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Messages - Terrakotta

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Interzone / Re: Cinema
« on: March 12, 2010, 10:18:55 PM »
Throne of Blood is by far the best film adaptation of Shakespeare: the visual poetry is as stunning as the Bard's language.  It's probably my favorite Kurosawa film, though I'm also very partial to Rashomon (which pretty much invented modern art cinema), Stray Dog and High and Low (Hitchcock with tauter pacing and none of the annoying fetishes/tics).

Rashomon is easily as influential as Citizen Kane (not just in terms of the plot but also for developing film as a language. It influenced everyone from Bergman to King Hu, thus benefiting both Western and Eastern cinema alike). High and Low is his most overlooked masterpiece. The visual structure of this film is genius (first half as "heaven" only to descend into the bowels of urban chaos in the latter). 

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Interzone / Re: Cinema
« on: March 12, 2010, 10:10:15 PM »
(depending on how you feel about his Nosferatu, which I believe actually adds an emotional dimension not present in Murnau's original).

I may be in the minority but I’d go as far as to say it’s his third best (definitely second in the line of Kinski collaborations.) It does have an emotional edge over the original (perhaps the presence of color pays off in the panoramic vision of romanticism – use of Wagner always helps).  It’s also arguably more visually enthralling with a superior ending (Isabel Adjani couldn’t hurt in this department and Kinski didn’t even need that much makeup to really be convincing as the count – his performance is phenomenal btw). The attention to detail in re-establishing the parallels to the original is also very much appreciated while at the same time, the work still feels authentically Herzog-ian (similar in temperament to the documentaries you mentioned).

Even though it’s not typified as a classic horror, I think it tops that genre in its atmospheric mysticism and emotionally sublime capture of beauty (from the opening shot of the catacombs to the last amongst the dunes), which seems to run a bit deeper than the usual confrontational thrills.  

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Metal / Re: Enjoy the Massacra
« on: March 11, 2010, 02:54:21 AM »
Got any evidence of this?

rateyourmusic.com and metal-rules forums are two examples. not that it's important or anything, i just find it amusing that morons (who probably didn't even listen to the band) hate Massacra simply because Final Holocaust is on DLA's best-of list.

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Interzone / Cinema
« on: March 11, 2010, 02:45:35 AM »
best of the best:

A Touch of Zen

Metropolis
Seven Samurai
Sword of Doom
Aguirre, the Wrath of God
2001: A Space Odyssey
The Horse Thief
Flowers of Shanghai
A Brighter Summer Day
Tokyo Story
Devils on the Doorstep
Breathless
Jules et Jim
Andrei Rublev

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Metal / Re: Enjoy the Massacra
« on: March 10, 2010, 05:55:54 PM »
Final Holocaust and Enjoy the Violence are death metal's best albums, period (1 and 2 respectively all time) while the third, albeit much more normed and dumbed-down, is still listenable percussive speed metal in the veins of Beneath the Remains. The OP described their music very articulately I think, well said. This band made some of the best contributions to metal and it's a travesty that they're hardly ever discussed (this forum included).

I've also noticed that quite recently Massacra tends to get a lot of shit-slinging specifically from hipsters and those butthurt from ANUS' existence. It's almost like the reverse Death syndrome except well, the mouth-breathers are caught impotent when confronted with actual content at hand.   

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Metal / Re: Emotion and feeling in death metal?
« on: November 11, 2008, 03:36:14 AM »
I do not understand the question at all. I think metal is the most emotional of all music, including death metal. Do you mean melancholy music?

I think the poster is looking for death metal that is more contemplative and reflective in its emotions (in this way rather, more akin to the spirit evoked by black metal). Thus, suggestions have included works within the genre that are nationalistic/pagan (The Karelian Isthmus), mythological (Beyond Sanctorum) and romanticist (Deathcult...).

For the record, I agree with your assertion of metal as the most emotional and personally, I find death metal that embrace its ideals through chaos and destruction just as "emotional" even if some may find it too one-dimensionally abrasive. Honestly, those that do tend to have limited understanding of what the genre really is.

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Metal / Re: Emotion and feeling in death metal?
« on: November 11, 2008, 03:04:19 AM »
Kontinual nailed the most obvious. Add these to the list:

The Chasm - Deathcult for Eternity: The Triumph
At the Gates - The Red in the Sky is Ours
Sentenced - North from Here

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Interzone / Re: Cro-Mags - "The Age of Quarrel"
« on: October 31, 2008, 05:21:22 AM »
I wouldn't draw to a conclusion with such haste.

Good music takes time to digest and appreciate under any circumstance. For a genre like hardcore, I do think lyrics hold more weight due to the bare structure of the music and the often close integration between the two. Thus, it's perhaps worth a skim. The best punk lyrics to me are ones that are logical, honest and daring. I don't exactly expect it to be philosophically profound by any means. Unlike black metal, the minimalism in hardcore are not as melodically inherent and as such, viewing the work as a whole may yield an overall better understanding.

As for the Age of Quarrel, it's quite good but a bit overrated. "We Gotta Know," "World Peace" and "Seekers of the Truth" are standouts while the rest is rather competent but not too spectacular. It's probably the last worthwhile hardcore release though and the influence is certainly present but I would put it behind Hear Nothing See Nothing Say Nothing, In My Eyes and especially, City Baby Attacked by Rats.

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Metal / Re: Classic Swedish death metal list
« on: October 22, 2008, 05:31:41 AM »
It's pretty clear to me that Therion produced the best Swedish metal album period in Beyond Sanctorum and are overall the best metal band to come from that country (Yes, I am aware that Bathory is from Sweden). Even though it isn't their best, Symphony Masses is my favorite of theirs.

I would go with Far Away from the Sun for that title myself but Beyond Sanctorum would be a very close runner's up.

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Metal / Re: Bands worth hearing thread
« on: September 21, 2008, 03:07:28 AM »
The Lord Weird Slough Feg

Down Among the Deadmen is one of the worst Metal albums out there. Avoid like AIDS. it's an uninspired, insipid Iron Maiden at its absolute best. At it's worst, it doesn't even reach the nadir level of radio rock. Illuminated as an folk-tinged Power/Traditional act when in fact, a lot of it resembles the groove stagnancy of Metalcore, this is for hipsters. Then again, it's quite apparent with titles like "Heavy Metal Monk" and "Troll Pack" (imagine neurotic irritation the likes of Anthrax). How pitifully low the standards have fallen for these hacks to be hailed as the new forerunners of Heavy Metal.

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Interzone / Re: Protector (Summoning, Ice Ages) interview
« on: July 12, 2008, 08:08:58 PM »
Thanks for this excellent interview as it is without a doubt one of the best I have come across.

His thoughts regarding the writing process for electronic vs "handmade" music in particular sparked some truth as well as the general notion of making music for its own splendor (like a child who makes "intricate sandcastles on the beach just for fun" as one Celtic Frost review on this site eloquently puts it).

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Interzone / Re: Thrash versus Thrash Metal
« on: July 01, 2008, 09:24:59 PM »
How much speed metal can really be said to be transitional, though?  It's often argued that death and black metal were logical progressions from speed metal, but that argument doesn't really hold up chronologically or aesthetically.  A more factually correct reading would see black, death and speed metal emerging simultaneously from the same source material, with speed metal basically forming an evolutionary dead end.  What you're praising are not so much transitional bands as they are hybrid bands that learned not only from their predecessors, but from the emerging extreme metal that developed at the same time.

Speed Metal hit its creative climax and had already began to erode by the time Black and Death Metal started to seriously emerge. This, combined with the fact that the first wave bands from these two genres (Bathory up to and including Blood Fire Death, Seven Churches, Morbid Visions, early Sodom, etc) all had a strong Speed Metal aesthetic or are heavily influenced by it to me, made it clear that it was a transitional genre between the NWOBHM and the extreme. I could however also see how the examples above are a synthesis of multiple styles that had developed at around the same time period so perhaps "hybrid" is a more appropriate term in description of the sound. A bit semantical, but this I suppose could also apply to bands that tilted towards the Speed Metal end of the spectrum (Slayer, Destruction, Pestilence, Kreator, etc).

Like Hardcore that came before it, I think part of the reason why Speed Metal reached its "evolutionary dead end" quickly while Black and Death Metal thrived is its shallow or really lack there of an ideological/philosophical basis. The other two had a much more richer palate of possibilities to work with from the inside out, so to speak.
 

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Interzone / Re: Thrash versus Thrash Metal
« on: July 01, 2008, 12:40:16 AM »
Speed Metal that is not transitional (to Black/Death Metal) nor technical/progressive (a la Coroner, Voivod, Artillery, etc) can be largely forgotten.

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Metal / Re: Utterly consistent bands
« on: July 01, 2008, 12:33:37 AM »
Summoning is the first band that comes to mind.

While the group's vision was epitomized on material circa 95-97 (Minas Morgul, Dol Guldur and Nightshade Forests), the central sound and direction has not deviated. Some may argue that the latter albums tend to be less adventurous while possessing a singular mood, more structured (in the binary sense), and streamlined in its polish. All this may be true in comparison but this band's discography on a gauge of quality could still go head to head with the best. I see Oath Bound as a synthesis of the earlier style (Dol Guldur) with the new (Let Mortal Heroes Sing Your Fame). Thus, it'll be interesting to see where the new album ventures...

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Interzone / Re: Are The Doors and Black Sabbath structural
« on: June 30, 2008, 06:36:00 PM »
Black Sabbath may not have been intentionally Progressive but the way in which they constructed several of their songs during the foundational period is heavily influenced by Progressive Rock. The breaking of conventional song structure (verse-chorus, repeat) was already initiated on the first album with the eponymous title track and “Wasp/Behind the Wall of Sleep/Bassically/N.I.B.” albeit the latter was pieced together in a loose, “jam-session” fashion. By Sabotage (if not earlier), interludes became more than merely a well-established part of the repertoire, acting as a counter statement to the precedent (“Don’t Start [Too Late]” vs “Hole in the Sky”). This had of course already been foreshadowed earlier with “War Pigs/Luke’s Wall,” “Wheels of Confusion/The Straightener,” etc. Lengthier epics like “Megalomania” and “The Writ” had progressive tendencies in their development of distinct, separate themes as well though in the case of “The Writ,” how well it’s done is another story. The band I’d say is responsible for the first flowering of Progressive songwriting within Metal.

The Doors were also pivotal in the freeing of Rock structure, “The End” being perhaps the most apparent example there. Tracks like “Crystal Ship” and “End of the Night” shift towards an almost ambient territory while “Light My Fire,” with its elaborate instrumental section in the middle attempted to move away from radio predictability (though to no avail).   

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