ARCTURUS
Shipwrecked In Oslo

Media Condition: Near Mint 
Sleeve Condition: Near Mint

more info

Media Condition: Near Mint 
Sleeve Condition: Near Mint

more info

This is an official reissue on CD of the Legendary ARCTURUS debut released by Nocturnal Art in 1994 keeping the original sound and artwork plus, as bonus:
+ the 1991 “My Angel” EP
+ Two tracks dated 1996 (Morax 1996 Ev. + Radiant Star Befallen)
+ 4 “pre-Constellation era” songs (1994), in their original rehearsal form, a true rare gem directly from the band’s archives
+ a rare preproduction version of “Chaos Path”
For a Total of 65 minutes of rare and stunning music
All of this goodies packed in a 6 Pages booklet with many photos provided by the band and dated at recordings times

 

Having grown out of the Norwegian Death Metal band MORTEM, ARCTURUS emerged under the irresistible influence of Oslo's creatively bursting and fast rising underground black metal scene officially with the two-track 7" "My Angel" (1991). With then-guitarist and formidable keyboard player Sverd and MAYHEM drum-beast Hellhammer at its core, vocals were first contributed by Marius Vold, who also sang on the legendary THORNS demo "The Thule Tape". While still very much influenced by death metal, the addition of doom-laden slowness and eerie keyboards already pointed into a far blacker cosmos. On the four tracks of the original 1994 "Constellation" EP, ULVER's Garm had taken over the vocal duties and Samoth from EMPEROR had joined the band on guitar. Yet, ARCTURUS already went off the (in reality quite wide-ranged) black metal norms mainly due to Sverd's keyboard arrangements that were pre-shadowing the trademark theatrical or circus-like style the Norwegians adopted on their following albums.
 

With "Disguised Masters" released in 1999, ARCTURUS delivered a striking and for some even provocative afterthought to their previous works. The WHEN intro 'White Tie Black Noise' was followed by the new track 'Deception Genesis' and a re-recording of the classic 'Du Nordavind' before the Norwegians launched into an adventurous re-visiting of six "La Masquerade Infernale" tracks that got unapologetically treated with EBM, trip-hop, rap, ambient, and other musical means. Drawing up fresh angles onto their music, the re-imagined songs revealed the wide open mind of ARCTURUS.
 

It is never easy to follow up with another album, especially considering the impact made by the complex wild flight of musical fantasy of "La Masquerade Infernale". ARCTURUS elegantly solved this conundrum by releasing the comparatively more straightforward third full-length, "The Sham Mirrors" in 2002. This does not mean that the Norwegians had lost their appetite for experiments. The vocals by Garm (ULVER) are more soaring and wide-ranging than ever on this release, while main man Steinar "Sverd" Johnsen keeps adding classic prog rock excursions to his repertoire. Yet, the guitars are more often set to a more conventional metal mode on "The Sham Mirrors". Still complex, still avant-garde, ARCTURUS clearly consolidated their compositions on "The Sham Mirrors" and while still using many sonic elements, those rather serve each individual song than try to stick out.

Having grown out of the Norwegian Death Metal band MORTEM, ARCTURUS emerged under the irresistible influence of Oslo's creatively bursting and fast rising underground black metal scene officially with the two-track 7" "My Angel" (1991). With then-guitarist and formidable keyboard player Sverd and MAYHEM drum-beast Hellhammer at its core, vocals were first contributed by Marius Vold, who also sang on the legendary THORNS demo "The Thule Tape". While still very much influenced by death metal, the addition of doom-laden slowness and eerie keyboards already pointed into a far blacker cosmos. On the four tracks of the original 1994 "Constellation" EP, ULVER's Garm had taken over the vocal duties and Samoth from EMPEROR had joined the band on guitar. Yet, ARCTURUS already went off the (in reality quite wide-ranged) black metal norms mainly due to Sverd's keyboard arrangements that were pre-shadowing the trademark theatrical or circus-like style the Norwegians adopted on their following albums.