The might Gorguts, who added atmosphere to thunderous Florida-style death metal before deviating into labyrithine riff progressive death metal on Obscura and From Wisdom to Hate, and then fading into obscurity with only one resurrecting as modern metalcore band Negativa, plan to return on September 3 with a new album entitled Colored Sands and a tour to follow.
If you don’t hear the heavy metal world pounding on the door to demand to hear it, here is why: the name is obviously of the type that is used by modern metal bands, including metalcore and “progressive metal” that is mostly indie with some progressive and very little metal, and thus, it’s unlikely that we’re going to get Considered Dead II, or even Obscura II. In fact, what it sounds like we are going to get is another modern metal album that, because it has abandoned what it is to be metal in spirit and composition, is a diverse collage of bits in the modern style, which means a giant indecisive waffle that leaves you feeling empty after consumption.
As the staff optimist here at DeathMetal.org, I am hoping otherwise, and putting my trust in Luc Lemay and team’s solid record in the past. However, the team is entirely different now, except for Lemay. Kevin Hufnagel (Dysrhythmia) is on rhythm guitars, Colin Marston (Behold… The Arctopus, Dysrhythmia) on bass and John Longstreth (Origin, Angelcorpse) on drums. This also makes metalheads uneasy, because no matter how much they “love true metal,” Marston and Hufnagel are from a hipster metalcore band.
Still, we preserve optimism. The hope is that Gorguts will make something interesting. That excludes technical metalcore. I would rather they released a rockabilly record that join the stupid and horrible trend of mixing Fugazi, frenetic 1970s jazz fusion, and a few metal riffs and calling it “innovation” when by definition it’s a recycling of past ideas. Time will tell, and we can only hope that Gorguts rise above the pack yet again and bring us a vision of something profound instead of something compliant.
The holiday comes every year. The International Day of Slayer is a day to celebrate both being metal and worshiping Slayer by playing loud Slayer and not going to work.
This day is important because it affirms our cultural identity as metalheads through the band that most exemplifies metal of any band through all of history. Slayer made metal into what it always yearned to be: a fully intense, terrifying, apocalyptic and mythological view of human decline and the need to reject society in order to not get dragged down with it.
It’s also singularly intense and powerful music. Today is a good day to not go to work; instead, listen to Slayer.
How to Celebrate
Listen to Slayer at full blast in your car.
Listen to Slayer at full blast in your home.
Listen to Slayer at full blast at your place of employment.
Listen to Slayer at full blast in any public place you prefer.
DO NOT use headphones! The objective of this day is for everyone within earshot to understand that it is the National Day of Slayer. National holidays in America aren’t just about celebrating; they’re about forcing it upon non-participants.
Taking that participation to a problematic level
Stage a “Slay-out.” Don’t go to work. Listen to Slayer.
Have a huge block party that clogs up a street in your neighborhood. Blast Slayer albums all evening. Get police cruisers and helicopters on the scene. Finish with a full-scale riot.
Spray paint Slayer logos on churches, synagogues, or cemeteries.
Play Slayer covers with your own band (since 99% of your riffs are stolen from Slayer anyway).
Having discovered Põhjast recently, the DeathMetal.org team was psyched at this chance to interview Eric Syre (vocals) and Gates (guitar) of this energetic new band.
Combining the atmosphere of black metal with the speed and riffing of old school doom metal, Põhjast revive the classic metal vibe as hybridized with the adventurous and somewhat darker spirit of the northern styles. The result is both satisfying to anyone who enjoys Angel Witch or Candlemass, but might also appeal to those who keep old Darkthrone and Immortal on hand for daily listening.
The result is a band that avoids the retro backward-looking sensation of many recent releases, but also bypasses the intellectual forgery that is the assumption that making Sonic Youth ripoff albums with black metal logos is somehow a motion “forward.” You’ll be hearing more of them and their energetic vocalist Eric Syre, who channels three decades of metal talent into a single voice…
When did you discover you had a talent for classic metal vocals? How did you form the understanding of melody and sonic topography that guides these vocals? Who were your influences? Why haven’t we heard this voice before?
I have always been into clean signing and started as a singer in a rock band back in the early 90s. I also did some choir work for different projects in the past. When the time came for me to start my own bands I just ventured into heavier music and adapted my vocals to it. I have very little musical training so I work a lot with instinct and feeling, improvising vocal lines first and then reworking them with a keyboard or an acoustic guitar to make them musically “right.” I try to stay away from copying the riffs I sing over and come up with a melody standing on its own. It complements the music a lot better and expands the palette of feelings the whole song has to offer.
As far as influences, I always liked singers who had some grain to their voices, not the perfect-sounding ones. I have a baritone/bass range and I guess that naturally I prefer singers close that range. I have always been into Bathory and Candlemass so I guess you can find traces of both Quorthon and Messiah in my vocals. Bruce Dickinson remains the ultimate clean vocalist in the metal genre, for me. Dio and Gillan are also vocalists I have high esteem for. I also like the octavists singers. They are out of my range but I admire the power and resonance of their voices.
Tell me about how Põhjast came to be. I am told that the band is scattered across the globe, and you collaborate remotely. How do you do this?
We are scattered here and there, both in Europe and America. I am located in Quebec, Canada. With the technology which revolutionized the recording process in the last decade, it became a lot easier to have such a band. They record the music in Estonia and I do my parts here. We exchange emails and samples and, like in any normal band, we come to a conclusion where everything pleases us enough to release the music. It just requires a bit more time and technicalities. I sometimes miss the whole “rehearsal room feeling” but so far it’s the only way to make it work.
What style of music would you describe Matused as being, and how does it differ from previous Põhjast work? Can you tell us what “Matused” and “Põhjast” mean in Estonian? Does the band have any influences, and do they show on this album?
This new album is a good follow-up to the previous one Thou strong, Stern Death, released in 2012. It has some doomier elements, a little more classic Heavy Metal to it and the references to Bathory are present more than ever. To me it sounds like Scandinavian/Baltic Metal should sound; It’s heavy, cold and pounding. If I am not mistaken, “Matused” means “funerals.” It obviously refers to the lyrics of all songs. “Põhjast” means “north,” or at least that’s the understanding I have of the word. I speak French so you can understand my limits with Estonian.
Maybe Gates (guitars) can elaborate a bit more:
Exactly, Eric is right: “Matused” means funerals in Estonian and the name of the album is connetected with the album lyrics. The name of the project — Põhjast — means both the direction of North and the base or foundation of something — a revival, the end of something old and the birth of something new. Therefore the name has a much deeper meaning, at least for me, than just a mere name of a band.
Definitely the project has its own influencers. I personally have been greatly influenced by such persons as Quorthon and Abbath. Both have paved the way to extraordinary music styles. May these be black metal or viking metal, there’s no difference – everyone who have heard their creation can admit that the music is special and that they have not heard anything like this before.
I am not inspired only by their music. I find their healthy sense of humor and attitude towards life inspiring as well. I have always enjoyed the interviews of Abbath — his interviews from 1991 in Septicore and in 2007 in Inferno are both equally pure gold to me.
However, if I should still generalize, then the music of Põhjast can be categorized under Scandinavian Metal — one can certainly detect similarities to Oz, Bathory, Immortal, Morgana Lefay and Candlemass.
Do you think the “true” styles of metal are experiencing a resurgence? If so, why? Is Põhjast part of this, or building on what it has done? If the latter, where do you think your music is going, both stylistically and in terms of content?
I don’t think Põhjast is part of anything. The music stands on its own on among a well-established tradition of European Metal. You can hear traces of classic metal, probably due to my vocal approach. I do not want to link what we do with any of the current “retro” or “true” trends. If there is a resurgence of classic metal it’s probably due to the fact that what’s current isn’t that interesting for the record-buying public. I am just back from the Maryland Deathfest and I can tell you that the people attending there longed for good old heavy music. Most of the acts there either disbanded years ago and reformed recently or were directly linked or influenced older waves of metal.
I agree with Eric — Põhjast is not trying to follow trends.
I personally do not listen to a very wide variey of stuff – I listen the things that I used to listen to in my “youth”, be that either Bathory or The Smiths. I have never had an ambition to “invent a bicycle”. I have always wished to create the music that I admire. I wouldn’t call it plagiarism, rather as a bow and a hommage towards the musicians I admire, hoping that the music we make is worthy enough. If not, let it sink into the obscurity of ages…
When you sing, how do you pick the notes and textures you use? How much of it is based on the music as written, and how much is your own interpretation of where it should go? Are the rest of Põhjast flexible about giving you space to create?
In Põhjast, everything is already written and recorded before I even start working on the vocals. I work on finished songs so I need to adjust everything I do to the reference files I get. I usually start improvising vocal lines and then refine everything using keyboards or classical guitars as guidelines. I try to have everything in tune but also keep a lot of notes “on the edge,” if you know what I mean. Quorthon used to do that a lot (voluntarily or not) and I like that. It’s important for me to write according to my vocal range but I also try my best to fit the vocals with the mood of the songs. This is the highest in pitch I ever went on a record so far as I am more of a baritone/bass singer. It’s a good thing to have completed songs to work over as I can get the whole feel of it a lot better. Sometimes I hit a wall trying to fit in patterns and melodies as the lyrics are also completed. It’s a maze I come out of with time and a lot of demo recordings. I get total creative freedom from the rest of the band and I truly appreciate that. They trust me a lot as they rarely or never hear anything up until I send them all the vocal tracks at once.
What do you think makes a good metal band? Is there an outlook, content or stylistic direction that is uniquely “metal”? Can this be lost such that a band could use metal riffs, techniques, etc. and still not be metal?
If you keep aside the usual instrumentation (guitars, bass, drums, vocals), metal has this abrasiveness and weight you rarely find in other genres. Heaviness isn’t all about tuning down and playing loud, it has a lot to do with the whole package built around the music, the themes, the vocals and even the artwork. Metal is this visceral manifestation of the darker side of human nature trough music built around riffs played on electric guitars and accompanied by pounding drums and intense vocals. It requires passion and dedication to make it sound right and it’s no wonder enthusiasts of the genre smells the fake ones miles away. Listen to Front Line Assembly’s Millenium or Skinny Puppy’s The Process to see if using metal riffs automatically makes metal music. I like those albums but they’re definitely not Metal.
Why do you think that black metal (which seems to be a partial influence on Põhjast) exploded as it did? Was there a mental state required to bring it about? Or was it all just music?
I like to think that there has to be more than just the music. The innovators of the genre believed in more than just “music,” at least when they began. A lot of death metal bands were just into it for the music and you see where the genre ended in the late 90s. The same happened with black metal with the turn of the millennium. You can’t get great art from trend-aspiring musicians writing typical riffs. Black metal exploded because it was the latest genre representing integrity and involvement transcending creation. It looked and sounded fierce and the leading figures behind the genre made everyone feel like they meant it. Some truly did and some didn’t, as history proved to us. The metal scene needed this level of “involvement” after the debacle of death metal. It still does today, now that most genre has been swallowed by the mainstream. Doom metal is the current trend and I never expected it to be…
I think also that there should be more than music – why not friendship? I believe that for example The Smiths might as well never have been, if Mr. Marr and Mr. Morrissey had not met… or Abbath and Demonaz.
How was this album recorded? Did you use a studio, and if so, which ones? Did you have any idea of what the final product was going to sound like when you did the vocals?
I will let Gates answer parts of this question:
Both Põhjast albums are recorded in Estonia, in Roundsound professional studio under the baton of Keijo Koppel. Cooperation with Keijo has been very productive and we hope that it will continue, as there are more Põhjast records on the way. I personally have had a very concrete idea about the material until Eric comes along :)
As for the vocals, everything was written and recorded so, yes, I had a good idea of where I was heading with the vocals.
What’s next for Põhjast? Will you all unite somewhere to tour, or continue recording? Do you have a label for Matused? Was this a recent signing?
I will let Gates answer this question:
We thought that Põhjast would always remain a studio project. But we have to probably eat our own words, since, if everything goes according to the plan, Põhjast can be seen already in summer 2014! At the moment we are looking for a worthy record company, with whom we could develop an effective cooperation.
If people like Matused, where should they next turn for more Põhjast or related acts?
People can check our previous album Thou strong, Stern Death (Spinefarm, 2012) — www.pohjast.com They can also check our other bands: Metsatöll, Sorts, Barren Earth, Rytmihäiriö, Ajattara, Beast Within and Thesyre.
Thanks a lot for your support and involvement. It’s appreciated!
Eric Syre – vocals
Gates – guitars
Vesa Wahlroos – bass
Marko Atso – drums
This classic band finally got around to making a video. While there were many Dissection clones back in the day, with Dark Tranquility and In Flames leading the pack, Sacramentum always had something different going which was more like where Sentenced and Amorphis were heading: a nocturnal romance with the potency of existence and the power of the unknown.
Poetic in their approach, and beautiful in the result, Sacramentum launched an initial EP of highly artistic intentions before moving on to their full length, Far Away From the Sun, which suffered from a cover too close to that of Emperor’s In the Nightside Eclipse and hit just before the melodic metal explosion but just after the Dissection clones debunked themselves. As a result this band never quite got the attention they deserve, which would be to always be mentioned in the same breath as melodic metal greats like Dissection, Sentenced, Necrophobic and Unanimated.
K.K. Downing, one half of the legendary guitar team from NWOBHM band Judas Priest, is launching “The Future of Heavy Metal,” a business dedicated to showcasing new bands and helping them get discovered. Along with longtime promoter Dave Coleman, his new venture is essentially a mini-tour that collects promising local bands and delivers them to clubs in exchange for a fair payment to the band.
“In the past when you had some interest from managers or record companies you could get advances. Record companies would give an advance to buy instruments or make a record. That’s not happening any more,” said Downing. “It’s going from bad to worse too and bands are actually being asked to pay to buy onto a tour which goes against the grain. But to find the money to pay as a guest is not do-able unless they have got rich parents.”
The first crop of bands being showcased include Midland acts Hostile, Under Blackened Skies and Fury, along with French band Moray Firth. According to an article in his local paper, Downing considers Birmingham and the Black Country in the Midlands to be the spiritual home of heavy metal, and accordingly, is helping perpetuate the movement into the future.
On June 6, 2006, a new holiday was born in commemoration of the 6/6/6 of the date. Inspired by the American political movement National Day of Prayer, this new holiday was dedicated to the most extreme of metal and was called the “National Day of Slayer.” Since others outside the USA wanted to participate, it soon became the Inter-National Day of Slayer, and has been celebrated enthusiastically every year since.
This year, sobering news hit: On May 2, 2013, founding guitarist and major songwriter Jeff Hanneman of Slayer died from arachnid-induced liver failure. While Slayer re-camps and tries to figure out this situation, the International Day of Slayer team decided to recognize the obvious: Slayer is an emblem of metal just like metal is a symbol for not letting your sense of reality get stolen away by social pressures. As a result, the team re-dedicated the International Day of Slayer as a generalized heavy metal holiday, focused on Slayer as a symbol.
In addition, the same group is launching a new project called the Hessian Association for Identity Legislation (H.A.I.L.) whose goal is to get heavy metal recognized as a legitimate cultural group much like most religions, ethnicities, lifestyle choices and national cultures. We are metalheads, and we are legion worldwide, and we are a culture separate from both the mainstream and the counter-stream. We are going our own way… the most intense way, the way of reality and the way of METAL!
“Hessian” is old-school California thrasher slang for headbangers, metalheads, metal fans, threshers, heshers, etc. It’s derived from the Hessian mercenaries who came over to fight for the British during the Revolutionary War and were both feared and known for their long hair and wild eyed combat tactics. Someone — probably a cynical history teacher — saw the similarity and the name has stuck ever since.
Check out the H.A.I.L. website at www.hailmetal.org and visit the International Day of Slayer while you’re at it. Keep the horns high and the celebration loud, and we could have our own Hessian nation spread out across the globe in no time at all.
I wasn’t old enough to have figured it out at the time, but according to this entertaining report, Steve Wozniak of Apple fame cobbled together a festival in 1983 whose goal was to showcase new styles of music, and in the process, showcased metal blowing away the willowy music of the previous ten years.
This isn’t to say I dislike New Wave or any of those other styles. They have their place. But in 1983, metal was raging to take over. The Cold War was in full nuclear terror of instant radioactive death, the world was unstable and conservative, and as a result most people were getting ready to go into full kumbaya mode. Metal to the rescue, with warfare, doom, death, disease, horror and hedonism!
Heavy Metal Day featured Judas Priest, Van Halen, Triumph, Motley Crue, Quiet Riot, Scorpions and Ozzy Osbourne raging across a massive stage with spectacular amplification. In short, it was the MTV metal of the day, or the stuff you’d see on the then-new invention of MTV with its music video channels, and that meant it wasn’t as extreme as what we have now, but for then, it was like a giant backlash against the gradual creeping “love will save us” mentality of 1970s music. With metal, war was back, and it was angry!
The ever-pointed Vine Neil of Motley Crue told one reporter that the significance of Heavy Metal Day was that “It was the day new wave died and rock ‘n’ roll took over.” 670,000 people attended the event, but over half of them came for Heavy Metal Day alone. The power of metal was established, and would only rise from this point onward as the world waited for the wavebreak of Slayer, Metallica, Bathory, and Hellhammer which was about to come crashing down about its ears.
Perhaps May 29 should be remembered as the day metal rose up in power and struck down the opposition to assert itself.
Success in life often comes down to timing. Some of metal’s best bands, by virtue of being ahead of the curve, simply get there too fast and go too far to be as noticed as the others who plod along and thus are right about where their audience expects them to be, thus understands them and thus can appreciate them.
It reminds me of the friend of mine who wrote an English paper in high school that the teacher dismissed as nonsense; when he handed it in at college, he got an A. He was just too far out ahead of the curve. In the same way, Houston’s Dead Horse were just too ahead in too many ways at once for most people to grasp. Thrash is a hybrid between punk songs and metal riffs, so named because of its popularity with thrashers or skaters. Thrash bands like DRI (also from Houston), COC, Cryptic Slaughter, MDC and Fearless Iranians From Hell (from San Antonio) were famous for short intense songs of social commentary that was more existential and practical than political. Dead Horse took it even further to a nearly literary level.
After producing a series of demos that were well-received in the underground and even among “normals,” Dead Horse recorded and self-released their first album, Horsecore: An Unrelated Story That’s Time Consuming. After that, they gigged like maniacs and finally got on a larger label to release their second album, Peaceful Death and Pretty Flowers, at which time a death metal and progressive metal influence was flowering in their music. But after that, they never really got a handle on things again, despite releasing a pair of well-received EPs. As often happens in Texas, the local scene swallowed them, in equal parts of taking them for granted and resenting them for rising so far so fast.
Fast-forward to last year. Most of Dead Horse is now gallivanting around in Pasadena Napalm Division, while original frontman Mike Haaga makes his living making oddball soundtracks and performing live. Like many talented people in metal, he left it behind, probably outraged at the simple inability of metalheads to unite to do anything, a self-defeating practice that delights their detractors (what’s better than an opponent who commits suicide?). But the other band members have continued on and played a show in Houston which was memorialized in their Making a Dead Horse Live DVD.
Among metal’s legions are many for whom society is not a fit. Society tries to find rules to make everyone get along; metalheads, who “think outside of the box,” tend to look toward what they see as right, not socially compatible. As a result there are many in metal who stand above the crowd and are impossibly iconic for their unique worldviews. One such man is Burzum’s Varg Vikernes.
After creating in the course of four early albums an impressive body of art that essentially ended black metal as it was by raising the bar beyond what others could easily participate in, Vikernes was imprisoned for sixteen years for his alleged role in church arson and murder. During the time he was in prison, he put out two more impressive keyboard-based albums and several books’ worth of writings before falling silent around the turn of the millennium.
Upon his release, he didn’t slack off, either, but pushed out two new albums influenced by the rising drone-NSBM trend from Eastern Europe, and has released a film, is currently working on a role-playing game, and continues to produce numerous writings and a new theory of history. Since he is an object of interest as well as such a strong personality that he cannot escape notice, he has continued to use interviews and other public talking points to advance his ideas.
Whether we agree or disagree with the man, it’s hard to argue that his back catalog is anything but on the whole impressive, or that he isn’t articulate and forceful about his beliefs. Recently, he released his first post-prison ambient album, Sôl austan, Mâni vestan, which in the words of our review is a “vivid journey from start to finish…Vikernes has returned, and has found his natural voice.”
Deathmetal.org was fortunate to catch Mr. Vikernes in a rare un-busy moment between his many projects, where he answered a few of our questions.
With Sôl austan, Mâni vestan you have left metal behind, and yet this work has as much identifiable personality as your earliest works. What do you think makes this style so adapted to where you are now, and what you want to express?
This type of music has always been a part of Burzum, from the very first album and all the way to Umskiptar, so I think those who appreciated the old non-metal music will perfectly well be able to appreciate this non-metal music as well. In a sense I keep making music in the same style, only I have left out the metal parts.
Can you tell us a little bit about the influences on this album? Were these influences instrumental to achieving this new sound?
I know where you want to go, but the truth is that I didn’t listen to any other music whilst making this whatsoever; I didn’t seek inspiration in any other music and I did not even think of any particular music whilst making this. However, upon completion I did think it reminded me a bit of a calm version of Tangerine Dream.
This album is made for the ForeBears film, and I guess it is correct to say that I was inspired by the concept of that film.
In your writing on Thulean Perspective called “Shadows of the Mind,” you mention how black metal can be a gateway to the Divine Light. What is the Divine Light?
Your work seems to have been guided since its earliest forms by a sense of the “poetry” of existence, and a purpose to the human experience, while others were busy disclaiming this. What shaped your thoughts in this regard?
I think it is simply due to the fact that I knew instinctively that it was better before. I missed what once was. I longed for the past that I felt was better. I dreamt of things that had been but were no longer.
After Sôl austan, Mâni vestan, where do you see yourself going artistically? Will you continue to make albums in this ambient style, or re-invent music in another form?
I can dream of the past, but I never make artistic plans for the future. I just follow where my spirits takes me, so to speak.
What is the purpose of art? What habits or activities do you find most crucial to the spirit that drives your art?
It’s the spirit of the past trying to break free and influence the world we live in today. That’s the purpose and driving force too.
What do you think black metal had to contribute? Do you think your earlier aggressive work, and your newer more mellow work, come from the same place?
They do, and I think black metal is just a expression and (for fans) appreciation of the despair most men feel from living in a world that is not built for them. When you grow up, so to speak, or perhaps just grow wiser (many young men are wise too), you move on and instead of whining about the world we live in you do something about it instead. Black metal has woken up many good anti-Jewish Pagan Europeans and has thus lead them on the right course.
The lyrics to “Dunkelheit” suggest a natural mysticism to your work. Do you see this in the ancients as well? Do you think this knowledge changes people in such a way that they cannot be part of modern society? How do you see this as different from the Christian spirituality?
Christian spirituality? They have none.
I think the natural mysticism will wake up Europeans; the Pagan spirit is like embers waiting under the ashes. All it needs is some dry wood and it will turn into a flaming fire again, burning, warming and lighting up. Natural mysticism is, amongst other things, that dry wood.
Do you think history is cyclic, meaning that similar events lead to similar outcomes and thus, people eventually return to the same eternal truths? What do you imagine those would be? Is there a way to express such truths in art?
Yes, similar events lead to similar outcomes, and truth prevails in the end, always, so when they are blurred, distorted, hidden or spat upon they will always return to glory. There is no unversal truth in this context, becuase man is not universal, just like animals are not. I am part of the European species, and the eternal truth to us is Honour, and we will return to that for sure.
This recording starts off with great promise: unlike almost all of the bands to experiment in this style, Dead Hills knows how to make the riffs of a good Burzum-style sweeping dark and morbid black metal romp work. For example, a standard song will work itself up to intensity through an excellent use of the “Burzumic sweep” and dark meandering riffs, creating an excellent dark and ancient atmosphere. The vibe is perfect.
After that, it’s harder to know where to go. Dead Hills fill the space with mixed elements from Nordic and Finnish black metal, which provides a highly musical and entertaining resolution to the album but radically changes each track from its Burzumic beginnings to something more like second-wave black metal. It will often revert to its atmospheric voice, creating a divide where some of this music sounds like conversation, and other parts sound like walking through twilit hills.
Although sometimes songs lose their center and wander, and thus become purely musical questions and remove themselves from the representative art of black metal, on the whole this release keeps up the energy and unlike almost every black metal band in the last fifteen years, produces an experience in which the listener can lose himself or herself. With that in mind, this is a promising start and a rare complete experience from Australia, which normally produces chaotic bands.
Weighing in at an hour and a half, this release may overwhelm some listeners but it also offers a good chance to really lose yourself in the sound and distance all other input, like a meditative course. The enemy of highly interrelated music like black metal is the standard lick, in which patterns that conveniently unite familiar riffs become relied on too much; where most bands have instead gone full into that mode, Dead Hills has tried to find its own voice before adapting riffs to that, and the result is noticeably clearer and more emotionally compelling.