 12 year old Slipknot fan would write after playing guitar for half an hour.

To call this album progressive metal is not just a push, it's a blatant lie. Whenever metal fans use the term "alternative metal", it's always with a bit of elitism, because that term has so often been synonymous with "metal I don't like", but I do like a great deal of alternative metal, and not only is this definitely an alternative metal record, it's a bad one. All the songs have that good old cruchy semi-industrial alt-metal guitar tone, and are chock full with riffs that involve nothing but palm mutes and power chords, and the vocals here go for some buttrock-esque tough guy gruff singing (with equally terrible lyrics). This isn't something I would complain about (too much) if the songwriting was good. But if you've heard the first half of this record, you know that it isn't.

"Between the Gentle Small and the Standing Tall" is without a doubt the worst song Green Carnation have come near, combining bad blues rock riffs with cheap post-grunge "Yeah!"s and "Bring it on!"s, with a rather disgusting pseudo-sexuality that reminds me of no other band but Nickelback. There's a little bit more skill here than most post-grunge bands, and the song's bridge breathes a bit of melodic prog into the mix that is refreshing, but there's no denying the majority of the songwriting is right the way down in the lowest-of-lows within rock music territory. "The Everlasting Moment" is another pretty poor track, as is "Dead But Dreaming", but aren't inexcusably awful like the second track. The former boasts one of the most cringeworthy riffs I have ever listened to, pushing beyond the Nickelback influence I mentioned before into some new territory of corniness that I really can't find a comparison point for. The rest of the song isn't too bad, but a bad riff repeated throughout can easily kill any moments of goodness. "Dead But Dreaming" goes straight back to buttrock though, but in addition to the Nickelback riffs, we get tryhard gruff "I'm a big guy" vocals, and one of the weakest choruses on the album.

Obviously there are little blips of goodness in this section of the album - "Purple Door, Pitch Black" has a really nice chorus, with a melody that reminds me greatly of Amorphis. It's pretty much the first time on this album I feel Green Carnation have done something good, but the rest of the song, being weak and cliched, tries its hardest to contradict that.. "Just When You Think It's Safe" and "A Place for Me" also aren't bad songs, but they not really good ones either. There are no godawful riffs or cheap radio-rock gimmicks in those tracks, but at the same time there's nothing that pulls them out as being a great songs, they're just kind of better than what surrounds them.

But it wouldn't be a bad album without a sudden transition to good for the last few songs. Part one of "Child's Play" hints at this finish, with its use of violin and fingerpicked acoustic guitar being considerably more artistic and sonically interesting than anything else on this record, but the album only really gets good at track nine, "Pile of Doubt". The opening few notes of that track alone have a better chord progression that the entire first eight songs combined, and even when it goes into a bit of power metal-esque riffing which isn't really warranted, it retains that strong melody and emotional link that I feel this album has been missing. The song has a weak verse, as well as some cheap parts reminiscent of the shortfalls of the first half of the album, but a pretty great chorus and an excellent lead melody progression remind me so clearly of the Green Carnation of the past. "When I Was You" continues this progression, being the first actually solidly good song on the album. A slow, building, progressive track, it again shows signs of what Green Carnation were two years prior, and then the album closes off with "Child's Play", part two, another pretty solid piece. None of these songs are groundbreaking or amazing, and in the context of a record like A Blessing in Disguise, they would actually be pretty lowly ranked, but they do show that Green Carnation still have some compositional skill left in them for this record.

The Quiet Offspring is truly a sad record. It's not the worst thing I've heard, and there are some pretty nice parts in it, but it shows Green Carnation regressing entirely from great epic prog metal to great non-epic prog metal to hard rock songs with aims at 30 year old midlife crisis blokes who go out to the pub every night to score underage girls. Or whatever Nickelback's current demographic is. Aside from the choice moments in the last few songs, this album runs between inoffensive boredom and absolutely disgusting degeneracy. Really sad to see coming out of a solid band.


Originally written for my Facebook page/blog:

 The Acoustic Verses by GREEN CARNATION album cover Studio Album, 2006
3.87 | 133 ratings

The Acoustic Verses
Green Carnation Experimental/Post Metal

Review by Memo_anathemo

5 stars This is an incredible album by the band :GREEN CARNATION. I can't deny that I loved it since the very first time I listened to it. It has wonderful acoustic arrangements and all the instruments used are very well managed by the musicians. All the songs include a combination of melodic voices, great violins with folk influences, great and soft drums that enhances the atmosphere of the songs. My favorite tracks are without any doubt the first two, "Sweet Leaf" (listen to it and tell me if one of the singers doesn't resemble Bono of U2) and the beautiful "The Burden is Mine ... Alone". Very good album, indeed.
 A Blessing In Disguise by GREEN CARNATION album cover Studio Album, 2003
3.66 | 107 ratings

A Blessing In Disguise
Green Carnation Experimental/Post Metal

Review by Memo_anathemo

4 stars I have always thought that every album has its time and moment to be listened to, it's just that sometimes it's difficult to find the time and the moment for many of us to hear a particular album that sometimes we just hear the albums without the appreciation each album of music deserves. A Blessing in Disguise is an excellent example of this. I had listened to it a couple of times and just enjoy it, yet the last time I listened to it, it was the perfect moment, in my car, with an adequate volume, windows rolled up (because it was raining) and yes, the rain. That made me appreciate it entirely and to discover that indeed, it is a real good album. Some of the songs are really good metal songs with great guitar riffs. The rest of the songs combine the melancholic sound with excellent progressive passages. I think everyone who likes Pain of Salvation, or who likes a good combination in metal music should try it at least once!
 Light Of Day, Day Of Darkness by GREEN CARNATION album cover Studio Album, 2001
4.14 | 304 ratings

Light Of Day, Day Of Darkness
Green Carnation Experimental/Post Metal

Review by Warthur
Prog Reviewer

3 stars Tchort's stab at the old Thick as a Brick album format delivers some pretty but rather forgettable progressive metal combined with some decidedly nonstandard and rather variable lyrics. To be honest, I think the album veers into cheesiness a little often for its own good - the female vocals partway through the composition, as others have noted, require the singer to sing higher than she's really able to handle, whilst the use of a children's choir just pushes the saccharine undercurrents of the album to the forefront. I understand that the piece is Tchort's meditation on the death of his daughter and birth of his son, and whilst it's laudable that he'd use such personal material as fodder for the album, on the whole I don't think it succeeds as material for general enjoyment.
 Light Of Day, Day Of Darkness by GREEN CARNATION album cover Studio Album, 2001
4.14 | 304 ratings

Light Of Day, Day Of Darkness
Green Carnation Experimental/Post Metal

Review by Smegcake!

4 stars Excessive music? Well, here is the blueprint for excess.

One hour long progressive metal opus. As the reviews around this release show, it's got a huge reputation as one of the greatest one song albums of all time. I don't disagree with that. But there's not that many to compare it to. When I think of a fantastic one track album, I think of Jethro Tull's two masterworks, Thick as a Brick and A Passion Play. There isn't a comparison to make between them and Green Carnations 60 minute dark journey. But we can't really think about comparing progressive metal of the 21st century with the 1970s prog rock, can we? I'm sure you can find people who do.

They're completely different cans of worms. They are bursting with ideas and instrumental prowess, and in many ways, very satisfying in their approach. Of course, there are always shortcomings that prevent me from saying outright that this is the definitive statement of all progressive music, and defines the movement entirely - because it doesn't. It just happens to be a very long, very competent piece of music. That's all.

There's nothing too memorable about it, but when you're on the journey, you may not think so. It has power, and wields it unrelentingly. Perhaps that's grounds to question if this is really comparable to other one track albums. It doesn't share the same instrumental showmanship of Jethro Tull for instance, there are dense, heavy riffs and plodding drums and bass. It's not a speeding tune at any point, so you'll have to get used to the pace that is offered in the first few minutes.

Lyrically, it's pretty vague. And lyrically, it doesn't seem to emerge anywhere special. Do I know an easy way to say that it doesn't share masterpiece status with some releases? Well, I just said it. It's not the best thing out there, but if you want ambition, power and occasional wow moments, then this release may just offer it to you.

In their later works, Green Carnation wisely altered their technique - which only increases my appriechiation for their work. At times it has more then its mammoth length to help it stand out. There's some true greatness somewhere in the beast. But I can't help thinking it could have been shaved at least a little bit.

4 stars.

 Light Of Day, Day Of Darkness by GREEN CARNATION album cover Studio Album, 2001
4.14 | 304 ratings

Light Of Day, Day Of Darkness
Green Carnation Experimental/Post Metal

Review by Renkls

5 stars It took me a long, long while to decide that this was a five star effort. I keep wanting to deduct a star because of the drag of the 20 minute mark, but I feel 4 would be understating a very ambitious and epic work. It definitely set a powerful and somber mood for me and I have listened to it through enough to say it keeps me capitivated every time I accept the hour long journey. Not the greatest single song/track album ever made, but close enough to warrant a lot of consideration for those with broadening prog tastes and enough time on their hands to listen to an hour long piece of progressive metal of the most refined kind.
 The Quiet Offspring by GREEN CARNATION album cover Studio Album, 2005
3.36 | 89 ratings

The Quiet Offspring
Green Carnation Experimental/Post Metal

Review by Conor Fynes
Prog Reviewer

3 stars 'The Quiet Offspring' - Green Carnation (6/10)

Green Carnation was a project first incarnated by its members in order to explore sounds other than black metal, so it should not come as a surprise that this band has been constantly changing. Featuring members of the Norwegian black metal band Carpathian Forest, Green Carnation first began with an artistic doom sound; their album 'Light Of Day, Day Of Darkness' is a classic for its style, and considered by many of this band's fans to be a masterpiece. The bottom line is that Green Carnation had a great thing going on, but if this project had become stuck in one sound like Carpathian Forest, it would defeat the point. 'The Quiet Offspring' sees a big change of Green Carnation's sound, and while many listeners may be put off by the simplified approach that they take here, the band does do an admirable job of taking on this new sound, although I cannot say it is an improvement over anything they had done before this.

While I would not quite say that Green Carnation has traversed into the realm of 'mainstream rock', there are some big moves that the band has taken towards tighter song structures, and an overall more to-the-point attitude when it comes to their music. Considering that this is the same band who churned out an hour-long epic, hearing Green Carnation now adhering to the much more common four minute formula is a little jarring at first, although I will say that it is not quite as bad as it sounds; the band hasn't totally turned its back on its fans. We still have a metal edge, and proggy sound in the songwriting, although these are much less integral to what the band is about on 'The Quiet Offspring'. The songs have a progressive metal sound to them, but the familiar textures are transposed onto a more accessible style. It's certainly not a preferable move in terms of enduring musical enjoyment, but there are some damned good songs here.

The production and performance is edgy (albeit in a 'hard rock' sort of way), but there are also sounds here that emphasize atmosphere in Green Carnation's sound; much of 'The Quiet Offspring' is led by groovy guitar licks and riffs, but Green Carnation gives the listener an alternative here as well. 'Childsplay' parts one and two are leaning towards mellow ambiance over any rock orchestration, and the standout track 'Pile Of Doubt' has a very atmospheric intro that harkens back to the sounds of Green Carnation when I really liked them. Here, I am not feeling their music nearly as much, although the band manages to pull off this hard rock sound very well, and even throw in some added layers. The album- from by understanding- is a loose concept piece about childhood, but there is not so much depth in it as to give it much attention. Green Carnation may have simplified (some might say 'dumbed down') their sound here, but 'The Quiet Offspring' is still worth checking out.

 Light Of Day, Day Of Darkness by GREEN CARNATION album cover Studio Album, 2001
4.14 | 304 ratings

Light Of Day, Day Of Darkness
Green Carnation Experimental/Post Metal

Review by Negoba
Prog Reviewer

4 stars Very Ambitious, and They Almost Pulled It Off

Green Carnation's LIGHT OF DAY, DAY OF DARKNESS was one of the first albums suggested to me when I came to PA in 2008. I acquired the album not long afterward and it has sit in my library waiting for review for a long time. The reason for the delay is that I'm not sure exactly what I think of this. At some level, this hour long song / album / epic is brilliant. But there has always been something not quite right. I couldn't put my finger on it. But while reviewing the almost perfect and similarly ambitious CRIMSON by Edge of Sanity, the difference between realizing an ambitious project and not quite nailing it finally came to me.

First of all, LODDOD is a continuous piece that is mostly doomy metal a la Katatonia or mid- tempo Opeth with some nice low register clean vocals provided by Tchort (formerly of Emperor). There are a few black metal allusions here and there, but the influence of Pink Floyd is much more evident (find the "Goodbye Blue Sky" bit for fun). As many have mentioned, there is a middle section with a solo female vocal accompanied by a single violin that is extremely spare and splits the metal sections in two. While the idea was interesting, the execution is very rough, with the vocalist clearly struggling and missing pitch at the climactic moment.

Like Katatonia, this album sounds great superficially but gets a bit repetitive and bland on close inspection. Unlike CRIMSON, whose extreme variety of sounds, vocal timbres, and tempos all make sense within the context of the song, LODDOD varies from soft mid- tempo melancholy to harsh mid-tempo melancholy. When riffs return to tie the piece together, it seems more redundant than summarizing. And most importantly, where CRIMSON packs a massive amount of ideas into 40 minutes, LODDOD stretches it to 60, with less meat on the bone.

Goth metal in general is way too bland for me. Anathema, the Gathering, the whole crowd, I believe, impressed by creating a new sound that made sense. Adding metal guitars and drums to goth works extremely well. But the sound alone can't carry an album. You have to have the songs. Green Carnation had about an EP of good song material here.

Despite the criticism, I do really enjoy this album. Every few months it serves as the soundtrack of my workday and functions very well. I also would rather listen to a band taking some risks, reaching for the sky, and missing a little, than a band playing it too safe. A little more edge and some trimming of the fat and this would have rivalled the great metal albums. As is, it's still a great part of any prog metal collection.

 The Quiet Offspring by GREEN CARNATION album cover Studio Album, 2005
3.36 | 89 ratings

The Quiet Offspring
Green Carnation Experimental/Post Metal

Review by Alitare

3 stars The Quiet Offspring ? 2005 (3.4/5 - nearly 4 stars) 11 ? Best Song: Just When You Think It's Safe

Is it Green Carnation going Dream Theater, or are they just running out of ideas? I'll go with the latter, because the former is much more of a shameful venture. It's a lot like Blessing in Disguise, only less idiosyncratic, less shocking, louder, harder-edged, and more 'radio hard rock/octane metal for the late 1990's headbangers' sort of package. The title track's heavy one-two punch skip riff may be one of the band's best (it's not a long list of riffs that's in their possession, either). I don't care for the softer elements because it seems as if they didn't put any time into writing them into the metal segments, and who needs poorly written soft rock in between your poorly written hard rock? IF you're Tom Petty, you can come out on top with a rousing pop anthem, but where's Green Carnation's American Girl? Don't tell me it's 'Just When You Think it's Safe', which oozes post-stoner rock driving mentality. I hate it when bands have a nice rocking riff and then think it's fine to cut the riff out completely in favor of bass guitar and the singer, like they do on 'Between the Gentle Small'. I'll admit he can sing with conviction, and they aren't worthless by far.

This album is fun, it's not deep or introspective or brimming with creativity, it's just got some neat riffs and a couple vocal hooks worth checking out. 'Purple Door, Pitch Black' balances the melancholy with the upbeat (and more unnecessary synth backing washes) for a real ear-splitting engagement. 'Child's Play I and II' return to the directionless quietness of yore, but it sort of falls flat. Can you tell they/he hasn't had much experience with that sort of folk music? I sure can. I'm glad everything gets fixed in 2006.

 A Blessing In Disguise by GREEN CARNATION album cover Studio Album, 2003
3.66 | 107 ratings

A Blessing In Disguise
Green Carnation Experimental/Post Metal

Review by Alitare

3 stars A Blessing in Disguise ? 2003 (3.4/5 - almost 4 stars) 11 ? Best Song: Writings on the Wall

Like many (nearly ALL) doom and death metal groups that had any inkling of self respect near the beginning of the new millennium, Green Carnation embraced gothic rock/metal to keep tasting that slight commercial appeal. Opeth went fully non-metal with Damnation, and do I even need to mention the movements of Tiamet, Anathema, and Katatonia? Yeah, it was a popularity move, but I can understand ? it's a pretty solid style that wishes most of all to meld pop rock with dangerous stylistics. But how often can you say you mine this area of contemporary sound for material you can cherish? Well, if you're anything like me, you'd probably answer with C. The answer is always C if you have to guess.

'Crushed to Dust; cuts back the flab of prog and the annoying black metal bucket whumping, guitar frumping noise-rock whatever ya got. It's hard rock all the way, with a nice, suitably ear-catching riff, and I'm glad he clean sings, because it better fits the song. Most of the songs are well built around fantastic electric guitar themes (such as the guitar harmonizing 'Writings on the Wall'). The music is primarily mid-tempo heavy crunch rock with overdistorted axes and aggressive, non-radio oriented clean singing. There are still many influences for the folks responsible for Blessing In Disguise ? namely those groups which began as death metal and slowly softened their sound over time.

Much of it is yet saddled with the rambling lack of excitement all the way through. 'The Boy in the Attic' simply bores me. The added piano's more than iffy, and the singing does quickly become repetitive. It's an improvement, and shows the group is more than your generic third rate goth rock group (they're a GOOD generic third rate goth rock group).

Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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