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]
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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]

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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~