19 februarie 2009

Omnium Gatherum - The Redshift


Nu imi simnt degetele si mintea suficent de relaxate pentru a atenta la un review serios si extensiv astfel incat, de vreme ce nu vreau sa ma trezesc cu o „febra musculara” dupa lunga absenta de pe teramanul recenziilor,va fac doar o recomandare

Prima data cand m-am intalnit finlandezii a fost in 2005 cand au scos albumul de debut Years in Waste si nu a fost tocmai ceea mai amiabila intalnire. Stilul vocal al lui Antti Flippu mi-a lasat un gust amar laolata cu abordarea neoriginala a unui gen ce este supra solicitat. Renuntand la Filppu la scurt timp, trupa a realizat in 2007 Stuck Here On Snake’s Way, inainte de a ne oferi ultimul lor efort muzical, The Redshift, un album extrem de antrenant si captivant. Jukka Pelkonen se afla acum in pozitia de frontman iar stilul sau se potriveste mult mai bine cu sound-ul Omnium Gatherum. De asemnea, relevant pentru acest album este amestecul de melodic cu pasage intunecate, gandti-va la o combinatie intre Amorphis si Dark Tranquillity, cereuseste sa dea un aer de prospetime death metalului melodic interpretat de ei. Productia este si ea foarte buna, per total Red Shift bucurandu-se de un sunet plin, expansiv.

Omniu Gatherum( alaturi de compatriotii de la Insomnium) conduc al doilea val de melodic death metal iar The Red Shfit este raspunsul la intrebarea: de ce?

10 ianuarie 2009

The Crusade of Emperor Frederick II in Freidank’s Bescheidenheit

Freidank was a didactic poet who gave an eyewitness account of the city of Acre (mod. ‘Akko, Israel) during the Crusade of Emperor Frederick II (1227–1229) in his ethical compendium Bescheidenheit (“Wise Judgment”). His satirical verses attack the avarice andirreligious behavior of the Franks of the Holy Land, they deplore Pope Gregory IX’s hostility to Frederick II, they express Freidank’s disquiet over Frederick’s negotiated truce with al-Kamil, the Ayyubid sultan of Egypt, but despite all misgivings they assert the continuing validity of pilgrimage and crusade. The fallowing bit is jut to funny not to post:

“I have heard many a man express the wish: “If I might get
to Acre, and just see the Holy Land, I would not care if I died
there on the spot.” Now I see these folk glad to be alive and
anxious to get back to their homeland.
I advise those who intend to come here after us to be well
equipped: the first shock comes when you buy or exchange
something. Acre has gobbled up silver, gold, horses, and
clothes, and whatever a man may possess, nothing eludes
their clutches. Now they mock us and say, “Allez—off you
go home across the sea.” And if thirty armies came to Acre,
they would fare as we have fared; the locals would treat them
as they’ve treated us.
In Rome and Acre it’s the same business, which always
finds enough fools to exploit. In no time at all they’ve gobbled
so much treasure that I’m amazed it doesn’t burst out
of the houses.
Since Acre won’t relent, it’s better to be sheared than
skinned: if you get away with your hide intact, you can sing
for joy.
Acre is rich in diseases, death is quite at home there, and
if thousands died there every day, you’d hear nobody
lamenting for long.
The first question they ask when someone’s died is, “Sir,
where’s his money?” (And that’s the last word of mourning.
God send us a speedy end!)
If anyone doesn’t want to live long, I advise him to hurry
off to Acre.
There’s no difference between the Christians and the
heathen in Acre: all the crusaders’ might won’t disturb their
friendly alliance. Young and old all speak the heathen
tongue. They prefer the company of one heathen to two or
three Christians. So it’s no wonder that they’re treacherous.
In Acre I’m well acquainted with the food, the climate,
people and land: all are bad news to Germans. So many a
man slips away to the graveyard—there’s a friendly landlord
who’s never stuck for guests; he does his best to greet
all strangers. Acre is the pit of death, where there’s naught
but death and disease; and a dead donkey would be
mourned more in other places than a hundred thousand
who die there.
In Acre they live corrupt lives: if the pope has imposed
that on them as penance for their sins, then even Judas has
hope of salvation.
In Acre the citizens are treacherous: an army of a hundred
thousand will be more quickly sold there than ten oxen anywhere
else.
The business they are up to in Jaffa is a good bargain for
the heathen, but it won’t help against the Christians who are
in league with the heathen. The allies of this land are showing
how far they can be trusted, and if it were up to them,
the talks at Jaffa would not be happening.
We were given the cross to protect against sin and to free
the Holy Sepulchre. Now the church wants to ban us from
doing that. So how shall we save our souls now?
No ban has more force in God’s eyes than is justified by
a man’s guilt. Obedience is only valid if the master acts justly;
if the master forces a man to desert God and do wrong, then
you must leave the master and cleave to what is right.
Though whether the church’s ban is wrong or right, it is to
be feared, that’s true.
It would be fitting if the emperor put a stop to the whispering
he and the Sultan have been carrying on. Can that lead
to a happy and honorable end without God’s help? It’s a strange matter, and fools don’t believe it—I hear wise folk
too say they’ll only believe it when they see it.
Mr. Mean and Mr. Stingy were supposed to share three
marks: Mean wanted the bigger half, Stingy wouldn’t give
up. The two misers still haven’t settled their quarrel. That’s
just how the emperor and the sultan are behaving.
When did an emperor ever go on a crusade banned by the
pope and without the princes’ support? And now he’s
reached a land where neither God nor man ever found a loyal
friend. And without treasure to help him he’s met much
opposition—may God settle it.
I don’t care how, so long as I glimpse the Holy Sepulchre:
then I’d return to Acre, stuff myself full of good food, and be
happy to board the first ship I found. I deplore all that’s ever
been told of this land, whether it was true or false; they’ve
enticed many a band of crusaders here.
I’d gladly go back over the sea and send another army
here—but I never want to return myself, because of the
treachery that goes on here.
What can an emperor achieve when heathen and clerics
alike fight against him? Solomon’s wisdom would be inadequate
there. Treachery is a birthright in this land, and the
natives have sworn to reinforce it with false counsel. Treachery,
arrogance, and enmity never run short in Syria. If the
emperor’s might is demonstrated here, all lands will fear
him; his honor will either soar or sink to the depths through
what happens here.
Whatever the emperor achieves here without sufficient
support, the help and cunning of the locals will be pitted
against him, so far as they dare.
Many an army has come to Acre, and all, I’ve been told,
perished without achieving honorable victory. The pope’s
ban and the cunning tricks of many Christians here wanted
to thwart us of success. Now God has won his own honor.
He was able to ensure without their help that sinners shall
see the Holy Sepulchre.
God and the emperor have freed that tomb and brought
comfort to all Christians. Since the emperor has done the best
he ever could, he should be released from the ban—but I
guess those in Rome don’t want that. If something good happens
without their consent, they don’t wish it to endure—
and now it’s happened against their wishes. All sinners agree
that no one should breach the peace treaty. Rome could do
us no greater honor than to affirm that too. Those who must
live and survive in this land, they did not want to be given it
back. What if a miracle happens and their arrogance is taken
way from them? Treachery will come to their rescue.
God has liberated the city that is the joy of our faith. What
more do sinners need but the Holy Sepulchre and the honor
of the cross? If those who tried to cheat him of his honor had
stood by the emperor, the Sepulchre and all this land would
have been in his hands: Nazareth and Bethlehem, the Jordan
and Jerusalem, and many a holy place where God’s own feet
trod, Syria and Judaea, many a fair land besides. The roads
all lie open before us that lead to the holy places.
It grieves the false hearted that the emperor did not let so
many armies be betrayed that would have perished defenseless
here. If a lord has men, might, and wealth and gives
these for God’s cause, it is a grievous sin when anyone gives
treacherous counsel.
A ban has no force if it is imposed out of enmity; a ban
that harms the faith can do no good. Acre has banned kettle
and frying pan, boiled meat and roast; may God provide for
us! The masters of our faith rant and rave. Lord God, where
shall we praise you, since we are banned from your city, in
which you, Lord Christ, were martyred and buried? The
honor of your faith is extinguished; sinners are deprived of
comfort; how shall we be rid of sin? All Christendom
despairs. Lord God, have pity on this inexcusable scandal.
This ban will bring scorn on the Sepulchre and all Christendom;
disbelief will prosper for it.
I witnessed Christ’s own land left without visible defense.
When we should be reconquering it, no one was prepared to
defend it. The devil has succored this land because no one
prevented it. It was the devil’s cunning that stopped more of
it from being won back. God punish those who are guilty for
us Germans being the laughing stock of the Franks. And if
the Germans might win back the land today, the Franks hate
them so much they would much rather the heathen kept it.
If anyone comes sick and poor to Acre, he will readily get
a lodging there—one seven feet long, where he can do
penance for his sins.
Nothing was ever better against sin than a pure-hearted
pilgrimage across the sea. Even if you never glimpse the Holy
Sepulchre, your reward is none the less for that. Anyone who
with devout intent bears his cross over the sea (this is my
firm belief) shall be freed from sin. Acre roasts the body yet
brings comfort to the soul. Have no doubt of this: if you die
a righteous death there, you shall be saved!

Source
Kreuzzugsdichtung, ed. Ulrich Müller (Tübingen: Niemeyer,
1979), no. 72, pp. 102–109.

09 ianuarie 2009

Min herze und min lip diu wellent scheiden

Since I haven’t posted anything relevant in a while, I’ll try to make up for it by sharing with you something from my crusades studies. I’m talking about a German Crusade song of the late twelfth century by Friedrich von Hausen and translated by Jeffrey R. Ashcroft.
Friedrich von Hausen is recorded in charters and chronicles as a ministerial knight with military, legal, and diplomatic functions in the service of Frederick I Barbarossa, Holy Roman Emperor, and his son King Henry VI between 1171 and 1188. He was killed in battle on the Third Crusade, in May 1190. Hausen wrote courtly love songs during the 1180s, and this song of crusading propaganda must date from 1188–1189.

“My heart and my body want to part company, though they
have been together for a long time now. Body is keen to go
fight the heathen, but Heart has chosen a woman in preference
to all the world. This pains me ever more, that they will
not stay with one another. My eyes have caused me much
grief. God alone can settle this dispute.
Since, Heart, I cannot dissuade you from leaving me in
this unhappy way, I pray God that he may deign to send you
somewhere where you will be well received. Alas, how will
you fare, poor thing? How can you venture to face such peril
alone? Who shall help you bring your cares to an end so loyally
as I have done?
I thought I had freed myself of such cares when I took the
cross in honor of God. It should by rights have been so, if my
own steadfastness had not prevented it. If my heart had
given up its foolish will, I should be truly a whole man. Now
I realize that it doesn’t care how I am to fare in the end.
No one can reproach me with inconstancy if now I hate
her whom before I loved. However much I begged and
beseeched her, she behaves as if she doesn’t understand. It
seems to me indeed as if her words behave exactly like the
fickle summer weather does in Trier. I’d be a fool if I took
her foolish obstinacy seriously. It will not happen again.


Source
Des Minnesangs Frühling, ed. Hugo Moser and Helmut
Tervooren, 36th ed. (Stuttgart: Hirzel, 1977), pp. 81–83

20 septembrie 2008

Metallica - Death Magnetic

Multa cerneala a curs in ultima spatamana, de la lansarea Death Magnetic, considerat si aplaudat ca un comeback al unei formatii ce a mosit metalul modern. Spre deosebire de entuziasmul actual, anticiparea a fost ceva mai temperata, poate si datorita amintirii dureroase a precedentului album, care ramane cel mai slab album Metallica din intreaga lor discografie, si poate ca a fost mai bine asa, pentru ca asteptarile legate de noul album nu au depasit cotele normale. Dar pana la urma cum se descurca noul album ?

Albumul nu este un nou Kill em’ All, Master of Puppets sau The Black Album, in schimb rezuma foarte bine ceea ce a facut Metallica in ultimii 20 ani de cariera. Piese precum “The Day That Never Comes” si “Cyanide”, foarte catchy cu referenuri ce imediat ti se lipesc de lobul frontal, nu ar fi nelalocul lor pe albume precum Load sau Relod. Parasind acesta falie ce desparte fanii Metallica, “The End of The Line” si “The Judas Kiss”, vin sa multumeasca impatimitii de riffuri cu viteaza unui sprinter de performanta, dar piesa “Suicide & Redemption”, spre deosebire de predecesorii “Orion” si “The Call of Ktulu”, treneaza prea multa tragand in jos ultima treime a albumului. Piesele defapt sunt foarte lungi avand in medie fiecare cam 7 minute. E de inteles, de atata timp de cand nu au mai scos ceva relevant pentru lumea metalului, noua lor eferscenta creativa s-a tradus intr-un exces compozitional, ceea ce face ca piesele sa nu devina memorabile de la prima ascultare, dar ofera surprize la ascultari succesive.

Fanii vor fi bucurosi sa il regasesca pe Kirk Hammet indeletnicindu-se din nou cu solourile de chitara in stilul caracteristic, dupa decizia regretbila de pe St. Anger de a nu opera nici un solo pe albumul respectiv. Vocea lui James a ramas aceiasi, sau ma rog stilul de southern rock pe care l-a abordat de la Load incoace. Daca nu il mai tine vocea il inteleg, daca in schimb dace este o decizie voluntara nu pot decat sa o deplang.

Desi este un album decent din punct de vedere al compozitiei,riffurilor trashy si al variatiei pieselor sunt destul de nemultumit de productia acestui album. Sunetul galagios, abraziv, in your face, ce caracterizeaza un album metal bun Metallica(sau de metal in general) nu se regaseste in incercarea destul de amatoriala de a ne prezenta ideea unui sunet heavy, ce dupa standardele actuale au ramas mult in urma din acest punct de vedere.

Este noul album un comeback ? Este, dar sub forma unei atologii nedeclarate. Un album bun Metallica ce, daca ar fi beneficiat de o productie pe masura, ar fi putut fi un album de exceptie Metallica.

Track Listing:

1. That Was Just Your Life

2. The End Of The Line

3. Broken, Beat & Scarred

4. The Day That Never Comes

5. All Nightmare Long

6. Cyanide

7. The Unforgiven III

8. The Judas Kiss

9. Suicide & Redemption (Instrumental)

10. My Apocalypse

Lineup:

James Hetfield - Vocals, Guitar

Kirk Hammett - Lead Guitar

Lars Ulrich - Drums

Robert Trujillo - Bass


06 august 2008

lecturi pe shuflle


"Life's but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more. It is a tale

Told by an idiot, full of sound and fury

Signifying nothing."
— Macbeth (Act 5, Scene 5, lines 17-28)

Iron Maiden 4 august Stadionul Cotroceni

Inchiem seria de trupe legendare ce au pasit vara aceasta pe pamant romanesc cu Iron Maiden. Se pare ca zeii metalelor mi-au zambit in aceasta vara si mi-au adus in tarisoara inca trupa de care sunt legat emotional. Nu sunt cel mai mare fan Iron Maiden, sau mai bine zis nu mai sunt, pentru ca in perioada liceului pentru o vreme in urechile mele au existat doar Metallica si Iron Maiden, astfel incat ii plasez pe britanici in „my top 5 bands that got me trough high school”. Si desi nu mai ascultasem de f mult timp piesele lor la vreun player, mintea mea era intesata de versurile si liniile melodice ale pieselor clasice Iron Maiden. Sarind peste efortul logistic pe care l-am desfasurat inainte si dupa concert cu diferiti oamenii cu care m-am intalnit iar altii pe care nu am reusit sa ii vad la fata, voi trece direct muzica.

Cand am ajuns la fata locului Lauren Harris, fica basistului de la Iron Maiden, canta deja pe scena cu ai ei trupa. Nimic interesant de raportat, other then her tight leather pants.

Apoi au urmat Trooper, trupa potrivita pentru a le deschide concertul celor de la Maiden, fiind bine stiut faptul ca sunt mari fani, hell numele lor este numele unei piese maiden. Au cantat si ei ce au crezut ca au mai bun, Dar pe Un Ultim strigat, pe la jumatatea piesei, ca o ironie a sortii a cedat un generator si au ramas fara sunet. Au revenit si au mai cantat 2 piese, printre care si Tari ca muntii, si am binevoit sa cant versurile alaturi de ei, pt ca surpriza, tot in perioada liceului am auzit pentru prima oara piesa lor.

Si ajungem intr-un final aproape de ora 21 la Maiden. Intro-ul cu Discursul lui Winston Churchill m-am prins la standul de bere asa ca am fugit repede unde imi era locul. Setlistul a fost cel la care ma asteptam Aces High cu Bruce fluturand steagul britanic, Two Minutes to Midnight cu publicul ajungand deja la turatie maxima, Revelations, The Trooper cu Gers si Harris folosindu-si instrumentele pe post de mitraliera, Wasted Years cu optimismul ei debordant in mijlocul unor piese cutremuratoare despre razboi, The Number of the Beast cu primele efecte pirotehnice, Can I Play with Madness cu refrenul sau obsedant, The Rime of the Ancient Mariner cu povestea ei pe scena, cu cel mai frumos decor si cu marea de fum de la final, o superba atmosfera, Powerslave cu masca lui Dickinson, Heaven Can Wait cu urcarea pe scena a staff-ului, Run to the Hills, magia de la Fear of the Dark cu lipsa oricarui fundal unde totstadionul a cantat as putea spune versurile neoficale ale piesei, Iron Maiden cu un Eddie suparat si artificii, Moonchild cu inceput acustic, The Clairvoyant si, finalul, Hallowed Be Thy Name.

Scena superba, cu diferite teme ale albumelor Iron Maiden, efecte pirothenice f bune si nelispitul Eddie, au creat contextul in care Bruce a sarit, a alergat in sus la cei 58 de ani ai sai, si nu in ultimul rand a cantat. Rock theatrics este cuvantul potrivit, si desi am vazut destule spectacole Maiden inregistrate, este o placere sa vezi energia trupei desfasurandu-se pe scena. Pe Bruce inca il duce vocea, si mai are si o placere de a tine minidiscursui, multe dintre ele amuzante. Restul trupei a performat la fel de impecabil. Nu cred ca am fost la vreun concert pana acum unde soluriile sa fie executate atat de bine, si credeti-ma piesele Maiden sunt pline de ele.

Un concert foarte bun, potrivit pentru a incheia pleiada de trupe legendare pt vara asta si in acelsi timp un epitaf fericit pt pustiul de 16 ani din mine.

29 iulie 2008

Amaseffer - Exodus: Slaves for Life

Amaseffer, este o aparitie cat se poate de originala pe scena metalului international. Trupa originara din Israel, ce combina elemente symphonice cu ritmuri si tonuri caracteristice orientului mijlociu, adaugand si ceva progressiv metal la instrumentatie, reuseste sa produca un vehicul sonic ce transporta ascultatorul intr-un loc si timp vechi de peste 2000 de ani. Exodus : Slaves for life , este prima parte dintr-o trilogie de albume menite sa transpuna povestea biblica a exodului evreiesc pe muzica.

Slaves for life incepe cu perioada de sclavie a israelitilor in Egipt, trecand prin nasterea lui Moise pana la cele 10 molime si consecintele imediate ale episodului. Pe masura ce albumul demareaza, veti putea observa ca nu este unul tipc pentru genul progressiv. Defapt are mai mult o legatura tangentiala cu acest gen, putand avea o atractie la fel de mare pentru iubitorii de world music (printre care ma numar). Piesa ce da titlul albumului iti inspira un sentiment de grandios, dimensiune epica a acestei piese fiind foarte potrivita pentru a ilustra caracterul intregului album. Nu are ritmurile de tobe dominante si directoare, des intalnite in muzica metalica, dar in schimb tonurile grele de chitara sunt utilizate aici ca personaj dramatic. Piesele sunt in general lungi, si asemenea unei carvane de camile, nu se grabesc sa te aduca la destinatie. De exemplu, Birth of Delivernace, incepe cu 3 minute de muzica orchestrala subtila, vocea perfomand maidegraba un dialog dramatic decat ca o piesa muzicala. Dupa acesta totusi lucrurile acelereaza, si piesa devine mai ritmata pentru o vreme, pana cand iarasi iese din ritm si intra intr-un moment ce aduce mai mult cu interpretarea unui text decat cantat.

Nivelul de pregatire al muzicienilor este foarte mare. Memebrii trupei stiu cum sa faca instrumentele sa vorbeasca. Solul de chitara de pe Burning Bush este un exemplu perfect la modului teatral de interpretare muzicala, de durata lunga, concentrat pe alegerea notelor potrivite si lasandu-le sa se transforme intr-un ecou in mintea ascultatatorului. Ten Plagues, spre sfarsitul albumului este poate cel mai intunecat si heavy song de pe album, si poate oferta ceea mai buna pe care o fac genului progressive.

Slaves for Life este mai mult o calatorie epica decat un album de metal. Vocile in limbile orientului(in ebraica in special), arnjamentele symphonice si imprumuturile progressive, faca ca albumul sa nu fie unul ce ce poate fi ascultat ca muzica de fundal. Pentru a-l putea aprecia la valoare lui maxima, necesita toata atentia ascultatorului. Cei care vor avea rabdarea si il vor asculta cu mintea deschisa vor fi recompensati cu cu o experinta complexa si unica.

Track Listing:
01. Sorrow
02. Slaves For Life
03. Birth Of Deliverance
04. Midian
05. Zipporah
06. Burning Bush
07. The Wooden Staff
08. Return To Egypt
09. Ten Plagues
10. Land Of The Dead

Lineup:

Erez Yohanan - Drums & Percussion
Yuval Kramer - Guitars
Hana Avramovich - Guitars
MAts LEvin - Lead Vocals