tag:blogger.com,1999:blog-68938312171642244782024-03-12T15:44:16.712-07:00DarkSmile,DeadElectricMusic based musings. Niche to be established.DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-6893831217164224478.post-54915587241673393982019-08-28T12:40:00.001-07:002019-08-28T12:50:06.910-07:00ENDON – Boy Meets Girl: Finding Narrative in the Noise.<br />
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: left;">
<a href="https://1.bp.blogspot.com/-8DvqzJanzyk/XWbYO5UPgvI/AAAAAAAAAXg/0BTpcXy5HNM672hoMLgF4yYDFckSfp6tACLcBGAs/s1600/ENDON%2BBoy%2BMeets%2BGirl.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://1.bp.blogspot.com/-8DvqzJanzyk/XWbYO5UPgvI/AAAAAAAAAXg/0BTpcXy5HNM672hoMLgF4yYDFckSfp6tACLcBGAs/s320/ENDON%2BBoy%2BMeets%2BGirl.jpg" width="320" /></a></div>
<i style="mso-bidi-font-style: normal;">This is a story of love</i>. <o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
This is not a straightforward love
story as one might expect, but, as ENDON describe in the liner notes for <i style="mso-bidi-font-style: normal;">Boy Meets Girl</i>, a narrative is merely
abstraction set within a series of governing symbols.<br />
<br />
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Boy Meets Girl</i> stutters the album to life, launching the listener
into a slab of squelching noise, whilst illegible wails hover high against a
lurching, stoned backbone of guitar. <i style="mso-bidi-font-style: normal;">Heart
Shaped Brain</i> backs up against the opener, following in similar vein, though
the pulsating heart of the former appears to have been given a shot of
adrenaline.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
There’s a certain ecstasy to <i style="mso-bidi-font-style: normal;">Born Again</i>, even though acted out over
the course of two minutes. A minute of screaming gives way to looped electronic
textures, abstract in form compared to its preceding neighbours.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Doubts as Source</i>, is the central opus of the album (11 of its 30
minute total). Its length and central position lends it an allusion to
narrative significance of the whole. Said narrative, however, is illusive. Nagura’s
increasingly erratic panting seemingly utilises anxiety as a form of
transcendental breathing exercises. This chaotic panting carries the song, morphing
into the cries of an infant child. This eventually drops pace into a sludgy
riff, before flat lining into a haunting, yet captivating noisescape which all
but collapses into unaccompanied tortured wails. The track is finally recovered
from complete self-destruction by the emergence of a bleeping electronic refrain,
carrying the event to its close and allowing ENDON’s story to move to the next
chapter. <o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Said next chapter, opens to the
sound of church bells. The church bells, with their recognisable cultural
associations, act to set a scene, merging into the fractured electronic, bass
laden stomp of<i style="mso-bidi-font-style: normal;"> Love Amnesia</i>, its
vocal screeching suggesting alternative emotive outcomes to the event with each
listen.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Final Acting Out</i> is a guitar led freak out, whilst<i style="mso-bidi-font-style: normal;"> Red Shoes</i> feels mildly psychedelic
compared to the rest of the album, though in a dark Lynchian sense, and
disembodied figures mock our protagonist with laughter in its closing moments.<i style="mso-bidi-font-style: normal;"> </i>Closer <i style="mso-bidi-font-style: normal;">Not For You</i> with its punky vibes feels to provide an air of
liberation and renewal to our journey. Story ends. Story begins again.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Though the albums’ narrative
(intended or imagined) may be glimpsed only occasionally, the suggestion of
such invites a new dimension to the chaos. In its extremity and abstraction <i style="mso-bidi-font-style: normal;">Boy Meets Girl </i>creates a structure unto
itself, reaching heights of ecstatic abandon and murky, unsettling lows.<o:p></o:p></div>
<br />
<i>JT</i>DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-72460052614462961602016-05-28T07:20:00.002-07:002016-05-28T08:22:49.281-07:00The Sound of SimilarityUnless you've inexplicably managed to escape the constant airplay, you will most likely have heard Disturbed's cover of Simon and Garfunkel's <i>The Sound of Silence</i>. Here at DarkSmile,DeadElectric there are mixed feelings over the song, but in this vein NG has put together a pretty diverse playlist of rock and metal covers you may or not have heard. Enjoy.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="380" src="https://embed.spotify.com/?uri=spotify%3Auser%3Asmileelectric%3Aplaylist%3A2KJEq0W5xLEGzpz26yovUr" width="300"></iframe>DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-87026052684565111452016-04-26T13:50:00.001-07:002016-04-27T09:20:19.709-07:00Further Along the Highway: Celebrating 10 Years of Cult of Luna’s Somewhere Along the Highway<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-F6Jqt9Awjoc/Vx_LBirLI_I/AAAAAAAAAUc/6MgdUkRocCY_lFwnDadg3A2ufzTlb1EagCLcB/s1600/Somewhere%2BAlong%2Bthe%2BHighway.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-F6Jqt9Awjoc/Vx_LBirLI_I/AAAAAAAAAUc/6MgdUkRocCY_lFwnDadg3A2ufzTlb1EagCLcB/s320/Somewhere%2BAlong%2Bthe%2BHighway.jpg" width="320" /></a></div>
Ten years have passed since the release of Cult of Luna’s <i>Somewhere Along the Highway</i>. To
celebrate this, the band has reissued <i>SATH</i>
(along with <i>Salvation</i>) on a limited
pressing of vinyl through Earache, and have embarked on an anniversary tour. Whilst
Johannes recently told an interviewer that this anniversary tour was the idea
of their agent<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><b><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[1]</span></b></span><!--[endif]--></b></span></a>,
it is a decision which has certainly excited a lot of fans (myself among them)
who now get both of this as well as their newly released album with the mighty
Julie Christmas, <i>Mariner</i><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>.
I was fortunate enough to catch them at Sound Control, Manchester and treated
to a fantastic two hour set encompassing tracks from <i>Salvation</i> through to <i>Vertikal
II</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To help the band celebrate this happy anniversary we look
back on the album, one which I would suggest is their most important to date.
It is an album totally embedded within the surroundings it is recorded, as well
as their most intimate, expressing not only an artistic output but a creation
essential to the bands needs at the time.<br />
<br /></div>
<div class="MsoNormal">
Shedding some of the hardcore aesthetic of salvation, along
with some of its more self-destructive tendencies, <i>SATH</i>, though more stripped back, has a certain warmth. This said, it
is without a doubt that the cold-dark Umeå nights creep through into the music;
the warmth present is one pertaining to life echoing its rural background, some
distance from the more abstract and polished <i>Salvation</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Salvation's</i> abrasive
sounds at times seemed to protrude from the beyond, grasped through cracks of
dilapidated city buildings and industrial landscapes. It appears that Cult of
Luna didn’t quite cross over to that other space; rather they seem to have
glimpsed an introspective moment and were catapulted right back, back to their
roots, literally the landscape where they grew up. <i>SATH</i> then can be understood as realignment, a detox of both body
and mind, and in a way a searching for a purer, less refined, organic sound;
completed after months of intensive touring.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The album was completed over a period of three months and recorded,
mostly live by Magnus Lindberg at the Octagon Barn, Norrfors outside of Umeå in
the winter of 2005. The recently reissued anniversary vinyl provides some stunning
new photography and artwork as well as some additional liner notes from
Johannes. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the current anniversary tour, this <i>Salvation</i>/<i>SATH</i> contrast
is strikingly apparent, choosing to end the first half of their set with the
blinding white hot intensity of <i>Waiting
For You</i>, before commencing <i>Along the
Highway</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
Opener, <i>Marching to
the Heartbeats</i>, sung by Fredrik Kihlberg, opens the album with sombre
feedback. It’s crisp, like ice crackling as the sun slowly makes its
appearance, placing the album solely in the here and now of the landscape. That
essential facilitating property of landscape feels prominent, and a long way
from <i>Salvation</i> (“<i>To escape the suffering we keep our emotions at a distance</i>”, <i>Into The Beyond, Salvation</i>). We are
witness to the embedded stories and interactions. It’s an album not just of the self, but of the
longing for another. Personal histories evolving in <i>place</i>. <o:p></o:p><br />
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>“The sun, the light in your eyes, trapped me in a cage.<br />
When you saw me you saw yourself.<br />
We were the ones that marched and fell.”<o:p></o:p></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i><br /></i></div>
<div class="MsoNormal">
This sense of longing is reflected in the ethereal
distortion that hangs over the track, the stretched notes seem echo a sense of
time and a feeling of waywardness.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Perhaps this waywardness is a disconnect between the internal
and the external, of body clocks needing to be re-synced with a natural cycle. The
return to their home town to record this album representing “[t]he longing to
find a home in myself, to find peace and tranquillity”.<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a>
With symmetry of intent, the drums pen a simple heartbeat.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The initial aggression of <i>Finland</i> doesn’t take long to subside into a more tranquil state,
building to a precipice which it cannot help but plummet. It feels
introspective and considered. Whilst the recording of this album was completed
in a short space of time, any sense of urgency is not apparent. The moments of
heavy intensity and those quieter, tranquil ones here feel less diametrically
opposed, more fluid and natural.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A flicker of electronics around the four minute mark
conjures thoughts of some night time creature call. Perhaps the beasts of the <i>Eternal Kingdom</i> calling out. It’s an
eerie if not slightly unsettling call. Linked with the lighting in a live
setting to great effect, the electronics are more prominent and imminent, where
as in its initial recording, there is a sparse and facilitating aspect to
Anders Teglund’s flourishes. Recent addition Kristian Karlsson seems to have enthusiastically
taken on role with keyboard/electronics, which, since <i>Vertikal</i> seem to have come forward in the mix.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The drums feel very raw, for the most part, a long way from
the maximalist percussion of Hedlund / Lindberg on Eternal Kingdom. Lyrically
the track relates personal events<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Compared to the precise extended builds of <i>Salvation</i>, the beautifully textured
opening of <i>Back to Chapel Town</i> feels
more like an awakening of the dawn chorus. There is an odd, staggered sense of time
however, this dawn chorus quickly descends into night; the band in sync with
the seasonal cycles and the fleeting winter sunlight.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Though more loosely conceptual that the bands following
releases (attempting more generally to capture the image of the environs it was
recorded) it is of note that so many have made this connection, resorting to
allegories of nature to describe the aesthetic of the album. Perhaps most
recently by Jack Chuter “…tracks developed with the fluid inevitability of
plant growth and seasonal shift, repeating certain sections without the
diarised schedule of the city to hurry them along.”<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[5]</span></span><!--[endif]--></span></a><o:p></o:p></div>
<div class="MsoNormal">
That is so clearly realised, stands as testimony to the
artistic integrity of the album, to its completeness. The video for <i>Back to Chapel Town</i> was filmed in the
location the album was recorded; depicting "a man waking up in a world he
doesn't know, he knows nothing of his past or where he is, people treat him
like air or are very suspicious of him."<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[6]</span></span><!--[endif]--></span></a> <o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5CXiI0AnaCY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5CXiI0AnaCY?feature=player_embedded" width="320"></iframe></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
As with most elements of the album there is a thoughtful correspondence
between passages of sound, lyric and artwork. Here the dissociated lyrical
content of <i>Back to Chapel Town</i> is
captured in the cinematography. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As in <i>Marching to the
Heartbeats</i>, Kihlberg returns to centre stage. <i>And With Her Came the Birds</i> acts as both interlude and central to
the albums nature. Sonically it is the clearest reflection of where the album
was recorded and has an interesting back story.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“One day a woman emerged from the forest, she looked thin
and her clothes were ragged. She started to dance in a meadow outside of the
cottage. We looked at her through the window and made sure not to make any
noise that would have made her aware of us.</div>
<div class="MsoNormal">
Later that night we recorded <i>And With Her
Came the Birds</i>. The studio was only lit up with a few candles and we
recorded it live. Magnus set up a mic outside the cottage to capture the
atmosphere. The temperature was just above zero and if you listen really
carefully in the first few seconds you can hear the melting water.”<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn7" title="">[7]</a></span></span><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn7" title=""><!--[endif]--></a></span><o:p></o:p></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><br /></span></span></div>
<div class="MsoNormal">
I had always felt it had some almost folkloric element to
it, though had not until recently heard its associated back story. Here, and
throughout the rest of the album, this rural setting in many ways taps into a
national psyche. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With a boom in popularity of <i>Nordic noir</i> over the last few years in the UK, I was always
reminded, when watching programs such as Wallander, of the provoking imagery on
<i>SATH</i>. It seemed to me, that there
existed a deep fascination of the rural countryside of Sweden, often depicting
those living there as isolated and archaic, perhaps viewed with slight
suspicion. Of course this is a popular fiction portrayed in most countries.
Here the modern myth takes on its own national hue and corresponding sounds and
aesthetic. Whether knowingly or not this girl and her birds, and “dead <i>man with pitchfork arms</i>” tap into these
ideas and weave into their own myths of identity.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="MsoNormal">
Having been absent from set lists for the past decade it was
an extra treat to get to see <i>Thirtyfour</i>
performed live. A cacophony of drums fills the space of the barn on its
recording. This interplay of duel drummers reaches their natural climax before
cascading. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is optimism at times, an elated feel within the track,
its peaks offer a heady mingling of electronics, guitar and drums, swirling crescendos
which provide momentary hooks.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
As elsewhere in the album, these briefest moments of
rapture, quickly to descend to darker passages, like the fleeting glimpses of winter’s
daylight.<o:p></o:p></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A sparse and beautiful track, <i>Dim</i> arises with a certain fragility, its layers build gently before
Lindberg and Hedlund’s drums are allowed to accompany as the track finds its
trajectory, continuing to take shape. Its transience allowing it to float
somewhere above ground, though managing to wrench at the heart.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At its peaks it offers such ecstatic beauty before returning
the listener back into their seat. If there is a contrast of light and dark,
night and day throughout the album, <i>Dim</i>,
despite its name seems to linger within the light for the longest, though when
eventually enveloped by the inevitable night, the skin shivers. You’d be
forgiven for not noticing the tracks length due to its immersive qualities; caught
on the breeze with the sounds. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Vocals roll in at the nine minute mark in line with the
intricacies of their depictions.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
“<i>From the skyline dark clouds move in. They shroud me with her cold
cover.<br />
Eyes like daggers puncture the skin. Isolated in a room with no others.<br />
Where do I turn when all hope is lost? Where do I find forgiveness?<br />
My search for salvation has begun. To find a place where our hearts beat as one</i>.”<i><o:p></o:p></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The sense of dissociation found throughout the album,
lyrically at least ends <i>Dim</i> with an
agonistic implosion. It’s here that we find the artistic pinnacle of the album,
with its desperate searching and ultimately crushing poignancy. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Themes of male loneliness in Perssons lyrics, are embedded
throughout and provide a further conceptual focus throughout the album<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[8]</span></span><!--[endif]--></span></a>.
Sonically you feel wrenched at times, as notes are stretched, and space opens
between the sparse and raw interplay of instruments. <o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
Electronics pulsate and interrupt, as raw energy is
unleashed and the track is forced to collapse on itself, its fragility and
impermanence once more apparent. The pulse eventually calming and slowing to a
close.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="MsoNormal">
This steady pulsating heartbeat eases us into our closer <i>Dark City, Dead Man</i>. If <i>Dim</i> was our moment of light, we will be
ending in darkness. This massive track, moves with a speed fitting to its
density. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The momentum carries it through, unstoppable at times as the
eight strong group organise. With its many chops and changes, we are led
through dark city streets, offering unrivalled immersion.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For a long time this closed many a Cult of Luna set, and
perhaps for this reason it is best experienced in live setting. You are
required to give yourself over and embrace its oblivion. Its final climax is
one of sensory overload, white lights flash as the band erupts. I’ll let this one speak for itself.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
“<i>I let go and fall deeper. This will be the end of me.</i>”<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/qvcdxObKQ6o/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/qvcdxObKQ6o?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
.</div>
<br /></div>
<div class="MsoNormal">
It’s the imagery (delivered sonically of course) which this
album conjures that really makes it an outstanding and important record. Whereas
conceptually <i>SATH</i>’s intent is more
loosely delineated, perhaps more humble, than its successors (<i>Eternal Kingdom</i>, <i>Vertikal</i> & <i>Mariner</i>),
it forms a cohesive whole. The overall aesthetic emerges from the sum of its
parts, and it feels that whether knowingly or not, embedded within wider social
commentaries. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If its aim was to reflect the environment where it was
recorded, then it is a resounding success. Whereas, its emotive narrative is powerful and
feels intertwined with this landscape.<o:p></o:p></div>
<div class="MsoNormal">
This association of certain sounds with <i>place</i> or theme is an exciting prospect and one which Cult of Luna
seem to be adept at doing (at least over the last three “conceptual” records
they have yet to slip up). <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That this association exists, points to the influence of wider
social influences. I wonder for instance whether I would identify such
pictorial references in non-western sounds? Or perhaps it’s just that my senses
have been influenced by a combination of graphic design, photography and press
releases? When it comes to aural representations of certain landscapes, I am reminded of the claustrophobic
post-industrial dearth of Birmingham envisioned by Napalm Death; or on another
extreme, the intentional Romantic creations of Grieg, who tapped into traditional
folklore and folk music to depict an idealised cultural landscape. It is as though there exist socially recognised correlates of sound, evolved as human histories are entangled with the environment.</div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo6; text-indent: -18.0pt;">
<span style="background: yellow; mso-highlight: yellow;"><br /></span></div>
<div class="MsoNormal">
The artwork itself plays an important role here,
streamlining perception and expectations of what sounds lie within. The hues of
greens, the eerie half-light of the Scandinavian winter and the vast expanses
captured in the photography, combined with the minimal graphic design put
together by Erik Olofsson. Olofsson acting essentially in a role of artist in
residence equally as musician (at least since <i>Salvation</i>), a role he has continued, creating the artwork for <i>Mariner </i>despite leaving the band in
2014.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have always been impressed at how well the fit of the
album artwork, the colour schemes and graphic design have fit with actual sound
of the album, as well as the overall theme<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[9]</span></span><!--[endif]--></span></a>.
Here there is a certain complexity hidden within simplicity, as though Rothko
was commissioned to create an Umeå landscape in green white and black. This
visual imagery clearly plays an important role in the creation of a Cult of
Luna album<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[10]</span></span><!--[endif]--></span></a>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
.</div>
<br /></div>
<div class="MsoNormal">
<div class="MsoNormal">
The emotional intensity throughout <i>SATH</i>’s hour duration is powerful, though with its spacious and
organic approach it’s never claustrophobic or overwhelming. The dissociation depicted
is real at times, but with the reflective beauty of the countryside envisioned,
this provides only introspection which is, in the end only positive. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The outside world finds its way into the music, sending
shivers like gusts of wind in its darkest moments; bringing warmth and optimism
at its lightest.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With such on point symmetry throughout between sound, art
and lyrical narrative <i>Somewhere Along the
Highway</i> is a stunning and cohesive piece of work of audio-visual merit, its
poetry ever revealing upon further listen. A modern masterpiece.</div>
<div class="MsoNormal">
<span style="text-align: center; text-indent: -18pt;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-vU7BeQuQhGw/VyDjxbn8jHI/AAAAAAAAAUs/ul1ct2oFSqciAtNrzLQBRXsJl4dZ59nbACLcB/s1600/Somewhere%2BAlong%2Bthe%2BHighway%2B2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-vU7BeQuQhGw/VyDjxbn8jHI/AAAAAAAAAUs/ul1ct2oFSqciAtNrzLQBRXsJl4dZ59nbACLcB/s320/Somewhere%2BAlong%2Bthe%2BHighway%2B2016.jpg" width="320" /></a></div>
<br />
<br /></div>
<div class="MsoNormal">
<span style="text-align: center; text-indent: -18pt;">At the same time an extended version of </span><i style="text-align: center; text-indent: -18pt;">Marching to the Heartbeats</i><span style="text-align: center; text-indent: -18pt;">, entitled </span><i style="text-align: center; text-indent: -18pt;">Heartbeats</i><span style="text-align: center; text-indent: -18pt;"> was released as a download
with the intention to be kept alive by file sharing.</span></div>
</div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l4 level1 lfo4; text-indent: -18.0pt;">
<o:p></o:p><br />
<br /></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l4 level1 lfo4; text-indent: -18.0pt;">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vbZY9X6aJFA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vbZY9X6aJFA?feature=player_embedded" width="320"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal;"><br /></span></span></div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a> http://www.ponto-alternativo.com/cult-of-luna-somewhere-along-the-highway-holds-a-certain-significance/<o:p></o:p></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a> <i>Somewhere Along the Highway</i> was ranked
#5 in Decibel’s Best of 2006 Top 40 (interestingly #2 was super group Battle of
Mice’s <i>A Day of Nights</i> (featuring
Julie Christmas) and #31 Made Out of Babies <i>Coward</i>,
so you could say this year’s <i>Mariner</i>
is a perfect anniversary collaboration). http://www.rocklistmusic.co.uk/decibel.htm;
http://www.earache.com/archive/cultofluna/Decibel_06_Top40_CoL.jpg<o:p></o:p></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a> On
the subject of extensive touring following the acclaimed <i>Salvation</i>. Johannes, November 2015, taken from liner notes of <i>Somewhere Along the Highway</i> vinyl
reissue (Earache, 2016)<o:p></o:p></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a> http://www.lordsofmetal.nl/en/interviews/view/id/1357<o:p></o:p></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[5]</span></span><!--[endif]--></span></a>
Chuter, J. 2015. <i>Storm, Static, Sleep: A
Pathway Through Post-Rock</i>. Function Books. London: p235.<o:p></o:p></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[6]</span></span><!--[endif]--></span></a> http://www.metalunderground.com/bands/details.cfm?bandid=1473&tab=news&page=3<o:p></o:p></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[7]</span></span><!--[endif]--></span></a>
Johannes, November 2015, taken from liner notes of <i>Somewhere Along the Highway</i> vinyl reissue (Earache, 2016)<o:p></o:p></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[8]</span></span><!--[endif]--></span></a> An
influence on this theme for Olofsson is reportedly the novel Life And Times Of
Michael K by J M Coetzee http://metalstorm.net/pub/interview.php?interview_id=376<o:p></o:p></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[9]</span></span><!--[endif]--></span></a> I
am reminded of how the bells appear from the blissful wave of drones in <i>Crossing Over</i> from <i>Salvation</i>, beckoning toward a pure white light of the beyond as
depicted in its cover artwork.<o:p></o:p></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/Beyond%20Metal/Further%20Along%20the%20Highway%20-%20Cult%20of%20Luna,%20SWATH%2010%20Year%20Anniversary.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[10]</span></span><!--[endif]--></span></a>
Erik Olofsson discussing the importance of imagery in the creation of <i>Vertikal</i> https://www.youtube.com/watch?time_continue=149&v=02lZaL_0aSU <o:p></o:p></div>
</div>
</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-17297687479904548362016-03-15T09:12:00.000-07:002016-03-18T10:09:54.977-07:00THE HELL @ BRISTOL FAT LIP - DICKS AND BALLS<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-iToaXwu5z90/Vucl5S22X2I/AAAAAAAAAT4/kE7f5EgASVA83XsrXbLF3_cUb0x00-qUQ/s1600/12734123_815542985259078_832537949957642438_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-iToaXwu5z90/Vucl5S22X2I/AAAAAAAAAT4/kE7f5EgASVA83XsrXbLF3_cUb0x00-qUQ/s320/12734123_815542985259078_832537949957642438_n.jpg" width="320" /></a></div>
<div class="MsoNormal">
TOP TIP FOR THE HOPELESS ROMANTICS OUT THERE; FORGET YOUR POINTLESS OVERPRICED
MEALS AND SHITTY FLOWERS, TRUST ME, THE BEST WAY TO A GIRL’S HEART IS TO TAKE HER
TO A GIG SHE WILL MORE THAN LIKELY HATE. IF SHE MAKES IT TO THE END AND
RESISTED HITTING YOU, OR WORSE, STOOD IN SILENCE WITH A FACE LIKE A SMACKED ARSE, YOU’RE IN THERE. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
SPEAKING FROM THIS PAST WEEKENDS EXPERIENCE,
FOR ADDED GUARANTEED SUCCESS, TAKE HER TO SEE <i><b>THE HELL</b></i>. SHE MIGHT FIND THE MUSIC A
BIT ‘NOISY’ BUT SHE’LL GET A FEW CHEAP LAUGHS IN THE PROCESS, AFTER YOU’VE
TRANSLATED THE LYRICS FROM METAL TO ENGLISH. YOU CAN ALSO HAVE A SOPPY LITTLE
JOKE ABOUT IT ALL LATER. WELL, THANKS TO THE HELL MY DATE WAS A ROARING SUCCESS,
AND IT WAS TOTALLY FUCKING IMPROVISED! STILL GOT IT, NEVER LOST IT.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
SATURDAY SAW THE RETURN OF <i><b>THE HELL</b></i> TO BRISTOL, LAST TIME
THEY PLAYED HERE TWO PEOPLE GOT SO OVERWHELMED BY THE MUSIC THEY GOT ENGAGED WHICH
GOES TO SHOW IT’S TOTALLY POSSIBLE TO FIND LOVE IN THE STRANGEST OF PLACES.
SPEAKING OF WHICH, OF ALL THE OUTRIGHT RIDICULOUS VENUES I’VE SEEN OVER THE
YEARS, THIS ONE TOOK THE PISS. A FUCKING BOWLING ALLEY! WHILST THE BANDS WERE
PLAYING, PEOPLE WERE ACTUALLY BOWLING. TYPICAL <st1:city w:st="on">BRISTOL</st1:city>
RIGHT THERE, QUIRK CAPITAL OF <st1:country-region w:st="on">ENGLAND</st1:country-region>.
ALTHOUGH, IF THE GIG TURNED OUT TO BE SHIT, I COULD HAVE ALWAYS JUST TAKEN HER BOWLING
INSTEAD. PLAY IT COOL AND IT MIGHT NOT JUST BE THE BOWLING PINS GETTING SPREAD
LATER. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(DISCLAIMER: NO) </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
THE SELF-PROCLAIMED BEST METAL ACT IN THE <st1:country-region w:st="on">UK</st1:country-region> RIGHT NOW,
THANKFULLY MANAGED TO BE MORE INTERESTING THAN THE TEMPTATION OF A FEW CHEEKY
HURLS. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
THE <st1:street w:st="on">BEST WAY</st1:street>
TO DESCRIBE <i><b>THE HELL</b></i> IS TO TAKE SOME VERY ENGLISH <st1:country-region w:st="on">UK</st1:country-region> HARDCORE AND REPLACE THE LYRICS
WITH A <i><b>VIZ</b></i> COMIC. OUR AMERICAN READER(S) ? SHOULD BE MORE CONFUSED THAN USUAL BY
NOW, IDIOTS. SPRINKLE A BIT OF <i><b>SUICIDAL TENDENCIES</b></i> OR <i><b>BRUJERIA’S</b></i> GANG SHTICK (EXCEPT
<i><b>THE HELL’S</b></i> BANDANAS HAVE FALLEN DOWN A BIT) AND FINALLY COMPLIMENT THE MIX WITH THE FOOLPROOF
<i><b>SLIPKNOTHEAD</b></i> BUSINESS MODEL OF ANONYMITY AND VOILA! DICKHEADS. ACTUALLY NEVERMIND THAT'S TOO COMPLICATED, THE CLOSEST COMPARISON I
CAN MAKE IS TOWARDS FELLOW <st1:country-region w:st="on">UK</st1:country-region>
HARDCORE LADS <b><i>TRC</i></b> WHO DESPITE BEING DEADLY SERIOUS, ALSO SOMEHOW MANAGE TO
SOUND LIKE THEIR TAKING THE TOTAL PISS. PRETTY SURE I’VE SEEN A FEW OF THE MEMBERS
PLAYING IN OTHER BANDS RECENTLY, BUT HEY, THIS ISN’T A GAME OF GUESS-FUCKING-WHO. BESIDES THE MAIN ATTRACTION FOR ME IS THAT <b style="font-style: italic;">THE HELL </b>HATE THINGS THAT I HATE, LIKE <b><i>DISTURBED...</i></b> <a href="http://darksmiledeadelectric.blogspot.co.uk/2015/09/dog-fashion-disco-craufurd-arms.html" target="_blank">AND MILTON KEYNES.</a></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-TUtyupEfQcA/Vucr_pzPv0I/AAAAAAAAAUI/O1VPwN_FDDYxnXJEEgFvQ8UL6g5yzg8gQ/s1600/Hell2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="https://4.bp.blogspot.com/-TUtyupEfQcA/Vucr_pzPv0I/AAAAAAAAAUI/O1VPwN_FDDYxnXJEEgFvQ8UL6g5yzg8gQ/s320/Hell2.jpg" width="320" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<a href="http://noisey.vice.com/en_uk/blog/meet-the-12-masked-men-from-hell-who-are-here-to-save-hardcore" target="_blank">Image credit</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
BY THE WAY I WAS TOTALLY HAMMERED BEFORE THE BAND EVEN STARTED SO STOP READING NOW IF YOU WANT AN ACTUALLY DECENT REVIEW WITH THE SONGS IN THE RIGHT ORDER AND CLICHE REMARKS LIKE 'ENERGETIC LIVE PERFORMANCE.'</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
WITHIN SECONDS OF OPENER <b><i><a href="https://www.youtube.com/watch?v=Irbgms3F8QM" target="_blank">YOU’RE LISTENING TO THE HELL</a></i></b>,
FRONTMAN NAIL$ SHOWS HIS APPRECIATIVE SIDE AND CALLS US ALL CUNTS. RULE 101 OF HEAVY METAL ETIQUETTE: BE GRATEFUL OF YOUR AUDIENCE. MY DATE IS KEEN TO POINT OUT THAT <b><i>THE HELL</i></b> SAYS ‘DICKHEAD’
AND ‘CUNT’ A <st1:place w:st="on">LOT</st1:place>. I EXPLAIN THEY’RE FROM <st1:place w:st="on">WATFORD</st1:place> AND THAT’S JUST HOW PEOPLE NORMALLY SPEAK THERE. I GET SOME BONUS POINTS FOR SHOWING CULTURAL AWARENESS.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
DURING REALLY OLD SONG <b><i><a href="https://www.youtube.com/watch?v=mORDIiTiglQ" target="_blank">SHIT JUST GOT REAL</a></i></b>, SHIT GETS REAL. ESPECIALLY FOR THOSE WANKERS STILL BOWLING LEFT WONDERING WHY ALL THEIR PINS ARE
FALLING DOWN ON THEIR OWN AMIDST A FLURRY OF RIFFS AND INSULTS. WHEN THE BAND PLAYS NEW SINGLE <b><i><a href="https://www.youtube.com/watch?v=wqO8gMK1oWY" target="_blank">THE FEVER</a></i></b>, <b><i>THE HELL</i></b> ENCOURAGES US TO DANCE LIKE RIGHT DICKHEADS AND COPY THE MOVES FROM
THE VIDEO. CALL ME CYNICAL BUT NOT SURE I NEED TO LOOK ANYMORE LIKE A DICKHEAD RIGHT NOW. I’M IN A
CLUB NAMED AFTER A FUCKING <b><i>SUM 41</i></b> SONG. MOST OF THIS AUDIENCE WERE ABOUT
FOUR WHEN THAT SONG CAME OUT. THIS OLD BASTARD IS CLOSER TO THIRTY. THE SHAME OF BEING IN A CLUB NIGHT DEDICATED TO EMO AND POP PUNK IS TRAUMATISING ENOUGH. HAVE MERCY.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/wqO8gMK1oWY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/wqO8gMK1oWY?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
SPEAKING OF OLD REFERENCES, THEY EVEN PLAY
<a href="https://www.youtube.com/watch?v=CTK7fax6x8U" target="_blank">THAT MONEY SONG THAT HARRY ENFIELD SANG IN THE EARLY NINETIES</a>. MADE ME FEEL PROPER NOSTALGIC. FOR AUDIENCE
PARTICIPATION, THEY ENCOURAGE US TO LOB SOME CHANGE AT THEM. DESPITE JUST
CLAIMING THEY HAD LOADS. BACK TO THE DATE AND THE DRINKS IN THIS SHITHOLE COST
MORE THAN THE GIG TICKET. SEEMS IT’S JUST THE KIDS THAT ARE LOADED THESE DAYS. SEND
SOME OF THAT CHANGE MY WAY, I'VE GOT A TAXI TO PAY FOR.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
MOST OF THE MATERIAL TONIGHT COMES FROM 2014’S ‘WORLDWIDE
NUMBER ONE ALBUM’ GROOVEHAMMER. POINTLESS BUT TRUE STORY. I WAS WORKING AT HMV
WHEN THAT ALBUM CAME OUT. I SOLD IT TO SOME IDIOT AFTER I SUGGESTED IT MIGHT BE
SLIGHTLY BETTER THAN THE <b><i>FIVE FINGER DEATH PUNCH</i></b> ALBUM THEY WANTED INSTEAD. YOU
ARE WELCOME AND HOPEFULLY YOU GREW SOME BALLS.</div>
<div class="MsoNormal">
OTHER HITS FROM THEIR EXTENSIVE REPERTOIRE INCLUDE; <b><i><a href="https://www.youtube.com/watch?v=4IyLg5UAlvI" target="_blank">TAKE ME OUT</a></i></b>, <a href="https://www.youtube.com/watch?v=UWDsUsevEmU" target="_blank"><b>I’VE NEVER SEEN A JACKAL ON THE 142</b></a> AND <b><i><a href="https://www.youtube.com/watch?v=2y70N46o8_U" target="_blank">BANGERS AND MOSH</a></i></b>, WHICH IS WORTH
MENTIONING PURELY FOR THE CREDENTIAL OF BEING THE ONLY METAL SONG IN EXISTENCE
THAT NAME DROPS TESCO.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
JUST AS THE BAND IS ABOUT TO FINISH WITH <b><i><a href="https://www.youtube.com/watch?v=uAgYuVn0MrY" target="_blank">EVERYBODY DIES</a></i></b>,
BLACK MI$T MAKES SOME JIBE ABOUT THOSE IN THE AUDIENCE HOPING TO GET SUCKED OFF
BY THEIR EX-GIRLFRIEND. WOULD HAVE BEEN FUNNY HAD I NOT JUST NOTICED HER.
THOUGHT I COULD FEEL SOMETHING BURNING INTO MY SOUL ALL NIGHT. HOW
APPROPRIATELY BOLLOCKS. </div>
<div class="MsoNormal">
<br /></div>
ALL IN ALL, VERY ENTERTAINING. NEXT TIME I’LL TAKE MY <st1:place w:st="on">NAN</st1:place>. NOT IN A DATE SENSE THOUGH. OBVIOUSLY.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
FOUR OUT OF FIVE FUCKS
GIVEN. YOU DICK.<br />
<br />
NG</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-71129292028652146142016-01-28T03:37:00.002-08:002016-01-31T08:24:51.601-08:00Living Respectful: From Mars to Sirius, 10 Years On<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-b3Vw5eTXcUU/Vqn7Nx9EcyI/AAAAAAAAATo/s5Jtbryeyw0/s1600/From_Mars_to_Sirius.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-b3Vw5eTXcUU/Vqn7Nx9EcyI/AAAAAAAAATo/s5Jtbryeyw0/s320/From_Mars_to_Sirius.jpg" width="320" /></a></div>
<div class="MsoNormal">
In dreams we can
transcend and transform, change perception and perspective. <i>From</i> <i>Mars
to Sirius</i> opener <i>Ocean Planet</i>
begins a fluid journey which weaves through dreamlike states and waking aggression,
contrasting swathes of alternating passages (sonically personified by moments
of crushing heaviness interspersed with calmer moments, fast with slow, loud
with quiet, sparse with intense), which make the listener feel at times
objective observer whilst at others immersed and involved. These changing
dynamics flow through the entire album. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As <i>Ocean Planet</i>
opens the album we are greeted by whale song. A calm before the storm, as this
slow burning track progresses with alternation between kick drums and palm
muted guitar with repeated refrains. Like a tumbling procession of waves
cascading, the narrator and listener are carried through oceans and waking
dreams alike. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Before long the two collide dragging the listener into the
currents below. The lyrical content seems to document an enlightening dreamlike
voyage to a receptive traveller; a confused dialogue with mystical whales.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For the message itself, it appears to be one of despair;
"<i>The ocean planet is on burn</i>”.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Wu9o8oMmPFI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Wu9o8oMmPFI?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>From Mars to Sirius</i>
celebrated its 10 year anniversary in the summer of 2015. Upon release in 2005 the album received high
praise for its new sound; progressive, emotive, inspired, and conceptual.
Certainly upon first listen all those years ago I was blown away, it seemed
revolutionary and has managed to stay timeless, retaining nuances still
undiscovered to this day. Certainly at 67 minutes long it is somewhat of a
giant, so it is unsurprising that there is much to explore. It is worth noting that
for a lengthy album such that it is, the experience is never dragging but
continually refreshing and rewarding.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Regardless of sound there was another element to the record
which set it apart from its contemporaries. The fundamental core of the albums
narrative focuses on environmental concerns; the destruction of our ocean
planet. It is a theme rarely explored with such acuity within the metal
community. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The narrative, as crafted by lyricist and frontman Joe
Duplantier (in the words of D.X. Ferris writing for Metal Sucks in 2009) “…relates
an interplanetary quest to resurrect a dead planet. We’re talking life, death,
and rebirth on a grand scale.”<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn1" title="">[1]</a></span></span><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn1" title=""><!--[endif]--></a></span><o:p></o:p></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><br /></span></span></div>
<div class="MsoNormal">
The story manages to traverse a conception of dawning
awareness (to the mysteries of the universe and to the catastrophic destruction
of our environment), anger, despair and hope. As a journey it is one shared by
the musicians and the listener over the course of the record allowing it to
avoid any accusations of being sermonising. In fact Gojira rarely have felt
preachy, as with any form of art the content relates to concerns and experience
of the creators, and as such the quartet are well qualified to relay this
powerful message.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As we enter 2016 we stand on a pinnacle. Increasingly
extreme weather as a result of climate change is becoming a norm. Environmental
disaster seems inevitable as we fail to adapt consumerist and unsustainable
lifestyles and economic systems, with scientists warning that some marine food
chains are on the verge of collapse<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
(the ocean is enlisted as a powerful metaphor by Gojira). Throughout <i>From Mars to Sirius</i> despair is
counterbalanced by optimism, perhaps for us in 2016 this optimism resides form
of the recent Paris climate deal agreed in the bands home country.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is now that Gojira’s message seems even more poignant. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
In contrast to the steady pace of the albums opener, <i>Backbone</i> explodes into being. “<i>Indestructible</i>” declares Joe Duplantier,
as the track jerks back and forth.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From time to time the pace is forced to a halt before the listener
is thrown into some otherworldly depths, as drummer Mario Duplantier offers
punishing assault of kick pedal as the track lurches between powerful attacks
on drums and abrasive, screeched / muted guitar from brother Joe and fellow
guitarist Christian Andreu, before returning above ground and to Joe’s powerful
declaration.<o:p></o:p></div>
<div class="MsoNormal">
When interviewed for Dutch site Fourteeng Joe Duplantier
elaborated on the lyrical background of <i>Backbone</i>:
“<i>…the lyrics are about I feel indestructible.
I believe that! When you believe in life after death, life after life…you feel
indestructible</i>.”<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn3" title="">[3]</a></span></span><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn3" title=""><!--[endif]--></a></span>
<i><o:p></o:p></i></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><br /></span></span></div>
<div class="MsoNormal">
For those wanting their fix of easily consumed, crushingly
heavy tracks, the duo of <i>Backbone</i> and
successor <i>From the Sky</i> offer these
up.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Double bass provides the backdrop for much of the duration of
<i>From the Sky</i>, in part providing an
almost drone-like and ethereal quality to the track. The lyrical content here
appears to hint to the creation of the universe, non-dual in nature as alluded
to in traces of the bands philosophy. Bouts of intense emotion and wonder, track
against monumental slabs of sound. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
The placidity and Zen-like qualities of instrumental
interlude <i>Unicorn</i> enable a moment of
contemplation and time to recollect after the intensity of what proceeded.
Moments like these were used to effect on previous album <i>The Link</i> (2003) with tracks like <i>Connected</i>
and <i>Torii</i>, the band clearly aware of
the need for replenishment when faced with such monumental music. The whales
reappear, no longer a powerful and threatening presence, but vulnerable and
majestic.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Where Dragons Dwell</i>
continues the relative peace with contemplation and introspection, again
highlighting a further element of harmonised dichotomies present, of the inner
and outer worlds. The ability to meld such introspective moments into these
pieces is another reason the band are able to create such emotive compositions.
Throughout the albums calmer moments Jean-Michel Labadie’s paced and extended
base notes create an almost placid underlying calm.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the techniques used to great effect, is the
alternation of focus upon either drumming or guitar. This allows the group to
speed up or slow down the pace of the music, creating build before unleashing
powerful and protracted flurries. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i>The Heaviest Matter
Of The Universe</i>, rather than creating the illusion of unstable seas, the
opposing forces act to facilitate the stretching and bending of space time. The
themes of the cosmic appear in much of Gojira’s music (a particular favourite
of is <i><a href="https://www.youtube.com/watch?v=OMudBiQnXu8" target="_blank">Space Time</a></i> from <i>Terra Incognita</i> (2001)). The opposition that they use can be seen to
relate back to the philosophy which threads throughout the record, one that acknowledges
the more recognisable vastness of space, to point toward the infinite here on
earth. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What is notable on <i>From
Mars to Sirius</i> however is the skill in which the terrestrial and
extra-terrestrial are weaved together in a single narrative, rather than
finding them stood in stark opposition as it at times felt on previous
releases. A literary analogy would perhaps be <i><a href="https://www.youtube.com/watch?v=OMudBiQnXu8" target="_blank">Ouroborus</a></i>, a character who makes an appearance on successor <i>The Way of All Flesh</i> (2008).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u><o:p><br /></o:p></u></div>
<div class="MsoNormal">
The whales return once more for what is perhaps the masterpiece
and central focus of the entire album, <i>Flying
Whales</i>. Without urgency the first 2 ½ minutes of the almost 8 minute track,
rests comfortably as guitars and drums form a rhythmic tranquillity
interspersed with the language of whales. The conversation intertwines with
itself, causing ephemeral wisps to dissipate around the listener. As before a
dialogue seems to be uniquely bridged, you feel as both observer and yet bought
into the entire affair.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is broken by one of the most memorable riffs of the
record. As the narrative progresses we are drawn to seek these majestic creatures:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>“Now I can see the
whales<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Looming out of the
dark<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Like arrows in the sky<o:p></o:p></i></div>
<div class="MsoNormal">
<i>I can’t believe my
eyes<o:p></o:p></i></div>
<div class="MsoNormal">
<i>But it’s true”<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Crushing riffs and double bass rage in jolting abruptness.
The musicality is always timed and measured, precise in its technicality and
structure. Skies appear to open up in the tranquil breathing space offered
toward the end of the track before returning to claustrophobia with an
aggressive closure.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/_-XaaTqOICU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/_-XaaTqOICU?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>In The Wilderness</i>
is a top heavy juggernaut, exchanging the majesty and precision of <i>Flying Whales</i> with primal rage. The
world is alive and riled from its slumber by some angered ancient force.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>“Living respectful<o:p></o:p></i></div>
<div class="MsoNormal">
<i>Low your axe<o:p></o:p></i></div>
<div class="MsoNormal">
<i>And learn from the
trees.”<o:p></o:p></i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
Structured shifts in the dynamic of the song provide it with
a continuing renewal, demanding the attention of the listener. Closing in on
the end, feedback and distortion begins to build before being engulfed by a powerful
emotive riff (perhaps the most emotive moment on the album). With repetition
the sound gains momentum, feeding back into itself and providing a
self-sustaining power as it advances to its eventual closure. In the background
distortion seems to mutate into muffled screams of anguish. One suspects of the
forests, the mountains and the rivers, their voices on the wind for those
attentive.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The inevitable implosion of <i>In The Wilderness</i> seems to ring in the end of one world and the
beginning of another, if only in a fleeting, dreamed moment. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/lFlyfwUNwio/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/lFlyfwUNwio?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That dreamed moment is transcribed in <i>World To Come</i> which offers a glimmer of optimism. A vision of an
ideal world healed of the scars left by humanity which appears nowhere to be
seen; a living universe, vibrant and aware of itself.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
It is here that we realise that our former journey has been
one of self-transformation. Only now does the real journey begin. <i>From Mars</i> relates this, and in doing so
offers a further temporary moment of peace whilst acting as a preface for <i>To Sirius</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Screeched guitars flicker between monitors as Duplantier’s
growls backdrop the euphoric feelings of ascension which are induced in <i>To Sirius</i>. The final declaration of the
album rings out in the closing moments of the track; <i>“This is my way”</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/TwoS1EcTvKI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/TwoS1EcTvKI?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The conceptual journey closes with <i>To Sirius</i>. Closer <i>Global
Warming</i> summarises and consolidates what has come before and returns us to
the now, this world. Controlled reverb leads into technically pristine and
emotive tapped core of the song.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The song is carefully considered, heavy though never
reaching the intensity of <i>Backbone</i> or
the anguish of <i>In The Wilderness</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Global Warming closes the album by solidifying Gojira’s
vision of a better world, conceived of and sculpted throughout the course of
the album, through oceans, skies, space and time. Though at times the outlook
appears bleak we end on a positive, if only a potential, a seed in germination.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>“We will see our
children growing”</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
The structured nature of the albums compositions makes sure
that the sound never strays to close to falling into chaos or sheer aggression.
What it does achieve is a hypnotic and immersive experience, with plenty of to
and fro dialogue, tumbling beneath waves and soaring through sky and space.
It’s a unique experience; one which I feel was never quite captured on
succeeding releases, though by admission it was never the intention to recreate
the conceptual nature of <i>From Mars To
Sirius</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For example for 2012s <i>L’Enfant
Sauvage</i> Joe is recorded; “I wanted to paint chaos, you know? It’s like a painting
of chaos. It’s a deep feeling that humanity is destroying everything, and it’s
total nonsense. A lot of things don’t make sense in this world, and I wanted to
express this without really thinking if there’s a solution or proposing what I
think about it.”<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn4" title="">[4]</a></span></span><a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftn4" title=""><!--[endif]--></a></span><o:p></o:p></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><br /></span></span></div>
<div class="MsoNormal">
The conceptual, narrative nature of <i>From Mars To Sirius</i> however is one of its most successful
qualities. On <i>L’Enfant Sauvage</i> as
with <i>The Way of All Flesh</i>, whilst raw
emotive power is present, it at times feels as though the nuance and beauty
projected so vividly on <i>From Mars To
Sirius</i> is on occasion missing; lacking a vehicle for expression of their
message.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
As we await the anticipated release of new material in 2016,
one wonders whether Gojira’s revised view will bring us a message of optimism
or despair. The jury is out.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Notes<o:p></o:p></u></div>
<div class="MsoNormal">
<u><br /></u></div>
<div class="MsoNormal">
The band often share information regarding environmental
activism which they are involved in or support, which can be found on their
website <a href="http://www.gojira-music.com/action" target="_blank">here</a>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Listenable Records have just reissued the album on vinyl and
have created a limited edition anniversary boxset available on their <a href="http://www.shop-listenable.net/en/" target="_blank">website</a>.<o:p></o:p></div>
<br />
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a> http://www.metalsucks.net/2009/06/24/9-gojira-from-mars-to-sirius/
<o:p></o:p></div>
</div>
<div id="ftn2">
<div class="MsoNormal">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a> http://www.theguardian.com/environment/2015/oct/13/marine-food-chains-at-risk-of-collapse-extensive-study-of-worlds-oceans-reveals<o:p></o:p></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a> http://www.fourteeng.net/interviews/gojira.html<o:p></o:p></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Joe/Desktop/DarkSmileDeadElectric/GOJIRA%20FROM%20MARS%20TO%20SIRIUS%2010%20YEARS%20first%20draft.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a> http://www.artistdirect.com/entertainment-news/article/gojira-talks-l-enfant-sauvage-and-look-back-on-from-mars-to-sirius/10254161#wgW3Uu4CUHHgAJ1G.99<o:p></o:p></div>
</div>
</div>
</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-56978357786750211542016-01-23T13:52:00.000-08:002016-01-27T14:19:36.431-08:00Health - Death Magic : The Best of 2015<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-eyvAqfVOEaw/VqO0r5FOzMI/AAAAAAAAATY/jQNrMS-BSDQ/s1600/154517.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-eyvAqfVOEaw/VqO0r5FOzMI/AAAAAAAAATY/jQNrMS-BSDQ/s320/154517.jpg" width="320" /></a></div>
<div class="MsoNormal">
<i><br /></i>
<i>Death Magic</i> the third
album from electronic/noise/pop band Health is not something I would normally
listen to, yet after being introduced to the band by a former acquaintance, I
found both beauty and loss in its ambiguous lyrics and heartfelt style. The album
came to represent a transitional period in my life. Each song alluding to an
emotion or experience, consequently and accurately detailing what 2015 came to
mean to me. Whilst the album was released in August, the message
retrospectively coincided my life to the soundtrack it provided. For that
reason it serves as my favourite album of 2015.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br />
It is January 2015, the dawn of the New Year. There is a
certain sense of foreboding in the air. One day in and I anticipate the year is
off to an ominous start. The dramatic and almost dystopian synth of <i><a href="https://www.youtube.com/watch?v=ojgp1K3NJz0" target="_blank">VICTIM</a></i>
intensifies this gut feeling, like something is about to go amiss. </div>
<div class="MsoNormal" style="text-align: center;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: center;">
<i>“It’s not enough.”</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is how I feel about my relationship, something is
missing, and something has changed. Suddenly, a burst of energy, be it anger or
happiness. I can’t be sure. The aggressive electronics of <a href="https://www.youtube.com/watch?v=6aRr8O_D35Q" target="_blank"><i>STONEFIST</i></a> give way to
Jacob Duzsick’s almost androgynous vocals. </div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: center;">
<i>“We’re possessed by what we’ve
lost.” </i><br />
<i><br /></i></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/G1qvEr9bC6c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/G1qvEr9bC6c?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
I determine we are both focusing too much on our previous relationships,
allowing how we felt about someone else interfere with how we feel about each
other. Dwelling on the past as if it has any influence on the present.<i> “Loves
not in our hearts,”</i> but we wont admit it. We will try and persevere. If something feels
right it’s because it is. Maybe it’s just me though? My mouth has always been
bigger than my heart. By title alone <i><a href="https://www.youtube.com/watch?v=1W9VXuXTdxg" target="_blank">MEN TODAY</a></i> is insinuating enough, the
chaotic tribal drumming ringing out like an audible interpretation of my
psyche, punctuated by an industrial soundscape of figurative warnings.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I wonder how we’ve made it this far? What is this leading
to? The complete reversal in tone of <i><a href="https://www.youtube.com/watch?v=GDw9-SjOY-c" target="_blank">FLESH WORLD</a></i> reaffirms that things always
have to get worse before they can get better. Besides, we still have the
physical side of our relationship, even if we have become emotionally
withdrawn. </div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: center;">
<i>“For what, lust.” </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yet something is building up, swelling inside us both, this
wanton urge to be able to be honest with each other again. Like I said, this
feels right, but heart and mind don’t always come to an agreement. This is an
emotionally unstable time in our lives. Somehow the physical gets emphasised,
yet simultaneously so does the now apparent feelings of mistrust which then leads to
accusations and burning paranoia. <i><a href="https://www.youtube.com/watch?v=G3JgQ9GZyM4" target="_blank">COURTSHIP II</a></i> tells us, </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i>“We’re honest when
we’re born.” </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I agree. Only when we are young, innocent and naïve can we
address our emotions with subject transparency, before the heart has chance to
manipulate and distort the mind.</div>
<div class="MsoNormal">
The sombre electronica of <i><a href="https://www.youtube.com/watch?v=i5xhixEq1Vc" target="_blank">DARK ENOUGH</a></i> serves as a internal
monologue. Our relationship has plateaued. We still tell each other ‘I love you,’
but its just words. These words have been subverted, now they only represent a trivial
game of call and response. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i>“Does it make a difference if it’s real, as long as
I still say I love you.” </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are now only remaining together for the benefit of the
other, not ourselves. When a relationship becomes more of a favour for someone
else, what is there to gain from it? </div>
<div class="MsoNormal">
This is <i><a href="https://www.youtube.com/watch?v=daYy7ckvFlc" target="_blank">LIFE</a></i>. We don’t know what we want anymore. It has
taken this long to realise that we are not the people we thought we were. We
both want different things; yet find difficulty expressing what these things
are. It is almost a revelation. Accepting confusion is healthier that suppressing
it. With honesty there is almost a sense of optimism or at least, content. </div>
<div class="MsoNormal" style="text-align: center;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: center;">
<i>“Life is strange, but it’s all we’ve got.”</i><br />
<i><br /></i></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/daYy7ckvFlc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/daYy7ckvFlc?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
Still, the worst is yet to come, I keep reminding myself circumstances have to get
much worse before they improve. Accepting is one thing, admitting is another.
<i><a href="https://www.youtube.com/watch?v=KE1BRnA2sI4" target="_blank">SALVIA</a></i> is the dawning of the motivation I require, the pounding industrial
rhythm drilling the epiphany deep into my conscious.</div>
<div class="MsoNormal">
We argue for one last time. But we are not angry at each
other, we are angry at ourselves, angry for not admitting how we truly felt,
angry at impatiently focusing on the future before getting to know each other
on a personal level. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It all seems almost foolish now. We let childish pride
and a war of attrition obstruct months of suppressed emotion and have now cumulated
in a broken relationship. Just like <i><a href="https://www.youtube.com/watch?v=Bj6rlZZiqso" target="_blank">NEW COKE</a></i> states </div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: center;">
<i>“Let the guns go off, let
the bombs explode.” </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The battle lines have been drawn now. What can be salvaged
and what remains of civility?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>“Am I stuck with myself?”</i> questions <a href="https://www.youtube.com/watch?v=Ic1Sog36tHE" target="_blank"><i>L.A LOOKS</i></a>. The
post-dissolution remorse and regret is now all I can think about. <i>“It’s not
love, but I still want you.”</i> But only because I don’t want you to be with
anyone else, not just yet, not until I’ve selfishly moved on. Ultimately, you have to
<a href="https://www.youtube.com/watch?v=_0VpdZB_0fs" target="_blank"><i>HURT YOURSELF</i></a> in order to feel again. Love always comes hand in hand
with hurt and the heart always desires what it cannot have. This is where the
mind takes over, implementing rationality and foresight before regretful
decisions are made. The heart maybe wounded but the mind is telling me
everything is going to be alright.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=gZgbol-QXo8" target="_blank"><i>DRUGS EXIST</i></a> extenuates the finality. Now there is nothing
left but the potential for something else, something better. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i>“Live as you like,
it’s hard to know what’s right” </i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A year perfectly represented in thirty-nine minutes. The closing ambiance plays out leaves me to reflect on what I’ve experienced and what I’ve heard. It is January 2016…</div>
<br />
<div class="MsoNormal">
NG</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-46158283240410724672016-01-23T09:07:00.001-08:002016-01-23T11:49:22.218-08:00The Top Five Albums of 2015: The Runners Up<div class="MsoNormal">
Being productive and/or consistent with content was
unfortunately not one of my new years resolutions. I am the kind of person that
considers finding the time to have three meals a day productively successful.
That said, here are my top five albums of 2015, spare a thought for all the
meals I have missed in writing this.</div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<u><b>5: <i>InAeona – Force Rise the Sun</i></b></u></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-LXmXJl3xBeE/VqOl_bDVXVI/AAAAAAAAASk/ZmMOR4sxXVg/s1600/a1852765466_10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-LXmXJl3xBeE/VqOl_bDVXVI/AAAAAAAAASk/ZmMOR4sxXVg/s320/a1852765466_10.jpg" width="320" /></a></div>
<div class="MsoNormal">
This album came straight out of nowhere for me, a chance glimpse
of an advertisement from their label Prosthetic Records could not have remotely
prepared me for what was to come, given Prosthetic's favouritism towards more
traditional metal.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After the first listen I was left staggered, what did I just
listen to? I couldn’t quite comprehend it, my colleague asked me to describe
their sound and I was inundated with too many influences and styles to give it
any kind of credibility. I tried regardless. Confidently I began.</div>
<div class="MsoNormal">
“Imagine
alternative style metal, not unlike <i>Deftones</i> or <i>Karnivool</i> with a uniquely
talented female singer reminiscent of Bjork, add a prominent industrial/electronic influence and infrequent inclinations towards post-metal”…. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
*blank stare* </div>
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/jLBGIlbAP2c/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/jLBGIlbAP2c?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
That has been the beauty of <i>Force Rise the Sun</i>, it presents
itself as almost genre-less and regardless of what genre you may decide to
pigeonhole this album into, there is no denying how massive the sound is,
especially for a debut. <st1:place w:st="on"><st1:placename w:st="on">Lead</st1:placename>
<st1:placename w:st="on">singer</st1:placename> <st1:placetype w:st="on">Bridge</st1:placetype></st1:place>
Lavaizar is able to seamlessly vary her vocal range between an almost ethereal
cry with instances of vulnerability, to impassioned screams. Her guitar work
often mimicking her vocals with similar impactful transitions of tone. The
dramatic electronics present throughout make this a very forward thinking and
modern sounding record. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u><br /></u>
<u><b>4: <i>Ghost – Meliora</i></b></u></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-FMIe_UGRFJA/VqOnwRDVbuI/AAAAAAAAASw/QF7hz3UZ-yg/s1600/Ghost-Meliora.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-FMIe_UGRFJA/VqOnwRDVbuI/AAAAAAAAASw/QF7hz3UZ-yg/s320/Ghost-Meliora.jpg" width="319" /></a></div>
<div class="MsoNormal">
Considering Ghost’s fascination with satanic imagery and
lyrical themes, I was left wondering if they had indeed sold their souls to
Satan to create music so undeniably gratifying and catchy. For all the
criticism the band receive for favouring style over substance, <i>Meliora</i> has received near
unanimous praise and not just from the typical metal media. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With <i>Opus Anonymous</i>,
Ghost delved heavily into seventies doom metal and deliberately exaggerated
satanic references. Their follow up <i>Infestissumam</i> was a more experimental
affair, owing more to progressive rock influences with elaborate orchestration
and choral arrangements. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With <i>Meliora</i>, Ghost have found their sound and
consequently, demonstrated their song writing ability on a whole new unholy
level. <i>Meliora</i> could be described as a more traditional metal album. The
outstanding production from Andy Wallace has bought the guitars further into
the mix, particularly on the heavier songs such as <a href="https://www.youtube.com/watch?v=6A-IoOEPbUs" target="_blank"><i>From The Pinnacle To The Pit</i></a>,
<a href="https://www.youtube.com/watch?v=qS5-QmkKzJQ" target="_blank"><i>Majesty</i></a> and <a href="https://www.youtube.com/watch?v=6NzD7zLww2A" target="_blank"><i>Mummy Dust</i></a>. The nameless ghoul operating the keyboards has also
been allocated a more pronounced role this time round, transitioning from the
horror themed keys of <i><a href="https://www.youtube.com/watch?v=DEwk1ZEnBWE" target="_blank">Spirit</a></i> to the almost <i>Van Halen</i> inspired synth of
<i><a href="https://www.youtube.com/watch?v=SGj_KQYD3FE" target="_blank">Absolution</a></i>. <i>Meliora</i> is a sing along album if their ever was a more appropriate
term. When Papa Emeritus calls out </div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>“Put your hands up
and reach for the sky,</i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i>Cry for absolution”</i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Such is the power of the music, I almost feel compelled to
do so. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lead single <i><a href="https://www.youtube.com/watch?v=-0Ao4t_fe0I" target="_blank">Cirice</a></i> is certainly the most infectious song
Ghost has ever released, despite it also being one of the heaviest. A
riff-laden affair which complements Papa Emeritus III’s haunting, yet
objectively compelling delivery. Aside from <i><a href="https://www.youtube.com/watch?v=4CSFkjPm0A0" target="_blank">He Is</a></i> which could be described as
some pseudo-folk ballad, the album gives Ghost the increasingly metallic edge
that has been lacking from their previous releases. Beforehand, the affinity
towards the theatrical and subsequent controversy from the lyrical themes have
always taken precedence over the music. The references to Satanism seem almost
vague this time round, songs such as the aforementioned <i>He Is</i>, utilise creative
metaphors and wordplay to present the intended theme without ever directly
referencing Satan. </div>
<div class="MsoNormal">
With <i>Meliora</i>, if Ghost ditched the costumes, it would take
nothing away from the music.</div>
<div class="MsoNormal">
<u><br /></u></div>
<div class="MsoNormal">
<b><u><br /></u>
<u>3: <i>Dog Fashion Disco – Ad Nauseam</i></u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-Zi-VRuJ1WBA/VqOqk2Tk4AI/AAAAAAAAAS8/8kJJXGp4XdY/s1600/91eM3Z1TlaL._SL1500_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-Zi-VRuJ1WBA/VqOqk2Tk4AI/AAAAAAAAAS8/8kJJXGp4XdY/s320/91eM3Z1TlaL._SL1500_.jpg" width="320" /></a></div>
<div class="MsoNormal">
There is no secret of my love for Dog Fashion Disco. That
said, following the revelation that they would be releasing another album
with the surplus finances they received from their enormously successful crowd funding
campaign, I did briefly ponder if the result was going to live up to its title (I
would have loved it regardless). <i>Ad Nauseam</i> is quite simply brilliant. Dog
Fashion Disco are the dignitaries of the now, admittedly limited, avante-garde
metal scene. On the plus side… No competition at least.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=oCd0586QF2A" target="_blank">The title track</a> showcases DFD at their more upbeat, the
playful synth of Tim Swanson rings out like an early nineties game show theme,
if it not were for Todd Smiths regular lyrical excursions to the dark side.
<i>Last Night Never Happened</i> is more reminiscent of <i>Anarchists of Good Taste</i> and
gives demonstration to Smith’s impressive vocal range. One minute a sultry
croon, the next a demonic wail. Just as the tracks darkly sexualised lyrics
leave you feeling almost uncomfortable, <i>Golden Mirage</i> kicks in and completely alters the tone. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is fair to comment that <i>Ad Nauseam</i> features
some of the most accessible music DFD have produced, the sing-along cabaret-influenced chorus of <i>Golden Mirage</i> had me tapping along quite contently. But you can never let your guard down with
DFD, as it is also fair to comment that <i>Ad Nauseam</i> also features some of the
heaviest tracks DFD have done in years. <i><a href="https://www.youtube.com/watch?v=8V2BIJ3PED8" target="_blank">Covered in Blood</a></i>, in particular
showcases the bands personal take on Thrash Metal and puts the spotlight on
guitarist Jasan Stepp with a rare example of his soloing ability.</div>
<div class="MsoNormal">
Just as 2014’s <i>Sweet Nothings</i> saved its best till last with
<i><a href="https://www.youtube.com/watch?v=VRsXmJbABmo" target="_blank">End of the Road</a></i>, as does <i>Ad Nauseum</i> with <i>Starving Artist</i>, which perfectly channels Mr Bungles 1991 debut in all its demented greatness. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u><br /></u>
<u>2: <i>Judicator – At The Expense of Humanity</i></u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ZIkxi2RrzkA/VqOvROCoEaI/AAAAAAAAATI/L8ZjfrgQsX0/s1600/a1086069508_10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ZIkxi2RrzkA/VqOvROCoEaI/AAAAAAAAATI/L8ZjfrgQsX0/s320/a1086069508_10.jpg" width="320" /></a></div>
<div class="MsoNormal">
2015 was an enlightening year for me; over the years I have
been guilty of predominantly dismissing Power Metal, never fully comprehending
the genres preoccupation with fantasy and lore. Imagine the chagrin when I came
to realise American Power Metal band Judicator had released one of the best albums of
2015. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Judicators <i>At the Expense of Humanity</i> is a concept album
detailing lead singer John Yelland’s experiences during his brothers fight with
terminal cancer. In abandoning the traditional themes associated with power
metal, the group has formulated a significantly more poignant and most
importantly, relatable experience. Yelland’s soaring vocals describe the
emotive and deeply personal account of the concept with so much passion that
you can hear the grief in his delivery. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is little ambiguity to the
lyrics, the story acts as a detailed exploration into mortality and is easy to
comprehend. For this reason the album is such an inspiring experience. The
music puts the listener right within the story, I found myself visualising the
events detailed as if I were viewing a dramatic reconstruction of the entire
scenario. Any expression of indignation, fear, acceptance or anguish, I felt
too.<br />
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5dmbKkUyS0Y/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5dmbKkUyS0Y?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
I have always ascertained that the best music originates
from the artist bearing their soul, music should appeal to emotions and this
touching tribute serves as the perfect eulogy. Rarely have I found myself
enthralled in someone else’s personal tragedy, especially not through the art
form of music.</div>
<div class="MsoNormal">
Concept aside the album will still appeal to more traditionalist
fans of the genre. From a purely musical consideration the powerful vocal
delivery, captivating guitar work and atmospheric keyboards validate that,
lyrical themes aside, this is still very much a Power Metal album. Considering
Judicator have only been around since 2012, <i>At The Expense of Humanity</i> serves
as a testament to their talent. The bar has been set unfavourably high for any
future power metal release.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
NG</div>
<div class="MsoNormal">
<br />
<u><b>Honorable Mentions:</b></u><br />
<br />
<i>Shining- International Blackjazz Society</i><br />
<i>Faith No More - Sol Invictus</i><br />
<i>Boduf Songs - Stench of Exist</i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-16445833213803489852015-12-06T09:55:00.002-08:002015-12-07T13:18:08.390-08:00Scott Weiland: Where the River Goes <div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-VOPaVCNE6Cw/VmRjarocZJI/AAAAAAAAARg/IKaVNrcE5a8/s1600/Weiland-Scott-2009.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-VOPaVCNE6Cw/VmRjarocZJI/AAAAAAAAARg/IKaVNrcE5a8/s400/Weiland-Scott-2009.jpg" width="400" /></a></div>
<div class="MsoNormal">
On the Third of December 2015 the world lost one of the last great rock and roll
front men - Scott Weiland, lead singer of Stone Temple Pilots. Important to note how I have
omitted the label of ‘ex-front man.’ Consequently, without Scott Weiland there was no Stone Temple Pilots. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As it stands a few days later, the evidence currently points to a
drug-related death, specifically a cardiac arrest, no doubt accounting to years of previous
substance abuse. Tragically what many people had been expecting. Weiland was
touring with his new band The Wildabouts, playing small venues and relying
heavily on STP material to fill his set. The reception to those gigs had been
largely negative with numerous comments on Weiland’s deteriorating health and ability. Over
the years his professional reputation had been tarnished, the man who could have had it all, yet threw it
all away. The man just desired to play to his fans, regardless of circumstance and a compromise he was forced
into when the remaining members of STP dismissed him from the band he started.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Weiland was known as one of the most charismatic front men
of all time. He was commonly regarded as genuine rock star and figurehead of
the nineties alternative rock scene. Whilst many of his peers relied predominantly on their
music, Weiland was a natural showman, an intimidating and flamboyant stage presence and dauntless enough to glam up his appearance when everyone else at the time was clad in
jeans and flannel shirts. Not that it ever reduced the impact the music.
Stone Temple Pilots were one of the leading bands of the nineties. <i>Core</i> and <i>Purple</i>
are still regarded as classic examples of nineties alternative rock. The more experimental <i>Tiny
Music...</i> and <i>No. 4</i> showcased a wider range of inferences whilst <i>Shangri La-Dee-Da</i>
is a largely inconsistent output, a hurried pastiche of genres that tried too hard to
integrate with the radio Cod-Rock of the noughties. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Aside from his proficiency at steadily reinventing both his image and vocal delivery, his main talent laid his in often autobiographical and
emotive song writing ability. Weiland wore his lyrical heart on his sleeve and was
unafraid to document his personal struggles in a musical interpretation. Songs on <i>Core</i>
dealt with Weiland’s apparent disillusionment with the world he lived in; <i><a href="https://www.youtube.com/watch?v=8hhu-OyHqZM" target="_blank">Sex Type Thing</a></i>
denounces chauvinistic opinions of women, <i><a href="https://www.youtube.com/watch?v=S62Hi8B2l6I" target="_blank">Sin</a></i> details an abusive partner, <i><a href="https://www.youtube.com/watch?v=eNjtekteQ50" target="_blank">Naked Sunday</a></i> is an attack on religious fanaticism and <i><a href="https://www.youtube.com/watch?v=sT1DdO3SISg" target="_blank">Creep</a></i> deals with feelings of
alienation and resentment from societal normality. By his own account drugs were
not a significant consideration during his early career, yet like so many of his contemporaries
and peers, with the onset and pressures of fame came the addictions. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Weiland attributes Gibby Hayes of Butthole Surfers to
introducing him to heroin, something which Hayes denies; regardless by the mid-nineties
Weiland was a full blown addict. His lyrics on STP’s second album <i>Purple</i> became
increasingly laden with metaphorical references towards addiction. <i><a href="https://www.youtube.com/watch?v=yjJL9DGU7Gg" target="_blank">Interstate Love Song</a></i>
describes having to lie to his then wife about maintaining sobriety whilst on
tour and <i><a href="https://www.youtube.com/watch?v=0YoMUcvKcBQ" target="_blank">Big Empty</a></i> acts as a cautionary tale about life on the road, the titular '<i>Big Empty'</i> being the long hours of nothingness in between the tour dates. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Uzx26V4WDlA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Uzx26V4WDlA?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<i>“Too much trippin’ and my soles worn thin”</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the recording of their third album <i>Tiny Music… Songs from the <st1:place w:st="on">Vatican</st1:place> Giftshop</i>, Weiland was
arrested for possession of cocaine and heroin and instantly became something of a media pariah for the excesses and moral corruption of the rock and roll lifestyle. Once the media
targets a individual, it never relents and rarely sympathises. They made sure any mention of
Weiland was accompanied by some sort of drug-related reference. Just like they did
with Layne Staley and Kurt Cobain. To live a life in the spotlight, being
constantly judged and having to read about your own personal strife (often
exaggerated and glamorised) inevitably took its toll and Weiland was diagnosed
as suffering from bipolar disorder, a dangerous infusion considering his now severe
dependencies.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Weiland managed to regain enough composure to record STP’s
forth album <i>No.4</i> in 1999, dubiously named after the purest form of heroin.
Weiland’s personal turbulence accounted for many of the lyrical themes of the
album. The autobiographical <i><a href="https://www.youtube.com/watch?v=YxS4lqppZ6Y" target="_blank">Sour Girl</a></i> describes holding his wife emotionally hostage in their relationship, whilst <i><a href="https://www.youtube.com/watch?v=lPFvpzlobHM" target="_blank">I Got You</a> </i>ironically outlines how she was able to fill the figurative void left by his heroin
dependency. <i>No.4</i> revealed a vulnerable side of Weiland, whether it be
relationships or drug addiction, both were clearly getting the better of him.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By 2001 Weiland’s personal life overshadowed any musical
output. <i>Shangri-La-Dee-Da</i> was largely ignored by the mainstream. Weiland’s erratic
behavior and headline captivating existence had done no favours for the bands
reputation with his multiple arrests ranging from DUI's to domestic violence.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When STP disbanded in 2003, Weiland fronted Velvet Revolver
with the former members of Guns & Roses, yet the whole project felt increasingly like a
assemblage of egos rather than a credible music output. When Velvet Revolver disbanded in 2008 the blame was once again placed on Weiland's instability and health issues, claiming he had merely 'fallen back into his old ways.' </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-w6J0w4FWJtw/VmRo9tql8SI/AAAAAAAAARw/U60DUGBmo2Q/s1600/Velvet_Revolver_live_in_London_5_June_2007_04.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="253" src="http://3.bp.blogspot.com/-w6J0w4FWJtw/VmRo9tql8SI/AAAAAAAAARw/U60DUGBmo2Q/s400/Velvet_Revolver_live_in_London_5_June_2007_04.jpg" width="400" /></a></div>
<div class="MsoNormal">
STP reformed later that year and, initially it did seem that Weiland had finally managed to
turn his life around. Motivated by a new found appreciation for his own material and
reconciliation with his band mates, the group managed to accomplish one of the
highest grossing tours of the year and release a new self-titled album in 2010. By this point however, the group was undeservedly considered a nostalgia act. Profiting to an older audience keen to relive their
formative years. In many of the tributes I have read following Weiland's death, most refer to how STP only appealed to people in their youth, musical relics of a era gone by. STP appealed to me far into my adulthood as well, their music never sounding as outdated as many seem to be alluding. Weiland was able to formulate a lyrical solution for any
problem, their music I consider timeless, an integral part of both my youth and respective maturity. Just as many claim to have lost a piece of their past, I feel like I have lost a piece of my present.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Weiland needed help that he was never able to find. Even
following the successful reunion tour, the conflicting egos within the band forced Weiland
out. Despite his well documented struggles with varying addictions and a
diagnosis of bipolar personality disorder, his band mates were unable to comprehend his vulnerable mental state. And certainly not by preventing him from preforming which was more than likely the one thing keeping him going. Until recently STP had continued to tour and write material with <st1:place w:st="on"><st1:placename w:st="on">Linkin</st1:placename> <st1:placetype w:st="on">Park</st1:placetype></st1:place>’s Chester Bennington replacing Weiland. This incarnation did not even register to me or a large number of the groups fan base. Weiland was the embodiment of the band; <st1:city w:st="on">Bennington</st1:city> was a cheap impersonator, unashamedly tarnishing the bands legacy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I am confident Weiland’s creative legacy will overshadow his personal
issues if the media allow it. Currently it seems instead of mourning one of the
greatest front men of all time, we are too focused on eulogising another rock and roll junkie who
was by all accounts living on borrowed time. In closing I am reminded of a quote by
famous music journalist Charles Shaar Murray regarding the death of Elvis Presley.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Stardom kills. One way or another, it wreaks an awful
destruction on all but those with the utmost strength and inflexibility and
those with the utmost humility and knowledge”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Weiland may now be remembered as another casualty of an era
gone by, yet behind the facade was an extremely talented and troubled individual
who ultimately paid the price for his art. </div>
<div style="text-align: center;">
<span style="background-color: #444444;"><o:p><span style="font-family: inherit;"><br /></span></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
"I wanna be as big as a mountain, </div>
<div class="MsoNormal">
</div>
<div style="text-align: center;">
I wanna fly as high as the sun, </div>
<div style="text-align: center;">
I wanna know what the rent's like in heaven,</div>
<div style="text-align: center;">
I wanna know where the river goes"</div>
<br />
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
RIP Scott Weiland October 27th 1967 - December 3rd 2015</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: inherit;"><span style="background-color: white; line-height: 19.7682px; text-align: start;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-dhY7EcS5QVU/VmRrGqriA5I/AAAAAAAAAR4/jpQnHGwdXrY/s1600/scott-weiland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="http://3.bp.blogspot.com/-dhY7EcS5QVU/VmRrGqriA5I/AAAAAAAAAR4/jpQnHGwdXrY/s400/scott-weiland.jpg" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: inherit;"><span style="background-color: white; line-height: 19.7682px; text-align: start;"><br /></span></span></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<div style="text-align: left;">
NG</div>
</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-91003524565557892832015-10-21T14:21:00.000-07:002015-10-22T13:08:48.745-07:00Driving Rock: The Frontier<div class="MsoNormal">
<i>(Disclaimer we aren't promoting “driving rock” as a genre or even an acceptable term).<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In a recent article Niall was quite critical of so called <a href="http://darksmiledeadelectric.blogspot.co.uk/2015/10/not-driving-rock-7-hits-of-pure.html" target="_blank">Driving Rock</a>. Is this phenomena total
commercial nonsense? Or something more? In particular, does sitting behind the
wheel of a car actually add to the listening experience? Absurd, surely.<o:p></o:p><br />
<br />
Lets be honest, it probably is absurd. Though music can certainly add to the driving experience. In the same way it can soundtrack the stacking of shelves, dark city streets (I'm thinking Ulver's <i>Perdition City</i>) or the ritual sacrifice of small animals.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It seems only fair however to
offer a contrary view. And what better way to do that by discussing an album
which tore onto the scene as potentially <b>the best driving album of all time</b>
(recommendations welcome).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-xv0GyCTee6Y/Vif_uv7J7ZI/AAAAAAAAAQo/LSbFn-HmyX4/s1600/Falcon-Frontier-Artwork.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-xv0GyCTee6Y/Vif_uv7J7ZI/AAAAAAAAAQo/LSbFn-HmyX4/s320/Falcon-Frontier-Artwork.jpg" width="320" /></a></div>
<div class="MsoNormal">
Because whilst we may be sitting in traffic. We may be
shouting at the prick who doesn't know how to use their indicators at the
roundabout. Or maybe it’s just raining. Falcon (ex-Circle)’s <i>Frontier</i> is there to give us the belief
that we've got the wind in our hair, free as a bird. We are on the adventure of
our lives, the open road. Destination 60mph!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Without getting too caught up in the identity of Falcon
(ex-Circle) it is certainly worth devoting a few lines to provide an overview, or to the
uninitiated an introduction. The part in brackets is a bit of a give away, though not completely helpful.
Finland’s Circle, prolific and ever changing and morphing in their style and
identity are the culprits behind this release, swapping their name temporarily to Falcon (ex-Circle). The following output from the group was Circle (ex-Falcon). But you feel any confusion
you’ll be happy to know they are back to plain Circle. This year’s gem was <i>Pharaoh Overlord</i>, which conveniently
shared a release date with their alter-ego band Pharaoh Overlords’ <i>Circle</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyhow, 2013s <i>Frontier</i>, is basically an anthemic classic
rock album, but for the modern age. It has glam and cheese, but it feels tongue
in cheek and is incredible catchy. The fast paced record is a love story. The
love of a woman, the open road, and of course <i>Beer and Ribs</i>.</div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
<i>Frontier</i> opens the album and sets the scene. Some seriously
retro, but not dated keyboards complement a classic guitar led sound. “Ranger
of the frontier, counting down his days”. The lyrics often conjure a quite visual narrative and need
to be commended for such.<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal;"> </span></span>Similarly, the use of synthesizers in a modern way often feels key to setting this album aside to anything comparable. We begin in the wilderness but where we are heading
is anyone’s guess.<br />
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/98515892&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>
<span style="font-size: 7pt;"><br /></span>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<i>Beer and Ribs</i>
focus on drinking and eating and general frivolity bring us back to more immediate
and pressing concerns. The synth here just teases. It feels like they have struck
gold. Thematically this track sets up the album in a tradition of simple rock
songs, which essentially avoid nuance and drive solely towards “booze, rock and
girls”. Fortunately, Circle’s classic motorik rhythm progresses the track, and
it’s this groove which hurtles you forward whilst the almost comically overt
lyrical topic assures us we haven’t stepped back into the 70s.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The central block of tracks offer feel good, heated escapades
of driving, fleeting passion and adventure. <i>Partners
in Crime</i>, the reckless abandon. <i>Ace
of Hearts</i>, a relationship burning fast and bright. And <i>Bringers of the Dawn</i>, perhaps a moment of much needed reflection.<o:p></o:p><br />
<br />
<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/111192862&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%"></iframe>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<i>Leather Seat</i> is perhaps the new driving anthem and key
really to my bold proclamation that this is the best driving album of all time.
So, instead of offering any sort of review, I’ll offer the lyrics as they provide much
more much greater synopsis than I could.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[…]<o:p></o:p></div>
<div class="MsoNormal">
My mother she used to warn me<o:p></o:p></div>
<div class="MsoNormal">
Someday you will fall asleep <o:p></o:p></div>
<div class="MsoNormal">
At the wheel and die<o:p></o:p></div>
<div class="MsoNormal">
That ain’t no lie.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ride on<o:p></o:p></div>
<div class="MsoNormal">
This long road is my kingdom<o:p></o:p></div>
<div class="MsoNormal">
Ride on<o:p></o:p></div>
<div class="MsoNormal">
My throne is the leather seat<o:p></o:p></div>
<div class="MsoNormal">
I know<o:p></o:p></div>
<div class="MsoNormal">
These freeways like my blue veins<o:p></o:p></div>
<div class="MsoNormal">
I know<o:p></o:p></div>
<div class="MsoNormal">
The engine gives the key<o:p></o:p></div>
<div class="MsoNormal">
To my dreams<o:p></o:p></div>
<div class="MsoNormal">
And that’s the only place where I sit still.<o:p></o:p></div>
<div class="MsoNormal">
[..]<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Miami Tits</i> and <i>Seasoned Girl (I’ll Go Crazy)</i> close the
album and end our love story. Until the car CD player starts it right back at
the beginning and you realise you've moved 5 miles in the past 43 minutes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Basically if you’re driving and you can’t quite handle the
intensity of <i>Sunrise</i> or any other of
Circle’s motorik obscenities at 6am, this album is for you. If you are a
classic rock fan and you need a fix, this album is for you. If you’re behind
the wheel, here is some sustenance.<o:p></o:p><br />
<br />
And at a time when we seem to be driving for longer to get to our jobs which pay less and less and seem more and more pointless, Falcon (ex-Circle) will be there for us.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>JT<o:p></o:p></i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-84450686954022714522015-10-18T05:10:00.002-07:002016-02-07T13:36:28.626-08:00Not-Driving Rock: 7 Hits of Pure Vehicular Abstinence <div class="MsoNormal">
What the hell is driving rock? </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-L9GpAz5rsmY/ViNxynAbLzI/AAAAAAAAAQM/ROrm9ICVk-o/s1600/41pOgo1xyvL._SL500_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="313" src="https://3.bp.blogspot.com/-L9GpAz5rsmY/ViNxynAbLzI/AAAAAAAAAQM/ROrm9ICVk-o/s320/41pOgo1xyvL._SL500_.jpg" width="320" /></a></div>
<div class="MsoNormal">
From my cynical understanding the term is the music
industries representation of the way greetings card companies fabricate new
days of forced celebration to inspire people to remember they actually care. Your
dad probably has several. These compilations consist of predominantly 'adult-orientated' rock, with the occasional song that has some loose reference
to cars/driving/speed etc just in case you couldn’t ascertain that this is
intended to be played in the car. I'm unsure quite how this is supposed to enhance the driving experience. Most of the compilations could simply be released as a classic rock album instead. </div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Admittedly some have managed to compile a decent selection
of songs, yet insinuating that you need to be behind the wheel of a car for
maximum listening experience seems a strange notion. As a non-driving peasant I guess I'm not supposed to understand. In this article I will describe several reasons for my reluctance to commit to automobile ownership and
simultaneously provide you with an inspirational alternative soundtrack. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-ciV6yyKLJfk/ViNzlct2DYI/AAAAAAAAAQY/O1SVo_orPg0/s1600/driving%2Brock.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://4.bp.blogspot.com/-ciV6yyKLJfk/ViNzlct2DYI/AAAAAAAAAQY/O1SVo_orPg0/s400/driving%2Brock.png" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Just one example of the diversity of these playlists, although personally I would be more likely to deliberately crash the car than be forced to listen to Phil Oakley.</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>1. Liberate the legs, enslave the wallet</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Buying and running a car would effectively reduce my monthly
wage to mere pennies. Petrol costs, road tax, insurance, maintenance. None of
which I could comfortably afford. Then most people don’t. Get the car on credit
if you are old enough to have accumulated an acceptable credit score or rely on your parents to
fund everything. I can reasonably assume that the vast majority of all young or
first time drivers contribute next to nothing to the financial implications of
driving. Mommy and Daddy bought you the car because you did well in your A Levels,
they pay your ludicrously high insurance as you are a significant
liability and they give you the money for petrol every week because lets face it,
that McDonalds drive-through isn’t going to order itself is it?</div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>Weezer - Surf Wax America</u></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/52FgoqFPxKc/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/52FgoqFPxKc?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>I would totally surf to work, if I lived on a beach... and worked on a different part of the same beach.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>2. Driving lessons can be murder</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Cars are bad for the environment and I don’t mean in the
traditional and perpetually debatable ‘Global Warming’ argument. I mean every
time I get behind the wheel of a car, things die. Before you consider me some
kind of vehicular maniac, I should specify the only body count I have amassed
has come from the local wildlife and not the locals themselves. On my first
ever opportunity behind the wheel, I ran over a Cat… on Christmas Eve. Scooping
its limp body out of the road was traumatising enough, but a few years later
whilst having actual lessons I managed to get more feline blood on the tires.
After sitting in the car with the instructor going over all the necessary
basics, I pulled off her driveway and rolled straight over her beloved pet who was
having a snooze under the rear tire. I never got a second lesson. Fast forward
another few years whilst receiving unofficial lessons from a previous
girlfriend. Two birds mutually decided to end it all and exploded off the
front bumper. The bodies were never recovered. After hastily exiting the car to
gaze out at the shower of feathers, I held a moments remembrance, then
thoughtfully considered that I clearly posses the same ecological impact as
traditional Chinese medicine. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>Jimmy Eat World - Night Drive</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/008pJEY9kj4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/008pJEY9kj4?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>It's not about driving the car, it's about having sex in it, which is much more enjoyable... I've heard.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>3. Conveniently deluded</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Life is not meant to be easy and convenient. It is meant to
challenge you with obstacles such as distance or the elements, so you both
adapt and appreciate the luxuries more. But as humanity we want everything as
easy as possible and with the least effort. This is what excessive driving does
and subsequently creates this artificial sense of dependency that renders your
legs seemingly useless. If your destination is less than two miles away, walk
or cycle. You will feel better for it. I envision the technological advancements
that will no doubt arrive over the next few years. Robot cars with built in HD
televisions and Twitter coming as standard. Soon humanities greatest
achievement will involve commuting on a giant smart phone whilst comsuming a mixed grill. </div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>Pantera - Walk</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Evc3Xtc84N0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Evc3Xtc84N0?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>Just walk on home, boy.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>4. Wide Load</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the worst kinds of people that inhabit this planet is
the (admittedly specific)</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
"I just passed my driving test, but my obvious and rapid
weight gain is completely unrelated to it." We live in a morbidly obese culture
where moderate exercise such as walking or even cycling is considered unnatural.
I experience this first hand where I work. The shopping center has no
pedestrian access and so the only way to visit is by car or bus. Consequently,
it is not uncommon to find yourself surrounded by the type of patrons who have somehow managed to force themselves between the seat and their steering wheel
to complete the arduous task of going to Marks and Spencer’s for some posh
sausages. They shuffle around the mall, taking numerous seating breaks or hire
a mobility scooter in turn creating the most tragic interpretation of Mario
Kart possible. I am as unsympathetic to the overweight as they are to whatever
they sit on. Walking is good exercise, cycling even more so, yet trying to
suggest healthy alternatives is as deluded an idea as the individual who orders
a diet coke with their McDonalds.</div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>Nine Pound Hammer - Run Fatboy, Run</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/U_oAHm6DTUI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/U_oAHm6DTUI?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Run like your life depends on it, as it probably does.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>5. Borrowed Time</u></b></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
People are effectively held hostage by rising petrol prices.
We’ve already established that most of society considers themselves one with
their wheels, yet they see no alternative to pouring away huge amounts of money
at the cost of a slight amount of inconvenience and/or comfort. It’s a well
known fact that soon the worlds resource of crude oil will run out. Maybe not
in our lifetime, but a bit of forward thinking couldn’t go amiss. Maybe we
should consider educating the preceding generations to expect the worst? Except
we wont. Oil is big business, as long as huge amounts of money are being made
in the present day, those in control of the oil couldn’t give a flying toss
about the future. Their cryogenically frozen heads will be counting all their
digital cash whilst everyone else tries to remember how to use their legs.</div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>Piebald - Roll On</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/cfpVF4Fd1Fw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/cfpVF4Fd1Fw?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>It's no coincidence that songs about not driving are far more uplifting.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>6. Too fast, Too young</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Society is adept at convincing its youth how to behave.
Currently it seems that learning to drive is being forced upon the younger
generations. The youth are impressionable, yet more importantly profitable.
They are conditioned to want the fastest, most stylish looking cars, which
keeps the insurance companies pockets full and the government gets a tasty slice
of your road tax and the subsequent taxation on petrol. As previously stated,
the only people that feel the sting are usually the parents. There are now
classes that can teach those aged 14-17 to drive. What exactly does a 14 to 17
year old even need a car for? The only driving I cared about when I was that
age was on Nintendo. Instead we end up with a very lazy generation, who view going
for a drive as a productive pastime. Cars are meant for families and long distance
commuters, not teenagers just off down the shops or racing around country lanes
at three times the speed limit. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>OPM - Heaven is a Halfpipe</u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/j0KYiYMagaA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/j0KYiYMagaA?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: left;">
<i>Yeah, why not? Totally not running out of ideas...</i></div>
<div class="MsoNormal" style="text-align: left;">
<i><br /></i></div>
<div class="MsoNormal">
<b><u>7. Not-rushing Hour</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Have you seen the roads recently? I personally haven’t as
regardless of the time of day, they are consistently gridlocked. The cruel
paradox of the ‘rush hour’ is that no one rushes. <st1:place w:st="on">Bristol</st1:place> was recently awarded the illustrious
recognition of ‘Green Capital of Europe.’ We must have some revolutionary
recycling going on here as the city is considerably failing in the category of
traffic management. My entire cycle commute is spent seamlessly weaving through
stationary cars.(For a more detailed description <a href="http://smileelectric.tumblr.com/post/109614746957/my-morning-commute-a-short-story" target="_blank">click here</a>) I have colleagues who yet living closer than me, drive to
work and I can get there quicker. Just call me Bradley Wiggins. The truth is
that the majority of <st1:city w:st="on">Bristol</st1:city>
(and most other large cities I presume) attempt to travel at the same time. The
increase in traffic and simultaneous decrease in the national speed limit, will
soon make it quicker to walk to work and considering the methodology behind how
speed cameras are enforced, the higher powers will soon be issuing speeding
tickets for running and charges for remaining stationary for longer than twenty
minutes.</div>
<div class="MsoNormal" style="text-align: center;">
<b><u><br /></u></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><u>System of a Down - Bounce</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/lITuHDdhdkw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/lITuHDdhdkw?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
<i>The world would be a much better place if everyone rode a pogo stick to work.</i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
NG</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-22868699765459101082015-09-26T13:51:00.001-07:002015-09-28T11:36:02.769-07:00Dog Fashion Disco @ The Craufurd Arms 10/09/2015 - Really Talented Americans<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
</w:WordDocument>
</xml><![endif]--><a href="http://3.bp.blogspot.com/-0IwwQFD7m4g/VgcAS-NNRiI/AAAAAAAAAG0/qSngusrn7MI/s1600/11731777_672518622882980_8483036997179613923_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-0IwwQFD7m4g/VgcAS-NNRiI/AAAAAAAAAG0/qSngusrn7MI/s400/11731777_672518622882980_8483036997179613923_o.jpg" width="260" /></a>There are not many bands I could justify travelling half way
across the country to see, especially on a work night and especially not to Milton Keynes. The town is how I imagine purgatory to
resemble. Essentially, an expansive shopping and eating destination and not a
whole lot else. A place where people go to consume. Regardless, this was the
closest date of Dog Fashion Disco’s (Really) Ugly Americans Tour and not even the prospect of having to once again visit Milton
Keynes was going to stop me.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Besides perhaps Huddersfield
we had chosen the least prolific date of the tour. The Craufurd Arms is more
suited for tribute nights and wedding receptions than accommodating one of the
most unique bands of the last fifteen years. We knew this was going to be an
intimate gig and given its seemingly unremarkable location I can only assume
the band had no idea where they were either. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Joining Dog Fashion Disco on the tour were openers Psychostick.
Whilst involuntarily getting to know the locals it became apparent that the
majority of the audience were here for them. Perhaps years spent attempting to
navigate MK’s near labyrinthine layout has left people unable to comprehend
anything divergent. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Psychostick are a novelty act. Much in the same manner that
Steel Panther pretend to be eighties rockstars and attempt to get underage
girls to expose themselves or Five Finger Death Punch pretending to be actual
accomplished musicians, Psychostick are a parody of the common associations of
rock and metal. Whilst they managed some genuinely entertaining moments such as
the ‘slowest mosh pit ever’ it is difficult to see past purely the novelty. Music
combined with comedy is like my computer… it doesn’t work very well. Other <a href="https://www.youtube.com/watch?v=yhyAm31cr2E" target="_blank">songs just seem childish</a>. It is music for the Youtube generation, whereby music videos
go viral, not because of their accomplished songwriting, but for their ability
to distract you from reality for a few minutes and then ultimately forgotten
about.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Since being made aware of DFD’s existence nearly twelve
years ago, they have not only consistently remained a fixture of my music
collection but a catalyst for its general eclecticism. Anarchists of Good Taste
is one of those rare albums that I consider timeless, had it not been for its
almost accidental discovery all those years ago, I may well have spent the
remainder of the decade relying on the ‘genre of the month’ artists force fed
by the musical press. Never before had I listened to anything resembling their
blend of jazz, psychedelica and the avante-garde. Todd Smith’s darkly captivating
lyrics explored themes that admittedly as a naïve teenager I had trouble fully
comprehending. For the first time I began actively exploring the words to the
music, uncovering creative stories regarding serial killers, cults and
occultism.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-q_Sc_Y6EIWQ/VgcI447z45I/AAAAAAAAAHE/Qej-nDkNZ6I/s1600/DOG-FASHION-DISCO-Press-Photo-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="http://1.bp.blogspot.com/-q_Sc_Y6EIWQ/VgcI447z45I/AAAAAAAAAHE/Qej-nDkNZ6I/s400/DOG-FASHION-DISCO-Press-Photo-1.jpg" width="400" /></a></div>
</div>
<div class="MsoNormal">
<br />
The unfinished chapter in this story regards my uncertainty
of ever being able to witness the live DFD experience. The band has something
of a cult status in their homeland America; I presumed chances were
slim of them ever considering an international fanbase. Following their enormously
successful crowdfunding campaign in 2014, the band announced successive shows
in London,
having to adjoin additional dates to appease demand. I was as shocked as I can
only presume the band was.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Exploding with <a href="https://www.youtube.com/watch?v=oeij4GMqvbs" target="_blank">Rapist Eyes</a> the band instantly reassure
anyone remaining from the Psychostick crowd that, this is not going to be
another novelty act, despite the assumptions their name might entail. A few
points worth mentioning tonight, is that the horn section lead by Matt
Rippentoe, so integral to their sound is noticeably absent on this tour.
However, I understand the logistics of bringing an additional member was more
than likely not practical for such a small tour. Regular drummer John Ensminger
is also absent, as is frequent stand-in Mike Oliver. Drum duties were therefore
preformed by a mystery individual. Competent enough but Ensminger’s Jazz
influenced accompaniment forms the background to DFD’s sound.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Following heavier numbers, <a href="https://www.youtube.com/watch?v=ObXkN2T2gDc" target="_blank">The Sacrifice of Miss Rose Covington</a> sounds as invigorating as it did back in 2006 and <a href="https://www.youtube.com/watch?v=VTyWeCVVLlo" target="_blank">Pale Horse</a> showcase
the bands more metallic influences with guitarist Jasan Stepp taking his
performance into the crowd in effort to encourage movement. Following new track,
<a href="https://www.youtube.com/watch?v=oCd0586QF2A" target="_blank">Ad Nauseam</a> insinuates the band can demonstrate a more accessible side if they
so desire, an electro tinged upbeat track that would have sounded even better
with the addition of the accompanying saxophone the studio version is blessed
with. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/oCd0586QF2A/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/oCd0586QF2A?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of the key components in DFD’s music is that, as amiable
as the music represents itself, Todd Smith’s lyrics have nearly always been
misleadingly morbid as the more melodic <a href="https://www.youtube.com/watch?v=qDrwYOEXNpc" target="_blank">Nude in the Wilderness</a> demonstrates.
<a href="https://www.youtube.com/watch?v=Vflh9E4LMLI" target="_blank">Tastes so Sweet</a> with its almost cabaret style piano, could have been a huge
crossover hit for the band, if this cultures seemingly preoccupation with bland
musical conformity was not the main hindrance. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=WfsTwVJ26n8" target="_blank">100 Suicides</a> is another track that benefits hugely in a live
environment to its horn accompaniment, yet the band still improvise enough to
ensure a fully successful rendition. More recent material from last years
criminally overlooked Sweet Nothings include satirically influenced <a href="https://www.youtube.com/watch?v=Gqi43SuoGhY" target="_blank">We Aren’t the World</a> and politically charged <a href="https://www.youtube.com/watch?v=f75XGhyKSfk" target="_blank">War Party</a>, before the band revert back to fan
favourites such as <a href="https://www.youtube.com/watch?v=meQSUYJpPeU" target="_blank">Pogo the Clown</a> and <a href="https://www.youtube.com/watch?v=j5jIih5i6lk" target="_blank">The Acid Memoirs</a>.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
New track, Only the Haunted from their upcoming
album Ad Nauseam reassures that the album is going to be a highlight of the
year. The band finish on two tracks from Adultery, <a href="https://www.youtube.com/watch?v=sSYee9O0vp4" target="_blank">Sweet Insanity</a> and <a href="https://www.youtube.com/watch?v=6Y6NZsM_Igw" target="_blank">Darkest Days</a>. Between myself and the other ten or so long term fans present, there is a
certain sense of disappointment that anything from Anarchists of Good Taste was
surprisingly overlooked. Not only does that album serve as the quintessential
release from the band, it perfectly showcases both their diversity and talent. To
have been able to hear Valley Girl Ventriloquist or 9 to 5 at the Morgue would
have made the evening not only memorable, but perfect. Second that, seeing them
anywhere but Milton Keynes would have made it
perfect. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/EHcgcukZJGE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/EHcgcukZJGE?feature=player_embedded" width="320"></iframe> </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
So, whilst the set list could have benefitted from a few
alterations, they band still proved they are the sole proprietors of the
avante-garde metal scene (as niche as that maybe) For me it was something I had
been waiting a long time for, my sentiment gleefully overlooking any minor dissuasions
anyone else may have had. The band however, deserves better, better venues,
better crowds and better recognition for their efforts.The thought of a
supporting band like Psychostick receiving a warmer reaction than Dog Fashion
Disco is as incomprehensible as Weird Al Yankovic stealing the show from Johnny
Cash. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
NG</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-75849122834329645272015-09-19T15:32:00.000-07:002015-09-19T15:37:01.103-07:00Audio-Biography - Roxy Music<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
</w:WordDocument>
</xml><![endif]--><br />
<div class="MsoNormal">
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="156">
</w:LatentStyles>
</xml><![endif]-->It is one of the first memories from a musical perspective I
have, witnessing Roxy Music perform <a href="https://www.youtube.com/watch?v=zVeEBMJt8vs" target="_blank"><i>Ladytron</i></a> on a VHS recording of The Old Grey
Whistle Test. I was not quite sure what to make of it. The whole band clad in
what appeared to be fancy dress of some sorts. I vividly remember; Bryan Ferry
pouting his way through the entire performance, tarted up in more make-up than
I ever saw my mom wearing, an androgynous looking Brian Eno twiddling knobs on
a strange machine as if he were conducting some sort of bizarre science
experiment, Phil Manzanera resourcefully utilising what appeared to be tea
strainers as a replacement visual aid and last but not least Andy Mackay costumed
as a clarinet wielding Dr Who villain. Initially, the spectacle appealed to me
somewhat more than the music. This was glam rock after all, the age where visuals
and aesthetics were often deemed more important than the artists creative
output and this was the nineties where the majority looked back at the seventies
with a mixture of confusion and ridicule. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/SYgVORvXGAs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/SYgVORvXGAs?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>Roxy Music accompanied
me through most of my formative years. As one of my dads all time favourite
groups, seldom was a weekend or a car journey spent without some kind of art
rock inspired soundtrack. Yet, despite my dad’s best efforts, he was not able
to convince me of their apparent greatness. In the years beginning my ascent
towards secondary school, I could only imagine my peers reaction should I have
proudly confessed my appreciation for this old fashioned dad-rock made by men wearing
dresses and eyeliner.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-3BcKP5USkfI/Vf3XU3ozynI/AAAAAAAAAGU/r9AmJ_qExOs/s1600/Roxy-608x370.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="http://1.bp.blogspot.com/-3BcKP5USkfI/Vf3XU3ozynI/AAAAAAAAAGU/r9AmJ_qExOs/s400/Roxy-608x370.jpg" width="400" /></a></div>
<br />
I was short on popularity as it stood. I don’t think
advertising myself as a Roxy Music fan would have greatly improved my
credibility. This was the early 00’s when alternative metal and wrestling reigned
supreme in my interests. With the subsequent (and since regrettable) purchases
of Kid Rock and Godsmack albums, my dad presumably admitted defeat, his musical
legacy nipped at the bud by a rapping redneck who in all actuality was neither a kid,
nor could rock.<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
However, as
you age you begin to appreciate your upbringing significantly more. The onset
of adulthood makes you develop a retrospective of your childhood. In effect, gazing
back to the past especially when the future seems so scary and superfluous.
This is exactly what occurred during my inaugural year of university. It was the
first time living away from home. Despite the fact I was eighteen, I still retained
the mentality of a fifteen year old. I was so gracelessly shy that the mere prospect
of making trivial conversation with those I was due to be living with seemed an
impossibly daunting task. They all seemed far more mature and enlightened to
life’s ways than me. I had bought my entire CD collection along (yet only one
pair of socks) with me hoping that I would be able to bond over a mutual
admiration of music. I devised a plan and carefully selected a mixture of my
more well known albums to play loudly enough to draw in the masses, then I
would bring out the lesser known albums once I’d singled out those I had common
ground with. Ultimately I found myself discussing more about bands I merely
kind of liked (or pretended to) but there was no substance to the discussion.
It was just a mutual agreement of appreciation.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/OEalg62F8Zg/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/OEalg62F8Zg?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It took a chance
meeting with a now close friend to make me realise the sentimental power of
music. Like myself, my associate had a strong musical influence emanating from
his dad. One of the bands he had grown up with was also Roxy Music. And there I
was thinking I’d make friends with Killswitch Engage and Bleeding Through.
Unlike me, however he had not diluted his preferences with discordant metal and
actually appreciated the music. It took some convincing but I reluctantly began
to rediscover Roxy Music. I had somehow stored the lyrics away in some distant
nostalgia related portion of my brain and still remembered every song. My now
musically enlightened understanding was able to fully appreciate the unique
instrumentation and song writing. Most importantly however, I remembered the
songs reconnected me to memories of my childhood, be it lazy weekends with my
dad whilst my mom was working, the excitement of long car journeys to
traditional British holiday destinations or making cassette compilations and
always requesting the same songs.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The music I
was listening to during this time was still too new and fresh in my mind to formulate
any higher association from it. With Roxy Music I could effectively recreate
the home comforts whilst I struggled to develop my own identity. It was almost
therapeutic. What was once strange and un-cool was now enjoyable. It didn’t
matter that my peers wouldn’t approve anymore either; we were now all adults
free to enjoy and share whatever we pleased.<span style="mso-spacerun: yes;"> </span>The
admiration for Roxy Music has since developed into more than just a sentimental
affinity. I can now appreciate how progressive and influential they are. Saxophonist
Andy Mackay perfectly addresses their influence with this quote;
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
"We certainly didn't invent eclecticism but we did say
and prove that rock 'n' roll could accommodate – well, anything really." </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is apparent not just in musical terms either. Bryan
Ferry has set the bar unreasonably high for every wannabe suave crooner that
has dared challenge his legacy, Eno’s synthesizer wizardry became a staple part
of the succeeding decades music, even the risqué imagery on their albums covers,
famously depicting whoever Ferry was, to put subtlety, courting at the time has
been replicated by many. As the title implies, that’s what progressive music
does, it pushes boundaries, be it creatively and/or controversially.<span style="mso-spacerun: yes;"> </span>For example,
I’m sure there were a few eyebrows raised when the choice of album cover for <i>Country
Life</i> was decided. On a side note, I remember finding the album as a small child and
being unable to comprehend how such a masculine face could have such ample
breasts. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-rhXxHfWPeBA/Vf3Ywj60cJI/AAAAAAAAAGk/dsVjLFkm1iU/s1600/1323366592_96c32703d7dd7494021d77d60c8_prev.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-rhXxHfWPeBA/Vf3Ywj60cJI/AAAAAAAAAGk/dsVjLFkm1iU/s320/1323366592_96c32703d7dd7494021d77d60c8_prev.jpg" width="320" /></a>My
preferences for more conventional rock have, unfortunately ensured I’ve largely
bypassed anything after 1975’s <i>Siren</i>. Not even the pioneers could escape the
cultural phenomenon (or travesty) of disco and by 1982’s <i>Avalon</i> it might as
well have been a completely different band altogether, a timid collection of
radio- friendly ballads owing more to Ferry’s solo career and the onset of the
new romantics than a collaborative effort. </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Their best
and most memorable material derives from 1972’s self titled release, which has
since been regarded as something of a classic, <a href="https://www.youtube.com/watch?v=-gJIH6cOMPs" target="_blank"><i>Virginia Plain</i></a> and <a href="https://www.youtube.com/watch?v=zVeEBMJt8vs" target="_blank"><i>Ladytron</i></a> have
since become my most significant songs to memory; The former due to my dad’s
insistence that it is the greatest single of all time and the latter on account
of an occasion whereby I jokingly sang the introduction to a girl who was so
besotted by my apparent impassioned vocal delivery that she decided to become
my girlfriend the same night. Owe it all to you Bryan. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>Of course
the main point to take away from this first of many insights into my musical
upbringing is to appreciate the past. Paradoxically, disregarding Roxy Music as
a child, only heightened their appeal later when they became my correspondence
to times gone by. They essentially became something of a stand in for an absent
paternal influence, if you will. Coinciding memories to music is now something
I actively pursue as it not only adds a greater meaning, but also sentiment. Songs
have the magical ability to transport you back to a previous time or even state
of mind and Roxy Music have the distinction of being the first band to make me
realise this. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
NG </div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-80200686669016678202015-09-12T14:45:00.000-07:002015-10-02T13:43:28.174-07:00Ghostfest Review - Bristol Motion 06/09/2015 : Scary in Parts<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
</w:WordDocument>
</xml><![endif]-->Nothing punctuates a nice romantic evening with your
girlfriend than the unexpected invitation to attend a hardcore music festival.
The festival in question was the Bristol
date of the annual Ghostfest. The line up consisted of bands I had certainly
heard of, but by no means a prolific follower of their music. Regardless a free
festival is a free festival and despite the fact that I was slightly overdressed, the three large glasses of wine I had
previously consumed urged me forth.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-cnncoL8Fq3U/VfSU5izD1xI/AAAAAAAAAEo/KgvUk_GRwBU/s1600/11896408_1099008220126797_2289697357738779505_o.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-cnncoL8Fq3U/VfSU5izD1xI/AAAAAAAAAEo/KgvUk_GRwBU/s400/11896408_1099008220126797_2289697357738779505_o.jpg" width="281" /></a><span style="mso-spacerun: yes;"> </span>Before we
start I can honestly state that I have never been to anything considered a true
hardcore gig before. The presumed appeal of donning my most fashionable
sportswear and windmilling myself into unconsciousness has somehow been lost to
me. Sure, I’ve been to many metalcore gigs where this kind of behaviour occurs,
but it is usually from the minority of patrons whilst the rest of the audience
spend the longevity of the gig staring at them with a combination of pity and
disgust. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
My
inexperience with these kind of events manifested prematurely. After going through
the line-up and planning an itinerary I somehow forgot to realise that this had
been an all day event and therefore had subsequently missed the few bands I had
actually wanted to see, namely Despised Icon and Turnstile. I had no right to
complain though, quite how I thought the organisers would be able to squeeze
nine bands into a few short hours is anyone’s guess. </div>
<div class="MsoNormal">
<br /></div>
<span style="mso-spacerun: yes;"></span>Upon
entering I was surprised by the diversity of the audience. We had the expected conglomerations
of hardcore kids; the more conventional metalheads going through their
traditional shedding of clothing as the festival progressed, the old school
punks presumably there to see a band I missed, the scenesters posing at the
back, the guys dressed head to toe in gym apparel possibly keen to make up the
cardio day they were missing with some vigorous slam dancing and even a group
of skinheads adorned in denim jackets with dubious looking logos and symbols. Aside
from the latter, each found unity in a common appreciation for the music.
<br />
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The first
band I witnessed was Crime in Stereo whose only crime was unfortunately to be
playing the same time as Emmure. And by witnessed I mean walked past as I went
to go watch Emmure. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Emmure are a
difficult band to define. They mix the traditional deathcore sound with nu/rap
metal elements (Nu-Deathcore?) and surprisingly it works. Frontman Frankie
Palmeri reminds me of a deathcore version of the Bloodhound Gang’s Jimmy Pop. I
think it’s the baseball cap and pseudo hip-hop gesturing. The band relies heavily
on riff-based approach and whilst their songs are often quite similar, the
formula they have chosen is competent enough. <a href="https://www.youtube.com/watch?v=xn2A_dXoIAA" target="_blank">Solar Flare Homicide</a> could very
well be the heaviest Nu Metal track in existence, whilst <a href="https://www.youtube.com/watch?v=VF8psEdwVVo" target="_blank">Children of Cybertron</a>
is essentially a two minute long breakdown. Their performance was well received
by all but the old school metallers, who were probably left wondering that Limp
Bizkit have got a little bit heavier. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/2W-R17PCK_k/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/2W-R17PCK_k?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Similarly,
the old-schoolers most likely thought that Rage Against the Machine had also
taken a drastic change in style when Stray from the Path followed. It is
obvious that Rage is SFTP’s main influence (Rap-Metalcore?) From the clear
politically influenced lyrics, the Tom Morello-esque guitar twiddling on <a href="https://www.youtube.com/watch?v=DxnjdXOxLCU" target="_blank">Badge & a Bullet</a>, right down to Tom Williams’ written message on his guitar. Like
Emmure though, the formula works. Both bands have created a modern sound by
combining elements from genres past. It just so happens that this genre is
mid-nineties Rap-Metal which as refreshing as it is, certainly makes me feel
old. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This was the second time I had seen SFTP this year following their
performance at Download Festival and it is apparent they have quite an audience here in England.
It is worth noting that the band seemed genuinely humbled by the audience’s
response, which is something that has been lacking from recent gigs I have
attended. Just as they drew an expansive crowd at Donnington, they
achieved the same results at Ghostfest, which is even more impressive
considering headliner Hatebreed started midway through their set. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DxnjdXOxLCU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/DxnjdXOxLCU?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Hatebreed
are simply that… Hatebreed. Their style has rarely deviated from their
formation nearly twenty years previous. The admiration derives from understanding
that they have settled on a winning style that has placed them as both pioneers
and leaders of the genre. As aggressive as their music represents itself, the
band do not take themselves as equally serious in their live performances. They
leave the music to speak for itself. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The traditional hardman approach is not
adopted by frontman Jamey Jasta. For an American metal band to draw such a
crowd in a humble West Country town is an achievement within itself. Hatebreed
appreciated the crowd and omitted the stereotypical “kick anyone in the face
that isn’t moving” lingo that many similar bands adopt. Not that it stopped
anyone, but it was not encouraged. Like most Hatebreed concerts, the venue was
left equal parts concert and equal parts combat arena. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/DBwgX8yBqsw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/DBwgX8yBqsw?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I conclude that, perhaps I am not the ideal person to fairly
review a hardcore gig. To appreciate it fully you need to be amidst the crowd,
caught within the momentum of the music, not stood at the back hoping someone
doesn’t make you spill your coke down your shirt. The line up certainly gave
credence to the phrase ‘music for every generation’ and the bands I did see
are a prime example of the ongoing evolution of their genre. If there is a festival
next year I’ll likely get more involved although the potential of turning up to
work the next day with missing teeth and black eyes may raise more
questions than I am capable of answering.</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-54771504015961112122015-09-04T14:41:00.004-07:002015-09-06T12:06:58.611-07:00A Tale of Two Bands: The Moonlandingz @ The Picture House Social, Sheffield 29/08/2015<div class="separator" style="clear: both; text-align: left;">
The Moonlandingz are a “cosmic synth, krautobilly” band from
Valhalla Dale, just outside Sheffield and headed by narcissistic frontman Johnny
Rocket.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Or at least that is who they were, as depicted on The
Eccentronic Research Council’s recent record <i>Johnny Rocket, Narcissist & Music Machine… I’m Your Biggest Fan</i>.
The album, featuring, and narrated by actress Maxine Peake, documents the tale
of J Rockets’ stalker.<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/pw2PBw7Ezbw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/pw2PBw7Ezbw?feature=player_embedded" width="320"></iframe></div>
<div style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Though originating as a fictional band The Moonlandingz, are,
in reality a 6 piece consisting of members of The Eccentronic Research Council
and Fat White Family. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This weekend they returned to The Picture House Social,
having filmed a recent video for <i>Sweet
Saturn Mine (Sean Lennon De-Mix)</i> here a few months prior. Despite the
credentials of the individual collaborators, it is fair to say it’s impressive
that they have sold out all of their gigs on this short tour across the north
of England and in London.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Despite being in the room awaiting the presence of the band
there was something surreal about the whole affair and an expectation of
something great. The atmosphere was electric and kicked off in kind as soon the
band exploded onto the stage with opener, <i>Sweet
Saturn Mine.</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/VIE_mG7BWE4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/VIE_mG7BWE4?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Throughout the show there was an element of mystery and delirious
abandon which had clearly set in. Which Moonlandingz exactly were we watching?
Are they “<i>The</i>” Moonlandingz or are
they The Moonlandingz. Quite frankly I don’t care. The fact that there was such
enjoyable confusion was sufficiently unique. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There is time to ponder, as clearly there are plans afoot
for continued activity. After <i>Psych Ersatz</i>, a number of new tracks (aka. Not featured on the mini
EP) were included in the set.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Forty Thousand Years</i>
had a krauty groove and explosive attitude.
Whereas the succeeding <i>Dirt Red
Rose</i> conjured a sort of carnival meets Cash somewhere on a dark Yorkshire
road sound. An odd concoction of dizzying country psych.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Constantly hearing both Fat Whites and ERC influences, one
got the feeling there was an element of conflict and tension causing the band
to burn bright. Another new one <i>Black
Hans</i> was cosmic but not spacey. Frenzied and yet somewhat restrained. Everything
just bubbling beneath the surface with total assuredness of forthcoming
implosion.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Slowling the pace, <i>Lay
Your Head Down on the Road</i> returned to a more familiar landscape for those
approaching from an ERC narrative. More embedded within the story presented on <i>Johnny Rocket</i>. Oddly however, it felt almost
obligatory and disjointed. Were The Moonlandings pretending to be The
Moonlandingz?<o:p></o:p></div>
<div class="MsoListParagraph">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/W8x07NkFONY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/W8x07NkFONY?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Final track <i>Man in Me
Lyf</i> saw a total blast of into the cosmos causing apparent loss of motor
functions in many in attendance; total abandon. And then they were gone.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Taken slightly aback by the full on assault of music and the
audience alike (the latter caused me to spill gin all over my face) I was left
somewhat reeling physically, whilst my internal monologue was still pondering
whether or not I had indeed just been to see a real or imaginary band. This
reflected dualism of identity, or relational dissonance as I tried to describe
it at the time, was part of the excitement.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sure we were all physically present. But somewhere within
that ineffable space between the physical reality, Johnny Rocket was breaking through
from the beyond to reclaim his rightful place on the stage (spoiler, he dies).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(Note: It may (or may not) be revealing that if you misspell
the Moonlandingz, Google wants to tell you they are a hoax. Bear it in mind).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>JT</i> <o:p></o:p></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-24976549571396373152015-09-02T14:13:00.003-07:002015-09-02T14:38:53.694-07:00Alvvays @ The Leadmill, Sheffield 31/08/2015<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-suRcvYBSVus/VedmYjjQXVI/AAAAAAAAAEU/e9KjX-4vUIU/s1600/ALVVAYS%2BLeadmill.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-suRcvYBSVus/VedmYjjQXVI/AAAAAAAAAEU/e9KjX-4vUIU/s320/ALVVAYS%2BLeadmill.jpg" width="320" /></a></div>
<div class="MsoNormal">
Alvvays return to the UK for their second headline tour
since the release of their 2014 self-titled debut; on this particular evening
greeted by a packed back room of The Leadmill. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Alvvays enter to the sound of pipes, presumably some famous
tune from their Nova Scotian homeland. Opener <i>Your Type</i> feels as though it harnesses the vibe of the traditional
entrance theme, the music of the earliest settlers weaving though time to make
itself known. Of course in a punchy, alt rock Alvvays style. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was aware the group were Canadian but only through seeing
them live did that identity become so apparent, and clearly crucial to their
output. I should perhaps stress, I mean a Nova Scotian identity. I have made the acquaintance
of enough proud Newfoundlanders or Quebecans to know not to start throwing
around the C word!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whilst there appeared to be some nerves at the outset
of the bands performance, following <i>Adult Diversity</i> both band and audience had found an excitable and
relaxed equilibrium and by the end of <i>Next
of Kin</i> the grin on the face of lead singer Molly Rankin was contagious as
the rest of the band exchanged equally impressed looks.<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/TOS2HcQ0soM/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/TOS2HcQ0soM?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Crowd pleaser <i>The Agency Group</i> is followed by a new
track, giving the crowd a taster of what is to come.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Ones Who Love You</i>
and <i>Dives</i>, provide a mellower
atmosphere but no less of a crowd response. These are followed by <i>Atop a Cake</i>, which appears to have
garnered a certain status among Alvvays fans. That is if the excited looks I
saw on a few audience members faces mouthing “<i>Atop a Cake</i>” is anything to go by.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Throughout the show the band remained animated, and
exchanges with the audience continued to be consistently amusing. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Underneath Us</i>
preceded the epic and spine-tingling <i>Party
Police</i>, for me the standout track of the album and of the evening. An
emotive track in which it was clear a large majority of the young crowd could
relate to.<o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/zVxID95Ve3I/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/zVxID95Ve3I?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<i>New Haircut</i>,
another new track feels like a teenage anthem. Perhaps their next big hitter.
But for the time being the evening ended with the track that started it all, <i>Archie, Marry Me</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/ZAn3JdtSrnY/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/ZAn3JdtSrnY?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><br /></b></div>
<div class="MsoNormal">
That is until the encore of <i>Red Planet</i>, performed solo by Molly. Whether the lyrics are describing
Mars or referencing exotic (to the UK audience at least) and bleak landscapes
of Nova Scotia, I’m unsure. I can say however that the crowd loved it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The rest of the group returned on stage to finish the night
with a bang, with a cover of Kirsty MacColl’s <i>He’s on the Beach</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Without presuming too much I’ll take their off the cuff oil
related comment from mid-way through the gig as a declaration of intent. Watch
out tar sands, there is competition for the title of Canada’s biggest export!</div>
<br />
<div class="MsoNormal">
<i>JT<o:p></o:p></i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-81624815330576392932015-08-23T10:37:00.001-07:002015-08-26T12:53:09.315-07:00Review: Me and My Kites – Is It Real, Or Is It Made?<div class="MsoNormal">
<v:shapetype coordsize="21600,21600" filled="f" id="_x0000_t75" o:preferrelative="t" o:spt="75" path="m@4@5l@4@11@9@11@9@5xe" stroked="f">
<v:stroke joinstyle="miter">
<v:formulas>
<v:f eqn="if lineDrawn pixelLineWidth 0">
<v:f eqn="sum @0 1 0">
<v:f eqn="sum 0 0 @1">
<v:f eqn="prod @2 1 2">
<v:f eqn="prod @3 21600 pixelWidth">
<v:f eqn="prod @3 21600 pixelHeight">
<v:f eqn="sum @0 0 1">
<v:f eqn="prod @6 1 2">
<v:f eqn="prod @7 21600 pixelWidth">
<v:f eqn="sum @8 21600 0">
<v:f eqn="prod @7 21600 pixelHeight">
<v:f eqn="sum @10 21600 0">
</v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:f></v:formulas>
<v:path gradientshapeok="t" o:connecttype="rect" o:extrusionok="f">
<o:lock aspectratio="t" v:ext="edit">
</o:lock></v:path></v:stroke></v:shapetype><v:shape id="Picture_x0020_1" o:spid="_x0000_s1027" style="height: 156.75pt; margin-left: 0; margin-top: 0; mso-height-percent: 0; mso-height-percent: 0; mso-height-relative: page; mso-position-horizontal-relative: text; mso-position-horizontal: absolute; mso-position-vertical-relative: text; mso-position-vertical: absolute; mso-width-percent: 0; mso-width-percent: 0; mso-width-relative: page; mso-wrap-distance-bottom: 0; mso-wrap-distance-left: 9pt; mso-wrap-distance-right: 9pt; mso-wrap-distance-top: 0; mso-wrap-style: square; position: absolute; visibility: visible; width: 155.45pt; z-index: 251658240;" type="#_x0000_t75">
<v:imagedata o:title="" src="file:///C:\Users\Joe\AppData\Local\Temp\msohtmlclip1\01\clip_image001.jpg">
<w:wrap type="square">
</w:wrap></v:imagedata></v:shape></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-A_ysmCPgveU/VdoAY8nQ2pI/AAAAAAAAAEE/po4P7nmRRFY/s1600/Is%2Bit%2BReal%2Bor%2Bis%2Bit%2BMAde.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-A_ysmCPgveU/VdoAY8nQ2pI/AAAAAAAAAEE/po4P7nmRRFY/s320/Is%2Bit%2BReal%2Bor%2Bis%2Bit%2BMAde.jpg" width="317" /></a></div>
<div class="MsoNormal">
Experiential, optimistic, magical. Three words to describe
the sound created by Me and My Kites.<br />
<br /></div>
<div class="MsoNormal">
When I first heard the groups debut, <i>Like a Dream Back Then </i>(2013), I felt it went some way to filling that <i>Incredible String Band</i> shaped hole in my
life which began to appear after devouring their entire discography. A somewhat
bold comparison, but when listening they are able to blend the perfect amount
of the personal, philosophical and whimsical as the aforementioned (though
perhaps somewhat more secular and less laden with eastern mysticism etc.)
without it sounding, well… bad. Fortunately, with the Me and My Kites, this is never even close to the case. Each
musician brings a charm and professionalism to the music.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Though a core group of six, Me and My Kites give an impression rather of an inviting community.
With many accompanying musicians acknowledged here and on their debut. At the forefront
of this are David Svedmyr and Lisa Isaksson who alternate or share vocal
responsibilities.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whereas the debut opener <i>Back When I Came</i> conjured
dark shades of purples with its spiralling organs, backward guitar and nods to
early Pink Floyd, <i>Psychjuntan </i>is made of brighter
oranges, yellows and greens,
though laced with melancholy.</div>
<div class="MsoNormal">
<br /></div>
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/203781259&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="background: yellow; mso-highlight: yellow;"><br /></span></b></div>
<div class="MsoNormal">
“I always hope to get there; I’ll show you when we get
there; I’m pretty sure we’ll stay here; I always hope to get there” suggests a
search for more mystical realms.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Psychjuntan</i> is the
most overtly psychedelic of the tracks on this album, with nods to sixties
hippy culture. Lyrical themes of the personal and of reference to the self, self-discovery
and journeying through landscapes of the mind, and the pristine landscapes of
Gaia, highlight a psychedelic angle throughout. Here it is the closing mantra
“Let the long-time sun shine upon you; And the light within you guide you home”
which conjures the most explicit reference (See also <i>A Very Cellular Song</i> for a tenuous <i>Incredible String Band</i>
reference).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Say It’s Real</i> has
a much more 70s proggy folk sound. An unsurprising influence, as the band take
their name from <i><a href="https://www.youtube.com/watch?v=0-4Wuz6a8M4" target="_blank">Me and My Kite</a></i>, by 70s British prog
band <i>Fuschia</i> (The band also recently
recorded a version of Fuschia’s <i>The Band</i>
with Tony Durant from the former released
on Fruits der Mer Records). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Eternally optimistic, flute and clapping accompany Lisa’s
upbeat insistent “Say that it’s real”. In true communal spirit, the clappers
(and in one case cooker) are acknowledged on the back of the album.<br />
<br /></div>
<div class="MsoNormal">
<i>Porcelain</i> has a
similarly proggy vibe about it, though at times feels like it could be about to
mirror the Beatles at their most optimistic and psychedelic. The story of a
girl, living in her “dream like mind”, presumably looks something like the
video the band created for the track.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/3rOQbgFvfv4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/3rOQbgFvfv4?feature=player_embedded" width="320"></iframe></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="background: yellow; mso-highlight: yellow;"><br /></span></b></div>
<div class="MsoNormal">
<i>Call De San Pedro</i> begins
with a more traditional folk instrumentation and balladry. In the same vein as <i><a href="https://soundcloud.com/me-and-my-kites/caravello-parallello" target="_blank">Caravello Parallello</a></i> from the debut, it follows the theme of
travel, freedom and relaxation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Happy, Then Crying</i>,
is a dizzying personal trip, sang by David. <i>Hide
Away/Tonight!/Turn With the Tide/Tilbaka Till Psychjuntan</i> sung by David and
Lisa seems to follow on from this. It leads from the melancholic though to the positive
in a four part piece.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More epic and indulgent than the previous, in the final part
of the track <i>Tilbaka Till Psychjuntan</i>
the group return to the theme of <i>Psychjuntan</i>,
this time however with greater instrumentation and impressionistic flourishes of harp, bass, vocal and mellotron. Though using the listeners mind as the canvas, in a
similar vein the Impressionist painters, the world created here and throughout
the album, acts as a social commentary only through its absence of explicit
social commentary outside of the personal. Of the everyday stresses and
pressures of a fast paced lifestyle, of globalisation and greed we hear nothing.
Opting for lush pastures of colour, the group paint an idealistic picture of
the world; though I suspect it may be a reality for the group when hidden away
in the idyllic Swedish countryside.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i>Narcissus</i> there
is a glimmer of paganistic reverie in its mythological lyricism. Though not by
any explicit reference, I was reminded of the cosmogonical musings of <i>Maypole</i>, from the Wicker Man soundtrack. If said film were
to be remade on a Swedish island, replacing bad harvest with years of bounty,
then Me and My Kites could surely provide the perfect soundtrack.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Closer, <i>Common Life</i>
ends the album with a lengthy 10 minute composition, slowly building up to an
excellent jam, with multiple peaks and troughs, though ending on a more sombre
note.<br />
<br /></div>
<div class="MsoNormal">
Through a combination of the groups sound and the albums
accompanying imagery, it is difficult not to conjure up a picture of pristine
landscapes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here on the album the band create a similar space for the
listener. Free, from time, stress and pressure, if only for a brief moment. The
album provides a pleasant place for consideration and consolidation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<i>JT<o:p></o:p></i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-3344647132114525612015-08-18T15:31:00.000-07:002015-10-18T02:28:54.199-07:00Sikth – The Trees Are Dead & Dried Out, Wait For Something Wild: Exactly what we were waiting for<br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="156">
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-ansi-language:#0400;
mso-fareast-language:#0400;
mso-bidi-language:#0400;}
</style>
<![endif]-->
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-k1DXD19a8nE/VdO0apechFI/AAAAAAAAADA/hKDFv9WWyTE/s1600/the-trees-are-dead--dried-out-wait-for-something-wild-523b881e6c70a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-k1DXD19a8nE/VdO0apechFI/AAAAAAAAADA/hKDFv9WWyTE/s320/the-trees-are-dead--dried-out-wait-for-something-wild-523b881e6c70a.jpg" width="320" /></a>“Don’t it always seem to go, that you don’t know what you’ve
got till it’s gone”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Like many, this was the feeling I experienced following the
dissolution of technical metal pioneers Sikth in 2008. I guess the world was
just not ready for their unique blend of… well almost everything. Unfairly, the
band was criminally overlooked during their prime years. Only now, with numerous
pretenders attempting to usurp their crown do we realise their profound
influence and importance. I have always regarded Sikth as being almost pivotal
to my transcendence into adulthood and not just because I lost my virginity
after one of their concerts (a story for a different blog) but because they
were the first band I listened to that was genuinely regarded as experimental.
Ultimately one of the first bands that would help define my now eclectic
musical preferences.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><br />
I remember
first hearing the single <i style="mso-bidi-font-style: normal;">How May I Help
You?</i> in 2002. My naïve and dismissive musical taste at the time was more acclimatised
to anything that would justify my ghastly fashion sense. The music was too complex;
the songs had no structure, the vocals too weird. Back then I preferred music I
could understand, so to speak. Not having any kind of knowledge regarding
instrumentation or musical terminology I could not fully appreciate the
complexity and therefore difficulty of what I was listening to. <i style="mso-bidi-font-style: normal;">The Trees Are Dead...</i> was my subsequent
musical enlightenment, after this I could appreciate what I may have previously
remarked as ‘noise.’</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
In 2003 no
one was making music like Sikth. Sikth could well have even been the name of
the genre; they were unrivalled in their field. Fast forward ten years and suddenly
they have helped inspire a whole new sub-genre despite being inactive during
the time. Personally, I only see the influence in guitar tone and inventive use
of time signatures, Sikth operate on a much higher level of understanding.
Their lyrics can be thought-provoking, conscientious, dark, and even humorous at
times and their albums showcase a wider range of influences and genre-bending
technical prowess </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Twelve years
ago today, their now landmark album <i style="mso-bidi-font-style: normal;">The
Trees Are Dead & Dried Out, Wait For Something Wild</i> was released. What
follows is a retrospective into one of the most important albums in the history
of British metal.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Admit it; we were all waiting for something wild, in the
early 2000’s British metal was growing increasingly stale. We had already demonstrated
that we could not quite grasp the ludicrously popular Nu Metal trend, forced
down our throats by those domineering Americans. We had Hell is for Heroes and
Hundred Reasons reclaiming back some credibility for more conventional rock, but
our selection of home grown metal was disappointingly sparse. Sikth emerged
from London in
the early 2000’s. Their first release, <i style="mso-bidi-font-style: normal;">Let
the Transmitting Begin</i> was merely a taste of what was due. It was a chaotic
and brief expression of the bands talent. Mikee Goodman’s schizophrenic vocals
somehow fitted perfectly with Justin Hill’s melodic interjections. Guitarists,
Dan Weller and Graham Pinney certainly knew their way around a fret board and
the accompanying rhythm section of Dan Foord and James Leach took the technical
complexity to much higher level than anything we’d heard previous. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The band followed
up their debut release with another EP titled <i style="mso-bidi-font-style: normal;">How May I Help You?</i> Besides the more, conventionally structured
Suffice, the EP demonstrated an increasingly experimental approach including a
unique take on Nick Cave’s <i><a href="https://www.youtube.com/watch?v=fojw5Z3JwSU" target="_blank">Tupelo</a></i>.
It was around this time the band first came to my attention with the
accompanying video for <a href="https://www.youtube.com/watch?v=K-BzWuc16GE" target="_blank"><i style="mso-bidi-font-style: normal;">How May I Help You?</i></a> The quirky computer generated video somehow complemented the bizarrely
structured song inspired by a short story written by Goodman. I had
not heard anything resembling music like this before, yet I was curiously drawn
to the band, completely intrigued by their approach to song writing and keen
for more. In the days following the release of <i style="mso-bidi-font-style: normal;">The Trees Are Dead… </i>having had my expectations comprehensively destroyed,
I realised I had now discovered one of my all time favourite albums. Not only was
it the catalyst in my search for similar sounding music, but it made <a href="https://www.youtube.com/watch?v=mt84J7U75e0" target="_blank">everything I had previously been listening to seem juvenile</a>. Win, win. </div>
<span id="goog_269640613"></span><span id="goog_269640614"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/K-BzWuc16GE/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/K-BzWuc16GE?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The Trees Are Dead… </i>commences
as a misleadingly conventional metal affair. Opener <a href="https://www.youtube.com/watch?v=8gYdYMRIA8s" target="_blank"><i>Scent Of The Obscene</i></a> showcases
James Leech's almost funk influenced bass style before leading into the trademark
poetry inspired verses of Goodman and the melodic choruses of Hill. The song
draws on themes of hypocrisy and behavioural ambiguity, calling out those
prepared to subjugate others for their own gain. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><br />
Through
intelligent lyrics the theme of addressing a higher cause is continued with
<a href="https://www.youtube.com/watch?v=v8zMt3BcMNA" target="_blank"><i>Pussyfoot</i></a> which highlights the monotony and subservience of modern day society.
Twelve years on, this song is even more relevant as English culture has
transgressed even further into a bland, self obsessed amalgamation of fashion
victims and celebrity idolisers. <i>Pussyfoot</i> reminds me of the lyrical themes
emphasized by Tools song <a href="https://www.youtube.com/watch?v=uCEeAn6_QJo" target="_blank"><i><span style="mso-bidi-font-style: italic;">Ænima</span></i></a>,
which was itself inspired by the political commentary of Bill Hicks.<span style="mso-spacerun: yes;"> </span>Tool vocalist Maynard James Keenan wrote <i><span style="mso-bidi-font-style: italic;">Ænima</span></i> in response to his
disillusionment regarding the superficiality of Los Angeles. Keenan insists that society has
become so complacent that a catastrophic event is the only thing that could
elevate humanity to higher understanding, essentially wiping the slate clean
and starting over.</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Here in this hopeless
fucking hole we call L.A.<br />
The only way to fix it is to flush it all away.<br />
Any fucking time. Any fucking day.<br />
Learn to swim, I'll see you down in Arizona
Bay.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Pussyfoot</i> is similar both thematically and lyrically,</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
You see,<br />
You're all the same,<br />
Dirty, fuckers gone insane,<br />
Hope there's an earthquake and it swallows all evil.</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
However, Goodman focuses more on the role of the mass media
in influencing its population, referring to the controlling medium as ‘Fashion
Fuckers’ and unlike <i><span style="mso-bidi-font-style: italic;">Ænima</span></i> there
is a small hint of optimism in the lyrics calling for society to become more
self aware and to disregard tradition. Ultimately, <i>Pussyfoot</i> is offering you a
choice… enlightenment or enslavement.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=uCRmC972pkM" target="_blank"><i>Hold My Finger</i></a> tackles the subject of sexuality in a metaphysical sense and argues
there can be more to a relationship than just the physical elements. It
questions the stereotype that predominantly regards the male as the one who
overemphasizes the importance of sex. Here Goodman and Hill embody the
stereotypically female preoccupations with feelings and emotion. The characters
within the song have their traditional roles reversed. The male desires company
and sentimental conversation, whilst the female merely wants sex. </div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Can we not chill, go
to sleep with my arms around you?<br />
But then you scream and your right.<br />
I should be there for you. <br />
So now I try, check my pulse to make sure I'm alive. <br />
Sorry chick I cant get in <br />
That Mood now!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Goodman’s lyrics have thus far challenged the listener to embrace
transparency and negate conformity.<i> </i>With<i> <a href="https://www.youtube.com/watch?v=yaQxJtHc8Co" target="_blank">Skies Of Millennium Night</a></i>, the theme
is as indisputable as the message.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Skies of Millennium
Night is a politically charged technical metal anthem which perfectly defines
the duelling vocalist approach the band adopts. Lyrically, the song serves as
follow up to <i>Pussyfoot</i>. As previously mentioned <i>Pussyfoot</i> highlights the greed
and consumerism from an individual perspective and how combined mass media and
laziness can create a culture of materialistic clones. <i>Skies…</i> exemplifies this
from a global perspective and ultimately, defames humanities impact on the
world from both an ecological and ethical viewpoint. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The song
once again references Bill Hicks who was infamous for his politically charged
social commentary and outright rejection of consumer culture but also his
disgust at humanities ignorance towards its own kind. </div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Thousands suffer, we
sleep, they starve, we eat.<br />
Instead of fighting, why not feed & cloth the poor?</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
This makes reference to humanities preoccupation with power
and the constant, costly wars that occur as a result. In most modern wars nations
have engaged in conflict primarily for territory and resources. Ultimately all
it condenses to is simply greed. Just as the individual wants more and more, so
do ‘The Minds of Power.’</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Goodman
calls for us to ‘Look at the sky.’ In doing so we can both appreciate the
natural world and consequently realise just how insignificant we are. The night
sky and its seamless infinity poses more questions than we could ever
comprehend, yet instead the majority is more preoccupied with self importance
and gain. Dan Weller’s poignant tribute to his friend <a href="https://www.youtube.com/watch?v=X5_CWQ7iAuY" target="_blank"><i>Emerson (Pt.1)</i></a> gives you
a brief moment to reflect on what you have just heard.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Perhaps the
most drastic departure to the albums style is <a href="https://www.youtube.com/watch?v=UVujRBZGTfk" target="_blank"><i>Peep Show</i></a>. The song is as close
to conventional song structure as Sikth get and is notable for being the sole
song that Justin Hill serves as lead vocalist. This maybe a controversial
opinion amongst long time Sikth fans, but <i>Peep Show</i> has always been my
favourite song from the album. For all the previously addressed societal
issues, unfortunately there is little we can do as individuals, especially with
different opinions and different concerns. <i>Peep Show</i> addresses the biggest
change we can make is to ourselves. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/UVujRBZGTfk/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/UVujRBZGTfk?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Let’s get
all personal for a moment. In the linear notes Justin Hill explains that<i> Peep
Show</i> was written in regards to people who involve themselves in the lives of
others. My own interpretation lead me to realise that I was too involved in my
own life to even consider the lives of others. As an arrogant and opinionated
teenager, I often alienated myself through inconsiderate actions and an
elevated sense of superiority. All it took was for a former acquaintance to
point out the similarities between the lyrics and my own behaviours to create
an overpowering sense of realisation.<span style="mso-spacerun: yes;"> </span>It
was too late for the relationship but I began the following liaison with a much
more considerate approach. And in the end, what’s been achieved? Self
discovery. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mikee
Goodman’s poetic origins begin the increasingly experimental second half of the
album. <a href="https://www.youtube.com/watch?v=uVVL8pDWzI4" target="_blank"><i>Wait For Something Wild</i></a> serves as an ode to a failing relationship, the
characters within the song seemingly waiting for ‘something wild’ to reignite
their connection, when regrettably, it is unlikely to happen. The finality
emphasized by Goodman’s Mike Patton-esque vocal breakdown that leads out the
song, simultaneously channeling despair, anger and repentance.</div>
<div class="MsoNormal">
<br />
Whilst <i>Wait For Something Wild</i> characterises the ending of a relationship, <a href="https://www.youtube.com/watch?v=DuvqU--khMA" target="_blank"><i>If You Weren’t So Perfect</i></a> examines the beginnings. Goodman has stated the song is about
confusing love with lust and the emotional turmoil it can invariably cause.</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Sucked me in.<br />
With Just three words,<br />
These three words.</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The three words in question are ‘I love you’ yet, with only
alluding to them within the lyrics, the theme of confusion is exaggerated. Love
can lead to obsession, hence the titles reference to perfection, but also to
paranoia, especially if it is unrequited.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In
comparison, love makes no discernible reference within <a href="https://www.youtube.com/watch?v=LpfkrdABk5g" target="_blank"><i>Such The Fool</i></a>. The song
is once again an attack towards the transgressions of societal morality. Featuring
lyrics deemed too vulgar to be reprinted within the inlays, <i>Such The Fool</i>
details a promiscuous character devoid of any understanding of consequence. Here
Goodman displays his ability to proficiently confront serious issues in a
humorous manner.</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
May as well strap an
advert to your back saying,<br />
Fuck Me, Free Disease, Stupefied Bitch, <br />
Open Legs, Insert Quick,<br />
Philosophy of a slut.</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
With <i>Such The Fool</i> we feel no pity for character as they
refuse to acknowledge they are doing any wrong. Instead we laugh and wait for
the resounding and inevitable told-you-so’s, or at least I do. Maybe due to the
alarming number of ‘fools’ I’ve had the displeasure of knowing over the years.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The album
ends with the spoken word poetry of Goodman on <i><a href="https://www.youtube.com/watch?v=LpfkrdABk5g" target="_blank">When Will The Forest Speak…?</a> </i>The poem makes reference to the over-industrialisation of the world and
contains numerous metaphorical allusions to nature having a voice, unfortunately,
a voice that cannot be heard over humanities. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had the immense pleasure of being there for Sikth’s
reformation concert at Download Festival in 2014. Not only did manage to catch
Dan Loord’s drumstick with my face, but like many I realised just how important
the band was to me. You could tell by the looks on the bands faces, staring out
across the expansive crowd that maybe they didn’t realise how important they
were either? Or how much they were missed? <i style="mso-bidi-font-style: normal;">The
Trees Are Dead & Dried Out, Wait For Something Wild</i> is quite simply one
of the greatest British metal albums of all time. Way ahead of its time and
highly influential.<span style="mso-spacerun: yes;"> </span>The band is back and
rejuvenated, now we wait for something wilder…<span style="mso-spacerun: yes;">
</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
NG</div>
<div class="MsoNormal">
<br /></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-75027622059295399342015-08-08T02:38:00.000-07:002015-08-22T15:26:27.061-07:00Tub Ring - Zoo Hypothesis: The Search for Intelligent Music<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
</w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="156">
</w:LatentStyles>
</xml><![endif]--><!--[if !mso]><img src="//img2.blogblog.com/img/video_object.png" style="background-color: #b2b2b2; " class="BLOGGER-object-element tr_noresize tr_placeholder" id="ieooui" data-original-id="ieooui" />
<style>
st1\:*{behavior:url(#ieooui) }
</style>
<![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-ansi-language:#0400;
mso-fareast-language:#0400;
mso-bidi-language:#0400;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
Tub Rings <i>Zoo Hypothesis</i> was released eleven years ago this month, here is a retrospective of the album.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-d78k9eif154/VcUlCyiA88I/AAAAAAAAACo/TDGy0qUgBhg/s1600/51Y5GtAfNaL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-d78k9eif154/VcUlCyiA88I/AAAAAAAAACo/TDGy0qUgBhg/s320/51Y5GtAfNaL.jpg" width="320" /></a></div>
<div class="MsoNormal">
The Zoo Hypothesis is essentially, an argument in diversity,
albeit on an astronomical scale. The hypothesis argues that; firstly, it is
plausible to assume that a large or possibly infinite amount of extra-terrestrial
civilisations exist, secondly explaining the reasoning as to why humanity is
yet to make contact with these hypothetical beings. Apt then that Tub Ring
would name their third album after one of the most fundamental considerations
of the known universe. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Tub Ring are
specialists in musical diversity through thought provoking, intelligent lyrics
and spectacular live performances, yet much like the hypothesis illustrates,
the band is yet to register to the majority or be appreciated by the audience
they deserve. On writing this I feel like the victim of a supposed alien
abduction. I have witnessed the truth, been systematically enlightened and have
the answers to many of the questions that we, as humanity so desperately seek
the answers for, but no one is listening, no one believes. Such is the
dismissive culture we exist in.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Much like
their two previous albums; <i style="mso-bidi-font-style: normal;">The Drake
Equation</i> and <i style="mso-bidi-font-style: normal;">The Fermi Paradox, Zoo
Hypothesis</i> also contains many references to the search for extra-terrestrial intelligent
life. I always assumed the choice of subject matter to be an appropriate
metaphor the band adopted in searching for an audience; Intelligent being the
key word in this case. The aforementioned <i style="mso-bidi-font-style: normal;">Drake
Equation</i> showcased more of the bands influences, namely Mr Bungle, rather than
the experimental (and ironically more accessible) style they would later adopt.
The album was produced by Mr Bungle guitarist Trey Spruance, and it would be justifiable
to say that he was given a large portion of creative control over the bands artistic
direction as it largely replicates the earlier sound of Mr Bungle with its diverse
vocal delivery, abstract lyrics and complex genre-bending song structures.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>The
following years <i style="mso-bidi-font-style: normal;">Fermi Paradox </i>demonstrated
an increasingly back to basics approach, whilst it still favoured an experimental sound,
it owed more to the bands punk rock beginnings and was, consequently a more
accessible, but by no means less enjoyable record. With <i style="mso-bidi-font-style: normal;">Zoo Hypothesis</i>, Tub Ring formulted the perfect combination of their
previous work and coupled with improved musical proficiency, they fully developed their style
into one of the best albums of the year and one of my favourite albums of all
time.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The opening
song <a href="https://www.youtube.com/watch?v=684dwZPjiow">Tiny, Little</a> immediately demonstrates Tub Rings musical intentions for
this album. The dramatic cabaret piano inspired track, cleverly describes major
events in humanities cultural and technological history, documenting; The Last Supper, Moses crossing the Red Sea, the invention of the computer and finally the
creation of the atomic bomb. A familiar concept to Tub Rings music is inspired lyrical themes of both science and philosophy. In this case, the argument
details that something so small can ultimately be so significant. A piece of
bread can prove integral to a theology and the smallest constituent of matter,
an atom, can ultimately cause widespread devastation.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The
theological and scientific references continue into the following song <a href="https://www.youtube.com/watch?v=UEAIFI87yPc">Death of the Robot</a>. Vocalist Kevin Gibson assumes the role of a higher being, seemingly
berating their own creation.</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
“Proof of life is
carbon I am everything you're not,<br />
I'll leave you to each other because you share a single god”</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The song touches on the perpetual confliction between science and
religion. Science can rarely be interpreted in a theological context,
certain aspects of religion can be explained in a scientific manner. Whilst
humanity previously relied on divine explanations for unanswered questions,
science has since enlightened those who are willing to listen. Tub Ring are,
consequently proposing the search for intelligent life may initially begin at
home.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
<a href="https://www.youtube.com/watch?v=2QHQtA5IU3M"> The Promise Keeper</a> and <a href="https://www.youtube.com/watch?v=RSuPCNtE568">Sharpening the Sticks</a> deal with more conventional and earthly
subject matters. The Promise Keeper details corporate greed and austerity, and
climaxes with the resounding lyrics “If I were wise I’d see a trend”
referencing the continual economic problems that nearly every single generation
has faced. The problems of many account from the actions of few. Sharpening the
Sticks is an exploration into rebellion, perhaps on account of the capitalistic
corruption depicted in the previous song? Intentionally or otherwise Tub Ring
are able to formlessly link the motifs of their songs to the extent that the
album almost becomes musical storytelling. <i style="mso-bidi-font-style: normal;">Zoo
Hypothesis</i> is far from a concept album; more specifically it presents a
different concept with each song. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Much like
their admired contemporaries Mr Bungle, Tub Ring are not reluctant to experiment
and subvert the expectations of their loosely defined genre. Besides the
introductory Tiny, Little, the first half of the album stays complimentary to
the bands rock-orientated roots, short up-tempo punk influenced songs,
punctuated by the inventive keyboards and synths of Rob Kleiner.<a href="https://www.youtube.com/watch?v=C1vwqnf2gTY"> I Could Never Fall in Love with You</a> presents the first dramatic stylistic departure.
The song is purposely archaic both musically and thematically. It channels
artists from the fifties when music was considered increasingly innocent and
lyrics often dwelled upon traditional themes such as relationships and love.
Naturally, Tub Rings unique interpretation of the genre creates an almost,
anti-love song and instead describes the unrequited love of a failing
relationship.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The
conventional rock-orientated approach returns with <a href="https://www.youtube.com/watch?v=O_V0ZWtH6-Q">Habitat</a> and the almost
industrial influenced <a href="https://www.youtube.com/watch?v=EklNU5KhiFg">Dog Doesn’t Bite</a> which builds an unnerving electronic
introduction before climaxing into a full out punk spectacle complete with
sampled Morse Code. Just as the listener is adapting to the tone of the album,
<a href="https://www.youtube.com/watch?v=IU5hZU5m3PY">Raindrops</a> once again presents an impressive contrast in musical direction.
Raindrops emerges as the highlight of the album for a number of reasons. It
deceptively masquerades as a subjectively happy song, in a musical sense. It is
upbeat with an almost Christmas themed appeal, when you carefully dissect the lyrics
do you reveal the emotional narrative of a soldier dictating his last letter
home. Only then does the song take on a new meaning, the titular raindrops are
tears, “The storm growing closer” is the soldiers, seemingly inevitable death. Just
as the song structures can be misleading, the lyrics are equally and reactively
ambiguous.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
The album
concludes with <a href="https://www.youtube.com/watch?v=norT9hHOFc0">Vehicle</a> which again demonstrates a higher lyrical understanding
with a metaphorical allusion to the Heavens Gate cult of the 1970’s. The cult
committed mass suicide believing they would elevate their physical existence
and embark upon a UFO that was allegedly following the comet Hale-Bopp. The Vehicle in question
was the human body, which the cult believed was merely a vessel for their
consciousness. </div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
“When we leave behind
this land, just be sure to take my hand,<br />
Across the way and come with me,<br />
When we shed our binds and leave our vessels far behind,<br />
We'll find a way and we'll be free.”</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Paradoxically, the search for intelligent life has caused
humanity to commit to often foolish means of enlightenment which links back to
the Zoo Hypothesis. Maybe there is intelligent life out there? Maybe they see
humanity as far too primitive and self destructive to make their presence
known? An uneducated and uncivilised species, obsessed with monetary gain and
imaginary friends that will solve all their life problems upon the condition of
subservience. Should I ever come into contact with extra terrestrial life, I
would urge them to listen to this album and prove that there is a small
contingent of people out there with conscientious awareness of the world they
exist in, and most importantly a desire to improve it, in an artistic sense at
least.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
NG</div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-16105926668820324722015-07-25T02:38:00.003-07:002015-09-04T10:23:00.074-07:00Destroy Erase Innovate: 20 Years on from Meshuggah’s Destroy Erase Improve.<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-HDsBaFG8iyk/Vbp5zYv8vTI/AAAAAAAAACY/mGdlK9rr4EY/s1600/Meshuggah-DestroyEraseImprove.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-HDsBaFG8iyk/Vbp5zYv8vTI/AAAAAAAAACY/mGdlK9rr4EY/s1600/Meshuggah-DestroyEraseImprove.jpg" /></a></div>
<div class="MsoNormal" style="text-align: left;">
20 years on from the release of <b>Meshuggah</b>’s Destroy Erase Improve, we return to the album and to
the band and assess their influence on today’s metal scene.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If someone would have informed me (<i>NG</i>) ten years prior that Meshuggah were going to influence, and
arguably instigate an entire new sub-genre, I would have confidently disagreed
and argued that the mid nineties industrial metal revival was mere months away.
Now in my present hindsight, I can see that I was very wrong, on both levels.
Although, it is fair to state that no one was genuinely expecting that, isn't
it? (That said, <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">JT</span></i> would likely argue that he was).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The whole premise to me sounded ridiculous. At the time,
Meshuggah were very much an underground band, appealing mainly to a niche
audience of technical death metal fans, who actually understood what
polyrhythms, time signatures or palm muting were. I enjoyed them as they were
different, that was my niche at the time, music to alienate the masses.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Meshuggah’s <i>Destroy Erase Improve</i> was a landmark in the bands career, and arguably
their breakthrough and transition from the conventions of heavy metal. Key in
defining their unique musical identity.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Prior to this, <i>Contradictions Collapse</i> (1991) has
the inklings of the Meshuggah sound, though it’s not realised until here. There is a heavy rock and metal sound, though
with such identifiable influences of bands like Metallica, unique it cannot be labelled.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This album also marks another
turning point, as the band find their perfect equilibrium between jazz fusion
guitar sound, polyrhythms and a heavier more extreme sound, the Meshuggah sound
– leaving less abrasive contemporaries such as <b>Cynic</b> or <b>Atheist</b>, in a
somewhat stagnant place.<o:p></o:p></div>
<div class="MsoNormal">
The more experimental jazz
elements of the band seem to have been sheared off, finding a new home and
pinnacle in Frederick Thordendal’s Special Defects much sort after, <i>Sol Niger Within</i> (1997) featuring jazz
drummer <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=vzrKTI5edGg">Morgen</a> Argren</span> on drums, and Meshuggah drummer Thomas Haake undertaking much of the vocal
performance. This album creates a singular, enfolding stream of consciousness,
similar, to the much later <i>Catch
Thirtythree</i> (2005), though much freer and more rugged. This project also
encompasses the more esoteric and experimental underbelly of Meshuggah, dealing
with, among other themes; the cosmic, space time, and alien abduction.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Listening to the <i>Destroy Erase Improve</i> 20 years later, <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=vOd-T58qHLA">Future Breed Machine</a></span></i>’s alarm clock introduction seems apt.
Wake up. Embrace. Whilst even a cursory listen will identify <i>Destroy Erase Improve</i> as being from
1995; prior to the more polished post-human identity forming in albums such as <i>Nothing</i> <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">(2002)</span>, and the controversial <i>Catch Thirtythree</i> (namely for its inclusion of programmed drums),
it is still relevant 20 years on in this fast and fluid post-modern age.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vOd-T58qHLA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vOd-T58qHLA?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
Admittedly it also took the
succeeding <i>Chaosphere</i> (1998) to reach
this more polished and confident stage. <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Chaosphere</span></i> is almost
a sister (or perhaps the evil twin) album to <i>Destroy Erase Improve</i>, channelling a much heavier and abrasive
sound, with the jazzier dynamics removed from the forefront and calmer moments,
or completely mellow instrumentals (such as <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=mCf8XQ3NslI">Acrid Placidity</a></span></i>)
removed entirely. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In <i>Nothing</i> (2002) the
“<i>Meshuggah</i>” sound and identity is
stabilised. This new found confidence in identity surely allowed the creation
of the more experimental and expansive <i>I</i>
(2004), released on J Manns’ <i>Fractured
Transmitter Records</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/TqPNn_ki1s8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/TqPNn_ki1s8?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
Lyrically, the album and the band in general seem to deal in
the abstract. This is to an extent true. Though I think a more accurate
analysis would suggest that the themes explored are solely human and every day
in nature, albeit from a disassociated and isolated perspective. The sound
itself creates an abrasive and jarring wall, and through this medium, emotion
is all but hidden, though not removed.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
Meshuggahs’ lyrics deal with aspects of self, of humanity
and of reality, as a brief skim of <i>Destroy
Erase Improves</i>’ booklet would give away. It is interesting however that the
themes explored, and referential foci seem to point toward a more psychedelic
back drop. Surely in name sake <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=ysfwdTBHZ-M">Inside What’s Within Behind</a></span></i>
is referential to <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Within You, Without You</span></i> by The Beatles?
Though arguably adopting a counter narrative. And that’s the point. Throughout
the album the lyrical content deals with ideas which are usual contained to
more psychedelic oriented artists, and are certainly restricted within the
metal community. <b>Tool</b> are of course
the exception, and are acknowledged as highly influential. What is interesting
however is that whilst Tool may deal with the mystical, the psychedelic, here
it is almost antithetical; it’s dark, and not in a brown acid sort of way, it
is more like considering <i>The Matrix</i>
from the robots’ perspective. Dystopian.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=4ylp9U--eIo">Beneath</a></span></i>, in my
opinion (<i>JT</i>) is the standout track of
the album, documents a journey into the self.
It journeys to the core of biological being, and to toward the
realisation of the futility of humanity. “What am I this me beneath, A vain
organic lie, That rules me from inside”.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/4ylp9U--eIo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/4ylp9U--eIo?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
Whilst the mystical is exposed in its human clothing, as in <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=jzwnE32UtXA">Transfixion</a></span></i>; “Delusions of omniscience bred us my liars,
Mentally drained by the growing leech, Fed on our manic desire”. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Throughout the record it is never the intention to offer the
listener soaring heights (blissfulness through intensity perhaps), rather it
engulfs and drags down into <i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="https://www.youtube.com/watch?v=BSdrnFwD1wc">Sublevels</a></span></i> of the
self; “A vision of morbidity, Of ragged silent shadows, Dressed in black
disease, They’re closing in on me, Peering lifeless weary eyes, They drag me down
into, Another world inside of me”. The sound is heavy and intense and the
disassociated lyrics are a pleasure to get lost in.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/1o6Ucbib2WU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/1o6Ucbib2WU?feature=player_embedded" width="320"></iframe></div>
<div style="text-align: center;">
(The dark and aggressive, <i>Terminal Illusions</i> even got its own amusing DIY music video. See also <i><a href="https://www.youtube.com/watch?v=LuoDQKtiiJA">Rational Gaze</a></i>)</div>
<br /></div>
<div class="MsoNormal">
The overwhelming success which
Meshuggah found in later years has since spawned an entire genre, Djent. Whilst
many of the bands who play Djent music would (and almost certainly should)
identify Meshuggah as key influence, Meshuggah themselves now seem to stand out
less astutely in this oversaturated landscape. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now in 2015, the Djent movement, as it is now affectionately
named, is such a thing. Whilst its prime has since passed, it has had profound
effect on the music industry itself with its DIY ethos and passionate internet
based following. Bands identifying as Djent now emerge all the time, commonly
in one of two forms; Be it a one man studio project such as <b>Cloudkicker</b> or <b>Chimpspanner</b> or a fully instrumented band like <b>Periphery</b> or <b>After
the Burial</b>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Inevitably, with the popularity comes the detraction. The
abundance of similar sounding artists has caused significant points for discussion;
Since Djent has been considered a viable thing, the resentment has been as
equally zealous. Many dismissed the now, all too familiar sound, not assisted
by many artists preference for programmed instruments as opposed to a live
band, consequently, blurring the lines as to what is considered musicianship.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whilst this this burgeoning subgenre is still negotiating
the boundaries of the mainstream, Meshuggah are still going strong and have,
subsequently, never fully acknowledged the influence they have generated.
Whether they are merely humbled or apologetic, we may never comprehend given
their relative silence on the matter. Interestingly, Meshuggah have at times
effectively been overshadowed by many of the artists they help create.
Admittedly, they do not even compare to the technical prowess and songwriting
ability they possess, but the primary altercation is that the former have a
much younger, more digitally active fanbase, and in this technologically
preoccupied society we exist in, a digital voice has become more important than
a real one. Meshuggah are relics from a
time when the internet was predominately used for stealing music rather than
promoting it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Regardless, the fact that Meshuggah are still considered
musical pioneers and still release consistently successful and intense albums
is only testament to their influence. This is not a perfect album and listening
today its sound betrays its age. But that is not the point. The influence of
this album and of the direction the band were taking represented here in is
important and worth celebrating. Happy 20th anniversary!<o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/2wEpuhgoKPA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/2wEpuhgoKPA?feature=player_embedded" width="320"></iframe></div>
<br />
<br /></div>
<div class="MsoNormal">
<i>JT & NG</i><o:p></o:p></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-32861217393156372762015-07-20T13:22:00.000-07:002015-07-30T12:52:14.123-07:00Review: Mugstar, Dead Sea Apes & You’re Smiling Now But We’ll All Turn Into Demons (Cardinal Fuzz Night) @ The Cube Cinema, Bristol, 11/07/2015<div class="MsoNormal">
</div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-QGnvCeBAZQM/Va6ml_KpJ-I/AAAAAAAAACE/vQ4kc2M5vMs/s1600/Mugstar....jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-QGnvCeBAZQM/Va6ml_KpJ-I/AAAAAAAAACE/vQ4kc2M5vMs/s400/Mugstar....jpg" width="282" /></a></div>
When you find that your day has become oddly juxtaposed as
the boundaries and assumed expectations to your evening begin to dissolve and warp
you know that the psych gig you’ve just arrived at is going to be a good one.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Heading to the venue from the station after a day at the
seaside (our brains were set to “build sand fort” mode rather than “melt”),
coupled with the fact that The Cube was an unknown entity to us prior to this
evening meant we arrived slightly late. After admiring and noting the warm and
welcoming atmosphere of our new home for the next few hours, we proceeded to
charge confusedly into the intimate cinema venue. Assuming to be greeted with the backs of many anonymous heads we instead found ourselves directly
between the audience and long-named opener, <b>You’re Smiling Now But We’ll All Turn Into Demons</b>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After stumbling to some seats, at the back of the venue, adjusting
to the surroundings, and distracted by the projected visuals behind the band (which
I now know to be the Japanese film <i>House</i>
(1977)), I think I’ll be forgiven for unfairly assuming the band to be a typical
run of the mill, “psych” band. In fact, that’s far from the truth.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After a quick midway switch between the drummer and guitarist
(now guitarist and drummer) the four piece led into a driving, acid drenched,
Sabbath-esque track, which at times sounded almost Lynchian. This Lynchian
influence seemed to crop up again later, <i>Throne
Control</i>, off new album Population IV, would not have been out of place in <a href="https://www.youtube.com/watch?v=7xEnPcYfqjc"><i>Twin Peaks</i>, The Pink Room</a> scene.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/XfRy4G5CkRA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/XfRy4G5CkRA?feature=player_embedded" width="320"></iframe></div>
<div style="text-align: center;">
You’re Smiling Now But We’ll All Turn Into Demons - <i>Throne Control</i></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="text-align: center;">A quick guitar change due to a broken string, left the three
remaining members to provide instrumentation to an evil cat painting, arms in
fish bowls and a person stuck in piano which was currently kicking off in the
background. After this short interlude the group led into a more post-rock oriented track, boasting a
greater emotional depth than many of their peers can offer.</span></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ll confess to not being able to hear the vocals once
throughout, but it certainly didn't detract from the performance.</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<b>Dead Sea Apes</b> opt
for a slower, reverb laden, albeit heavy affair. Accompanied by <i>Fantastic Planet</i> (1973), the slow stop
motion, giant blue people somehow synced perfectly with these droney tracks. The band threw out a couple of new tracks from their forthcoming <i>Spectral Domain.</i> The first,
starting out with drone and distortion, developed, without much urgency into a
more formal, raga progression with spaced out synth. The second new airing arrived
with a shimmering cymbals opening, building slowly, before exploding and gently
retreating, perfectly summarising the Dead Sea Ape style.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/YhMwXPfD9T8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/YhMwXPfD9T8?feature=player_embedded" width="320"></iframe><br />
Dead Sea Apes - <i>Planetarium</i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
The visual pairings throughout the show were a real joy,
unsettling though mesmerising, a feast for the senses. And it wasn't just
the musical and visual that offered perceptual delights, even the smell of the
venue was conjuring up long since forgotten places (it smelt like the church
hall in the small Staffordshire village we grew up in if you were wondering).
Whilst the heat of the room just made it that slight bit more intense.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Headliner, <b>Mugstar</b>
provide a warm and immersive fuzzy psych sound, the driving repetitive type.
Unfortunately that warmth tonight felt somewhat stunted, as the band were
projected starkly against the greys and browns of the theatre, lacking the
visual accompaniment that the two previous acts had sound tracked. We had turned
on, but tuning in was appearing to be a more difficult affair.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
<i>Serra</i> brought the
motorik groove to the evening, seeing the band take stride. A loose guitar
cable somewhere meant a switching from clean to crackled distortion again
holding the band back from greatness. Whist this extra-distorted sound was not
unpleasant, far from it, the sporadic nature of the affair was jarring,
withholding the transcendence attained only via long, repetitive, fuzzy sounds.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/dhUIpA1iJK0/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/dhUIpA1iJK0?feature=player_embedded" width="320"></iframe></div>
<div align="center" class="MsoNormal" style="text-align: center;">
Mugstar –
<i>Serra</i><o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Fortunately, the essence of this heightened state of
consciousness was glimpsed later in the gig. Unfortunately, this was in their
final track. Settling into a swirling plateau mid-way through its duration, it
subsequently locked back into its pummelling groove, finally exploding and threatening
to take the roof off.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It was a fantastic evening, though if I were to make a
single constructive criticism, it would be the all-male weighting of the acts
on. Having seen <b>Sex Swing</b> (a fractal
monstrosity, summoning the creation and destruction of the universe with every
punishing track, and featuring Jase Stoll of Mugstar) a few weeks previous at
the fantastic Supersonic Festival in Birmingham, their highly testosterone
heavy stage presence was counter balanced quite perfectly by all female
jazz/noise/improv, Danish quartet <b>Selvhenter</b>
the following day. Repetition may rule, but I like my psychedelia with variety!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
After leaving the venue and commencing the long walk, the
delightful afterglow began to wear off as the ratio of awareness between warm
feeling and sand covered itchiness began to shift.<o:p></o:p><br />
<br />
<i>JT</i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com0tag:blogger.com,1999:blog-6893831217164224478.post-41430150608757847572015-07-20T13:21:00.000-07:002015-07-23T13:06:58.302-07:00Nü-stalgia: Five Underrated Nu-Metal albums<div class="western" style="margin-bottom: 0cm;">
It was almost as if
someone had forged the night from my own teenage memories. The event
was called <i><a href="https://www.facebook.com/events/869140883156550/">Break Stuff</a></i>, it boasted an extensive repertoire of classic
Nu-Metal, Attitude-Era wrestling and retro video gaming. They had me
at hello. The only thing absent was a skate park and clumsily rolled
joints. For the three hundred or so curious individuals present, this
was an ultimately nostalgic festivity. For that was why we were
all there, to reclaim a few hours of our youth from the intimidating
grasp of our twenties. Three hundred people, lost amidst the
wistfulness and uneasily pondering which hole the last ten years of our lives had crawled into.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It is not
often I frequent nightclubs these days, when I do it is usually not
of my own accord. I usually, just pretend to be enjoying myself,
aimlessly nodding along to the repetitive and unfamiliar sounds being
passed as music, whilst actively hoping that copious amounts of
spirits maybe able to grant basic movement besides my trademark
awkward shuffle. Here, I felt mobile again, free of the constrictions
of my own social insecurities, namely what is considered appropriate
nightclub decorum. Upon hearing the songs that formed the basis to my
later musical preferences, the suppressed sixteen year old broke free
from the shackles cultivated from responsibility and maturity and
took the wheel. Suddenly, it became acceptable to jump and scream
along to the lyrics. I even felt compelled to introduce my best
pseudo hip-hop gestures, the kind that would have made Fred Durst
proud... and jealous.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Regardless
of my well intended parody, I was left humbled by how important these
songs are to me. This was the soundtrack to both my youth and
generation. It was irrelevant the songs were overtly angst-ridden and
immature because, speaking for the majority, we were exactly that.
Meaningful reflections aside, the night was the perfect opportunity
to demonstrate my substantial Nu Metal proficiency. I exhibited great
pride in effortlessly identifying every single song. Admittedly, the
DJ did not exactly make this challenging with his safe, yet enjoyable
selection. He could have merely played the earlier '<i>Kerrang</i>'
compilations and no one would have been the wiser.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
In the days
Nu Metal was confidently riding its wave of momentum, I was
determined to engorge my music collection with bands that had an
agreeably limited audience. Pre Spotify or Youtube, I would scour
Amazon or Yahoo Music absorbing anything that none of my associates
had heard of. My logic being that band would then forever be
attributed to me. Unsurprisingly, many of the leading examples of the
genre are relatively unknown, especially outside of America. For this
reason I feel obliged to share with you the five albums considered Nu
metal that I feel are the most underrated. Take note <i>Break Stuff</i> DJ,
you have to redeem yourself for disregarding songs from any of these
artists for Creed. Inexcusable.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Relative Ash</b> – Our
Time With You (2000)</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-dXzCb-G4n_s/Va0wTwGgDtI/AAAAAAAAABA/W81rnFWfO3Y/s1600/Relative%2BAsh.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="316" src="http://3.bp.blogspot.com/-dXzCb-G4n_s/Va0wTwGgDtI/AAAAAAAAABA/W81rnFWfO3Y/s320/Relative%2BAsh.jpg" width="320" /></a></div>
Nu Metal has become
somewhat of a derogatory term in later years. Many see it as the era
where music, effectively dumbed down, dismissed musicianship and
played towards the lowest common denominators. I almost felt
contrived to associate <i>Our Time With You</i> with the term Nu
Metal as it demonstrates a much higher level of talent and self
awareness. Maybe it was purely a consequence of time that this album was
cached together with the masses of generic musical reproductions? Or
maybe it was the fairly obvious influence of Nu Metal mainstays
Deftones? Regardless, this album virtually transcends the genre.<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It is said
imitation is the sincerest form of flattery and Relative Ash actively
acknowledge their main inspiration as the Deftones. Listening with a
casual ear, the comparisons are apparent, predominately in vocal
performance. Marcus Harrington channels the haunting melodies,
punctuating visceral screams and hip-hop influenced delivery that
Chino Moreno bought to the earlier Deftones albums. Harrington
carries a sense of vulnerability in his enunciation and considering many of
the lyrical themes it is evident to see why.<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>Our Time
With You</i> has the kind of lyrical themes largely unheard of with
the genre. These are intelligent and emotive lyrics dealing with
complex themes such as <a href="https://www.youtube.com/watch?v=n6W6L1sO9cg">abortion</a>,
child birth, <a href="https://www.youtube.com/watch?v=OwcLW8-i90U">sexual
frustration</a>, religious disillusionment and even the <a href="https://www.youtube.com/watch?v=HgFazwSUyIw">harsh
realities of HIV</a>. At times it can be an uncomfortable listening
experience, but the best music is that which can generate a genuine
emotional response and almost everyone can relate to any of the
subject matters highlighted within the album. On stand out track
<a href="https://www.youtube.com/watch?v=V5nmK0hlFI4"><i>Bounce</i></a>,
the chorus states “This is raw emotion,” and ultimately, this is
what this album documents, authentic emotion in a pre-eminent musical
form.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>40 Below Summer</b> –
Invitation to the Dance (2001)</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-mFeB2ydOuGw/Va0wQTUHakI/AAAAAAAAAAw/1lzRZ0mTK70/s1600/40%2BBelow%2BSummer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-mFeB2ydOuGw/Va0wQTUHakI/AAAAAAAAAAw/1lzRZ0mTK70/s320/40%2BBelow%2BSummer.jpg" width="319" /></a></div>
In comparison,
<i>Invitation to the Dance</i> demonstrates many of the archetypal
conventions of Nu Metal, however, it elevates itself above its peers
by compiling all the familiar elements of the genre with sharp
proficiency and ambition.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The album is
effectively a major label reworking of the bands previous release
<i>Side Show Freaks</i>. Produced by Slipknot percussionist Shawn
Crahan (<a href="https://www.youtube.com/watch?v=og7N6RWe0RI">and
conceivably the best musical output he has contributed to</a>) the
advantage of a larger production budget allowed the band to develop
their sound considerably. <i>Invitation to the Dance</i> experiments
with various musical formulas and exhibits an eclectic diversity
ranging from the rap-metal anthem <a href="https://www.youtube.com/watch?v=pAn5HGaxbzc"><i>Step
into the Sideshow</i></a> to the industrial influenced <a href="https://www.youtube.com/watch?v=7HFXKbHEgXU"><i>Smile
Electric</i></a>.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Whilst, it
is a stylistically aggressive album, melody is emphasised through
anthemic choruses delivered by the impressively schizophrenic range
of vocalist Max Illidge. The bands follow up <i>The Mourning After</i>
would accentuate the use of melody even further, albeit to mixed
results and consequently, reaffirmed the accomplished balance of tone
demonstrated here.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
This album
would be my primary choice to introduce someone to the attributes of Nu Metal, not only does it accurately represent the key musical
qualities, it does so with just enough originality and accessibility
to make it an essential example of the genre.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>The Deadlights </b>– The
Deadlights (2000)<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-8IVvzDq0AXs/Va0wTko9tZI/AAAAAAAAAA0/sZCiLaEyaP8/s1600/The%2BDeadlights.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-8IVvzDq0AXs/Va0wTko9tZI/AAAAAAAAAA0/sZCiLaEyaP8/s320/The%2BDeadlights.jpg" width="273" /></a></div>
If I were to summarise
the sound of The Deadlights, a unique combination of The Smashing
Pumpkins and Korn comes to mind. The band have left very little
trace, except for the sole, truly exceptional album they released in 2000. Again, this is a quintessentially characteristic Nu Metal
album, except from the aforementioned vocal style which brings an
almost haunting sense of melody to the discordant and contentious
music.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>The
Deadlights</i> is a bleak album with lyrical content portraying
themes of violence, alienation and nihilism, yet it rarely
demonstrates the often clichéd approach of the bands predecessors.
The band exhibits conscientious song writing and musical proficiency,
especially towards the climax of the album with the
eastern-influenced <i>Time</i> and atmospheric finale <a href="https://www.youtube.com/watch?v=nxhVWeNp0Pc"><i>Falling
Down</i></a>.</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Ultraspank</b> – Progress (2000)<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-7fdSnWrHId0/Va0wButoFhI/AAAAAAAAAAk/XyZELSXfK3U/s1600/Ultraspank.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-7fdSnWrHId0/Va0wButoFhI/AAAAAAAAAAk/XyZELSXfK3U/s1600/Ultraspank.jpg" /></a></div>
Had Ultraspank chosen themselves a more sensible or relevant moniker, I believe many would
have taken them more seriously, or at least not instantly dismissed
them as another boorish Nu Metal band. Although, when considering the dominant
band in your market is named Limp Bizkit, they might have been onto
something.<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>Progress</i>,
as the title suggests, saw the band dramatically improve on their
sound from their debut self-titled release. The heavy use of
programming on the album showcases the increasingly industrial-orientated sound the band was likely aiming towards. One of the
reoccurring themes in my list is that all of the aforementioned
albums benefit heavily from the bands substantial vocal performances.
<i>Progress</i> is no exception. Pete Murray can sing, very well. One
listen to <a href="https://www.youtube.com/watch?v=mGP5-XGkAv4"><i>Stuck</i></a>
demonstrates Murray's ability to channel the spirit of Layne Staley
before transitioning into an almost operatic chorus. Similarly, on
<i><a href="https://www.youtube.com/watch?v=GHidmXyitNU">Push</a>,</i>
he fluently shifts from aggressive growls to near angelic harmonies.
<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>Progress</i>
is an unique and appropriately titled album in the sense that it
possessed concepts ahead of its time. The albums mature, eclectic
sound did not coincide with the over saturated marketplace of the
era. The major labels spoon-fed the masses with banal Linkin Park
clones, leaving bands like Ultraspank, who exhibited both originality
and talent, to falter. Consequently and ironically, <i>Progress</i>
proved terminal to the bands career.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Lollipop Lust Kill</b> –
My So Called Knife (2002)<br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-iAvmU5iwd50/Va0volhLq7I/AAAAAAAAAAc/aGRAwfO5VBI/s1600/Lollipop%2BLust%2BKill.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-iAvmU5iwd50/Va0volhLq7I/AAAAAAAAAAc/aGRAwfO5VBI/s1600/Lollipop%2BLust%2BKill.jpg" /></a></div>
Aside from the masks of
Slipknot and Mushroomhead and Coal Chambers inability to write a
song, the Nu Metal genre was, predominantly lacking in gimmicks. The
majority of Nu Metal bands adopted the back to basics, let the music
do the talking approach, that Grunge had previously all but executed
the Hair Metal scene with. Very few bands incorporated stage
theatrics or a specific visual aesthetic. In fact, many of the band members
would effectively become unrecognisable amidst their own audiences,
obscured in a ocean of baggy jeans and spiked hair, not Lollipop Lust
Kill though.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>My So
Called Knife</i> showcases Lollipop Lust Kills exclusive brand of
horror themed metal. The band were renown for adorning themselves
as pall bearers and relying heavily on themes of murder, serial
killers and all that is considered macabre as the main inspiration
for their lyrical content. The most graphic of these can be found on
the tracks <a href="https://www.youtube.com/watch?v=7C9bYnuRXAM"><i>Father</i></a>
which details child abuse and <a href="https://www.youtube.com/watch?v=hpLC2Ue9FIY"><i>Bury
You</i></a> which describes a premeditated murder. The stirring
lyrics are extenuated by vocalist Evvy Pedder's eerie croon which at
times is comparable to that of Roy Orbison. <a href="https://www.youtube.com/watch?v=Z5W9iWQ9bdI"><i>The
Perfect Woman</i></a> is probably the leading example to describe the
bands overall sound. Imagine 'The Big O' softly lulling, accompanied by the theme to
<i>The Addams Family </i>and punctuated by a chorus of hardcore
influenced metal and you have Lollipop Lust Kill. <br />
<br />
<i>NG</i></div>
DarkSmile,DeadElectrichttp://www.blogger.com/profile/13949473852519422554noreply@blogger.com2