I didn’t have time to compile a daily round-up yesterday, so there’s a lot of shit to cram into this one. I’ll try to keep words to a minimum and let the music, the videos, and the imagery speak for themselves.
ITEM ONE: CHTHONIC
2011′s Takasago Army marked the time when I finally got into Taiwan’s Chthonic. It was interesting and multi-textured, in addition to kicking large amounts of ass. So I’m now quite interested in their next album, Bú-Tik, which will be released by Spinefarm this summer. Today, the sexy cover art was revealed. Apparently, nearly 100 people volunteered to be the model for it.
The album cover is eye-catching for sure, though it doesn’t exactly suggest that the new album will be devoted to history and tradition. Yet in this new interview the band’s eye-catching bassist Doris Yeh suggests that it will. I’m up for it.
Nothing has changed, my blog time is still restricted by paying work, but I still have a few discoveries from the last 24 hours to spread around.
These Finnish icons have a new album named Circles that’s coming from Nuclear Blast on April 19 (EU), April 22 (UK), and April 30 (US). Yesterday they premiered a lyric video for a new single that’s being sold right now. The song’s name is “Hopeless Days”. It will be welcomed by die-hard Amorphis fans.
What the song has: Morose lyrics, a captivating melody, a memorable chorus, heavy chugging, a climactic guitar-led finish, and Tomi Joutsen hitting the clean notes cleanly with his distinctive delivery. What the song doesn’t have: Bite.
I thought I’d provide a quick update of things I noticed while web-surfing and reading e-mails this afternoon. As always, I’m sharing mainly what interests me, while hoping it interests you as well.
We first reported about this tour on December 2 when its existence became public but before any schedule had been announced. Today, all the dates and places were finally announced. And as a reminder about why this matters, the tour features Finland’s Ensiferum as the headliner, as well as Tyr (Faroe Islands), Heidevolk (The Netherlands), Trollfest (Norway), and Helsott (Los Angeles). Plenty of ass should be kicked by these pagan brethren.
The schedule consists of 21 shows, launching in Denver on March 30 and concluding in New York City on April 21, and it includes Canadian dates, too. Here’s the complete schedule:
(Here’s Round Four of Trollfiend’s head-to-head, no-holes-barred cage fight with Amorphis. In this match, there are charges and counter-charges of Betrayal, and eventually a killing blow. To catch up on what’s going on here, read this post. Also, be sure to check out Trollfiend’s own blog, ALSO, WOLVES.)
The crowd is oddly silent as I step into the arena for this, my fourth battle against the music of Amorphis. I look up from the blood-soaked sand to see that the crowd is not merely silent; the arena is empty. Why was I summoned to do battle with no audience to witness?
Foreboding sets in…something is not right.
And then I see her, stepping from the shadows: the serpent assassin herself, Tuonela. So this is how it is to be. My victory has frightened Amorphis, and so they send their silent killers in the darkness.
I have fought the ancient and deadly Order of the Clean-Sung before. I know their dirty tricks. I know how they can fool the mind with raspy hooks and beguile the soul with the lament of sirens. I am prepared…but still this sense of doom pervades. My victory over Elegy still boils in my blood, but it was a victory hard-won, and I am not sure I have the stamina or the wits for this battle.
I have to remind myself why I am here. The Betrayal. Yes, in capitals, because it was an event so profound that it deserved a name. Amorphis won my confidence with their folk-tinged melodic death metal. I pledged my fealty to them, unto death. And they turned on me. Even then I could not believe they would consort with the Order…I was blinded by my pain and rage. But Tuonela stands now before me, as damning a piece of evidence as you could want.
(Here’s Round Three of Trollfiend’s head-to-head, no-holes-barred cage fight with Amorphis. Trollfiend gets a whiff of perforated bowel at the end — but whose? To catch up on what’s going on here, read this post.)
The first two rounds of this gladiator combat were pretty much write-offs for yours Trolly…I knew the opponents I would be facing, was intimately familiar with all their savagery and skill…I knew I was no match for either. I still faced them in the ring, because I knew the sight of my blood would arouse you, and I am here for no lesser reason than to have you all cheer over my broken corpse.
However, my next opponent, 1996′s Elegy, is a relative unknown. I have a vague recollection of facing it once before, many years ago, and as I recall I defeated it readily by exposing the weak spot in its armour, the clean vocals of Pasi Koskinen. However, I am an old man now, and not as swift with the killing blows as I once was. Elegy has had time to practice, train, and learn MY weaknesses. I don’t know how this fight will turn out, but I know for sure that it will be bloody.
The opening attack, ‘Better Unborn’, is a clever manoeuver, taking my love of Middle Eastern rhythms into account, but I parry it easily. This is worrisome, however…an album released in 1996 has LEARNED MY WEAKNESSES. As I fret over this development, my heart grows cold, because ‘Better Unborn’ was a feint, and it worked. While I was worrying, ‘Against Widows’ came in and smashed off the side of my skull with the dual hammerblow of harsh and clean actually working together in a song.
(Andy Synn provides an unexpected SYNN REPORT, seizing upon the imminent calendar change to discuss the re-recording of 12 songs by 12 tremendous bands — and of course we’re including the music, which means 24 tracks. Fuck, this would be a mixtape that KILLS.)
So here it is, a surprise Synn Report to finish off the year. Arbitrary though the distinction may well be, the end of the year provides a perfect excuse to attend to a similar theme, the transition from the old to the new – re-workings and re-recordings.
Are they better? That’s an argument for the ages? Are they necessary? Hell, that’s probably an even worse argument to start up…
Primarily, re-recordings serve a twofold purpose – 1. to reinvigorate songs that might otherwise not be getting the set-time they deserve, and 2. – to royally piss off a band’s fan-base. Although there’s a chance that the second isn’t entirely intentional. Still, the re-recorded album courts controversy like almost no other, whether it’s a varied collection of songs that are chosen to receive the treatment, or a full re-recording of an entire album.
The full re-recording of an entire album is clearly the most contentious option, while single track re-recordings are often a much more successful and welcome proposition, most often appearing as b-sides and bonus tracks for the avid collector. The full-album re-recording, however, remains exceptionally and unequivocally divisive, alienating as many old fans as it attracts new ones.
So here’s a list of some of those renewed tracks that I think definitely have something to offer the listener, both old and new. I’m sure I’ll have to turn in my kvlt card after this, for promoting something so new and shiny, but ah well…
(Here’s Round Two of Trollfiend’s head-to-head, no-holes-barred cage fight with Amorphis, and the blood is starting to flow in rivers. To catch up on what’s going on here, read this post.)
It is with heavy heart that I don my armoured codpiece today, knowing that the beast I face in the ring will rip off my head and shit down my neck. Still, none shall be satisfied until my blood stains the sands and my genitals are thrown to the crowd as a token of my defeat, so… onward to battle.
Ah…we open with an instrumental track. The arena master has called for lions; being thrown to starving lions is a gimme. I just have to run fast and hope I can get….Into Hiding.
Shit. It’s lions with bears strapped to their backs wielding axes made of flint and sodomy. I’m doomed! Doomed I say! Wait, what’s with the weird clean vocals? Ha ha! Once more I escape death!
Unfortunately the ass-fucking flint-axe lion-bears were just a distraction so I wouldn’t notice the next entrant into the ring: The Castaway. Metal-plated to the tits, it comes lumbering out of the gate to crush me flat with stomping boots of stompery.
(We now haz our own version of MMA: Trollfiend and Amorphis going head-to-head in a cage match from which only one will walk away. Ladies and germs, place your bets!)
There’s been a lot of talk around the NCS chambers lately about whether or not an artist has the right to radically change everything about their music (they do) and whether or not we as fans should support them or heap massive amounts of hatred and ridicule upon them (we should – ideally, both). This kind of talk inevitably leads (in my tiny, pea-sized Trollbrain) to the band Amorphis.
I fucking loved Amorphis when they first came on the scene way back in 1992 (that’s 19 years for those of you keeping track) with their wacky, zany, combination of folk-scented melodeath. In that nearly two decades they have released 2 demos, 3 EPs, 10 studio albums, 11 singles, 11 videos, 3 compilation albums and a DVD. But somewhere around the third album the love affair ended, and I felt betrayed and abused because they went off in a completely different direction than I was expecting. They grew and changed and went through a dozen lineups and did some weird jazz fusion thing and lost their growled vocals and kind of came back halfway and then… I don’t know. All I do know is that I was left at the prom in my robin’s-egg-blue silk tux holding a bouquet of wilted roses and a used condom while they roared off in their Trans Am and never called me again.
But I’m starting to think that maybe I didn’t give them a fair shake. In my defense, this was right around the time I was getting into black metal, so their artistic meanderings were that much more jarring in contrast. And several NCS contributors have lately made me question my rigid stance on just how much the artists owe to their audience. So there is really only one solution, which is how I solve all major and minor conflicts in my daily life: gladiatorial bloodsport.
That’s right. I, Trollfiend, will go head-to head with Amorphis’ complete studio discography in a bloody, no holds (or holes) barred, teeth-and-nails combat that will only end when one of us is lying bleeding on the sand frantically trying to stuff our intestines back into a gaping gut-wound.
Today Amorphis released their official video for the first song they debuted from their next album, The Beginning Of Times, which is scheduled for release on May 27 via Nuclear Blast Records. We already wrote a post about that song when it was first released and don’t really have anything new to say about it. We weren’t blown away, but it’s still Amorphis, and as we warned you then, we’re going to continue covering developments about this album like a wet blanket between now and May 27.
So, without further fucking around — go watch the video after the jump. That is all.