Salon des Refusés LP
In Lingua Mortua’s genre defining avant-garde black metal masterpiece, Salon des Refusés, is now available for the first time ever on vinyl.
Originally released by Norway’s Termo Records in 2010, many may be unaware of this album despite it’s credit sheet looking like a hall-of-fame of black metal visionaries. Salon des Refusés is the brain child of Lars Fredrik Frøislie (Wobbler, Angst Skvadron) and features performances by Jørgen Munkeby (Shining - NOR), Niklas Kvarforth (Shining - SWE), Trondr Nefas (Kvist, Urgehal, Beastcraft), Thebon (Keep of Kalessin), Ketil Vestrum Einarsen (Jaga Jazzist), Jacob Holm-Lupo (White Willow) & Thomas Myrvold (Beastcraft).
Available to order now on limited black & white swirl vinyl and standard black vinyl, featuring newly written liners notes written by Jacob Holm-Lupo. Read an excerpt of the liner notes below.
www.reposerecords.bandcamp.com (Worldwide + digital)
‘When we think of progressive rock, we tend to think of delicate tapestries of sounds, light, soaring vocals and lyrics about airy-fairy nonsense.
Black metal is the polar opposite: Bone-crunching, relentless and primitive riffage, guttural cro-magnon grunts and existential lyrics about abysmal darkness and anguish. How could the two possibly co-exist?
From today’s vantage point it’s probably not entirely inconceivable, but back in 2007 and 2010, when In Lingua Mortua released their first and second albums respectively, it was a very strange notion indeed.
Especially when you confounded an already confusing mixture with another element: jazz. Today we actually have a name for that mixture: Blackjazz. And it all started here - with multi-instrumentalist and prog rock icon Lars Fredrik Frøislie’s In Lingua Mortua.
To quote mr. Blackjazz himself, SHINING’s saxophonist/guitarist/singer Jørgen Munkeby: ”Lars’ refreshing blend of an impressive intellectual display and direct raw power has been a big inspiration for me. Lars is a true pioneer. He was the first person to invite me to play sax in a black metal setting, and in so doing, contributed strongly to SHINING’s later development of the Blackjazz genre.”
What you are holding in your hands right now is the culmination of Lars’ vision for a new brand of black metal: Expansive, cinematic, challenging, grooving, contrasting and engaging. It was on ILM’s second album, Salon des Refusés, that all these things came together in a perfect, alchemical elixir.
It wasn’t that attempts at expanding the palette of black metal hadn’t been made before. And of course, being a Norwegian himself, Lars was inundated in the sounds of black metal from his teens and onwards. Bands like Emperor, Satyricon and Ulver had all pushed the envelope of BM by incorporating keyboards, more complex song structures and lyrics that weren’t all Satanic clichés.
But it took someone with Lars’ pedigree and credentials to really make it all gel. As a leading light on the international prog rock scene with his band Wobbler, and as a card-carrying expert on vintage and arcane keyboards, from the Chamberlin and the Mellotron to knob-bedecked analog synthesizers, Lars was in a unique position to bring a sense of reality to his black metal symphonies.’