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Forgotten Silence biography
Forgotten Silence are from the Czech Republic and were founded in autumn 1993. The band members were previously in two other bands (Sax and Remembrance). It began with Sax guitarist Medved suggesting to his band mate bassist Krusty (who just joined in from Remembrance) to do a side-project which will be different from Sax's music. They were joined by the lineup of the non-functional Remembrance: guitarist Prochin, keyboards player Bana and drummer Straton. After 6 months of rehearsals they released a MC called "The Nameless Forever. The Last Remembrance" in 1994. However the ex-Remembrance guys left soon after this MC was released and Medved and Krusty were left to look for new band members, which they did and in the following year they worked on their next released to be called Thots, which was released in 1995. Just before entering the studio to record in, drummer Bismarck left, to be replaced by ex-Sax drummer Milon. Two ex-members of the prog metal band Love History are guests in this album as well and they later became full time members of Forgotten Silence (Chrobis and Hanka). Then came a deal with Obscene Productions which in collaboration with Metal Age Productions released Thots on CD in 1996. Before that came a split release with Dissolving Of Prodigy, which has a shorter version of the song Clara from Thots. As is usual with the band another lineup change occurred with the leaving of keyboardist Marty, to be replaced shortly by Lauda with which FS recorded another split (with Agony) on Obscene, called The Hills Of Senyaan, Part II. Since the new keyboardist did not get along with the band they looked for someone new and finally Hanka took over the keyboards. They went on to release an MC titled Senyaan in 1998. Problems with their label started to appear and when an offer from another label called Redblack came, they went on to release a double cd edition of Senyaan with bonus tracks. The end of 1998 sees the arrival of guitarist Biggles and the band's first live show. At that time they also contributed a song to a tribute cd for Master's Hammer on Redblack label with the song Utok and another split came out with Notre Dame titled Nathor's Place (both in 1999). However not everything went well as drummer Chrobis left them that year. They would, however, be helped by Milon's reappearance and fellow musician Iggy playing guitar and doing programming. It is then that they try something different, without keyboards and the result is the surprising more

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Redblack Records 2011
Audio CD$15.99
Redblack Records 2011
Audio CD$15.99
Kro Ni Ka by Forgotten SilenceKro Ni Ka by Forgotten Silence
Dr Music
Audio CD$275.56
Bya Bamahe Neem by Forgotten Silence (2004-06-04)Bya Bamahe Neem by Forgotten Silence (2004-06-04)
Epidemie Records
Audio CD$41.10
KaBaAch by Forgotten Silence (2011-03-09)KaBaAch by Forgotten Silence (2011-03-09)
Redblack Records
Audio CD$37.63
Re:Retro 93Re:Retro 93
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FORGOTTEN SILENCE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.94 | 13 ratings
3.73 | 11 ratings
3.67 | 9 ratings
Ka Ba Ach
4.03 | 13 ratings
Kro Ni Ka
3.83 | 6 ratings
La Grande Bouffe

FORGOTTEN SILENCE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

FORGOTTEN SILENCE Videos (DVD, Blu-ray, VHS etc)

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

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

3.09 | 4 ratings
The Nameless Forever...The Last Remembrance
4.00 | 3 ratings
Yarim Ay
4.67 | 3 ratings
Bya Bamahe Neem


Showing last 10 reviews only
 Kro Ni Ka  by FORGOTTEN SILENCE album cover Studio Album, 2006
4.03 | 13 ratings

Kro Ni Ka
Forgotten Silence Tech/Extreme Prog Metal

Review by Insin

4 stars Kro Ni Ka ('Chronicle') is the fifth album by Forgotten Silence, an esoteric band that does not fit into any established genre of music, except perhaps the under the vague categorization of avant-garde (which, let's face it, essentially means 'weird'). Unlike in the past, the Czech Republic-based group opts for a relatively straightforward progressive rock album, an hour of music containing only three lengthy songs, none running below fifteen minutes.

Structurally, each track is free-flowing, without much emphasis on repetition. Changes are rarely drastic as the songs evolve smoothly over their runtimes, but there are some good dynamics in each epic. Songs may reach quiet parts and start up again without coming off as fragmented or disjointed. However, the album's largest flaw is in this area of structure; none of the songs seem to begin with the end in mind, thus making them sound directionless at times. The whole album is reminiscent of a jam session, although there are more complicated, coordinated parts that confirm that there must have been prior rehearsal. However, this jam-like feel is not as large of a problem as it could have been, as the whole album is engaging and interesting.

In terms of sound, Kro Ni Ka is by no means strictly a metal album, though it is not without its heavier moments. Forgotten Silence is an eclectic band, but most of the riffs on this release have a basis in rock, and they are largely without their experimentations in Eastern folk, metal, jazz, etc. Kro Ni Ka probably cannot even be called avant-garde, perhaps just prog in a more traditional sense. If each song was split up into shorter sections, and these sections were mildly normalized structurally and given vocals, the album wouldn't be so inaccessible. The runtime of these tracks is especially what can make them so hard to get through for those unaccustomed to songs of length.

Kro Ni Ka is not atmospheric, but it does feature some mood changes. Containing darker portions, much of it is actually quite upbeat as well, notably the grand finale of Mezzocaine to close off the album. They keyboard is the central instrument and Marty produces some absolutely fantastic soloing, a definite highlight of Kro Ni Ka. He mostly keeps one tone throughout but occasionally opts for a church organ, as in the beginning of Declaration, a grand piano, and even the alien/sci-fi synth sound. The bass is pleasantly loud, but the vocals aren't. Between their tendency to be inaudible and how they take the form of only spoken word, I would consider Kro Ni Ka to be an instrumental album. The vocals are secondary and designated to the background, indecipherable whispers that sound as if they have been filtered out.

In the end, Kro Ni Ka isn't really metal, and it might not even be avant-garde like other works by Forgotten Silence. The best description I can think of is a jam-like prog odyssey. Either way, it is an excellent album from a band that defies classification. While it could have been more focused, with each song maybe building up to something instead of meandering about, it is overall a solid release.

 Thots by FORGOTTEN SILENCE album cover Studio Album, 1995
3.94 | 13 ratings

Forgotten Silence Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Thots" is the debut full-length studio album by Czech Republic progressive death metal act Forgotten Silence. The album was independently released by the band in July 1996. "Thots" was originally only available in cassette tape format but has since been released on CD too. Forgotten Silence had released a demo cassette tape album in 1994 called "The Nameless Forever...The Last Remembrance" but "Thots" is the first official album release by the band.

The music on the album is progressive death metal. The tempo is mostly kept mid- to slow paced but there are a few faster parts on the album too. The vocals are brutal growls (the odd sounding gurgling growls from the demo are gone) but there is also female singing which is great for the atmosphere and for the variation of the music. The use of keyboards for creating dark atmospheres is also very succesful to my ears. One of the most interesting features on the album is how the songs change between death metal parts and acoustic parts (sometimes with a jazzy touch) though. Sometimes many times within a song and sometimes even within riffs. The rythm section is also pretty exciting when they suddenly start playing what can be characterized fusion type parts. This might sound a bit confusing but the tracks are cohesive and cleverly composed. There are a couple of short atmosperic interludes between the more "regular" and longer tracks which provide the album with a nice flow.

The musicianship is excellent on this album. Great interplay and loads of innovative ideas.

The sound production is probably the weakest link on the album. Itīs not bad as such but on the other hand it doesnīt really sound fully professional either. Considering the otherwise great quality of the music Iīm able to forgive this minor flaw though.

While "The Nameless Forever...The Last Remembrance" held a lot of promise I wasnīt expecting to be blown away by "Thots", but I honestly think this album is quite fantastic and it fully deserves a 4 star (80%) rating. I find "Thots" highly recommedable to fans of mid- to slow paced progressive, dark and atmospheric death metal.

 The Nameless Forever...The Last Remembrance  by FORGOTTEN SILENCE album cover Singles/EPs/Fan Club/Promo, 1994
3.09 | 4 ratings

The Nameless Forever...The Last Remembrance
Forgotten Silence Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The Nameless Forever...The Last Remembrance" is the debut release by Czech Republic progressive extreme metal act Forgotten Silence. "The Nameless Forever...The Last Remembrance" was originally released as a demo tape in 1994 but it was re-released/re-mastered on CD in 2005 with a different cover artwork by Epidemie Records. The CD release is limited to 500 copies.

The music on the demo is progressive doomy death metal. There are lots of atmospheric keyboards in the music which provides the music with lots of melodic and epic qualities. The vocals are death metal growls. Strange almost gurgling growls. I find them rather charming. The song structures are varied which helps keep the music interesting throughout the entire playing time. Some of the tracks serve as interludes between the longer tracks and there are both spoken word parts and shorter intrumental pieces among them. The longer "real tracks" are all heavy and doomy pieces of death metal. My favorite is probably "Diamonds of the Night" which actually features a guitar part that reminds me of Psychotic Waltz and I have to mention that guitarist Prochin really plays some great stuff throughout.

The musicianship is solid and the sound production is really strong considering that this is actually a demo tape from 1994 but I wouldnīt call it fully professional sounding.

"The Nameless Forever...The Last Remembrance" is a promising demo and itīs fully understandable that Forgotten Silence opted to re-release the demo in CD form. Iīd say a 3 star (60%) rating is fair.

 Kro Ni Ka  by FORGOTTEN SILENCE album cover Studio Album, 2006
4.03 | 13 ratings

Kro Ni Ka
Forgotten Silence Tech/Extreme Prog Metal

Review by Passionist

4 stars This is the latest album from a Czech band that’s been around since ’94. As a huge fan of eastern European progrock, I eagerly put this on in my player after I got the promo. The prospects were really promising, 3 songs, each at least 17 minutes long. A bit scary, but the beginning was good after listening to the first one. The song was really melodic to begin with. After that it became clear to me, that this was a somewhat heavy album. In fact after a while the song introduces quite a few splendid and very aggressive riffs. It gives the feeling, that one could easily listen to it for the 25 minutes the first song lasts, and for that, it certainly varies enough.

The lyrics of this song are really good. It’s like reading a story of a man, who one might suppose is about to leave this world, and the story is very poetic. The only problem is, one only notices the lyrics when he reads the sleevenotes. And even then it’s really hard to hear them. The singing seems to be mixed very badly, badly enough to sadly take a huge part of the song's soul away. It’s a shame, that all the lyrics literally drown under the aggressive guitars. That is probably the only thing that really makes the first song a bit less good.

And I was sad to notice that this is a thing that continues throughout the whole record. It makes one wonder, why make full, long lyrical pieces, and even write them both in Czech and English if they’re not going to be heard? Well, nevertheless, the second track begins very pompous. And one hears a welcome to the Marble Halls accompanied by an organ, this actually sounds exactly like the song Pride of the Biosphere by Wigwam, though that must only be because of the same chord it begins with, and both have but organ and talking together. After that it turns on a really groovy gear. In fact the song is groovy in a Kansas like way all the way to the end of it.

I would not like to go comparing this band to something else, but some of those who have heard early albums of Porcupine Tree might have a very clear image of how the third song begins. The musicians themselves say in the sleevenotes, that the album is about a city, and travelling, both physically and psychically. Yet they do not wish to force anyone to approach the album only from a certain perpective. And this they do very well. In fact, I wanted to listen to this the first time, but didn’t really have time for it, so I ended up forcing myself. Couldn’t really get the hang of it. The next time I realised how extremely melodic this record is despite the aggressive rythms. Now that I’m listening to this again, I realise no matter how I feel, I really find it innovative and inspiring. Great music indeed. And, I think, personal in a good way.

Now here comes the hard part. What to say about an album, that is great on pretty much every aspect, but could sound a lot better or worse if it was mixed better. Well, I once saw/heard a great gig. I noticed it was horribly mixed, and the performers really suffered from it. That didn’t take away the fact, that it was great. But it was not the best, I thought. Without the problems it could have been better, but if that really is so, I will never know. Yet in this case, I have no certain image on how the lyrics would sound if they would sound at all. So I can’t suppose it would get better or worse. But if it could get better, it doesn’t deserve the best rating, and, if it could get worse, well then, the album benefits from errors like that, and can’t deserve a ten. Imagine a band cutting out the bass because the bass player couldn’t play. There would be no possible way of saying it’s completely good.

Now, getting back on this album for a review here on ProgArchives, I've begun to like it even more. The sounds don't bother as much, and the album is really enjoyable. I borrowed a review of mine that I did a year or so ago, but corrected some typoes and reconsidered the album, and I'm glad I did. I think, the record is, and I quote: an Excellent addition to any prog music collection. To any, exactly!

Rating: 8 (out of 10) Reviewer: Tuomas Renvall aka Passionist

Thanks to avestin for the artist addition.

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