Song Of The Week: Silverstein - Vices

Finally, my favourite post-hardcore band for the past 4 years make an appearance on Zetalambmary! :D

Silverstein, the Canadian quintet has made quite a name for themselves on the indie punk scene ever since they formed back in 2000. Revitalising a dying scene with their fresh, earnest take on independent music, this band has been successful in fusing emo, hardcore, and alternative rock tunes into what I would call 'Stein-mo' for nearly a decade now. This week's featured song by them, "Vices" is the first single off Silverstein's 4th studio album, released earlier on this year at the end of March.

When the first few seconds of this epic roll in, any good ol' 'Stein fan can instantly tell that this band has finally matured into something more. Something darker. Something a wee bit more sinister. Something insinuating towards... M-E-T-A-L. Showcasing a very different kind of raw energy on this song compared to the previous few singles from their previous albums, Silverstein is now balancing on the tightrope separating indie hardcore punk from alternative metal, teasing the rope by bouncing gently on it on a few occasions, sometimes even nearly giving in to temptation to jump on it. I haven't heard the album of "A Shipwreck In The Sand" in its entirety yet, but from the sound of the single above, if the rest of the album is like that as well, this would be one of the occasions where Silverstein is boldly jumping on the tightrope, almost daring themselves to push it to its limit until it snaps. Lyrically emo at heart, Silverstein's lyrics are typical indie punk lyrics though, dealing more with human emotions and conflicts with the usual tragic love story thrown into the midst of the lyrics as a story device, or just plain rebelliousness as heard on their first studio album, "When Broken Is Easily Fixed". The song names and album title usually don't really have any synergy.

These outstanding Canadian hardcore rockers are: From left to right - Paul Koehler (Drums), Billy Hamilton (Bass Guitar), Shane Told (Vocals), Josh Bradford (Guitar), Neil Boshart (Guitar)

However, they have finally started to experiment with a conceptual album, and so came along "A Shipwreck In The Sand". Just a note of interest, conceptual albums are usually done almost exclusively by metal bands (e.g. Mastodon, Kamelot, Amon Amarth), and it is indeed very rare to see a post-hardcore band do one. Also, Silverstein's instrumentals have become overall more thunderous and foreboding, as evident from the intimidating opening of thudding drum beats and the reverberating bass line, and even the twin guitar melodies has sped up significantly while remaining capable of dishing out melancholic tunes, bearing a huge resemblance to common melo-death songs. Best of all, vocalist Shane Told's harsh vocals have improved tremendously, as they sound more aggressive yet polished instead of the previously angsty scream-growls that were much more unpolished in comparison. Oh yes, Shane's mellow clean-singing is still in tip-top condition and ready to solicit tears from the eyes of girls, and it really balances out the overall feel of the song by acting as a sort of counterpoint to the angsty, screaming alter-ego of Shane.

This brings Silverstein's unique brand of hardcore to a whole new level, which creates more room for them to experiment with their music in future as the doors to the varse kingdom of metal are now thrown wide open, ready to receive them with warm, molten steel.

All in all, this song is aggressive and gritty, yet pleasant to the ears with the combination of infectious clean vocals. This would be another nice song to warm anyone up to the genres of post-hardcore and metalcore.

Songs Of The Week: Scar Symmetry - The Illusionist | Amorphis - House Of Sleep

You say Jonas Brothers-I say Kamelot
You say Soulja Boy-I say Slipknot
You say Miley Cyrus-I say Nightwish
You say T-Pain-I say SOAD
You say Flowers-I say Deathstars
You say Pink-I say Children of Bodom
You say Hip Hop-i say shut the fuck up
You say Pop-I scream Heavy Metal!!
92% of teenagers have turned to Hip Hop and Pop.If you are part of the 8% that still listen to real music,copy and paste this message.

Hm... sorry for that random and lengthy apophthegm, but I just had to put it up to show my unwavering support for metal! Found it on YouTube by the way, the speediness of mass spreading of trivial information brought about by mass media, the perfect icon to represent the current zeitgeist I might say.

Okay going back to what I was originally supposed to talk about, if you have always been someone looking for that legendary vocalist who could handle both harsh and clean vocals brilliantly, congratulations. You have just found your Holy Grail. Ah, which reminds me, my girlfriend has asked me out for Angels & Demons next week. :D

Anyway, sorry for the diversion yet again. Genuinely good music needs no words to complement it or bring about its message, the music itself does it! But what the hell, if zesty ol' Zen and I truly adhered to that principle, we probably wouldn't have gotten this site up in the first place. Ah pardon me, there I go again, rattling off about irrelevant information.

Sharing the same name as a hit movie a few years back, this SS song certainly brings magic to the name, literally, just like how the movie had done so. Starting off with a string ensemble, the song already strikes a melancholic chord deep within the listener, connecting the listener to the surreal yet hauntingly beautiful (sound familiar, Zen? xD) world of "Pitch Black Progress", that is, the 2nd album of SS released back in 2006. It then surprises the listener with a sudden dramatic descending glissando on the good ol' electric guitar, following up with an opening that would make any power or lesser melo-death bands proud. Christian Älvestam, that guy who is superbly good at both growls and clean singing, then propels the song into an aggressive start with his quality growls that thrash just about nearly 98% of all growls out there on the metal market. Pity he left the band last year, now they have TWO vocalists to replace him, one for growls, one for clean singing. Man, you are g.o.o.d.

Of course, Christian then rapidly switches pitch to that amazingly clear and mellow voice in the chorus, and it certainly sets the new benchmark for aspiring Metal's-Next-Kamelot/Scar Symmetry metal bands who want to stop turning new fans off with unprofessional growls 24/7 throughout the typical catalog of headbanger numbers. The keyboards are particularly prominent in this song too, which certainly gives the 'melo' in 'melo-death' for all melo-death bands apart from SS. Noticed how the keyboardist was windmilling his hair about in the video? Now, that is what long hair is for!

The original Scar Symmetry: From left to right - Jonas Kjellgren (Lead/Rhythm Guitar), Christian Älvestam (Growls/Clean Singing), Per Nilsson (Lead/Rhythm Guitar), Henrik Ohlsson (Drums), Kenneth Seil (Bass Guitar)

Hope you enjoyed the song. Now, on to the next!

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You know, there really is one thing about Amorphis you should know. They were all old school death metal back in their early years, which were the '90s. After numerous line-up changes (which Zenny and I are vehemently opposed to since it taints the original sound of the band), they finally have mellowed all the way down the rungs of the metal ladder into the boundary separating rock from metal, as they sound really alternative rock-like on "House Of Sleep". Luckily, the overall thunderous presence of dual electric guitars, and the sombre thudding of the bass guitar are still there, signs which indicate that this song is still a brethren of our beloved genre. :)

Overall, this is one song which would be classified as what many people would call "emo", and yes, it is "emo" in both videography (for the music video, as seen above from vocalist Tomi Joutsen's moody moment in the pre-climax) and melody. The guitars may not be particularly melodic in the celestial kind of way, but you really cannot deny that their emotional wailing throughout the entire length of the song doesn't tug at your heartstrings. The incorporation of the piano as the main accompaniment for Tomi's moving voice is also a nice element, as most progressive metal bands hardly ever do this. Instead, they mostly prefer to have repetitive guitar riffs that generally tend to lull one into a state of hibernation, as heard on Opeth's "The Drapery Falls". Being a pianist myself, I really admire the keyboardist's skill in creating a sorrowful musical line with simple notes and chords alone, that are even in fact repetitive, but which still effectively dissipate into an atmosphere of sadness and yearning. It also has a very lethargic feel to it, making it the perfect solution to insomnia for metalheads. This is "Rock-a-bye Baby" for metalheads indeed.

The Patriots: From left to right - Santeri Kallio (Keyboards), Esa Holopainen (Guitar), Tomi Joutsen (Vocals), Niclas Etelävuori (Bass Guitar), Tomi Koivusaari (Guitar), Jan Rechberger (Drums)

Lyrical-wise, Amorphis might be a little boring. Apparently, they base their lyrical themes largely and mostly on the Finnish epic poem, the Kalevala. Thus, fans of meaningful lyrics that deals with the questioning of human existence, ethics and the likes probably will not be wowed by this band's somewhat uncreative songwriting.

If you have trouble sleeping at night, this is the song to blast! Err... I mean nod off to. Let's hope Amorphis stick with their current style all the way.

Song of the Week: Arch Enemy - Revolution Begins

Arch Enemy, with their female harsh vocalist (who actually looks quite hot =P) and their seemingly telepathically-linked guitarist siblings. They're so good, they're one of the only melodic death metal bands that I actually like who doesn't have a keyboardist. And this song, "Revolution Begins", from their 2007 album Rise of the Tyrant, pretty much exemplifies why.

Angela Gossow's voice is distinctly feminine and yet few harsh vocalists can sounds as menacing, as ... feral. It exudes energy, the growls sound really filled with hatred and the screams are definitely not whines, which is what most vocalists, especially American ones, tend to do when they start trying to reach a higher octave. While such a perpetually angry voice can hardly bring out any other emotion, Arch Enemy balances out that aggression with their metal ballads, which is usually where the Amott brothers start to shine, but that's for another time, probably in an album review.

The guitars get lots of credit here already as it is with the melodies crafted. "Revolution Begins" is heavy and not particularly fast but, despite the lack of a 'boardist, is still very melodic while retaining its headbanging qualities. And I find it somehow a rather uplifting song. Lyrically, its about not conforming to the system, and the voice, the solos and the overall feel of the song just transmits that energy which really brings out that f*ck-you-world-I'm-gonna-live-my-life attitude within you. So yeah, cast off the mental chains that's holding you back, let your metal revolution begin and take a listen! ^^

Within The Ruins: Creature

Year released: 2009
Official website: www.myspace.com/withintheruins
Label: Victory Records

Tracks:

1. The Book Of Books [3:58]

2. Arsenal [3:50]

3. Dig A Ditch [4:23]

4. Call Off The Wedding [3:38]

5. Extinguish Them [3:56]

6. Jump Ship [2:53]

7. Creature [3:31]

8. Tractor Pull [4:56]

9. Holy Mess [4:36]

10. Victory [2:16]

__________________________________________________________________________

There is no doubt about it.

Creature, is just like what its name and its artwork is all about: A mean, teeth-gnashing, ferocious machine of aural destruction that showcases a relentless display of abstract vibrance. Its instrumentals are as colourful as its monstrously cartoonish-looking cover, and its technicality is one that rivals Skullgrid, making it undoubtedly one of the fresher metal albums I have ever come across in my fourth-running month as a music reviewer so far.

Within The Ruins, the Massachusetts band whose eccentric brilliance gave birth to this wild beast of fretboard breakdowns, insane tempos, swift guitar riffs, and good old I-don't-really-care-what-you-think-about-me attitude, probably did not have it easy in the process of producing this successful debut album of theirs.


Take a listen!: Like seriously, there isn't really a solid way of describing this.

Needless to say, WTR's members have been practising innumerable hours everyday ever since they met back at their old high school and formed the band in 2000, and it is only with such effort can any musician reach this high level of perfection of their instruments. It is a little hard to believe that their early influences came from the likes of Metallica and As I Lay Dying, because they are both generally thrash and metalcore respectively, which is a little of what WTR exhibits on this album, but yet not quite it as well. Now how do you put it, it is just like an eagle's egg mistakenly landing up in a swallow's nest, and although the infant eagle learns the ways of the swallow initially, it eventually grows big enough to consume the swallow and mutate into something different (that is not to imply that swallows have mutating effects upon consumption however, as this is just a random analogy). Yeah, basically, WTR is purely a unique band in their own right, crafting a sound that is so borderless and daring that they do not resemble anyone else and which gives them the edge in terms of experimenting with their style further in future.

Being on the front brink of progressive metalcore, WTR has so far successfully blended technicality, ferocity, death, and hardcore into a jam-packed arena of blistering aural bliss. A very interesting thing to note about their music would be that although it is metal, it does not give off the typical heavy feel. Creature, unlike most metal albums, actually skims along in an energetic fit for the whole album due to the incessant staccatos omnipresent throughout the guitars parts. This is a plus point for me, because it is the first time I am seeing such an effect being used to great texture rendering, seamlessly creating multi-layered melodies together with a seemingly unending torrent of stop-starts which is easy on the metalhead's ear (after a long day of blasting the poor eardrums with the daily diet of melo-death and thrash of course) and yet retains the gritty melodic satisfaction one can only derive from metal. It really gets me greatly anticipating what this ingenious band would come up with next. Perhaps technical black metal might be up next on their music laboratory's roster? :P

Already receiving a positive reception from live shows across America on their virgin tour which kickstarted at the beginning of this year, WTR is one band whose current inflating fan base is one you would not want to miss out on joining. Such bands whom continuously inject freshness into the quickly rusting underground metal scene deserve as much support as they can get to increase the exposure they get, and perhaps then, their producers or band manager might finally start telling them to get a better image too. Although almost individual masters of their own instruments, WTR still lacks one thing many underground American metal bands still lack today: A better image.

Seriously, there you are making kick-ass music, and yet you look like you wouldn't be out of place walking amongst ordinary Americans on some ordinary American street.

  

 

WTR ought to lose that teenage punk image by replacing their dull mushroom-head goodie boy haircuts in place of, say, a mohawk or long, braided hair? Okay, maybe they can even try out a monstrous-looking haircut like the Devil's Lock to enhance the image of their album or something. Honestly, no metalhead would ever want to have sweet memories of a kick-ass album being tainted by abysmal nightmares of a suck-ass band image.

All in all, pick up this album if it is available at your local CD store. If you have enough cash to spare for iPods, why not apportion some towards increasing the productivity capacity of good metal bands? Certainly, this is one band whose progress you would not want to be missing out on, as they are sure to continue churning out technical masterpieces that would blow you off your seat.

Hell, I want that Creature shirt!


Health Warning: This video might cause seizures or temporary paralysis, I'm not kidding, the video says so itself.


Verdict: 9.0 / 10

Kamelot: Ghost Opera

Year released: 2007
Label: SPV/Steamhammer Records
Official website: http://www.kamelot.com

Tracks:

1. Solitaire [1:00]

2. Rule the World [3:41]

3. Ghost Opera [4:06]

4. The Human Stain [4:01]

5. Blücher [4:04]

6. Love You to Death [5:13]

7. Up Through the Ashes [4:59]

8. Mourning Star [4:38]

9. Silence of the Darkness [3:43]

10. Anthem [4:25]

11. EdenEcho [4:13]

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Sorry about the long hiatus once again, I've had a spout of injuries and ailments while Shadori has had to deal with... positive changes to his relationship status (guess I've got the worse karma), so yeah, major adjustments in life. But now I've overcome the mental inertia of not posting anything for the past weeks by talking about one of my absolute favourite bands ever. Not that Kamelot isn't famous enough as one of the most prominent power metal bands around.

With 8 studio albums and 3 live albums under their name, Kamelot has been around for quite some time and with few line-up changes, save for the significant change in vocalist early on to their current charismatic opera-trained frontman, Roy Khan, and the more recent inclusion of Oliver Palotai as a full-time keyboardist, has been very consistent in their aesthetic brilliance. This is in spite of the fact that they have never particularly limited themselves within any genre and have developed their signature sound to be somewhere vaguely between power, symphonic and progressive metal.

This American band (albeit with a Norwegian singer and a German keyboardist) has gone down a markedly different path than its previous works, however, with Ghost Opera sounding exactly like its name suggests: more eerie and dark but also more symphonic, ultimately being less thought-provoking and discarding Kamelot's more energetic and powerful elements. As Kamelot's first album featuring a full-time 'boardist, it accentuates Oliver Palotai's talented keyboarding very much but perhaps at the expense of Thomas Youngblood's guitar prowess. While he continues to craft catchy riffs and intricate solos like at the start of "Rule the World" and in the middle of "The Human Stain", the only real guitar-driven song is "Silence of the Darkness" and otherwise, Youngblood just spends much of his time chugging along with Glen Barry's bass. There's nothing really wrong about this, just a difference in style, depending how each individual listener likes it.

Lyrically, Ghost Opera is a far cry from its immediate predecessors Epica (2003) and The Black Halo (2005), which were 2 parts of an epic philosophical concept story which not only managed to sound incredibly poetic but also intriguing enough for you to actually linger and ponder over what is being sung. The lyrics of this album, while still exceptionally beautiful, seems more personal and emotionally driven, which makes it more forgettable I guess. But it doesn't really matter all that much when we look at who's singing these words. I always tell people, anyone who doesn't appreciate Roy Khan's voice has seriously got to be tone-deaf. His soulful voice and dramatic singing, like he's carefully unfolding the next line to every story, is one of the main strengths of Kamelot and the largest motivation for getting this album. Listen to "Love You to Death" and you'll see just how profound the depth of emotion can go into his singing. Or "Anthem", which, in the absence of any rhythm instrument at all, is really just all about his voice.

From left to right: Thomas Youngblood (guitars), Oliver Palotai (keyboards), Roy Sætre "Khan" Khantatat (vocals), Casey Grillo (drums) and Glen Barry (bass)

Really, this is a great album- maybe not as awesome as Kamelot's older stuff, but then if I had to review The Black Halo, I'd probably give it 11 out of 10 (taking into account that I'm biasedly a worshipper of Kamelot XD). Its hauntingly beautiful, and after a few listens, it'll grow on you. This isn't powerful, energetic metal, but it is surreal art.

Below is the official music video for "The Human Stain", which is personally my favourite song from the album, and one of my all-time faves for all Kamelot songs.

Verdict: 9.2/10

Song Of The Week: Opeth - The Drapery Falls

When talking about Progressive Metal/Rock these days, it is not abnormal for one to automatically think of Dream Theater immediately.

Kick them outta your minds then idiots! Even in your dreams! This is Zetalambmary dude, NOT
Rolling Stone! (Or any other mainstream rock magazine for that matter)

Opeth, a Swedish progressive death metal band that formed in the year of 1990, is the progressive metal band of choice for most underground metalheads.

Fusing folk, death, doom, and even some elements of rock (as heard on Damnation, 2003), Opeth's often lengthy songs (typically 6 minutes and above) exude an atmospheric ambience of foreboding, epicness, and mystery. Combined with the occasional clean singing, this band shows that harsh vocals aren't just "mindless screaming", but the perfect polar opposite of clean vocals that wouldn't exist without the other. In fact, I would find it hard to savour progressive metal bands without harsh vocals, for there are certain times when overwhelming emotions such as sorrowful angst has got no other better way to express it then with a death growl.

The above mentioned song is a single off of Blackwater Park (2001), Opeth's 5th studio album that finally gave them a little mainstream recognition and increased popularity in the earlier part of this decade. With a hypnotic bass line that is sure to catch your ear after a few listens, and emotionally-charged lead guitar melodies that create a dreamy alternate universe with their melancholic world-weariness, this is a band that actually does justice to the name Dream Theater... but! Opeth still sounds cooler though :D

This song represents Opeth at their very best, showcasing most if not all of their musical elements (and their famed lengthiness) mentioned earlier on in this post, and they undoubtedly come together to form the signature style of this top-quality progressive metal band. With the exception of their drummer, Opeth's guitarists and vocalist are excellent musicians who are serious about what they do, and this masterpiece that is accurate to a fault in the video of their live performance below is proof of it.

All in all, if you are looking for a good progressive metal song to slowdance to, "The Drapery Falls" is a good choice to begin with.

Immerse yourself in the hauntingly beautiful world of slow melodic tunes and ambient moods today.

Featured Musician: The Jonas Brothers

His visage described great discountenance.

As Vortex continued stabbing relentlessly at the voodoo replicas of the infamously famous pop trio from the company of a fallen man now in cryogenic stasis - all in the hopes of saving the beloved genre of the underground music community - his efforts were in vain however, for there is nothing to stop the impending musical revolution that is to come. 

"Stop it!" Laiho snapped.

With a frown caressing his brows interminably these days, Laiho looks undoubtedly tired, tired from trying to battle this unstoppable force known as the Jonas Brothers Mania. 

"It's pointless you fucker! Save your energy for better things, like spreading your black metal thingamajig around... ... and I am trying to think of a better way of killing those afro fags, so I will need some SILENCE." Laiho snarled. 

"Whimper" Vortex.

"But but but Laiho sir! Thy unholy god has blessed thou with a vision that voodoo dolls are the way to go about in doing exactly that! He said that it will work if I embedded a strand of their hairs in the dolls!" Vortex cowered. 

"And since when have you done that yet you long-haired, gothic clown?" Laiho glared down Vortex.

"Oh.... right." Vortex scratched his head with his overly-black nails. 

"Heh, I guess this is what happens when you use up too mucha ya grey matter up there trying to think up friggin' complicated, smart-ass three word album names, eh?" Slash butted in.

"Oh shut your gaping hole you ninny, do you have any bright idea on how to prevent the oncoming epidemic?" Laiho sighed.

"Well... yeah. Ah'f got one or two bright ideas here. How 'bout we thrash them in a guitar duel >:D" Slash laughed.

"Oh, I wouldn't do that if I were you." Dimebag chimed in.

"?!?!?!?!?!" Laiho.

"?!?!

 Praise ye above~ Ye heavenly Ghost..." Vortex quivered.

"Ah, unless ahm seeing things here 'cos of me boozing too much last night, ain't this the dead Dimebag Darrel right in front of me?" Slash squinted at the ghastly apparition through his curtain of locks.

"Right you are." Dimebag said.

"Holy shit, this is freaky. Now I know what I'm gonna name my next kick-ass album with CoB... The Lazy Reaper!!" Laiho smirked.

"No you don't. No wonder people say you are just about as creative as AC/DC when it comes to naming stuff, Alexi. Anyway... give it up people. This trio are d-a-n-g-e-r-o-u-s. I mean they are not even human I reckon! Ol' Cliff Burton down there, told me that he tried killing 'em in their sleep one night, but guess what? They looked him in his ghostly eyes, and fucking told 'im to tell them that he loves them and to comfort them that everything would be alright!" Dimebag exclaimed. 

"... Father~ Son~ and ho-oh-ly Ghost. Ah-men~" Vortex continued his worshipping. 

"Man, that IS freaky." Slash said.

"Wow, they are the gayest fags I have ever seen then." Laiho said with a green face, looking as if he wanted to throw up.

The television suddenly flicked on.

Suddenly, a cacophony of ear-bleeding tunes burst out of the speakers. 

"Holy fuck! Its the Jonas Brothers 3D movie! Run for it!" Dimebag screamed, and promptly went right back to hell. 

"Argh!!!!!" Vortex shrieked, running out of the door and towards Sunday school... for the first time ever. 

"Man, I didn't know there was anyone that could sound worst than that dickwad Rose." Slash grimaced, and took off on his bike.

"This is insane. I think I have to get some help from Detroit Metal City..." Laiho growled.

A few decades later, metal has since completely disappeared from the world of music. Not leaving a single trace of itself behind, the Jonas Brothers took advantage of the situation and conquered the world, defeating even the last superpower in the world, the USA, by annihilating her troops completely with their brain haemorrhage-ing tunes. And thus, it was inscribed in the annals of music history that metal was finally defeated by pop.

Not!

Happy April's Fool!