ChthoniC 閃靈: Mirror of Retribution

Year Released: 2009
Website: www.chthonic.tw, www.myspace.com/chthonictw
Label: Spinefarm Records

Tracks:

1. Autoscopy [1:57]

2. Blooming Blades [4:41]

3. Hearts Condemned [4:31]

4. Venom In My Veins [3:02]

5. The Aroused [5:07]

6. Sing-Ling Temple [4:07]

7. 1947 [4:18]

8. Forty-Nine Theurgy Chains [3:37]

9. Rise Of The Shadows [4:09]

10. Bloody Waves Of Sorrow [4:49]

11. Spell of Setting Sun: Mirror of Retribution [5:56]

12. Unlimited Taiwan [4:43]
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ChthoniC, otherwise known by their more native name 閃靈, is a Taiwanese symphonic black death metal band from Taipei. They formed in 1995, and have 5 members whom all sport Chinese folklore-inspired goth makeup. Their music is very unique, as they combine both Western and Chinese instruments to weave a musical style that is dark, exotic, melodious and insane. Hypnotizing listeners into a false sense of tranquillity at the beginning, the album soon kicks off with a ravaging tide of guitar riffs that washes over you and drowns you in dark aural ambience. They are a melo-death/symphonic black metal hybrid, but what sets them apart from the crowd in that category is that they utilize the Chinese erhu (known as hena in Taiwan) as well, which is a two-stringed bowed musical instrument. It is the Chinese equivalent of the Western violin. In fact, on the single "Forty-Nine Theurgy Chains", a Chinese gong was even used! This is certainly one aspect of cross-cultural assimilation that the Western metal community would be happy to have.

Of all the black metal bands I have been listening to for 2009, ChthoniC easily won me over as a fan. Why? That would be because apart from their musical uniqueness, there are two other facts about them that are pretty interesting. Firstly, their frontman Freddy Lim feels very strongly about the strained political ties between Taiwan and China and is a political activist at home. Earlier this year, he even shook hands with then presidential hopeful Ma Ying Jeoue (now President of Taiwan), whom he had personally endorsed and hence managed to secure him many young voters. Secondly, they are the first Asian extreme metal band to be signed on to Spinefarm Records, a prestigious Finland based label, and that is a very big deal because they are now label mates with big time metal acts like Children Of Bodom, Nightwish, and Satyricon. Talk about finally getting a big break.

The lyrical theme of this album revolves around the spiritual world and the tyranny the Taiwanese had faced from the mainland Chinese government many decades ago. Basically, it is spawned from a combination of local folklore, supernatural myths, and a political agenda against the monolithic Chinese government. Hence, Western metalheads might find the lyrics a little weird and out-of-place because it is culturally different from what they are accustomed to seeing in Western black metal. For example, perhaps only those Western metalheads who learn East Asian history would recognize ChthoniC's reference to the notorious ‘228 Massacre’ in Taiwan throughout the album. You would have to read the lyrics to know that though, as usual, it is kind of impossible to make out the lyrics by ear alone. For those who just concentrate on the music as a whole anyway and do not really care what the lyrics are talking about (like me :P), well, just do your usual stuff and appreciate the aural assault from ChthoniC.

For those who do not like BMTH's music because of the screechy harsh vocals, you might not like ChthoniC's music. Freddy sounds just like Oliver, as he shrieks his way through for the large part of every song, utilizing low growls just once in a while. For those who are fine with BMTH's harsh vocals, you would definitely be fine with ChthoniC's harsh vocals too. Guitar-wise, they churn out melo-death worthy solos, and shred at blazing fast speeds. Not much to talk about the drums, because the drummer deliver beats that are as fast as what most other extreme metal bands usually offer as well. The most obviously striking instrument here would be the Chinese two-stringed violin that Freddy uses to great musical effect. Throughout the entire album, he is able to deliver hauntingly melancholic solos that traverse the border between Western and Eastern music, and which shatters the belief (if any) that Chinese instruments would be out of place in a Western music genre.

Black deities of the underworld: From left to right - Dani Wang/Azathothian Hands (Drums), Doris Yeh/Thunder Tears (Bass Guitar, Backing Vocals), Freddy Lim/Left Face Of Maradou (Vocals, Erhu/Hena), Jesse Liu/The Infernal (Guitar), CJ Kao/Dispersed Fingers (Piano, Synthesizer)

However, one disappointing aspect about the instrumentals would be the supposed presence of the piano. CJ, the finger guy (my own moniker for the dude in any band who deals with the piano or synthesizer), sure puts the synthesizer to good use on many tracks such as the all instrumental track "1947" and the single "Forty-Nine Theurgy Chains". The piano is neglected though, because although CJ apparently plays it on the band, for most of the album, it is like a ghost because it hardly sounds like it is there at all. In fact, the only few moments I hear it clearly on the album was on the tracks "Hearts Condemned" and "Unlimited Taiwan". On the track "Hearts Condemned", the piano could be heard clearly from 2:42 onwards, and on "Unlimited Taiwan", at 1:41 and 2:50, the piano can be heard playing a series of short ascending note sequences. I personally think the piano is a very good accompaniment for any melo-death or black metal band, because the melodies it can create can be so angelic yet intimidating at times, hence here's me hoping that it can be more prominent on future ChthoniC albums.


Take a listen!: This ferocious yet hauntingly melodic brand of black metal will keep you coming back for more.

Alright, this is it for 2009. "Mirror of Retribution" is a must-get black metal album for this year, and if you didn't get it for Christmas, get it for the New Year!

P.S. It would be interesting to see if ChthoniC would eventually make use of other traditional Chinese musical instruments in future, I am all for a pipa or guzheng. ☺


Verdict: 8.9 / 10

KenoN: From The Void Came... Chaos

Year Released: 2009
Website: http://www.myspace.com/kenonepic
Label: Qualm Records

Tracks:

1. Attero Preteritus [2:48]

2. De Revolutionibus Orbium Coelestium [4:25]

3. From The Void Came... Chaos [2:38]

4. Sacrificial Chamber [4:43]

5. Hordes Of A Lost Empire [5:42]

6. Throne Of Thorns [5:13]

7. Porta ut a Novus Suscipio [1:39]
__________________________________________________________________________

The genre of black metal usually strikes a typical metalhead as being a very European kind of thing, but guess what? This week's album review is about the debut record of a very new American black metal band, Californian in fact, called KenoN.

Here's a piece of advice from yours Truly, when you get sick and tired of listening to those polished, professional recordings done by big time metal bands, listening to raw records from infant metal bands once in a while could serve to revitalize your interest in metal again. There is something in raw records that professional records cannot offer, and that is the very original essence of the band present in those unpolished tracks. KenoN is sounding good on this debut, as even though it is a raw record, they have a very good, dark essence indeed. After the initial appetizer acoustic track, the very first barrage of guitar riffs from "Attero Preteritus" emanates such sinister brutality that I cannot help but be reminded of senior black metal bands like Anaal Nathrakh and Belphegor.

These demons who arose from nothingness are: From left to right - Stygian (Backup Vocals, Bass Guitar, Keyboards), Sison (Synthesizers), Neon Sun (Guitar, Comic Relief), Prometheus (Vocals, Guitar)

The use of keyboards frequently throughout the 7 tracks is an added bonus too, and it really helps to score some points with potential new fans, because almost every metalhead knows that keyboards typically stir up a surreal atmosphere with the haunting yet beautiful melodies they are capable of dishing out.

Even if a raw record may be awful to listen to (I'm not saying I find this record awful to listen to though xD), there is still something rewarding about listening to it, and that is the fact that you have at least experienced what the band members' core musical intentions were when they first formed the band. As bands make more and more albums, their essence usually tend to fade away (usually due to volatile lineups), I mean look at Amorphis and Iron Maiden for example, they have both changed so much since their early days. So whether be it you are an old or new fan of the band, listening to the raw records from the band's early days certainly is a good chance for you to experience them for what they truly were in their infant days.


CanoN In Black: Check out the evilish guitar riffs, fast drum beats, and haunting keyboard melodies.

If I have to be really picky and find a flaw with the record for the heck of it, the vocals would be my scapegoat of course. The growls sound muffled and soaked in static, but of course, that would not be the band's fault for not doing them right, but probably because of either financial issues or their usage of synthesized harsh vocals. Every new band would definitely jump at the opportunity to record their music in a professional recording studio if they had the money to do so, but if the harsh vocals really were synthesized, I think it would be better if KenoN doesn't do this anymore on future records. Personally, I think unedited harsh vocals sound more genuine and would have greater impact on the listener.
Instrumentals-wise, they are solid and easily recognisable as black metal, and there are many melodic moments throughout the record which are represented by guitar and keyboard solos. Additionally, the last track is just as gentle on the ears as the first was, which is an appropriate way to end a black metal record if KenoN wants to follow through with the "Mystery-BAM!-Respite" kind of album structure.

Lyrics-wise, I have no comments. That would be because the band did not provide us the lyrics for this record, and it is nearly impossible to make out the lyrics by ear, so if you are interested to read the song lyrics, you would have to either wait for KenoN's debut album and buy it or e-mail the band yourselves to request for them.

Overall, I am looking forward to hear more quality material from KenoN in future. If you are a black metal fan, and am interested in hearing the rest of KenoN's songs on this record, download this record from the following link: http://tiny.cc/kenonepic

A belated Merry Christmas everyone, and may all of you have a good year ahead.

Verdict: 8.3 / 10

Ensiferum: From Afar

Year released: 2009
Official website: www.ensiferum.com
Label: Spinefarm Records

Tracks:

1. By the Dividing Stream [3:50]

2. From Afar [4:51]

3. Twilight Tavern [5:38]

4. Heathen Throne [11:09]

5. Elusive Reaches [3:26]

6. Stone Cold Metal [7:25]

7. Smoking Ruins [6:40]

8. Tumman Virran Taa [0:52]

9. The Longest Journey (Heathen Throne Part II) [12:49]

_______________________________________________________________

Y'know, these Nordic languages really have some flair to them. Ensiferum sounds wayy cooler than "Sword-bearer" doesn't it? I bet they've got a much cooler name for "metal music reviewer" too. I really must go find out. But I digress. From afar, one could pretty much already see the awesomeness of this Finnish folk metal band (ok bad pun) and this latest album of theirs definitely shows that they are back on track again as a cohesive and creative group after former frontman Jari Mäenpää had left them to form Wintersun. Petri Lindroos reprises his role as Jari's replacement for a second album while From Afar marks a milestone for keyboardist Emmi Silvennoinen as she had only officially joined Ensiferum as a full member during the recording of this album.

Despite an ever-changing line-up during the course of their not-that-freaking-long history, Ensiferum's quality has mysteriously never quite wavered, and this album is no exception. A very delicate balance of epic-ness and catchy melodies sums up the core of this work and its very pleasant to listen to. There is heavy use of keyboards, which might not be to the liking of some people, but if you've been reading zetalambmary long enough, you'd know I have a thing for 'boards and the only lady of the group plays her part very well. Fast songs like "Twilight Tavern" and slower ones like "Smoking Ruins" are equally enjoyable as far as I'm concerned. I've never been fully appreciative of long-ish songs but "Heathen Throne" was actually quite excellent for its changing tempos and its atmospheric effect. The heroic viking feeling in me was quite amusing after the song ended but I cherish the fact that I wasn't bored at any point during the song, which is rare for such of its length. "The Longest Journey", on the other hand, was much less interesting, particularly for its dreary 4-minute plus end of soft instrumental playing, which made for a rather disappointing end to the whole album I think.

The quirky "Stone Cold Metal" is probably the song that sticks out a bit but I personally liked it if not for the sheer amount of stuff it contained, from whistles to epic sounding monologues and is that a banjo I hear playing? Overall, I feel the awesome thing about From Afar is that so many instruments were involved and most of them managed to shine, so bass wasn't very prominent (sorry Sami Hinkka..) but that's what makes the album so melodic.

From left to right: Markus Toivonen (guitar, backing vocals), Janne Parviainen (drums), Emmi Silvennoinen (keyboards, backing vocals), Sami Hinkka (bass, backing vocals) and Petri Lindroos (guitar, harsh vocals)

Overall, this is quite a strong effort from Ensiferum and the music is simply astounding. And that's the good thing about harsh vocals, you can't really make out what the dude is singing the first time round without reading the lyrics. So if you're feeling kinda weirded out by the whole folk influence, all about magic and war and what not, then hey, don't read the lyrics. I personally didn't really put too much concentration into what was being sung, I just like the fact that Pete's growls sound stronger than most of the times I've heard him in Norther.

In fact, here's 2 videos. The Lord of The Rings setting one (which I really think needs some work on. This sorta thing looks really crappy without that magic epic touch to it) and one taken with live footage from one of their performances.

Verdict: 9/10

Song of the Week: Mandragora Scream - Dark Lantern

"Aaaarrgghhh!!"

Well that's one evil scream to start the song off. If the starting moments of 'Dark Lantern' doesn't strike you as gothic, then you don't know what gothic metal is. As part of the Italian band Mandragora Scream's 2006 album, Madhouse, 'Dark Lantern' is quite an interesting track. Founded by Morgan Lacroix (a cool name if I ever saw one) and Terry Horn in 1997, Mandragora Scream regularly craft their music into concept albums that features rather prominent gothic elements to their music, more so than its metal elements that they can sometimes be classified under the genre of gothic rock. 'Dark Lantern', as it is, has a rather sinister beginning with its ethereal wails and synthesized growls but is otherwise almost exclusively sung in clean vocals and is quite mild really. Nothing really taxing for the ears.

In terms of its musicianship, 'Dark Lantern' is really quite simple. The 'boards repeat the same creepy tune over and over again, the guitars has very little to do 'cept for that bit near the end which I don't think can be even counted as a solo and the bass is chugging away on atmospheric duty. But simplicity is its strength- the song is not difficult to follow and the main melody of the song doesn't scatter into different layers at all. What deserves special mention though, is Morgan Lacroix's rather unique singing. Her voice can be rather deep and raspy for a female and if it weren't for the music video you'd be wondering about the gender of the vocalist. Her Italian accent (I think, or it could just be her own special way of pronunciation) also somehow accentuates the atmosphere of the song in a way that I can't explain. If any linguistic semiotics professor would like to leave a comment below, that'll be great, thanks a lot. Otherwise, I guess you just have to listen to get what I mean. Conversely, the harsh vocals done by (I think) the guitarist Terry Horn is surprisingly high pitched and should be considered as screams rather than growls. Still, that downplays the aggression and brings out more horror, which fits the theme.

Lyrically though, 'Dark Lantern' is barely coherent to me. I can't make head or tail about what the song is trying to say but I reckon the spinal cord is there. There's just a lot of lines that combines words that I'm pretty sure are never grouped together conventionally, which is bound to sprout some question marks at the top of your head, like "darklin' in light" for instance. What the heck is that?

All in all, 'Dark Lantern' is a rather nice song, and deviating from all mainstream genres, including metal. Its currently their most-played song on Mandragora Scream's myspace page. Mandragora Scream's latest album, Volturna, has just been released a coupla weeks ago, featuring a different line-up apart from Lacroix and Horn. I haven't gotten round to listening to it yet but if 'Dark Lantern' intrigues you enough, go ahead and pick up Volturna to give it a spin and tell me how you like it.

Below is the music video of 'Dark Lantern'. Check out the funky microphone~

Song Of The Week: Destrophy - The Way Of Your World

It's all been done before and
No one can listen to anyone's answers
They're drifting farther everyday
And they say

“We hold our hands to block the sun
We blame the light for what we’ve done
We look away so We’ll forget what We’ve become”


First take what you want
Then you throw it away
- This is the way of their world
Don't know what you've got
Until it's taken away
- This is the way of your world

When the night falls you know who you are
And you cast reflections as the mirror gathers rust
“It’s so safe and lonely with you”
Lovers ripping in two
Grind away ‘till nothing’s left
There’s nothing left inside

First take what you want
Then you throw it away
- This is the way of their world
Don't know what you've got
Until it's taken away
- This is the way of your world
Your lives will fade before their time
And you’ll never say goodbye

The end of all the things you know
And all of what you can be
It’s fading fast before you

What we want, we are.

Ah, another solid metal band to add to Victory Record's roster of diverse musicians. Formed in 2002, this Iowa "melodic metal" band is certainly radio-friendly.

As they themselves have said it during an interview in VictorV Episode 51, they are basically a band that plays heavy stuff yet throw in poppish-sounding choruses that are easy to get hooked on as well. Well, not like most metal fans would be complaining anyway (me included). If you were to ask me to choose between, say, Dead By April and them, I would definitely choose them. I mean, sure, they both have poppish-sounding choruses, but Dead By April's poppish choruses just sound a little too whiny for my own liking. Destrophy's style of poppish-sounding choruses on the other hand, are just right, and in fact, they remind me of those old metal bands whom utilize group vocals frequently throughout the entire length of their songs.

Heh, I wonder if they did it on purpose to get some airtime on radio, 'cos that was definitely a tried-and-true tactic for popular metal bands of the past.

Destrophy is certainly a blast of fresh air to any metalhead who follows Victory's metal roster, because they are probably the only damn band in there who utilizes such catchy clean vocals. I am definitely one of them, they are a good break from deathcore and melo-death bands. Did I mention that Ari, their frontman (picture on top) is also one of those rare guitarists who can actually play half-naked during live shows? Yeah, look at his buff physique (*whistle*), that is the very good reason he has that many other of his peers lack to do so during live shows :P. So not only do Destrophy have a radio-friendly sound, they certainly have eye candy in the form of a frontman with the body of a Greek hero too. Man oh man, Petri Lindroos must feel so envious! Oh yeah, I personally thinks he resembles Hugh Jackman too.

Heavy Candy: From left to right - Phil. T (Bass Guitar), Ari (Vocals/Guitar), Bruce Swink (Guitar), Joe Fox (Drums)

All in all, Destrophy would be another good band to check out for this year. I especially recommend them for fans of alternative rock, or nu-metal. Fans of Five Finger Death Punch, Linkin Park, Korn, Papa Roach and the likes should like Destrophy's music. They are currently on tour with Type O Negative and Otep, and this is not related to this week's post, but check out Destrophy's fellow label mate, Otep, too. She's hot for a goth-makeup sporting, and heavily tattooed industrial metal musician. B-D

Alright, here is the awkward and time-wasting moment at the end of each "Song Of The Week" post when I try to come up with as many words as possible just to fill up the empty spaces left before this paragraph extends below that last picture used (in this case, the one on the right of Bruce Swink). Awesome, I just went below him, time to end if off here.

Song of the Week: Avantasia - Lost in Space

The saga of pop sounding metal continues at zetalambmary! This time with what is positively the lynch pin of Avantasia's latter day career, "Lost in Space". Why is that? Well this catchy melodic song first made its appearance in a single entitled (you guessed it) Lost in Space in 2007 and went on to feature in 2 EPs (Lost in Space (Part 1) and Lost in Space (Part 2)), one compilation album (Lost in Space (Part 1 and 2) yes the creativity with album titles are not lost on us) and just for good measure, was included as the last song in Avantasia's most recent album, The Scarecrow. About half a dozen different versions of it exist, but they don't deviate from each other a great deal, which makes it either a really good song, or Avantasia is simply milking it for as much as it can fetch in aesthetic value.

As a side project of Edguy's frontman Tobias Sammet, this symphonic power metal band was founded in the turn of the new millenium and has since released 3 studio albums, with Toby as the consistent vocalist while numerous guest musicians lend their hand in this endeavour to create "a world beyond human imagination". This is aptly reflected in "Lost in Space", with its lyrics attempting to place a setting for introspection in a out-of-this-world context. And I dunno, there's something about the debonair charm of Toby that allows the suave German to pull it off. Musically though, it resides very comfortably within the pop zone that ensures a guarantee that even if one isn't hooked on the song, they're not likely to dislike it. After all, what's there to dislike? There's a handsome young guy with an interesting voice (am I sounding way too jealous here? XD) singing a totally catchy chorus that at least has more depth in content than most gormless pop songs out there. It exhibits a sense of romance and wanderlust. How many metal songs out there can accomplish that?

Ah but therein lies a cause for repulsion- "Lost in Space" hardly constitutes as rock, to say nothing of metal. There are generic female vocals at the back, largely simple tunes are coming from all instruments that serve as ambiance at best and without Toby's voice driving this song, it could very well serve as a backdrop for taichi or meditation. In any case, "Lost in Space" is not particularly original or amazing, it just sounds.. so difficult to dislike. Just that as a matter of principle, metal fans would utterly resent the fact that Avantasia seems to be selling out to a larger audience and neglecting the core metal community that it first based its very existence on. But I'd say give the guy a break, its his side project, he's doing his time with Edguy. This isn't bad anyway if you're willing to let your prejudices go. I'd pick this over Backstreet Boys any day.

Official MV for "Lost in Space". Watch it, and get a feel of Avantasia's world.

Dead by April: Dead by April

Year released: 2009
Official website: http://www.deadbyapril.com/
Label: Universal Records

Tracks:

1. Trapped [3:08]

2. Angels of Clarity [3:41]

3. Losing You [3:57]

4. What Can I Say [3:08]

5. Erased [3:26]

6. Promise Me [3:34]

7. Falling Behind [3:26]

8. Sorry For Everything [4:44]

9. In My Arms [3:25]

10. Stronger [4:00]

11. Carry Me [3:48]

12. A Promise [3:37]

12. I Made It [3:49]
_______________________________________________________________

Ah haven't been doing this for a while. A spate of bad karma tsunami-ed its way into my life these coupla months and pushed me down a path of desolation. This in turn brought my musical tastes to more mainstream areas of teenage emo-ness and angst. Life isn't exactly looking all that way up just yet but its definitely feeling good to be back in the business of talking metal. Still, with the influences of the recent past still fresh, we're looking at some angst-filled, pop sounding metal today.

Since the release of their first single, Losing You, this Swedish outfit have garnered enough popularity to release their self-titled debut album in May this year. Not a great deal of it is original, with 11 of the tracks being demo songs that were remastered, but they do sound more clean and professional now. But from one song to one album, I still stand by what I said earlier: they sure don't sound much like a metal band. Nor look like one, for that matter. The radio-friendly sound of their mixed post-hardcore/melodic death metal/pop style isn't quite as unique as the rising-to-fame quintet would make it out to be, but that doesn't mean they do it badly.

Lets face it though, metal critics would probably put this album down because it simply doesn't have much to offer in terms of technicality and complexity. Y'all are a freaking metal band after all, not some country singers armed with a single acoustic guitar. The guitar riffs are pretty simple, and the 'boards sound like they could be played with only one hand. And while the bass could be heavier and the drums are actually not bad, the whole thing just lacks energy and power. But if you're not specifically looking out for metal songs, they're pretty ok. Like country singers, they carry forth a kinda simple beauty in their music, which is really more accessible to the masses than say, deathcore. The popularity factor is further enhanced by the fact that despite lead guitarist Johan supporting Jimmie's growls and screams, the harsh vocals seem pretty tame and downplayed while the pleasant (albeit unconventionally high-pitched) clean singing gets a lot of the spotlight, with some songs like the opening track "Trapped" and "Sorry For Everything" featuring exclusively clean vocals. Perfect formula for pop chart-hitters I'd say.

Some of the half-heavy songs are really pretty cool, like "Erased" or "A Promise", and might be useful in trying to introduce new listeners to heavier metal works. I felt that the remastered version of "Losing You" really lost me though, which is a pity because the earlier version featured in the single had more raw energy that really contributed better to this song's atmosphere. As a whole though, there are certain serious limitations to the album. The lyrical theme plays up well to my sad ol' woe-is-me self but from an objective point of view, pure emotional angst is shallow and hardly introspective. Nobody's setting Kamelot-style philosophical musings as a benchmark but there really can be more intelligent stuff than normal teenage ails. More critically, there seems to be a need for Dead by April to do some study in poetry or something to learn about diction, rhythm and rhyming structures to their songwriting. The singing can sound awkward at times because the rhythm is erratic between differing number of words in each line and the fact that some of the lines don't even remotely rhyme makes for some rather weird results that can completely destroy even the most compelling vocal hooks. If the songs had better flow, the smooth singing could really carry off better.

Its October already, y'all ain't Dead by April!

Left to right, Pontus (rhythm guitar, backing vocals), Marcus (bass), Jimmie (vocals), Alex (drums), Johan (lead guitar, backing vocals)

Ultimately, catchy and sheer pop-sounding melodies are what power this album's music and opinions of its style will surely revolve around the listener's take on Dead by April's concept of metal "that refuses to be locked in to standards and preconceptions". Make no mistake, it sounds agreeable. And with some work in songwriting, it can get even better. The bottomline is that they look punk, they sound a bit punkish and if you're ok with that for a metal band, then there's not much stopping you from liking this album.

Below is Dead by April's second music video for "Angles of Clarity". Their first one is "Losing You", which you can read about and watch here.

Verdict: 7/10

Genre Seeker: Deathcore - The Art of Harsh Vocals

Yes m'dears.

Those disturbing, ear-piercing, monstrous screams... together with the incoherent shaping of words, and bullet-like guitar riffing are signs that you have just listened to deathcore.

Quite literally obvious, deathcore is a sub-genre that fuses the styles of death metal and metalcore together. If you are someone who don't particularly like metal, let alone death metal or metalcore, please do not ever try deathcore, your ears might get traumatized. Now, while death metal as a genre presented morbid or dark lyrical themes, standard harsh vocals, and rather complex instrumentals, metalcore on the other hand was a resultant sub-genre which incorporated hardcore elements into the death metal style. Basically, metalcore was, well, more hardcore in every aspect of the death metal style. Harsh vocals were given more room to expand with metalcore vocalists experimenting with different forms of growling or screaming, and there was also the occasional moment of clean singing thrown in as well. Instrumentals went up a notch in terms of complexity, but sometimes just end up sounding plain thrashy though. As for lyrical themes, they can range from esoteric topics like philosophy to good ol' love.

So... deathcore was in its essence, a spin-off of a spin-off. This can be summed up quite simply by the equation below.

Death Metal + Metalcore = Death Metal + (Death Metal + Hardcore) = Deathcore

What you get out of deathcore however, is quite vastly different from its roots. Instrumentals no longer have any discernible rhythmic pattern (or at least not so obvious until after many listens), the harsh vocal range and experimentation is so much greater, and the lyrical themes mostly don't even make sense let alone their lyrics, meaning they can be just about any topic in life you can think of. If you are someone who has been exposed to some deathcore, and is currently going "What? How can all this crazy screaming and growling be music?! It's noise!"

Well, I would beg to differ. Under the unspoken laws of avant-garde music, deathcore can be (in my personal opinion) alternatively known as the art of harsh vocals. You see, it IS the crazy screaming and growling here that is the main focus of this avant-garde music genre. The guitars and drums are kinda secondary here, since the vocalists of deathcore bands are actually taking on the hardest role. If they don't do their growling-screaming thingamajig properly, they can end up with very frequent throat inflammations (or even throat cancer when they are old). I think they use their diaphragm the most when doing their standard growls, not their larynges. Anyway, it might be an interesting thing to note that the different types of harsh vocals presented in deathcore can be somewhat amusing and intriguing to listen to at the same time. In fact, I would dare say they are the only thing of interest to look out for in most deathcore bands.

There are quite a few different types of harsh vocals employed by current deathcore bands, namely...

The Shriek


The Low Growl


The High Scream (0:29 - 0:31)


The Pig Squeal (0:47 - 0:59 and any other similar parts in the song)


The Shriek-Growl (this is darned hard to do O.O)


Clean Vocals (they can be surprisingly quite good, differs from band to band though)


The Scream-Growl (rather common type apart from the Low Growl)


Alright, your eardrums must be ringing now. That about sums up the various types of harsh vocals in deathcore so far, and if you think this is extreme enough, there are sub-genres closely related to deathcore, that are even more extreme. Grindcore, noisecore, anyone?

Yes, deathcore may be the ugliest sub-genre of metal yet, but well, metal was all about being ugly in the first place (with the exception of symphonic, power, and some progressive metal). It is not really accepted as "music" by bands from other less extreme genres, most notably the frontman of Bayside, but hey, these guys are fronting an avant-garde genre that they have great passion for, and doesn't that put them on the same stage as the guys from the other genres? Even Black Sabbath's original heavy metal style was not widely accepted at first, but as time went by, look what became of the metal behemoth.

Deathcore is certainly not for the weak-hearted, hearing-impaired, pop-loving average Joe, but if you feel like the mainstream's not offering you enough, try delving into deathcore, you just might like it. There must be a reason why Bring Me The Horizon has shot to fame within a short span of 3 years you know.

Song Of The Week: Between The Buried And Me - Obfuscation

From the simple idea of Change Blindness, our minds are not as they seem.
An entire existence revolving around what we can't acknowledge.
A brain function we'll never admit as defeat....
a constant determination to find truths...to find reason...to find comfort.
An unspoken religion in being the ALL-DOMINANT...This is what we call a brain.

This step will allow the universe to run it's course.
We have a short ticket and a lot of it is in hiding...so lets take in what we can for now.
Just like here on Earth(a notion we do comprehend)
Hide what "others" can't understand. The universe is the biggest threat...
overachiever that commands attention. Brute force of hysterical reasonings...
There will always be a Marfa.

Close one eye. Step to the side.

As humans we could never be content with knowing all, yet we can't be content with the fact that our brains will never know.
A mental surgery...
a never ending journey...a technological drawback.
Pushing us further from our natural minds.
Even things created by other humans should be considered in the experiment of an entire species understanding.

A magicians pure joy...
A mind bend for the common folk...
Follow the straight line...(A full house watching what we can't see)
The ultimate deceiver...

Close one eye. Step to the side.

We will always be part of the great misdirect...stepping in and stepping out.
We will always be part of the great misdirect...Mirrors and Obfuscation.


Yes everybody, every Victory fanboy's favourite progressive metal band is set to rock your socks off you yet again with their forthcoming 5th album, the Great Misdirect out on October 27th.

Between The Buried And Me had originally started off as a crazy metalcore band, and they gradually progressed towards speed metal and then progressive metal. Amazing style changes huh, just like what Amorphis had undergone in the past. Anyway, if you have not heard of BTBAM, you really have not heard of progressive metal at all. The style of progressive metal favoured by senior progressive metal bands Dream Theater and Opeth are ever draaaaaaawling and nice to nod off too, they are no longer progressive metal in my opinion, because they do not seem to have progressed much at all.

Between The Buried And Me are y'all!: From left to right - Dustie Waring (Guitar), Tommy Rogers (Vocals), Blake Richardson (Drums/Percussion), Dan Briggs (Bass Guitar), Paul Waggoner (Guitar)

BTBAM on the other hand, has (from the sound of that new track above) definitely progressed from their last epic, Colors. The starting was reminiscent of the opening guitar riffs from Mastodon's "Capillarian Crest", the drum beats have gotten more complex, the bass was as thundering as usual, and the vocals was just good ol' BTBAM. Oh yeah, the length is definitely progressive metal (9 minutes and 15 seconds). As usual, they have that good blend of harsh and soft moments, in which during the latter, Tommy takes a break from growling and Paul, Dustie, and Dan just shred away on those seemingly indestructible strings on their guitars. The guitar melodies have definitely improved, with appropriate moments when they go hiiiiiiiiiigh up (like towards the end of Pantera's "Cemetary Gates"), and Killswitch Engage-ish moments when their vibrato just shake you up from the inside.

Good utilization of a blend of clean and harsh vocals in unison also certainly added a new unique musical device to BTBAM's musical arsenal, and the guitar solos, although long and mellow like Opeth's, do not make you want to doze off as quickly as they started.

Hell yeah, it would be a pity if you did not give this amazing song a listen!


The Great Misdirect will be out on October 27th, 2009.

Song Of The Week: Threat Signal - Through My Eyes

Tear through the ashes of what still remains
The blood runs down my face
Can't find the reason we're all left to waste
You must awaken

See through my eyes!

I bleed to let myself know I'm alive
As you hide in denial
Break through the clouds and reach out to the sky
You must awaken

See through my eyes!
See through the lies!
We're not far away ~ [x2]

As we crawl ~
To salvation, the rest try to hold us down
As they fall ~
We separate from the hate that will bring us down
Bring us down ~ [x2]

These lacerations!
They will reveal for the rest of my life!
These aggravations!
Will not conceal 'til I die or we end this fight!

As we crawl ~
To salvation, the rest try to hold us down
As they fall ~
We separate from the hate that will bring us down!

Forget the words that they've said!
If it's all deceit in your head!
This life is more than just lies!
Awake and see through my eyes!!

Awake and see through my eyes!!! [x3]

Threat Signal is very fond of fading out their tracks, having catchy, melancholic guitar solos, and very generic guitar riffing to go with the scratchy harsh vocals. That is how I would sum them up in a single sentence.

Pleasantly surprising melo-death aficionados (such as yours Truly) with their soulful guitar solo in 2006's hit single, "A New Beginning", Threat Signal is set to burst back onto the metal scene with their upcoming album, Vigilance. As they are signed onto Nuclear Blast records, arguably one of the rare few music labels around that boasts an elite roster of metal bands (from Avantasia to Wintersun), one can certainly expect some quality music from them.

Probably taking a leaf from the book of fellow American music label, Victory Records, Nuclear Blast has recently adopted the approach of releasing songs from upcoming albums earlier than they should, in the form of their official music videos on YouTube. Thus, the song that the above music video took inspiration from is not out yet. :)

Briefly scanning through Threat Signal's 2006 Under Reprisal to get an idea of how they sounded like 3 years ago, I could not help but wonder about frontman, Jon Howard's claim about his musical efforts thus far.

"It's funny how the whole string section of Threat Signal was replaced, but the most noticeable progression lies within my vocals. On Under Reprisal I was really pushing and forcing my voice trying to find myself. I've found my voice and range with this album and I feel very comfortable." Jon Howard had recently said.

True, as much as Threat Signal's guitarists are mostly successful at crafting kickass guitar solos that do justice to the melo-death genre, Jon Howard still falls short of breaking out of the image of being the stereotypical harsh vocalist. He sounded almost the same on both 2006's "A New Beginning" and "Rational Eyes", and 3 years later, he is still screamin' the same in 2009's "Through My Eyes". By the way, what's with his obsession over eyes?

A foreboding warning to the metal scene - From left to right: Norman Killeen (Drums), Adam Weber (Guitar), Jon Howard (Vocals), Pat Kavanagh (Bass Guitar), Travis Montgomery (Guitar)

Only difference I could make out in his voice this time, is perhaps that of his better-sounding clean vocals during the choruses, albeit a bit too poppy for his (and our) own good. Melo-death harsh vocalists really ought to take a leaf from Scar Symmetry's original vocalist, Christian Älvestam. That guy makes the skinhead look cooler for harsh vocalists than the typical mane look.

All in all, Threat Signal is a Canadian melo-death band any metalhead should certainly look out for. After all, they are part of the Nuclear Blast brethren, and that's saying a lot.

Song Of The Week: H.I.M. - Killing Loneliness

HIM - Killing Loneliness (Version 1)

HIM - Killing Loneliness (Version 2)

As usual, I am very late in putting up amazing songs up for this section of the site.

This is one of my all time favourite alternative metal/rock songs, 'cos it is just so darned emooo. Thrashes most of those indie emo numbers you see flooding the mainstream music market everyday I would say.

From the opening few notes from the soulful keyboard, to the uncouth but sorrowful entry of the electric guitar, the first few seconds of this song already strikes one so hard in the chest, that your breath is simply taken away as you are led hypnotically and helplessly into the pits of melancholy dug into your own heart by this HIM masterpiece.

As most of you should have realised by now, Finnish metal bands really are a class above the metal bands of other nationalities, probably thanks to their superb education system (one of the few in this sad world that actually promotes creativity rather than stifle it) , and even then, HIM is one of the more popular bands amongst this elite group of musicians in the metal world. They were the first Finnish rock band to achieve a gold record status in the USA (by the way, many people consider HIM a rock band, but I consider them to be metal since the band thinks so themselves, as evidently seen by the 2003 album name "Love Metal"), and that means being the first among an amazing group of musicians to sell 500,000 copies of their album in a foreign land. In fact, the album that gave them this breakthrough in the USA was 2005's "Dark Light", which contained the song of the week I am relentlessly praising at the moment, 'Killing Loneliness'. It was a single off that amazing album, and anybody who just listened to it for the first time a moment ago should really see by now why that album was so popular a few years back.

One reason why such alternative metal songs can manage to sound so melodic even with the punctuations of the ugly electric guitar riffs every now and then, is because of the wondrous inclusion of the keyboard. Without the keyboards, there would possibly be no such thing as a metal ballad, because unlike pop ballads, metal ballads do not rely solely on the vocalist's voice to bring out the emotions intertwined with the lyrics. They rely BOTH on the vocalist's voice and instrumentals to collectively bring out the emotions in the song, of which the electric guitars are definitely out since they are the ugly kick-ass fronting instruments of metal that were not bred for such gentle tasks. The keyboard, is the key to bringing out the colours in an otherwise black and white world of distorted melodies and heavy drum beats, and it is only when a keyboard is included in an emotional metal song can it be truly called a metal ballad. Although there are a few exceptions, such as Children of Bodom's 'Everytime I Die' from their album Follow the Reaper, which is considered a metal ballad by Zen even though the electric guitars sound more pronounced than the keyboard.

Our Infernal Majesties: From left to right - Janne Puurtinen (Keyboard), Mikko Lindström (Guitar), Mikko Paananen (Bass Guitar), Mika Karppinen (Drums), Ville Valo (Vocalist)

That's all for today folks, if you are feeling suicidal or downright depressed, don't fret, HIM is here to emo your way out of it. Watch and listen to the music videos for this song of the week above, and follow the lyrics at the same time if you can to experience the song in the best way possible. Kill some time (and perhaps loneliness) while you guys are at it yeah, life often moves so fast that we barely have enough time to stop and admire the beautiful things around us before the little flame of existence that is each and every one of us is extinguished mercilessly one day.

Song Of The Week: Detroit Metal City - Satsugai

Lyrics:

I am a terrorist from hell
I raped my mom yesterday
I will carve my dad out tomorrow
I am a terrorist straight out of hell

I don't have a mom or dad
It's because I killed them
I have neither friends or lovers
It's because I killed them

Kill kill kill your close ones
Kill kill kill everything kill

Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
Paint your memories in blood
Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
Paint your future in blood

Kill kill kill your close ones
Kill kill kill everything kill

I have support from hell
This morning my brothers disappeared
I destroyed my relatives
I am a terrorist straight out of hell

I have neither brothers nor relatives
It's because I killed them
I don't worship and gods
It's because I killed them

Kill kill kill your close ones
Kill kill kill everything kill

Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
Paint your memories in blood
Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
Paint your future in blood

Kill kill kill your close ones
Kill kill kill everything kill

Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
Paint your memories in blood
Murder it's murder
Murder it's murder
(KILL! KILL! KILL! KILL!)
MURDERRRRRRRR!

Once again, I must ask too much of you readers.

Firstly, I have to apologise for the lack of a flash widget to conveniently display this song's lyrics within a quarter of a page length. Couldn't find any so far that has the translated version of the lyrics of this week's Japanese death metal song.

Secondly, as with most of my Songs Of The Week, this is yet another long overdue song. Had originally intended to put it up soon when I first learned of it last year, but kept pushing it back as I had other things to attend to (like socialising perhaps).

Okay, I presume that anyone who is reading this now would have already watched the music video above. Anyone ever heard of Dethklok from Metalocalypse? An adult cartoon on a fictional metal band? Well, Detroit Metal City is like the Japanese version of it, only wackier and crazier. This cult series originally began as a manga series, but was soon developed into a 13-episode anime series and even had a live-action movie shot of it that was shown worldwide in the first quarter of this year. I am not going to spoil the series for you, so go read/watch it to find out more about what it is all about.

Anyway, back to the main thing - DMC's music! This fictional Japanese death metal band plays sick numbers throughout the series, with only one being really popular though, that being "Satsugai", which literally means "Murder" in English. And why wouldn't it be? Those plodding, sick guitar riffs that come in from the start, that shrill scream-growl from Johannes Krauser II, and the guitar shredding that follows all complete that perfect death metal moment.

Despite the song's vocals being actually sung by the real-life Kenichi Matsuyama ("L" from the Death Note movie series, and "Johannes Krauser II" + "Soichi Negishi" from Detroit Metal City the movie), whom is by profession an actor, it is simply amazing how he can portray that image of the demonic Krauser II so well on-stage as vocalist of DMC by doing crazy death metal stunts such as the 'teeth guitar' (the only real-life person I know who had done it before is Alexi Laiho from Children Of Bodom) and saying "F**k!" 11 times within a second (until he bit his tongue). I would like to see a Hollywood actor (perhaps Johnny Depp? :D) play tribute to a harsh vocalist from a Western metal band someday (Marilyn Manson, anyone?).

Johannes Krauser II - DMC's vocalist as seen in the live-action movie, with the DMC logo being clearly seen at the top right, and bassist Alexander Jagi at the bottom left

Some trivia too, if you hail from the '70s or '80s, and find DMC sounding vaguely familiar, that would be because it is a reference to KISS' "Detroit Rock City" single from back then. Also, I personally feel that Krauser II's image is heavily based on Alexi Laiho, the vocalist for melodic death metal band Children Of Bodom, except for the face painting which the author obviously took inspiration from KISS, the heavy metal band that started the visual-kei fad in Japan.

DMC's antics - Krauser II making the Eiffel Tower "wet"

All in all, if you are kinda surprised why not only various weird styles of metal appear on this site, but even cross-culture styles of metal too, do keep up to date with us. We are even planning to do Korean and Chinese metal if possible, and when we can find the materials to do so. Lastly, check out DMC, and if you like their music, do not forget to...

GO TO DMC! GO TO DMC! GO TO DMC!

Dream Theater: Black Clouds & Silver Linings

Year released: 2009
Official website: http://www.dreamtheater.net/
Label: Roadrunner Records

Tracks:

1. A Nightmare to Remember [16:10]

2. A Rite of Passage [8:35]

3. Wither [5:25]

4. The Shattered Fortress [12:49]

5. The Best of Times [13:07]

6. The Count of Tuscany [19:16]

____________________________________________________________

With only 6 songs in it, this sure is a helluva long album, with a total playing time of about 1 hour and 15 minutes. And that's exactly my beef with this album. Yeah I'm afraid I didn't become a huge fan of Dream Theater when I listened to some songs by them, and my first experience with an album of theirs hasn't changed that disposition. The strange thing is: I actually think they're good.

With a career spanning more than 20 years, Dream Theater is one of the most famous progressive metal bands around, so I guess I should be shot for making Black Clouds & Silver Linings, their 10th album released only a coupla weeks ago, my first ever Dream Theater album. But I was never good at appreciating what most people call epic tracks, generally songs that last longer than 10 minutes, and if Black Clouds & Silver Linings is any example, 'epic' describes not only the quality of Dream Theater's musicianship, but also the length of their songs.

See, they've got everything on this album. Heavy atmospheres, emotional playing, melodic riffs, totally sick solos, not bad vocals, I quite like the sporadic death growls, catchy choruses, tight drumming, some cool blast beats, the lyrics fluctuate a little but are generally masterfully written. The problem is, they can have everything on a single song as well. You can almost hear them say, "Alright lets make 15 minute songs and throw everything we've got in them, so everybody can at least like something from them. That way, no one will say we suck!" Mash-up seems to be the idea here, and the transitions aren't always seamless. Even the lyrical themes of the songs are each so different, ranging from experiences of car crashes to writer's block to meeting strange royalty in Italy.

Its not always that bad, "A Nightmare to Remember" is my favourite track because some of the heaviest moments of the albums really do fit in well with the lighter ambience of other parts and the lyrics tie them neatly together. That 20 minute monster of a song, "The Count of Tuscany", on the other hand, is completely lost on me. It was a great display of talent, and I certainly can't say I was bored. But nothing striked me very much either and I can't hide the feeling that if it were separated into 4 five-minute songs, I would have liked each of them much better. This being my first Dream Theater album, I couldn't really appreciate the final part of the Twelve-Step Suite fully, but "The Shattered Fortress" was quite enjoyable both in its exuberent moments and when the quiet vocal work came in. Surprisingly, the shortest song on the album, "Wither" was the one I liked the least, ironically because the ballad was so constantly smooth and repetitive, almost gospel-like.

Left to right: John Petrucci (guitar), Jordan Rudess (keyboards), James LaBrie (vocals), John Myung (bass) and Mike Portnoy (drums)

Ultimately, I guess I like their work, but I'm simply not used to how much of their work is in a single song. But I s'pose that's how they are, its what makes Dream Theater Dream Theater, and their mastery of music just has to come to be manifested in epic tracks. In a final stab at my confusion though, below is a vid I found of "A Rite of Passage", shortened by about 3 minutes and I absolutely found no reason why it couldn't exist just like that, as a 5 minute plus song. Ah wells.

Verdict: 8.2/10