[Videogames/Metal] Brutal Legend – XB360 (80%)

Sometimes you never know what you can find in a Gamestop “dumpster” (you know the $5 or less /$20 or less games holding on some cardobard shelves). One was Brutal Legend. I had my eyes on when I have played once the demo downloaded from Xbox Live. I really liked it for two reasons:
Firstly,  it was a game heavily influenced by metal and there are very few that come in mind. I still remember the attempt of Motley Crue to cash on Crueball on Genesis (a pinball-based game, also used by Kiss in one of these PC budget games), Motorhead on Amiga/Atari ST (a beat-them up developed by Ocean somewhere in 1992) or Iron Maiden Ed Hunter featuring Eddie in a kind of “Operation Wolf” game.
Secondly,  for what seemed a cool storyline. The story features Eddie Riggs, a “roadie” setting up the stage for a rock band called Kabbage Boy, lets say Eddie is rightfully not fond of his performance. As Eddie sets stage, a element of the stage falls on directly aiming one of the band member. Eddie jumps to his rescue only to get crushed by the scenery element. Eddie wakes up in a complete strange world, directly taken from some of the best heavy metal album artworks. Here Eddie becomes an anti-hero fighting demons with his mighty axe and his guitar riffs.
After playing back-and-forth with the game during the last month, I finally finished it up tonight. There are the good, the very good and the very annoying part of the game.
The good thing about the game is its very high fidelity of the game towards the material it got inspired by. It is heavy metal at its finest with the contribution of kings of the genre   appearing as cameos such as Ozzy Osbourne (Black Sabbath/Ozzy Osbourne,appearing as the guardian of metal, the shop to go to upgrade your weapons and your car), Rob Halford (Judas Priest, posing as the Fire Baron), Lemmy Kilmister (Motorhead, the bass-playing Kill Master), Lita Ford (presented as Lita, one leader of the human resistance)……
The second good thing (if you ignore the annoying part) is this semi-open space allowing you to drive through the heavy metal hell, ramming through the wildlife and allowing you to complete some side quests and unlock some uniqueness (monuments, dragons…..) that will buildup your combat skills.
Then comes the very good part: the storyline and the damn good playlist. The storyline is simply awesome as you end up fighting hordes of glam/hair metal villains, with the stereotype of the hair metal bands that flourished in the 80s, followed by a dive into the depressive doom and gloom of gothic/doom metal genre (with some of the best enemies to fight, straight out of a Tim Burton mind) and finally a quick insight into industrial metal (at the very end). For most of these, you have a remarkable playlists of metal bands that perfectly match the missions: fighting off glam metal troops with Motley Crue “Dr. Feelgood”, only to escape the crumbling White Lion palace through the soundtrack of of the UK powermetal band Drangonforce “Through the Fire and The Flames”. Just playing this part of the game in which you are slaloming between dragons breaking bridges and blocking roads with that blowing in the background music worth its amount of pesos. It is not one, but over 100 songs in that playlist that you can play through driving in the metal Hell, something very similar to a GTA game. Some of the best and most versatile metal playlist I have ever heard into a video game: Dragonforce, Judas Priest, Motorhead, Scorpions, Motley Crue, Carcass, Dimmu Borgir, Accept, Megadeath…..
Just for that the game worth the purchase.
Now comes the very annoying part of the game: the simile-RTS game sequence. At some point in the game, you will be asked to play a sort of real-time strategy game (you know the type of Dune II, Command & Conquer, Warcraft…), in a very primitive form, using the metal as a source: The stage being your main base/barracks; the march store towers being the source of energy to harvest and troops from the basic headbangers grunt to the juggernaut unit capable to blast off towers. The idea is great, the put into practice? Meh…….it felt more than a pain than anything else as you have to go back and forth to get to the units. The other thing that also made me quit the game halfway is that mission in which you have to capture wild feral cats (looking as KISS-like panthers) by circling them with a circle of fire. The controls were just terrible and makes you really want to give up. As a sidenote, the presence of redudant sidequest (ambush enemies, defend your tower, race against the same foe) felt like a lot of deja-vu. You have to do them to gain skill points to upgrade your character but felt more a curfew than anything else (especially at a certain point of the game you have so much skill points accumulated but nowhere to redeem the upgrades).
In conclusion, if you love heavy metal and looking for a good game really doing a service  to the genre, grab a copy and play it. The game is far from perfect, there are much better adventure games and real RTS games to quench your thirst than this one. But in my opinion, this was the PERFECT metal game ever I have been playing so far and really wish someone decides to renew this experience.

[Metal/Gothic Metal] The Gathering – Always (25th Anniversary Release)

Yesterday marked the 25th anniversary of The Gathering first album “Always”, released in June , 1992. I retrospectively discovered this album after being introduced to the band through “Mandylion”. It was their only doom metal album, with Bart Smits in the growl, but man that was my gateway to doom/gothic metal. And even 25 years later, it still have the freshness. It is a 48 minutes album, spanning over 8 tracks, nicely blending the guitars and the keyboards.
We got into it “The Mirrors Waters”, that has this distinctive keyboard tunes opening the track and bringing on the heaviness cloak of doom, rapidly introducing Bart growls. The second track, “Subzero”, brings a higher speed tone but never sacrifice the heaviness. The third track, “In Sickness And Health”, continues into the doom with an heavy influence of the keyboards. It is a nice one, but kind of a weak one too. “King for A Day”, wipes it out from your mind pretty quickly, imposing itself as my favorite track. Its starts heavy and doom to slowly transition into a progressive track with the keyboards leading the way and giving Marieke Groot (the female supporting vocal) a full opportunity to display her vocal performance.  With Barts hitting the low cleans and Marieke hitting the high notes, it gives this magic atmosphere.
The rest of the album continues in the doom tunes with “Second Sunrise” and “Stonegarden”, two enjoyable tracks. “Always” breaks the mold as an instrumental mostly played on the keyboards with backing drums, feeling you sailing boat ashore. “Gaya’s Dream”, the last track, concludes the album with the same tunes that most of the rest of the album.
Unfortunately, that was the only album from the band that was close from doom as it can be. Their second album was honestly a disaster, a hodge podge, an UFO in their discography. By “Mandylion”, their third album, and the introduction of Anneke in the band, the sound was deeply settled into Gothic and lasted for their next two albums. There is a reason why Sam Dunn (BangerTV) had The Gathering placed in the Gothic Metal family tree, and they rightfully belongs to it. They set the tone for European metal bands in that genre and surely set the way for female-fronted gothic metal bands. I personally think the Gathering did a major public service to Dutch metal bands, as few years following their release and touring, Dutch metal bands flourished as tulips bringing some of the best metal to hear (Within Temptation, After Forever, Epica…)
There are two versions of the album: the original recording (see the featured image) and a re-engineered version dubbed “Downfall – The Early Years”. Avoid the latter one as the plague. The goal of a re-engineering is to improve the original master to a higher quality. Seems that the sound engineer behind that thought otherwise, resulting in a sort of washing machine sounds that in my opinion slash the original tracks.
Otherwise, if you want to hear some influential bands in the European Gothic Metal and like to explore some metal history, you should grab a copy and listen. A pleasurable experience to listen.

[Metal/Gothic] The Gathering – Nighttime Birds (20th Anniversary Review)

Yesterday marked the 20th anniversary of the Gathering fourth album “Nighttime Birds”. In my opinion this is the last best album from the album, right before they achieved their  transition into some more acoustic and trip-hop album. It has the vibes and the heaviness of “Mandylion” and yet also explored some new sounds. It is a 9-song album lasting 49 minutes.
If I had to go to a desert album and have to choose three albums of the band, this one will make it into the top 3 with “Always” and “Mandylion” (I guess by now you get the point that I am obsessed with the latter, no?)
We get introduced into it with “On Most Surfaces” directly a continuation of “Mandylion” with a lot of similarities with “Sand and Mercury”, in other words some musical delight. “Confusion” downplays the heaviness but still keep on the melodics we got accustomed to  in their previous album, allowing us to enjoy Anneke’s voice, having this kind of melancholic tone. Thats one of my favorite that’s acting as a tag when someone ask me “how The Gathering sounds like?”.
“The May Song” is already investing more into a more progressive sound, more trip-hop sounds clearly cueing us on how the band was envisioning themselves with their next albums. “The Earth Is My Witness” brings us the “Mandylion” feels, with Anneke’s lyrics and vocals making a prime example of the melodic style of this album: a transition from gothic metal into something more progressive. Another favorite.
“New Moon, Different Days” gives this chilling and relaxing feels, slowly swung by Anneke. Almost feels like a lullaby for a metalhead. “Third Chance” brings on the guitars and the gothic metal sounds, giving this extra kick, whereas “Kevin’s Telescope” brings us as a farewell note from “Mandylion” by its melodics and musical arrangement. “Nighttime Birds” indeed marks the blends of the past (“Mandylion”) and the upcoming future (“If Then Else”) artistic direction of the band, giving this surrealistic track, like a seal on a whole epoch.
Finally, the last title of the album “Shrink” a mostly acoustic (piano solo) with Anneke’s solo is just an amazing song to listen and enjoy. This was a time in which very few female voices were heard on the metal scene and really before the scene got populated by Tarja, Cristina and Sharon. I still remember this song, as it was part of the playlist of their gig in town, somewhere in 2003. Anneke performed it live with the lead singer of Pale Forest (the band that provided the opening act).
This album is in my opinion the epitaph of the band. This is where I felt the most comfortable with the band before moving away to other sounds. Other albums came such as “If Then Else”, “Souvenirs”, “How To Measure A Planet” but none of them had this attraction that I had with the previous ones. By then, the band sailed away into other shores.
If you are not a metalhead by heart and want to get introduced to the band, pick this one. It is a great primer and I would definitely recommend to swim upstream and explore their gothic/doom roots.

[Metal] Lacuna Coil – You Love Me ‘Cause I Hate You (Official Video)

You have to stop what you are doing right now and watch this official video of Lacuna Coil “You Love Me ‘Cause I Hate You” from their album “Delirium”. It’s an amazing videoclip formatted as a short giallo.


Rarely a videoclip from a metal band looked so sleek and carefully crafted, with an amazing photography (it feels like straight from an Dario Argento movieset), a good acting from the band members and an interesting story plot to follow.

 

[Metal/Doom] Trees Of Eternity – Hour Of The Nightingale

I wish I could have reviewed this album in a better context, but I also wanted to review this album in the memory of late Aleah Stanbridge. Aleah left us that day last year, leaving us orphan with her only album “Hour of The Nightingale”.

I started to know Aleah only after learning her death from the announcement by Juha Raivio (Swallow The Sun) last year. Sadness and tears came by listening to her ethereal  and melancholic voice, perfectly matching to the gothic and doom metal artistic style harbored by the album.

“Hour Of The Nightingale” is a 10-track album totaling 63 minutes of beautiful doom metal tracks. The album starts with “My Requiem” introducing us to Aleah’s voice and to familiar tunes, as Juha from Swallow The Sun collaborated heavily on this album, among other Finnish metal artists. It is minimal but so heavily laden with emotions through the lyrics that it infuses you with the melancholy of nostalgia. The descent in the melancholy continues with “Eye Of The Night”, “Condemned To Silence”.

“A Million Tears” brings on the doom and the gloom, making it one of my favorite. Melancholic tunes, the ethereal voice of Aleah and the lyrics loaded with sadness and full of sorrow, making it hard to keep on your tears. It wrenches your mind and makes the mourning even more painful, even after a year.

“Hour of the Nightingale” and “Broken Mirror” may sound a bit more cheerful, with a touch of sludge metal (a sub-genre in the doom metal involving an infusion of Southern metal)  in it but it is still loaded with emotions.

“Black Ocean” gives this atmospheric doom tunes that providing a soothing moment, with a remarkable instrumentation and melodics. Finally, the album closes with “Sinking Ships”, leaving us ashore with a melancholic ballad and with “Gallows Bird” featuring Nick Holmes (Paradise Lost). Minimalistic but so powerful, making a perfect bond between one pillar of Gothic/Doom metal and a new generation.

It is a remarkable and flawless album, solid as a granite tombstone, with no imperfections. Considering this was her first album, it was a remarkable piece of artwork that very few artists could master at this stage. There is no filler, there is no weak tracks. All tracks are remarkable, yet each of them with the unique identity but all sharing the same converging point: the sadness, the melancholy and the mourning of loosing our dearest.

Aleah left us taken by cancer, roughly in the same time that one of my beloved uncle also got taken away by the same type of disease (very unlikely the same type of cancer, but from the metastatic cancer cells that have spread inside his body). We came far with our fight against cancers (because each cancer is somehow unique) but we are still far over on winning that war. Until then, we will loose more talented and affectionate people from it.

RIP Aleah 😦

[Metal/Gothic Metal] Within Temptation – Enter (20th Anniversary Release)

Today marks the 20th anniversary release of the first album of the Dutch Gothic/Symphonic Metal band Within Temptation.
What I can tell is after all these years, this remains my most favorite album by the band. Why?
Probably this perfect blend of doom, gothic with a pinch of symphonic metal and of course Sharon Den Adel alias “Angel Voice”.  It may also because it was the heaviest album they had in their whole discography. The album is an 8-track album totaling 46 minutes.
It starts with “Restless”, a minimal but nicely starter allowing to appreciate Sharon’s voice. A classic of all WT song. The second track, “Enter”, brings on the heavy guitars, Robert Westerholt growls and Martijn Westerholt (Delain) on the keyboards. This gives this magic formula that makes “Enter” such a good song, giving this magical and gothic feel. The third track continues in distilling this magic “Pearls of Light” with Sharon taking the lead with the sounds of the harp. Listening to this song brings this soothing relief, followed by the lead guitars smashing the heavy tones into it and giving this bipolar tunes between the heavy from the guitars and the lightness of the keyboard.
“Deep Within”, the fourth track is in the continuation of the tone of the whole album. Nice but I always felt it was the weakest of all songs, considering the whole album standing strong like a rock. “Gatekeeper”, the fifth track of the album, is my favorite of all. Heavily gothic and influenced by elements of doom metal, it is dark and gloomy with a crescendo in the instrumentation slowly adding the heaviness and boldness. I lost my voice each time I try to keep on Sharon’s frequency notes.
“Grace” is another good song (Nº6 song), especially the second half of it as Sharon takes on the main part. It is also reflecting the heavy influence of Kate Bush on Sharon singing style, using the same song dynamics than the latter used to. “Blooded” is the instrumental track of the album, a finely arranged piece that really marked the band with their signature. “Candles”, the last track, is another jewel from the album by keeping the same flow of “Gatekeeper”. It is so beautiful to listen, with its melancholic tones and Sharon soothing voice all over, only to get shaken by the heavy guitars and Robert’s growl.
If I had to go to exile with only one album from my favorite bands, this is the album I would take from Within Temptation without an hesitation. This is where I found they had their best blend and musical style before they sailed into other directions that were not following my ears.
My only wish is as we mark the 20th anniversary of that release is that the band decide to rediscover this rich and engaging style that made them at the frontier of the symphonic metal scene.

[Metal] Therion – Gothic Kabbalah 10th Anniversary

Today is my birthday (turning 38, Yikes!), including some other celebs such as Rob Zombie. It also turns out this day marks the 10th Anniversary of Therion thirteenth album “Gothic Kabbalah”.
The interesting thing with Therion is their ability to scramble paths and make unexpected moves. You cannot simply expect to hear the same tunes and melodics over and over, ending you discovering the band with every single albums.
This is also the case with “Gothic Kabbalah”, a 2-CD release, with 17 titles and totaling a bit more of 83 minutes.
The album is a clear departure from their previous releases, leaving the symphonic and orchestral tones of “Vovin” and “Secrets of The Rune”, navigating more into a progressive and even incorporating heavy metal tones.
It starts with “Der Mitternachtsloewe” setting the artistic tone and guesting Hannah Holgersson. It is seamlessly followed by “Gothic Kabbalah”, “The Perennial Sophia”, “Wisdom of the Cage”. “Son of The Staves of Time” is one of the official videos from the album, allowing me to share and let you appreciate the tone of the album whereas “Tuna 1603″and “Trul” failed to inspire me.

https://youtu.be/YY-EOYJQMMY?list=PL6582FC6AD17B80E2

The second CD starts with “Wand of Abaris” is really sounding like a gothic metal song and that why this is one of my favorite of the album. “Three Treasure” brings on the operatics that was the trademark of their previous releases. “Path To Arcady” has this heavy-metal tone blending nicely with the tenor and sopranos lead vocals, making another one of my favorite. “TOF – The Trinity” gets more into classical metal, nice but not more. “Chain of Minerva” brings on more a Therion-like track, whereas “The Falling Stone” brings up something faster in its pace, almost inspired by some power metal songs. “Adulruna Rediviva” is another masterpiece, some Therion safe bet. A 13:38 track that makes what Therion is Therion. The two last tracks are live performance of “Seven Secrets of the Sphinx” and “To Mega Therion”.