Song Of The Week: Opiate For The Masses - Black Book

Cold wind's blowing at my cigarette,
No this can't conceal
I'm hanging like a marionette
Can you make me real?


See the world best I can
Through the smoke as its hand tries to choke me again...


Got my black book open and
I'm burning down at that hotel
A hundred thousand miles in my way
On the road to hell


Give me something to touch
something I can smell - of you
I'll take it to my grave as I burn for you.


Blind weight twirling in my skin that'll pass
Like only time can tell.


Guess this letter's gonna be my last
I hope it finds you well.


See the world best I can
Through the smoke as it's hand tries to choke me again...


Got my black book open and
I'm burning down at that hotel
A hundred thousand miles in my way
On the road to hell


Give me something to touch
Something I can smell - of you
I'll take it to my grave as I burn for you.


A hundred thousand miles away -aye
I've fallen -aye aye
I can feel my final day -aye
is calling -aye aye


I'm burning alive for you
Just reaching for something true
I'm burning alive for you
I need something to pull me through
to pull me through


I've got my black book open and
I'm burning down at that hotel
A hundred thousand miles in my way
On the road to hell


Give me something to touch
Something I can smell - of you
I'll take it to my grave as I burn for you.


Got my black book open and
I'm burning down at that hotel
A hundred thousand miles in my way
On the road to hell


Give me something to touch
Something I can smell - of you
I'll take it to my grave as I burn for you.


Burn for you.


Los Angeles, CA. Perhaps one of the few places in the USA that have produced some of the biggest, finest modern rock and metal bands of today, and complementing this roster of acts was Opiate For The Masses (they broke up in 2009, 10 years after they formed).

OFTM sounds just like Linkin Park, just a little more sparing with the synths, and definitely more stylish in terms of image. C'mon, how cool is it to see a Nu-Metal band dressed up as Commies?! By the way, for those who have never heard of Karl Marx, he once said that "Religion is the opiate of the masses." Yeah, now you know where this band took their name from.

You know, this song is one of those rare gems out there that actually has a bass line that is existent. Right from the very first second, the bass line makes its presence known by humming in to the catchy beats of the drums, with Ron's lulling voice accompanying it to great melancholic effect. Ron's voice is another one of those gems... no wait, a natural perfectly-cut diamond amongst the hordes of rough, uncut gems in the realm of rock/metal vocalists. The only person I can think of to compare Ron to, would be the legendary Chester Bennington of the titanic Linkin Park. One can never really forget Chester's talent for blending both harshness and clarity into a voice like no other, a voice that screams of all the angst within oneself, yet exudes an honestly clean feel that doesn't scare mainstream listeners off. Well folks, here is another talented vocalist who was in an excellent band for you to check out.

Opiate For The Masses were: From left to right - Anna Kjellberg (Bass Guitar), Jim Kaufman (Guitar, Synthesizers, Programming), Ron Underwood (Vocals), Seven Antonopolous (Drums)

In the words of Joey Jordison of Slipknot, "Opiate For The Masses is nothing short of hypnotic." Indeed, the band had named themselves appropriately during their active years. They have completely changed the atheistic flavour of the phrase they extracted from Karl Marx's famous quote, and instead, turned it into a phrase synonymous with good music for rock and metal fans.

Looking for a wonder drug to cure that occasional itch for a mainstream fix? Look no further than OFTM!

As I Lay Dying: The Powerless Rise

Year released: 2010
Websites: www.myspace.com/asilaydying, www.asilaydying.com
Label: Metal Blade Records

Tracks:

1. Beyond Our Suffering [2:50]

2. Anodyne Sea [4:35]

3. Without Conclusion [3:15]

4. Parallels [4:57]

5. The Plague [3:42]

6. Anger And Apathy [4:26]

7. Condemned [2:50]

8. Upside Down Kingdom [4:00]

9. Vacancy [4:27]

10. The Only Constant Is Change [4:08]

11. The Blinding Of False Light [5:05]
__________________________________________________________________________

American metalcore veteran AILD is back to slaughter eardrums by the masses, yet again, with their ferocious 5th studio album, "The Powerless Rise"!

Alright guys, turn up the volume of those speakers, and tune up the bass settings for that bass booster. This is one helluva album to blast! With overpowering bass lines and pounding drum beats that is sure to gratify any metalcore fan's appetite for aural destruction, wailing guitar melodies so intense that they not only shake up one's soul from the inside out, but blaze by so fast that you find your finger subconsciously hitting the song on repeat, and anthem-like choruses that would make any decent post-hardcore band proud, AILD proves that metalcore can be a genre that is not all about overly-generic distorted guitar riffs and sub-standard harsh/clean vocals.

This is a good album, not excellent definitely, but just good. There are two issues stopping me from giving this album a 9+/10 rating, and here they are.

Firstly, AILD might want to consider better planning of their vocals on future albums. Their combination of harsh vocals and clean singing on the more popular songs of this album, especially my personal favourites "Anodyne Sea" and "Parallels", proves itself to be a successful formula for creating metalcore hits that aren't too sappy yet overly-aggressive such that it borders on sounding generic. However, the five songs "Beyond Our Suffering", "Without Conclusion", "The Plague", "Condemned" and "The Only Constant Is Change" comprises of entirely growls and screams, which is nearly half of the album. The utilization of both types of vocals is not evenly spread out. If not for the relentless assault of belligerent guitar passages and brutal breakdowns on those tracks with zero clean singing, they would end up sounding like overly-generic metalcore music. If AILD wants to stick closely with the decent formula mentioned at the beginning of this paragraph, it would be better if they tried utilizing both types of vocals simultaneously on a more frequent basis from now on (not to the extent of sounding too much like pop metal of course).

Secondly, although the album blasts off with a good and explosive start and ends off on a nice, mellow and melodic note, it is rather boring in the middle. I mentioned in the earlier paragraph that "If not for the relentless assault of belligerent guitar passages... end up sounding like overly-generic metalcore music." Yes, those tracks mentioned do not sound overly-generic, but that still doesn't mean they do not sound generic. Chugging guitar riffs together with seamless drum beats and simple bass lines are such a common staple in metalcore music that even veterans like AILD cannot do without them, and that is precisely what makes a boring metalcore song these days on the modern metal scene. This is certainly something for AILD (as a matter of fact, all aspiring metalcore bands as well)to watch out for on future albums if they want their songs to be memorable for their musical value and not how they sound like so-and-so metalcore band's so-and-so song.

They will steal your last breath: From left to right - Josh Gilbert (Bass Guitar, Vocals), Phil Sgrosso (Guitar), Tim Lambesis (Vocals), Jordan Mancino (Drums), Nick Hipa (Guitar)

Production-wise, AILD had roped in Adam Dutkiewicz as their producer (guitarist for Killswitch Engage) yet again for the second time, with the last time being when they were recording their second-most recent album "An Ocean Between Us". They did so because they believed Adam understood their sound better than anyone else, and I do not find fault with this claim because Adam certainly continues to do a good job ("An Ocean Between Us" was also a well-received album).



Another minor thing to bring up would be the lyrics, and as usual, it is all about mankind's ignorance, shallowness, and hollowness. Ah, the typical lyrical theme adopted by most metal sub-genres, listening to metal sure makes one feel ashamed of your own species. Oh well, I guess this is a part of metal music that is so deeply ingrained in the culture created by many metal musicians such that one can never really expect it to have much variation.

Being yet another milestone in AILD's scintillating career thus far, "The Powerless Rise" is definitely for fans of the old Bullet For My Valentine, Caliban, Killswitch Engage, Lamb Of God, and Shadows Fall.


Verdict: 8.7 / 10

Draconis Infernum: Death In My Veins

Year released: 2008
Website: www.myspace.com/draconisinfernum
Label: None

Tracks:

1. Funeral March (For Those Entombed) [4:44]

2. Belial Rising [5:20]

3. Death In My Veins [5:45]

4. Cursed Are The Vanquished [6:12]

5. Worship Me [5:49]

__________________________________________________________________________


When I first learnt of Draconis Infernum, the first thought that shot through my mind was: "Wow, cool name." And this is not your everyday black metal band, it is a Singaporean black metal band. Local music has never sounded so good to me until I heard this! Singapore's underground metal scene is not very huge, its commercial existence thus far is only slightly more than 10 years. But young as it is, it has seen success with many young bands growing increasingly prominent overseas recently, such as Wormrot, Xanadoo and the title band just to name a few.

Anyone who picks up instruments, learn to play well, and has the intent to make music their career can form a band. But how many GOOD bands actually come out of this plethora of budding musicians? Only time has the answer to this question, and so far, Draconis Infernum is doing well. With the barrage of malicious guitar riffs at lightning speed, a lean mean drumming machine, and harsh vocals that sound as seasoned as any prominent old school Western black metal harsh vocalist, Draconis Infernum is set to desecrate and demolish stages both locally and internationally for years to come in their unholy quest to revitalise old school black metal!

Of the five tracks in this short album, I personally like "Belial Rising" best. It is fast and catchy, a song that would probably get black metal enthusiasts headbanging already on their first listen. The 4th track, "Cursed Are The Vanquished", is also another notable track to listen out for because of the same reason, and it is also the longest track in the album (clocking in just over 6 minutes).

Staying true to the style of old school black metal, the lyrics are 100% satanic. Zealots subscribing to any of the Abrahamic religions would find the blasphemous material some use as a stepping stone to further their cause, but other than that, the lyrics sure make some fine dark poetry chocked full of morbid lexicon.

*Dragons Of Hell (lineup for this album): Starting from the top-left in a clockwise direction - Xeper/Sonic Depravation (Guitar), Kount Cider/Aural Misanthropy (Vocals), Serberuz Hammerfrost/Diabolical Nuklear Skin Torture - Pulse ov Decay (Bass Guitar, Drums), Niloc/Blade ov Inhumanity (Guitar)

*Note: Before 2010, Draconis Infernum's bassists were 'sessionists' (for the live shows). Kount Cider is no longer in their ranks as of 2010, and Serberuz Hammerfrost/Diabolical Nuklear Skin Torture - Pulse ov Decay plays the duo role of bass guitarist and lead vocalist for live shows as of 2010 (as well as drums studio-wise). Additionally, Syroth from Warsaw has recently joined the unholy ranks of the band as session drummer for live shows.

Production-wise, Draconis Infernum also put in a lot of effort. Although this is their debut album, it does not sound "raw" at all. Most new metal bands usually have a very unpolished, dirty sound on their debut album, and that is with good reason. They usually are tight on finances and simply cannot afford to risk throwing in everything they have got into a record that might or might not give them a breakthrough. Draconis Infernum however, spent quite a fortune on making a quality record of this album in a good recording studio, which would explain why any unsuspecting listener would most probably think the band is part of the mainstream underground scene in Europe or America on their first listen. Reckless or great foresight? Only the band themselves would know (Edit: The band has informed me that actually, having a raw record can be the intent of the black metal band in question, as black metal is supposed to sound 'raw, disgusting, and ugly'), but nonetheless, what they made was a professional-sounding record that not only officially kickstarted their promising career, but makes for a valuable collector's item as well. Did I mention that there are only 500 copies of this album? I am so glad I got myself one, and I should try to get it autographed should I ever go to any future local gig of theirs, heh heh.



Draconis Infernum - Belial Rising

Overall, Draconis Infernum is one local band that any black metal enthusiast should not miss. In the meantime, wallow in the fiery pits of black aural dissonance! And sit tight for the upcoming 2nd full-length album, "Rites Of Desecration & Demise" as well.

Verdict: 8.8 / 10

Bullet For My Valentine: Fever

Year released: 2010
Website: www.bulletformyvalentine.com, www.myspace.com/bulletformyvalentine
Label: Jive Records (a unit of Sony Music Entertainment)

Tracks:

1. Your Betrayal [4:52]

2. Fever [3:57]

3. The Last Fight [4:19]

4. A Place Where You Belong [5:07]

5. Pleasure And Pain [3:53]

6. Alone [5:56]

7. Breaking Out, Breaking Down [4:04]

8. Bittersweet Memories [5:09]

9. Dignity [4:29]

10. Begging For Mercy [3:56]

11. Pretty On The Outside [3:56]
__________________________________________________________________________

“Fever” is the third studio album released by the Welsh metal band, Bullet For My Valentine. It was released on 27th April 2010 in the US. Since then it has risen to debut at #3 on The Billboard 200 and #1 on the Rock and Alternative Charts, making it the most successful BFMV record out of the three, the others being “The Poison” and “Scream Aim Fire”.

Listening to the record, it is easy to see why; Fever is comprised of 11 songs, with a mix of infectious and catchy riffs, anthem-ish rhythms, both upbeat and slower songs with tinges of Matt’s screaming giving the whole album that edgy feel, there’s something for everyone. The sound on this album is definitely more calculated than that of The Poison with “a crisp, clean production where every note is experienced.” (Noisecreep). Looking in terms of the band’s individual skill, the more complex riffing progressions, guitar solos, and unusual breakdowns and layers makes it obvious that each band member’s skill is improving. As usual BFMV pulls out another record of high quality, and depending on how well they continue to do, they could be en route to being a future classic of the metal arena. Although they have improved, I can’t help noticing that the band has however toned down the screaming compared to their debut album, “The Poison”. The screaming on the title album now serves mostly to accentuate and not as the main medium of singing, a slight downside for me.

The first song and also their single, “Your Betrayal” is possibly one of the best openers I’ve heard in a long time with the first 1:20 of the song serving both as a superb build-up as well as showing off the skills of the drummer (Michael Thomas) and the guitarists (Matt Tuck; Michael Paget).The progressive layering together with the first line of the song when Matt whispers ‘Am I going insane’ runs chills up my spine and the other whispered parts also serve to a great effect a contrast to Matt’s screaming. All in all, it’s the little details (like the bass slide at 2:33) that make this song outstanding, and it really sets the tone of the rest of the album. A noteworthy song (hah, noteworthy) is ‘Dignity’, because this is a song that I reckon more screaming would really suit it, especially at the part where the lyrics go – “Don’t push me because I won’t go quietly”. But then again this is still a good song, with a well-placed guitar solo that shows BFMV is still a band that doesn’t hide its skill and pugnaciously shreds for the world to hear.

Morbid Sweethearts: From left to right - Matthew 'Matt' Tuck (Vocals, Guitar), Michael 'Moose' Thomas (Drums), Michael 'Padge' Paget (Guitar), Jason 'Jay' James (Bass Guitar)

Another song that caught my attention is “Begging For Mercy”. This song was available to the public as a free download prior to the album’s release, and it features much more screaming than the other tracks. This is one of the few songs on “Fever” that shows Matt has not lost his edge since “The Poison”, which is probably his way of gratifying the scream-starved metalcore fans awaiting for BFMV’s return to harder songs. Since this album features a lot more singing than “The Poison”, it is worthy to note that Matt’s accent becomes apparent here and it might sound strange to listeners of mostly American metalcore. An example would be his accent giving the ballad “Bittersweet Memories” a ‘flat’ tonality. The closing song “Pretty On The Outside” is a really good song with very good energy, rapid-fire screamo parts, and sorrow-filled chugging guitar riffs that ensure most listeners would remember what this album was all about.


BFMV is back on track: Heavy, fast, infectious

Fans of “The Poison” will be glad with the reversion to a similar style after the departure from the forgettable sound heard on “Scream Aim Fire”. Matt explains that this album was intended to return to the formula that created “The Poison”, but with greater experimentation with sounds and techniques he never tried before. This album finds an interesting mid-ground between “The Poison” and “Scream Aim Fire”, highlighting the aggressiveness of the record with greater technical detail and embellishments, leaving listeners to look forward to the next BFMV album. Personally, I feel that this album does succeed where “The Poison” never did, and that is its dynamical sound. It seems to me that with their accumulation of better techniques gained through musical experimentation, BFMV will definitely be capable of throwing out a truly epic album sometime in the future.

Verdict: 9.3/10

Written by guest writer, Low Yi Ming (edited by Shadori).

Insomnium: Across the Dark

Year released: 2009
Website: www.insomnium.net
Label: Candlelight Records

Tracks:

1. Equivalence [03:18]

2. Down with the Sun [04:22]

3. Where the Last Wave Broke [05:03]

4. The Harrowing Years [06:39]

5. Against the Stream [06:11]

6. Lay of the Autumn [09:08]

7. Into the Woods [05:08]

8. Weighed Down with Sorrow [05:51]
_______________________________________________________________

Melodic death metal with influences from doom metal sounds almost like the band's contradicting themselves in terms of musical style really. After all, doom metal is typically slower and heavier while melodeath is well... melodic. But Insomnium aren't contradicting themselves. They're playing some great metal, stuff that aren't commercially accessible, but doesn't take a lot to appreciate.

Formed in 1997, Insomnium are still experimenting within this chosen style of theirs. Across the Dark deviates quite a bit from their previous works, particularly its direct predecessor, Above the Weeping World, which was released in 2006. The melodic death aspect have been emphasized more, thus the more prevalent heavy doom acoustics from their previous album have been sacrificed for a generally faster pace, and more melodic riffs, leads and melodies. This makes Across the Dark one of the most catchy albums the band has ever released, but miraculously not at all losing its doom metal edge that projects melancholy, dread and despair. The song "Down with the Sun" definitely stands out among all the tracks, as the most balanced one that provides a comfortable tempo for riffs that can repeat themselves without becoming boring but with enough variety for the song to be melodic and still not lose its emotional power. Being currently more into doom metal, I personally found faster tracks like "Into the Woods" less tasteful, while "The Harrowing Years", considered more boring and dreary, appealed to me more. Its up to you really, but no song here veers off to either extremes of death or doom, but stays relatively near the middle in varying degrees.

The inclusion of clean vocals in some of the tracks off this album have been a topic of quite some discussion. I decided that I would prefer them to be absent, because Jules Näveri has a decidedly more mainstream voice that adds more to the melodic element, instead of conveying more emotion to fuel the band's general themes of sorrow, loss and mourning. They weren't bad, but as much as they helped to make the songs nicer to headbang to, they seemed out of place. This might explain why "When the Last Wave Broke" is one of the weaker tracks. I would also have preferred it if Insomnium have stuck to their previous influences for lyrics. The poetic lines from their previous works have appealed to me greatly, especially when they helped so much more to connect with their emotional music. While the lyrics in Across the Dark still convey sorrow and nostalgia, they have become more vague and have essentially lost that creative clarity that could turn their songs into truly top-notch masterpieces.

That's not to say that Across the Dark isn't awesome though, because it is. Insomnium's strength lies in their ability to create so much from rudimentary melodies. The double bass is simple, there is no need for technically straining beats from the drums, Ville Friman and Ville Vänni aren't threatening to severe their fingers by moving them rapidly all over their guitars. Everything is just right though, down to Niilo Sevänen's low growls, which complements the songs and brings out the atmosphere very well. When the last track "Weighed Down with Sorrow" comes to an innuendo, its title will reflect exactly how you feel. And if that's not masterful work from a melodeath band with doom tendencies, then maybe you just want to listen to some thrash metal and get angry coz sorrow's not for you.

Below is the official music video for "Down with the Sun". Go get emo my friends, but let your emotions flow through and fuel some energy. You'll feel high in a different manner.

Verdict: 9.3/10

Concert News: ChthoniC 閃靈 To Perform In Singapore This August

Taiwanese Symphonic Black metal band, ChthoniC 閃靈, is coming to Singapore this August to bring their unholy brand of political desecration to Republic Polytechnic!

Exact ticket prices are not known yet, but have been estimated to be around S$50+. For those new to Singapore, or who are hardcore ChthoniC 閃靈 fans who will be coming all the way to Singapore this August for the band's virgin performance here, the address to Republic Polytechnic is as follows: 9 Woodlands Ave 9, Singapore 738964

If you do not drive a car, are tight on cash for cabbing, or do not have anyone to drive you there, click here for routes to the venue utilizing public transport.

Tour shirts are most probably going to be available, going for maybe S$30+ for each. There will be no meet-and-greet session with fans before the concert day itself, but fans can hijack the band after their concert is over (which can be late though, because the standard time length of concerts are ~ 1 hour +, without factoring in possible technical problems beforehand and the band's post-performance fatigue).

Be wary of suffocating clouds of cigarette smoke, jostling crowds of metalheads, and pickpockets though. Everyone who waits for the band members after their concert all probably want a photograph/autograph just as much as you do.

This post will be updated as soon as more information becomes available.

UPDATE (02/06/2010): The concert will be held on 14th August, 2010. Venue will be a lecture hall in Republic Polytechnic, estimated to be around 400 tickets available for sale. Exact ticket prices not known yet, stay tuned for further updates!

UPDATE (10/06/2010): Pre-sale price for the concert tickets will be at S$55, and can be bought at 2nd-hand CD shop, Inokii: #03-30, Far East Plaza. Pre-sale will last for roughly 1 month starting from today, and door price will be at S$70, so for interested people, better get your tickets quickly. Meet-and-greet session with fans after the concert have not been confirmed yet, but hopefully there is one, I want a picture with Doris Yeh!! xP

UPDATE (21/06/2010): I just bought my ticket (and am the 27th person in Singapore to do so). The band picture printed on the ticket is the same as the one featured prominently on their MySpace page and my review of "Mirror Of Retribution", but the band logo is red in colour instead of white. It also says ChthoniC are on their Mirrror Of Retribution tour, yep, there is a typo on the ticket. Can't wait for 14th August. \m/,

UPDATE (06/08/2010): Finally, it is 1 week and 1 day more to the concert! Tickets have been completely sold out on Inokii's side by now, so for those who have yet to buy the tix, try out Hell's Labyrinth at Peninsula Plaza... or just wait until next time. :P

Song Of The Week: Man Must Die - Gainsayer

GAINSAYERRRRR!!
Ignore the truth, inhale the lies. [2x]

Double standards in the values they preach.
Hail Mary and all your sins forgiven.
Segregation in the name of peace.
Keep them down, keep them scared.
Controlled.
Outdated is every fucking part of your ideology.
I'm sick and tired of people dying in the name of peace.
No peace!
Brainwashed under their control.
Denounce all that you think you know.
I've stood on the brink.
I've watched the world tear itself apart.
Conditioned not to think.
A meat puppet deceived from the start.

Our fear is their weapon.
Forever destined to crawl.
I'm going to fight, I'm going to win.
My life is mine.
And I will retake it by force! [2x]

I've stood on the brink.
I've watched the world tear itself apart.
Conditioned not to think.
A meat puppet deceived from the start.

Your words aren't worth the fuckin' paper they're printed on.
A work of fiction bastardised through misinterpretation and delusion,
You expect me to believe that your god loves everyone equally,
Yet you wage war on anyone who opposes his will?

FUCK YOU!!! [2x]

My mind's made up, I've had enough!

FUCK YOU!!!

*Guitar Solo*

GAINSAYERRRRR!!
Ignore the truth, inhale the lies. [2x]
Double standards in the values they preach.
Hail Mary and all your sins forgiven.
Segregation in the name of peace.
Keep them down, keep them scared.
Controlled.
Outdated is every fucking part of your ideology.
I'm sick and tired of people dying in the name of peace.

THERE IS. NO. PEACE!!!

Our fear is their weapon.
Forever destined to crawl.
I'm going to fight, I'm going to win.
My life is mine.
And I will retake it by force! [2x]


Deathcore bands can be some of the sickest bands around on the underground metal scene. All the brutal guitar shredding and breakdowns, blood-curdling death growls, overpowering double bass drumming, misanthropia, and morbid artwork just spell out loud the word S-I-C-K.

I have got to say, in terms of misanthropia, Man Must Die is the most human-hatin' deathcore band I have ever come across so far. Their name is self-explanatory, their album name for this Song Of The Week is titled "No Tolerance For Imperfection", and look at the angst-filled lyrics targeting mankind's helplessness and weakness. Whew, what a band.

Human-hatin' humans: From left to right - Matt Holland, Alan McFarland, Joe McGlynn, Danny McNab

A ferocious and blazing fast masterpiece by Man Must Die, headbang to this piece if you are a lover of any of the musical traits I mentioned in the first paragraph.

My SotW's are getting shorter and shorter now, and that is probably because I am getting too lazy and tired of repeating things I have mentioned before in older posts over and over again. =P