A Molten Core (Violent Piano Vol. 1)

An extraterrestrial superhero DJ, living in a loft somewhere in NYC

Sometimes I wonder if aliens exist.  Then I wonder, if they do, I wonder if they go through the whole pretending to be a super-hero phase.  Then finally, assuming that they do exist and that they do like to play super-hero games, I ask myself, "If I was an alien that liked to dress up as a super-hero, what would my secret identity be and what day-job would I use as a cover story, after all I am an alien?

My answer:  I'd buy a loft in NYC someplace, convert the entire place into comic-strip decor, B &W would abound, except for a splattering of color, about all I could afford.  I'd wear a mask most all the time, after all, in NY you could probably get away with it.  Then, I would use some of that alien technology of mine and become a world famous underground DJ.

Then I wonder what I would spin?  What kind of sound alien technology could procure?  Obviously I can't answer that question, but I think it would sound pretty cool.

A Tint of AquaMarine, somewhere in between

Musicality

Skeletonwitch- Forever Abomination

Forever Abomination is the new album, released today, October 11,2011, from the Ohio metal band Skeletonwitch.  Most of the bands I listen to are relatively unknowns when mentioned in conversation, however for those that are keen on the metal scene, these bands are household names.

Skeletonwitch offers a mixture in the way they present their sound.  You really can’t define them as any one subgenre within the heavy metal universe.  While not as varying in sound as say a band like Between the Buried and Me, they do change things up quite a bit, from track to track and even between chorus’ within each track.  The majority of Skeletonwitch’s songs are high tempo.  They typically combine an in your face guitar style with a seemingly ever-present drumbeat.  But make no bones about it, if you’re into this band, you are there for the raspy, nether worldly sounding vocals of Chance Garnette.

The bands latest release, Forever Abomination, picks up where breathing The Fire, the 2009 release, left off.  They’ve changed things up a bit for the new record though.  For starters Derrick Nau, drums, is out and Dustin Boltjes is in.  While darkened themes are still prevelant throughout the majority of the songs here, the album is quite a bit more melodic when compared to previous releases. For me, anytime a band can increase melody, it’s a plus, that is if they are able to retain that in your face attacking style of guitars, and of course the trademarked vocals.  Skeletonwitch is able to combine the heavy of heavy rifts with the rhythmic melodies that put a bit of sway into the songs, all the while showcasing Chance’s vocal prowess.  In fact, I might even go so far, as I’ve only listened to the album about four times now, that these melodic elements seem to coincide perfectly with Chance’s singing, almost adding a bit of “flow” to his words. 

Many metal bands carry stigmas around with them.  Often they’re categorized as black, or death or whatnot, and while themes and lyrical content can be used in many instances to advance these stereotypes, I have to say that if you go around only listening to songs that are positive in nature, or each member of a group is completely vetted out to what you, or others for that matter, deem acceptable, well then you’ll be drastically reducing the selection of music you have to choose from.  This dilemma, if you choose to call it as such, is ever more prevalent in the world of metal, especially if you’re dealing with groups who may not be on the mainstream level yet. 

Why is this? 

Well I think a number of factors might be at play here.  First I’d say packaging, web-site design and the like have a great influencing factor.  Many metal groups include pictures of what most would consider grotesque and just uncomfortable to look at.  Then you have the way many of the vocals sound, the most popular styles being the guttural, screeching and ghastly.  These styles don’t sit too well with the mainstream music listener.  You’ll often hear why do they make themselves sound like that?  Or most often you’ll hear a blanket statement like “I can’t understand a word they’re saying.”  Finally I would say lyrical content, and overall themes tow the line a bit, moving all across the board, typically settling on themes of death, destruction, betrayal and evil. 

So how could I listen to groups like this?

My answer to this question is so easy for me.  I don’t pay any attention to what other people say.  I don’t care about pictures or images, and if I do, instead of looking at the image as a representation of something ugly or evil, I look at the artistic qualities needed to compose such images.  The vocals, at first I have to admit, were tough to understand in many cases.  But after a while you get used to them and start appreciating how any of the various styles can fit in with, and even accentuate it’s accompanying instrumentation.  And finally, as far as themes and lyrical content go, I write a lot of poetry and have a very big imagination, so I welcome the creative imagery. I love metaphors, and if you listen to metal, you’ll get to use your imagination in a variety of ways, but none so important as sorting out the vastness of metaphors used throughout a bands work.

Skeletonwitch is a great band in my opinion.  They get to the point fast and fiercely.  They’ve added a greater depth of melody to their songs and are ripe with metaphor.  If you like their earlier releases you’ll love Forever Abomination.  If you like metal in general, you should seriously give this album, and their other 3 albums and EP’s as well, some serious consideration.  Just a brief sampling on Itunes or any other site that lets you listen to music will, I feel, give you enough of a sample-set to get a good idea if this band would be something you’d be into.

Forever Abomination (32 minutes)

1.    This Horrifying Force (The Desire To Kill)   4:10

2.    Reduced to the failure of Prayer                   2:52

3.    Of Ash and Torment                                        2:55

4.    Choke Upon Betrayal                                      2:36

5.    Erased and Forgotten                                     2:24

6.    The Infernal Resurrection                              2:52

7.    Rejoice in Misery                                              2:47

8.    Cleaver of Souls                                                3:49

9.    Shredding Sacred Flesh                                  2:34

    10. Sink Beneath Insanity                                     2:55

    11. My Skin of Deceit                                              2:12

Every track on the album is really good, but a few highlights:

This Horrifying Force

Offers a good dose of the melodic line throughout.  It offers a killer lead-intro/buildup, which not only sets the tone for this song, but for the entire album. It’s easily my favorite track

Erased and Forgotten

More in your face, but a terrific rift throughout the central part of the track, highlighted by some great drumming underneath.

The Infernal Resurrection

Wonderfully catchy track that just never stops keeping the groove going.  The vocals are perfectly in sync with the instrumentation throughout the entire track.  Perhaps the best Skeletonwitch song period, including all previous releases.

My Skin of Deceit

A great last track, as it incorporates much of what the rest of the album offers, yet a tad bit on the heavier side, just to remind everyone what this band is all about.

After you pick the album up let me know what you think, I’d love to see those in agreement with my own viewpoint, as well as those with varying opinions.

Mastodon-The Hunter

Mastodon, Atlanta’s gift to the world of Heavy Metal, released their fifth album, The Hunter, on September 27^th.  The band’s first 3 releases, 2002’s Remission, 2004’s Leviathan and 2006’s Blood Mountain were primarily concept driven, where each album told a story when all tracks were put together.

Concept albums are not unique, and while there were some extremely popular ones, The Who’s Tommy and Rush’s 2112 instantly come to mind, for me anyhow, none of the previous conceptually stylized albums told their stories as adeptly as Mastodon did on theirs. 

The band saw a pretty hefty spike in regards to attendance for their live gigs.  Pretty soon they saw their music gaining more and more airplay, in the USA and around the globe.  They began headlining, not arenas but stadium shows.  They got huge, winning the hearts of metal-heads the world over with their intense, relatively unique brand of Metal.  

As with any band, Metal especially, the die-hards and those who rode out the early years with their band, might have been a bit apprehensive when word came out that their, at the time, new release would be deviating away from what the band had put down on those first three records.  The dread “Sell-Out” word was trickling through some corners of the music listening population, even before a single track had been heard.  People, for the most part don’t like change, often coming from the mindset of “If it isn’t broke why fix it” mentality.  People are just nervous when something they enjoy takes another direction, because, let’s face it, some won’t like the road that’s taken or what the near future might have to offer them.  Music is no different, perhaps the apprehension regarding change is even magnified moreover, as musicians in general, to the loyal and die-hard fans out there, represent periods of their lives, for good and bad, becoming a genuine part of how they identify themselves.  So obviously, if you alter this dynamic, it’s easy to see how unrest could stir through a fan base. 

Yet, when looking at change through the eyes of the dedicate musician(s), you have to appreciate those that are willing to, and have the guts to try something different.  You have to respect and applaud those that act progressively, trying to make themselves the best they can be as far as their position within their niche.  Mastodon was no different, and while their 2009 release Crack The Skye was highly anticipated, there certainly were those out there that were a bit nervous as to what they would find.  Crack The Skye turned record numbers for the band, in terms of sales, as well as how their audience expanded tremendously.  The record gained praise from virtually everyone and soon any apprehension that was out there was soon gone and forgotten, as if never existed in the first place.

The album was so good that many fans and critics alike wondered how the band could possibly put out a follow up record and not risk the obvious comparison’s that would undoubtedly be raised.  There was much talk about how fans would have to temper their expectations, as no one really knew what would be released.  Would it be a return to their earlier sound, would it be concept driven, or would it be on par with Crack The Skye?   However, although much of this was most likely present in the minds of their fans, the success of Crack The Skye provided a base for trust.  People weren’t worried about being disappointed, as the band had already provided concrete proof that they can interchange their style however they saw fit and it wouldn’t matter, that the tracks delivered would be good.  Fans though also understood just how good Crack The Skye was/is and seemed to be all right with knowing that it would be tough for Mastodon, or any band for that matter, to follow up such a gem with another effort possessing the same type of WOW factor.  So I’d have to say, with all those I’ve spoken with prior to The Hunter’s release, the vast majority were highly anticipating the record, and were at ease knowing that even if this record isn’t half of what Crack The Skye turned out to be, it would still be one heck of an album.

On September 27^th, The Hunter was released, and despite having had a small sampling of the album, through internet sites and/or on SiriusXM liquid metal, I have to believe that nobody knew what they were going to find when they played this new release for the first time.

Personally, I couldn’t find a flaw; every song was both mesmerizing and at times mind-blowing.  Mastodon had never put a record out like The Hunter before.  I dare say it’s even better than Crack The Skye, as after a hundred or so listens, not exaggerating either, the album not only maintains that initially WOW, it keeps getting better with each go-round.

While not as heavy as their earlier releases, there’s a lot more groove, a lot more rock and a tightness we hadn’t heard before.  It truly is a masterpiece.

The Hunter opens up with Black Tongue, one of those tracks that many had a chance to listen to prior to the release.  The track is a perfect song to kick the new album off with, rhythmically balanced and entrancing, with a chorus of “You killed the light/ You took the Diamond…” the listener just new that the remaining 12 tracks would be something special.  The next song is the track that had been widely been playing pre-release, Curl Of The Burl, perhaps the best track on the album, jamming and rocking with some killer vocals, with rhythm and pace a track that really gets you going.  Blasteroid provides some of that older, hazy type of sound and a bit of vocal shifts throughout the track.  Stargasm takes us somewhat back to Leviathan, yet despite the similarities, one can easily feel Stargasm’s catchiness and the other differences that also appear. Octopus Has No Friends, is a bit of a mix of styles, but sticks to a basic ethereal-like nature that becomes its spine. 

Other highlights include the haunting title track, the slow and melodic anthem Creature Lives, the heaviest song Spectrelight, the mesmerizing mix that is Bedazzled Fingernails and The Sparrow, which takes the listener on a primarily instrumental journey where altering movements are eclipsed only by the haunting, distanced vocals that appear from time to time over the music.  The songs I didn’t highlight are also very, very good, but are very similar to many of the qualities I’ve highlighted in these other tracks, particularly Black Tongue and Curl of the Burl. 

Complete Track Listing:

1.      Black Tongue                         3:27

2.      Curl of the Burl                      3:40

3.      Blasteroid                              2:36

4.      Stargasm                               4:40

5.      Octopus Has No Friends            3:49

6.      All the Heavy Lifting                 4:31

7.      The Hunter                              5:18

8.      Dry Bone Valley                       4:00

9.      Thickening                              4:31

10.    Creature Lives                         4:41

11.    Spectrelight                            3:10

12.    Bedazzled Fingernails               3:08

13.    The Sparrow                           5:31

The Hunter combines the worlds of Metal with a variety of influences, creating a sound completely its own.  If you enjoyed any of Mastodon’s previous releases, especially Crack The Skye, you’ll love this album.  If you aren’t necessarily into the harder stuff out their, but still appreciate an album with a little power yet a whole lot of rhythmic flow, I think you’ll appreciate what The Hunter has to offer.  As I said after listening to Crack The Skye again and again, I’ll say it one more time, yet this time in regards to The Hunter, “ There’s no way Mastodon can ever come close to repeating this kind of perfection, it’s just not realistic.”  And with that said, I’m now, fully expecting to repeat that sentence yet again after Mastodon releases their 6^th album.

The Open Diary(2009) by Sleep Slid In

The Open Diary

        

While this record was released in 2009, I only became aware of the band recently.  Sleep Slid In is a two-piece, The Rose Phantom and Whitney Willow.  Their music sounds both familiar yet estranged, seemingly steeped in a Goth-like existence.

There are points within “The Open Diary” where a melody here or a moment there is eerily akin to Sisters of Mercy, yet while Sisters relies on much more of an industrialized alternative feel, Sleep Slid In uses more of a synthesized keyboarding to entrance their listeners. 

At other points I would find myself comparing them to Black Tape for a Blue Girl, yet here we have a case where SSI’s synth’s contrast Black tapes almost choral mood, comprised of softened sounds and whispers.

There are other bands that you’ll find yourself recalling as you listen to this record, this I’m sure of.  However, in each case there will be a major difference in sound that will pull SSI apart from whomever you compare them to.  SSI has uniqueness on their side, in that you don’t realize how diverse they actually are with a single listening alone.  With each subsequent play, you’ll begin to separate Whitney Willow’s alluring, almost uplifting vocals with the Omni-present ethereal feel to The Rose Phantom’s. 

The Open Diary is a record that harbors emotion and energy, regardless of their positive or negative vibe, and harnesses them into creations that the audience will either resonate with or find themselves and their personal situations contrasting against, in essence providing a point of reference.  

The sounds on the album are dual-haunting, you’ll find an ever present mortal haunt that becomes mesmerized by the sweet-like sounding melodies emanating from Whitney Willow.  The second style of haunting on The Open Diary is one of paranormal eloquence, where the vocals seem to arrive from some other dimension, from some alternate existence, that is made rational, through a melodic sort of timeline.

A friend stopped in while I was finishing up the listen prior to this review and made an interesting observation regarding the second half of The Open Diary’s 10 tracks.  He said they have an echoic nature to them that seemingly resonates from a darkened chasm, which is then filtered through a harmonious void.  While my friend may have more of a poetic way to his descriptions than most, I think his observation does a fairly accurate job in detailing that feeling you know but just can’t grasp.  In addition it offers an explanation to the subtle eeriness that flows in and between each song.  

I’d also like to make one more metaphor.  For the most part, during Sleep Slid In’s debut release, there exists an ambience I can only liken to those moments where you first awake in the morning.  I’m sure most already picture the image I’m presenting, however, for those who don’t, I’m referring to that initial waking, where your body is asleep yet your mind is slowly coming back from slumber.  You’re in a place where you are technically awake yet the sounds around you are not quite focused as of yet, they are more resembling of a haziness, where thought and dream are seemingly merged and wherewithal is more blurred than it is lucid.

As far as lyrical content and meaning behind the words, I feel that the band describes this better than I ever could, as they write the following commentary, taken from the discography page on their website, http://www.sleepslidin.com:

To love is to live.  To breathe is to die.  When you sleep you find the road that leads to life: love and fear.  Whether you choose to walk down the long stretch of road to find the answers that you seek is entirely up to you.  To hear the lush sounds of the seeking heart, to face the fear of a lonely life-all of which has been captured by two moody hearts.  Whether it be writings of demons, true love, the dark corner of life, lust, passion and perception-it’s not untrue, nor forced.  It is “The Open Diary”.  A personal quest for the truth behind life, death, beauty, darkness and light.

The Open Diary(2009)
  1. Demon Skin
  2. Sacrifice Season
  3. Feelings of Truth
  4. The Wind
  5. Searching
  6. Dead Love
  7. Second Sight
  8. The Key
  9. Inside My Heaven
10. The Open Diary

The Open Diary posses a similar yet different experience to it, what Sigmund Freud would call Uncanny.  It’s a unique sound that won’t be for everyone, but realistically what style of music really is?  I would recommend visiting their site, listen to each song and see for yourself, exactly what experiences Sleep Slid In’s Open Diary holds for you.   

Sounds of a Playground Fading by In Flames

Sounds Of A Playground Fading [+Digital Booklet]

This album marks the latest studio album from the five-piece metal outfit from Sweden.  In addition to changing their line-up over the years, In Flames has always been eager to experiment with their own sound, in effect changing their style and perception in the process.  This stylistic experimentation has drawn both criticism, occasionally harsh, and praise from their devout fan base.  The band still produces well-polished death metal in the Scandinavian tradition, yet, with this said, they’ve more or less, over the years, fallen in line with the melodic side of the genre, all the while creating a sound unique to their own signature.

When A Sense Of Purpose (2008) was released it drew some heavy backlash from fans and industry professionals alike.  There was much disagreement as to the identity of In Flames, and even more opinions on what their identity should be.  There were jokes made and much confusion as to what we should expect from them on subsequent offerings. 

With this new release, the band addresses some of the criticism by delving deeply into the questions that surround identity.  In numerous songs, including the title track, The Attic, Fear is the Weakness and The Puzzle, they play around with the notion of identity and the effects it can have on both society as well as on an individual.  Other themes, such as loss, hope, ignorance, falsity, loneliness and remorse ring throughout the majority of Sounds of a Playground Fading, provide inspired melodies that invoke questions and contemplations within the minds of the audience. 

In flames, for me, can be aptly described by their up-tempo, catchy instrumentation, as their style is unmistakably their own.  Yet what draws me to their sound, as a fan of metal, and music in general, is the trademark vocal styling of Anders Friden.  His vocals can be described as melodic yet also harsh, a blend that, when combined with the instrumentation, provides a novel and unique experience.

As far as their albums go, I’m resolute in my belief that Clayman, is, and always will be, their best record.  It seems highly unlikely to me that its variables and nuances could ever be reproduced.  However, this discussion can be had for any group with a loyal and passionate base of fans.  You have Black Sabbath, Ozzy or Dio, Metallica pre or post …And Justice For All.  There are those that make this case anytime a group outgrows their initial audience as it expands to a more diverse sea of listeners.  In Flames is no different to those other bands and the discussions surrounding their careers.

As they tweaked with their sound throughout the years I never fell into the outraged category of fans.  I’ve always respected new and creative endeavors and will always provide myself the opportunity, to test and evaluate each recording on its own merit.  Despite the obvious tendency to compare the unknown with the known, it’s unfortunate when a body of work or artistic creation is put under an unrealistic or unfair filtration system.  Each action, every creation, deserves the opportunity to stand on its own.  Once a firm handle has been grasped about the individual effort, than it’s fine to go back and see how the latest expression compares to a previous body of work.  By evaluating in such a fashion you’re not discrediting solely because something is different from a previous effort or your own expectations, which may have been unrealistic in nature.

This is the process I used when A Sense Of Purpose was released.  At first I was not exactly enthralled by the effort, but the more I listened to the album, the more it grew on me.  I’m grateful I provided myself the opportunity, as I really grew to enjoy that record immensely.  Does it compare to earlier releases?  Not really, but it still stands alone, as a high-quality creation. 

For me, sounds of a playground fading falls in a similar fashion.  

While the first listening was not entirely nose crinkling in nature, I was, in a sense, disappointed by that initial listen.  For this reason I held off reviewing the album until now.  I had the feeling, even before making the purchase, that this would be another album that would have high points but would also take some time to grow accustomed to.  Again, I feel thankful, for providing myself the opportunity, as it’s really a tremendous album in its own right.  While it still does not resonate with me in the same manner that Clayman or even The Jester Race, it still is a wonderfully produced, exhilarating musical ride, well worth the addition to your metal library.

One of the things I always enjoyed about In Flames is their attention to metaphor and the extremely poetic nature existing within their lyrics.  They are the type of songs where you’ll gain almost as much pleasure from simply reading the lyrics, as you will from listening to them sung.

A few examples from this album:

We are ghosts of the concrete world/Genetic codes of a dying breed/Will I be left behind? /Sounds of a playground fading  

Fly into the distant/Disappear for a while/I can’t make sense of this/But we’re here today (feeling) alive

Forever, the night, is all for me now/I’m sure that one day/ I can get you…all that you lost

Looking for something to believe in, I think I’ve done my time/You can tell days by their faces, there are always signs/Answers to the puzzle, grab a piece of the light

If today was your last day, would that change a thing? / You probably believe what you told them, live each moment like your last

Track listing for Sounds of a Playground Fading:

1.            Sounds of a playground fading

2.            Deliver Us

3.            All for me

4.            The Puzzle

5.            Fear Is The Unknown

6.            Where The Dead Ships Dwell

7.            The Attic

8.            Darker Times

9.            Ropes

10.        Enter Tragedy

11.        Jester’s Door

12.        A New Dawn

13.        Liberation

If you are a fan of In Flames, then I highly recommend this record.  It may take you some time to get adjusted to, but no longer than the adjustment to A Sense of Purpose took you.  In fact, that record probably assists your adjustment to the sounds delivered here.  If you have trouble adjusting to change, or you just don’t like the stylistic alterations In Flames has already displayed, I’d then say that Sounds of a Playground Fading might not be something you’d enjoy. 

If you’ve never experienced In Flames before it would probably be a good idea to listen to this record and A Sense of Purpose prior to experiencing any of their earlier releases.  The reason being that if you hear this record first, you’ll have nothing clouding your impression.  You’ll be able to enjoy this album as a stand-alone release.  When you’re then ready to visit In Flames earlier albums you won’t taint your outlook on this album nor will you hinder your appreciation of the earlier releases.  Take a listen to this album and let me know what you feel about it. 

Affair With The Muse by Aoede

I first came to know of Aoede through social networking, where, on Twitter, she sent me a direct message that had a link to one of her earlier videos, I lost, you win, from her Push & Pull release.  I enjoyed the song and video enough that I figured it would be worth my while to find out some more about her. 

Affair with the Muse is her latest album, released on March 15^th of this year.  The album features seven new songs:

1.            Fairy Tale Love

2.            Does Your Heart Ever Stop Feeling?

3.            Crave Me

4.            If You Already Knew

5.            Love Proof

6.            Fall on Your Deaf Ears

7.            What You got

Affair With the Muse’s lyrics are dominated by reactions, observations & questions pertaining to the matters of the heart.  While classified as pop, it’s really not fair to categorize Aoede as a pop singer.  Her style is more complex than what the term, pop, categorically suggests.

The music is at times ethereal yet at others, possessed with an aery, whimsical and pop inspired.  While the music itself stands on its own merits, it’s Aoede’s vocals that you’ll find yourself immediately entranced by.  She’ll shift her singing style, between tracks but also internally within an individual song. The shifts in tonality are deliberate yet never overdone.

There are points where you’ll picture an older styled, perhaps 1920’s club, where Aoede is on stage, singing behind one of those old RKO microphones, bringing you back to an earlier, less stressful time.  There are also moments where you’ll compare her to Frente or Tegan and Sara.  Then you’ll find those where she’ll remind you of Dido or Enya.  But pinning her vocal tendencies down to any one artist is not my intent, nor would it be plausible to suggest.  The point I’m trying to make is that she shifts range and tone thoughtfully and appropriately, creating her own unique style in the process. 

What I enjoyed the most though, is her ability to use various vocal inflections to her advantage.  From bop to scat, to sounds you’d expect to hear in David Lynch films, it’s her inflections of voice that make her words and music so attractive, even seductive, to listen to. 

If you enjoy the artists I’ve mentioned above, you should appreciate Aoede as well.  This album is like a cool breeze on a warm summer day. You’ll find yourself reflecting upon your own experiences. You’ll find yourself deep in empathy, as if her words were meant for your ears alone.  You’ll also, if you’re anything like me, enjoy the subtle instrumentation that is hidden beneath her voice and the pleasantries within a slow, yet inspired pace and the calming, peaceful nature that it brings.  

You can purchase her albums on itunes as well as on Broadjam.com, where you’ll also be able to preview full songs. 

I think, as with all “undiscovered” artists, you should give them an opportunity, as there’s no rule stating that an artist must already be established for their work to be enjoyable. 

Her first two releases, Push & Pull and Ear Candy, are also worth your listening pleasure.  Take a listen and let me know what you think.

Hanna

Hanna

Opened yesterday. 4/8/11
Starring: Saoirse Ronan, Cate Blanchett and Eric Bana
Directed:  Joe Wright
Screenplay: Seth Lochead and David Farr

Premise:  Young girl raised, by father, to be the ultimate killing machine, leaves her life of isolation and heads out into the world. 

Over the years I've assembled a pretty decent sense about how I'm going to feel about a movie before seeing it.  Sometimes I get fooled, but not very often.  I guess it really doesn't make much difference though, seeing I even go to the ones I don't think I'll enjoy.  This film does not fall into that category, not even a little.  I love movies but due to the various pay per month outlets, like netflix and so forth, that have popped up these past several years, I rarely buy Blu-Rays anymore.  But this film will be one of the few discs I do pick up.  Just so you can see the kinds of films I buy, the last five I've bought were Let Me In (I do like the original, but I can catch that on Netflix, and most the people I know can't put up with subtitles), Inception, Kick-Ass and Avatar.  This will be the next one.

I thought it would be a straight-up revenge film, but twisted up a little.  It wasn't at all.  Hanna turned out to be a coming of age story with definite questions on display.

The first and last scenes of the film show how a sheltered life, in the purest sense, can lead to an obscure view of the world.  Animals and humans aren't really different in the eyes of someone trained to hunt for survival.  

This theme of sheltered vs "civilized" is played out throughout the entire film.  One scene shows Hanna drop some, freshly cut, meat on a table of the family she was tagging along with.  She states "I brought breakfast".  The young girl said something to the effect of gross.  As an observer we find humor in the situation.  Parents of the family must feel awkwardness, the girl must be thinking "what a freak" and Hanna must be confused.  This idea translates from culture to culture, and can be seen anytime someone from one culture visits anothers, not fully knowing the differences between them.  Another has Hanna, alone with a boy.  She asks the boy if they should kiss.  He goes in to kiss her, and she flips him over to the ground, almost out some raw, animal-like instinct.

The main theme, for me, in this film was the coming of age story.  They did a good job showing Bana's character teacher Hanna.  But then it was very obvious that there was only so much "teaching" can do.  Eventually you must experience.  From the first time she sees a family interact to her infatuation with song and dance.  Music was repeated numerous times throughout the film, each time tying in nicely to this coming of age idea.  There was numerous times where Hanna was oblivious to simple things we all take for granted, such as coffee pots, the flicking on and off of lights and just the way people interact with one another.  Naivety on Hanna's part was another thread in this theme, thinking that a man she met was one of the brothers grimm, of who she read stories by.  But through the story you can tell and see that she was growing up and becoming more and more acclimated, and would continue on this path long after the credits roll.

Adapt or die is listed on the poster and is another theme weaved throughout the film.  I feel going into detail on this idea could spoil the film for some, and therefore I leave it at that.  But I will say this concept of adaptation is integral to not only her survival, but also her adjustment and growth as she comes of age.

For some more detailed reviews of Hanna, please check out Rottentomatoes.com, Hollywoodreporter.com and Criticapproved.com to name a few.  Additional information and trailers can be found at these sites as well as imdb.com. 

Let me know what you think about this movie or any other you've seen lately. 
   

Surtur Rising by Amon Amarth

Surtur Rising

Amon Amarth got their start nearly 20 years ago.  They hail from Sweden and actually released their first album, well demo really, Thor Arise in 1993, around the same time as the Swedish Death Metal scene really took off.  It had been around for a little while before this but by 1992 Entombed had really separated themselves from the other bands in this genre.. 

With Amon Amarth, things were a bit different.  While their early offerings were every bit as raw and "garage-like" as the other bands in this scene, what differentiated them was the lyrics they chose to use combined with the presence they imposed upon a crowd.  Virtually all of Amon Amarth's recordings pay homage to Norse Mythology and their regions rich tradition regarding Viking lore. 

While much of their earlier recordings were an assault upon the listener, it was the Mythogical and Viking narrative, told through guttural and almost supernatural vocality, that drew the attention they had.  While remaining true to their roots, each of their recordings began to show a bit more from the band, in terms of the variance and rhythmic blending they chose to employ.  Today's Amon Amarth, one could say, is a purely evolved version of the band, that once roared through  Black Sabbath's namesake classic, claiming it as their own.

Surtur Rising, the newest offering by the band contains 11 tracks, each building upon the one that came before.  The record opens with "War of the Gods", a melodic tribute to the roots I've touched upon.  Johan Hegg's trademark vocals alongside the power of his band mates help set the tone for Surtur.  The band even incorporated a bit of choral qualities at points throughout the song.  They continue with the very lyrically rhythmic tale "Tock's Taunt-Loke's Treachery Pt. 2".

The Third, "Destroyer of the Universe" and Fourth, "Slaves of Fear" are about as commercial as these guys get.  Very good lyrics wrapped nicely amongst perfected instrumentation. "Live without Regrets", also has its fair share of catchy hooks neatly transitioning into the heart of the album. 

The rest of the album is dominating.  In each of the remaining songs effectiveness, each offering a new element to the palette.  "The Last Stand of Frej", is perhaps the most moving track on Surtur, where interwoven rhythmic tendencies stand united with softer, and at times ethereal rhythms.  "For Victory of Death", is a straight up call to arms, combining inspiration and pride into a finely tuned Battle Hymn. 

For me,"Wrath of the Norsemen" is without a doubt the most powerful song on the album.  For me, it has all the qualities I find so magnetizing in "Under the Northern Star", from their 2006 album, "With Odin on our Side.", in my opinion, one of the greatest songs ever written, for any genre.  This song is a guttural narrative encapsulating a beautiful plea for help, "Somebody Wake me/From this horrible dream/Somebody save me/From this terror I feel"  Then as the song concludes, a somber realization dawns "No one can save me/From this horrible dream/No one can hear me/Over heartbreak and screams"

"A Beast am I", is the unfortunate victim of location.  It is sandwiched between,what I feel to be, the two most powerful songs on the entire album.  It does not deserve such a fate.  It is a very solid effort, where Hegg is almost chanting his reflections; a song that begins with Fredrick Andersson, laying down some heavy beats. Combine this with haunting additions like, abbreviated howling and low level guttural inflection, and you get "A Beast am I".

"Doom over Dead Men", Is another track which is very effective and extremely powerful in both function and form.  The skill sets of Johan Soderburg, Olavi Mikkonen and Ted Lundstrom on guitars and bass, really come alive.  The hook in this song is very effective in its usage of anaphora, on display throughout the chorus.

The album concludes with a cover of "System of a Down's", "Aerials".  Amon Amarth stays pretty close to the original in overall replication.  The difference being a heavier arrangement along with Hegg' vocals. The result, a remastering of a very good song.

I have a somewhat biased ear for this particular type of metal, and this band specifically, but if the album was not how I described it to be, then I would have attacked each failing nuance, with the ferocity of a dragon.  Clearly, this album is a must own for any fans of the band or its genre.  Viking Metal at its best.