Behold... The Arctopus: Skullgrid

Year released: 2007

Label: Black Market Activities

Official Website: www.beholdthearctopus.com

Tracks:

1. Skullgrid [1:07]

2. Canada [5:31]

3. Of Cursed Womb [2:58]

4. You Are Number Six [8:50]

5. Some Mist [3:47]

6. Scepters [3:43]

7. Transient Exuberance [7:37]

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Not strictly speaking, the music that Behold... The Arctopus plays would be to the contemporary music era what 20^th Century music was to the classical music era. A strong preference for complicated instrumentals, irregular and perpetually schizophrenic rhythms, together with the blatantly obvious lack of vocals are what shapes the musical brilliance of this former trio (now a duo, as their drummer left recently in 2008) hailing from Brooklyn, New York City.

Behold... the technical mastery and insanity!: Be ready for a wild ride.

Right from the very first second of this album, BTA delves right into the systematic chaos instantly, wasting no time in explicitly telling the unsuspecting listener what they are in for. Well, in for a swift treat that is. With finger dexterity on the bass line that would make Robert Trujillo proud, rambunctious guitar riffs that would make Protest The Hero dying for a friendly duel, and drums that put the oomph into the music with its resounding air-vibrating thuds, this band sure doesn't do things the usual way. While most metal bands typically only bring in the main melodic idea of their music after some time into the music (and then plain development of it afterwards), BTA does it s-t-r-a-i-g-h-t-a-w-a-y whether you like it or not. In fact, they bring in multiple ideas at once nearly 100% of the time, and then abandon development on most of them afterwards, teasing the listener's ear. Rest assured though, at the very essence of their musicianship is the inspiration they gained from modern (20^th Century, Impressionistic) and contemporary music (progressive rock, heavy metal), thus, there IS still a main melodic idea somewhere in each of their scatter-brained songs. A few listens should do the trick if you can't hear the main subject right away on the first listen, and you can definitely be forgiven for not being capable of that feat initially because of the 'overloading' experience the explosion of musical ideas BTA's music does to you.

We've got the Joker on our fingertips!: From left to right – Mike Lerner (Guitar), Colin Marston (Warr Guitar), Charlie Zeleny (Drums, left in December 2008)

One point of criticism about this album though, would be that as the album dashes along in all its 'here-there-everywhere' madness, it tends to fall into what I personally call the “Repetitive Trap” that oh-so-many bands these days fall into regardless of whatever genre they belong to. They overly emphasize on some insignificant portions of their songs from time to time, such as just plainly shredding or riffing in the post-climax section with no tangible aim or direction in mind, giving the impression to listeners that they are listening to the 'filler' section of the song. This induces the much-undesired act of intolerance that all musicians hate: Pressing of the 'Next' button. Also, alacritics might diss this album for the fast rhythm on every song that gets tiring sometimes, like bringing your ears on a full-sprint all the time without stopping to rest (although that would be to the rhythmic preference of the individual listener).

Watch those fingers fly and the fretboards burn!

Perfect for music aficionados looking for a blast of fresh air, Skullgrid is a good album that will definitely whet your appetite for more of such avant-garde music. Traditionalists might want to stay away from this album and the rest of BTA's music though, as music that does not stick to any perceivable structure, standard rhythms, and orthodox presentation of a sole musical idea is most definitely not your idea of audible pleasure.

Verdict: 9.4 / 10

Song Of The Week: Molotov Solution - The Myth of Human Progress

Death metal had its fair share of skeptics and critics back in the early 1990's when it first started to surge in popularity, thanks largely in part to the likes of Cradle of Filth and Children of Bodom.

With a bass line that doesn't sound like its there (but assumed to be there, otherwise it ain't no metal), usually duo or trio electric guitars that ferociously rip and shred with the zeal of ravenous demons, a set of drums dishing out a truckload of beats whose tempo usually rival that of heavy rain, and harsh vocals that seem to be intended more for enhancing the 'heavy-like-f**k' feel of the song than the clarity in bringing across the meaning behind the lyrics of the song, this is the modern-day evolution of death metal. A new breed of underground American death metal that has been called Deathcore (closely related to Grindcore and Noisecore as well).

Take a listen!: Brutal, heavy, ear-bleedin'ly insane

Molotov Solution is one of the many brave souls out (or perhaps under) there on the current American underground metal scene whom place their sanity and earnest efforts on the line where they let traditionalists and critics alike verbally slice and dice the legality of their 'music', and extreme non-mainstream fans looking for a good heavy band to headbang to. With that said, it still doesn't mean normal people cannot listen to deathcore, it would be a good experience for new and old metalheads alike who are new to this genre. Music is all about pattern-imitation, and then pattern-changing, and then there is the element of freshness as well. Instead of the typical opening guitar solos that beguiles your saliva glands to start drooling over the possibly melodic aspect of the typical metal song, or the harsh but partially discernible sung lyrics, "The Myth of Human Progress" is a great song to start with in order to get a better idea of what deathcore is about. The vocals are never-before-heard, with the monstrous-sounding growls that would make your blood curdle, and the sudden calm respite in the middle, it sure gets one anticipating what the next surprise would be.

Fiery underground fiends: Robbie (Guitar), Joe (Guitar), Jeremy (Drums), Nick (Inhuman Growling), Anthony (Bass Guitar)




Although not guaranteed to be liked on the first listen, and probably not by many metalheads as well for that matter, this is a unique song that perfectly sums up what deathcore is about in a nutshell.


Foreboding silence >> Impending outburst >> Calm [sometimes melodic] transition >> Recapitulation of first subject >> Abrupt, gritty end.


Yes, this is the musical variation of a dominatrix experience folks. Deriving pleasure from the aftermath of pain.

No, we're still alive.

Sorry about the 2 month hiatus, I guess we really should have said something, like give a warning or what, we'll take note of it. Been kinda busy since the year started, both of us, and will still be for a while more so we'll probably only update properly by next week at least.

Meanwhile, even though we haven't been posting anything, our music players certainly haven't been quiet all this time. So here's some of what we've been listening to for these past coupla months while we weren't here.

Shadori:



Twilightning - Delirium Veil
Spinefarm Records, 2003

Belphegor - Bondage Goat Zombie
Nuclear Blast, 2008

Black Sabbath - Black Sabbath
Warner Bros. Records (US), Vertigo Records (UK), 1970

Zen:



Scar Symmetry - Holographic Universe
Nuclear Blast, 2008

Skyfire - Spectral
Arise Records, 2004

Kalmah - For the Revolution
Spinefarm Records, 2008

Kamelot - Ghost Opera
SPV GmbH/Steamhammer Records, 2007

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So yeap, we'll probably be doing reviews on them soon, right after the ones we already have planned before we had to disappear all this while. Stay with us, yo \../