A day at Black Box with my boys, Thy Regiment. Me and all my friends had a really good times at Gegey Fest 2012 last Saturday @ Black Box, Solaris Dutamas, KL.

Gegey Fest is an annual hardcore / metal festival held in KL since 2007.While having a hardcore / metal focus , the festival is noted for it’s diversity across these genres. Gegey Fest offers exclusive concerts in unique surrondings with some of the best chaotic hardcore bands and metal kids in Malaysia , from the new and underground to the legendary giants.

Source - http://www.facebook.com/gegeyfest

Black metal is tricky, even to define. By now, one might argue that black metal is more a way of making music than a specifically defined-genre itself. This year, we’ve already had Abigail Williams show a more roots-oriented black metal release with Becoming. Naglfar,Valkiria and Azaghal all have had albums with solid acclaim so far in 2012. And each of these albums feels pretty different. Black metal seems to be a strange realm of thought that dominates the way one plays metal, more than a checklist of musical elements.

If there’s any authority on black metal that has remained a constant force in the movement’s tumultuous history, it’s Varg Vikernes of Burzum. Burzum, the name nearly synonymous with black metal to anyone that’s done their homework. A lot can be said about a guy who spent 16 years in prison, still recorded albums while incarcerated, and has consistently released material since then. While his personal life contains plenty of controversy and topics for discussion, I’d prefer to concentrate on his music, particularly his newest album.

Maybe I’m picky, but 2012′s Umskiptar doesn’t have all of the Burzum I thought it would. All of the depression is here, all of the drone, all of the chanting and all of the melancholic melodies. “Alfadanz” is my favorite track of the album, for its iconic piano tune that carries throughout. But even between 2011′s Fallen (which nearly made my Top 10 of 2011) andUmskiptar, significant differences can be heard in overall tone. I think it’s possible that Varg is losing his rage. Screeching black metal riffs like the ones that play in “Æra” and “Valgaldr” are just too sparse on the album, and show the solidifying of a new Burzum.

Which is fair enough, it’s been a long time since Hvis lyset tar oss and Filosofem. But what should have carried on through the years is not on Umskiptar in full. While I wanted to like it, I felt the album lacking in edge and power. As expected, there was no way I was going to listen to a Burzum album without giving it all of my attention. One doesn’t do other things when experiencing the unique brand of ambient, wailing depression that Burzum is capable of inducing. “Hit helga Tré” sounds like a pair of chained feet, plodding through a swamp for years on end.

The bass role and tone, somehow, is great through the album. Burzum is famous for low-fi production, and the vocal shrieks are more distant than ever. Chanting is the biggest vocal feature of Umskiptar, in varying efficacy on each song. “Heiƌr” wields both bass and chant with melodic presence.

Umskiptar is a perfect example of an album summarized by its closer. “Níƌhöggr” is one of the most consuming, depressive songs I have heard in a long time. It’s a minimalist drone with a pounding pulse, and a haunting whisper than enters halfway. As “Níƌhöggr” andUmskiptar fade out, I’m left wanting, with both negative and positive connotations. On the one hand, I’m ready for another Burzum album, and I’m pretty sure one is in the works. I enjoyed the moods I’m able to feel because of Burzum on yet another album. On the other hand, this is not Burzum’s strongest work. This is not the full spectrum, and I’m expecting something even better the next time around.

Track Listing

01. Blóðstokkinn 
02. Jóln 
03. Alfadanz 
04. Hit helga Tré 
05. Æra 
06. Heiðr 
07. Valgaldr 
08. Galgviðr 
09. Surtr Sunnan 
10. Gullaldr 
11. Níðhöggr

For Today: the epitome of unapologetic Christian metalcore. They make no secret about what and who they stand for. It seems like it wasn’t that long ago when they released their breakthrough album Breaker; but time flies, and the time has come for its follow up,Immortal. Not only do they continue with Breaker‘s unapologetic manner, they intensify it. To be honest, a large amount of non-Christians will probably not be able to tolerate or identify with the passionate and emotional lyrics presented in this album, while Christians certainly will.

In addition to the lyrics, another aspect that hasn’t changed is the utilization of breakdowns and booms. The music also has the “line in the sand” notion that the lyrics do. If you do not like breakdowns, you will not like this album. If you do, you most certainly are in for a treat, because there are some delicious 808 drops and blood pumping chugs. It’s like an audible can of Red Bull or Monster.

There are several distinct differences between Breaker and Immortal. In spite of what I’ve already said, Immortal does not rely as heavily on breakdowns quite as much as Breaker. The use of melodic guitar runs and hardcore style riffing brings a new aspect to the music. Mini-”weedly” solos are also utilized, making the music more interesting and creating a more fulfilling listen. I am aware that the style and methods used by For Today are anything but groundbreaking or unique, but For Today does metalcore, and they do it well; something that cannot be said for the majority of this overcrowded and tired genre.

Immortal stands on its own and does not deserve a “Breaker 2.0” label. Guitarists Ryan Leitru and Mike Reynolds show off their talent more than on any of their past albums. Spoken word tracks from vocalist Mattie Montgomery are not present. Instead, there are two short tracks with audio clips from different Christian pastors. I usually do not care for introduction/interlude tracks like these, but they fit in just fine with the album’s theme. They do not take away from the pace of the music at all. It cannot be left unsaid that there are also three very special guest vocalists, Tommy Green (Sleeping Giant), Jake Luhrs (August Burns Red), and Sonny Sandoval (P.O.D). Each guest is featured on separate songs and partners with Mattie’s superb vocals.

Although I thoroughly enjoy this album, I cannot give it a perfect score. The new elements that they have added to their sound are excellent, but it’s nothing I haven’t heard before. I adore a good breakdown (and this album is chock full of them) but I am not so naive to claim them as original or brilliant methods of song writing. Neither would I place Immortal on a higher level than Breaker. It is about on par with it. When I first heard Breaker, though, I immediately knew that it was something special. Immortal is certainly special, but it may not sit as well in the long run.

With all that said, I still relish this album. Mattie’s emotional and passionate vocals fit perfectly with his honest and heartfelt lyrics of exhortation. As a Christian, I find myself connecting with the lyrics. The energetic and bass-booming music coincides with that to provide for a gratifying audible journey. I doubt there will be any For Today fans that are disappointed with this release. I know I am not, because I will probably have those bass drops shaking my car on a regular basis.

Track Listing

01. The King
02. Fearless
03. Stand Defiant
04. Immortal
05. The Call
06. Foundation
07. Open Eyes
08. Under God
09. Set Apart
10. The Only Name
11. My Confession

Marvel’s The Avengers is not just a film – it’s a cinematic event. The culmination of half a decade of movie-making, five different films introducing us to characters, stories and worlds of Marvel’s shared movie universe – not to mention, the life-long dreams of fanboys and fangirls all over the world, who have been dreaming to see their favorite superheroes onscreen together long before Marvel Studios began making it a reality.

Now that the Avengers is here, the question is: Does writer/director Joss Whedon (Serenity) deliver a film that lives up to fans’ massive expectations and functions as a great summer blockbuster for causal moviegoers?

Short answer: while not perfect, Avengers delivers the goods on all fronts, and then some.

We are thrust right into the story at the point where the respective lead-in films –Iron Man, Iron Man 2, Incredible Hulk, Thor, and Captain America - left off, by learning just what has befallen Thor’s brother Loki (Tom Hiddleston) after his fall into the abyss at the end of Thor. We find Loki holed up in a strange netherworld (or “realm”), hosted by a dark and mysterious “ally” who promises him re-entry to Earth and an alien army in exchange for securing the “Tesseract” (the cosmic cube seen in Captain America) from the humans who have claimed it (i.e., the covert peacekeeping organization, S.H.I.E.L.D.). Armed with a new weapon that can fire energy and brainwash unwilling subjects, Loki heads for Earth.

The only thing standing in the trickster god’s way? S.H.I.E.L.D. leader Nick Fury (Samuel L. Jackson) and the various superheroes included in his “Avengers Initiative.” Fury manages to gather Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Dr. Bruce Banner (Mark Ruffalo) and super spies Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) – and through otherworldly machinations even Thor (Chris Hemsworth) is able to return to Earth, charged with capturing his sibling and the Tesseract for return to Asgard.

But Loki isn’t called “the god of mischief” for nothing. Before Fury’s new super team can find its balance, Loki is in their heads sewing seeds of doubt, distrust, anger and conflict. Can earth’s mightiest heroes put their differences aside in time to protect the planet – or is their coming together an even bigger threat than Loki himself?

The Avengers is very much a Joss Whedon product – and is much better off for being so. If you’re not familiar with the geek-centric writer/filmmaker, he was the mind behind the ’90s Buffy the Vampire Slayer TV series, the short-lived (but much-loved) sci-fi show Firefly, it’s movie spinoff Serenity, famous Internet musicals (Dr. Horrible’s Sing-Along Blog) and even some acclaimed comic book series (Astonishing X-Men).

Whedon was chosen to head this project primarily for his love of comic book culture and its characters; speaking as a comic book fan, it’s clear from watching Avengers that Whedon is in tune with every single one of the superheroes (and villains) in Marvel’s stables, and knows how to arrange those personalities into a well-balanced ensemble like a perfectly assembled puzzle (no pun). He also accomplishes the impressive feat of tying all of the plot threads of the solo films together into a (semi-)coherent story, while briefly acknowledging various dangling threads (whereabouts of certain supporting characters, etc.) without allowing them to strangle this team-based story.

Through those various solo films we’ve gotten to know smarmy Tony Stark, old-fashioned idealist Captain America, arrogant Thor, sultry Black Widow and the uncontrollable Hulk – but Avengers takes things a step further by showing us how these characters are growing and evolving – and better yet, growing and evolving because of their interactions with one another. For all of the impressive action (more on that later), the best moments in Avengers are arguably the slower, character-driven scenes. Whedon’s penchant for snappy dialogue is on full display, and it’s a great experience to see, (for example) Tony Stark and Dr. Banner talking in high-science dialect no one else in the room understands – or debating the value of the traumas that made them both into tragic heroes. Small touches, but moments that feel true, interesting, and rewarding in a way that few people (fan or non-fan) will likely expect.

Equally unexpected (but just as rewarding) is the humor in the film. We get the usual smattering of one-liners and overly-dramatic monologues and dialogue that can only come from a comic book – but there is also sharp wit and total self-awareness woven into Whedon’s script. Avengers strikes a tonal balance similar to that of Iron Man - i.e., light and fun for the most part, understatedly serious in the heavy moments (and Avengers does have some heavy moments, rest assured).

The best humor comes out of well-timed tongue-in-cheek winks  - i.e., how strong certain characters are, how these characters behave, the context in which we find them (ex: Cap and Thor being fish out of water types in the modern world) acknowledgement of how the ‘real world’ is juxtaposed to the concept of superheroes – and other great insights that work equally well as sly winks to comic book fans and generally fun moments for casual viewers to enjoy in between action sequences.

Speaking of action: Avengers has some pretty impressive sequences – especially the climatic final battle against Loki’s invading army, which is definitely the best “boss battle” that has been featured in any Marvel movie since Incredible Hulk. Those worried about Marvel’s track record for underwhelming climaxes need not: by the time the battle is won, you will have been exhausted by the combination of iconic comic book imagery (The Avengers Assembled or working together in battle) and impressive big-screen eye-candy. The film has about four big set pieces (it’s still somewhat rigid and obvious in its structuring), but all of them deliver the goods and keep the movie exciting from start to finish.

As far as characters go, Avengers is again the best rendering of Marvel superheroes on the big screen since RDJ let his charisma carry Iron Man to success. What’s surprising about the film is who ends up standing out the most: Black Widow and Hulk are the characters best served by Avengers, and audiences will almost certainly walk away with greater appreciation for both (Johansson even gets a few chances to mock her detractors). Robert Downey Jr.’s Tony Stark schtick is as entertaining as ever (if not overly familiar by now) and he handles the difficult task of keeping things fun whenever they threaten to get too serious or comic book silly. Without that cog in the machine (no pun), Avengers wouldn’t function nearly as well. Captain America and Thor are given moments to shine, but their presence is much more reserved and understated in this film – though we do finally get to see the power that makes Thor worthy of being called a god.

Supporting players like Nick Fury and his assistants Agent Coulson (Gregg) and Maria Hill (Cobie Smulders) are just that: support. Jackson and Gregg are well experienced with making the most out of a little in these Marvel films, but Smulders is mostly just window dressing. Hawkeye (Renner) is the one member of the actual Avengers team who is somewhat underserved – though that is something of a necessary evil, given how he factors into the story. As a villain, Tom Hiddleston makes Loki even more compelling than he was in Thor, this time infusing him with psychotic rage hidden behind a veneer of charm, smooth words and dimpled smiles. Think Hannibal Lector with super villain aspirations. Of course, as a physical threat Loki isn’t that intimidating – hence the endless leagues of indistinguishable aliens who are thrown into the third act for The Avengers to beat on.

The special effects in the movie are pretty great – especially the much-improved Hulk, who (through motion capture technology) finally looks like the actor playing him, and the classic version of the character first created by artist Jack Kirby. The aliens, S.H.I.E.L.D’s flying “Helicarrier” base, Iron Man, Thor’s hammer and the rest, all look great. Visually, the movie is the most impressive work that Marvel has done to this point. As for the 3D format: it’s totally unnecessary. It’s not a bad conversion and doesn’t detract from the viewing experience – but it rarely adds anything, either. If you’re debating which way to see the film: go 2D.

Now for the downsides (because there are a few): the story is very flimsy and predictable in terms of its overarching plot, and the big “reveals” in the film are likely to confuse those who haven’t read a ton of comic books (NOTE: there are two extra scenes during and after the credits – make sure to stay for both). For all the satisfying action, Avengers demonstrates that Whedon still has something to learn about space and angles when it comes to movie direction. A lot of the big sequences still have a very “TV” feel to them – and on the whole, Avengers plays like several episodes of a very well-built TV series, rather than a feature film that has truly “cinematic” moments in it. There are a few, but only a few.

However, the few drawbacks and criticisms aren’t enough to stop The Avengers from delivering a fun and satisfying time at the movies. Whedon leaves the characters in some great places for their upcoming second (or third) round of solo adventures – with the door to the larger Marvel movie universe left wide open for some interesting (and risky) developments down the road. I’m sure fans will be debating those points all along the way.

In the end, was Marvel’s ambitious dream for a shared cinematic universe truly worth it? In my opinion: Most definitely.

The Avengers is now playing in theaters everywhere. It is Rated PG-13 for intense sequences of sci-fi violence and action throughout, and a mild drug reference.

Prime. It’s not just the type of steak I like. It’s also the type of metal I love, and Cattle Decapitation’s new album, Monolith of Inhumanity, is the Kobe beef of metal albums. California’s deathgrind quartet continue to grow, expand and push boundaries with every album they release. Monolith of Inhumanity continues that trend and shatters any preconceived notions of what you thought this band had up their sleeve.

This is deathgrind at its best. Where to begin boggles my mind! First of all, the rhythm section is second to none. Featuring exceptional slow-tempo death metal grooves mixed with some of the fastest BPM’s Cattle Decapitation have ever reached. The staggering contrast of fast to slow and slow to fast in the blink of an eye is jarring and forces the listener to stay on their toes when spinning this disc. For fans of the band’s earlier work, Human Jerky and Homovore, you unfortunately won’t find the more classical-style grind, but this album does offer glimpses of theCattle Decapitation of old, as the band speeds up on this disc to tempos they haven’t reached in years.

While the rhythm section is impressive, it’s just the tip of the jerky as the guitars and vocals are equally impressive, which is exactly what you’d expect from a Cattle Decapitation album. Intricate guitar parts, amazing solos and a knack for writing a good song is what we have come to know and love about this band, but Monolith of Inhumanity sees the guys taking their music to the next level.

This album adds impressive displays of black metal to compliment the high-end vocals that always tended to have an evil, black metal feel to them. This heightens certain emotions and moods and allows the band to open the door to entirely new compositions. Now songs move seamlessly between death metal, grind and black metal.

Another notable difference is how Monolith of Inhumanity builds off of The Harvest Floor’s blueprint. Again, the second to last track is an ominous interlude that makes the listener ponder their existence and cower in fear all at the same time. Also, Cattle Decapitation introduces an almostAnaal Nathrakh approach to their vocals, allowing for the high-end vocals to carry a hook and break up the metal. Similar in approach but different in style, the band’s cleaner style vocals come across more tortured and pain stricken, which suites the band and their message just fine.

Finally, I have to mention that this album is jam packed with special guest appearances, which is the icing on the bacon. This album features Mike Majewski of Devourment as well as a chorus ofCephalic Carnage members, both present and old. The list goes on and on, and I won’t give away everything, but there are some real special moments that just push this album over the edge of greatness.

If you are a fan of Anaal Nathrakh, or are in search of a more progressive Misery Index, thenMonolith of Inhumanity is for you! This eleven-track ditty speeds through your speakers without one single terrible note. It’s an exceptional album and the peak of Cattle Decapitation’s career thus far. I highly recommend you pick this album up; finding an album like this is hard…almost down right rare.

Track Listing

01. The Carbon Stampede 
02. Dead Set On Suicide 
03. A Living, Breathing Piece of Defecating Meat 
04. Forced Gender Reassignment 
05. Gristle Licker 
06. Projectile Ovulation 
07. Lifestalker 
08. Do Not Resuscitate 
09. Your Disposal 
10. The Monolith 
11. Kingdom of Tyrants

@ArchEnemMetal Live in Kuala Lumpur #malaysiakhaos #malaysiakhaosarmy

1. Setting up the stage, backline and many more.

2. Sound check.

3. The concert begin!

What you are smelling is my ass getting smoked by My Ruin’s seventh studio release, A Southern Revelation. Holy fucking shit. If I didn’t already have an open wound in my abdomen, My Ruinwould have punched one right into the middle of my gut. Coming off a long medical break, this album connected with me, making me want to rise from the ashes. You know how some albums become the soundtrack to your life? This one will always be my recovery album. Always.

My Ruin is a husband and wife duo, Tairrie and Mick Murphy. Mick composed and recorded all of the instruments himself, Dave Grohl style, while Tairrie wrote lyrics and provided formidable vocalsA Southern Revelation is a major turning point for the duo. Early My Ruin recordings resembled Riot grrrl style punk (e.g. Jack Off Jill); Tairrie is a hellacious screamer. Listening to their back catalog was interesting for me as My Ruin dabbled with their sound in each album earning them niched into punk, nu metal, thrash, and hardcore. With A Southern Revelation, the band has zeroed on a sound all their own and then fucking killed it.

Mick Murphy relies heavily on blues riffs to support his overcharged Southern licks. The Southern metal style is pulled off exceedingly well and a refreshing departure from previous efforts. A Southern Revelation is by far My Ruin’s best album musically, technically, and ass-kickingly.

Lyrically A Southern Revelation is a litany of all things they despise. Chief among songs of criticism is “Walk of Shame.” My Ruin has articulated my exact feelings for Los Angeles when I first visited there, expecting much more than the filth that I noticed on Sunset Strip. Hollywood is a beautiful muse until you get there and get absorbed into the culture of washed up dreams and walking disappointment. My Ruin nailed it.

“Tennessee Elegy” is probably my favorite track on the album because of the perfect guitar work and Tairrie’s fiery whirlpool of lyrics delivered in her husky, powerful rough vocals. This song suffocates me in the most metal way possible.

I’m also fond of “Highly Explosive” with its onslaught of guitar excellence and wonderfully bitter lyrics. “Seventh Sacrament” is pure stoner metal, sludgy and grungy; what a fantastic mess of a song. I love how Mick’s guitars sound like he just paddled a boat through a Louisiana marsh with them. “Reckoning” is equally powerful in a hard driving, balls-to-the-wall way. Fuck yeah.

There is also an ass-kicking cover of Van Halen’s Mean Street. God this album is great. Especially since the band is giving it away for free online (see their Bandcamp page). It’s my favorite release of the year, but I am a little behind because of my hospital stay. We’ll see how the rest of the year pans out but I’m already planning on putting this in my top 10 of 2012.

My Ruin may sound like some kind of mixture of Otep and Kylesa at a few places in the album, but overall, they are as unique as you can find in the metal world. A band like this deserves your support. Go see them live and buy their merch, dammit.

Track Listing

01. Tennessee Elegy
02. Highly Explosive
03. Walk of Shame
04. Deconsecrated
05. Middle Finger
06. Vultures
07. Seventh Sacrament
08. Reckoning
09. The Soulless Beast
10. Mean Street

7 Horns 7 Eyes has been teasing the Seattle metal scene for quite a while now without releasing a full length. After a few smaller releases these Seattle natives are ready to unleash their debut album, Throes of Absolution, upon the masses. I have tried to keep tabs on this band since I saw them play a show years ago. They only had 3 songs so they ended up repeating one to fill out their four song set, and they sounded great. MySpace was in vogue back then and that was my means of keeping tabs on them. I managed to get a hold of their first EP and then also the demo they released in 2009. Finally I heard tell that they had signed to Century Media and an album was on the way.

The album falls into the death metal genre with a heavy heaping of melody. Clocking in at just under an hour, metal fans will have plenty of time to absorb the sounds that 7 Horns 7 Eyes has created. To be honest, as someone relatively new to the non-core scene I was a little disappointed with the album at first. But after a few listens it really began to grow on me. Throughout the album you will be treated to many pleasant melodies and riffage and, honestly, that is where this album shines. Instead of focusing on the heavier elements, 7 Horns 7 Eyesused those to compliment melodic guitar moments that truly do get caught in your head. Their best song is still “Vindicator” which features one of my favorite riffs of all time; it even rivals “Warborn” from The Black Dahlia Murder in my mind.

Sadly, the drums do little to distinguish themselves, mainly being used to help keep the music moving but really adding no depth. The same could be said of the vocals. In typical death metal fare, they are relatively bland and repetitive and this grated on me at first, however, after multiple listens I began to appreciate them for what they were: a compliment to the rest of the music. They are not there to steal attention from what the rest of the band is doing but to help support the music they weaved together. The lyrics are passionate and out of place in today’s death metal. They mention Jesus in a positive light, fancy that.

Overall, although the album has plenty of moments that are worth hearing, it took too many listens before I began to appreciate these moments. The vocals are nothing to write home about and the album is a bit too long without enough variation. The best song on the album is one that has been released twice before and it still sounds as amazing as it did the previous two releases but I was hoping for a new song to surpass “Vindicator”. Give this album a listen and see if it grabs you in a way it failed to grab me. I’ll come back to it on occasion but it will not be a staple in my listening diet. I hope the same is not true for you. I look forward to future releases from this young and clearly talented band, but this is not the release that will cement them in my mind as an eternal favorite.

Track Listing

01. Divine Amnesty
02. Phumis: The Falsehood of Affliction
03. The Hill Difficulty
04. Cycle of Self
05. Delusions
06. A Finite Grasp of Infinite
07. Vindicator
08. The Winnowing

09. Regeneration 

Wrath of the Titans picks up about a decade after Clash of the Titans, where we find Kraken-slaying demigod Perseus (Sam Worthington) having traded his sword for the mundane life of a fisherman and father to his son, Helius. (Sadly his wife Io passed away – likely because the actress playing her didn’t return for this sequel).

One night, Perseus’ father Zeus (Liam Neeson) appears to tell him of an ominous prophecy: Mankind has moved away from the gods, causing the gods to lose their powers. This loss has consequently weakened the walls of Tartarus, the underworld prison where the Olympians banished the monstrous Titans – including Kronos, the father of Zeus, Hades and Poseidon. Zeus needs help to hold Tartarus together, but Perseus is reluctant to return to battle – that is, until Hades (Ralph Fiennes) and Zeus’ other son Ares (Édgar Ramírez) capture the god of lightning and begin to transfer his life force into the dormant Kronos.

With the fate of the world in the balance, Perseus recruits allies in the form of his old friend Queen Andromeda (Rosamund Pike) and Poseidon’s demigod son Agenor (Toby Kebbell). The trio sets out on a dangerous quest into the underworld to free Zeus, and stop the Titans from breaking free and wreaking havoc upon the world.

Clash of the Titans was a somewhat underwhelming affair, with its wooden acting, formulaic, video game-style progression, poor 3D conversion and action sequences that were more lackluster than thrilling. Wrath of the Titans is indeed an improvement upon its predecessor – but not by much.

Battle Los Angeles director Jonathan Liebesman steps into the director’s chair in place of Clash helmer, Louis Leterrier. The two ultimately prove to be on the same skill level (average), but are slightly different in terms of their shortcomings.

Where Leterrier’s signature was stiff and contrived action choreography shot at medium range using wires harnesses and such, Liebesman opts for the same kind of shooting style he used in Battle LA - namely a claustrophobic, over-the-shoulder shaky cam perspective –  which will immediately turn off a certain contingent of moviegoers. The action sequences in the first film felt like overly-contrived dance routines, but in Wrath the action (especially in the first half) is a mix of blurry up-close movement and wider tracking shots that put the human actor in the foreground, running toward or away from some CGI creature in a green screen background. Stylistically speaking it’s not very sophisticated, or believable.

Thankfully Liebesman’s guerrilla shooting style relaxes as the film moves into some of the bigger set pieces in the second and third acts, and Wrath of the Titans ultimately manages to end on a much stronger note than it begins, with some epic blockbuster sequences that make smart use of the film’s much-improved 3D format. Sure, seeing Perseus riding Pegasus towards a giant molten lava Titan is almost a carbon-copy of the first film, but Liebesman makes it look good. War simulation is definitely his strong suit.

The acting in the film is slightly better this time – though the script is still pretty formulaic, with dialogue that is wooden at best, cringe-worthy at worst. Liam Neeson and Ralph Fiennes are thankfully given more to work with, as one of the subplots has to do with Zeus and Hades confronting their sibling issues as the time of the gods nears its end. Édgar Ramírez also gets a more Shakespearean (and I use that termvery loosely) story arc, playing the god of war as a wounded, rage-fueled man-child with deep-seated daddy issues. Rosamund Pike and Toby Kebbell are good sidekicks, and character actor Bill Nighy (Underworld, Pirates of the Caribbean) shows up for a scenery-chewing cameo alongside a very special guest, which fans of the 1981 originalClash will delight in seeing.

Sam Worthington, on the other hand, is still as wooden and uninteresting as ever. There must’ve been a lot of CGI required to create the actor’s facial expressions in his Avatar alien body, because in every live-action role since then (The Debt, Man on a Ledge) Worthington has pretty much proven that his range extends between blank face and feral growl. Wrath of the Titans tries to give Perseus some deeper emotional motivations (family, duty), but the scenes requiring emoting just look flat and even comical set against Worthington’s blank stare. Even Pegasus manages to display more personality – and he’s a flying horse.

The Titans (and all the mystical beasts that come with them) are all well-designed and appropriately menacing – except for the Minotaur in the labyrinth sequence. Thanks to excess shaky-cam, we barely get to see what ol’ horn head looks like. But Kronos, the Chimera, the double-torso demon soldiers – all well done.

If you were a fan of the first installment then Wrath of the Titans is going to be a welcome improvement; if you didn’t like the first film, this sequel is not going to reverse your negative opinion. If you’re wondering whether to shill out for the 3D ticket: the last half-hour is worth it, and overall the format is better-utilized, but for most of the runtime it isn’t a necessity.

There’s not much “core” left in the particular brand of deathcore that Job For A Cowboyperpetuates anymore. That much was obvious with the release of their EP Gloom last year. The songs there sounded much closer to the death metal spectrum of things. Demonocracy follows that evolution even further.

This time around, there’s nary anything here to tie them to the death/hardcore fusion genre. They’re creating, more or less, straight death with some progressive elements and not much else. They’ve also added a tinny twang to their sound that was missing on Ruination and Genesis. Gone is the muddy guitar tone you’re used to and in its place is some high-tone, heavy treble screeching and shredding. The effect is a pleasant one, especially when comparing this album to their older works. There is a clarity in tone here that absolutely shines in the mix and brings your attention front and center.

Improved too is the technicality. The chops on display are much more refined than they were just a year ago in Gloom. A lot of the solos are memorable and catchy and even some of the trills and plain ol’ riffs will have you nodding that noggin. There is, however, a problem.

This record, while very good, is not what you’d call a classic. I do like this album. It’s heavy, well structured, and catchy at times. At other times, it’s almost so “normal” that it all begins to blend in with itself, sometimes so much so that I forget which song I’m on. With only nine songs, this album is free of what some would consider filler (intros, outros, over-long openings/endings) but doesn’t bring a lot of variety.

Essentially, you’re getting nine songs of non-stop pummeling. That’s not a bad thing, mind, but this means that few of the songs can stand on their own if ostracized from the bunch. The only exceptions are “Nourishment Through Bloodshed” and “Imperium Wolves.” These two songs are great and will stick with you long after the rest of the album falls to the wayside. Ironically (or perhaps intentionally), these two songs are streaming for free on the net. The “trailer” to the record might just be the best bit of it.
The final song of the album, “Tarnished Gluttony” is a plodding, monolithic thing that flows along at a snail’s pace compared to the eight songs before it. The highlights here are the solos and trills, which give the song a spooky, damning atmosphere that may be the band’s most dynamic work to date.

Like Genesis and Ruination before it, Demonocracy is a difficult album for me to rate. I love bits and pieces of it but when listening to it as a whole, I grow weary. I find myself picking two or three songs, throwing them on a custom playlist, and going about my business. That’s not to say that this album is bad or is chock full of filler. I just think that Job For A Cowboy’s manic pummeling style creates a modicum of like and dislike. Others will pick out their own gems among the songs offered here. I just don’t see many, outside of the most devoted fans, loving this album in its entirety.

Track Listing

01. Children of Deceit
02. Nourishment Through Bloodshed
03. Imperium Wolves
04. Tongueless and Bound
05. Black Discharge
06. The Manipulation Stream
07. The Deity Misconception
08. Fearmonger
09. Tarnished Gluttony

BEHEMOTH THE LAST SUPPER.

I don’t why I’m posting this, I just love to see this artwork, that’s all.

The devil and the angel; the beauty and the beast. This vocal approach is one of the most common in modern metal. It’s usually at its most effective when ministered by two vocalists (usually a man and a woman). If you’ve heard bands such as Deadlock, The Project Hate MCMXCIX, and System Divide, you’ve heard the effectiveness of a male’s harsh screaming coupled with the temporarily soothing relief of female singing.

Candice Clot is Eths’ beauty, but she is also the beast. Boasting a near-guttural death growl that not only women would be envious of (right Angela Gossow?), but also many men would want. Coupled with her ethereal clean singing, she is the main force behind Eths. This French outfit has been kicking ass since the early 2000’s, and III is their appropriately titled third studio album after efforts Soma and Tératologie (and their second record on Season of Mist).

The band manages to create their own sound, which can be described mainly as a mix of metalcore, modern melodic death metal and gothic metal. Their music consists mainly of relatively straight forward compositions mixed with some eerie ambience – this has always held true and IIIis no exception. Some songs on the album are uncomfortable to hear, due not only to the atmosphere but to Candice’s almost child-like vocals. III’s first two tracks, “Voragine” and “Harmaguedon” follow the band’s typical compositions: back breaking riffs, plenty of tight drumming and Candice’s scathing vocals. “Adonai” fits their mold of eerie, dark music, with the English version of the song displaying confusing lyrics about spirituality (logically assuming the French version follows suite). “Inanis Venter” is also a fine example of this, with some eerie synth mixed in.

The album also does not have any light songs (What did you expect? Their vocalist is a woman who’s main inspiration was her difficult childhood). III is as pissed-off as Eths has ever been. Most songs are fast and relentless, with only a few breaking into the somber clean passages I mentioned. “Proserpina” breaks into an acoustic section that is hauntingly beautiful before diving head first into Candice’s angst-filled howls and a synth breakdown.

Eths is hard to figure out, at least for this reviewer. While their unbridled aggression is interesting, sometimes one wishes Candice didn’t sound so child-like in her cleans. However, there’s a type of niche for this music, and with the exposure Eths will garner with III (which features three songs in English) we might be seeing them around for quite a while. That’s not a bad thing – if the band continues to evolve, not even the language barrier will be enough to keep listeners away. But for the time being, III gives me mixed feelings. Part of me loves it, the other part abhors it. The first seconds of the song “Hercolobus,” for example, outline what I hate about Eths, while the rest of the song is an ode to angst. They do, however, manage to be one of the best female-fronted bands in the game, and I congratulate them for the mostly satisfying experience that is III.

Track Listing

01. Voragine
02. Harmaguedon
03. Adonaï
04. Gravis Venter
05. Inanis Venter
06. Sidus
07. Proserpina
08. Hercolubus
09. Praedator
10. Anatemnein

Yes, I love these part and really have a great time at Putrajaya Skatepark last Saturday. You can see I’m smiling on there.

WE MAY FALL BUT WE WILL CARRY ON!

I bet many of you hold Stick To Your Guns’ 2010 album The Hope Division in very high regard. A near perfect album in my mind, I had extremely high hopes for its follow-up,Diamond. The band has already streamed a few songs from the album, resulting in very mixed reviews from what I’ve seen. And now it finally release the album, I’ve finally arrived at the moment of truth.

Let’s go ahead and rip this bandage off quickly so it hurts less, okay? This isn’t The Hope Division Part 2, and if you loved the positive, hopeful vibe of that album, there’s a chance you’ll findDiamond to be lacking. I certainly do miss its positivity, and it hurts my fragile, STYG-loving heart. Instead of lyrics like ‘I refuse to add to this violent design / In the darkest corners of their nightmare, I’ll be a light‘, you get ‘So save your breath, you homophobic shithead‘. I can’t lie and say that it isn’t all a little too tough-guy-hardcore for my liking. I mean, if I want to listen to Terror or Trapped Under Ice, I’ll listen to Terror or Trapped Under Ice. But when I choose to listen to Stick To Your Guns, Diamond won’t be the album I reach for.

Musically, it’s an okay album. Many of the songs have an earworm-y quality about them, so I find myself humming along during each listen. Unfortunately, though, by the time I’ve reached the end, I’ve all but forgotten everything I just heard. From the interludes, audio clips (yes, moreJiddu Krishnamurti) and various other distractions, I rarely ever felt like I heard a full, from-start-to-finish song. I mean, I know I did; full songs are found on the album. But, as a whole, it feels very…empty. A lot of songs, such as “We Still Believe” and “The Bond”, seem far too repetitious to be fully enjoyable. Other songs build for far too long before they really get started and then move far too slow considering most are under three minutes long. For example, “Ring Loud (Last Hope)” builds for thirty seconds before Jesse’s vocals kick in and then the final fifty seconds is just chugging with a Krishnamurti clip playing over the music. “Such Pain” leads and ends with an audio clip from Guy Ritchie’s Revolver, and that accounts for nearly half of the track; a fourth of it is just chugging breakdowns. If you do the math to calculate how much “song” is actually found in there, you start to see the problem. And this issue goes far beyond just two songs.

A few other things are worth nothing, such as the obvious Rise Against influence in “We Still Believe”; like it or not, it’s there. The album’s clean vocals are slightly less appealing to me thanThe Hope Division‘s but still better than the cleans from Comes From the Heart. You’ll also get a little more variation in the vocals thanks to the recent addition of Josh James (Casey Jones,Evergreen Terrace) to the STYG ranks. The only track featuring any guest appearances is “Bringing You Down”, which features Carl Schwartz from First Blood. It’s probably one of the better songs on the album despite my aversion to its simplified tough guy lyrics. For another noteworthy track, be sure to listen to “Empty Heads”.

Ultimately, I’m disappointed in Diamond because I expected so much more. Years from now, I don’t think any of these tracks will be considered classic, quintessential Stick To Your Guns’ tracks. I still love this band, but once you’re reading this, I’ll have already replaced this album with The Hope Division in my player. I wish I could say differently

Track Listing

01. Diamond
02. Against Them All
03. Such Pain
04. Bond
05. We Still Believe
06. Ring Loud
07. Empty Heads
08. Beyond The Sun
09. Life In A Box
10. Bringing You Down
11. D(iam)ond
12. Build Upon The Sand