Time moves quickly and so
does music. Judging by the gaps in my blog posts, I'm obviously having a hard
time keeping up. Truth is, life is more important than tossing together some
words and my writing is forced to yield to events beyond the keyboard. But that's
a good thing. Without experiences, I'd having nothing to write about - and this
year has been a good one, so far. Now, with the fall season creeping in, I
might find a little more keyboard time, in between sips of pumpkin lattes and
hot chocolate, of course.
Periodically, over the last
year or so, a friend of mine has allowed to me crash in on his blog "Saturday Morning Playlist." Please check out his website and other work: Stacking Stones. Jason
is a writing and educator, and, like me, has always held a deep passion for
music and it's ability to transcend meaning beyond just notes
and words.
Here are a couple of my
metal-flavored posts from the past months:
DevilDriver
“Sail” AWOLNation cover
DevilDriver is a punishing
metal band hailing from California (and damn proud of it, too). Frontman, Dez
Farfara (who led the 90’s metal band Coal Chamber and gained fame touring with
Ozzy Osbourne in the heyday of the Ozzfest music festival) leads a power groove
metal machine that has churned out six records and a relentless touring
schedule over the last decade. Their shows are driven by pounding drums,
wailing guitars, and palpable energy from their electrifying vocalist. Circle
pits are synonymous with DevilDriver and their live shows, whether out in a
dusty field or in a cramped club.
The music is loud, the
vocals are ferocious, and the lyrics are empowering. Themes of doing what it
takes to survive, living life to the fullest, and knowing how to pick your
battles are common themes among Dez’s lyrics. Though he’s a self-described
introvert, Dez actively engages with his fans at shows and via social media, he
is proud of life, his family, and his music.
DevilDriver has a habit of
throwing cover songs into their studio albums, including a faithful version of
Iron Maiden’s “Wasted Years.” On their latest album, they turned to the
airwaves of pop rock for a cover of AWOLNation's “Sail.” I admit I had no prior
knowledge of this song or the band, but like any good listener, I was eager to
expand my horizons. With delicate strings balanced by gritty electronica and
distorted vocals the darkly tragic original version highlights the internal
struggle of human nature. DevilDriver’s metal groove machine provides a brutal
contrast while preserving, and even heightening, the desperation driven by
Dez’s frantic growl. The songs swings and stomps, it rattles the cage, grabs
you by the collar and forces you listen to the desparate cries. Living with ADD
since childhood, you get the sense that Dez connects with the lyrics and is
eager to connect with you. There is power in the lyrics that is showcased
equally by each band, demonstrating the universality of the messages that music
can convey, regardless of genre.
"This is how an angel
dies, I blame it on my own sick pride, blame it on the the ADD, baby"
In general, metalheads are
resigned to the fact that the music on their iPods isn't likely to make waves
in popular music in America. However, without a lick of ‘clean’ vocals,
DevilDriver’s newest, Winter Kills, debuted at #32 on the Billboard Top
40, a position for the week that had them sitting between Pink and Daft Punk.
And so the California groove machine rolls on.
DevilDriver - “Sail”
AWOLNation - “Sail”
Katatonia
“Buildings”
Katatonia weaves haunting melodies with
a sound heavily influenced by the gothic and doom metal scenes of their native
Sweden. For more than twenty years, they have crafted dark, chilling work with
an air of elegance and danger, with vocalist Jonas Renske’s croon serving as
the hinge and counterpoint for distorted guitar riffs and double-bass
percussion. In 2012, they released a new record, Dead End Kings, which
again displayed their strength in songwriting and performance. Dark and broody,
the entire album oozes with a power that is both haunting and beautiful. As if
that wasn’t enough, the band re-record the entire album a year later. Dethroned
& Uncrowned takes the same songs from Dead End Kings and strips
them bare. This is not merely an acoustic album. Instead, the band has
remastered each track, removing layer upon layer until they reached down to the
soul and built it up again to reimagine the very essence of each song. It’s an
intriguing idea and Katatonia executed it flawless, creating another compete
work with appeal to both die-hard fans and newcomers alike, which stands firmly
on its own.
“Buildings” is one of my favorite
tracks from both albums. The Kings version is typical of Katatonia’s
gothic, emotive sound, swiftly crushing you under the weight of grinding
guitars which part only slightly for Renske’s tender, determined singing. It’s
a song that works well to open the Kings album and plays beautifully
live. The bridge, three quarters through the song, maintains a subtle sense of
urgency while building to the raucous chorus.
For the Dethroned version, the
heaviness is wiped away. In contrast to the original, piano and vocal harmony
stand proud, yielding only slightly to intertwining guitars. The bridge section
in this version is particular haunting, with the piano and vocals, returning to
the forefront to continue playing a sinister game. The addition of strings and
accessory percussion complete the layering of sound.
Recording an album to a high caliber
like Dead End Kings is challenging enough for a band, but Katatonia
expertly execute the reinvention of their vision for Dethroned &
Uncrowned. Not only do I listen to both albums on their own, but also this
experiment allows me to hear the ideas side-by-side, comparing the differences
in approach, textures, and feelings that each style brings forward. Overall,
truly a crowning achievement that is worth much time on heavy rotation - for
both records.
Buildings (Dead End Kings, live)
Buildings (Dethroned & Uncrowned)
Filter
“We Hate It When You Get What You
Wanted”
I’ve been keeping up with Filter for
many years now, following frontman and creative captain, Richard Patrick from
breakout albums Short Bus and Title of Record, to some lesser known, like Amalgamut and Soldiers Of Misfortune. Filter has had a resurgence of late. A
number of 90’s rock and alternative bands have gone on tour recently. Bush,
Everclear, and Stone Temple Pilots (now with Linkin Park’s Chester Bennington
at the helm) have taken to the road and reminded us of 90's rock - formative
listening years for me, personally.
Filter hasn’t missed a beat either and
in addition to constant touring, Richard Patrick has released two albums in the
last 3 years with dynamic guitarist Johnny Radke (of Kill Hannah) and
powerhouse bassist Phil Buckman. Filter has never felt so alive and current,
while staying true the sound that Richard Patrick created 20 years ago.
Influenced by his days playing guitar
for Nine Inch Nails, Patrick has always sprinkled his records with a healthy
dose of electronica, like on the popular "(Can You) Trip Like I Do,"
and he does so again on the stellar opening track of this year’s The Sun
Comes Out Tonight. "We Hate It When You Get What You Wanted"
stumps and struts behind Radke’s boomerang guitar work. Patrick’s biting lyrics
are perfectly in harmony with the electronic beeps and buzzes that envelope the
track.
In this day we are surrounded by
whatever fantasy people post on the internet. Well, you know what? We don’t
care. And this song feels like an appropriate response to all the garbage
constantly bombarding our senses. We don’t care about your perfect life or
whatever you’re trying to pass it off as. On this song it seems Richard Patrick
is calling bullshit. You can’t possibly be everything you claim.
This is the kind of song that you
listen to with a swagger in your step, pumping your fist with your middle
finger in the air. Your pretty, plastic world is nothing to be proud of, so, as
the songs says, just "sit yourself down!"
