Blistering.com Reviews (3)

Clinging to the Trees of a Forest Fire - Songs of Ill Hope and Desperation (Prosthetic Records)

[9/10] A band's name is like the title of a book. It is often a deciding factor in whether or not the audience will take that extra step to read the book or, in this case, listen to the album. With a name like Clinging to the Trees of a Forest Fire, it almost tells a story in itself. In a recent interview with the vocalist from Clinging to the Trees of a Forest Fire (hereafter known as CTFF), Ethan stated, "Our name comes from the idea of holding onto something completely and utterly fucked/hopeless/ruined..." Bands with unusually long and descriptive band names, for the most part, will either produce extremely impressive music or total garbage.

Fortunately for CTFF, they have succeeded in creating something that fans of several genres can appreciate. According to some tags from a website, if you like brutal deathgrind, chaotic grindcore, power violence, smoking pot, worshipping Satan, and being unreasonably pissed off, you will probably enjoy listening to CTFF and Songs of Ill Hope and Desperation.

Band members include: Ethan - vocals, Ben - Guitar, Zach - Bass, and J.P. - Drums. Ethan uses gruesome vocals alternating between harsh roars, and screams that could be resonating from a torture chamber or uttered from someone being burned alive. The drums create unexpected beats. Guitar and bass use unique riffs, clashing in all the right ways.

The album starts off with a blast of heat. If you are having a problem waking up, "Teeth and Hair" will solve it for you. It will slap you in the face like opening a scorching hot oven. Your eyebrows are singed, and you love it! Everyone had better get out of your way when this song is playing. Songs of Ill Hope and Desperation is what sounds like death metal and grindcore mixed with doom metal. It has elements of sludge metal, and has been referred to as "funeral grind." Each song is out of the ordinary, and that is refreshing. CTFF uses dissonant chords and bizarre progressions making it difficult for your ears to collaborate with your brain to process what is happening. Needless to say, they are outside of the box. In fact, you could say they are so far outside of the box, they have stomped on the box, run over it with their horse and plough, and buried it under 300 acres of shit!

CTFF's collective sound is remindful of early Anal Cunt (think Morbid Florist EP). My favorite song from the album is, "They Smeared Shit on Their Skin to Blend in at Night." It has such a splendid and amusing title, and reminds me of Ana Kefr's "Feed a PETA Member to a Starving Child in Africa." This song by CTFF is different from the other songs overall. It seems to roll around in every direction and has a brief spotlight on an accelerated bass. It is power and violence, inspiring destruction past the breaking point.

"Made of Coal" delivers angry screams accompanied by ultra-fast drums. Then it slows down to a stoner sound, with some of the riffs reminiscent to the work of Adam Jones from Tool. In "Boquet of Self Pity," our cochleas are pierced with a high-pitched squeal, and a slow start makes the drums stand out. The doomier moments of CTFF sound like some of the better doom elements of Cephalic Carnage; the song "G.lobal O.verhaul D.evice" as an example.

Overall, CTFF has managed to bring us material that the music world is severely lacking- something unique. What is particularly impressing is the last track of this album, "Remove the Light." Without giving it away, the ending is very dramatic. After it is over, we are left feeling disoriented, like after waking up from a terrible dream. It feels strange to return back to reality. Personally, there has never been another album that manifested such a horrible feeling in the pit of my stomach. That, in short, is stupendous!

www.myspace.com/clingingtothetreesofaforestfire

Mose Giganticus - Gift Horse (Relapse Records)

[7/10] This is not a typical metal album. In fact, it is a stretch to call this "metal" at all. Others have described the genre of Gift Horse presented by Mose Giganticus as grunge metal, synth punk, electronic, and death metal. This also isn't a typical metal band. It is even a stretch to call Mose Giganticus a "band" at all! The style and sound of Mose Giganticus is created by the keyboardist/drummer/programmer/songwriter/vocalist Matt Garfield of West Philadelphia, Pennsylvania.

Personally, anything that is outside of the box is favorable. So, when playing Gift Horse for the first time, a curiosity arose. A blend of synthesized sounds combined with electric guitar-themed music, create a mellow image with a rock energy. There is a quality comparable to the Berlin electronica sound. The majority of it is entertaining. I, the reviewer, have stepped out from behind the shadows of the music, and taken the liberty to coin the term "relaxation metal" as a new, softer branch of the genre to describe the album.

We begin Gift Horse with "Last Resort." An upbeat synth sound welcomes us, and brings to mind visions of a sunrise. It has a slow tempo with a Dream Theater essence, but heavier vocals. The vocals retain the same quality throughout the album, and at times can sound like players of a football team belting out team spirit. The combination of the melodic sound with the guitar riffs in "The Left Path" make for a catchy beginning of the track. The lyrics are simple and follow straight-forward patterns. One source states that the lyrics in Gift Horse are written from the perspective of the Christian god and the fallen angel, Lucifer, having a conversation. However, when the "football vocals" (another term I have coined for this album) are remindful of the chorus from Chumbawumba's "Tubthumping," it is hard to imagine they are based on a topic of such serious nature.

By the third track, "Demon Tusk," the uniqueness of the synth metal sound loses its luster. Everything starts sounding repetitive, and it gets difficult to establish the differences between each song. They do, however, become songs that one might find useful to help cure insomnia, or to play after the end of a sporting event or a movie as the masses begin shuffling out to their cars. Background music.

There are two tracks that stand out in this album. "White Horse," and the last track, "The Seventh Seal" both have memorable aspects. "White Horse" begins with a high-pitched keyboard melody which jumps around energetically and sounds like it is running a race. Then, the guitar comes in to run alongside it. The fast keyboard accompanied by the slower guitar musically creates the idea of "The Tortoise and the Hare." Some may find the bouncy keys to be annoying, but this is personally entertaining, because it continuously brings to mind the scene from the movie Revenge of the Nerds where the nerds perform the ultimate synthesized musical number and it blows everyone away!

"The Seventh Seal" seems to have the most variation. It is not a happy song, and presents slow, clean vocals. The sorrow, in my opinion, would have been conveyed more effectively with one solitary, heartfelt voice, instead of the use of layering again. There is even a short solo here! Though, it seems that it is almost too little, too late.

A gift horse is an apparent gift that has substantial, associated costs. Maybe that is how we are to treat this album. It is a gift. Take it or leave it, but if you choose to accept, don't criticize. Applause should go to Mr. Garfield for his ambition and drive to create this full-length album practically on his own. There are not many people who have that kind of motivation. Mose Giganticus has given us the gift of music, and while it may not be everyone's cup of tea, Gift Horse has the ability to inspire our imagination.

www.myspace.com/mosegiganticus

Waking the Cadaver - Beyond Cops. Beyond God. (Siege of Amida/Candlelight Records)

Occasionally, before even listening to a new band to review, researching the band and their history, and observing what others have to say about the music will give an idea of what to expect. In the case of Waking the Cadaver, there was no other conclusion to be made from previous reviews but to expect the absolute worst piece of garbage that one has ever laid ears on in the history of music's existence! Seriously. Here are some excerpts of reviews written for the band’s debut album, Perverse Recollections of a Necromangler found on Encyclopedia Metallum - The Metal Archives:

"The breakdowns are uninteresting, generic, and boring."
"...guitar playing that is an insult to the instrument..."
"It shows no emotion other than a rape of a snare skin and a palm muted open note..."
"Just about everything sounds the same."
"Combining poor growling skills and cheap production with oinking, they seem to come from the most pissed off pig you will ever see."

Several reviewers claimed Perverse Recollections of a Necromangler was literally the worst album they had ever heard, and one said that the album was great if you were looking for a laugh. So, now that Waking the Cadaver are releasing their second album, Beyond Cops. Beyond God., have they taken any of these remarks into consideration?

My answer is both yes and no. First, "no" because, as a whole, the album is, as quoted, "uninteresting, generic, and boring." It is lacking originality, and the ability to make anyone want to listen to it again. I would have to say that it is a bold move to copyright the term "Slamming Gore Groove," if it is in fact copyrighted. However, after listening to the album, it seems like it is a last ditch effort to look like they are unique on paper. They are trying too hard to sound tough. This is apparent from the album title alone, and could be compared to the authoritative identity that Eric Cartman from South Park created for himself. A child stating, "I am above the law," or "Respect my authority!" is comical. There are ways of letting people know you are tough besides simply declaring it.

That brings us to the lyrical aspect of the album. From what is available to read, this member of the musical audience is not impressed. The lyrical themes are of rape, gore, and violence. From a female metal fan's perspective, songs about rape don't make you sound powerful, they make you sound pathetic. The lyrics in "Beyond Cops," from Beyond Cops. Beyond God are simplistic, and seem juvenile and forced. To me, the words are important, especially in the metal genres. The majority of the time, they are masked by the delivery, so listeners have to take that extra step's worth of interest in the band to look them up and read. One hopes to be amazed with eloquent poetics or impressed by intelligence. Instead, with the lyrics for "Beyond Cops," one must solely be satisfied with the fact that the extra step of effort was made at all.

With that being said, it was not all that bad. Every song on the album is at least more interesting than "Chased Through the Woods by a Rapist," which seems to be the most popular of the previously released songs. The vocals are diverse. Pig vocals alternated with deep, guttural growls keep it interesting. There is an impressive stretch of time with one prolonged roar, making the song worthy of the title "Waking the Cadaver." At times the vocals sound like someone removed the catalytic converter from a monster truck! They also emulate a dog's bark and an elongated belch in "Suffering Upon Revenge." Actually, "Suffering Upon Revenge," is the most noteworthy song, in my opinion. Towards the end of the song, the drums start producing an ultra-fast blast beat, and then there is a fluttery guitar melody unexpectedly added into the mix! Short-lived, but exciting!

Waking the Cadaver is formerly known as Death to Honor and is from Shore Points, New Jersey. They have just started walking the path of their musical careers, and have a long way to go. Beyond Cops. Beyond God. is not as bad as some would lead you to believe, but it is definitely not quite ready to be described as "good." They can play their instruments, it is just not that interesting. There is always potential and the hope for creating a better sound. Finally, I give my compliments to the band for not giving up despite receiving some brutally harsh reviews for their debut.

www.wakingthecadaver.net

Music Reviews Part 2: Blistering.com

Early Graves - Goner

[6.5/10] Do you feel like jumping into a mosh pit and giving somebody a bloody nose for no reason? Do you have the urge to piss off your parents or a religious person, perhaps? Do you have 25 minutes to kill? Listen to Goner by Early Graves. They have risen from the remains, and dusted off the ashes of what used to be known as Apiary, having developed a new sound. The new sound is unprecedented with a unique combination of genres. Imagine thrash metal mixed with hardcore punk; pour and bake, and you have a delicious batch of some angry cupcakes! Goner this group's second album, has only just been released, and Early Graves are currently on a national tour in celebration.

The album is filled with extreme, fast drumming, harmonic squeals, finger-shredding guitar riffs, and a bass that emulates thunder, all covered by the vocals which sound like they could drill a hole in your eardrums. The majority of the songs include these aspects throughout, and this is outstanding if you would like to hear the same thing over and over, but not so much if variation is what you appreciate in music. Now, Early Graves has something promising in their grasp, but they need to kick it up a notch and step out of the box a bit, or they may meet their own early grave.

Personal favorites on this album include "May Day" and "Wraiths" but for differing reasons. "Wraiths" stands out because it is stylistically different from the rest of the tracks. It has a slower tempo and the drums lean closer to a rock beat. It is a refreshing break. Aspects of this song send out the impression of pain and resentment. "May Day" paints pictures of various events using different musical techniques as brush strokes. In the beginning, the guitars resemble the rumble of helicopter blades beating the air. Then slowing down, and emphasizing the drums and the bass, this song sounds like it is coming to a close, but it is only halfway finished. One might be able to imagine the earth rapidly racing toward your flight craft, visions of memories flashing in slow motion as you face your premature death. Hope is lost, and the final signs of life disappear after a hair-raising guitar shriek.

We are introduced to a fantastic solo at the end of "Bastard Tears," and backing vocals in "Give Up" and "Harm" adds some variation in this album. "Old Bones" contains interesting riff patterns. Harmonic squeals and shrill feedback contribute toward the uniqueness of this band, but are overused. The band are skilled musicians and they have presented us with a new take on metal genres illustrated in ten short tracks. Whether they create Goner 1.5 or continue to change and develop the unique style they have created for themselves, only time will tell what Early Graves will bring to the table next.

www.myspace.com/earlygravessf




Dark Haven - Fallout

[8.5/10] A dying music box feebly tinks out the distorted notes of the theme song from Love Story. Wind blows, leaves rustle. There is close to no life left from our civilized world after an atomic bomb has exploded. Suddenly, heavy guitars come stomping in and break the silence. Dark Haven positioned atop a towering cliff, play over the Earth's remains. "Skyscraper" reduces everything to ashes leaving us questioning what it all means. Dissecting the tangled mess of reasons that caused the end of humanity, Dark Haven presents the world with our very own Fallout. They must determine whether this world is worth rebuilding or if we are undoubtedly destined to be destroyed. It is too late. The dust has cleared, and no life will remain.

Looking for answers we are surrounded by conflict, both externally and internally. Outward, in "Aphelion," meaning the point in its orbit when Earth is farthest from the sun, everything is beyond reach. The guitars in this piece exude tragedy with an elegant quality. Varying vocal patterns and styles add emphasis to the words. Inside, feeling helplessly trapped, surrounded by walls, life resembles an insane asylum. We reach a breaking point and run screaming through the halls; throwing chairs and pulling out hair. A melancholy bass calmly puts his hand on our shoulder and leads us back inside. The keyboard emphasizes the feeling of defeat and mournful, repetitive screams are filled with anguish as reluctant acceptance sets in.

For a debut full-length album, Fallout is indeed a statement. Dark Haven have been around for the last six years, laying low in Southern California's wine country. After they produced an EP titled Your Darkest Hour in 2005 and went on tour, Dark Haven found the message they wished to represent in Fallout. Like most bands, they have encountered the struggle of a changing line-up. Their current members include: Brennan Kilpatrick (Guitar), Don Linneman (Vocals), Nate Falzon (Drums), Ryan Kilpatrick (Bass), and Lance Orosco (Keyboard). The songs are about humanity and what will come if we do not change now.

The lyrics in "Shades of Ivory" demonstrate one aspect of this message. Beginning with keys, a calm intro, we then become acquainted with slow, tortured bellows, higher-pitched screams, fast drums, and Kilpatrick's fingers dancing across the fret board. At the end, we are directed to take a moment to breathe and reflect on what is happening, like taking a long drive down a winding dirt road. Both this song and "Malice" suggest an angry sadness. The beginning of "Malice" tells us to get our asses up out of our chairs and down into the pit, because something major is about to happen. This song is ferocious; full of chaos and energy, but would not be complete without the sorrowful solo and clean vocals.

Let's not forget to mention the song about Vikings! "Azimuth" is a term used in navigation. This track musically mimics the sounds of waves crashing and a boat rocking in certain sections. Clean vocals and hearty growls mixed together create an interesting effect. Harmonizing guitars and slower, this song is characteristically different from the rest.

It is not very often that we can find an album that captures our attention from beginning to end. From catching our breath after "Abysmal Horror", to holding our heads with regret and remorse from the song, "Through Dying Eyes," we are left wanting more. Dark Haven have been hiding in the shadows for the last six years, finding their direction and perfecting their sound. However, with the release of their first full-length album, accompanied by a newly posted internet music video for "Abysmal Horror," Dark Haven are quickly starting to show that they are on their way!

www.darkhavenmusic.com



Lightning Swords of Death - The Extra Dimensional Wound

[6/10] If you've never heard of Lightning Swords of Death before, and have come across their album The Extra Dimensional Wound, you might be intrigued. First of all, the band name is unusual, and one may wonder if these people are actually serious. It sounds like they are trying too hard to sound brutal, or maybe English is their second language.

Upon further investigation we discover that the band is based in Los Angeles, so most likely there is no language barrier. We also learn that Lightning Swords of Death is taken from part of the name of a film from the 1970's, Lone Wolf and Cub: Baby Cart to Hades which was titled Shogun Assassin 2: Lightning Swords of Death upon release in the United States. Also, the album cover is quite detailed and depicts death with a bit of mystery; seeming to tell a story. In a recent interview with Lightning Swords of Death (hereafter known as LSOD), when referring to the album art, they stated, "The image depicts the polymorphic, emanations of living chaos erupting from the extra dimensional wound (a rip in the membrane that defines the hyper-modular latticing of the multiverse)." For lack of a better expression...huh? Did this guy just exude a higher intelligence? Anyone can projectile psychic disfigurements of crepuscular proportions. Just pick up a thesaurus and start making shit up!

The way this band expresses itself in writing reminds me of Seth Putnam's (Anal Cunt) side project Impaled Northern Moonforest. With knee-slap drums and song titles like "Grim and Frostbitten Moongoats of the North" and "Gazing at the Blasphemous Moon While Perched atop a Very Very Very Very Very Very Very Forsaken Crest of the Northern Mountain," one cannot help but to be amused. This style of writing and song titling is definitely entertaining, but, unfortunately for LSOD, it does not carry over into their music.

The Extra Dimensional Wound contains little variety, especially in the first half of the album. The guitar riffs are unoriginal and unimaginative. They hover in the safe zone of low tones and hardly surface into the higher octaves. There is nothing to keep the listener interested. To be fair, it is not all bad. The bass is distorted throughout most of the album, and in "The Extra Dimensional Wound" the vocals bring to mind the sound of cracking branches smothered by a ghost, and later suggest sounds of howling wind. The drums shine at the end of "Nihilistic Stench" and in "Invoke the Desolate One" it becomes apparent that this band is comparable to Dark Funeral.

Everything changes once we arrive at "Zwartgallig," however. Hope returns during this short and sweet track with clean guitar. Even though this instrumental song is gloomy, it is the most interesting out of all eight tracks. It suggests the numb aftershock of a long battle; scanning the masses for a glimpse of life. If LSOD were to take the style shown in this song and insert it into any section of the others, for variation, it would make them much more enticing. Also, the final track, "Paths to Chaos" is another song that shows this group is capable of variation. It is more interesting than the rest because it goes beyond what LSOD have presented to us until now. Heavy drum beats and lead guitar followed by ambient rolls of thunder make this song stand out from the rest. In my opinion, for the next album, the elements of this song should be developed and expanded.

"Venter of the Black Beast" slows everything down for dramatic effect and incorporates long, tormented roars. In this song it sounds like the musicians are either on drugs or half asleep while playing, which, research shows, may not be far from the truth. "Vorticating into Scars" is personally disturbing. Do you know what "vorticating" means? Probably not. It’s not really a word.

On the other hand, LSOD must be doing something right. They have been fortunate enough to land themselves with a major record label and tour with well-known bands. Also, viewers say they put on an extraordinary live show. This album is LSOD's second professional recording experience, and they have potential. Let's hope that it continues to grow.

www.myspace.com/lightningswordsofdeath



Allegaeon - Fragments of Form and Function

[8/10] It's hard to put a finger on the sound that Allegaeon has given to us. We are presented with music that consistently hops from one metal genre to another within a single song, like wormholes of music. This band is relatively new to the music scene, and consists of accomplished musicians. Fragments of Form and Function does not entail songs about subjects that are stereotypically metal, like female mutilation (which I can personally appreciate), Satan, or death and destruction. Instead they cover topics such as science, evolution, space, and time. Described as extreme melodic metal and melodic technical death metal, there are aspects of death metal, and hints of metalcore and modern hardcore intertwined.

After we are led into the album with a low rumble and mysterious ascension in "The Cleansing," it quickly becomes obvious that Allegaeon has talented musicians. An elongated window-shattering guttural scream, pounding drums, and rapid technical rollercoaster riffs are some pieces of the evidence. Followed by "The Renewal," Allegaeon moves in and out of tough death metal riffs and deathcore melodies in this energetic track. Jordon Belfast (drums), Ryan Glisan and Greg Burgess (guitars), Ezra Haynes (vocals/lyrics), and Corey Archuleta (bass) state that their songs are about "...science related theories." This is showcased in "Across the Folded Line." Most likely, the title of this song refers to a quantum physics theory about folds in time and brain function. The beginning sounds like we are blasting through space. With intense drumming and guitars buzzing and fluttering like insects soaring through space we are "symmetric in time across the folded line."

By the time we get to "The God Particle," however, the flittering melodic guitar solos start to get uninspiring. Needless to say they are phenomenally played; tearing up and down the music scales, running circles around the other instruments, and the drums are particularly ambitious. Nevertheless, something is missing. What is it? The heart, the passion, the feelings that a melodic solo should invoke. It is disappointingly empty. One may argue that songs about science and evolution should not include emotion and passion as a requirement because they are based on such logical and factual topics. Wrong. Science may be able to be reduced to "finite compounds," but music is infinite, and we should not settle for routine.

That being said, we know that Allegaeon are completely capable of stepping over that boundary, and doing something unique and creative, just by listening to "Accelerated Evolution." With a vivid impression of a muddy earthquake from the vocals, and super fast drums to start, about halfway through the song something happens. We are suddenly whisked into a new dimension of sounds, breaking out of the typical characteristics of the genre into something completely different, yet still retaining the unique sound that is Allegaeon. Personally speaking, this is the best track. This part of the song is absolutely delightful and really makes the album shine. More of this type of innovative creating is needed to make Allegaeon stand out from other bands of this genre. This section of “Accelerated Evolution" is animated, saddening, and fierce all at once. Bravo.

Not sure what to think? It's definitely worth giving Fragments of Form and Function a listen, especially if you like the metalcore and hardcore style of metal. The words, unlike other bands, can mostly be deciphered within the deep growls without losing their gruff quality. The vocals are comparable to Randy Blythe from Lamb of God, as well as some of the instrumental aspects. There are Dream Theater sections of solo after mind-blowing solo, and some parts reminiscent of Killswitch Engage. There is something about life, philosophy, and this world that can be learned just by listening, and that is not something we come by frequently.

www.myspace.com/allegaeon

Music Reviews for Blistering.com

I recently began writing for a website focusing on metal music and these are my first contributions. The review for Ana Kefr has not been posted yet, but it is well worth the read in my opinion!

Ana Kefr - Volume 1 (Musesick Records)
By Sara Heitman (siinraapi@gmail.com)
[9.5/10]

Clouds twirl in the wind. There is a rumble of thunder. We brace for the storm about to roll in. That storm is Ana Kefr. Hailing from the Inland Empire area of Southern California, Ana Kefr has just celebrated the one-year anniversary of the release of their debut album, Volume 1. People do not tend to expect much from a band that has been established for less than 2 years. However, Ana Kefr is here to show just how severely people are mistaken.

The cover of Volume 1 is simple and modest, yet intriguing. The blue disc winks at you and smiles coyly as it slips inside the player. A page turns. Your relationship begins. In the first chapter, the captivating clean vocals of frontman Rhiis D. Lopez draw you in. The alluring Arabic lyrics translate simply, "I think, therefore I am infidel," a phrase you will soon declare proudly.

However, don't be mistaken. This album should not to be taken lightly. It is not for the faint of heart, the easily offended, or the politically correct. It is not for those who refuse to accept reality and truth. Ana Kefr is the hand of Truth. Volume 1 is the slap in the face. That, my friends, becomes immediately apparent with "The Day that Guilt Turned White," followed shortly by "T.ruthless," and emphasized by "Takeover." These three songs are like steel-toed kicks to the face, putting back the jaw that just fell to the floor! Ana Kefr's overall sound is too difficult to classify under one or even several metal genres. If necessary, imagine black-progressive-metal-rock with classical undertones. Aware of this, Ana Kefr decided to coin "philosophy metal" as a new genre to encompass their unique sound.

No relationship would be complete without transformation and the tragedy of loss. A quality of grace and beauty has been given to death and anguish in the heartfelt songs "Avenue of the Queen" and "Orchid." Drowning darkness and crying guitars. Heart-wrenching keyboard solos and Lopez's versatile vocals expressing a wide range of intense emotion. All take center stage. Original founding members Bryce Loeffler (drums) and Trent Pichel (guitar) have also gracefully loosed the relationship ties of the band since Volume 1, leaving co-composers Kyle Coughran and Rhiis D. Lopez to continue executing Ana Kefr's message.

Acquiring three new members in 2010, Ana Kefr perseveres, scattering infidelity across the world. Fans agree the new members have proven themselves worthy of the task after they recently recorded the single track "Tonight We Watch the Children Fucking Burn." It was Ana Kefr's one-year anniversary of Volume 1 digital release. The infidel fans are now anxiously anticipating what is to come next from this progressive, philosophical metal band. The book of Volume 1 may have closed, but the legacy continues.


Related links: www.anakefr.com

The Funeral Pyre - Vultures at Dawn (Prosthetic Records/Creator Destructor/Forest Moon)
By Sara Heitman (siinraapi@gmail.com)
[8.5/10]

They say they are "a metal band with no ambition or hope. [They] have given up on people and life." If that were so, The Funeral Pyre would not have produced this exceptional album! Vultures at Dawn, their fourth studio release, is one of those albums that grows on you like moss on a gravestone. Described as melodic black metal, Vultures at Dawn presents a mix of both traditional and modern aspects of the black metal genre. Current members include James Joyce and Justin Garcia (guitars), Alex Hernandez (drums), John Strachan (vocals), and Adam Campbell (bass). Since forming in Southern California in 2004, they have steadily been producing completed works every other year.

"Personal Exile" has to be the best song on the album. Drums take the spotlight with a tribal sounding beginning, and beats counting down to your execution. Chaotic and energetic, unconventional sounds paired together keep this piece interesting from beginning to end. "Monolith", as implied by the name, stands alone. It is the only doom metal song on the album. Slow, painful death. Mournful screams like gargling stones. The album art from The Nature of Betrayal is what came to mind during this song, and depicts the mood portrayed precisely. Then, like faces plunged into cold water, we are brought back into reality by the fast beats of "Blistering Hands."

"Vultures" is the first track, and starts this album off on an eerie, creeping foot. The opening seconds sound like warning sirens; high pitched tones capturing your senses like eyelids forced open. When it slows down, it is even more ominous and powerful. Continuing to keep goosebumps propped up on the listeners flesh, we are brought to what sounds like the beginning of a zombie horror movie and begin "Destroying Gods." The guitars, seeming to moan at times, portray a quality of sadness and pleading and are complemented by the drums. The music and vocals, especially in this track, are somewhat reminiscent of Bathory and Burzum.

In the end, we are left "To Watch the Earth Rot." Fast paced drums with distorted guitars create the perfect head-banging music or background music to stomping on dead bodies. As a whole, this album grows on you and then it stays with you, like a heroin addiction. It will terrify your grandmother or a small child. It will stab your sister and leave her to rot and be eaten. Perhaps, vultures will find her at dawn. You are left without ambition or hope, surrounded by darkness. That is when you know you are experiencing superb black metal.

Related links: www.myspace.com/thefuneralpyre
www.thefuneralpyre666.blogspot.com



Trident - World Destruction (Regain Records)
By Sara Heitman (siinraapi@gmail.com)
[7.5/10]

According to bass guitar player Alexander Friberg, "We have only one plan, one goal. That is to conquer the fucking world...show the people that Trident are here to stay...and we don't fuck around." Those are some daring ambitions for a band like Trident who have only been present since late 2007. The members of this newly formed blackened death metal band from Sweden, however, are no strangers to the music world. With the exception of the lead guitarist Ewo Solvelius, each musician has come from a background of previously established bands. Johan Norman, the rhythm guitarist, originally played with Soul Reaper and Dissection. Alex was previously in Necrophobic and Karneywar, and Tobias Sidegard, the vocalist, was also from Necrophobic. Jonas Blom, the drummer, played with Grief of Emerald. They came together to create a new sound. The result? World Destruction.

A dramatic introduction. Open curtains. We are dragged into "The Trident" with slow, melodic metal. Drums, strings, and woodwinds. The majestic three-pronged spear rises slowly from beneath a darkened abyss. Abruptly, we are smacked straight down to hell to meet the "Jaws of Satan." Helplessly clinging by fingertips, slipping from the sharp fangs of the dark lord himself. Complete with blast beats and killer shreds, this is the most monumental song. It is energetic and angry. With a close second, "Luciferian Call" creates a frightful feeling. Imagine slowly searching for the killer who still sits inside your home. Suspiciously look around the corner of each riff and fear is in your heart. This one has sad and tragic moments with slow and pleading screams. In the end, all hope is lost and everything is dark.

Trident's style could be compared to the newly surfacing blackened death metal band Hate, from Poland, although not as extreme. Trident's vocals remain true to the black metal genre, rather than descending into the guttural growls which trademark death metal. They bring to mind the sound of a saw ripping through wood. For a debut album, the music is very well written and clearly recorded. It is important for music lovers to hear what each instrument is contributing to completely absorb the overall sound. This is true, especially with the level of intensity that Trident brings with World Destruction. All of the musicians in this band are obviously very talented; however, being talented and being innovative are two different things. There are unique pieces in each song that end up being drowned out by sounds that you would generally expect to hear from any other band of this genre.

In "Nemesis," the guitars emulate a sound as though they are sliding around and then bouncing off the walls with chaotic energy. The sliding guitar pulses follow the fast drums and angry growls. "Black Velvet Wings" presents an interesting technique where the guitars seem to mimic the distorted sound of an airplane's engine as it flies overhead. They become almost hypnotic with a to and fro pattern throughout "Stockholm Bloodbath," but you better stay on your toes with all the changes in timing. This would be a good song to play while running up and down the streets of Sweden smashing people's faces left and right! "Slaves to Anguish" grabs your attention with impressive guitar shreds in the beginning and leaves you feeling whipped and beaten to death by the drums. Threats of god sodomization signal “World Destruction," and the guitars toss their headstocks back with fluttery laughter. Buildings crumble and demolish. The countdown to the end.

"Blackened Souls" and "Mephisto" represent the calm before the storm and the aftermath. "Blackened Souls" is the breather track of the album as the only instrumental piece. It has peaceful acoustic sounds with a movie soundtrack quality. Short, simple, and sweet. The smoke has cleared and it is now apparent that there is nothing left in "Mephisto." Slow-paced and mournful, we are led to the world's funeral with solo upon epic solo. A final ring out, and it is over.

Overall, one can appreciate the work and thought put into the making of World Destruction. These are five talented musicians with an abundance of potential and a well-produced album. It is possible, because this is Trident's debut album, they have not quite found their own unique direction, which is a never-ending process for any band. However, their vision shines through in aspects of each song, and it would not be surprising if the next album that Trident releases is a powerful demonstration of their new set path.

Related links: www.myspace.com/tridentofficial
www.trident666.com

How to Stay Positive in a Changing Environment

With some recent negativity circulating around the call center, a contest has been created to try to lighten up the mood, or something. The winner gets 2 tickets to Sea World. Rhiis and I put our heads together and this is what we came up with. You think it's a winner?


The pre-Socratic Greek philosopher Heraclitus once acknowledged that "nothing endures but change". Life itself, stripped to its fundamental root, is an infinite series of transformations and metamorphoses; a process that is indifferent to human convenience or preference. However, it is human nature to resist the relentless onslaught of change, and to create a sanctuary of stability and predictability for our own psychological comfort. Despite our need for repetition and pattern, does predictability really benefit us as much as embracing transformation could? When asked how one should stay positive in a changing environment, it is important to note the negative connotation attached to the word "change" in such a question. Our negative attitude towards transformation is apparent between the lines of the language we use to discuss it. Imagining a world without change, there would be no true learning experiences, adventure, risk, or opportunities for growth. There would be no place for personal reward or setting goals. Motivation to live a meaningful life would vanish because there would be no personal circumstances available for comparison. We would be forced to accept that what we have is what always will be - a fatalistic attitude entirely against the American spirit and contrary to the concept of capitalism. Change is the great perspective-giver, for every end is a new beginning, and every beginning an end.

In nature, society, and in business, the true key to success is adaptation. The world operates by a "survival of the fittest" mentality and those who are most resistant to change, whether personally or environmentally, are the first to be left behind in the new world. It is the people who embrace and actively engage in transformation who are the forerunners of innovation and positive development. Had Benjamin Franklin been averse to change, we might now be living without the luxuries of electricity, prescription lenses, and libraries. In fact, we owe the foundation of the United States of America to a group of people who believed that change can create a better world. They understood that change will not be easy, but that it is always necessary. While our circumstances are, more often than not, the product of our own choices, the attitudes that we carry determine our personal outcomes. By remaining positive and open towards new circumstances and developments, we are better equipped, psychologically, to deal with the challenges that change may bring. As the saying goes, "necessity is the mother of invention."

The greatest obstacle in remaining positive and open towards new developments is withstanding the endless barrage of negativity from the cultural mindset that we have been born into. This mindset has been conditioned to treat change with suspicion and fear, and to cling steadfastly to time-worn tradition no matter how meaningless and non-progressive that tradition may be. For the sake of progress, it is imperative to remain innovative in your own thought. You proactively formulate the way you will perceive and react to change rather than reactively accepting the picture that society has painted.

To stay positive in a changing environment, it is important to focus on what we do have and do value, rather than what we may or may not have and what we fear. Above all, embrace challenge. Find a way to redefine your value as an individual in the newly forming environment or context. By doing this, you assert your worth as an individual, someone who isn't valuable in only one set of circumstances but one who can adapt and be versatile. Behind every cloud is a silver lining. To truly stay positive in a changing environment, we must change the way we perceive change.

Christfuckmas

This was going to be my next entry for the 2010 launch of the official Donnarc.net site, but unfortunately, due to an overwhelming amount of obstacles, Donnarc is no more. I feel this piece is worthy of sharing, and still fitting for the new year. Enjoy.


“Hold your breath, make a wish, count to three.” You have just survived the holidays. They get longer and more drawn out every year. Finally, it’s a new year- time for new beginnings, but also for retrospection.

I used to like Christmas. I used to think it was a magical time. Working retail Christmas years ago killed that magic. I was pushed over the ho-ho-horrible edge! A glimpse of a candy cane and I am now ready to hurt somebody. I’d rather stick a skewer into my eyeball than hear about Jesus and his eight tiny reindeer, or Santa asleep in the manger! People only buy their mother-cousin-uncle-boss a gift because they feel like they have to give them something; it is tradition. Also, don’t forget the everlasting Christmas carols! All I wanted to do was to get away from Jesus fucking Christ-mas.

So, I spent Christmas in Egypt. It was such a relief. There is virtually no Christmas in Egypt, and definitely no carols. What I hadn’t taken into account, however, was that a different kind of musical environment exists- this one year-round. The Adhan, Muslim call to prayer, starts around 5am everyday. A sheikh painfully howls the basic Muslim beliefs from mosques practically posted on every street corner. The words tumble across the land like moist nuggets of feces which are merrily slurped up by the submissive believer like a dog eating its own shit. This takes place five times a day, everyday, until the end of eternity. One becomes numb to it after a while. Eventually, however, it starts to become a handy time-teller throughout the day. It also made me notice just about how much music and religion go together- like eggnog and hard liquor.

Music is a big part of religion; it’s so catchy it’s ingrained. It affects you on a subconscious level- much like brainwashing! It also appeals to one’s emotions, which makes for something difficult to resist. Muslims live for the reward of an after-world of pure imagination, and they use a musical prayer outlining their beliefs to remind themselves daily. One intriguing branch of Islam uses music for worship in a different way. Sufis are more or less the black sheep of Islam and are described as the mystical dimension of the sect. Slow and sedate music accompanies the Sufi dance- a form of meditation designed to bring the dancer to a state of kemal or perfection. Allegedly, it reaches the soul of the dancer and awakens one’s consciousness. Spinning around in repetitive circles is compared to the movement of the planets around the sun. Everything from materials of the costume to the movements during the trance is symbolic of the steps toward purification. Witnessing the dance is like hypnosis, but it is colorful and passionate, and watching a man spin around in circles for an hour and a half is admirable on a certain level.

Have religion and music always danced cheek-to-cheek like Jesus and Santa? For Christians, that is like asking the chicken-or-the-egg question. The chicken came first because it was created. For those of us living in a world where snakes only slither (as opposed to talking) and all fruit is acceptable (as opposed to forbidden), there are more educated answers for their origins. Religion came about shortly after the development of language about 50,000 years ago; the human brain was then large enough to comprehend philosophical ideas, yet not filter out superstition. The oldest musical instrument discovered is 35,000 years old and is a vulture-bone flute from Germany. This discovery shows a society which drank beer and partied around the campfire long before Creationists claim God created the universe. Let me guess, just like fossils, the Devil planted the evidence to lead us astray.

Humor Judaic mythology for a moment and assume this is accurate. It makes perfect sense! After all, Lucifer was a musician, and is the prototype of a metal head! He was cast away from the obedient masses for having a rebellious attitude, pride, and refusal to conform. Like other angels, he started out child-like and naïve, but later he decided to exercise the ability to make choices and think. He didn’t do anything wrong except question authority and flirt with doubt. If there were a Handbook of Core Metal Values, Lucifer would be the author. Yet he received the ultimate punishment. Leading the “Fuck Authority” movement, his fall from grace served as the metaphorical seed of Metal buried in soil. I imagine his handbook’s opening sentence, “In the beginning, Lucifer said, ‘Let there be fucking Metal!’”



Rest in Peace, Donnarc.

Rhiis D. Lopez @ Metal Assault Radio - Halloween Special

This is a video that my friend Rhiis, of Ana Kefr, posted about one of his experiences in Egypt. It was a true horror story that was aired on Assault Metal Radio Halloween this year.

Musevolution

This was published November 1st, 2009 in the Donnarc Magazine webzine at www.donnarc.com



If you’ve ever wondered how Metal music divided into a countless number of sub-genres, the answer is that God said, “Let there be sub-genres”, and it was so! Absurd, isn’t it? Lately, I have been reading about Creationism vs. Evolution, or in other words denial vs. logic, and when I examined the subject of Metal sub-genres, I found a very clear pattern of Metal’s evolution. I began pondering- evolution and music; survival of the fittest and sub-genres. Until now, I never connected the two. Evolution is ironically omnipresent- even in the world of music. Literally, it just takes time to notice the progression. Let’s rewind to the beginning of music, shall we?

It all started with a stick tapping on a taut piece of leather… Too far? Okay, we’ll fast-forward to good ol' Rock 'n Roll.

Metal stemmed from Rock 'n Roll starting in the late 1960s. I think of it as screeching tire-guitars careening towards car-crashing percussion, followed by gut-wrenching screams of agony and terror…but in a good way. It can sound like chainsaws on a chalkboard to some, and it is definitely not for the faint of heart. What those people do not realize, however, is how much creativity it takes to pull off this type of violence as art. It is liberating and destructive, opinionated and hateful. It began with fragile seeds from genres like blues, rock, and pop and it bloomed and hardened into the dense, malleable alloy we call Metal. Three pioneers stepped out onto a limb of creativity to try something new, launching the cathartic genre that the music world would not be the same without. Led Zeppelin, Deep Purple, and Black Sabbath are immortal legends, and set the foundation for the trunk of the ancestral Metal-tree. Soon the genre branches began to grow.

And God said, “Let there be big hair,” and it was so! Remember when Glam Metal first started? That was one of the first Metal sub-genres to emerge in the late 1970s early 1980s. It was established by bands like Motley Crue and Poison and unfortunately made make-up and long, poofy hair a quality of early Metal. One would think that today’s theory of the Greenhouse Effect and the dangers of destroying the ozone layer would be enough to inspire a decline in hair-care product consumption. If only the hairspray and eyeliner would selflessly be cast aside to retire in an effort to save the planet. A lonely, dust-collecting vanity table could be all that remains of the narcissistic element to music, and we might be able to populate the Earth a little longer.

However, there is a lot more to metal than leather pants, dark sunglasses, and studded gloves. It runs deeper than the Mesozoic Era fossils. The lyrics convey messages as penetrable as being impaled by a fork, or they can read as pure poetry, or both. It is an expression and release of all emotions; it is a catharsis, it is a drug. The early 1980s introduced our newly-shaped musical drug to cocaine. After copulation, Thrash Metal was born breech, kicking and screaming. Angry and irritable, Thrash Metal was gnawing away at the umbilical cord to break free, baring its baby fangs and shaking its little fetus fist at the world from day one. Metallica, Anthrax, Megedeth and Slayer are known as the “Big Four” of Thrash Metal and are the androgynous parent of yet further sub-genres. From deep within the bowels of Thrash, two more prevalent categories were excreted: Death Metal and Black Metal.

Death Metal is the namesake of the band called Death, and can you guess what their songs are about? Death. Deep, guttural growls characterize these songs, like dirty nails clawing from the underworld through one’s throat. Have you ever tried to imitate noises like this? It’s not easy. I’ve tried, and everything comes out sounding like a meat sandwich. Morbid Angel is another original band of this genre. Some of their songs are about Hell’s fire and the devil. Suffering and torture. Such happiness! It almost reminds me of some of the verses in the Koran…almost. Death Metal’s brother, Black Metal, did not stray too far from this style. Black Metal is more widespread in Norway and is kicking up quite a storm. It is associated with church-burnings and murder, but that’s another story. It is Satanic, yet ambient. Dark, yet melodic. It is epic and evil and I have two words for you: Dimmu Borgir.

There is no end to the number of sub-genres in existence. It is impossible to keep track of all of them. Like many unknown species, there are genres in the world, waiting to be named. One last genre necessary to mention is Philosophy Metal- music whose lyrical content “matches the violence and fury of the deliverance and vocals” ~Rhiis D. Lopez. Rather than using a morphed combination of genres like Powercore Black Glamdeath Metal, to falsely name an example, the term Philosophy Metal was created for a genre never heard before. People have attempted to compare other bands or describe it with other sub-genres, but Ana Kefr is a band that stands alone. This is music that requires you to think. It stretches deep down to the roots and asks you to question who you are and what you stand for. The lyrics are fierce and address real-world issues. Now, there are other bands who have written about political, social, and controversial issues, but not many have the determination and motivation to act upon the words they scream. They are not stepping out on that creative limb to take a risk with their music. Philosophy Metal is not music for the sake of music. Philosophy Metal is the message, and it is living that message. As for the sound, there is no all-encompassing set of adjectives to describe it. As a fan, I am stepping out on the aforementioned limb by saying they are the greatest band I have ever known. I’ll admit, I’m partial, but let the music speak for itself by listening. For now, let me clarify my bias by introducing myself. My name is Sara Heitman, and I am the Merch Girl for Ana Kefr.

In my opinion, the Merchandise Representative, or less politically-correct term, "Merch Girl" for a band must know a little about a lot of things. Knowing the band inside and out allows me to answer questions anyone may have. I need to have contact information and future show dates ready for reporters and other bands who are interested. It is necessary to know about the message behind the music, what certain songs are about, how they came up with their name, and what the hell it means! Commonly I am asked questions like where did these guys come from? And, how long have they been together? Then there’s the occasional drunk bitch who toddles over asking where the bathroom is. I prefer to be educated, updated, and informative about the band rather than a dumb post behind a table. By knowing, I am effectively selling as well as representing while they are on stage rocking the joint! I am a big part of the band, yet I’m not a part of it at all. So, I have taken the role of Merch Girl and am renovating it. I can’t tell you how many concerts I have attended where the Merch Person looks distracted, uninterested, half-dead, or is just plain rude. Not I. I am friendly and professional, but when Ana Kefr steps on stage, the hair comes down and the middle fingers warm up. You’ll consistently see me screaming along with the lyrics and flipping off the so-called heavens, despite the people walking past with strange looks. Sadly, not many Merch People do that. Personally, I continue to educate myself with research. I am learning about various aspects of music to increase my value as a representative of Ana Kefr and, of course, because it is interesting. So, with this, I share my research and my perspective from the outside. I present The Merch Girl’s Guide to Mostly Music, discussing these various aspects and whatever else I feel like throwing in.