Hello!
So, last month I posted up my top 10 album covers, and in the process I might have revealed some future releases (Some of which came true). Today’s top 10 marks the start of the break between both sides of this review tour, and begins some revisions/reviews/lists I’ve written in my spare time. The top 10 post you’ll be looking at today are my favorite albums of all time. Enjoy!
10) AC/DC: Black Ice
Like I said back in my Top 10 Singers & Bands post (Click “***” to read it), I wasn’t the biggest AC/DC fan growing up. Apart from 4 songs (Big Gun, Big Balls, Who Made Who, and Money Talks), I never really liked them. Then their Black Ice album shows up in 2008, and something just clicked for me. I don’t know what it was, but suffice it to say, I like these guys. I’m still not a massive fan by any means, but I guess it more of a “Not Love, But Respect” kind of thing.
9) Moonspell: Irreligious
I’ve definitely listened to a lot of Gothic Metal since I discovered the genre. American, German, and British Gothic Metal are just a couple types I’ve listened. When I discovered that a country like Portugal produced bands that performed Gothic Metal as well, my mind was blown into a dimension I never knew existed. As for the album in question, I can only say that Irreligious is quite possibly one of the most beautiful albums I’ve ever listened to. If I ever do a “Top 5 Most Beautiful Albums” post (Which I’ll more than likely do, now that I’m thinking about it), I would easily put it either at the number 3 or two spot on the list. Moonspell knows how to be fast & brutal like any other metal album, but they know how to slow down, and create some very atmospheric music.
8) Unheilig: Phosphor
Phosphor is on this list for two reasons. For starters, Der Graf’s English in this album was good. When he sings in English, you can tell that he really knows the language. Not only that, but his German accent never comes in, or if it does, it’s very difficult to notice. It is a shame that this is the only time that you hear him sing in English, because I would have love to have heard him sing in English maybe 1 or 2 more times.
The second reason that Phosphor is on here is because of emotion. Although bands like Rammstein are more than capable of putting feeling into their music, I find that they tend to more basic & crude in their songs (Not necessarily in their albums on the whole), sometimes becoming a little sexist in the process. With Der Graf and Unheilig, there is more to their music than many other Industrial artists. He uses many of the emotions that the previously mentioned artists, but he also attempts to make more uplifting songs as well, even if they don’t necessarily sound it.
7) Paradise Lost: Draconian Times
Although I’ve gotten into more of their albums since I’ve first discovered, I must say that out of all of them, Draconian Times is the first of their albums I got into. When I first listened to some of the songs off the album (Enchantment, Yearn for Change, I See Your Face), I was immediately hooked. While I definitely listened to metal before hand, I had never listened to anything like what Paradise Lost put out. It was dark, brooding, and reflected the more serious side of Gothic Metal. An album that has managed to transcend it’s birthplace in the mid-90s, Draconian Times is a collection of songs to darken the soul.
6) All of Type-O Negative’s Discography
This one might look like A cop-out to some of you, and I won’t deny that I agree slightly with your opinion. With that said, I sincerely mean it when I say that I love every album that Type-O Negative has every produced. Even their weakest album, Origin of the Feces, has at least two songs on it I like. Every single one of their albums is good, regardless of what the haters say. Dark with a dry humor edge, Type-O Negative is a band that is worthy of respect.
5) Ozzy Osbourne: The Ozzman Cometh
It’s really weird that I’m putting a compilation album up on this list, but it was The Ozzman Cometh that finally won me over. Filled with music from his early days in Black Sabbath, all the way up to Ozzmosis, it is a great album to introduce people to one of metal’s most iconic singers. Still waiting for The Ozzman Cometh 2!
4) Eisbrecher: Eisbrecher
Although I enjoy Eisbrecher a little more than Rammstein, As far as first albums are concerned I like this one a little less than my number 2. I don’t consider Eisbrecher’s debut album bad, as I actually find it to be really good for a band’s first album. What ultimately determined this album’s spot was it’s emotional impact: my number 2 spot simply hit me more in the right spot. Eisbrecher’s first album definitely hit me, but it didn’t hit me as hard as my number 2. If you want an alternative to more mainstream Industrial Metal, give Eisbrecher a chance.
3) Korn: Untouchables
Okay, bit of a story with this album. I was 17 years old, and I was about 1/4th to ½ through my 12th-grade semester, and I still didn’t own an album with the “Mature” rating label on it. All seemed bleak, until I came across Korn’s website. I had known about the band for sometime, and I even managed to receive a couple of their songs in mp3 format. Despite that, my mom was still vehemently opposed to me having such an album (Ironic, given the fact that my Father can swear frequently, depending on his mood, and I already had some songs with swearing/questionable content). I was reasonable for so long, there was only one course for me.....I had to act like a little kid.
Granted, I only pitched a fit (Whining, complaining, carrying on, etc) once or twice, but that was all I needed. She finally agreed to my desire/demand, and I finally got my first “Mature” album. While I still feel a little embarrassed about what I did, I don’t regret getting the album.
2) Rammstein: Mutter
The acquisition of my number spot is perhaps the most bizarre story to date!
Rewind the clock back to 2002. I’m 15 years old at the time, I’m about three-fourths through my 9th-grade year, and I had my dog Charlie for about 7 months (Might have been 8). Before I went to bed one night, I took out my dog so he could go to the bathroom, and I was listening to my walkman’s radio to pass the time. Then one moment, Ice Will came onto the air waves, and I had never heard anything like it. Up until that point, the music I listened to was rather safe/tame, mainly due to my Mother. With this, it was about as edgy as the more inappropriate music I came across, but because they were singing in German, I didn’t know what they were saying. My dad downloaded it for me, and I was a happy camper.
Flash forward to October of the same year, and I was wandering through a nearby FYE, and I coincidentally came across Mutter. It took me a couple seconds, but I recognized that the band that made the album was the same one that made Ich Will. After convincing my Mom to buy the album, I immediately put it into my CD player (At the time), and haven’t regretted the decision.
1) Ministry: Rio Grande Blood
Once again, taken from my Top 10 Singer & Bands post:
“It’s August 27th, 2006, a day before my Fall 2006 semester at college. I wake up and come down stairs as usual, and I see my day hastily putting some clothes in a travel bag. When I ask why, I was told that my uncle (Which I saw a week prior at a family reunion) had died in a plane crash. I was in a state of shock. I couldn’t even cry because I was so shocked by what I was told. I didn’t even go through the day normal, but sometimes fate moves you in the weirdest of directions.
I think a couple weeks prior to his death, I was surfing through the TV, when I came across MTV (When they still kinda sorta played videos). On the screen was Ministry’s latest music video, Lies Lies Lies. I liked it, but I didn’t think much of it. About a week or two after, I was with my girlfriend at the time, and I managed to find a copy of the album the song came from. When my uncle died, I listened to the whole album, and somehow I was healed.....for the most part. Due to that act, Ministry will be my number 1 band for all time.”
Again, I don’t need to say more.
As with my top 10 album covers, I hope you’ve enjoyed my top 10 albums. See you next time, when we’ll take a month-long break from this music review tour, and catch up on some revisions & long-promised reviews. Until then, stay Otaku.
Monday, February 24, 2014
Wednesday, February 19, 2014
Nelson Frazier, Jr.: R.I.P. (February 14, 1971 - February 18, 2014)
Ladies & gentlemen, another great wrestling legend has tragically passed away. Sometime yesterday, Nelson Frazier Jr, better known by his wrestling names Viscera/Mabel/Big Daddy V, died at the age of 43 due to a heart attack. I wasn’t as much of a fan as just about everybody else was, but I won’t deny that he was a force to be reckoned with in the ring. His weight & height made for an intimidating figure, and coupled with his brutal style of wrestling, made for an individual that could only be beat by a few. Viscera, you shall be missed.
If you’re interested, here’s a link to WWE’s release on his death, along with a youtube link showing off one of his matches.
http://www.wwe.com/inside/big-daddy-v-passes-26182717
http://www.youtube.com/watch?v=IrILy1Ju5Xo
Hope to see you all in a better mood. Until then, stay Otaku.
***
If you would like to look at the life of Nelson Frazier Jr, here’s the wikipedia link. Enjoy.
http://en.wikipedia.org/wiki/Nelson_Frazier,_Jr.
If you’re interested, here’s a link to WWE’s release on his death, along with a youtube link showing off one of his matches.
http://www.wwe.com/inside/big-daddy-v-passes-26182717
http://www.youtube.com/watch?v=IrILy1Ju5Xo
Hope to see you all in a better mood. Until then, stay Otaku.
***
If you would like to look at the life of Nelson Frazier Jr, here’s the wikipedia link. Enjoy.
http://en.wikipedia.org/wiki/Nelson_Frazier,_Jr.
Monday, February 17, 2014
Accept - Balls To The Wall Review
Hey guys!
Today’s review marks the end of the second leg of the tour, and the first half of my music review festival. So, to conclude the “Artists I Haven’t Reviewed” section, I wanted to go for a classic album. Something that’s macho. Going through my music catalog, I saw one album that was ready to step up to the plate, and hit it out of the park. With that said, let’s put on our leather jackets, and look at Accept’s only Gold certified album in the United States, Balls To The Wall. Get to it!
Background
The American edition of Balls to the Wall was released in January 1984, while the European edition was released on December 5, 1983. The reason for the U.S. delay was because Accept’s previous album, Restless and Wild, was released in early 1983, and they didn’t want the two records to compete. A fair reason, to be sure.
Perhaps what helped the success of the album in the U.S. was the “Gay Metal” controversy that rose up after Balls to the Wall was released in the states. Specifically, it came about as a result of the album’s title & front cover being considered “homoerotic” by some, along with “London Leatherboys” and “Love Child” having lyrics that appear to concern homosexuals. Many member of the band have expressed their opinion on this. Guitarist Wolf Hoffman said years after the album came out: “You Americans are so uptight about this. In Europe it was never a big deal...we just wanted to be controversial and different and touch on these touchy subjects, because it gave us good press and it worked fabulously, you know”
Drummer Stefan Kaufman also said some things about the controversy. He stated that some of the themes of Balls to the Wall were about oppressed minorities, with London Leatherboys about bikers, and Love Child spoke of oppressed homosexuals (The only song that actually talked about gay people). As he said in an interview with French magazine Enfer in 1983:
“It's a phenomenon that should be taken into consideration. Because it exists on a wide scale and should be demystified. In fact, this is a phenomenon of society that needs to be taken as such. For a long time gay people have been considered as sick or insane. And yet, it's time to respect these people, open our minds which are often closed.”
Gaby Hauke, Hoffman’s wife and lyricist, also had some things to say about the gay issue:
“Let me answer this and (the next) question in one, ok? I have been very rebellious and by no means I would have written anything 'normal'! Never! The sexual question about the context of certain lyrics are mind games and pure interpretation from outsiders. This is a band who has as individuals -so little to do with controversy and absolutely nothing in particular with anything but being VERY straight”
It should also be noted that the signature song off this album, Balls to the Wall, has been covered a few times since it’s release. The band Fozzy (Fronted by WWE star Chris Jericho) cover the song, along with Amon Amarth as a bonus on their Surtur Rising CD from 2011.
Songs
Balls To The Wall (“***”): Of course this album starts off with the title track!
Let me say that if one were to come up to me, and ask “What is Metal?”, I would point that person to this song. Accept was one of those bands back in the day (And perhaps now) that got the genre, and it shows in Balls to the Wall. Brutal drums, heavy guitars, and Udo Dirkschneider’s singing is just laced with cyanide & steel (This would also serve him in the band he formed after he left Accept, but that’s for another day). If I had any complaint about this song, it would be that it sounds a little archaic, but even then I forgive it because of it’s importance to the genre. Damn good song!
London Leatherboys (“***”): Considering that London Leatherboys is about bikers, it has to have a fierceness to it, and it doesn’t disappoint. Instrumentation that sounds like it was made alongside the bikes, singing that sounds like the roar of the engine, and a “Fuck you, we’ll be ourselves”attitude come together to create a song that’ll get people’s attention. London Leatherboys is the song you listen to when you’re on the road, on top of your steel & gas-fueled horse.
Fight It Back (“***”): Prepare for some whiplash!
In a change of pace from the first two songs (The first two were a little on the slow side), Fight It Back is played & sung much more quickly. The guitars & drums come at you fast & furiously, but there isn’t a point where either one of them trip up. Udo’s singing is much the same, although there’s a scream from time to time that is a little painful on the eardrums (Whether it actually him or not, I’m not sure). A good song if you’d like something a little faster
Head Over Heels (“***”): More whiplash!
Head Over Heels goes back to the slower speed that Balls To The Wall & London Leatherboys established. This isn’t necessarily bad, as this song isn’t quite as slow as the previously mention tunes. It’s got more of an upbeat tempo, the instrumentation is a little faster, and the singing roughly matches the speed of the instruments (Although I find that Udo Dirkschneider’s singing is a little weaker in this song, but not that much). If you’d like a metal song with a little more sensuality and feeling, then listen to Head Over Heels.
Losing More Than You’ve Ever Had (“***”): Another metal song with feeling, Losing More Than You’ve Ever Had is the kind of song you listen to when you’re with someone. The tune plays along a little more quickly that Head Over Heels Did, and feels like Fight It Back in this regard. The guitars & drums seem practically intertwined, as they never seem to skip a beat. Udo Dirkschneider’s singing is also sped up, and accompanied by the rest of the band, creates some rather intense energy.
Love Child (“***”): The final of the three songs that were targeted by the gay controversy, Love Child sounds like it would be a more sorrowful tune (Based off of the title), and indeed there is some tragedy within. However, there’s also a feeling of triumph over adversity, as if you’d overcome an obstacle in life. To complement this feeling, you have the guitar work taking center stage, blasting out some great riffs. Along with drumming that sounds like the beating of a heart, and singing that shifts between hopeful, sensual, and despair at the drop of a hat, and you have another Heavy Metal classic.
Turn Me On (“***”): Yet more whiplash!
After the fast-paced sensuality that was Love Child, I expected Accept to keep going with the faster speed. Instead, they scale it back once again, but they at least keep the speed like in Losing More Than You’ve Ever Had. If I had a complaint about this song, it would be that Udo Dirkschneider’s singing sounds a little more like yelling. Though this is mainly during key points rather than the whole song, it is still a little grating on the ears. As far as vocals are concerned, this is the weakest on the album.
Losers And Winners (“***”): A very intense song, Losers & Winners is a song that belongs on the streets. Feeling rather similar to London Leatherboys, this tune comes at you fast & furious. You’ve got the previously mentioned song’s instrumentation and “Fuck You” attitude, but Udo Dirkschneider sings more about relationships rather that bikers. He keeps the London Leatherboys’s tone & attitude, but tries to add a little more feeling, and it works for the most part.
Guardian Of The Night (“***”): I was a little confused by the beginning of this song. The first couple chords come out like Accept was going to do a ballad, and the guitar sounded slightly like a medieval lute. Sadly, after the beginning chords, it slides right into a non-ballad song. I’m really disappointed, since there isn’t a single metal ballad on here!
With that said, there really isn’t anything bad in here. The guitars and drums are great, and the singing is wonderful. Just know that if you’re expecting a metal ballad, you’ll be deceived in an instant.
Winter Dreams (“***”): Now this was the ballad I was expecting earlier!
This is actually a good song to end this album. It’s more laid-back than anything else on this album, and really does feel like something wintery, thanks in part to the church bells/chimes that accompanies the other instruments. Udo Dirkschneider takes his singing in a different direction in Winter Dreams, as he favors a more softer voice that rarely gets loud. Dare I say this, but Winter Dreams is a song that’s great for the holiday season, or maybe just for the snowy months.
Overall Impression & Rating
Balls To The Wall deserves every positive comment that comes it’s way. Despite having a short coming here and there, Accept created a heavy metal classic with this album. If you’re a die-hard metal fan that hasn’t come across this release, or you want to get into Heavy Metal, then get your balls (or ovaries) to the wall!
Balls To The Wall gets a 8 to 9 out of 10.
See you all next week, when the second leg of the review tour ends, and the break begins. Until then, stay Otaku!
Today’s review marks the end of the second leg of the tour, and the first half of my music review festival. So, to conclude the “Artists I Haven’t Reviewed” section, I wanted to go for a classic album. Something that’s macho. Going through my music catalog, I saw one album that was ready to step up to the plate, and hit it out of the park. With that said, let’s put on our leather jackets, and look at Accept’s only Gold certified album in the United States, Balls To The Wall. Get to it!
The American edition of Balls to the Wall was released in January 1984, while the European edition was released on December 5, 1983. The reason for the U.S. delay was because Accept’s previous album, Restless and Wild, was released in early 1983, and they didn’t want the two records to compete. A fair reason, to be sure.
Perhaps what helped the success of the album in the U.S. was the “Gay Metal” controversy that rose up after Balls to the Wall was released in the states. Specifically, it came about as a result of the album’s title & front cover being considered “homoerotic” by some, along with “London Leatherboys” and “Love Child” having lyrics that appear to concern homosexuals. Many member of the band have expressed their opinion on this. Guitarist Wolf Hoffman said years after the album came out: “You Americans are so uptight about this. In Europe it was never a big deal...we just wanted to be controversial and different and touch on these touchy subjects, because it gave us good press and it worked fabulously, you know”
Drummer Stefan Kaufman also said some things about the controversy. He stated that some of the themes of Balls to the Wall were about oppressed minorities, with London Leatherboys about bikers, and Love Child spoke of oppressed homosexuals (The only song that actually talked about gay people). As he said in an interview with French magazine Enfer in 1983:
“It's a phenomenon that should be taken into consideration. Because it exists on a wide scale and should be demystified. In fact, this is a phenomenon of society that needs to be taken as such. For a long time gay people have been considered as sick or insane. And yet, it's time to respect these people, open our minds which are often closed.”
Gaby Hauke, Hoffman’s wife and lyricist, also had some things to say about the gay issue:
“Let me answer this and (the next) question in one, ok? I have been very rebellious and by no means I would have written anything 'normal'! Never! The sexual question about the context of certain lyrics are mind games and pure interpretation from outsiders. This is a band who has as individuals -so little to do with controversy and absolutely nothing in particular with anything but being VERY straight”
It should also be noted that the signature song off this album, Balls to the Wall, has been covered a few times since it’s release. The band Fozzy (Fronted by WWE star Chris Jericho) cover the song, along with Amon Amarth as a bonus on their Surtur Rising CD from 2011.
Songs
Balls To The Wall (“***”): Of course this album starts off with the title track!
Let me say that if one were to come up to me, and ask “What is Metal?”, I would point that person to this song. Accept was one of those bands back in the day (And perhaps now) that got the genre, and it shows in Balls to the Wall. Brutal drums, heavy guitars, and Udo Dirkschneider’s singing is just laced with cyanide & steel (This would also serve him in the band he formed after he left Accept, but that’s for another day). If I had any complaint about this song, it would be that it sounds a little archaic, but even then I forgive it because of it’s importance to the genre. Damn good song!
London Leatherboys (“***”): Considering that London Leatherboys is about bikers, it has to have a fierceness to it, and it doesn’t disappoint. Instrumentation that sounds like it was made alongside the bikes, singing that sounds like the roar of the engine, and a “Fuck you, we’ll be ourselves”attitude come together to create a song that’ll get people’s attention. London Leatherboys is the song you listen to when you’re on the road, on top of your steel & gas-fueled horse.
Fight It Back (“***”): Prepare for some whiplash!
In a change of pace from the first two songs (The first two were a little on the slow side), Fight It Back is played & sung much more quickly. The guitars & drums come at you fast & furiously, but there isn’t a point where either one of them trip up. Udo’s singing is much the same, although there’s a scream from time to time that is a little painful on the eardrums (Whether it actually him or not, I’m not sure). A good song if you’d like something a little faster
Head Over Heels (“***”): More whiplash!
Head Over Heels goes back to the slower speed that Balls To The Wall & London Leatherboys established. This isn’t necessarily bad, as this song isn’t quite as slow as the previously mention tunes. It’s got more of an upbeat tempo, the instrumentation is a little faster, and the singing roughly matches the speed of the instruments (Although I find that Udo Dirkschneider’s singing is a little weaker in this song, but not that much). If you’d like a metal song with a little more sensuality and feeling, then listen to Head Over Heels.
Losing More Than You’ve Ever Had (“***”): Another metal song with feeling, Losing More Than You’ve Ever Had is the kind of song you listen to when you’re with someone. The tune plays along a little more quickly that Head Over Heels Did, and feels like Fight It Back in this regard. The guitars & drums seem practically intertwined, as they never seem to skip a beat. Udo Dirkschneider’s singing is also sped up, and accompanied by the rest of the band, creates some rather intense energy.
Love Child (“***”): The final of the three songs that were targeted by the gay controversy, Love Child sounds like it would be a more sorrowful tune (Based off of the title), and indeed there is some tragedy within. However, there’s also a feeling of triumph over adversity, as if you’d overcome an obstacle in life. To complement this feeling, you have the guitar work taking center stage, blasting out some great riffs. Along with drumming that sounds like the beating of a heart, and singing that shifts between hopeful, sensual, and despair at the drop of a hat, and you have another Heavy Metal classic.
Turn Me On (“***”): Yet more whiplash!
After the fast-paced sensuality that was Love Child, I expected Accept to keep going with the faster speed. Instead, they scale it back once again, but they at least keep the speed like in Losing More Than You’ve Ever Had. If I had a complaint about this song, it would be that Udo Dirkschneider’s singing sounds a little more like yelling. Though this is mainly during key points rather than the whole song, it is still a little grating on the ears. As far as vocals are concerned, this is the weakest on the album.
Losers And Winners (“***”): A very intense song, Losers & Winners is a song that belongs on the streets. Feeling rather similar to London Leatherboys, this tune comes at you fast & furious. You’ve got the previously mentioned song’s instrumentation and “Fuck You” attitude, but Udo Dirkschneider sings more about relationships rather that bikers. He keeps the London Leatherboys’s tone & attitude, but tries to add a little more feeling, and it works for the most part.
Guardian Of The Night (“***”): I was a little confused by the beginning of this song. The first couple chords come out like Accept was going to do a ballad, and the guitar sounded slightly like a medieval lute. Sadly, after the beginning chords, it slides right into a non-ballad song. I’m really disappointed, since there isn’t a single metal ballad on here!
With that said, there really isn’t anything bad in here. The guitars and drums are great, and the singing is wonderful. Just know that if you’re expecting a metal ballad, you’ll be deceived in an instant.
Winter Dreams (“***”): Now this was the ballad I was expecting earlier!
This is actually a good song to end this album. It’s more laid-back than anything else on this album, and really does feel like something wintery, thanks in part to the church bells/chimes that accompanies the other instruments. Udo Dirkschneider takes his singing in a different direction in Winter Dreams, as he favors a more softer voice that rarely gets loud. Dare I say this, but Winter Dreams is a song that’s great for the holiday season, or maybe just for the snowy months.
Overall Impression & Rating
Balls To The Wall deserves every positive comment that comes it’s way. Despite having a short coming here and there, Accept created a heavy metal classic with this album. If you’re a die-hard metal fan that hasn’t come across this release, or you want to get into Heavy Metal, then get your balls (or ovaries) to the wall!
Balls To The Wall gets a 8 to 9 out of 10.
See you all next week, when the second leg of the review tour ends, and the break begins. Until then, stay Otaku!
Friday, February 14, 2014
The Top 5 Strongest Women In Anime
It’s been quite a while since I talked about anime characters on here. I’ve talked about nice guys, cute girls, and sexy girls that can kick a little ass. So, I’m going back to the fairer sex for another top 5 list, but this one’s gonna be a little different. This time around, I’m gonna look at what I consider to be the top 5 strongest females in anime. I’m not talking about physical strength (Although it’ll factor in a little for some), but more on the strength of their character. Their strength of personality, their conviction, and overall how they better themselves & others. Also, since it’s Valentine’s Day, I figured today’s a good day to talk about the ladies, and give you a little Valentine’s treat. Enjoy!
5) Chi from Chobits (Sample: “***”)
We start off this list with a character that you wouldn’t necessarily expect to be a strong individual. This is especially true at the beginning of Chobits, where Chi is essentially a baby/child, and has to be taught just about everything by Hideki. As she begins to learn and understand the world around her, she is capable of saying some incredibly profound & heartfelt things. So heartfelt, in fact, that she can change people, or at the very least make people feel better.
4) Sasami from Tenchi Muyo (Sample: “***”)
Sasami is a lot like Chi in certain respects. She’s young, sweet, and very eager to learn about the world. What sets Sasami apart from Chi is that, in a sense, doesn’t necessarily need to learn anymore. Thanks to the spirit of Tsunade living within her, there are moments where Sasami can exhibit moments of surprising maturity. Not only that, but he can cook, clean, and do a lot of things normal adults do. With that said, she still acts like a kid most of the time, and has all of the questions & vulnerabilities a child would typically have.
3) Amy from Sailor Moon (Sample: “***”)
I was not a Sailor Moon fan for the longest time. When I actually managed to catch an episode, chances are my parents would come in at the wrong opportunity, and they would typically pick on me because of it. After going through this a couple times, my mild enjoyment of the show turned into a quite hate. It wasn’t until about a year ago when I began going to Sailor Moon panels, and somehow my love for the show came back.
Even before this, I was always a fan of Amy, a.k.a. Sailor Mercury. She always seemed like the smartest of the bunch, and appeared to keep her emotions in check the best. On top of that, she was punctual, and always had a goal for herself. If that’s not an example of a strong girl/woman in anime, I don’t know what is.
2) Belldandy from Ah My Goddess (Sample: “***”)
Belldandy was just inches away from taking the number 1 spot. Practically inches away from number 1. Ultimately, what caused me to put her here was her emotions. For the most part, Belldandy can keep them in check. She’s calm, serene, and always has a smile on her face. There are moments in seasons 1 & 2, however, where her emotions can run wild. In particular, she can become rather angry, or incredibly jealous, and this sometimes leads into problems that everybody suffers through. With that said, Belldandy is the most compassionate female lead I’ve seen in years! She never judges anyone (Except for those who are evil. Even then, she’s willing to give them at least a second chance), and always does everything she can to make people happy, or lead them onto a path where they can find happiness themselves. Again, easily the most compassionate female lead I’ve had the pleasure to watch.
1) Prince Knight from Princess Knight (Sample: “***”)
You’re probably a little confused by this choice, and you probably don’t know who this character is. Well, it’s time for a little story:
Princess Knight was created by legendary animator Osamu Tezuka, who created equally legendary shows like Kimba the White Lion, Astro Boy, and Black Jack. What makes Princess Knight such a special show in his arsenal is that it was the first Shojo anime ever created, and Prince Knight is a rather special character. According to the story, a mischievous angel named Choppy gave an unborn girl the heart of a boy. After being born, this girl exhibits the braveness and courage of a boy, but still has the sweet tenderness of her gender. Oh, did I mention that she’s the princess of a place called Silverland, and because she was born as a girl, she had to disguise her gender because the kingdom could go to a more foul individual? Well, now I did.
What sets her apart from just about most other anime girls/women is that she understands the circumstance she’s been put in. She understands that her true identity could cause harm, but Prince Knight doesn’t mind. She doesn’t want people to be sad, and does all that she can for those who are downtrodden or can’t help themselves. Prince Knight knows many of the horrors of the world, and isn’t afraid to take them on.
I hope you’ve enjoyed this little bonus post on the strongest women in anime. See you all next time, and until then, stay Otaku!
5) Chi from Chobits (Sample: “***”)
We start off this list with a character that you wouldn’t necessarily expect to be a strong individual. This is especially true at the beginning of Chobits, where Chi is essentially a baby/child, and has to be taught just about everything by Hideki. As she begins to learn and understand the world around her, she is capable of saying some incredibly profound & heartfelt things. So heartfelt, in fact, that she can change people, or at the very least make people feel better.
4) Sasami from Tenchi Muyo (Sample: “***”)
Sasami is a lot like Chi in certain respects. She’s young, sweet, and very eager to learn about the world. What sets Sasami apart from Chi is that, in a sense, doesn’t necessarily need to learn anymore. Thanks to the spirit of Tsunade living within her, there are moments where Sasami can exhibit moments of surprising maturity. Not only that, but he can cook, clean, and do a lot of things normal adults do. With that said, she still acts like a kid most of the time, and has all of the questions & vulnerabilities a child would typically have.
3) Amy from Sailor Moon (Sample: “***”)
I was not a Sailor Moon fan for the longest time. When I actually managed to catch an episode, chances are my parents would come in at the wrong opportunity, and they would typically pick on me because of it. After going through this a couple times, my mild enjoyment of the show turned into a quite hate. It wasn’t until about a year ago when I began going to Sailor Moon panels, and somehow my love for the show came back.
Even before this, I was always a fan of Amy, a.k.a. Sailor Mercury. She always seemed like the smartest of the bunch, and appeared to keep her emotions in check the best. On top of that, she was punctual, and always had a goal for herself. If that’s not an example of a strong girl/woman in anime, I don’t know what is.
2) Belldandy from Ah My Goddess (Sample: “***”)
Belldandy was just inches away from taking the number 1 spot. Practically inches away from number 1. Ultimately, what caused me to put her here was her emotions. For the most part, Belldandy can keep them in check. She’s calm, serene, and always has a smile on her face. There are moments in seasons 1 & 2, however, where her emotions can run wild. In particular, she can become rather angry, or incredibly jealous, and this sometimes leads into problems that everybody suffers through. With that said, Belldandy is the most compassionate female lead I’ve seen in years! She never judges anyone (Except for those who are evil. Even then, she’s willing to give them at least a second chance), and always does everything she can to make people happy, or lead them onto a path where they can find happiness themselves. Again, easily the most compassionate female lead I’ve had the pleasure to watch.
1) Prince Knight from Princess Knight (Sample: “***”)
You’re probably a little confused by this choice, and you probably don’t know who this character is. Well, it’s time for a little story:
Princess Knight was created by legendary animator Osamu Tezuka, who created equally legendary shows like Kimba the White Lion, Astro Boy, and Black Jack. What makes Princess Knight such a special show in his arsenal is that it was the first Shojo anime ever created, and Prince Knight is a rather special character. According to the story, a mischievous angel named Choppy gave an unborn girl the heart of a boy. After being born, this girl exhibits the braveness and courage of a boy, but still has the sweet tenderness of her gender. Oh, did I mention that she’s the princess of a place called Silverland, and because she was born as a girl, she had to disguise her gender because the kingdom could go to a more foul individual? Well, now I did.
What sets her apart from just about most other anime girls/women is that she understands the circumstance she’s been put in. She understands that her true identity could cause harm, but Prince Knight doesn’t mind. She doesn’t want people to be sad, and does all that she can for those who are downtrodden or can’t help themselves. Prince Knight knows many of the horrors of the world, and isn’t afraid to take them on.
I hope you’ve enjoyed this little bonus post on the strongest women in anime. See you all next time, and until then, stay Otaku!
Monday, February 10, 2014
Korn: Untouchables Review
Welcome everyone!
Today’s review is from another band that took a while to get onto this blog. It’s not because I thought that they were bad, but more because I didn’t know which one of their albums to put up here. After looking through their discography, I found the album that seemed appropriate, just due to how strange it is, and how odd the circumstances of it’s creation was. Let’s stop the words right there, and take a look at Korn’s 2002 classic, Untouchables, and see if it deserves to be called such.
Background
Like the Japanese edition of Rammstein’s Reise Reise, and Judas Priest’s Turbo, Untouchables has an interesting story worth telling.
Korn had begun writing Untouchable in 2001, amidst a host of problems. There was tension between the band members (Which resulted in them heading to Arizona to write the album, in an attempt to ease things out), and there was the possibility of Reginald "Fieldy" Arvizu getting fired due to his drug problems (He ultimately didn’t get fired). The album was released on June 11, 2002, and a single was released on the same day (Here To Stay). It managed to sell 434, 000 copies within the first week, but it wasn’t able to surpass sales from The Eminem Show, which was released around the same time. Untouchables got a re-release on November 12th of the same year as a limited edition (The re-release was due to poor sales after the first week. The band blamed Untouchables’s sales on a leaked unfinished copy of the album, which got out a full 3 months before the official release), which included an alternate cover, bonus DVD, and alternate/live recordings.
Ironically, Untouchables was certified platinum a month after it’s initial release, and as of January 4, 2013, has sold 2,400,000 copies in the United States (It managed to sell 5 million copies worldwide). It has since been regarded as one of Korn’s greatest releases.
Songs
Here To Stay (“***”): The first of three singles off of Untouchables, Here to Stay is also the first song of the album. Jonathan Davis said the meaning of this song was as such:
“Here to Stay is basically about being fed up with people taking advantage of you. I wrote it when being angry of basically being born a nice guy. Nice people always get taken advantage of. I'm lashing out.”
That’s a pretty accurate description of this song. Here to Stay is filled with distorted & aggressive guitars, eerie & alien sounds, and loud/direct drumming. Couple with a rage-filled yet surprisingly clear voice, this song perfectly conveys what Jonathan Davis was trying to get across to the listener.
Make Believe (“***”): I’m usually not someone to complain about swearing in music, but I’m making a rare exception in Make Believe’s case. I don’t know if it’s just me, but it almost seems like every other word is “Fuck” or “Shit”. Again, I normally don’t say anything, but I’m saying at least something. As for everything else, it’s rather bland, but still has some entertaining value. Make Believe makes heavy usage of electronic beats that rarely changes tone/pace, and distorted vocals that’s sounds like a message from space (We’ll be taking about this again soon). The guitar work seems to take a back seat in this song, but once it shows up, it makes it’s presence know.
Blame (“***”): Blame makes heavy use of two things: guitars & drums. Whereas Make Believe pushed them towards the side to make room for the electronics, in this song they come at you with the force of a baseball bat that cracks your skull wide open. As for the electronic elements, they are more of a complementary aspect of this song rather than the driving force. Jonathan Davis’s singing has a ethereal aspect to it, but his voice also goes back to that trademarked brutality at the drop of a hat.
Hollow Life (“***”): If Korn were a group of Martians, and if they were a Heavy Metal band, then Hollow Life would be their theme song. Taking a very futuristic route, this tune relies on beautiful & haunting usage of electronics/sounds, while the guitars & drums are used in a complementary position (Kinda like Blame, but in reverse). Jonathan Davis’s singing in this very interesting: as he sings, he will either have a soft & haunting tone (Use for the majority of the song), or go to his trademarked wailing & yelling. Both singing styles don’t clash in the slightest, and fit the overall feeling of this song.
Bottled Up Inside (“***”): At first I was gonna say that Bottled Up Inside was exactly the same as Blame, and I’m right for the most part. It still has the instruments front & center, and it also has the electronic sounds, but it doesn’t use those sounds as much as they did in the previously mentioned song. The singing is pretty much the same as it was in Blame, although the ethereal aspect was severely scaled back. This isn’t quite as good as Blame, but it’s still kickass!
Thoughtless (“***”): The second single off of Untouchables, Thoughtless is a rather disturbing song. Although I didn’t find a Jonathan Davis description, after watching the music video, the message was quite clear. It’s about getting bullied & beaten by those that are supposedly better than you. It’s about feeling nothing but pain & anger during those moments, and it about finally getting back at those who taunted you, and rising up above your tormentors. The instrumentation reflects this, as the guitars, drums, sounds, and vocals are distorted & twisted, but the emotion comes off clear as glass. Thoughtless is also one of the faster songs on this album, and it can go my in a flash.
Hating (“***”): Here we go back into space!
I really can’t say much else about this song that I already talked about in Hollow Life. It goes for that same futuristic vibe & feeling, Jonathan Davis’s singing has that duality again, and the instrumentation takes up a complementary position (To be fair, the guitars & drums are a little more prominent in this song). If there is anything different to say, it would be that the future vibes in this song don’t quite fit as well as they did in Hollow Life. A little more underwhelming than the previously mention song, but nothing unbearable.
One More Time (“***”): Thoughtless but slower.....NEXT!
Alone I Break (“***”): The final single off of Untouchables, Alone I Break is a song filled with sorrow. Written at what was probably the toughest point for the band, Jonathan Davis has stated twice about what this song was about.
Quote 1
“I wrote that song in my house, before I put the studio in there. I had the drumming down, and Munky came in and laid some guitars over it, and it became this great song. It's one of my favorite songs that we've done. It's very different from what we're used to doing, and it really hits home. It was one of those moments when I was very depressed...That whole time around Untouchables, everybody in the band was going through all this bad stuff. And I was just feelin' it, so I wrote this song about being alone and breaking down, and not feeling like a man's supposed to feel. You're supposed to be tough and take all these problems. So I'm basically saying, 'Does it make me not a man if I'm upset about stuff?”
Quote 2
“I wrote it when I was going through a rough time. And it's basically a song about checking out. About things getting so bad that you don't want to be here anymore.”
Like with Here To Stay, these are accurate descriptions. Done as a power ballad, Korn made use of rather clean vocals, synthetic drum beats (It’s not quite as noticeable here as it was in Judas Priest’s Turbo, but you can find it if you know what to look for), and special 14-string guitars that created a host of choruses. Mixed together, this comes across as one of the best Heavy Metal ballads ever produced.
Embrace (“***”): Okay, we’ve gone into space twice so far, so who’s up for a little bit of time travel?
Embrace feels like a throwback to earlier works, mainly Follow the Leader & Issues. Gone is the electronic sounds (The obvious ones, at least), and instead the instrumentation & singing takes center stage. The guitars are brutal, the drumming is furious, and the singing is top notch. Easily my favorite song off of the album!
Beat It Upright (“***”): There’s definitely been a fair share of songs in my life that have made me a little uncomfortable, but this one’s pretty close to the top. For starters, this is an incredibly sexist song for Korn, and they’ve been known for some less-than-savory tune. This borderlines on downright friggen creepy, given how the violence is portrayed. The singing is still good, but it’s the instrumentation that’s both brutal, yet mildly funny. It still has the intensity Korn is known for, but they made the beat sound like bouncing. Maybe as a reference to breasts, I’m not sure.
Wake Up Hate (“***”): A strange song, Wake Up Hate is maybe the weakest tune on Untouchables. For starters, this almost sounds like it was completely made with electronics/keyboarding. I’m all for songs made this way, but with how they couple the instrumentation to the electronics/keyboarding, it feels like pieces from two different songs were mashed together. As for the singing, Jonathan Davis comes across okay, but the electronic effects used distort it so it’s somewhat unidentifiable. I’d still say listen to Wake Up Hate, but only once or twice.
I’m Hiding (“***”): Make Believe but slower.....NEXT!
No One’s There (“***”): Untouchables concludes with this song, No One’s There. Much like Alone I Break, this tune seems to go in a ballad direction. However, Alone I Break seems to have a slightly faster pace, while No One’s There feels rather sludgy. There is one point where the instrumentation does pick up some speed, but it almost immediately goes back to it’s sluggish pace. There’s an incredibly mournful aura surrounding the guitars & drumming, and there almost no electronic effects used (If there were any, I didn’t hear them). Jonathan Davis really goes all out in this last song, as he almost pulls a World Coming Down, and fills his voice with sorrow. A fantastic way to end this album!
Overall Impression & Rating
Untouchables is a rather strange album. Written at a time when Korn was going through some personal issues (Get it?), it has the vibes & feelings of their previous two albums, while at the same time trying to sound more new & fresh. While this doesn’t make for a bad album (It’s one of my favorite albums of all time), this does cause it to be a bipolar & partially underwhelming album. Despite it’s flaws, Untouchables is a damn good album to bang your head to, and represents a intriguing entry for one of the world’s most iconic Nu Metal artists.
Untouchables gets a 7 to 8.2 out of 10.
See you all next time, when we’ll have our balls to the wall. Until then, stay Otaku!
***
Fact: In a 2013 interview with Scuzz, the band revealed that the total recording costs of Untouchables were estimated at $750,000 due to living expenses and keeping their 15-person crew on retainer for the nearly two years it took to finish the album (Taken from the Wikipedia page).
***
If you’d like to listen to the unfinished, unreleased edition of the album, click on the link below
http://www.youtube.com/watch?v=S5JNqmHN1lk
Today’s review is from another band that took a while to get onto this blog. It’s not because I thought that they were bad, but more because I didn’t know which one of their albums to put up here. After looking through their discography, I found the album that seemed appropriate, just due to how strange it is, and how odd the circumstances of it’s creation was. Let’s stop the words right there, and take a look at Korn’s 2002 classic, Untouchables, and see if it deserves to be called such.
.jpg) |
| Original Cover |
.jpg) |
| Limited Edition/Re-Release Cover |
Like the Japanese edition of Rammstein’s Reise Reise, and Judas Priest’s Turbo, Untouchables has an interesting story worth telling.
Korn had begun writing Untouchable in 2001, amidst a host of problems. There was tension between the band members (Which resulted in them heading to Arizona to write the album, in an attempt to ease things out), and there was the possibility of Reginald "Fieldy" Arvizu getting fired due to his drug problems (He ultimately didn’t get fired). The album was released on June 11, 2002, and a single was released on the same day (Here To Stay). It managed to sell 434, 000 copies within the first week, but it wasn’t able to surpass sales from The Eminem Show, which was released around the same time. Untouchables got a re-release on November 12th of the same year as a limited edition (The re-release was due to poor sales after the first week. The band blamed Untouchables’s sales on a leaked unfinished copy of the album, which got out a full 3 months before the official release), which included an alternate cover, bonus DVD, and alternate/live recordings.
Ironically, Untouchables was certified platinum a month after it’s initial release, and as of January 4, 2013, has sold 2,400,000 copies in the United States (It managed to sell 5 million copies worldwide). It has since been regarded as one of Korn’s greatest releases.
Songs
Here To Stay (“***”): The first of three singles off of Untouchables, Here to Stay is also the first song of the album. Jonathan Davis said the meaning of this song was as such:
“Here to Stay is basically about being fed up with people taking advantage of you. I wrote it when being angry of basically being born a nice guy. Nice people always get taken advantage of. I'm lashing out.”
That’s a pretty accurate description of this song. Here to Stay is filled with distorted & aggressive guitars, eerie & alien sounds, and loud/direct drumming. Couple with a rage-filled yet surprisingly clear voice, this song perfectly conveys what Jonathan Davis was trying to get across to the listener.
Make Believe (“***”): I’m usually not someone to complain about swearing in music, but I’m making a rare exception in Make Believe’s case. I don’t know if it’s just me, but it almost seems like every other word is “Fuck” or “Shit”. Again, I normally don’t say anything, but I’m saying at least something. As for everything else, it’s rather bland, but still has some entertaining value. Make Believe makes heavy usage of electronic beats that rarely changes tone/pace, and distorted vocals that’s sounds like a message from space (We’ll be taking about this again soon). The guitar work seems to take a back seat in this song, but once it shows up, it makes it’s presence know.
Blame (“***”): Blame makes heavy use of two things: guitars & drums. Whereas Make Believe pushed them towards the side to make room for the electronics, in this song they come at you with the force of a baseball bat that cracks your skull wide open. As for the electronic elements, they are more of a complementary aspect of this song rather than the driving force. Jonathan Davis’s singing has a ethereal aspect to it, but his voice also goes back to that trademarked brutality at the drop of a hat.
Hollow Life (“***”): If Korn were a group of Martians, and if they were a Heavy Metal band, then Hollow Life would be their theme song. Taking a very futuristic route, this tune relies on beautiful & haunting usage of electronics/sounds, while the guitars & drums are used in a complementary position (Kinda like Blame, but in reverse). Jonathan Davis’s singing in this very interesting: as he sings, he will either have a soft & haunting tone (Use for the majority of the song), or go to his trademarked wailing & yelling. Both singing styles don’t clash in the slightest, and fit the overall feeling of this song.
Bottled Up Inside (“***”): At first I was gonna say that Bottled Up Inside was exactly the same as Blame, and I’m right for the most part. It still has the instruments front & center, and it also has the electronic sounds, but it doesn’t use those sounds as much as they did in the previously mentioned song. The singing is pretty much the same as it was in Blame, although the ethereal aspect was severely scaled back. This isn’t quite as good as Blame, but it’s still kickass!
Thoughtless (“***”): The second single off of Untouchables, Thoughtless is a rather disturbing song. Although I didn’t find a Jonathan Davis description, after watching the music video, the message was quite clear. It’s about getting bullied & beaten by those that are supposedly better than you. It’s about feeling nothing but pain & anger during those moments, and it about finally getting back at those who taunted you, and rising up above your tormentors. The instrumentation reflects this, as the guitars, drums, sounds, and vocals are distorted & twisted, but the emotion comes off clear as glass. Thoughtless is also one of the faster songs on this album, and it can go my in a flash.
Hating (“***”): Here we go back into space!
I really can’t say much else about this song that I already talked about in Hollow Life. It goes for that same futuristic vibe & feeling, Jonathan Davis’s singing has that duality again, and the instrumentation takes up a complementary position (To be fair, the guitars & drums are a little more prominent in this song). If there is anything different to say, it would be that the future vibes in this song don’t quite fit as well as they did in Hollow Life. A little more underwhelming than the previously mention song, but nothing unbearable.
One More Time (“***”): Thoughtless but slower.....NEXT!
Alone I Break (“***”): The final single off of Untouchables, Alone I Break is a song filled with sorrow. Written at what was probably the toughest point for the band, Jonathan Davis has stated twice about what this song was about.
Quote 1
“I wrote that song in my house, before I put the studio in there. I had the drumming down, and Munky came in and laid some guitars over it, and it became this great song. It's one of my favorite songs that we've done. It's very different from what we're used to doing, and it really hits home. It was one of those moments when I was very depressed...That whole time around Untouchables, everybody in the band was going through all this bad stuff. And I was just feelin' it, so I wrote this song about being alone and breaking down, and not feeling like a man's supposed to feel. You're supposed to be tough and take all these problems. So I'm basically saying, 'Does it make me not a man if I'm upset about stuff?”
Quote 2
“I wrote it when I was going through a rough time. And it's basically a song about checking out. About things getting so bad that you don't want to be here anymore.”
Like with Here To Stay, these are accurate descriptions. Done as a power ballad, Korn made use of rather clean vocals, synthetic drum beats (It’s not quite as noticeable here as it was in Judas Priest’s Turbo, but you can find it if you know what to look for), and special 14-string guitars that created a host of choruses. Mixed together, this comes across as one of the best Heavy Metal ballads ever produced.
Embrace (“***”): Okay, we’ve gone into space twice so far, so who’s up for a little bit of time travel?
Embrace feels like a throwback to earlier works, mainly Follow the Leader & Issues. Gone is the electronic sounds (The obvious ones, at least), and instead the instrumentation & singing takes center stage. The guitars are brutal, the drumming is furious, and the singing is top notch. Easily my favorite song off of the album!
Beat It Upright (“***”): There’s definitely been a fair share of songs in my life that have made me a little uncomfortable, but this one’s pretty close to the top. For starters, this is an incredibly sexist song for Korn, and they’ve been known for some less-than-savory tune. This borderlines on downright friggen creepy, given how the violence is portrayed. The singing is still good, but it’s the instrumentation that’s both brutal, yet mildly funny. It still has the intensity Korn is known for, but they made the beat sound like bouncing. Maybe as a reference to breasts, I’m not sure.
Wake Up Hate (“***”): A strange song, Wake Up Hate is maybe the weakest tune on Untouchables. For starters, this almost sounds like it was completely made with electronics/keyboarding. I’m all for songs made this way, but with how they couple the instrumentation to the electronics/keyboarding, it feels like pieces from two different songs were mashed together. As for the singing, Jonathan Davis comes across okay, but the electronic effects used distort it so it’s somewhat unidentifiable. I’d still say listen to Wake Up Hate, but only once or twice.
I’m Hiding (“***”): Make Believe but slower.....NEXT!
No One’s There (“***”): Untouchables concludes with this song, No One’s There. Much like Alone I Break, this tune seems to go in a ballad direction. However, Alone I Break seems to have a slightly faster pace, while No One’s There feels rather sludgy. There is one point where the instrumentation does pick up some speed, but it almost immediately goes back to it’s sluggish pace. There’s an incredibly mournful aura surrounding the guitars & drumming, and there almost no electronic effects used (If there were any, I didn’t hear them). Jonathan Davis really goes all out in this last song, as he almost pulls a World Coming Down, and fills his voice with sorrow. A fantastic way to end this album!
Overall Impression & Rating
Untouchables is a rather strange album. Written at a time when Korn was going through some personal issues (Get it?), it has the vibes & feelings of their previous two albums, while at the same time trying to sound more new & fresh. While this doesn’t make for a bad album (It’s one of my favorite albums of all time), this does cause it to be a bipolar & partially underwhelming album. Despite it’s flaws, Untouchables is a damn good album to bang your head to, and represents a intriguing entry for one of the world’s most iconic Nu Metal artists.
Untouchables gets a 7 to 8.2 out of 10.
See you all next time, when we’ll have our balls to the wall. Until then, stay Otaku!
***
Fact: In a 2013 interview with Scuzz, the band revealed that the total recording costs of Untouchables were estimated at $750,000 due to living expenses and keeping their 15-person crew on retainer for the nearly two years it took to finish the album (Taken from the Wikipedia page).
***
If you’d like to listen to the unfinished, unreleased edition of the album, click on the link below
http://www.youtube.com/watch?v=S5JNqmHN1lk
Monday, February 3, 2014
Turmion Katilot: Technodiktator Review
Hey guys & gals!
Today’s post mark the 3rd of February, and 11 days later is the well loved/hated holiday that is Valentine’s Day. Last year I had a blast with my friend Amanda, where we decided to raise our middle finger to the whole lovey-dovey vibe by watching the 5th Die Hard movie, and this year won’t be any different (We’re more than likely gonna watch the Lego Movie....yes we’re excited!!).
As for the album that’s getting reviewed in this post, we’ve got something special. The album for today is hard, brutal, fast, and incredibly energetic. The music will get you pumped, and get you onto the dance floor. So, let’s get a little smooth, put on our best dancing clothes, and examine Turmion Katilot’s most recent album, Technodiktator. Let’s dance!!
(For the purpose of this review, I’ll be focusing mainly on the instrumentation of the songs. While I know a little bit of German, I know far less of the Finnish language! Sorry to anyone who wanted me to talk about this.)
Background
Coming onto the metal scene in 2003, Turmion Katilot (Midwives of Perdition or Midwives of Destruction, depending on the translation) was formed by Petja Turunen (Better known as MC Raaka Pee) & DJ Vastapallo (Who later left the band). The live lineup includes Spellgoth (Who also work in the bands Trollheim's Grott & Horna), Master Bates, Janne Tolsa (Also known as RunQ, who work with the bands Tarot & Eternal Tears of Sorrow), and DQ. Since their forming, the band has released 5 ass-kicking albums, the latest of which is Technodiktator, which was released on September 27, 2013. The band stated that this album is dedicated to the dance music pioneers of the 90s, as evident by the overall feel of the songs.
Songs
Silmät Sumeat (Eyes Blurry)(“***”): We begin the regime of the Technodiktator with this number, a song that’s infused to the core with the techno/industrial sound that we’ve all come to recognize from Turmion Katilot. Silmät Sumeat is a incredibly fast-paced song, as it has an intensity that practically refuses to slow down (Even when the song slows down just a tiny bit, you can tell that it just wants to jump right back onto the fast track). A great want to start off the album!
Antaa Palaa (Lets Go Back To)(“***”): Talk about some whiplash! Antaa Palaa still has that intensity that was first provided by Silmät Sumeat, but it decides to slow down a little bit. Because of this, you can feel a little more emotion from this song. Antaa Palaa also has more of an even mix between the instrumentation & techno/keyboarding, where as the previous song felt imbalanced (But not necessarily in a bad way) in this regard. If I had any complaint, it would be the usage of what I believed was Saxophone. I’m not complaining about the usage of it, because I found that it added something. I’m only complaining about the fact that they hardly used it at all. It only comes in near the end of the song, then it’s just gone!
Nimi Kivesaa (Name Of The Stone)(“***”): Taking a cue from the previous song, Nimi Kivesaa is another song that decides to go along a little more slowly. This time around, the song relies much more on it’s instrumentation, with the techno/keyboarding taking on more of a support role. This is really evident in the incredibly heavy drumming and guitar playing, as it borderlines on overwhelming. Given what Turmion Katilot is known for, I’m not surprised.
Pyha Maa (Holy Land)(“***”): Despite being the 2nd single to have been released before the Technodiktator came to power, Pyha Maa was the first song I liked off of this album. A rather even mix between heavy instrumentation & futuristic techno/keyboarding, it also knows how to be both slow and fast at the same time. It’s also knows when to be either just fast or slow, as evident by certain moments in the song. Again, my favorite song off of this album!
Jalopiina (Precious Lida)(“***”): This was the first single off of Technodiktator, and it is a rather strange one. Turmion Katilot decided to go for a western theme with Jalopiina, which is very evident by certain sounds used, as well as the way the guitars & drums were used as well. I’m quite surprised that the band hasn’t made a music video with this song yet, as I suspect that Turmion Katilot would have a field day with the western theme. Maybe a shoot out, maybe playing cards in the saloon, or even riding off into the sunset with a geisha beside them (There’s a point or two in the song where there’s a hint of Asian influence. That’s the only reason why I brought up the geisha thing).
Elävä Koneeksi (Living A Machine)(“***”): When Turmion Katilot set out to make an album that gave tribute to dance musicians of the 90s, Elävä Koneeksi is a perfect representation of that mission. Fast, unrelenting, intense, and a brutal usage of instruments & sounds, your body will suddenly be swept up by the beat, and onto the dance floor faster than the blink of an eye!
Rehtori (Principal)(“***”): A very bizarre & creepy piece of propaganda in the Technodiktator’s arsenal. I say bizarre, because Rehtori changes it’s speed at the drop of a hat. It could go from fast to slow at the snap of someone’s fingers, and at other times it seems to be both fast & slow simultaneously. Most of the time it works fine, but it seems that the song hiccups once or twice when it changes speeds. As for the reason why I think Rehtori is creepy.....let’s just say that songs named after a leader such as a principle (I’m assuming the band is singing about a school principle) aren’t always the most flattering.
Beibe (???)(“***”): Another song that sounds absolutely appropriate on the dance floor, Beibe is also another tune that matches up with Turmion Katilot’s goals with this album. There’s a heavy usage of techno & sound effects, although there isn’t a lack of instrumentation at all. The two sides complement each other nicely (As they did in Pyha Maa), and neither one of them tries to overshadow the other. A great song overall!
To Be Continued Act 1 (“***”): And now we come to the final song on this album, and boy or boy it’s a doozy. For starters, it reminds me of something that Metallica would do (Look up The Unforgiven II/III). It’s a rather goofy name, and one that I think doesn’t suit this song. Secondly, it is the longest tune on Technodiktator. Clocking in at 8 minutes & 28 seconds, none of the other songs can compare to it. Not only that, but with the way it presents the instrumentation & singing, it feels like it’s much longer than it’s actual running time. With that said, there are some positive aspects to this tune. For starters, it’s got a really great pace. The instrumentation & keyboarding are played slowly for the most part, with an occasional break for something that’s faster than the rest. Not only that, the overall quality of the instrumentation, techno/keyboarding, and singing is nice. This isn’t my favorite song off of Technodiktator, but it’s not a massively ugly song.
Overall Impression & Rating
Technodiktator is about as close to a perfect album as you can get. Although there’s just one song on here I don’t like (Even then, I thought it was okay), it doesn’t diminish the rest of the music. It’s albums like this that make me wonder why Turmion Katilot isn’t popular over in the States, or even the rest of the world for that matter. If you want an album that gets your blood pumping, gets you in the mood, or gets you to dance, join the Technodiktator and his musical regime!
Technodiktator gets a 9 out of 10
See you all next time, when we’ll look at something a little untouchable. Until then, stay Otaku!
Today’s post mark the 3rd of February, and 11 days later is the well loved/hated holiday that is Valentine’s Day. Last year I had a blast with my friend Amanda, where we decided to raise our middle finger to the whole lovey-dovey vibe by watching the 5th Die Hard movie, and this year won’t be any different (We’re more than likely gonna watch the Lego Movie....yes we’re excited!!).
As for the album that’s getting reviewed in this post, we’ve got something special. The album for today is hard, brutal, fast, and incredibly energetic. The music will get you pumped, and get you onto the dance floor. So, let’s get a little smooth, put on our best dancing clothes, and examine Turmion Katilot’s most recent album, Technodiktator. Let’s dance!!
(For the purpose of this review, I’ll be focusing mainly on the instrumentation of the songs. While I know a little bit of German, I know far less of the Finnish language! Sorry to anyone who wanted me to talk about this.)
Coming onto the metal scene in 2003, Turmion Katilot (Midwives of Perdition or Midwives of Destruction, depending on the translation) was formed by Petja Turunen (Better known as MC Raaka Pee) & DJ Vastapallo (Who later left the band). The live lineup includes Spellgoth (Who also work in the bands Trollheim's Grott & Horna), Master Bates, Janne Tolsa (Also known as RunQ, who work with the bands Tarot & Eternal Tears of Sorrow), and DQ. Since their forming, the band has released 5 ass-kicking albums, the latest of which is Technodiktator, which was released on September 27, 2013. The band stated that this album is dedicated to the dance music pioneers of the 90s, as evident by the overall feel of the songs.
Songs
Silmät Sumeat (Eyes Blurry)(“***”): We begin the regime of the Technodiktator with this number, a song that’s infused to the core with the techno/industrial sound that we’ve all come to recognize from Turmion Katilot. Silmät Sumeat is a incredibly fast-paced song, as it has an intensity that practically refuses to slow down (Even when the song slows down just a tiny bit, you can tell that it just wants to jump right back onto the fast track). A great want to start off the album!
Antaa Palaa (Lets Go Back To)(“***”): Talk about some whiplash! Antaa Palaa still has that intensity that was first provided by Silmät Sumeat, but it decides to slow down a little bit. Because of this, you can feel a little more emotion from this song. Antaa Palaa also has more of an even mix between the instrumentation & techno/keyboarding, where as the previous song felt imbalanced (But not necessarily in a bad way) in this regard. If I had any complaint, it would be the usage of what I believed was Saxophone. I’m not complaining about the usage of it, because I found that it added something. I’m only complaining about the fact that they hardly used it at all. It only comes in near the end of the song, then it’s just gone!
Nimi Kivesaa (Name Of The Stone)(“***”): Taking a cue from the previous song, Nimi Kivesaa is another song that decides to go along a little more slowly. This time around, the song relies much more on it’s instrumentation, with the techno/keyboarding taking on more of a support role. This is really evident in the incredibly heavy drumming and guitar playing, as it borderlines on overwhelming. Given what Turmion Katilot is known for, I’m not surprised.
Pyha Maa (Holy Land)(“***”): Despite being the 2nd single to have been released before the Technodiktator came to power, Pyha Maa was the first song I liked off of this album. A rather even mix between heavy instrumentation & futuristic techno/keyboarding, it also knows how to be both slow and fast at the same time. It’s also knows when to be either just fast or slow, as evident by certain moments in the song. Again, my favorite song off of this album!
Jalopiina (Precious Lida)(“***”): This was the first single off of Technodiktator, and it is a rather strange one. Turmion Katilot decided to go for a western theme with Jalopiina, which is very evident by certain sounds used, as well as the way the guitars & drums were used as well. I’m quite surprised that the band hasn’t made a music video with this song yet, as I suspect that Turmion Katilot would have a field day with the western theme. Maybe a shoot out, maybe playing cards in the saloon, or even riding off into the sunset with a geisha beside them (There’s a point or two in the song where there’s a hint of Asian influence. That’s the only reason why I brought up the geisha thing).
Elävä Koneeksi (Living A Machine)(“***”): When Turmion Katilot set out to make an album that gave tribute to dance musicians of the 90s, Elävä Koneeksi is a perfect representation of that mission. Fast, unrelenting, intense, and a brutal usage of instruments & sounds, your body will suddenly be swept up by the beat, and onto the dance floor faster than the blink of an eye!
Rehtori (Principal)(“***”): A very bizarre & creepy piece of propaganda in the Technodiktator’s arsenal. I say bizarre, because Rehtori changes it’s speed at the drop of a hat. It could go from fast to slow at the snap of someone’s fingers, and at other times it seems to be both fast & slow simultaneously. Most of the time it works fine, but it seems that the song hiccups once or twice when it changes speeds. As for the reason why I think Rehtori is creepy.....let’s just say that songs named after a leader such as a principle (I’m assuming the band is singing about a school principle) aren’t always the most flattering.
Beibe (???)(“***”): Another song that sounds absolutely appropriate on the dance floor, Beibe is also another tune that matches up with Turmion Katilot’s goals with this album. There’s a heavy usage of techno & sound effects, although there isn’t a lack of instrumentation at all. The two sides complement each other nicely (As they did in Pyha Maa), and neither one of them tries to overshadow the other. A great song overall!
To Be Continued Act 1 (“***”): And now we come to the final song on this album, and boy or boy it’s a doozy. For starters, it reminds me of something that Metallica would do (Look up The Unforgiven II/III). It’s a rather goofy name, and one that I think doesn’t suit this song. Secondly, it is the longest tune on Technodiktator. Clocking in at 8 minutes & 28 seconds, none of the other songs can compare to it. Not only that, but with the way it presents the instrumentation & singing, it feels like it’s much longer than it’s actual running time. With that said, there are some positive aspects to this tune. For starters, it’s got a really great pace. The instrumentation & keyboarding are played slowly for the most part, with an occasional break for something that’s faster than the rest. Not only that, the overall quality of the instrumentation, techno/keyboarding, and singing is nice. This isn’t my favorite song off of Technodiktator, but it’s not a massively ugly song.
Overall Impression & Rating
Technodiktator is about as close to a perfect album as you can get. Although there’s just one song on here I don’t like (Even then, I thought it was okay), it doesn’t diminish the rest of the music. It’s albums like this that make me wonder why Turmion Katilot isn’t popular over in the States, or even the rest of the world for that matter. If you want an album that gets your blood pumping, gets you in the mood, or gets you to dance, join the Technodiktator and his musical regime!
Technodiktator gets a 9 out of 10
See you all next time, when we’ll look at something a little untouchable. Until then, stay Otaku!
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