BEHOLD... THE ARCTOPUS*
*HORRORSCENSION*
Tech metal band Behold... The Arctopus's latest album is completely random and atonal - and not in a good way like much of Skullgrid, their previous release. The band is trying way too hard to be faster and more extreme and Horrorscension is effectively a bunch of unlistenable noise.
Every so often something will stand out (a lightning speed solo or a melody) but it only lasts for a second (or two, if you're lucky) before disappearing into a mess of noise again. One would be hard pressed to remember a single thing about this record once it was over - other than the fact that it all blurred together.
It's not even that the performances are bad. Every member plays their respective instrument well, but unfortunately each is hitting all the wrong notes in all the right places. New drummer Weasel Walter does an admirable job taking over for Charlie Zelleny, but the songs he's playing on here are so poor that his talent is all but wasted. Likewise for the other two members. Horrorscension is truly horr-endous; a cesspool of terrible songwriting and squandered talent. Very disappointing and, quite frankly, bordering on abysmal.
*1.5/5*
Alex Sallas
I wasn't really sure what to expect when I first walked into the theatre for Argo. Reviews were almost unanimously positive, but as far as plot, story and characters go, I was in the dark.
I'm not going to bother expounding on any of that here, either; quite frankly I want to use this space to talk about just how freaking amazing it is, not to dwell upon its details.
Every scene in this film is precisely paced and expertly shot. It's as if more thought when into each pixel of every frame in this film that the amount of thought that goes into entire movies sometimes (I'm looking at you Deuce Bigalo). The acting is stellar. The directing is top notch. The cinematography is stunning. The soundtrack is evocative. It is one of the best of the year. Plus, the ending is pro-Canada in the best possible way, and is based on a true story.
Please, get off your ass and then go sit on it for two hours. You can thank me (and Ben Affleck) later.
By: Alexander Sallas
Green Day - American Idiot
American Idiot is one of the most controversial albums of the last twenty or so years, mostly because of its clearly "political" nature and overblown and bizarre concept. I,however, have no problem with either, and in some cases they make the record more interesting. While Green Day may not be the most well-informed when it comes to politics, I applaud them for attempting something different from the usual derivative pop-punk album.
Some of the songs on here are even pretty good. “Boulevard of Broken Dreams” is one of the best pop-punk songs I've heard in a while, “Give Me Novocaine” is an underrated rocker and “Whatsername” is a solid closer. But unfortunately, there are some annoying tracks; “Holiday” immediately comes to mind as being one of the most irritating songs of the last ten years. Other duds, such as the boring “Are We The Waiting” and the uninteresting “St. Jimmy” add nothing to the album.
The big talking points of American Idiot are the two nine minute songs, “Jesus Of Suburbia” and “Homecoming”. The former is fairly interesting, with its intricate structure and many different parts. “Homecoming” is the stronger of the two, and features Tre Cool singing for one of the few comic relief moments on the album. Regardless of its political wisdom, this is a strong pop-punk album whose pros outweigh its cons and while some may disagree with me, that's fine - all
I ask it that you listen with an open mind.
3 out of 5.
- Alexander Sallas
Megadeth - Peace Sells... But Who's Buying?
Peace Sells... But Who's Buying? was, for a while, my favourite Megadeth album. This has since changed (with Rust In Peace overtaking it in my books), but that doesn't make this CD any less fantastic. It boasts some amazing tracks, from thrash anthem "Peace Sells," to the superb "Good Mourning/Black Friday," to closer "My Last Words." The guitar playing on this album is incredible - every song features at least one wickedly fast guitar solo (most contain two, three or even more), and the rest of the instruments are superb as well. I find that there are three main points of discussion with this album: Mustaine's vocals, the production, and the length.
First, I thoroughly enjoy Mustaine's vocals. He may not have the sleekest voice ever, but his trademark “snarl” fits the music perfectly. He really has established his own style, and it works.
Second: the production. I own the 2006 re-release of this record, so I can't really comment on it since it has been improved. But I will say, however, that the rough production only increases its raw sound.
Finally, the length. Here is where the main problem lies. At only thirty-six minutes, this record flies by. With that said, though, every song on here is quality, and I would take an awesome thirty-six minute album over a terrible 78-minute one any day. However, a song or two more would have been welcome here. The bottom line: should you buy this? Yes. It is a classic thrash album that should be heard by anyone who considers themselves a metalhead (and everyone else for that matter).
4.5 out of 5
- Alexander Sallas
The Freewheelin’ Bob Dylan is his second album, the one that established Dylan as a legitimate artist at the age of 22 and led to his rise as an icon during the 1960s protest movement.
It begins with “Blowin’ in the Wind,” the anthem of every freedom movement that has occurred since it was released. Perhaps that’s because we are the same age as Dylan when he produced this album—that right now, we get it; maybe it’s that we can relate to it when we’re in the middle of a midterm, staring into space, because there we are: looking for the answer that’s blowing in the wind.
Dylan sings of long-distance love in “Girl from the North Country” and then laughs about it in “Down the Highway”. He is disgusted by the politics of war in “Masters of War” but again finds a satirical perspective in “Talkin’ World War III Blues.” His contradictions spell out your latest existential crisis, and then he sends your emotions a shock with the poignant accuracy of his words in “Don’t Think Twice, It’s Alright.”
Dylan’s true artistry lies in his lyrics. His rhythm is punctuated with messages that will resound forever. He reminds you of the power of all things blue – the stormy haze of it in your dreams at night, the depths of it as you stare out at the sea, in the endless expanse of the sky, and finally in a haunting melody that wakes you from a prolonged stupor.
4 out of 5
- Palika Kohli
The Clash – The Clash
It’s sort of funny how the noisiest, grungiest, shoutiest bands are often the ones with the most to say. In 1977, The Clash reinforced this by releasing a self-titled album with more political messages than guitar chords.
Amidst the beautiful noise of the English punk band’s overdriven guitars are statements on everything from the Americanization of Europe (“I’m So Bored With The USA”) to the ailing job market of 1970s England (“Career Opportunities”). The scope of their insight is pretty formidable too.
“Remote Control” is a complaint song about bureaucratic control of local concerts, whereas “White Riot,” with the line “all the power’s in the hands of people rich enough to buy it,” rings true about capitalism on a global scale.
The craziest part of this album is that it was hugely successful, peaking at the 12th spot on the billboard charts and becoming known eventually as one of the greatest punk albums of all time. The Clash’s self-titled album may be over three decades old by now, but it’s still a shining testament to the general rule of politically inspired music: if you are loud enough, you will be heard.
4 out of 5
- Brody Weld
