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24 Ago 2008, 4:37

Oh, hey, there's a journal thingy here. Neat.

WOAHMG, looks like Metallica finally put out a new single. I shall now step aside for a moment to "acquire" it.

*INTERMISSION*

First impression: I like it. It sounds like the statement of a band that knows it's fucked up and is trying to make amends. I mean, why not? Money can't be an issue here: these men are richer than God. Their new album will sell hojillions. Why not start to migrate back to a sound that can be respected for both its complexity and ferocity? Granted, their teeth are a bit rounder now than they were 20 years ago; you can tell it around the 5-minute mark when they start to slough off the blues-rock husk a bit and try their hand at truly thrashing once more. It's a vision of the past, a hint of greatness that has come and gone, but still a thousand times better than the tripe they've put out in the last decade or so. I must listen again, but now I can say I'm honestly looking forward to Death Magnetic. Let's all close our eyes and hope for the best. Perhaps the day when we can all respect Metallica again won't be The Day That Never Comes.

In other news, some other recent listens for me have been Beck's newest, Modern Guilt, and The Sword's Gods of the Earth. I've really only given Modern Guilt a cursory run-through, but it seems pretty agreeable on the whole; very down-beat and mellow like Mutations. Chemtrails stands out for me, showcasing some dynamic drumwork that reminded a lot of the hidden track from Mutations, Diamond Bollocks, which is still one of my favorite Beck tracks of all. I also appreciated the fact that my shit wasn't nearly as creeped out by this latest album as it was by The Information, though I admit that feeling was probably most informed by my discovery of Beck's Scientology background. Shit still kinda gives me the jibbly-jibblies, though.





I love The Sword. In a major way. They provide a very basic and important sonic component to my life: the Heavy Nerd Rock. I too love fantasy novels and Black Sabbath. If I had a basement, I would tack up heavy metal band and comic book posters to the wood paneling and rock the fuck out whilst poring over the latest Dungeon Master's Guide. The Sword delivers in this vein in a big way with some of the best riff-chugging monstrosities ever to be based on George R.R. Martin's Song of Ice and Fire series. (Okay... probably the only riff-chugging monstrosities ever to be based on George R.R. Martin's Song of Ice and Fire series, but anyway...) To Take the Black and Maiden, Mother And Crone stand out on an album by a band blasted by some for its musical homogeneity. Shit, I calls it consistency, son. The Sword is a band that knows how to craft a sound that fits into a specific niche, and by God, they do it well. It may not fit for everyone, it may rankle some music snobs who get all high and mighty because they don't use string sections and synthesizers and feature dense production by award-winning faggot Nigel Godrich, (disclaimer: I know nothing of Nigel Godrich's sexual orientation.) but they do put out songs that, without fail, make you want to pick up a broadsword and start choppin' some fucking goblin heads open.

Well, that's all from me this time.

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