Death Metal Takes a Holiday
The News Review:
- Death Metal Takes a Holiday
- Metal The Silent World (Artistery Recordings)
- “No cursing” at heavy metal concert in the Netherlands è·èé…
- Conversation With The Reaper
Death Metal Takes a Holiday
Boise Weekly – Mar 28, 2007
In 1987 while still in his teens he and two of his Birmingham buddies made heavy-metal history with Scum Napalm Death’s fast fatalistic debut album. That record informed much of the extreme metal that followed but it’s a heritage that Broadrick’s latest group Jesu does little to embrace. Broadrick’s new sound doesn’t lack for heaviness but metal is no longer prominent. ddly enough the music is foregrounded with the kind of mopey-yet-majestic melodies that are most commonly associated with Britpop. n Conqueror its second and more tuneful full-length Jesu is about as menacing as the heaviest of the early-’90s shoegazer acts like Swervedriver and My Bloody Valentine. Which is to say not very menacing at all. (A colleague calls the band “metalgaze” which does a pretty good job of conveying the breadth of Jesu’s aesthetic.
Metal The Silent World (Artistery Recordings)
Willamette Week – Mar 28, 2007
Given that alone I love to death the fact that Metal’s three releases—The Silent World its precursor EP World cean and 2005′s Sounds of ur Seas—are at least implicitly devoted to the cultural icon. And The Silent World more explicitly shares its title with Cousteau’s landmark film of the same name. It’s more than World’s liner-note dedication to Cousteau its song titles (which include notions of clouds islands and mountains) or even its impressive sonic patchwork of old Cousteau interviews and monologues. It’s the fact that on The Silent World Shepherd and Metal’s other half in guitar droning Eric Lee mimic the way things move underwater. All these aspects taken together equal a mission and homage accomplished… f course this underwater quality could be used to describe a lot of ambient music: It drifts. It’s in constant motion without necessarily going anywhere. But The Silent World—and this Artistery house band’s music in general—is more sparse than the heavily looped sounds of local ambient contemporaries like Valet and White Rainbow. And it’s less affected than the deeply textured music of Ghosting though just as soporific. Guitar tones here nearly freeze in time moving in suspended pulses. Sonic layers occur only in twos maybe threes. Melodies of bent and delayed guitar lines gently reverberating piano or ambiguous winds dance in shy turns around the nine glacially shifting minutes of “Mountain Pressing upon Mountain.
“No cursing” at heavy metal concert in the Netherlands è·èé…
Taipei Times – Taipei Times – Mar 28, 2007
¥h~11¤??·?«ª?N¥L°¤~®?¡E°¨©i´µ¥?b»´?³??|¤Wºt«µ¡C (·??k·sª)PHT: AFP rganizers of a heavy metal rock festival in the Netherlands have been granted a permit for an open-air concert this summer on one condition: no cursing. The Elsrock festival caused an uproar last year when it was held for the first time outside the small heavily religious town of Rijssen 120km east of Amsterdam ¡X in an area known as the Dutch Bible Belt. Two religious political parties complained that heavy metal “is typified by lyrics about death and decay and vocals that change between a hellish wail and deep grunts. Churches protesting at a concert this year were pacified only by “the stated readiness of the organizers to make sure that no blasphemous words are used and that the honor of God’s name is not besmirched” Mayor Bort Koelewijn wrote in a letter granting the permit. “Should there in practice be any blasphemy I’ll ask the district attorney to prosecute. Town spokeswoman Susanne Plomp said the concert was scheduled for Aug. 25 and as many as 1200 people were expected to attend… “But that someone might swear somewhere on the concert grounds ¡X you can’t prevent that. It’s not realistic in this day and age” he said. He said a church delegation last year had come and “found out the music was not their cup of tea” but agreed the event was well-run. The lineup so far includes several Dutch bands and one Brazilian band Thessera. (AP) ²?«ª?nºuµ¼?`ªº?¿??2 ?¤µ~®L¤?|¿?¤?µ¼?|¡A???J¤£??¸?C ¥h~b©v±??@«pªº·?¤p¥~º¸ |¿??¥¥iµ¼?|¤?_¤F°aµM¤jªi¡C ·??ª?µ¯S¤¥HªF¤@?G¤Q¤¨³B¡A¤Hº?u²?t¸g±a¡v¤@°?C ¨?©v±?Fªv?£©?¡A«ª?µ¼?u ªº¨?ºqµ?Pº¤`©M±?a³ơAºqn¤£°§q°¥s¡A´N§C¨I«s¸¹¡v¡C ¥«ª?S¡D?¸??P·N®?¤ª? ¡A¤µ~§?³ºt°?|ªº±?|b¡u©???¥?@·NT«¼??£¨??¶°ªºr²´¡A¤£V¤W«?a?ªº¸tW¡v«?®§«? ¥LYª?¡J¡uY³¥?¶°ªº¨¥?§?P> ³£±Nn¨Da¤?¹?°»¿?C¡v ·?¤kµo¨¥¤H?!D´¶ù©iª?¡A ºt°?|¤?¹w©wb¤K¤?¤Q¤¤?©¡®?wp±N³h¹F¤@¤d¨?W¥r³@x²±|¡C ¤@W©?´³z?©mWªººt°?|?³?Hª? ¡A¨?º¼??D¥H±R«?¹ªººqµ??A¨åB·|¨???bºt°?|¤W¡u·?W¯x¨?v¡C ¥L»¡¡J¡u¥u³¤H¥i¯?bºt°?|³?¡?¸?X§AµLªkW§K³oº??o¥?A²{bn³o¼??£¤y?¤F¡C¡v¥Lª?¥h~¤@¸s±?|¥Nª?¹¡A¡uµo²{³oº?µ¼?£X¥L?G¤f¡v¡A?P·Nºt°?|?³?¹µ¡C ¥?e¼??}®e¥]A´X????M¤@?P> ¤??¹?u®??v¡C ¡]?”?¡J¾G´?^ Today’s Words ¤µ¤??1.
Conversation With The Reaper
Gay City News – Mar 28, 2007
It’s a fate we all share irrespective of faith universally experiencing the five stages – anger denial bargaining depression and acceptance. But death is also a part of life and one of its greatest mysteries. It does not have to be lugubrious and tragic depending on what one truly believes. Danspace Project while not a religion holds its performances in the sanctuary of St. Mark’s Church which beneficently mediates both architectural and spiritual experience. It is the perfect venue for ” Death” a three-way collaborative project including British composer scar Bettison New York choreographer Eliza Miller and the Dutch new music group Ensemble Klang performing… Danspace Project while not a religion holds its performances in the sanctuary of St. Mark’s Church which beneficently mediates both architectural and spiritual experience. It is the perfect venue for ” Death” a three-way collaborative project including British composer scar Bettison New York choreographer Eliza Miller and the Dutch new music group Ensemble Klang performing. The work is a full requiem mass in five movements that draws from many traditions of the “conversation with death” from the classical requiem to delta blues. Bettison said that the idea for Death started when he heard the Appalachian folk song of the same name. “In it” said Bettison “a young person pleads with Death not to take him. I was immediately struck with the parallels between this and parts of the Requiem Mass and started to think about grafting popular music elements particularly from blues and other American folk music onto a Requiem structure.