Remenissions by Avenged Sevenfold

Avenged Sevenfold have been my favorite band for quite some time now, ever since the release of their 2003 album Waking the Fallen (which is still to this day their best effort, except maybe for 2010's Nightmare). I still listen to their early material, even from their debut album, and a lot of the songs still hold-up to their later stuff. But today I am going to talk about one song in particular, a hard-hitting metalcore track. Give it a listen first:

Remenissions

Like most of A7X's early material, it doesn't follow the rigid structure that most of their singles follow, being the intro-verse-chorus-verse-chorus-bridge-guitar solo-chorus format that they more-or-less typically adhere to (see Afterlife, Almost Easy, Nightmare, or Hail to the King). Remenissions instead takes us on a wild ride. It opens with a thunderous barrage of rolling drums and twisting guitar riffs accompanied by a trailing growl into a fist-pounding drum roll before we hit the first verse. The first two verses come up before any kind of chorus, and they consist of some of vocalist M. Shadows's best screams against a powerful thrash metal backdrop. After these two hard-hitting stanzas we break into a mellow reflection on memory and time that builds into an awe-inspiring warning to "keep away from me" that smoothly transitions back into metalcore territory with an insane drum solo. After the heavy breakdown we get a beautiful harmony from the guitars, then returning to the reflection on memory with more distortion this time (acting like a chorus but it isn't really), and then a thrashy finale fades out into silence.

Clearly, this is different than the mainstream A7X that most people have heard, not only for the harshness of their metalcore style, but notably for the odd song structure. It flows nicely but doesn't return to any of the previous melodies, except for the "chorus", which is unlike traditional rock songs. The track still keeps true to itself in terms of sonic quality and tone, and also with theme. I have to mention that this song has some of the best drumming The Rev ever laid down (may his soul rest in peace).

This also has some of the band's most philosophical lyrics, reaching into existentialist territory, and really shows off the angst they were feeling back in their younger punk years.

We may have created the beginning, mentally
We may have created the beginning, physically
To the end of our human existence

Certainly a question of who we are and where we come from. They touch on the question of God (not being afraid to explore religious ideas has A7X been), exploring ideas of morality.

If they didn't have One how would they act?
If we didn't have hope how would we behave?
Would they still feel remorse if they slaughtered innocent beings?
Or is hope the only thing that keeps you sane?

They end the poem on a final note claiming that no one really knows anything, most especially the songwriter. This could almost be a reference to Plato or Socrates.

I don't know the answers but neither do you

I've heard that Avenged Sevenfold have been performing Remenissions live again, but I have yet to see it myself (or any good quality versions on Youtube). Hopefully, it will be featured on an upcoming DVD in the future - I can only hope.

Dir En Grey - UROBORUS Live

Dir En Grey are one of those bands that have only become a favorite in the past few years and it was in large part because of their amazing live performances. The first one I stumbled upon was the epic ballad The Final and then went on to discover Vinushka (which I blogged about previously), an epic masterpiece of prog metal. After becoming slightly obsessed with their live performances and their superb song constructions (not to mentions Kyo's delightfully vast vocal range and powerful frontmanship), I gave in and ordered their UROBOROS -with the proof in the name of living - Live DVD from Amazon, which showcases their two-day show at the Nippon Budokan in Tokyo.

Obscure

This song almost fits into the nu-metal sonic atmosphere of a Slipknot show with its chugging guitar rhythm and deep bass drops, but don't let that fool you. Kyo lays down some guttural death growls throughout but lets his voice soar beautifully through the finale. This song is more in touch with the death metal side of Dir En Grey and yet still has that arena rock flare that gives them a wicked stage presence. Watch out for bass-player Toshiya at about 0:49 as he does an incredible bass swing.

Shokubeni

This is a perfect song to show off Dir En Grey's versatility and range, especially via Kyo's vocal prowess. He opens with a spine-tingling growl that opens into a cool nu-metal groove. The form of this song is brilliant, structured into a perfect buildup that exercises the band's unique talents and brings Kyo's vocal diversity to the forefront. The breakdown includes some of his best death growls and plunges into a truly powerful A Capella moment. Stick around for after the song and get a taste of the weird intermission performance of Inward Scream, a creepy vocal show of crooning, inhaling, and banshee shrieks. The strobe lights and generally spooky tone may make you think you're suddenly watching a scene from Alien.

Dozing Green

Another powerful performance that exposes Kyo's brilliant vocal abilities (did I mention that I love his voice?). He soars through the chorus here, hitting notes that seem to explode out of his lungs with a gusto that also holds a quality of anguish and hope at the same time. He really takes hold of me on this one and makes me feel something. Do you feel it too, or am I just talking out of my ass?

The Final

Finally, we have The Final. This is the performance that brought me to the realization of how amazing this band is (Vinushka also did but this came first for me). This is more of a pop-rock ballad that caters to the more mainstream audience of J-rock but still embellishes a few of Kyo's more classic screams followed by a rock n' roll guitar riff. It's the ending of this performances that really does it for me though and ends the show on a  note that superbly highlights Kyo's control and showmanship. He is more than just strong pipes and good music; he is a performer. This performance clearly elevates them to the highest quality of arena rock shows while still keeping their unique blend of pop, death metal, and prog-rock. Damn, they are awesome!

More Shikari!

Destabalize/MotherShip

Destabilize is an epic metalcore track that mixes some hardcore dubstep beats into the wicked breakdowns. The thing I like about this song is how much fun the band seems to be having, exuding a huge amount of energy into their performance. Rou Reynolds doesn't have the best voice in the world but he makes up for it with a wonderful stage presence, taking time to swing over to the electronica controls and jumping around the stage. The performance takes a wild turn when it breaks into Mothership with the memorable string-inspired melody that introduces the track on their first studio album. This launches into a grimy dubstep intro they affectionately named Motherstep, groovy and deliciously deep-toned, wringing out some of the dirtiest beats I've ever heard. Funny moment: Rou smiling and saying "If that sounds heavy, that's because it is."

The Paddington Frisk

This isn't a live track, but the video is just hilarious. Enter Shikari produce a short PV for a Japanese audience and get the anime treatment. It's like a crazy Asian game show that ends in one of the most fun breakdowns they've ever produced. For a short song it packs a wallop!

Winny Puuh!

Ah! Music from Estonia! And not just any music - this is Winny Puhh! 

Are they metal? Are they hip-hop? Are they some new kind of music that no one has ever heard before? Probably the latter. They certainly warp the perception that most people have of music, especially with this live performance of Meiecundimees üks Korsakov läks eile Lätti.

It's almost like Naked City's song Bonehead that plays at the beginning of Michael Haneke's Funny Games (a great horror film if you haven't seen it). The vocals are perhaps the most dividing in terms of musical taste - the non-sensical (or not really because it's a foreign language) and screaming ludicrousness is an attack on one's senses and I can imagine a lot of viewers pulling away from their laptop screens covering their ears against this madness. But that is precisely why I enjoy this performance. Winny Puhh push the boundaries on musical art and everything from their eccentric showmanship (dangling upside down) to their bizarre costume design (are they Sasquatch's in athletic gear?).

Now check out the music video for Peegelporand:

This is an interesting music video. The song is much more hip-hop infused than the first video I included (although using non-traditional hip-hop instruments). The music itself is very Eastern European, harking to the Estonians' cultural roots but creating an upbeat tempo that matches the rap vocals nicely. This goes to show Winny Puhh's diverse range and interest in including various genres into their musical catalog. The video itself is quite reminiscent of European arthouse cinema, using eerie zoom techniques and tableau inspired compositions. Not to mention the creepy way the performers look directly into the camera like something out of Fellini's most bizarre work (see Fellini Satryicon for an example of this).

I Fink It's Freeky And I Like It A Lot

I know a lot of people will disagree with me on this, but I think Die Antwoord are some of the most creative artists around these days. I generally don't listen to a lot of pop music (including hip-hop and dance music) but every now and then something comes up that I just can't get enough of (usually everyone else I know gets sick of). This happened with Psy's Gangnam Style (I know, I know - but I loved it!).

So I first heard Die Antwoord's crazy tunes when I saw the video for Rich Bitch, which was kind of a history lesson on Yolandi's life and how she became a success. It's pretty ridiculous and when I first heard them I didn't really like it. Then I saw the video for I Fink You Freeky and my perception of them was turned out. This video is nuts! It's all shot from the same perspective, creating a tableau mise-en-scene a la Wes Anderson.

What do you think of this crazy video? Do you think it's just stupid and worthless modern music (if you dare call it that)? Or do you think this is true art and Die Antwoord are brilliant composers of the hip-hop/dance world?

Nightmare - Can You Do It?

Can you do it? Nightmare can. This is another one of those rockin' visual kei bands I have a taste for from our friends in Japan. Now, I haven't heard a whole lot of Nightmare's material besides this track but I keep on returning to this PV (promotional video) nonetheless. 

Visual kei - always looking like anime characters

First off, the song is pretty decent, despite being in pretty cookie-cutter form. Sure, it has some decent guitar playing skills and a cool rhythm but it really doesn't set itself apart from most other J-rock groups (the drummer has some promise though). I can see why I never really got into the band's other work due to this, but then why do I keep returning to this video? Honestly, it's for pure cinematic reasons. The footage they have here and the way they shot it is incredible. The lighting glints perfectly off the players' slick pseudo-trashy attire and gel-infused hair and the shot compositions are tight. This tight composition keeps each player within their own dedicated frame, fully capturing the energy and passion they are playing with. The wide crane shot makes sure to tie the group together, reminding us that they are a team, but it's the tighter shots of each player that sets this video apart. The guitarist lays down some slick guitar playing at the very end but it is the great shot and his framing that brings the virtuoso power out of the performance. This goes to show how much power the visual image can have in making band look incredibly awesome.

Schoolyard Heroes

Today I want to share with you one of my personal favorite music artists. I started listening to Schoolyard Heroes a few years ago and was sad to discover they had broken up after the release of the their third full album. 

The band, who can only be described as an alternative conjuration of horror punk, create a wonderful array of sounds with the macabre lyrics of Ryan Donnelly (who has a hauntingly weird voice on her) matched up with the sometimes-spooky-sometimes-hardcore punk rock of the guitar, bass, and drums. Their songs are obvious references to a slew of B-picture horror films ("Panic in the Year Zero"), or weird fiction stories by the likes of Stephen King ("Sometimes They Come Back") and Richard Matheson ("Nightmare at 20,000 Feet"). They may be the epitome of horror-themed lyricism in music, borrowing heavy hallmarks from previous groups like The Misfits or The Bauhaus. I'd like to share one song from each of their albums (which I just had to order online to have my own copies). Take my hand and listen, my friend, to the Schoolyard Heroes:

The Mechanical Man VS The Robot From The Outer Limits

from The Funeral Sciences

Nightmare at 20,000 Feet

from Fantastic Wounds

Cemetery Girls

from Abominations

PS: It was really hard to pick only one song from each album, because I truly love each and every song this group produced. In the future I may share a few other favorites. Cheers!

Grimes - Genesis

So this is unique. Grimes is a Canadian pop artist from Vancouver whose musical style can clearly be described as synthpop and dark wave electronic but Wikipedia goes on to include her genres as dream pop (which really defines Genesis) and also as "witch house". This is an interest genre term that I've never come across. Apparently it is defined as occult-themed dark electronic music with a visual aesthetic (see the costume design in the video). Witchcraft-infused trance music? Count me in! But let's look at Grimes for now.

The description of her music as "dream pop" sums it up perfectly. The music is hauntingly atmospheric with a synth-wave that carries you away into an ethereal dreamscape. Ambient music has always been a love of mine (having first immersed myself into Akira Yamaoka's haunting scores for the Silent Hill series and later discovering Brian Eno via U2) and I always felt it had a dreamy quality to the droning, floating progressions. Grimes' vocals hit the dream-zone spot on, being both eerie and sweet at the same time. I feel comforted but also a little lost in the way she sings. Her lyrics are nearly indecipherable, which can be off-putting for some listeners, but it doesn't bother me (I've listened to so much foreign language music and screaming metal that indecipherable lyrics don't detract from sound for me). The video here fits the bill of dream pop quite nicely too. The sunset landscapes are perfect for that dreamy quality, shooting right around "magic hour" (if you've seen Malick's Days of Heaven then you recognize the surreal quality that early morning can have on a cinematic image). However, it is largely the content of the film that creates a weird dream world - from the bizarre costume and make-up of the performers to their awkward dance routines. Characters stand still in unique postures while one person dances mystically, schoolgirls in rich cars play with large snakes, and a group of cybernetic females joy-ride an SUV dragging medieval swords along the desert. Am I dreaming? Yes, you're dreaming of Grimes.

Watch Genesis below.

System of a Down - Live at Whiskey A-Go-Go '97

System of a Down are easily one of my favorite bands out there. Their abrasive political views, their anger infused shouts for social equality, their bizarre lyricism, and just the awesome weirdness of the band members' personalities all combine to create one awesome package. Since the band took a hiatus they haven't created original music as SOAD, but Serj Tankian has had a solid solo career (not as solid as with System, although he is probably one of my favorite people alive), and Daron Malakian released the critically lackluster Scars on Broadway (which I found to be a lot of fun with some solid tracks). 

I will forever and always love the first self-titled album from System of a Down and once upon a time I stumbled on this early show they did at Whiskey A-Go-Go in 1997. The recording isn't great, the edit cutting needlessly between band and audience at a rapid pace, but the low-budget videotape of the 90's captures a unique quality to the image that harnesses the raw power of System's early material. Here are a few of my favorite performances:

Soil

This may be one of my all-time favorite songs from SOAD. The guitar-solo from Daron is fantastic, especially when it is coupled with Serj's wacky dance moves (he dances quite a lot like me actually). The raw power in Serj's early vocals is very unique compared to his later material, where he obviously screams and growls a lot less. What I like most about System is that they have a point they are trying to make, even if it is hidden beneath layers of symbolic absurdism and a wall of nu-metal sound.

Suit-Pee

I've seen a lot of Youtube comments discussing who the weird guy doing the deep nasally growls is during the breakdown, and a lot of people believe it is Sako - the guy named in Sugar that Serj bought a gun that fits in his pocket. I don't know, but I actually kind of like that part of this performance - the deep growls remind me of Halloween with the evil laughter and I think of the tree from Poltergeist. It isn't best example of quality death metal, but the coupling between the creepy bellows and Serj's incessant vulgarities is the heaven to the hell of the slow down-tuned instruments. Also, just before they explode into a deliciously heavy breakdown, Daron screams out "come on motherfucker!" and that cry of sheer empowerment just gets me pumped!

Mind

Repetition and pattern is a key to great art that has a message and this is demonstrated well here, especially in the lyrics. Serj repeating the line "look at each other" is something that I think society needs to hear, which is even more relevant today where almost all of us are absorbed into our phones and social media. Maybe we should all actually look at each other now and then. Serj's frustration with the state of people's minds is evident in his performance and it brings out the best within him, and some of his best death growls to date. He is angry at the world and he means what he says. Daron and Shavo, on bass, blast away through the metal riffage, adding a level of frantic energy that only seems to dissipate through Serj's (unique?) dancing.

Sugar

The classic song from SOAD that all my high school friends knew the iconic "sugarrrrrrr" from Daron Malakian. At 1:57 the lead guitarist unleashes a crazy banshee shriek and crazy eyes that just gives me goosebumps. It makes me think - what the fuck? - but it also makes me grin like an idiot. I love these guys! Shavo's bass line leads the group through the song coupled with Daron's medolies carrying the harshness of Serj's mantras. The end of the song ends with a repetition of "in the end it all goes away" with a hardcore nu-metal thrash-out. In the end it all goes away - this simple lyric has so many meanings, but none more than the fact that the System of 1997 are past this moment and living out another.

Polysics!

Whoa! I just discovered this crazy band from Japan called Polysics! They look like an Asian Devo but with more electro-pop fused into their sound. 

The front man explodes onto the scene with a ridiculous key-tar solo complete with a manic head twitching that looks like he is insane (maybe he is?). This song AT-AT really has a fun electro beat that carries thorough the song with a grooving bass line. The front-man cuts the song into segments with a few odd verses where he sings like a boy who had way too much sugar. I don't have much to say about these guys yet, but I think I may check out more of their stuff. I just needed to share this crazy video for now and let other people bask in their energetic antics. This is fun music!

Wilz - Get Looney & Ghost

I've posted some stuff on music here, both music videos and live performances. As you may have noticed, I like a lot of weird music so sometimes I stray into the foreign markets (I particularly enjoy visual kei bands from Japan). I decided to share some local music this time. It's nice to see some quality hip-hop coming out of our own province.

Wilz is a hip-hop artist from Saint John, New Brunswick (my hometown) and I actually went to high school with the guy. Below I have selected two excellent music videos produced locally and directed by my talented friend Steve Doiron. I have worked on a number of film projects with Steve and he is an awesome film-maker.

Ghost

First up is Ghost. I love this track. One thing I hear from people about Wilz is that he is very similar to Eminem. I definitely agree with this, but I think a lot of people end up saying this because he is a white rapper and Slim Shady is just one of the most famous. Sure he's white, but Wilz doesn't really compare to other famous white rappers (I wouldn't dare compare his sound to Vanilla Ice for example). The video is shot in downtown Saint John, featuring a drab setting that totally fits the mood of the song. Steve, the director, gets a cameo at the end getting out of his car (haha!). Wilz has a lot of charisma in the video, lyrics reflecting some deeply personal anguish, and the sung chorus has a raw power to it without over-exerting itself (the over-toned whispers adding a question of doubt to the character).

Get Looney

Get Looney is definitely a much more upbeat song. The video is very cool, particularly from a production stand-point, representing a post-apocalyptic world where people trade batteries for currency. For having a modest budget, as most productions in NB have, Steve Doiron sure knows how to make something from very little. There's a few local talents recognizable in the video such as Peter Doyle who made the Saint John-based film, Hometown. I'm in the video too towards the beginning (I get choked out in the fight). The beat is fun and Wilz spits his ryhmes with frantic pacing. Another bonus: the video shows off his break-dancing skills.

Babymetal - J-Pop meets Mosh-pit!

The latest viral internet sensation among the metal communities has really impressed me. As a metal fan, I love when other forms of music clash with it, particularly in the realm of dance and electronica. So what's better than a Japanese dance group rocking out a routine to death metal with J-pop choruses and some dubstep-inspired breaks? You get Babymetal! They topped the iTunes metal charts in the US and the UK and I'm not surprised. Their live shows look incredibly fun!

Megitsune

   

Here's a typical single from the group. It rocks some heavy drums and distorted guitars with a wicked electro beat (reminds me a lot of Enter Shikari's Meltdown). This is a poppier track from Babymetal, but a perfect introduction to them. Megitsune means "Female Fox".

Ii Ne - Sound's Good!

One of my favorite tracks that I heard off their debut album so I had to check out the live performance. This is really quite a pop-imbued track, but it has some nice death metal vocals in there, and a drastic change into a hip-hop breakdown. The light show is fantastic in this!

Headbangeeeeerrrrrr!

As the name implies, this is clearly a metal track. Reminiscent of typical J-Metal , while still incorporating the girly pop vocals, the sound is very similar to black metal - complete with screaming vocals and double-bass kicks. The breakdown in this is epic, with the girls headbanging and egging the crowd into a mosh-pit before exploding into a shredding guitar solo.

Babymetal Death

Before you start thinking this group is too poppy to be real metal, check out this performance. As the title implies, it is very much death metal-inspired and rips with insane drums and meaty riffs. A true metal crowd-pleaser where the girls are more like cheerleaders for the roaring wave of growls, screams, and metallic crunching. I really hope they come to Canada!

Are We Not Men? We are DEVO!

I can't believe I didn't get into Devo before! A colleague of mine just showed me a few live performances, and then went on to describe his initiation into their bizarre catalogue. He first saw them perform Jocko Homo live on SNL in the 70's, which opened with the intro of this crazy music video. Their concept of the devolution of the human species is reflected in the low-budget production of the video, the wacky and idiosyncratic nature of the New Wave guitar riffs, and within the absurdist lyrics. The costuming choices of the band members, prevalent through the rest of their material, also adds to their mythos. Even though this song was released in the 70's, its themes of a society going down the drain are still relevant today, and I must say it is rather entertaining in all its weird satire.

Vinushka: The Masterpiece of Dir En Grey

I became a huge fan of Dir En Grey when I saw their performances at Nippon Budokan on the DVD package of UROBOROS - with the proof in the name of living... This amazing concert film is easily one of the best filmed music performances of all time. 

Let me talk about the film-making first. They must have had dozens of camera, many of them on cranes and dollies. This creates a vast approach the editors could have taken, resulting in a dynamic view of the show. The cinematography itself is crafted with exquisite precision, developing some truly breath-taking compositions with just the right amount of movement. The lighting is perfect for the camera systems they used to record, creating some great rays of light through the fog and an ambiance that I find so rare in recorded live shows.

All of this great footage would be nothing without the band though. Below I have linked the final track of Day 2 at Nippon Budokan: Vinushka. Hailing from their seventh studio album, Uroboros, the song nearly reaches nine minutes. It is an epic journey of progressive metal, that shows off the bands amazing musical range. The drums, guitars, and especially the bass, demonstrate a profound talent. What really strikes me with Dir En Grey, however, is the front man. Kyo is energetic, the true embodiment of what a front man is. His vocal prowess is unprecedented, ranging from swooning falsettos, to gritty hard rock wails, and delving into brutal death metal growls and piercing shrieks of unbelievable depths and heights. His showmanship is delicate and yet powerful in his body movements, his control of the audience, and his inexplicable harness on the power of the music. To say he has control over his voice is an understatement: he fully becomes the voice. Kyo is, by far, my favorite vocalist of any musical genre. Dir En Grey are artists of the highest caliber.

Watch Vinushka:

Enter Shikari

   One of my favorite live acts of recent years is this gem from Great Britain. Enter Shikari are a four-piece electro-punk group that formed in 2003. They blew me away when I started watching them perform their songs live from the third album they made, A Flash Flood of Colour. Here are some of my favorite performances they've put on.

Ghandi, Mate, Ghandi

   I love the way the band all comes together on this one. The guitarist, vocalist, bassist, and drummer all have vocal segments in this one and it works like charm. You can really get a feel for their unity and team vibe here. The lyrics are very focal on the themes they sing about - social dysfunction, revolution, equality, and coming together for a better future.

Gap in the Fence

   This one starts out like a nice ballad, showing off some of Rou Reynolds' guitar techniques. He usually sticks to singing/rapping/screaming and doing the dubstep bits, so it's nice to see him play an instrument here. This song has a perfect build and the dance-pop breakdown is amazing. Their shows are like great big dance parties!

Zzzonked/Havoc

   This one definitely shows their hardcore roots in the beginning bits, reminding me a lot of Rage Against the Machine and Atreyu. There is a nice bit of rapping vocals by Rou, clearly showing his British side both in terms of lyricism and flow. The electronica bits and the behemoth guitar riffs are a head-banging good time and it all deteriorates into a mellow, reggae-style outro. Definitely one of my favorite tracks from these guys. Also I love the drummer's face at the beginning!

Thunderstruck Cellos!

I thought this was incredible! In a little under a month this video has hit over 10 million views. I think I had seen the gentlemen from 2CELLOS play before, but this was unprecedented. Luka Sulic and Stjepan Hauser, two classically trained Croations who met at a master class in their home country, have blown the world away with their blazing cover of AC/DC's Thunderstruck using only their two cellos. They don't just play the strings though: they slam their feet, punch the body of their instruments, and head-bang along to the metallic riffs, all while adorned in a Victorian wardrobe in a period set-piece (which delivers a perfectly comedic scenario in the video). This performance has turned rock on its head for me and has re-established my hopes for the art of the music video. Bravo!