Posts Tagged “Reeks”

Lamb Of God: smashing stages to bits since forever

Members of Disturbed, Chimaira, DevilDriver, GWAR and more are among the names to have commented on the shocking news that Lamb of God frontman Randy Blythe was arrested in the Czech Republic last night.

Check out some of the responses via numerous artists’ Twitter feeds below, including the official Lamb Of God Twitter feed.

LAMB OF GOD: “#FreeRandyBlythe”

DAVID DRAIMAN (DISTURBED): “MY THOUGHTS GO OUT TO MY FRIEND RANDY BLYTHE FROM LAMB OF GOD @lambvox ‪#freerandyblythe ”

PAULO GREGOLETTO (TRIVIUM): “I hope Randy’s situation can be resolved quickly and without him being detained anymore. Very shitty news to start the day!”

DEZ FAFARA (DEVILDRIVER): “Prayers and Thoughts for Randy as I fall asleep tonight …..Enroute to Full Force Germany ‪#HesAGoodMan‬ ‪#SendPositiveThoughts”

JEFF KENDRICK (DEVILDRIVER): “Randy Blythe needs to be released soon. Please keep him in your thoughts.”

ODERUS UNGURUS (GWAR): “All power out to Randy and our boys in Lamb of God. They are our blood and we stand by them. This whole thing reeks of bullshit.”

MARK HUNTER (CHIMAIRA): “Best wishes to Randy and the LOG camp.”

We’re still looking into the situation and will let you know as soon as we hear any updates.

 

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The opening intro track on Ghost’s debut album Opus Eponymous is made up of a minute and a half of eerie, oddly beautiful organ. The closing ninth track is an instrumental that brings to mind words like epic and magnificent in equal parts and it also features some spirited organ play. What happens between these two tracks completely separates Ghost from any band to ever come out of the metal genre.

This anonymous group of Swedish gentlemen whips out a psychedelic, traditional metal album with Opus Eponymous that reeks of authenticity. The driving drums, adept riffage and melodic—yet not overbearing—vocals sound like this can be an album from the late 70s that was only recently discovered and brought to light.

While Ghost shows off an incredible knack for song writing that combines bass throb with genuine melody, what really sets the band apart are the lyrics. To put it simply, these lyrics are downright satanic. The first word bellowed on the album is “Lucifer” and every single song is related in one way or another to Satan, the Devil, blasphemy, etc.

While satanic lyrics have been an over-trodden theme in metal since the genre’s birth, they were usually seen as something that just came with the territory. Because the genre is usually so reliant on screams or other types of guttural vocals, lyrics can usually only be barely made out, if at all. Not so for Ghost. All of the vocals on Opus Eponymous are crystal clear and high up in the mix, so lyrical gems like, “this chapel of ritual/smells of dead human sacrifices/from the altar,” are impossible to ignore.

And while other Satan-obsessed bands combined their worship with decidedly grim music, Ghost’s music is honestly quite pretty. Even when Ghost is reciting a bastardized version of the “Our Father” prayer on “Ritual,” there is still a degree of melody that is impossible to wash away, even if the band wanted to. And that is where Ghost succeeds: it knows that its winning game is one that is made up of bizarre, uncomfortable combinations.

Rather than fight that, the band embraces the creepiness and pushes the limits song after song. The fact that some of the most impressive harmonies occur on the absolute most disturbing lyrics pays testament to this.

Is Ghost a heavy band? Maybe not in the traditional sense. But if every aspect of Opus Eponymous is taken into account, from the organ induced church-like atmosphere to the lyrical blasphemies, the result is incredibly overwhelming.

Opus Eponymous feels like you are locked in the Church of Satan with a choir that refuses to stop playing tunes of the Devil. Soon, you must ask yourself, which is more disturbing: the music being played, or the fact that you do not want it to stop?

Amazing…

Similar bands: Blue Oyster Cult, Cough, Primus, King Diamond, Mercyful Fate

01. Deus Culpa
02. Con Clavi Con Dio
03. Ritual
04. Elizabeth
05. Stand by Him
06. Satan Prayer
07. Death Knell
08. Prime Mover
09. Genesis

Metal Blade

http://www.myspace.com/thebandghost

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Ah, Tool. A band that is totally outside of any industry standards or trends. A band that has produced four albums over their twenty year existence of high quality music filled with great lyrics, instrumentals, album packaging, the whole deal. The band reeks of consistency. The band also has one of the all time most annoying fan bases, and the biggest discrepancy between quality of music and quality of fan. The fact of the matter is that a majority of Tool fans resemble the baaaing sheep they supposedly despise.

Just to clarify, I think Tool is a great band. I first heard the band when I was a freshman in high and I heard a track on the radio, and then after googling the lyrics (which completely disturbed my 14 year-old-mind), I was hooked from there. And while, like with all bands, my attention or favor towards the band has wavered up and down since then, I have always felt and will always feel that they’re a truly talented progressive metal band. I even have a poster of the Tool dick tool at left above my bed. There is no debate that I do very much enjoy the band, and I don’t have some bizarre vendetta against the band for selling too many records or something.

That being said, so many of their hardcore fans are garbage, and not in the sense that they’re not loyal enough or they’re fair weather fans. I mean that they’re too loyal, and they give way, way too much credit to the band. A quick glance through Tool’s last.fm page reveals this.

Yes, many Tool fans believe that the band is insanely smart and are running around with IQs above 200 and that their music is some sort of embodiment of this high level intelligence. Granted, Maynard writes good lyrics, but please. Half of their music can be directly tied to drug use (a completely separate topic I have absolutely no interest in discussing), and even their guitarist has noted the benefits of DMT on his life. So, is Tool smart? Maybe. Does Tool have some higher level understanding of life and existence? No.

Then there’s the outright worship of the band. Last June I was at the final Isis concert in Hollywood before their break up (yes, I’m cool). Up in the sealed off area on the second floor where the band and their guests were hanging out, there was a guy with shoulder length brown hair that looked quite a bit like Adam Jones, the guitarist. However, any doubt that it was him was erased when the guy standing next to me with a tattoo on his shoulder of the third eye looked up and then literally started bowing down to him. He then turned to me and yelled “that’s Adam fucking Jones!” The literal worship was bizarre to me. From the tattoo to the actual bowing, it’s incredibly strange. And off base. Adam is a great guitarist, but does anyone really deserve to be bowed down towards?

Of course no discussion of Tool worship can go without at least touching on the complete and total reverence for vocalist Maynard James Keenan. This idea that Maynard is some sort of prophet is a theme that is pretty constant amongst the irritating Tool fan base. As said earlier, Maynard writes good lyrics. But that’s pretty much it. The rest of his time is spent making wine and participating in sub par side projects like Puscifer.

Really, it’s all just so overblown. There’s the Fibonacci sequence track listing for Lateralus, the constantly commented on five year gap between between Tool albums and how mathematically it is supposed to somehow guarantee or ensure a new record this year. This constant clinging to the idolized versions of the band members and the higher power that dictates their music and album release dates and secret tracks really wears down on the image of Tool as a band. And while by no means does it ruin the actual music, it does have an impact on the perception of the band by both good fans and prospective fans. There is a negative impact when quality, grounded fans have to defend the work of a band due to the ignorance and idiocy of the majority of the fan base. In the end it’s summed up best by the post below, and I left their username visible so everyone can go to their page to congratulate them on their intelligence.

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All That Remains – …For We Are Many (2010)

All That Remains have forged a career into the mainstream, which I highly doubt was kicking and screaming. They marked their success with the initial popularity of metalcore, steamrolled through the melodic death rise, and now sit atop with the younger fans just beginning their journey into the world of metal. I have no problem with All That Remains, they have paved their own way, and are finding success in a market that so few bands get to experience, which I commend them for. However, success or not, All That Remains’ latest album is incredibly lacking.  …For We Are Many reeks of rehashed material with no heart and soul. The All That Remains that once lit up stages with albums such as Behind Silence and Solitude and The Fall of Ideals, with their then brutal brand of legit melodic death, seems a far cry from the campy, second rate metalcore we hear today. I refuse to say that Phil Labonte and company have sold out, but I can’t help but think that maybe they have forg0tten what this band is all about, because all I hear is the same old breakdowns and melodic death hooks that the initial metalcore scene ripped from the Swedes 10 years ago. What’s the point of that? I mean when a progenitor like All That Remains makes music that sounds like a new band riding out the successes of their forbears, that just seems inappropriate and lacking in sense. While …For We Are Many is not at the level of crap as Overcome (in fact there are far fewer clean vocal passages, and some kick ass solos), it certainly gains no new footholds in evolution for the band. I hope all the kids are satisfied with this, because I have a feeling all the long time fans are going to steer clear. (Similar Artists: Killswitch Engage, Underoath, August Burns Red) NOT BAD

Divinity -The Singularity (2009)

Divinity reminds me of a combination between Scar Symmetry and Darkane, but instead represents more of an attempt to replicate both of these band’s originality, with little of their own. Don’t get me wrong, The Singularity isn’t a bad record by any means, but it certainly holds no candle to Layers of Lies or Holographic Universe. What makes this band a bit weaker isn’t their technical chops, or even their lack of originality necessarily, it’s just the banality of their execution, which brings nothing outstanding or remarkable. I have no doubt that The Singularity will be well received over all, but for those looking for something of a higher standard, I’d stick with the guys who have already embarked on this style, at a superior level. (Similar Artists: Scar Symmetry, Neuraxis, Darkane) NOT BAD

King Giant – Southern Darkness (2009)

Stoner metal coming out of Virginia, King Giant were put on this map to create a groovy, slow moving style similar to Crowbar/Down-esque deep South bend, and the more upbeat grooves of modern day Corrosion of Conformity. Unlike their influences though, King Giant lacks depth. Southern Darkness does not stand out with any particularly remarkable riffs, vocal passages, solos, drum work, melodies, or anything beyond a very rudimentary take on stoner metal, and that obviously hurts their listen-ability. (Similar Artists: Crowbar, Down, Corrosion of Conformity, Pride & Glory) EH…


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