A friend on Facebook said, when I posted this vid, that this is the most accurate depiction of what goes on in a kid's mind. Basically.
At first I thought that he was a little off, that this video goes overboard, since the violence is brutally and salaciously glorified.
But I think what really happened is that the director had the effect he wanted on me--the violence repulsed me, because it was committed by and against children.
But then I realized I was being a douche bag, and that the violence is all animated, and no, it doesn't lead to a lack of character on the part of the kids, the band, or the video makers. This is what kids are pretending to do when they play guns.
It is accurate. And plus, it owns. Brutality reigns in this video. The musical style is definitely not metal, but we won't hold that against them, cause the song goes perfectly with the video. Somehow.
Gonna take my pregnant woman (42 weeks and contracting--wooooo!!) and my girl Lucy to Best Buy and get LA Noir. It's gonna be totally metal.
I'm also gonna look for the new Low album. Also totally metal.
Lastly, I found this band today on MySpace. So if you click that link be prepared to load a super slow MySpace band page. I think the first song, the only one I listened to, is instrumental because they're looking for a singer. I might be wrong. Anyway, don't they sound like Tool from the AEnema/Undertow days? More modern, of course. I kinda like em. They're named Inverta.
The best thing about this preview is the music. The movie could be the best of all three, but that's beside the point. The music to this trailer is really cool. I could see it in a metal format really easily.
I feel as though I can't even talk about Deathspell Omega. They're so fucking crazy, awesome, unflinchingly and sorrowfully all black metal. Dissonant beyond dissonance, yet retaining melody.
I'm listening to Chaining the Katechon (2008). One 22-minute song. Starts as if it was in the middle of an extreme black metal song. No intro. Full on nutbars right at the get-go. Guitars full of distortion, scraping- the-dungeon-walls vocals, drums hitting maddening rhythms I can't begin to comprehend.
The weirder it is, the more I'm interested. This hits the nail on the head. Those French posturers. Those pretentious black metal elitists.
How dare they tempt me so. They manifest my desire for weirdness with their ultra-weird music, something few other bands aspire to do.
They use a lot of techniques and sounds that other black metal bands don't. The sound varies, differs, stays interesting, fresh. Terrifying, even. It's recorded well, too, with emphasis on a lovely mixture of all sounds. Nothing is too loud, nothing is too distorted. The music swells, quells, and loops over mountains of suffering. It's not so heavy that it's stupid and you scoff at it. They kick off half the distortion sometimes and totally change up the feel of what they're doing.
They probably could have made this piece many songs, but then that would require less attention from the listener. Deathspell demands your attention, or they can just as well leave you behind. They do nothing to draw in the casual listener; they do everything to draw in the avant garde listener.
Read about it here at Wikipedia if my synopsis is less than your prog dork mind wants to envelop regarding these four dudes. Because if you're reading this, you probably recognize their names as belonging to four of the dudes in Yes, sans the bassist, during their greatest period. This lineup put out the four Yes albums that I have--Close to the Edge, Fragile, Tormato, and Tales from Topographic Oceans.
Edge and Fragile are easily the best of those four works, the former being less accessible, the later being more rock oriented. Both are sweet, weird prog rock albums that rely more on musical innovation and technical ability than lots of distortion and typical rock song formats. They've become two of my favorite vinyls to listen to.
So I pick up this used cd of ABWH, not knowing what to expect. And goddam, it's crazy. It's really 80's, and annoyingly so. But by track 6, they're doing some cool jazz-infused jamming... ugh, then it starts sounding like it could be Jimmy Buffet or some such drivel.
It certainly was a find. I think I'll like it during the next listen. I don't know when I'm ever going to have the patience to listen to the whole thing all the way thru. Lots of it is just too happy for me. I'll grumblingly admit that it is very family-friendly, if it ever comes to that.
The album was released in '89. The Yes lineup had already gone thru extensive changes. So there was Yes, and then there was ABWH, both wanting to play Yes songs, and both, in my mind, having the right to. And get this--the NEW Yes sued the OLD Yes (ABWH) to keep all mentions of Yes off their promo releases! Fucked up!
I had no idea about this band until I saw the review from Avant Garde Metal. The video is really awesome. I love that singer. He's got acting talent as well as vocal, and stage presence. Reminds me of Marilyn Manson quite a bit--sometimes it's flinchingly corny and goth, and the musicianship isn't so spectacular. But it's really cool how the song flows, and the middle path has a pretty cool metal riff and the backing band really shines. The singer really does a good job of keeping you interested the whole way through.
One way he's better than Manson is that he's singing well. His voice isn't all coked out. Yeah, I said it, Manson. You crazy fuck.
My favorite part of the Cradle video is when he looks back at her, like, "Aren't you coming?" I won't say much more. It comes at the end of the video. He acts with his facial expressions, and it's pretty hilarious. He's a real character, this singer guy. I really like him. He does very well at creating moods.
This is good modern metal. I would definitely put it somewhere between industrial metal and metal. It's pretty rockin. Pretty driving throughout. Good stuff.