Calling to mind the 1950s American Christians who referred to rock ‘n’ roll by the same name, an Islamic Imam has been videotaped referring to music as “the devil’s language.” To be fair, the point he is making is that people should listen to religious music, which is sung and contains holy messages, instead of secular instrumental music.
When Allah speaks of music in the Koran he reminds us that music is the devil’s language. When did he remind us of this? So those who love music and listen to music, who are they listening to? The devil. They listen to the devil. There are people who disobeyed Allah and will listen to the devil…Empty your mp3 and transform it and replace it with the best words that exist: the Koran. If one says that musical instruments are haram and music is haram and that who listens or loves music risks being transformed by Allah into a pig, or will look like who? The devil.
He may have a point if we broaden “music” to mean “popular and therefore empty messages.” Then again, heavy metal has never been obedient, and has always loved the devil — the forbidden scapegoat beyond social morality where humanity connects with reality — so it is unlikely that his message will resonate with many metalheads.
Two weeks away from the release of their next full-length album, Obliteration, Entrails are giving the public a small taste of what is to come. Captured by guitarist Jimmy Lundqvist at his own Bloodshed Studios and mixed and mastered by the famous musician and producer Dan Swanö (Edge Of Sanity, Bloodbath, Aeon, Hail Of Bullets etc.) at Unisound, Obliteration is a nine-track old-school Swedish death metal album.
Producer Dan Swanö commented:
I guess Entrails have sold their souls to the Devil because there is no other way to explain how a band that’s been doing the same style of SweDeath for more than twenty years, can keep making better and better records! In fact, some of the tracks on this album are among the best death metal songs I have ever heard. Such a great album…it pisses me off!
This film combines supernatural horror with the time-honored formula of detective stories, which is the “locked room” mystery. In this case, the locked room is an elevator in which five people are stranded during a power outage. As time goes on, and evil acts accumulate, it becomes clear that one of the people in the elevator is in fact working in service to darkness and impurity.
M. Night Shyamalan prides himself in making atmospheric films with semi-philosophical ideas lurking under the surface, but it is safer to say that Devil takes a Miltonian approach to expressing a religious message that ends up being more gnostic than the convenient externalization of Satan which with modern religion addresses evil. While the intent of the film is made clear, it strays far from the two thwarts to quality expression of idea in film, which are the blunt propaganda of contemporary religious cinema and the concealed satisfaction with deconstruction of all values — with the breakdown supplanting re-evaluation — that is the hallmark of Hollywood. In this film, Satan plays an active role in the judgment of humanity.
Locked-room mysteries tend to be research projects into either or both of the psychology of the people in the room or their pasts, looking for a bridge between characters. The sixth character here is an investigating police officer who struggles daily with the agony of loss of his wife and child in a DUI hit and run accident. Seen through his eyes, the presence of evil becomes less supernatural and more a case of human self-absorption causing negative results in reality as illusion collides with consistency. Locked outside of the elevator and many floors away, he investigates the people in the elevator with the help of telephones, the internet and other people, searching to get to the bottom of the mystery.
The result is less atmospheric than a fast-paced mystery or a mid-paced thriller, with enough gore and suspense to drive the plot forward and make solving the mystery seem an urgent necessity. Whether these actors are as good as their craft as it seems, or it is the fusion of director and actors, they achieve the greatest of all cinematic triumphs which is true suspension of disbelief: unlike most movies, they do not seem like actors, even stage actors as the more celebrated movies display. Instead they come across as everyday people who speak their lines more clearly and make their gestures more visible. Tightly edited, the film avoids the use of tedium to offset the suspense, and thankfully the script avoids any of the “instant replay” dialogue that more confused films used to replay complex plots. Instead, it moves along normally, with the tension of an observer who increasingly sees his task as more of a battle between good and evil than an everyday mystery. The conclusion is neither a baffling surprise nor as predictable as the average film, and continues the suspense until it can streamline into a sustaining emotional ambiance.