Lord of the Lost’s new classical ensemble album, “Swan Songs III”, proclaims its mission statement almost immediately, not least due to Chris Harms’ distinctive voice and the sophisticated arrangements of this extraordinary line-up. Being the first band of their genre to release a cover of John Cages’ piece 4’33”, the dark metal sensation proves that they can’t be pigeonholed.
The original piece is based on occasional noises, created and perceived by the listener during a performance – thus 4’33” is a composition that differs from other arrangements primarily because it recreates itself every time it’s played or performed.
The track symbolizes the fleeting nature of the moment turning all the ambient noises, usually hidden behind harmonies and sounds, inside out whilst emphasizing a new level of tonal sophistication.
Lord of the Lost takes the composition to a new meta-level and sets a statement according to the currently prevailing pandemic and the resulting, mostly silent, music and live culture.
Lord of the Lost about the new single and the video:
The idea to record a cover version John Cages’ legendary piece, “4’33”, was born from a joke, yet by the fascination of its message: silence is as much a part of music as notes or sounds of any kind. What happens if you extend the silence to the conceivable maximum? Is it still music? And if not, why? What provides us with the right to judge? When you have a look at the past – most of those appearances once being declared as “noise” are now a solid part of our culture.
Not only talking about rock or metal, but also about modern classical music or jazz. The last genre is the living proof that a rebellious movement against the establishment can become an important part of itself.
Nowadays the average attention on social media stories has dropped down to 15 seconds, so it becomes unmistakably clear how long 4 minutes and 33 seconds appear – unbearably long and silent. Due to the developments over the course of the current Covid-19 pandemic and the partially necessary shut down of the entire music- and live- culture, “4’33” was turning from a joke, or modern auditory artwork, into a memorial. A memorial to the oppressively loud silence surrounding us, all our fellow musicians and billions of music fans around the world”.