Review: The Pretty Reckless - "Going to Hell": F**ked Up Brilliance

If anything, The Pretty Reckless will be remembered for not only their visual and lyrical antics, but also their nostalgic sound that reminds listeners of classic rock ‘n’ roll bands from the sixties. Their influences are varied but that hasn’t hindered the band from developing their own unique sound. Centered on Taylor Momsen’s seductive, husky, raspy, and sensual voice, the band delivers the best album of 2014 so far with their superb second record, "Going to Hell."

The album starts off with the moans of Momsen’s good friend, and lesbian porn star, Jenna Haze. As strange and out of place as this moment seems, it truly sets the tone and atmosphere for the album. As Haze does her thing, we hear the approaching sirens of a police car. The pairing here is immediately intriguing. It somehow signals something taboo that we still fear as a culture in talking about sexuality. Although the US and many other nations have become hyper-sexualized in recent times (with regards to media, film, celebrities, etc.) Follow Me Down, one of the bands darkest songs, clearly sets the stage for the message of the entire album. Lyrically, the song is quite suggestive, but taking it at face value deflates its underlying meaning.

Soon to follow is the title track: Going to Hell. The song is practically made by its opening riff from guitarist Ben Phillips. With pounding bass and drum work, this song is one of the highlights of the album and the bands career so far. The tune is addicting as hell and will surely make air guitarists out of most listeners.

Two of the best songs on the album, Heaven Knows, and House on a Hill raise the level of songwriting complexity that listeners have come to expect of The Pretty Reckless. "Light Me Up" featured many sing-alongs, and pop/rock hits while "Hit Me Like A Man" showed the bands versatility in experimental sounds. "Going to Hell" continues to deliver on a more sophisticated level. Gone are the catchy hooks and rhythms (albeit Heaven Knows still retains some of this), and instead there is a mature musical dexterity that has risen after touring the globe for two and a half years. The video for Heaven Knows is sublime, and I have yet to understand why there is a controversy surrounding it. We’re still in a society that seems to find it obscene and wrong when a woman displays her body on camera, but we’re ok when men can appear in any form they desire. The song (and video) plays brilliantly to this concept of expectation and the idea of “right” versus “wrong.” From there, listeners are presented with House on a Hill, the highlight of the bands career, which will indeed take audiences by storm. The band has done some fine work with power ballads in the past (Just Tonight [Light Me Up]) but this is a dark, brooding, atmospheric, and melancholic piece of genius. Out of the entire album, it truly feels like this is the song that audiences should be paying the most attention too. The message of the song is profound, and for twenty-years old, Momsen’s lyrical abilities shine with the level of metaphorical complexity that she has delivered.

Sweet Things is one of the new songs that the band played live on their 2013 Going to Hell North American Tour. It was one that I immediately didn’t connect with. Most likely it was because it was so different from anything the band had ever written. After hearing the album, I’m positive that this one of the best tracks they’ve composed. Featuring dual vocals from Momsen and Phillips, the song works in three parts, none of which are identical. The breakdown between rock ‘n’ roll, soft rock, and metal rhythms are interesting and it gives the album a dynamic, and almost psychedelic feel. For those that are fans of the EP "Hit Me Like A Man," this is an evolution of the sounds that the band was playing with back in 2012.

Dear Sister is a nice 57-second “interlude” in the album that works as a division between a more metal-sounding first half, and a more stripped down rock ‘n’ roll second half. Absolution is hands down one of my two favorite songs on the album. Staring off with a quirky, yet almost folky acoustic guitar, the song kicks your ass when Phillips’ electric axe cuts the acoustic jams. This is Momsen’s best vocal performance to date. Her husky, soulful, and raspy voice has truly developed over the years. Once again, her lyrical abilities have far exceeded expectations. Gone is the little 16-year old singing of being misunderstood. Now we have a woman singing of social problems and complexities within the modern world. Although Absolution is lyrically repetitive, it continues in the same thematic vein as the rest of the album, and the instrumentality is absolutely brilliant and seductive.

For a throw back to "Light Me Up" we have a track entitled Blame Me: a mid-tempo song that relies primarily on toned down guitars and prevalent bass and drums. Momsen’s vocals shine once again, rivaling some of her strongest performances from "Hit Me Like A Man" on tracks like "Under the Water" and "Cold Blooded." If any song feels a bit out of place, or more “bonus track” like on the record, it’d be this one. It doesn’t fit perfectly into the fold of Going to Hell; there are glimpses of the theme, but not like most of the other songs. But thankfully, it is followed by a brief and stunning Burn. Made up entirely of an acoustic guitar and Momsen's pure vocals, Burn is a heart-wrenching tune that works as a companion piece to its predecessor, which allows Blame Me to feel rounded out with the album’s concept. The songs work well as yin and yang as one feels softer and the other far more ominous.

Ok, well, this may be my favorite song on the album. Why’d You Bring A Shotgun to the Party? screams "Holy Wood"-era Marilyn Manson but with a Pretty Reckless feel. One of the exemplary moments of the album is on this song. Just when you think that the band is going to break into the chorus, they pull you into a second verse that is just as sweeping. There are catchy hooks throughout, and this will immediately become a fantastic live hit for the band. Not to mention the clever use of shotgun and machine gun sounds throughout the chorus. This could turn into a good live visual one day if the band ever travels down the theatrical route.

When I saw the band in Anaheim back in October I wasn’t impressed with their closing song Fucked Up World. Taylor said in a recent interview with Loudwire that playing new songs before the album was released was dangerous. To be honest, she was right. It didn’t connect with the audience, and as a closing song, it put a bit of an odd damper on an otherwise exceptional show. But sixth months later, I can honestly say that this will be one of my favorite songs they’ll perform on upcoming tours. It’s great that The Pretty Reckless are staying true to their origins and Fucked Up World seems to continue the "Factory Girl" story with more references to the “back door” (whether or not this is intentional, or even in the same thematic territory of "Factory Girl," I don’t know; it’s just something I caught onto inadvertently). With a great chorus and the addition of a tambourine, the song is catchy, raw, and energetic. If there is one song listeners should take at face value without any metaphorical message, it’s this one. Each song does a great job of adding to the thematic territory of Going to Hell, but Fucked Up World is a good summation of the album. 

Waiting for a Friend. I’m a sucker for a good harmonica. And even as brief as it is in the closing track to Going to Hell, I am nonetheless impressed with the harmony and texture it brings to a beautiful acoustic piece. As a closing song, I think it’s quite appropriate that the band made this track stripped down. It is the darkest of the 12 songs on the record, and lyrically, it’s melancholic and apocalyptic. Great work by Ben Phillips on guitar once again. He always utilizes some unique chords and playing techniques in his recordings and it definitely shines here. Never will you get a “straight-sounding” acoustic song from this band. There is always something raw and personal in their songwriting. Overall, a solid ending to a milestone in the career of a fantastic up and coming band that deserves legions of fans and attention.

The only downside I can see with "Going to Hell" is that it probably isn’t going to win over many new fans for The Pretty Reckless. "Light Me Up" was much more mainstream and it probably had to be considering the band was new to the scene and needed something catchy and simple to land a record deal. "Going to Hell" is far more brutal sonically, which will deter a great deal of listeners. But with "Going to Hell," The Pretty Reckless has evolved into a unique and original sound. Audiences will now have a heavier, edgier, and smarter band that is ready to tackle the rock and metal scene. I can never stress enough that the mainstream music scene of today is unoriginal, tasteless, formulaic, auto-tuned, and far over produced. Here we have a band that plugs in and rocks out like true, classic rock stars. No glitz and glamor are needed to make "Going to Hell" a modern opus.

Favorite moment: The climatic shotgun blasts in Why'd You Bring A Shotgun to the Party?

WTF my mind is blown moment: That harmonica. Won me over instantly. 

Final Score: 10/10

For more of the band, check out their two exceptional music videos off of "Going to Hell":

Going to Hell

Heaven Knows

Arch Enemy: A New Era.

On October 22, 2005, the metal community received a punch to the gut. One of the foremost women who paved the way for female signers in heavy metal had been fired from the ranks of one of the most talented bands on the globe. The debates that followed didn’t surround her dismissal as much as they did her replacement.

Mid-morning March 17, 2014, another change has been made. Angela Gossow, lead singer of the legendary melodic death metal band Arch Enemy, made the decision that after fourteen years in front of the mic that she was ready to step down and pursue another career.

For those that are not within the metal scene, Angela is a cherished figure and will remain as such. She was not only a political activist who fought for anarchy and the belief that people are stronger than the face of any government. But she was also a humanitarian: an individual dedicated to equal rights for animals and humans alike. Above all, she was the voice of encouragement for her fans. Believing that we could stand up and fight for our rights. Putting her faith in us so that we could dismantle the chains of society and defeat the construct of oppressive religion. She broke barriers with her destructive vocals and work ethic: proving that women are just as good (if not better) than most men in metal.

She was a voice that will not be forgotten. She’ll never be lost to us for she will always be in our hearts, on our iPods, and in our CD racks. But sometimes, new voices have to be heard.

"I am passing the torch to the super talented Alissa White-Gluz, whom I've known as a dear friend and a superb vocalist for many years. I always thought she deserved a chance to shine — and now she's getting it. Just like I got that chance back in 2001." – Angela Gossow, March 2014

Splits are generally not amicable. As we saw in 2005, these separations can get ugly.

Fourteen years will change people. Especially in the music industry: a business that is cutthroat and unforgiving. So many people lose the chance at having their voices heard due to the idea that music is now a way of profit and monetary gain: as is much of the world today unfortunately. Not once did I ever feel that Arch Enemy was about the money. They used their opportunity in the industry to open hearts, minds, body and soul. Angela was only one part of the band. From the few words released today via the press and the band, Arch Enemy has taught the metal and music community that music is about the words, messages, and love: not single members.

With the addition of the talented Alissa White-Gluz [ex-The Agonist] to Arch Enemy, metal fans across the world will divide. And I don’t understand why.

Fans of the band went through a break-up in November of 2000 when original vocalist Johan Liiva was dismissed from the band. The vocalist may have changed, but the message and the music didn’t.

For those that know and have met her, we know that Alissa is a giving individual much like Angela. She is an activist for PETA, a lifelong vegetarian, and for many years now, a dedicated vegan. Her previous band The Agonist was one of the best up and coming metal bands out of Canada. Musically, they had a contrasting sound to Arch Enemy. But lyrically and spiritually, the band embodied much of the same virtues and values of Arch Enemy.

Which is why we need not complain. Alissa is just as talented as Angela, and arguably, more vocally eclectic. Her usage of harsh and clean vocals appear on all three of The Agonist’s albums, and after seeing her twice on tour with American metal band Kamelot, she practically confirmed that she is one of the best metal vocalists in the world today.

Angela Gossow did what I haven’t seen in my years as a metal fan. She graciously stepped down from her position in a world famous band too not only to gain new experiences and insights in life, but also selflessly allowed a talented young artist the opportunity of a lifetime. You don’t see this happen in the music business. For me, this is unheard of.

There is no bad blood in the band and there shouldn’t be. 2011’s “Khaos Legions” saw the band at their absolute best. It saw Angela at her best and most vicious. Whether or not we agree with Angela’s decision, she deserves our respect. Alissa deserves our support. She deserves the opportunity. Her hard work ethic and dedication to what she loves is beyond me.

Don’t make this like 2005. That was complete bullshit then, and still to this day, it remains utter bullshit.

“War Eternal” rises in June 2014 with Alissa White-Gluz at the helm.

Review: Behemoth - "The Satanist": Black Metal for a New Age

As a first time listener of Behemoth, I did not know what to expect from their 10th album "The Satanist." To be honest, from samples I'd heard of their music, I wasn't initially drawn to it. I favor a more symphonic approach to the genre like Dimmu Borgir and Cradle of Filth. Nevertheless, I decided to give their new album a listen. Furthermore, I was excited to see them on the bill for the 2013 Mayhem Festival because it's rare that we get quality black metal bands playing in the US. Since Behemoth had a reputation, I was rather disappointed to find out that they had to cancel their appearance because Inferno, their drummer, was having surgery. Nonetheless, this evidently gave them ample opportunity to reform and create what is now known as "The Satanist." With a title like that, the black metal fan in me was just giddy with the thoughts of how much controversy the album's title would stir up in the religious community. To say the least, I was blown away.

Track-By-Track review

1. Blow Your Trumpets Gabriel 

Behemoth's massive 10th release starts off with a massive punch to the gut. As an eerie atmospheric wind draws you in, Seth's rhythm guitar kicks in before Inferno's hauntingly powerful drum beats begin pounding your eardrums to hell. With an opening line that's sure to draw controversy upon the albums release, "Blow Your Trumpets Gabriel" was initially released in early December. But after hearing the entire album, one will then realize how the track is the perfect opener. It is a great stand-alone track, but added to the rest of the album, it is a brilliant start that sets the tone to come. Although this is a slower song compared to some of Behemoth's other tracks, it nonetheless hits you in the face halfway through with strong double bass work, demonic vocals, speedy guitar work, and chilling sample elements. For somebody who had never listened to the band before, this works as the ideal opening song to an album, but it also gives you a taste of the wide variety present within Behemoth's music. 5/5

2. Furor Divinus 

The standout of this track is the bewildering drum skills of Inferno. Featuring everything to and from blast beats, "Furor Divinus" is one of the fastest tracks on "The Satanist." This also seems to be the most "progressive" sounding song on the album, and by this I don't mean progressing the sound of Behemoth; I mean the genre of metal. There is a level of rhythmic complexity, as well as technicality that is not present in many current black metal bands. Although this is not as melodically pleasing as future tracks, "Furor Divinus" will rattle your bones. 4/5

3. Messe Noire 

A slower song compared to that of its predecessor, "Messe Noire" highlights the skills of Nergal as a lead guitarist. This seems to be the most straightforward, typical black metal song on the album, but because of its slower pace, it presents the listener with an offbeat and dramatic vibe that some of the faster songs do not have. It also features a rather spectacular solo at the end by frontman Nergal that elevates the song from the brutish sound of traditional black metal. 3.5/5

4. Ora Pro Nobis Lucifer

The best songs always seem to be the hardest to talk about. It's hard to believe that a truly melodic-styled black metal song can be written; but when it is, it's simply stunning. With "Ora Pro Nobis Lucifer," Behemoth has created one of the most stylish, seductive, and sophisticated black metal songs ever. It starts with a hypnotic guitar line which is followed by the sheer chaos of every instrument in the four-pieced bands arsenal. For any dedicated listeners of black metal bands (Emperor, Dimmu Borgir, Gorgoroth), Behemoth's song has a quality of beating down traditional soundscapes with this tune. Featuring spit fire vocals, chilling lyrics in both Latin and English, spooky, atmospheric sampling, punk influences, and exceptional bass work by Orion, this song really does have everything a listener could ask for. 5/5

5. Amen 

Single handedly the fastest track on "The Satanist," "Amen" features Behemoth at full force featuring brilliant instrumental work from each band member. Once again, the highlight of the song is the insane drum work from Inferno. With what is reminiscent of extreme technical death metal techniques (rivaling that of Fleshgod Apocalypse), the blast beats Inferno delivers drives the rapid tempo of "Amen"along with the impressive guitar work from Nergal and Seth. There are a handful of complex breakdowns along the way that consistently redefine the heaviness and brutality of the song. Even though Nergal said that "The Satanist" was going to feature a "slower" Behemoth, songs like "Amen" only prove that the band can go faster and harder, while simultaneously (within the same song) featuring some of the best instrumental soft points.  4.5/5

6. The Satanist 

As the title track of the album, "The Satanist" embodies all the lyrical themes and experimental sounds that Nergal and crew reached for on this record. Featured as possibly the "mellowest" song on the record, "The Satanist" still amazes listeners with the bands ability to switch between gentle, soothing, and rhythmic guitar work to sheer bombastic samples and stunning instrumentality. This isn't my favorite song on "The Satanist," but for how the band has been promoting the album, the song embraces the versatility that listeners can expect from Behemoth in future releases. 4/5

7. Ben Sahar 

Led in by an atmospheric and eerie sampling of trumpets, “Ben Sahar” will take listeners back to the old days of black metal. But for some, experimenting with Middle Eastern sounds and influences will demonstrate the versatility of the band as songwriters. Listeners should take notice of the drums, guitars, bass, vocals, and samples that all come together as one and engender one of the many Behemoth masterpieces to come. Featuring interesting guitar breakdowns, and progressive experimentalism, “Ben Sahar” functions as a highlight of “The Satanist” because it has a free-flowing form that elucidates the bands message that life cannot be constrained. 4.5/5

8. In The Absence Ov Light 

Jazzy. At least that's what I thought of "In The Absence Ov Light" when the music breaks into a softer acoustic section featuring a saxophone. Behemoth really breaks up black metal traditions of blast beasts and tremolo picking with this multifaceted song. Though it is beginning to sound repetitive, this track does represent Behemoth in a new light. One that is experimental and not bound to the constraints of "traditional" black metal. A bonus to this song is the Latin (or Hebrew) spoken text during the middle of the song which really rounds out the Middle Eastern feel that was brought on by "Ben Sahar." 4/5

9. O Father O Satan O Sun!

Ok, this may not be my favorite song on the album, but it is the best song on the album. Sure to become a Behemoth and black metal classic, the perfectly titled “O Father O Satan O Sun!” is a grand epic that you would play at a black mass or satanic ritual. It’s a superb track that showcases an eclectic metal background that greatly indulges in sampling and symphonic elements. Not to mention, the strangely questionable clean male vocals layered behind Nergal’s powerful growls (it almost sounds like ICS Vortex [ex-Dimmu Borgir…]). As one of the slower songs on the album (yes, “The Satanist” is officially a ‘slower’ album), the song works as the bands sermon to worshiping the secular world around them, whilst addressing the lunacy of sacred beliefs and the constraints that it places on a person. This is the song that finds Behemoth working in all of their strong points to deliver a hair-raising track that is undeniable the ultimate climax and resolution to “The Satanist.” 5/5

Although "The Satanist" will never find attention in the mainstream music scene of today, it will undoubtedly find love in the extreme metal community. As one of the bands that formed the genre [of black metal], Behemoth has once again redefined what listeners can expect of future black metal releases. What I enjoyed most about the album was that the band did not seemed to define their sound as one set style. We get tastes of symphonic, thrash, punk, and death metal throughout the album, which rounds out the sound and message that the band was seeking. Even though "The Satanist" is more experimental than traditional black metal (or even generic metal), it finds its cohesion through its themes and the ways that the different styles of music blend into the message. Nergal's bout with leukemia evidently affected the approach to the album because you don't see all the songs sticking to the same meter, rhythm, and tone. Finding that your life could be at an end truly emphasizes the unpredictability of living in this universe. "The Satanist" embodies this message to the fullest and delivers one hell of a brutal, yet beautiful "whatever you may call it" metal album. Behemoth has a gained a new fan. 

Favorite moment: The opening line of "Blow Your Trumpets Gabriel"

WTF my mind is blown moment: Guitar solo during "O Father O Satan O Sun!"

"The Satanist" is now available worldwide.

Final Score: 8.8/10

...here's to a strong touring cycle in support of "The Satanist." \m/

Review: Within Temptation - "Hydra": Definitely Not Paradise

Nearly three years after the release of their masterpiece album "The Unforgiving," Dutch symphonic metal band Within Temptation returns with their latest record, "Hydra." Led by the lead single "Paradise [What About Us?]" featuring Tarja Turunen (ex-Nightwish), expectations were immediately high for "Hydra." I was privileged enough to hear the album in full on January 24 at The Joint in Los Angeles where three members of the band made an appearance for an acoustic set and meet-and-greet. Everyone was given the chance to purchase the album, and as a fanatic of physical copies, I bought mine the minute I was through the door.

My initial reactions of "Hydra" were mixed, and a few listens later, they still are. Granted, it is difficult to follow up your best album, but it's been done. "Hydra" isn't a failure or success, but a weird jumble of old and new sounds that have brought the band to where they are today.

Track-By-Track review

1. Let Us Burn

The album has an excellent start with this track. It represents the sound, emotion, and atmosphere of true Within Temptation. Pulsating drum beats, soaring vocals, and smooth key strokes. Interestingly enough, the song features little orchestral elements, which Within Temptation have become known for. But here, the straightforward and pounding energy lifts the song up.  4.5/5

2. Dangerous (feat. Howard Jones [ex-Killswitch Engage])

Undeniably Within Temptation's heaviest song to date, "Dangerous" is an anthem to thrill seekers and metal-heads alike. There is strong melodic guitar work from Robert Westerholt, and Ruud Jolie, as well as keyboardist Martijn Spierenburg. The problem itself actually lies within the vocals of the song. The combination between Sharon and Howard feels disconnected because their voices are so different. Howard's vocal range does not fit the pace and tempo of the music. More often than not, his voice is so nasally, that as a listener, the song becomes one that you're likely to skip through on further listens. As a metalcore singer, I was expecting Jones to have a rougher vocal profile for the song. Unfortunately, Within Temptation's "fast" song just isn't fast or "edgy" enough to fit this singer.  2.5/5

3. And We Run (feat. Xzibit)

Symphonic metal + rap = that will never work. Unless you're Within Temptation and manage to make the combination the highlight of the entire album. Following in the path of the dance track "Sinéad" from "The Unforgiving," "And We Run" finds the band exploring dance, hip-hop, and rap all in one song. Beginning with a soft keyboard intro, backdropped by a quiet string section, "And We Run" picks up speed with a dance-like drum beat and Sharon's angelic voice. I was initially turned away when Xzibit was announced as a guest musician on "Hydra," but my iPod says differently now. It's difficult to understand why this song is so successful, because musically, this shouldn't work. But it does. This foray into blending genres does find the band in strange waters sometimes, but "And We Run" is an unprecedented accomplishment. If the band could pick up awards for the album, I wouldn't be surprised if this song was the reason why they succeeded. They may even break into the mainstream with this track.  5/5

4. Paradise [What About Us?] (feat. Tarja [ex-Nightwish])

The collaboration that symphonic metal fans have been waiting for for years. This song does not disappoint! Lead in by a seductive string section, "Paradise" hits you full throttle with swift guitar and drum work that never lets you go. Don't forget the stellar guest vocalist turn from ex-Nightwish front woman, Tarja Turunen. For having such unique and contrasting vocal capabilities, den Adel and Turunen are a match made in heaven. The lyrics are meaningful and thought-provoking. Some of WT's best work is on display here. The only downside to the song is that we get to hear the chorus one too many times, and it begins to feel repetitive. Otherwise, "Paradise" is a definite highlight on "Hydra." 4.5/5

5 - Edge of the World

"Edge of the World" isn't a bad song: it's just that it's a really obvious filler. Musically, this takes listeners back to early Within Temptation. Notably, "The Silent Force" era. With an atmospheric profile similar to classics like "Pale" and "Somewhere," "Edge of the World" isn't anything new for seasoned Within Temptation listeners. As "Hydra" is a retrospect of sorts, the song does work on a nostalgic level. But other than that, it feels a bit out of place following stronger tracks like "Paradise" and "And We Run." It's a nice attempt at reminding listeners of older Within Temptation sounds, but this isn't anything highly original or better than past efforts. 2/5

6 - Silver Moonlight

After the first twenty seconds or so this song began to worry me. It seemed like the band was really going backwards and making the entire second half of "Hydra" into "The Silent Force" part two. Surprisingly, "Silver Moonlight" turns into one of the highlights of the album. Carried by a strong chorus, and sick guttural vocals by Robert Westerholt (who could easily be mistaken for Mark Jansen of "Epica"), "Silver Moonlight" is a pleasant mixture of albums "Enter" and "The Heart of Everything." This is a song that is reminiscent of the strong gothic elements of Within Temptation, but also their stellar uses of doom metal elements. 4/5

7 - Covered By Roses

Continuing with the theme of "Hydra," "Covered By Roses" will find insightful Within Temptation listeners back into the era of "The Heart of Everything" and "The Unforgiving." It's inevitable and difficult to judge the songs on "Hydra" as "Hydra" songs because the band has been so open about the album being a collection of sounds explored in the past, and those they want to continue with in the future. That being said, this is a fast tempo song that finds the band experimenting with minor electronic elements paired with rapid, melodic guitar work and their signature atmospheric, choir-like synthesizers. It's not a phenomenal song, but it's a solid addition to "Hydra" that rounds out the sound of Within Temptation. 3.5/5

8 - Dog Days

There really isn't much to be said about "Dog Days." It's the song that just should have been saved for a bonus track or left on the floor of the recording studio. The keyboard work here is simple and relatively static. There is some decent guitar work from Robert and Ruud that makes the song somewhat listenable. But the unpleasant and repetitive lyrics make the song practically unlistenable. If you're going to have a chorus that goes "1, 2, 3, 4, what are you waiting for?" you have to find some way to make it not sound so cheesy. Even the title is reminiscence of "Dog Days Are Over," and to a strange extent, the song fits the sound and look of Florence + The Machine better than it does Within Temptation. 0.5/5

9 - Tell Me Why

This is actually one of the few songs on "Hydra" that feels like a progression of Within Temptation and their sound. There are the echoes of how the band developed their signature synthesized and guitar driven tunes. But the brutality of Westerholt's vocals, paired with Sharon's matured lyrics bring the band out of the airy and angelic quality that much of their earlier works possessed. The strong guttural work featured on only two songs from "Hydra" could signal a change in vocalization for the following records. But at the moment, it's a nice break from the recycled sound that much of the album demonstrates. 4/5

10 - Whole World Is Watching (feat. Dave Pirner [Soul Asylum])

"Hydra" started on a strong note with the track "Let Us Burn," and then slowly wavered between good and mediocre. "Whole World Is Watching" is truly the savior that "Hydra" needed in order for it to not be a total misfire. Featuring stellar vocals by Soul Asylum frontman Dave Pirner, den Adel and company manage to engender a mid-tempo ballad with solid key, guitar, and hearable bass work. Although the breakdown and progression of the song is simple, it is refreshing that the band isn't trying to be experimental, but also not holding onto their old hooks. After seeing the music video directed by visionary Patric Ullaeus, the song does take on a stronger meaning, and further listens will continue to reward audiences with the subtle beauty and complexity of the song. If they could find a suitable male vocalist to tour with, this song could join the ranks of classics such as "Memories," and "Stand My Ground." A phenomenal way to end "Hydra." 5/5

Eclectic, but not always cohesive, "Hydra" finds Within Temptation at a deadlock where listeners won't be sure if the band wants to progress their sound or move back to earlier eras. The album does feature an array of sounds that fit the band's look and atmosphere exceedingly well. Just at this point, and with the way they combined it all into one, the final product comes out a bit muddy and confused. "Hydra" does have tracks that will fit nearly any listeners tastes, but as a whole, it's a sour mixture. At the end of the day, certain songs will surely become classics, and others forgotten. We've seen better from Within Temptation, and we can expect that they'll move past this minor misstep in the future.

"Hydra" is set to be released in the U.S. on February 4, 2014.

Final Score: 7.1/10

...here's to the future of Within Temptation \m/

Review: Within Temptation - Unplugged at The Joint 01/24/14

It's been sometime since Dutch symphonic metal masters Within Temptation have visited Los Angeles. To be exact, September of 2007. Undoubtedly, this Friday's return to The Joint in Los Angeles was well received by the dedicated fans that turned up to see the first show of the sure to be massive world tour in support of the bands latest effort, Hydra.

Kept under the radar until two weeks ago, three members of Within Temptation (Sharon [vocals], Ruud [guitar], and Robert [guitar]) descended on the City of Angels to promote their latest album, Hydra, to Southern California fans. The show consisted of an intimate, and sadly, short acoustic set that energized everybody before they were given the chance to listen to Hydra in full, and meet the band as well.

Before being let in, the less than 100 fans were asked to not photograph or record the show as Sharon was suffering from a sore throat and didn't want the show to be representative of the tour or her future performances. Upon walking in, the band was rehearsing one of their latest songs, "And We Run," which features guest vocals from rapper Xzibit. Shortly after, the band left the stage, promising to return soon to put on a complete performance.

Around 9:45, the band returned to the stage to perform some much anticipated songs. Opening the set was "And We Run." Sharon and company flowed through the song with grace, reminding the crowd of the beauty of acoustic performances, but also how sore throats can take a toll on even the most seasoned vocalists. Even the rough throat couldn't deter the audience's (and band's) joy as they powered through the opening track of Hydra, "Let Us Burn." The test of a truly good song is to see if it all works as well acoustically as it does electrically. With all the orchestral flourishes Within Temptation adds to their music, some may say they could lose their edge when performing acoustically. "Let Us Burn," and the following tracks, "Paradise [What About Us?]," and "Whole World Is Watching" all proved to be as good acoustically as they are electrically. The stripped down and raw versions illuminate the emotional complexities of the lyrics and soft melodies that can sometimes be forgotten in the bombastic waves of amplifiers.

As the show began to wrap up, the band threw in two classic songs, "Faster," and "What Have You Done," with the latter proving to be the crowd favorite of the night. The entire venue was singing along to the chorus, and even obliged Sharon when she asked "what do I want?" with everybody screaming "WHAT HAVE YOU DONE NOW!"

The band received a roaring and well-deserved applause from elated audience members who received what they came for: new tunes and the soaring music of Within Temptation.

Setlist:

1 - "And We Run"

2 - "Let Us Burn"

3 - "Paradise [What About Us?]"

4 - "Whole World Is Watching"

5 - "Faster"

6 - "What Have You Done"

All in all, it was a night to remember and cherish.

...here's to metal, friends, and Hydra.

20 Inspiring Films

As a self-proclaimed film geek and an aspiring screenwriter, I often get asked the question "what's your favorite movie?" In truth, I do have a favorite movie. It is number one on this list. But to say that that film is my "all-time" favorite is a bit unfair. Yes, it does have my favorite script of all time, and I think that all of the filmic elements are spot on and could never be improved upon. But each film on this list deserves true recognition because each one, in its own unique way, has inspired me to do greater things in being a screenwriter. Each has also taught me how to be a stronger viewer and understand what film tries to do in modern society. With that, I'll include a few words on why each film has stuck with me. I highly encourage you to seek out each film, watch it on your own, and then develop your own meaning and interpretations.

And with that...

20. The Usual Suspects (dir. Bryan Singer):

This is a more recent addition to the list as I only saw it for the first time this past summer. Aside from a great performance by Kevin Spacey, the heart of The Usual Suspects lies within its magnificent script. Writer Christopher McQuarrie weaves together one of the most deceptively complex plots I have ever seen. The mystery within the story is only one of the many puzzles that must be solved for this to be a truly enjoyable experience. 

19. Finding Nemo (dir. Andrew Stanton & Lee Unkrich):

For me this is still Pixar's most complete and heartwarming story they have ever produced. The visual splendor of the film is exquisite and rivals even the most advanced technology of 2014. It has memorable performances, a great story, and it always makes me laugh. I don't think I'll ever be as creative or talented as the crew of Finding Nemo, but that is precisely why the film is on this list: they make me want to try harder every time I see the film.

18. Magnolia (dir. Paul Thomas Anderson):

Like The Usual Suspects, Paul Thomas Anderson's masterpiece from 1999, is only a recent addition. I was shown an excerpt from it in my film class back in January of 2013 and only saw it this past summer on the way home from vacation. Anderson has always, and will continue to be, one of the most magnificent and detailed writers Hollywood has ever (and will) see. This is a brutal film to watch because of its heartbreaking, self-destructive characters that feel so humanly troubled. Magnolia deserves multiple viewings because of its labyrinthian plotting, but it is a rewarding experience at the end. To this day, Frank T.J. Mackey is Tom Cruises' finest performance that should've won him the Oscar for Best Supporting Actor. 

17. Oldboy (dir. Park Chan-wook):

Cringe-inducing. Painful. Sadistic. Tragic. These are only a few words to describe the horrific masterpiece from South Korean visionary, Park Chan-wook. Its hard to talk about this film because only a few minor words could give away the legendary ending that still has me in fear after every viewing. Its a beautifully shot film with twists around every corner. If you can, watch it in full alongside the rest of Chan-wook's Vengeance Trilogy. 

16. The Evil Dead (dir. Sam Raimi):

Raimi has had the pleasure of being the father of one of the greatest trilogies in film history, as well as the man who brought Spider-Man to life on screen in 2002. The Evil Dead is a gooey good time, filled with laughs and scares that will stay with you forever. As funny as this film is, it is bats**t scary as well. This is one of those landmark films that set the tone for horror films to come. If you've seen The Cabin In The Woods but not The Evil Dead, you don't understand the references. See The Evil Dead, The Evil Dead 2, Army of Darkness, and Fede Alvarez's honorable remake, Evil Dead (2013). 

15. Requiem For A Dream (dir. Darren Aronofsky):

Even though I say that Neil Marshall's The Descent is the scariest movie of all time, Darren Aronofsky's Requiem For A Dream is terrifying for other reasons. Not any movie in history has taken audiences deeper into the depravity and tragedy that is drug addiction. This is an unflinching look at the lives of interconnected characters as they battle with drug use in their everyday lives. The film showcases a groundbreaking editing technique known as hip-hop montage amongst an array of other technical and performance related achievements. The score by Clint Mansell also deserved Oscar recognition. The climax of the film is one of them most intense, disturbing, and painful endings I've ever seen. It's truly an "experience" to watch the film. Have in mind a joyful movie to watch immediately afterwards.  

14. Nosferatu: A Symphony of Horror (dir. F.W. Murnau):

Even though it was released in 1922, Murnau's take on Bram Stoker's Dracula is still more terrifying than 90% of horror films released today. This is the apex of the silent film era for me. True evil and vampirism are on display with Max Schreck's chilling performance of the legendary bloodsucker. Hauntingly beautiful, this is the purest form of cinema on display. Nosferatu should make you nostalgic for the time before sound. 

13. Dark City (dir. Alex Proyas):

I was disappointed to discover a while back that Proyas' adaptation of John Milton's magnum opus, Paradise Lost, was no longer in production. If you see Dark City, you'll know why. Proyas is a visionary when it comes to world building and the detailed construction of visuals. Dark City is a vehicle for noir and gothic architecture that practically breathes a life of its own. You can feel the streets of this futuristic city that have been overrun by an enigmatic group of people known only as "The Strangers." The script was written by Proyas, David S. Goyer, and Lem Dobbs. It's one of the films that became an inspiration for Christopher Nolan's Inception. Only this is far superior. This is the height of neo-noir in the modern age. 

12. Fargo (dirs. Joel Coen & Ethan Coen):

The Coen brothers are witty, brilliant, dark, and laugh-out-loud hilarious. They have a style that is singularly theirs and remain untouched to this day. Fargo is their 1996 masterpiece that rightfully won them an Oscar for Best Original Screenplay and Best Actress for Francis McDormand. The set up for Fargo is simple, but the excellent script allows the Coen's to explore the dark sides of humanity when it comes to greed and desire. Although it is a comedy, this is a dark film that explores the atrocities of human action. 

11. The Fall (dir. Tarsem Singh):

Simply stunning. That basically covers it for Tarsem Singh's The Fall. The pure visual grandeur of this film is on display throughout its running time. With a wholly original script, gorgeous set design, and breathtaking costumes, The Fall astounds on every level. I'm shocked this was never nominated for an Oscar in any of the design categories. Singh utilizes about every visual technique in the book perfectly to emphasize the message of his film: live to dream. 

10. Kill Bill Vols. 1&2 (dir. Quentin Tarantino):

Some say that Tarantino is the master of visual, and sometimes, written plagiarism. But because of his brilliance, I can forgive such offenses. I saw the two Kill Bill films when I was a young teenager (probably too young) and they absolutely blew me away. I was sucked into Tarantino's rapid paced, catchy, and memorable dialogue; the sassy performance from Uma Thurman, and above all, the wacky and jaw-dropping action sequences. Tarantino is a master of his craft, creating everything from the writing to the spectacular battle sequences. One of the great things about film is that filmmakers are able to pull inspiration from other films, and Tarantino does just that. In my mind, it isn't that he's plagiarizing, more so, he's improving upon what has already been created. 

09. American Beauty (dir. Sam Mendes):

American Beauty is an American classic. In 50 years, this will still hold a position on the lists of the greatest films of all time. Why? Because Alan Ball's script is so finely tuned to contemporary society, their worries, failures, and successes, that it is the most poignant case study of middle America ever on film. This is Kevin Spacey's greatest role (winning him a second Oscar) as everyman Lester Burnham, as he narrates the final year of his life and all its ups and downs to the audience. The film functions not only as a careful examination of human behavior, but also how the daily functions of life work on a microscopic scale. We see how interaction influences behavior, and how behavior engenders consequences: good and bad. This is a perfect blend of melodrama, thrills, and comedy.  

08. Moulin Rouge (dir. Baz Luhrmann):

Baz Luhrmann has always been a hit and miss director for me. But with Moulin Rouge!, he created one of the most beautiful and heartfelt films of the 21st century. For once, his overindulgence of all things shiny and grand paid off in this flick that explores 1900 Paris and the quest to live to the fullest. Nicole Kidman and Ewan McGregor have pitch-perfect chemistry as the lovers Satine and Christiane: two romantic individuals who fall for each other at first sight. With a perfect mix of music, romance, and melodrama, Moulin Rouge! never fails to astound with its glorious production design and honest characters. This film truly embodies everything that is beautifully tragic in life and love. 

07. Scream (dir. Wes Craven):

Simple, smart, funny, and thrilling. Scream is a serious horror flick that challenges and critiques about every cliché in horror films. Kevin Williamson basically reinvigorated the slasher genre with this 1996 film in which a group of teenagers (who look to be 20-somethings, but are actually High Schoolers) are killed off one-by-one by an elusive, masked killer. The original aspect of Scream that makes it such a great film is that it uses cliché to its advantage. Each character represents a convention seen in other horror films, complains about said flaw, and then actually behaves exactly like that character when they come into contact with Ghost Face. This is a clever feature that actually keeps you guessing until the last moment, and even into 3 more successful films. 

06. The Descent (dir. Neil Marshall):


The scariest movie of all time. With this film, Neil Marshall became a member of the Splat Pack: a group of filmmakers who make over-the-top gory and violent horror films. But it isn't the blood and guts that makes The Descent such a frightening experience. It's that Marshall sets the film up with the worst situation imaginable, and then makes everything exponentially worse throughout. There is not one moment in this film where you will feel safe. Jump scares are used sparingly in favor of true psychological horror that makes you question trust, friendship, and sanity. If there is one main character in this film, it's claustrophobia.  

05. Sunset Blvd. (dir. Billy Wilder):

The pinnacle of film noir. The greatest performance by an actress on screen. There are numerous reasons as to why Wilder's classic Sunset Blvd. is amongst one of my most inspiring films. For there to be a good movie, there has to be a good script. And Wilder delivered in that department. With memorable characters, quotable dialogue, and a setting that is near to every Southern Californian's heart, Sunset Blvd. is a majestic piece of cinema that reminds of why we fell in love with movies. It's a wickedly funny film with a devious dark side that will have you rooting for the films heart: a narcissistic but mischievously entertaining hasbin. 

04. Pan's Labyrinth (dir. Guillermo del Toro):

When you say you're a screenwriter, the question, "well, what's the script that most inspires you?" is bound to come up. I always credit Guillermo del Toro's magical 2006 film, Pan's Labyrinth, as the script and film that made me want to become a screenwriter. I read it when I was in eighth grade and had that sort of epiphany of "I can do this." del Toro creates a wondrous world, that for me, rivals some of the greatest fantasy writers of all time. It is a fluid script that moves at a wondrous pace, with some of the best character arc's I've ever read, and some of the most horrifying and gorgeous creatures ever written. The film itself is also a lavish experience that is a treat to viewers with its decadent cinematography, impressive set design, fine direction, and lovely performances. 

03. The Crow (dir. Alex Proyas):

Alex Proyas has the honor of holding two spots on this list. The first is with his neo-noir film Dark City. With The Crow, Proyas and crew once again create one of the most memorable characters and set designs in the history of cinema. Brandon Lee stars as Eric Draven, a man brought back to life by a magical crow that allows him to seek revenge for the murder of himself and his girlfriend. Although the plot is simple, it is Proyas' mise-en-scene that makes this film great. The sets emphasize the bleakness of the story and the characters situations, the score by Graeme Revell is haunting, and the cinematography by the always immaculate Dariusz Wolski is well, perfect. This is an atmospheric film that, although simple, is richly textured with its splendid production design. 

02. The Nightmare Before Christmas (dir. Henry Selick):


Tim Burton did not direct this film. He mine as well have because The Nightmare Before Christmas is truly his baby and finest work. I oddly did not grow up watching the film, and only saw it for the first time as a teenager. Since then, I've seen it twenty+ odd times, and to this very day, love it all the same. I'm a sucker for gothic and playful set design, and TNBC delivers. With soaring music, great voice acting, and the most memorable Christmas/Halloween story, Burton's brain child is a resoundingly fresh and exciting picture amidst a handful of lethargic and boring animated features from the 90's (and 2000's). The Nightmare Before Christmas always reminds me of the power of storytelling and the adventures it can take you on. 

01. In Bruges (dir. Martin McDonagh):

You can say that Martin McDonagh's Oscar-nominted film is my all-time favorite movie. It has an energetic script, first-class set design, award-winning performances, and dark humor. Sit back and watch a master at work because McDonagh's full-length freshman effort is a sight to be seen. 

"Through the masterful use of narrative construction, detailed mise-en-scene, and gorgeous cinematography, writer and director Martin McDonagh takes the viewer on a journey to the realization of sin in a rather beautifully sinister setting."

Taken from the pages of my essay "Sinister Beauty," I explain how McDonagh has created such a delightfully malicious film that we have to enjoy the heartlessness of some characters, while treasuring the honesty of others. In Bruges is such a fresh, inviting, and hilarious film that I'm always perplexed when somebody tells me they have either never seen it or have found it immensely detestable. We all have our individual opinions, but I assure you, if this is the future of comedy and filmmaking, then cinema and laughter are looking bright. 

What are some of your favorite/inspiring films?

...here's to inspiration.