ZETALAMBMARY is a two-man show for people who appreciate what we feel are genres of music that have always been forced to fly under the radar. Wraith digs just about everything from indie rock to certain noise pieces, while Zen prefers to stick with melodic, epic-sounding metal and Russian folk music. But what the heck, if we dig it, we will promote it anyway!
With weapons of war in my hands I will become what begs to be forgotten.
With weapons of war in my hands burning to purge this faithless nation.
These are the eyes, I am the mastermind sent to open God's gates and tear down heaven.
Tear down heaven.
You are the programmed dead set to look me straight in the face and I'll tell you what separates Truth from faith.
These lies I preach ever extending my reach inside of your head. [2x]
And with my scriptures I will summon the serpent's tongue, these words will become walls keeping angels from the light of the Son.
This congregation rains like cinders from the sky.
The product of childhood nightmares.
Empty hopes behind empty eyes.
Open your ears, hear my sweet tragedy, open your mouth and drink my sick blasphemy.
Empty hopes behind empty eyes.
I'm crushing the hope of the saved.
Haunted, dark and driven insane.
This is my unholy rapture.
Oh Lord is this not your desire?
With weapons of war in my hands I will become what begs to be forgotten
With weapons of war in my hands burning to purge this faithless nation.
These are the eyes, I am the mastermind sent to open God's gates and tear down heaven.
Tear down heaven.
You are the programmed dead set to look me straight in the face.
I'll tell you what separates Truth from faith.
These lies I preach ever extending my reach inside your head.
God damn this world!
God damn my life!
I didn't chose hell!
Hell chose me!! [4x]
Whew, what a thoroughly brutal and blasphemous anthem from Carnifex.
Admittedly, there is a limit to how much the Deathcore genre can be explored, because there will come one day when no drummer will be able to double-kick the bass drums any faster, and no band can let the breakdowns get any slower and heavier. But! There is still much room for experimentation with the harsh vocals, and Carnifex sure could use that in future.
While the guitarists and drummer kick-ass, they play very similar to fellow peers in the Deathcore genre such as Suicide Silence and The Red Chord (as any experienced metalhead would be able to tell) , and this is probably why most conventional Deathcore haters hate Deathcore - almost all the bands in the genre seem to sound like one another. Ever since I heard Carnifex on their 2nd full-length album "The Diseased And Poisoned" (which was also their first with Victory Records), I thought they would be a promising band to follow in this genre, and I have not been proven wrong with their nasty new album "Hell Chose Me". As you can see, this Song Of The Week is the title track and first single off their latest album, and it deserves to be up here for all its misanthropia and unholiness. Oh yeah, throw in typical but brutal guitar riffs, rapid bass drumming + catchy snare drum beats, and inhuman screaming too. It is not an excellent song (there is hardly anything excellent in Deathcore these days), but good enough to sate that voracious thirst of the Deathcore-lover or be a good illustration of what one can expect from standard "listenable" songs of the genre to a metal newbie.
The executioners are: From left to right - Fred Calderon (Bass Guitar), Ryan Gudmunds (Guitar), Scott Lewis (Harsh Vocals), Shawn Cameron (Drums), Cory Arford (Guitar)
I can emphatize with the Deathcore haters though, for the genre really needs a dose of creativity. Honestly, if this banal onslaught of Deathcore music continues, the genre would start killing itself off.
Anyway, BTBAM came to perform in Singapore for the first time ever on March 16, 2010 at The Substation, and boy was it a blast (literally).
Honestly speaking, although the dear Webmaster and I listen to a lot of metal and have even set up a site like this, we have never been to a single metal concert before. Ever.
That is until we went for the BTBAM one nearly 1 month ago of course, and I have got to admit that live bands do sound much better than their studio recordings. Is it because of the amped-up volume of the music? Or is it because the live music has more spirit than the studio recordings? I would say it is due to both aspects people. If you have never been to one before, and are a self-professed fan of metal, do take this "person-who-was-once-skeptical-of-live-concerts"'s advice and go for at least one in your lifetime. It is a rewarding experience, I assure you.
Alright, here are some pictures I snapped on that night:
Look at the crowd...
Tommy at the keyboards and microphone
Paul headbanging, I love his mane
Artistic shot of rhythm guitarist: Dustie looked emo that night
Blake and Dan shaking hands with fans after the concert
And of course, I took videos of some of their all-time classics as well:
Although I came out of the concert with my ears ringing in protest, and my body tingling from little vibrations all over the body, I enjoyed the concert very much. Listening to and adoring a band through their studio recordings alone is satisfying, but being able to watch a band perform live is the pinnacle of aural masturbation. The way the band connects with the crowd, their showmanship, and the enthusiastic (and often fanatic) response from the crowd all just blend together to form the unique and heart-thumping experience known as a concert.
BTBAM's gear
The only thing that disappointed me though, was that it was too late for me to linger around and get the autographs of the band members and a photograph with them by the time their performance ended. This was because earlier on, the concert was delayed by an hour and a half due to technical difficulties. Man, I will be sure to catch them again the next time they visit Singapore (and will definitely get them to sign copies of their albums which I own + take a photo with them as well!).
Sorry for the long period of absence, we return today with a song by the symphonic black metal band Grand Alchemist. After the release of their first (and only to date) album, Intervening Coma-Celebration, in 2002, Grand Alchemist have pretty much disappeared. Their official site is down, with the last update made in 2006, there isn't a lot of activity on their myspace page either and all news of progression for a new album seemed to have trickled off. After listening to "Down Again" however, I am absolutely flummoxed by this standstill in their career because they seem in every aspect to be a quality band who really know their stuff.
If "Down Again" is any indication, Grand Alchemist is heavily keyboards driven, but that doesn't mean that the guitars are neglected in any way. Both elements work together very well to form varied melodies that makes the song worth listening to again and again. The opening intro particularly appeals to me for its "Alice in Wonderland" feel. Harsh vocals are nicely pitched, and go pretty ok with the tempo. In fact, as far as I'm concerned, "Down Again" is catchy in the way that only a metal song can be, in its musical intricacies and not simply in its chorus or melodies. The only slight drawback is a typical one, the lyrics are not quite up to par. There is structure, and rhyming, so that the singing is in sync with the song. But the meaning of the song is sketchy at best and apart from the general negativity you're not likely to know what the song is trying to put across.
Overall, "Down Again" is less dark than it is melodic and at some points, melancholic, but remains a fine example of symphonic metal that holds true to the latter term as it does to the former. But the mastery of Grand Alchemist reveling in its chosen genre of symphonic black metal is expressed through the hint of creepy eeriness that presented itself in the beginning and lingered throughout the song. This is undoubtedly metal, and fine metal at that.
The rather interesting thing about their music video is that for a song that might be accused of having too much synths and keyboards in it, there is no 'boardist featured at all. In fact, the keyboards strike up even as the band members are shown to be entering the room and picking up their instruments, as if its a supernatural phenomenon. Maybe there's some sort of implication there hmm..
Hi to anyone who has been reading this blog frequently or infrequently, sorry for the looooooong hiatus. We have been rather busy of late, but there will be a new post coming up soon.
It will be of our coverage of Between The Buried And Me's kickass concert in Singapore last week! Stay tuned!
P.S.: Actually, for me personally (Shadori here), I have been preoccupied with Pokemon SoulSilver recently. Yeah, I am a huge fan of the Pokemon video games too. xD
A Finnish power metal supergroup. Wow, does that sound impressive or what. Ironically though, for a band featuring musicians who are already accomplished in their own rights within the metal scene, Cain's Offering sounds more radio-friendly and pop-ish than really metal. At least, that's what their debut album, Gather the Faithful, gives the impression of. Their label, Frontier Records, is notable for working with bands that play melodic music, and that's a sure indication of what's to come for anyone who just got their hands on this album.
To their credit, Cain's Offering sound graceful and classy. That is mainly because of their vocalist. Fans of Stratovarius will agree with me that Timo Kotipelto has an amazing voice. Its soft but powerful, with a type of soulful flair that makes the relationship themes of the lyrics suit him very well. Mind you, not that the lyrics are well written. I reckoned former Sonata Arctica guitarist Jani Liimatainen was a romantic when I learned "My Selene" from SA's 2004 album Reckoning Night was written by him but this is bordering on the ridiculous. His attempts at poetry are not succeeding and luckily Timo is such a good singer coz it takes one to not make the lyrics sound crass really.
Other than that, there isn't a lot to find fault with in the music. Its heavy on the keyboards though, so its generally more accessible to the mainstream audience but it depends on how you like your metal really. Despite that, the guitars also do their part to form very enchanting melodies, such as in "Morpheus in a Masquerade", which just changes and shifts into different beautiful melodies. And to represent the speed that is indicative of power metal songs are tracks like "Dawn of Solace" and the opening track, "My Queen of Winter", where the drums are not loud or heavy, but definitely rocket off at a relatively comfortable tone. Keyboardist Mikko Härkin, another former Sonata Arctica member, really stands out though, in the ballad "Elegantly Broken" where only the piano complements Timo Kotipelto's emotion-filled voice. Add to the fact that its the only song where the lyrics are slightly well-written, and there we go, its positively one of my favourite ballads ever.
Left to right: Jukka Koskinen (bass), Jani Liimatainen (guitars), Timo Kotipelto (vocals), Mikko Härkin (keyboards), Jani "Hurtsi" Hurula (drums)
Ultimately, Cain's Offering sounds very good, which isn't something common for power metal bands these days. But we shouldn't expect less from the likes of Timo Koltipelto, Jukka Koskinen and the rest. I also appreciate the lyrical theme better than the fantasy stuff that most of their peers are doing, its a personal preference. But aside from the theme, the lyrics are really not up to par. Someone else should do the writing, I think its absolutely crucial. Gather the Faithful is still highly recommended though.
There doesn't seem to be an official music video, so below is just the youtube vid I found for "Oceans of Regret" and just for a treat (which means I feel like it XD), the ballad, "Elegantly Broken".
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. ☺
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.
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