Professor Fate - The Inferno [2007] Band: Professor Fate Album: The Inferno Year: 2007. Professor Fate (1) Ravenbanner (1) Raventale (2) Return to Innocence (1. Download free new release mp3 Professor Fate The Inferno 2007 from zippyshare, uploaded, torrent. Buy Professor Fate The Inferno Mp3 Download. Buy & Download Cheap Mp3 Music Online.

Review Summary: An excellent darkwave outing by one of today's most talented guitarists. All genres of music have a relevant factor: a lot of it is trash. This can be truer for some genres than others; arguably, genres like metal and pop-punk may have the highest amount of awful material. Perhaps the most terrifying pieces of music are created, however, when someone tries to “experiment”. Often, going outside the normal boundaries of one’s own musical capacity is good for growth, but the potential for disaster is so high that many never attempt it. Listeners are often greeted with results of the validity of this rule, as is apparent with bands like Katatonia and Tiamat.

The Inferno Professor Fate. Released 2007. The Inferno Tracklist. The Gates of Hell Lyrics. Limbo Lyrics. The Lustful Lyrics. About “The Inferno.

Sometimes, however, there are the precious gems that make giving something new a try all worth it; someone who decided they would try their hand at another genre. Professor Fate is the one man project of Anaal Nathrakh and Mistress (UK) guitarist Mick Kenney, also known by his stage-name of Irrumator.

Instead of the typical melt-your-face riffs deal, Kenney has branched into a genre entirely unassociated with his typical black metal outings: darkwave. The Inferno, Professor Fate’s first release, is a cacophony of melodies and harmonies accompanied by diverse instrumentation and a heavy dose of symphonic elements.

String based instrumentation is kept to a bare minimum, as there are only 2 guitar-centric tracks on the whole album. Even when Mick Kenney does show off his skills, the focus has been shifted from the 'shred' to melody and atmosphere. Rather than bludgeoning you with a thousand notes, Kenney instead uses his acute sense of melody to add a layer of emotion to the songs he chooses to play on. He has instead turned his attention to the keyboard, which dominates most of the album’s running time. It’s evident from the get-go that Kenney has put a great deal of thought into the songs on this album, as all the keyboard parts ooze with feeling.

The album’s focus, travelling through hell, dictates the vibe given off; usually, it’s one of discord and unease. Compositionally, however, Kenney does not focus on the keyboard; it’s just evident that it’s where the most thought was placed. As is commonly expected from Kenney, the drum work is programmed and absolutely marvelous. Fitting the mood perfectly, his beats and rhythms match the songs perfectly, keeping everything moving forward without missing a step.

No faux-technical flair has been added; the drums have been kept as minimal as possible while retaining a subtle interesting and catchy element. Accompanying the live instruments is a wide range of samples and elements, ranging from a chanted choir, to carefully programmed drums, to something as simple as a recording of raindrops on a window. Rather than throw these various elements together into a gigantic darkwave melting pot and hope they come out together, Kenney has carefully placed each piece, each element according to where it will have greatest effect. Nowhere on the album does a certain sound, a certain noise feel out of place; everything is as it ought to be. With such a large variety of audible instruments and melodies to digest, however, it can be a little overbearing. First time listeners may miss subtle textures that Kenney has added to back up what seems to be a solo keyboard line. Regardless of this, it becomes apparent the end of the album that Kenney has obviously studied the genre, rather than simply try his hand at it out of the blue.