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

-------------------------------------------------------

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 \../

Slipknot: All Hope Is Gone

Year released: 2008

Label: Roadrunner Records, Nuclear Blast

Official Website: www.slipknot1.com

Tracks:

1. .execute [1:49]

2. Gematria (The Killing Name) [6:02]

3. Sulfur [4:38]

4. Psychosocial [4:44]

5. Dead Memories [4:29]

6. Vendetta [5:16]

7. Butcher's Hook [4:15]

8. Gehenna [6:53]

9. The Cold Black [4:40]

10. Wherein Lies Continue [5:37]

11. Snuff [4:36]

12. All Hope is Gone [4:45]

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What's the latest fad on the alternative music scene these days? To don make-up and gimmicky costumes of course!

From pioneer hard rockers KISS, to visual-kei of Japan, from black metal gods Dimmu Borgir to indie hardcore rockers The Locust, musicians certainly are not just about their music these days. As the saying goes, “Seeing is believing.”

Certainly, that seems to be the case for these bands.

Just as how visual-kei bands from Japan usually give off a grungy, “emo” feeling to their music from their appearance alone, Slipknot's disturbing appearance for one, leaves on one the first impression of a typical don't-really-care-what-others-think-about-me American metal band: Heavy, mean, thrashy.

Take a listen!: Gritty, aggressive, mainstream-friendly.

But sadly, that is all there really is to it. The old saying about never judging a book by its cover does not apply to Slipknot, for there is nothing new explored here on their 4^th studio album, “All Hope Is Gone”. Similar to their earlier albums, Slipknot has not wandered away from their dissonant music style (which is actually, the typical style of most American metal bands), and as usual, such an album of theirs does produce a single or two. Three in fact, with the lucky trio being “Psychosocial”, “Dead Memories”, and “All Hope Is Gone”.

Yes metal gals n' boys, this is the mark of a “safe”, but not groundbreaking music album. Music, is an amorphous creation of mankind that is supposed to transcend space and time, surpass the previous generation's expectations, and yet retain that heartwarming feeling of melodic satisfaction within one's heart. Sure, Pop, Rock, and even Metal music have all contributed to destroying the traditionalistic views of contemporary music hardliners over the past half century with their immense success, but that does not mean all of them are timeless classics.

With the group numbering at a staggering 9 members, one would almost expect an epic sound from Slipknot. No, we did not get that on their 1^st album, not their 2^nd and 3^rd either, and not even the 4^th as well. In fact, the 4-member Metallica is so epic compared to them that Slipknot looks like Twilight put alongside Underworld. The saving grace of this album is the string of songs bearing the familiar mainstream-friendly tunes such as “Sulfur”, “Psychosocial”, and “Dead Memories”, and being “alternative metal” (Wikipedia, 2008), that sure is not going to please the more underground metalheads.

Metal Demons: The members of Slipknot – From left to right: Jim Root (Guitar), Paul Gray [R.I.P. Passed away in 2010] (Bass Guitar), Chris Fehn (Custom Percussion), Joey Jordison (Drums/Guitar), Shawn “The Clown” Crahan (Drums/ Custom Percussion), Corey Taylor (Vocals), Sid Wilson (DJ), Craig Jones (Keyboards), Mick Thomson (Guitar)

Yes, musical experimentation puts your next newest album at great sales risk, but if sales figures really matter to you more than making good music, you cannot truly call yourself a good musician. Keep your image Slipknot, its cool.

Improve on your sound however, it really needs some tweaking to get variety-seeking freaks (such as myself) to keep the CD in the player for months.

Here's my advice:

1. Mainstream junkies, pick it up, y'all should still find stuff like this cool.

2. Underground dudes, hold your horses, your money's better spent on some other CD.

Hope to hear better stuff on the next album, and my new year resolution to Slipknot: All hope is not gone for you!

Verdict: 8.3 / 10

Song Of The Week: Edge of Sanity - Twilight

"I close your eyes and whisper Goodbye.

You will never see how I cry.

I can recall what you said to me once:

If I leave there will be a sign

And the twilight will show me tonight.

From dusk to dawn. That's when we arise.

All souls forlorn, come down from the skies.

We're called the mist by the human race."

Hi there, I'm back with a rather familiar-looking title. Yes, unless you have been living under Jabba the Hutt, there is no reason for any of you to have not heard of Twilight. Just in case any of you really have been living under that obese alien slug, Twilight is a recent viral movie and novel from the New York Times bestselling author, Stephanie Meyer's hit vampire teen romance quadrology series. 

As much as the above columns of words sound like they are referring to the setting in Meyer's erotica, they are not. 

They belong to the song "Twilight", by the now-defunct, Swedish death metal band, Edge of Sanity. Honestly speaking, this song does fit the theme of the Twilight movie quite well, what with the lyrics telling the story of a man hit by the eventual realisation that death is not a scary thing afterall, and what he seeks is in the afterworld. I wouldn't be surprised if this song is ever found on the movie's OST (Original Soundtrack), but as we all cruelly know, there is a very valid reason why death metal is also known by the better-sounding name, "underground music". (read as "will-never-surface-to-the-public-world music")

Take a listen!: Morbid, dark, unique.

Metalheads who usually ogle only at the guitarists of metal bands, this song will be a real eye (ear?) opener to you. Dan Swanö (Guitarist/Vocalist of Edge of Sanity), is an influential figure in the underground world of metal music, and on this song, his growling vocals go perfectly with his soaring guitar solo, creating not only melodic satisfaction but a sort of hazy effect due to the constant search for stability between the vocal and lead guitar parts. 

Teetering off the Edge of Sanity were: Dan Swanö (Vocals/All instruments), Andreas "Dread" Axelsson (Lead Guitar, Backing vocals), Sami Nerberg (Guitar), Anders Lindberg (Bass Guitar), Benny Larsson (Drums)

This song comes off of the album, "Purgatory Afterglow", which is also home to one of Edge of Sanity's biggest hits, Black Tears. An interesting point to note would be that Black Tears is covered by two fellow European metal bands, Heaven Shall Burn and Eternal Tears of Sorrow. 

All in all, "Twilight" is a solid, gritty death metal piece, with a guitar solo that is sure to capture the guitarist-lover's ears. Guaranteed to be set on repeat for quite some time (if you are a true metalhead), this is one song that will not be forgotten long after the dissolving of the band. 

With all of that said, I really have to be frank here. Let the music do the talking! There's definitely no better way to convince you then to make you listen to the song. 

So for now, let us delve into the sinister world of Edge of Sanity!

Vampires!: Hang on baby, I'm gonna bring you to the twilight world now.

Firewind: The Premonition

March 25 2008

Century Media

Tracks:

1. Into the Fire [6:29]

2. Head up High [3:46]

3. Mercenary Man [3:28]

4. Angels Forgive Me [4:57]

5. Remembered [3:38]

6. My Loneliness [4:04]

7. Circle of Life [4:14]

8. The Silent Code [4:48]

9. Maniac [4:55]

10. Life Foreclosed [4:52]

Ok, in a nutshell, this album isn't impressive. Its just unconventional and unusually good. Maybe its because they're Greek. This power metal band started out as Greek guitar god Gus G's idea wayy early on but didn't fully manifest itself as a real band for quite awhile because of Gus G's numerous duties in other bands such as Nightrage, Dream Evil and Mystic Prophecy. After several line-up changes and a somewhat shaky start, Firewind is finally a team that stuck, Gus G has ditched all the other gigs and they've produced this.. this.. piece of work..

As I've said, there's nothing groundbreaking about The Premonition but something about it makes it solid. Other reviews I've read have been comparing it to Allegiance, the only other album released by Firewind that features the same line-up in 2006, but since The Premonition is my virgin experience with Firewind so to speak, my opinions are solely based on this album alone. Quality is good, lyrics are decent. Apollo's voice is rather unique in my opinion, but in a good way- the vocal display is attractive, powerful but melodious. The melodies are unusual, but somehow its just catchy, especially how you'll find yourself humming the chorus of each song not long after.

Of course, when you get a mega superstar like Gus G in the band, he practically outshines everyone. Keyboards are practically atmospheric, with Bob Katsionis only wagging his fingers on a few short solos here and there. Petros Christo is almost non-existent, the bass is hardly audible. Hell if his guitar could enunciate words, Apollo would be gone too. But there's an obvious reason why Gus G gets to hog the playing time: he's good. This magician exhibits something rare in metal guitarists: talent in not just shredding. Oh he can rip, you can bet your ass on that, but if you wanna know how good he really is, listen to the parts when he slows down, such as in the middle of Angels Forgive Me, man its heartstrings he's got strung on his guitar.

And speaking of heartstrings, My Loneliness is one of the better ballads I've heard from metal bands. Generally throughout the album, from energetic tracks like Remembered and Into the Fire to midtempo rockers such as Life Foreclosed, there are creative bits of experimentation that pulls them off good. Its probably like nothing you've ever heard, but hmm.. I can get used to this.

Verdict: 4/5

Featured Musician: Alexi 'Wildchild' Laiho

There actually isn't any need to introduce this guy. If you don't know him, you wouldn't be on this site. But due to extenuating circumstances, my last post was more than a month ago, so I've decided to celebrate my return with something (or someone, so to speak) big. And because a recent movie to hit cinemas share a certain similarity with the Children of Bodom frontman..


I sense a conspiracy..Notice how they have the same hair? XD

Actually, there's nothing special about this guy. He's just one of the best guitarists around. Having several achievements credited to his name, such as the title of World's Best Guitarist of 2006 according to Metalhammer magazine and being among the top 50 fastest guitar players in the world according to Guitar World magazine, as well as being the co-founder, lead guitarist and vocalist of the increasingly popular Children of Bodom, this shredder and growler's reputation precedes him.

Now C.o.B is one of the few bands Shadori and I both like, and while Janne Wirman is generally my favourite member (I got a thing with 'boardists), one can't deny the prolific success and musical quality largely stems from Alexi, since he writes most of the music and the lyrics. His involvement in other projects, such as Sinergy and Kylähullut, are also not bad, particularly the extension of his partnership with fellow C.o.B member and guitarist, Roope Latvala, in Sinergy.

The guy quite lives up to his nickname that notably comes from the song Wild Child by W.A.S.P. I mean c'mon, he learnt to drive before he took up the guitar, and if the quality of his playing is any measure of many years he's been tugging the strings, that was a damn young age (10 actually, he took up the guitar when he was 11). Not to mention the suicide attempts and whatnot. But what he once said about his band-mates remains one of my favourite quotes to date, and I like to use it to describe my friends: "These motherfuckers aren't my friends.. They're my brothers." Or something like that, you get the gist of it.

A coupla things you might wanna notice about Alexi in this video featuring him and Janne Wirman: obviously his awesome guitar playing, using his teeth to do it at around 2.30, and the number of times he says 'fuck' and the other grammatical versions of it every time he opens his mouth. Mitä vittuu, Laiho?