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happymetalgirl · 6 years ago

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Soen - Lotus

I honestly did not expect another Soen album so soon after Lykaia, especially with the bar the band had set for themselves to live up to with that album. But hey, now Soen has just as many studio albums under their belt as the band they're so regularly compared with who just can't seem to get that fifth album finished. I'm still hoping and staying optimistic about finally getting that new Tool album this year; it honestly doesn't eat away at my soul the way at lot of die-hard Tool fans at least act like it does, but I'd still love to hear it after the decade of teasing. And even then, there's a part of me that just thinks about just how funny it would be if Soen managed to get their fifth album out first and surpass the size and length of Tool's studio album discography in half the time we've all been waiting for Tool to get their shit together.

But Tool and their artistic/logistic troubles are beside the point; this is about Soen's fourth album, Lotus. I feel like growing into my appreciation for this album took a lot of time but only a little distance to cover from the ground on which I started with it. I did not like this one at all at first, and I was so disappointed that it had me questioning what I even liked about Soen in the first place. While it's not too stylistically different from Lykaia, Lotus hits a lot of different high points in its appeal. As varied as Lykaia was, Lotus is able to match that diversity, but somehow without marching the excitement of its predecessor. The album's adventurousness takes mostly until the second half of the record to show up, and when it does it's still only minimally, which is part of what left me with such a bad first impression of the album. Before working out the finer details and hearing the album at simply and aesthetic level at first, the first half of it especially sounded so disappointingly recycled, but even with repeated listens, so much of Lotus is just average Soen. Of course, while further time spent with the album gave me a better picture of what was there and helped me fully appreciate it, I'm still left doubting that it was worth it. Lotus isn't any huge expansion upon Soen's established Tool-y/Opeth-y sound, and while it is another fine enough example of what the band are capable of doing with the smooth, proggy, classically metallic sound they work with, it really felt like it needed more adventurousness to make it a worthy follow-up to Lykaia.

The opening song, "Opponent", is a pretty standard cut for the band as far as the structure, melodies, and dynamic shifts used are concerned. It's a bit of a dry start to the album, but serves well enough as an atmosphere setter for the rest to follow. The next of those songs to follow, "Lascivious", ups the energy a bit with a tasty little bass groove making the most prominence in the verses and a more soaring vocal melody taking the choruses to those more transcendent heights that Soen do so well with. The song "Covenant" also features some groovy bass work and integration with the tom drum beats, as well as some very Maynard-esque whispered vocals to spice things up with an element of spookiness. I like the increased speed and instumental heaviness of the song "Martyrs" as well, though I wish it was more consistent with it and didn't fall so frequently back into the band's typical pacing and mellowness.

The title track is also a bit of a drag of a prog ballad; the restrictive vocal melody and minimal guitar flair do little for me, and the band later do much better with the more soulful ballad "River". The classic rock styling of the title track really only feels effective when the solo rolls around, and more of timesuck throughout the rest of the song's duration. The song "Penance" is also a bit of a predictable mellower cut, and one that feels so unnecessary and redundant by the time it arrives. "Rivers", though, is a much more soulful and ethereal ballad that pulls so much at the heartstrings in an overt way that Soen don't usually go for, and it actually works pretty magnificently and gets right to all my feelings of self-doubt, uncertainty about my future, and frustration with my life that are just being so wonderfully present right now. Anyway, the song "Rival" is good, heavier change of pace even if it is not the most unique moment on the album.

The closing song, "Lunacy", ups the prog quite a bit structurally, with a long, more ambient section lengthening the song to eight minutes, but it's really just another by-the-numbers Soen song after the several preceding it, just stretched out a little farther.

I wanted to like this album a lot more because I like the harder edge Soen can balance with the silky prog rock they play that ushers so many comparisons to Opeth (whose 70's prog rock fascinations this decade have been quite the frustrating and confusing root of some unnecessary, lackluster work), and in the end I'm disappointed that Soen played this album so safe, but even moreso that this album sounds so cloned. Yes, it has its few moments when the band try something new and off the beaten path, but most of Lotus is that beaten path, and it feels like a familiar trudge down that path more than an exciting revisiting of well-known sounds with which the group show their expertise. That said, even a meh Soen album is still enjoyable enough, but this one sounds like either a rushed project that didn't get the touching up of finer details it needed or a project without much artistic investment to begin with.

Stranger danger/10

#Soen #Lotus #progressive metal #progressive rock #rock #metal #heavy metal #new music #new album #album review

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manofmuchmetal · 5 years ago

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Soen - Lotus - Album Review

Soen – Lotus – Album Review

Artist: Soen

Album Title: Lotus

Label: Silver Lining Music

Date of Release: 1 February 2019

Despite my lengthy hiatus on manofmuchmetal.com, I was still listening to music here and there, trying not to fall too far behind and keep up-to-date with the happenings in the heavy music world. As such, having been so impressed with their last outing, ��Lykaia’, I was aware and very interested that Soen…

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#2019 #Album Review #Lotus #manofmuchmetal #music #prog rock #Progressive Metal #review #Silver Lining Music #Soen

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metalshockfinland · 5 years ago

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Live report by David Araneda (words) and Ricardo Santos (images)

SOEN, one of the revelations of the latest decade when it comes to prog rock, visited the Finnish capital two nights ago, after four years of absence in the context of the second European leg of their Lotus Tour. Due to the well-deserved critical acclaim received by their newest record, released last February, this was one of the most expected concerts for progressive rock fans in Finland. Together with the Swedes, we also got the chance to check out the current local prog-sensation WHEEL and the Italian ensemble THE PRICE. Because the concert was organized on a rainy Wednesday evening, people started showing up little by little to The Circus night club, located in the city center of Helsinki.

I arrived on time in order to witness THE PRICE’s show, which was received with a bit of indifference by the audience. The cocky, borderline insulting attitude of the vocalist Axel Capurro, who repeatedly complained at the Finns for being silent, made things a bit awkward. It is understandable that they want to see the audience excited, but they should try to make it happen naturally and not by telling the crowd what to do. They played the best tracks of their album “A Second Chance to Rise”, including highlights such as ‘Stormy Weather’ and ‘Tears Roll Down’. Even though their music was nice, it wasn’t so special for the vocalist to assume that people would go immediately crazy about it.

Things went completely different with the next act. After a short break, WHEEL came to the stage, and even if his vocalist/guitarist James Lascelles is originally from England and addressed the audience in his native language, the band was received very well from the start and they connected immediately with the crowd. Because their bassist Mikko Määttä is currently injured, the talented Jyri Helko replaced him, doing a great job. Although they are a relatively young band with only one full-length album so far (the excellent “Moving Backwards”), they showed confidence, virtuosity and professionalism throughout their set. James mentioned that they almost had to cancel the presentation due to vocal issues, but their overall performance wasn’t affected by that.

They started their show with ‘Lacking’, building slowly the atmosphere with its intricate rhythms. All the members of the band wore black hoods, adding an element of enigma to their performance. They kept their lightshow to the minimum. Next in line was ‘Vultures’, a track that synthesizes the best elements of their music. This song proves that you can write a three-minute prog-rock track without being derivative, while keeping the novelty and complexity. ‘Tyrant’ and ‘Where the Pieces Lie’ kept the energy flowing, preparing everyone for the big finale, which came with ‘Wheel’, a dynamic ten-minute song which worked as an effective display of their musicianship. They are clearly one of the most promising bands in the Finnish prog-rock scene.

When SOEN appeared, the crowd went instantly crazy. The impressive stage presence of vocalist Joel Ekelöf made everyone focus their attention on him. They opened their set with ‘Covent’, one of the finest tracks off “Lotus”, featuring a mesmerizing vocal performance and also great guitar work by Cody Ford. The sound was a bit too loud in the front row, as the bass drums and bass sounded a bit saturated. Otherwise, in the calmer parts the sound was very sharp and clear. Joel pointed out how long it’s been since their last visit to Finland, as they skipped Finland in the Lykaia Tour. They made it up by playing ‘Opal’, which stood out with its gloomy riffs and powerful chorus.

With ‘Rival’, they went back to their latest release, featuring a more modern sound and more aggressive drumming by Martín Lopez, waking up the audience and making them sing along the catchy phrase ‘for all the fire’ at the top of their lungs. ‘Tabula Rasa’ was the only song taken from “Tellurian”, with its angry beginning evolving into playful rhythm patterns. Next in line was one of the highlights of the evening, a brilliant interpretation of the magnificent ‘Lascivious’, which seemed to be the favorite of most people in the audience, including me. It is certainly one of their best tracks and it works perfectly in the live setting. An epic moment to remember for the rest of our lives.

‘Jinn’ calmed things a bit, featuring a softer vocal line and melancholic melodies full of middle-eastern vibes, creating a special atmosphere matched very well by the lightshow. The dramatic way to end the songs added some theatricality to their stripped-down stage setting. ‘Opponent’ brought back the energy, adding contrast to their set. It is a song that summarizes the essence of their current sound, more straightforward and modern. After a short introduction of the band members, they revisited “Lykaika” once again with an inspired rendition of ‘Lucidity’, becoming one of the most emotional moments of the show. I must remark the great contribution of Lars Åhlund, who, in addition to keyboards, guitars, and percussions, did some amazing vocal harmonies with Joel.

‘Martyrs’ was another crowd-favorite, played with great precision and loads of soul, with its intense riffing and drumming, progressing into a catchy chorus which was sung very loudly by the audience. The only thing that kept bothering me was the excessive volume of the low frequencies, which made a bit difficult to enjoy the music during the more intense segments. Before leaving the stage for a brief break, they went all the way back to their first album “Cognitive” with ‘Slithering’, featuring a more raw and darker sound, showing how the band has evolved during the last seven years. It is clear that their current style appeals a wider audience, with a greater potential to become a big international act.

The encore began with ‘Savia’ and its haunting vocals, complex rhythm and catchy chorus, including pitch-perfect harmonies. It stands out as one of the best tracks from their early days. An intense performance of ‘Sectarian’ brought back the modern elements of their music, featuring again plenty of vocal harmonies which sounded just like in the record. The cherry on top was the beautiful ‘Lotus’, interpreted with a lot of emotion and sensibility. I still remember when I first listened to this song in the bus on a dark winter day on my way home from work, and it still manages to move me the same way every single time. A true masterpiece and the perfect way to end the evening.

As usual, getting out of The Circus took quite a while because they insist in hiring four guys at the cloakroom to return hundreds if not thousands of jackets. Regardless of that, everything else went smoothly, people were in a great mood (except for the singer of THE PRICE, who maybe should work on his modesty). WHEEL and SOEN were a fantastic combo and I wish they keep touring together and releasing amazing albums like they did this year. Maybe next time I’m going to take a bit of distance from the stage since the bass was so loud. All in all, it was a great evening for prog-heads in Helsinki and a night to remember for the years to come.

Live report by David Araneda (words) and Ricardo Santos (images).

Soen – setlist:

Covenant Opal Rival Tabula Rasa Lascivious Jinn Opponent Lucidity Martyrs Slithering Encore:

Savia Sectarian Lotus

Soen – Lotus (Live @ The Circus, Helsinki September 18th 2019)

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Live Report: SOEN + WHEEL And THE PRICE @ The Circus, Helsinki – September 18th, 2019 Live report by David Araneda (words) and Ricardo Santos (images) SOEN, one of the revelations of the latest decade when it comes to prog rock, visited the Finnish capital two nights ago, after four years of absence in the context of the second European leg of their Lotus Tour.

#helsinki #SOEN #THE CIRCUS #THE PRICE #WHEEL

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dylanreviewsthings · 7 years ago

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Immortal Reviews' Top 50 Songs Of 2017

2017 is coming to a close, and it's that time of year where we all look back and reflect on the past. We are all different people than we were at the start, for better or for worse. By the same token, music is different than it was at the start of the year. We've watched music change and morph with the times from beginning to the end, and perhaps there's a beauty how specific moments are chronicled in the sound.

From the urgent release of Lorde's 'Green Light' to the heartbreaking tragedy of Linkin Park's 'One More Light,' we have grown and changed with the music throughout the year. This is Immortal Reviews' Top 50 Songs of 2017. Let us know what your favorite songs of the year are in the comments or on our social media!

Click on the links to read our full reviews of the songs/albums in which the songs are found on.

50. Evanescence - 'Imperfection'

Six years after their last record, Evanescence returned with beautiful orchestral reimaginations of previous tracks, as well as some new numbers such as the anthemic and haunting 'Imperfection.'

49. Blackbear - 'anxiety'

Blackbear's Cybersex was laced with many pictures of the state of relationships and interactions, and the wonderfully innocent yet worrysome 'anxiety' tied it all together.

48. Meadowlark - 'Paraffin'

While 'Paraffin' was Meadowlark's breakout single last year, it certainly held up it's message. The sweet, melodic indie pop track is infectious in every way, keeping its meaning at its core to tie in with its sweetness.

47. Björk - 'Losss'

Chaotic yet enchanting in the perfect way only Björk knows how to create, 'Losss' was the culmination of the soulful, industrial dream she explored in Utopia.

46. Foo Fighters - 'The Line'

Concrete & Gold was a big change in pace for Foo Fighters, who sought after a more upfront and grandiose production on this record. At the heart of the band's more driven sound is 'The Line,' an anthem that's truly one for the record books.

45. Death From Above - 'Freeze Me'

Death From Above had an interesting year, breaking out from a lot of barriers. Finally able to drop the "1979" label after previous legal drama and breaking through the radio barriers with 'Freeze Me' as their new anthem, the duo's more alternative sound really took them to a new level, without dropping their signature anger and groove.

44. Sam Smith - 'HIM'

Sam Smith made his long-awaited comeback this year, and not without tragedy. 'HIM' battles the struggle of being gay, facing expectations, and trying not to disappoint. It's a hard track to swallow for anyone who's ever been in love, let alone someone who is part of the LGBTQ community. It's a powerful one in the name of love

43. XXXTentacion - 'Save Me'

Many events in the music world of 2017 led to a bigger - and needed - discussion of mental health, a theme that is largely discussed in XXXTentacion's 17. 'Save Me' is a raw track with an inside look on being depressed, and perhaps it should serve as another insight into the big discussion of mental health.

We do not condone nor endorse the actions of XXXTentacion, we merely are commenting on the message behind the music.

42. The Chainsmokers & Coldplay - 'Something Just Like This'

When you pair Coldplay's anthemic presence with The Chainsmokers' ability to make pop bangers, and you get a beautifully personal track where Chris Martin begs for someone to hit that right connection again. Regardless of what you feel about either band, this track is a wonderful anthem that's bound to hit home somewhere for you, whether it be from the childlike curiosity of wanting to be the best or the idea of searching for that right feeling once more.

41. Vince Staples - 'BagBak'

2017 ushered in a new era of hip-hop with the trap scene, and a lot of music was lost in the need to make useless hype. Vince Staples made sure he didn't follow that trend, 'BagBak' taking the best of this new era of hip-hop and making an incredible anthemic track where the beat and delivery are both just as powerful as the other.

40. Bonobo - 'Second Sun'

Atmosphere in music is and art, and few artists harness it like Bonobo can. 'Second Sun' is the sound of being lost on a foreign planet, wandering aimlessly in awe of the deserts in front of you. You get a lot out of this track, including a sense of insignificance in this wide universe. It's good to get that beautiful knock of reality once in awhile, though.

39. Nadia Reid - 'Te Aro'

Sometimes, emptiness is just as important as layers. Nadia Reid captured the mysterious nature of her home country, New Zealand, in Preservation, 'Te Aro' wonderfully tying together her wonderful storytelling lyrics and minimalist production into one unforgettable track.

38. Sufjan Stevens, Nico Muhly, Bryce Dessner, & James McAlister - 'Jupiter'

Imagine bringing together four of music's smartest minds, and then putting them to work on a concept album involving space. Well, that happened. Sufjan Stevens, Nico Muhly, The National's Bryce Dessner, and James McAlister release Planetarium this year, employing the vast and mysterious nature of space to create a truly beautiful adventure of an album, and 'Jupiter' beautifully captures the essence of it all.

37. Son Lux - 'Dangerous'

Son Lux is no stranger to drama, and 'Dangerous' is a testament to that. The dark synths and frantic production helps 'Dangerous' find its way into a horror setting, yet the drama is still inherently sensual and romanticized all the same.

36. Soen - 'Opal'

Soen's Lykaia took an in-depth look at the most visceral emotions we feel within ourselves, and 'Opal' brought out some of the angriest of those thoughts. Combine powerful passages of intense sonic moments and searching, internal lyrics and the brilliance of Soen really shines thorugh in 'Opal.'

35. SOHN - 'Rennen'

SOHN is the master of atmosphere, and the title track of his new album, 'Rennen,' was all the proof needed for that. The tragic lyrics and vocal layers above the somber piano help make 'Rennen' a dark and heartwrenching track that won't leave your mind any time soon.

34. Zola Blood - 'The Only Thing'

Nothing is more thrilling than dark pop music. Zola Blood's Infinite Games took that sound and morphed it into a brilliant collection of mystifying and dark tracks, 'The Only Thing' being the core of the sound. Sensual at heart yet haunting on its outside, it's an enchanting track from start to finish.

33. All Time Low - 'Drugs & Candy'

All Time Low are the masters of anthems, and 'Drugs & Candy' is one of the finer moments. With nothing but sweet memories and sweeter melodies to back its wonderful atmosphere, 'Drugs & Candy' stands at the center of everything that made Last Young Renegade so fun and powerful.

32. Nothing But Thieves - 'Live Like Animals'

Nothing But Thieves returned with a vengeance this year, their new record Broken Machines taking their sound a step further. 'Live Like Animals' has a much more forward and aggressive drive than a lot of their discography, though with the big choruses and the electronic punches to pair, you won't have to think twice about whether or not that was the right path for them to travel (the answer is yes, it was).

31. Brockhampton - 'Summer'

Brockhampton are a collective of production geniuses, and tha idea is spearheaded by 'Summer.' Hip-hop's boy band created a trilogy of brilliant albums with the three-part Saturation this year, and 'Summer' ended the band's second part of the trilogy. Soulful and pretty in every way, the song is an uplifting and dreamy testament to love and the future.

30. Lorde - 'Green Light'

Lorde was another artist who had to live up to an iconic debut this year, and she blew it out of the park. Lead single 'Green Light' shows maturity in a graceful way, a dark and haunting intro changing into a big pop anthem that channels all sorts of energies. It's a song about overcoming your own anxieties put into the perspective of one night, and there's no one who could've done this better than Lorde (and, of course, the brilliant mind of Jack Antonoff).

29. The Chainsmokers - 'Young'

Say what you will about The Chainsmokers, but its unquestionable that they know how to write some truly catchy songs. Take one of their songs that aren't overplayed ad nauseam and you can find some real gems, like 'Young.' It's another song about millennial love, but there's something familiar in the song's premise: "It's hard when you're young." It's all about the thrill and uncertainty of being in love when you're young, and with beautiful orchestras and wonderful builds to promise, this is a song that shows what the duo are capable of. Perhaps it's better that this one stays a hidden gem, though; we don't want what's good being overplayed to death, too.

28. Halsey - 'Sorry'

Halsey's modern telling of Romeo & Juliet came with a lot of different and interesting messages, but the one that came off the strongest was in 'Sorry.' Take the song out of the context of the record and you have a heartwrenching apology to anyone you've ever loved. It's a track that's hard to swallow for anyone who's ever felt heartbreak before, and it perfectly captures the emotions you feel in the wake of one, or fears the future of one: "So I'm sorry to my unknown lover / Sorry that I can't believe that anybody ever really / Starts to fall in love with me."

27. Incubus - 'Nimble Bastard'

Incubus returned to their anthemic roots this year in 8, with 'Nimble Bastard' holding the helm of it all for them. A badass, taunting intro and giant choruses to follow suit with, Incubus really came back with guns blazing. Everything about 'Nimble Bastard' just screams epic, and it's certainly an awesome ride from start to finish.

26. Mastodon - 'Steambreather'

Mastodon is no stranger to intensity. 'Steambreather' is the sonic representation of an angry demon, stomping impatiently during the choruses before charging and exploding in the massive choruses that anthemically chant, "I wonder who I am... I'm afraid of myself." Every note is like a punch to the face and not a second is wasted to channel every aspect of the nature of anger, every moment of the song brilliant capturing the inner workings of an enraged mind. The ending is just pure madness.

25. Frank Carter & The Rattlesnakes - 'Snake Eyes'

The ferocity of rock wasn't captured so perfectly by any other band than Frank Carter & The Rattlesnakes this year. 'Snake Eyes' has it all, with thrilling drums, giant riffs, and cavernous vocals to make this alternative anthem not only immense, but also visceral and carnivorous in its nature.

24. David Bowie - 'Killing A Little Time'

Though we lost David Bowie last year, he is long from being forgotten. The posthumous EP, No Plan, was full of interesting outtakes from the Blackstar sessions, one gem being the dark, gritty, and rocking 'Killing A Little Time.' Perfectly capturing the gritty, knowing aspects of Blackstar and injecting some of his own ghastly theatrical presence into it, David Bowie made sure his influence wasn't ready to die out any time soon.

23. Brockhampton - 'Team'

Brockhampton isn't the only outfit to make the list twice, but 'Team' is perhaps all the reason you need to see why. The beautiful first part has wonderfully heartbreaking crooning above chill guitars, before the grittier second half comes in seamlessly to bring the conclusion of the Saturation trio to a powerful end. Brockhampton's brilliance is captured in one angelic final track, and definitely serves as a standard for what should be expected of hip-hop.

22. Royal Blood - 'Lights Out'

2017 was undoubtedly the year of important sophomore releases, yet there was not band quite like Royal Blood who so surely blew out all the expectations. Without dropping any of their charm or niche, the band returned with the powerful, upfront, and driven 'Lights Out,' complete with simply giant choruses, enormous low end, and loads of swagger to back one of music's biggest follow ups.

21. Frances - 'Don't Worry About Me'

The feeling of stepping out into the world for the first time is both exhilarating and scary, and also serves as the subject of Frances' Things I've Never Said. 'Don't Worry About Me' is the opening track of the record, capturing those initial insecurities everyone feels when stepping out into the world, and the insecurities the ones who love you feel all the same. It's a track about reassurance, and something to connect to whether or not you're yet to step out into the world or if you've done it a long time ago. It's important to remember where it all started, and 'Don't Worry About Me' promises that even though it's scary, everything will work out in the end; an important sentiment to remember.

20. Sorority Noise - 'First Letter From St. Sean'

Sorority Noise's sense of tragedy was what made You're Not As _____ As You Think so impactful. At the center of it all is 'First Letter From St. Sean,' a dejected, somber track that has traces of optimism in its sound but screams out in pain. The ominous lyrics chant "I am not alive, I didn't mean to leave you when I died / I was too scared you might be the one to leave / There's so much more to life than the flick of a knife / I am alive 'cause I'm alive inside of this," a clear cry for help but lost under apparent hope that it takes some digging to find that answer.

19. Linkin Park - 'Crawling' (Live)

Linkin Park was amidst one of their best tours in years before Chester Bennington tragically committed suicide this year. With the world holding them up, the band refuesd to let his spirit die and be forgotten. From an incredible memorial show to countless fan-created memorials, Linkin Park and their community made sure his spirit was alive in our hearts. Linkin Park only hit Europe on their One More Light European Tour this summer, and they wanted to share, at least in part, how magically those shows were. The piano version of 'Crawling' the band performed is perhaps one of the most beautiful moments on One More Light Live, stripping down one of the band's classics to reveal the song's more personal tragic nature, millions of fans singing along with Chester the lyrics that meant so much to every one of them. The track doesn't only highlight the incredible voice of Bennington, but just how important the songs they made were to an innumerable number of fans.

18. 10 Years - 'Ghosts'

When you make a jamming track, an element of intensity is important. 10 Years does it perfectly with 'Ghosts,' an explosive track with giant vocals, giant riffs, and everything that excites and thrills you is part of this song. The alternative presence makes this song a staple for any rock radio, and is bound to get you ready to rock and take on anything ahead.

17. Mount Eerie - 'Swims'

There's an unforgiving sense of reality in Mount Eerie's A Crow Looked At Me, an album all about losing the most important person to you to the demon that is cancer. 'Swims' is the saddest, realest moment on the record, where Phil Elverum recounts watching his wife die in his arms. The pain is evident in every note he plays, the lyrics making the story even harder to swallow; the track's title derives from the innocence of a question his daughter asked him: "Today our daughter asked me if mama swims. I told her, 'Yes, she does, and that's probably all she does now.'"

16. Starset - 'Back To The Earth'

Nothing's quite as epic as a space epic, and that's the entire premise of Starset's sound. Vessels was the follow up to their giant debut, and it certainly lived up to expectations. 'Back To The Earth' is urgent, grand, and beautiful, sounding like a war being fought in space or the sound of returning home after a long journey into the great unknown. It's almost tragic, but the orchestras in the final, giant explosion of ending help it achieve that triumphant feel.

15. Peter Silberman - 'Maya'

Imagine a perfect sunset where the sun is setting over the sea, the sky violet, scarlet, and blue all at once. Imagine being along on a paradise island, by yourself with nothing but the ambience of the ocean and the warmth of the final rays of sunlight washing over you. That's the atmosphere 'Maya' creates, it's lo-fi sound so familiar and nostalgic yet captured in such a perfect atmosphere that it seems almost too sweet to be real. Not even the sweetest dreams could emulate the perfect sound of this track.

14. Kendrick Lamar - 'DNA.'

Kendrick Lamar is the unquestioned king of hip-hop, and for good reason. There's urgency in his music, often along with comments about the state of society. 'DNA.' is not only delivered in an epic fashion, but delivers a scathing picture of the stigmas that still exist against hip-hop and the daunting state of racism. Take that with an epic beat and unstoppable flow, and it's clear to see why Kendrick owns hip-hop.

13. Coldplay - 'A L I E N S'

Coldplay isn't the first band you think of when thinking of artists who make bold statements about society in their music, but they are certainly capable of it. 'A L I E N S' is a beautiful, atmospheric track about the refugee crisis taking over the world right now in the midst of tragedies taking place in the Middle East right now. It's from a refugee's perspective, in their search for a new home in unfamiliar lands once their previous home is gone. It's a very complex track performance wise and an even more powerful track meaning-wise, proving to be one of Coldplay's most unique tracks.

12. Ed Sheeran - 'Supermarket Flowers'

Ed Sheeran's Divide came out at the start of the year, before tragedy struck the industry, yet that didn't stop anyone from releasing heartbreaking tracks about loss. 'Supermarket Flowers' ended his record, a beautiful, piano-driven goodbye to his grandmother. Sheeran gets incredibly intimate about the moments he shared with her and sends her off in an angelic and heartbreaking way. 'Supermarket Flowers' is sure to hit you hard if you've ever lost someone important to you. The song beautifully ends with one final, bittersweet sentiment: "You got to see the person I have become / Spread your wings and I know / That when God took you back / He said, "Hallelujah, you're home."

11. Justin Bieber & BloodPop - 'Friends'

'Friends' wasn't the first jaunt between Justin Bieber and BloodPop; the two previously collaborated on the mega-hit 'Sorry,' so it's a no-brainer that the duo are capable of huge things. 'Friends' is a sweet song about love, Bieber asking almost tragically, "and if it ends, can we be friends?" The song wasn't an enormous hit, but perhaps that's for the best. 'Friends' is a beautiful capturing of that emotion of wanting someone to still be a part of your life, and paired with BloodPop's masterful production, it's a song that has earned a reputation as a hidden pop gem.

10. Paramore - 'Fake Happy'

Paramore's big return came with a surprising new face. Stripped from their angstier past, Paramore's After Laughter explored that inescapable emotion that the good moments are fleeting. There's always that moment after laughing where you realize that moment is no longer there, and perhaps never will be again. The inward searching record revolves around the themes of 'Fake Happy,' where Hayley Williams so honestly cries out, "Oh please, don't ask me how I've been, don't make me play pretend... I bet everyone here is fake happy too."

9. Julien Baker - 'Appointments'

Julien Baker is a tortured soul, and she wore her heart on her sleeve in this year's Turn Out The Lights. A heartbreaking album dealing with every tragedy one can face while walking through life, from heartbreak to addiction to loss, it's perhaps most wonderfully summed up in 'Appointments.' There's little words can do to describe the quiet beauty of the song, though you can perhaps get a full sense of all the tragedy of the song from the sobering lines: "How I disappoint you / Suggest that I talk to somebody again / That knows how to help me get better / And 'til then I should just try not to miss any more appointments."

8. Gorillaz - 'Saturnz Barz'

Gorillaz had a lot to say upon their big comeback, but nothing stood out as grandly as 'Saturnz Barz.' Employing the Jamaican emcee Popcaan to add an element to the song that few songs can claim, Gorillaz explore space with dark melodies and borderline-schizophrenic sounds to back their psychedelic dream.

7. Imagine Dragons - 'Believer'

Imagine Dragons know how to deliver empowering anthems, and 'Believer' may be one of their most powerful tracks to do so yet. The driven percussion and guttural synths support Dan Reynolds' giant vocals and uplifting lyrics, the choruses immense in every aspect of the word. Every chorus gets grander, and every word makes the song's message more powerful. Imagine Dragons are all you'll need to find the power to believe in what you want to accomplish.

6. Brand New - '451'

The art of groove is slowly being lost in alternative rock, yet the perfectionist mind of Brand New's Jesse Lacey managed to bring it back wonderfully in '451.' The bluesy verses lead into truly explosive choruses. Layers upon layers of percussion, guitars, and vocals build the expansive atmosphere of '451,' making it impossible to not get lost in the song's massive sound. The final chorus gets even higher, one final explosion of passion coming out with massive flair.

We do not endorse nor condone the actions of Jesse Lacey, we merely comment on the nature of the music.

5. Arcane Roots - 'Curtains'

Few bands can be so technical yet incredible anthemic like Arcane Roots are. Fully embracing electronica in Melancholia Hymns, 'Curtains' was the first taste of new music from them, and to say it was dramatic is an understatement. The theatrical swells of the synths and Andrew Groves' almost mechanical lyrics eerily overlie the darkness below leads into an epic, crushing breakdown that brings the song out on a massive note. This level of grandiose is only something Arcane Roots are capable of.

4. Thirty Seconds To Mars - 'Walk On Water'

Thirty Seconds To Mars is a band that knows how to take things to the next level. That being said, it's no surprise that the lead single to the band's upcoming album, 'Walk On Water,' is one of the biggest tracks of the year. With confident chanting, a glorious gospel, giant synths, and huge vocals from Jared Leto, 'Walk On Water' is the anthem for any success story. It's the soundtrack of overcoming the highest mountains and rising to the largest occasions.

3. PVRIS - 'What's Wrong'

All We Know Of Heaven, All We Need Of Hell was another album that came out at an important time for me. Major heartbreak is a dangerous thing, and PVRIS beautifully captured the essence of that. 'What's Wrong' was both one of the most impactful songs that I connected with, and at the some time one of the more powerful tracks on the record. It comes with a powerful, yet simple message: it's okay to not be okay. As Lynn Gunn so wonderfully claims in the chorus, "I don't need a metaphor for you to know I'm miserable." It's angry yet anthemic build perfectly pairs with the emotions the song discusses, leading to an all encompassing track that captures everything about that specific emotion, a quality in which only PVRIS are the masters of.

2. Linkin Park - 'One More Light'

To say the loss of Chester Bennington was a tragedy for the music industry is an understatement. On July 20, the world lost a hero. A hero who brought life and hope back into millions upon millions of souls. One More Light was an album about battling depression and the effects it has on relationships and humanity, but unfortunately the world understood that too late. 'One More Light' has become the song of goodbyes this year. It's hard hearing Chester sing, and perhaps it'll never get easier to listen to this song. All the same, there's a reassuring nature in the chorus' heartbreaking lyrics: "Who cares if one more light goes out? Well I do." If we've learned anything about ourselves this year, it's that that sentiment will always reign true, no matter who you are. Chester lives on in our hearts, and his soul will never die.

1. Linkin Park - 'Sorry For Now'

Linkin Park is on this list three times for a good reason - there's no band with the vision that they have. Regardless of what you think of them, this band has defined everything great about music: evolution. 'Sorry For Now' is a song that means a lot to me personally, and was one of the songs that helped me through the darkest month of my life. After Chester's passing, I couldn't listen to the band's music for weeks, but when I finally came back to this one, I remembered there was still a future ahead of me. Heartbreak, loss, and confidence is interlaced into the beautiful anthemic synths and harmonies of 'Sorry For Now,' showcasing Mike Shinoda's ability to turn anything to gold, show the chemistry that made Linkin Park so impactful, and most of all, why they are and always will be one of the most important bands to ever exist. And to tie that all together, why they'll always be one of my favorite bands.

Want to hear all these songs? Check out our official Spotify Playlist:

You can check out how we ranked all of our favorite songs of 2017 on the full comprehensive list here. Stay tuned for our Best New Artists and Album Of The Year lists!

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under-the-lake · 7 years ago

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Fenrir and Greyback: a liiiiiiitle digression about werewolves - part 2: Ancient Greece and Rome

I chose a philosopher werewolf for the starting picture this time - or so it looks to me - given that both Ancient Greece and Rome are the cradle of our modern philosophies.

What do werewolves do in Continental European mythology? Well, they bite and contaminate. But not only do they do that. They do much more. It actually depends on where the story belongs to, and when it came out. However, the usual idea is that there’s a curse or an involuntary shape-shifting. Unlike some shape-shifters that can change at will and aren’t necessarily as brutal and cruel as the ‘common’ werewolf, or not brutal and cruel at all. I mean, shape-shifting is common in some shamanic cultures, for instance, but they don’t involve barbaric acts or cruelty towards people. They do involve werewolves though, in the sense that they are indeed wolf-men/women.

I am speaking of ‘continental Europe’ about werewolves because since wolves have been extinct in Britain for centuries now, tales about werewolves didn’t really stick on Albion. The last wolf on the island was killed in Scotland (Pertshire) in 1680, but it’s reported that the last Scottish wolf was seen in the 18th century, and some say one was spotted as late as 1888. The stone that is in the picture below even reads : ‘To mark the place near which the last wolf in Sutherland was killed by the hunter Polson, in or about the year 1700, this stone was erected by His Grace the Duke of Portland, K.C., A.D. 1924’. One thing is sure, though, there aren’t wolves on the British Isles today. There’s been talk about reintroducing them, especially to help biodiversity grow, since it’s been a bit lowered by the growing deer population, which, in the absence of predators, is the real king of the forests. Nothing concrete yet though. Of course that doesn’t mean there’s no werewolf stories on the British Isles, but they are not as important in culture than they are in, say, France or Germany.

While the concept of the werewolf (wer = man, from the Latin vir = man, and wulf, in Old English) is strongly linked to the Middle Ages, the Witch Hunts and the rise of Christianity, men transforming into wolves has been widespread in cultures predating our Middle Ages by far, or in so-called pagan cultures.

The word ‘werewolf’ has an equivalent referring to a shape-shifter in almost each European language. Some have more than one word, though, due to the versatility of the idea (being an actual shape-shifter or ‘simply’ embodying the nature and spirit of the beast), or to the importance of wolves and werewolves in a particular mythology, like the Norse one, for instance. Of course, the word has the well-known synonym of ‘lycanthropy’, from ancient Greek, meaning wolf-man. This particular term hasn’t been used as widely as ‘werewolf’ in vernacular languages, because it’s been linked to a disease by Ancient Greeks. The symptoms were such as ‘too great or ravenous appetite’, and were used by scholars like Galen (it’s not exactly Galen, actually - the text containing this bit about werewolves has been falsly attributed to him). The scholars considered lycanthropy a disease and not a transformation.

There are tales about young men disappearing for nine years and turning into wolves after hanging their clothes on a tree branch, such as told by Pliny the Elder. However, it appears that actually in some ancient tribes, young men were initiated to hunting magic by being taught by ‘wolves’, returning to their village nine years later, fully grown men, ready to marry and start a family. Hard to find anything but ‘it is said that’-stuff anywhere though…. So let’s just jump into the subject without further ado.

Ancient Greece and Rome with a little detour

What we, in a christian civilisation, call pagan* civilisations or societies (I hate just saying ‘pagan’ societies. We are all pagan to someone - *see footnote about spelling.) have often had wolf or wolfish creatures as gods. We often think, in central Europe - that is, if you’re not learnt in that subject, which I’m definitely not - that Mediterranean civilisations don’t have wolves. We associate wolves with cold and winter and The North. So definitely not Greece or Italy. Yet that’s a mistake - and for instance, I know there are wolves in the Apennine, but I never associated that with tales or folklore and now I come to think of it, it feels totally weird.. Today, two species of wolves roam the Mediterranean region: the Golden Jackal (Canis aureus, Linnaeus 1758), the Grey Wolf (Canis lupus, Linnaeus 1758). I counted the Jackal among the wolves because we are talking human to animal transformation and not strictly biology, and anyway they are both of the genus Canis so they are brother-species. They are sympatric in some regions, but mostly parapatric, the Jackal inhabiting more desertic and hot places like the northern part of the Sahara desert (first map), whereas the wolf is typically a wood-dweller (second map).

Wolves have not always been seen as something evil, but there’s often been a threat associated to them. Ancient Greece knew a festival called the Lykaia, the main Arcadian festival, dating back to before 3000 B.C.l. It was held on Mount Lykaion (the Wolf-Mount, see picture below) and involved the young men of the tribe, the epheboi. Mount Lykaion has been a sacred mount in Greek civilisation, and is also one of the candidates to be the birthplace of Zeus. As for the Lykaia, it’s an ancient ritual during which an animal would be sacrificed to the god (a weather god, and later Zeus, who along with being the boss, was also the god of thunder and lightning). A single piece of human entrail would be mingled into the animal’s. Some like Pliny the Elder relate that there was actually human sacrifices. He was speaking centuries after the events. No remains of human bones have been found there to this day though, meaning archaeologists haven’t been able to confirm or infirm the statement. As we know, flesh isn’t easily preserved…. HOWEVER I stumbled upon this while looking for pictures for this paper: a publication of the Greek-US research team who are working on the Mount Lykaion site have discovered a human tomb complete with bones and all in the middle of the central altar on Mount Lykaion… the remains are currently being studied but if the boy wasn’t sacrificed, there was at least something important related to humans there, given the prominent position of the grave… So. Back to thema. It’s said that whoever eats a morsel of the sacrificial mix gets transformed into a wolf and can only return to their human form after nine years , at the date of the next festival, on the sole condition that they didn’t consume human flesh in the interval. This seems like the first ever mention and foundation of the myths of werewolves in Europe.

In Ancient Rome, there was a pastoral festival in February, called the Februa (‘purge, cleansing’) which later became the Lupercalia . The idea was to purify people and the city. The festival started and ended at the Lupercal, the cave in which the she-wolf (Lupa) had fed Romulus and Remus. A goat or a dog were sacrificed to Lupercus but also to Lupa. Yet from what I read, that’s where the comparison ends. The people actually run naked in the town with only a goat skin, which is due to the fact that a lupercus is the Roman version of the Greek god Pan, the faunus.

To make a small detour outside Greece and Rome, let’s mention that wolf-human descent or having a wolf as a tribe ancestor is something quite widespread. Genghis Khan (1162-1227), for instance, claimed his tribe stemmed from Bortä-Chino, the blue wolf, who represented the sky. The mother of the tribe would be a Doe who represented the earth. They would be the Khan dynasty ancestors. We also know that the Turkish people has a wolf in its history: the Hiongnu people was slaughtered and one only child survived, by chance. It was rescued by a she-wolf who fed him. The she-wolf became his wife and they gave birth to the first of the Tu-Kiu people, namely the first Turkish folks. The cave where the she-wolf fed the boy was a place of worship in which the king made a yearly sacrifice to commemorate the deed.

Yet the Lykaia story is probably the best foundation we have for the myths of werewolves in central Europe. There are of course other stories. And here I’ll tell you five: the famous Lycaon one, and then I’ll mention a Virgil poem, and a couple of other tales by Pliny and Petronius briefly.

Lycaon

In Ancient Greece, the closest to what we now consider a werewolf is told in the story of Lycaon. There are many accounts of the tale, but all involve Lycaon serving Zeus human flesh (often one of his own sons) to test his being omniscient, and most of them have Lycaon transformed into a wolf and a lot of people destroyed by lightning.

I’ll tell you a short version of the story found in Ovid’s Metamorphoses: At the beginning of times, Zeus found himself angry at how the people on Earth were behaving. He decided to go and see for himself if the reports he was given were true. He transformed into a man, and roamed the country, always giving certain signs to show his arrival. When he was arriving to Lycaon’s kingdom, people were praying, like everywhere else, being humble and grateful to see the king of gods.

However, Lycaon wasn’t. He already had the reputation of being a savage and ferocious monster. He didn’t trust the man to be a god, so he decided to test him. He had some prisoners, beheaded one of them, cut him in two and boiled one part while roasting the other. He then served these dishes to Zeus, to see if he was omniscient and could discern the falsehood. Zeus could, of course, and made the house crumble down as a punishment. Lycaon had escaped, though, but was heard howling in the countryside, vainly trying to speak. He turned his fury and viciousness onto beasts, slaying some, and thus becoming more of a wolf each minute, growing fur, not walking on hind legs anymore but on four legs. He became a wolf. However, he kept from his original self the fury and ferociousness.

In this version, we can imagine the story goes in reverse for Greyback, in HP. He keeps part of his werewolfish traits when he is a humanoid (for want of a better word). In both instances, though, the traits are viciousness, cruelty and fury. Both also keep something physical of their previous life: Lycaon, according to Ovid, keeps the colour of his hair, and the fierce eye he had before, whereas Greyback is more furry and has that will of biting that remain throughout the month, and maybe some cannibalism. Both characters are vicious from the start, though. You can’t serve human flesh or develop a taste for biting and killing for pleasure if you aren’t rotten to the core…. Or at least so much that it’s sort of irreversible.

Moeris

In Roman literature, we have a poem by Virgil, written in 39 B.C. and called Alphesiboeus, in which the author describes the situation where a man called Moeris makes some sort of potion out of herbs and turns into a werewolf, to

‘ [...] hide

Within the woods, oft call forth spirits from their deep-dug graves,

And charm away to other fields whole harvests of sown corn.’

It’s one of the earliest references to werewolves. Some of the ideas here might have helped build the medieval idea of werewolf transformation, that often required some magical balm to be applied on the body. Virgil doesn’t make Moeris a bad man whereas the medieval thought was that the werewolf was an agent of the Devil or at least manipulated by him. However, it is thought today that it was only hallucinations on the part of Moeris, and that the herbs he took had some drug-like effect on his brain, addling it enough to make him believe he was one.

The main trait of this werewolf is that he is able to raise dead spirits and spoil harvests. Greyback doesn’t have such traits, nor does Lupin. The only thing they have in common is that while being werewolves, they are inhuman, and are therefore able to do things humans wouldn’t. Moeris can awake the dead and perform some kind of magic, whereas werewolves ‘just’ bite and contaminate other humans.

The Thief and the Innkeeper

This is a fable by Aesop (5th century B.C.), and while the moral is that not all tales are to be believed, it still depicts some of the ‘usual’ traits of the werewolf. Here’s a summary:

A thief hired a room in an inn, in the hope of stealing something worthy enough, that would help him pay for his stay. After some days of fruitless waiting, he saw the innkeeper dressed in a beautiful new coat, sitting at his door. The thief came and sat down next to the innkeeper. The conversation went on nicely for a while and then began to flag. The thief started to yawn and at the same time began to howl like a wolf. The innkeeper asked him what happened, and the thief told his story: ‘First hold my clothes, sir, or I shall tear them into pieces. I don’t know when I got this habit of yawning, nor why these yawning crises were inflicted on me as a punishment or for any other reason. What I do know is that when I yawn and howl for the third time, I actually turn into a wolf and attack men.’

Then he started a second series of yawning and again howled like a wounded wolf. The innkeeper got scared, rose from his seat and attempted to run away, but the thief had got hold of his coat. The thief said: ‘pray, sir, wait and hold my clothes or I shall tear them apart in my fury when I turn into a wolf.’ At the same moment he yawned for the third time and set up a terrifying howl. The innkeeper, scared out of his wits, left his coat in the thief’s hands and ran for his life. He barricaded himself into the inn. The thief walked away with his new coat. Every tale is not to be believed.

In this tale the werewolf is only told to be howling and there’s a hint of the man being cursed. Even if it’s a downright lie to the innkeeper, it is probably still based on some sayings that were common at the time. You don’t just make up such things.

If we compare with the HP werewolves, Lupin indeed considers being a werewolf a curse, and the wounds are said to be cursed in Bill’s case. Greyback, on the other hand, transformed this curse into a strength and a want of revenge (can’t bring myself to say he turned it into anything positive). He must be a very sad person deep inside.

Versipellis - A change of skin

According to Pliny the Elder in his Natural History, people can change skin, and he tells a story to explain the origin of the name ‘versipellis’. He tells about an Arcadian tribe from which a boy is chosen to swim across a lake after having suspended his clothes on an oak, and by reaching the other shore he’d transform into a wolf. He’d be living amongst his fellows for nine years, and after that time, if he hadn’t touched humans, he would be able to swim back, take his old clothes from the oak and get back to human form, only nine years older.

Pliny concludes with ‘how far can the credulity of the Greeks go!!’. One could think it’s about the shape-shifting, but that’s most unlikely, since many other beasts are discussed in the Natural History, like dragons and basiliks, and Pilny is completely fine with them. So he’s not actually ruling out the werewolf per se, I reckon. He probably thinks the literary conventions are too laughable for him. Getting to your old clothes after nine years and finding them where you left them and in a wearable condition seems too far-fetched, whereas fantastic beasts are totally all right...

A Graveyard story

Petronius (1st century A.D.), in his Satyricon, 61-62, gives another account about werewolves, that again displays some of the traits that will pass down to our medieval stories. Here’s the bit about werewolves:

[Two men are walking along the road, the narrator and a soldier, who was a guest in the house. They are going to visit a lover, Melissa.]

We were walking at about cockcrow, the moon shining full, and soon came about the tombstones [they were alongside the road], and my man went to look at the epitaphs, while I sat down and began to count the graves. When I looked back at my friend, he was taking off all his clothes and putting them by the roadside. I was feeling sick, but I didn’t budge. I was rooted to the spot. My friend peed around his clothes, in a ring, and then suddenly turned into a wolf. Believe me, I wouldn’t lie about this to save my life. After he had turned into a wolf, he began to howl, and run off to the woods. I got up and went to take his clothes after having recovered from the first shock, but couldn’t, because they had turned into stone. I was freaking out in terror, but I drew my sword and went to my lover’s home, slaying shadows on the way. When I reached her house, I was feeling like a corpse, sweating all over and hardly to be revived. My dear Melissa was surprised to see me up so late, and told me that earlier a wolf had come and worried all the sheep, attacking them and bleeding them like a butcher. He didn’t win completely, though, because the slave had made a hole in his throat with a spear. When I heard this I couldn’t sleep at all, but on daybreak I went home to my master’s house and when I came to the gravestones along the road, the clothes weren’t there anymore, but there was a pool of blood. When I reached home the soldier was lying in bed, with a doctor looking after his neck. Then I realised he was a werewolf. I never could have a meal with him afterwards.

What comes out of this story is the cruelty, the sort of free boundless cruelty of werewolves. That links without hesitation this story with Greyback, who actually enjoyed it. There’s no hint about that soldier liking it or not.

There’s the full moon, which is the first mention I have seen of it in the texts I’ve read. I’m not much learnt into the subject so if anyone knows of an earlier mention of the changing occurring at full moon please comment below, thank you.

There are also some of the signs that are going to be used in medieval accounts, like the peeing in a circle around the clothes. Also, the fact that you take off your clothes is something that is going to be a medieval trait as well, whereas ‘modern’ depictions don’t care much about that. Lupin, in PoA, doesn’t take his clothes off before turning into a werewolf (yet that might be because he was taken by surprise), but neither does he ever mention him ‘changing’ when he talks about the shape-shifting. As for Greyback, well we know he bites even when the moon isn’t full, which means he’s wearing clothes all the time.

I never saw clothes turn into stones in the other stories I’ve read though. Usually it’s the one thing that can be taken or burnt or destroyed in any way to either save the werewolf or prevent him from turning back to human again. It’s the first time I saw that version.

What can we draw as a first set of conclusions here?

Well, we have the first foundations of the Central European idea of werewolves in the sacrifices on Mount Lykaion in Greece some millennia ago, and some developments of their characters. The ‘taking-off the clothes’ is common to many of those tales, but surviving apparently only into the Middle Ages (see later), in both Christian and non-Christian stories, though with different meanings and powers. Full moon appears in Roman times, un-human traits as well like some sort of magic that can recall the dead, beastly cruelty though is there from the start and seems to be the main link between all those werewolf accounts. It is also the one, along with full moon, that has survived until today, and that Rowling used in her books.

Footnote:

* It has been pointed to me that the word ‘pagan’ should be written with a capital letter because ‘it’s a religion’. I chose not to write it like that for many reasons: First, for me, pagan is not a religion. It’s a word coined by Catholics to define all the religions ‘by default’, whatever their number of gods or other deities, beliefs and structure, by sort of denial, for not being catholic. As if there were nothing better than being a Catholic, and that it’s the only legitimate religion. That was the basic way of thinking not so long ago, and I know many people still think like that, but it’s not the case for me. To me, calling all other religions than Christian ‘pagan’ is discrimination. Second, because that word groups together beliefs and customs and philosophies and society structures that are so different from each other that I can’t use one single word to name them. They all stem from different roots, were born in different parts of the world, grew up often independently of each other, and I feel that if I use one word to name them it’s saying they are a group of ‘undefined societies not fitting with mine’ and I definitely don’t agree with that. Thirdly, and more pragmatically, on a grammatical point of view, there’s no reason to capitalise the ‘p’ in ‘pagan’ because it’s not pointing to a particular religion; it’s an adjective. No dictionary writes it with a capital letter.

Sources for part 2:

Page 394

Asma Stephen T., On Monsters - An Unnatural History of our Worst Fears, Oxford University Press, Oxford, 2009

Landry Jean-Marc, Le Loup: Biologie, moeurs, mythologie, cohabitation, protection… Delachaux et Niestlé, Paris, 2001

Lecouteux Claude, Elle courait le garou - Lycanthropes, hommes-ours, hommes-tigres, une anthologie, José Corti, Paris, 2008

Ovide, Les Métamorphoses, Garnier-Flammarion, 1966, pp. 46-48

Rowling, Joanne K., Harry Potter and the Prisoner of Azkaban, Bloomsbury, London, 1999

Aulagnier, S., et al., Guide des mammifères d’Europe, d’Afrique du Nord et du Moyen-Orient, Delachaux et Niestlé, Paris, 2010, pp. 100-101

Encyclopedia Mythica: werewolf: http://www.pantheon.org/articles/w/werewolf.html

Live Science: http://www.livescience.com/24412-werewolves.html

Encyclopedia Britannica: https://www.britannica.com/art/werewolf

Wikipedia, Lupercalia: https://en.wikipedia.org/wiki/Lupercalia

The werewolf in Ancient Greece: http://www.jasoncolavito.com/blog/the-werewolf-in-ancient-greece

Werewolves: the myths and the truths: http://alam25.tripod.com/first.htm

Virgil’s werewolf: http://www.werewolves.com/virgils-werewolf/

Plato: Republic, 565, d)-e) http://www.inp.uw.edu.pl/mdsie/Political_Thought/Plato-Republic.pdf

Lykaia festival: https://prezi.com/fru8ahbadfps/the-mysterious-ritual-of-lykaia/

Aesop’s fables: http://www.aesopfables.com/cgi/aesop1.cgi?sel&TheThiefandtheInnkeeper

Pliny the Elder, The Natural History, chapter about wolves : http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D8%3Achapter%3D34

Petronius, The Satyricon 61-62: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A2007.01.0027%3Atext%3DSatyricon%3Asection%3D61

News Network Archaeology, new finds at Mount Lykaion: https://archaeologynewsnetwork.blogspot.ch/2016/08/human-burial-found-in-middle-of.html#tvw3SbRkGybf2akI.97

#Louhi #Harry Potter #Fenrir Greyback #Remus Lupin #J.K. Rowling #Ancient Greece #Ancient Rome #Werewolves

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