(hed) pe – Blackout

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I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5

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Manic Street Preachers – Gold Against the Soul

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Many find this to be the awkward one, the child that doesn’t belong anywhere. It’s slotted between two punk-spirited albums full of anger and vitriol, often eschewing melody for lyrics. The Manics sounded on their previous album like they’re more interested in starting fires than playing rock music. The Holy Bible was a philosophy professor going off-topic and refusing to let his students go. What does this collection of depressed soft rock has to do with anything?

Maybe these two albums were actually the abnormalities, not this. If you listen to them closely, you’ll find the same despair lurking there. Generation Terrorists wasn’t a victorious, rabble-rousing album but a car on fire just waiting to crash. What fueled its anger was despair, the thought that no matter how loud they’ll play nothing will change. That’s why it sounds so different compared to other political music. As for The Holy Bible, beneath the philosophy and big words it had “This is Yesterday”, “Die in the Summertime” and “4st 7lb”. The only reason the lattermost doesn’t fit here is because it’s not melodic enough.

This is the definitive Manic Street Preachers. It’s not their best album and it suffers from filler, but it’s one that captures their essence. If you have to distill the Manics, they’re a melodic rock band with as much brains as they got despair. ‘Despair’ is the key word here, because every song drips with it.

Just look at the song titles. It’s one of those albums that can convince you of having a concept – “Life Becoming a Landslide”, “From Despair to Where”, even a title like “Roses in the Hospital” hints more at despair than anything else. Even when they sing about something other than despair, it comes to that. “La Tristessa Durera” – a contender for their best song – is about a veteran who’s been abandoned by society, forced to live with his memories alone. I wasn’t in combat duty, but I did have a tough role in the military and that song is dead-on in expressing the alienation, the loneliness, how everyone treats your service like everyone goes through it. To me, this song is a godsend, showing us someone understands the loneliness of a discharged soldier.

The music is more softer, more melodic. Some expressed astonishment at this, but were the Manics ever brutal? Even The Holy Bible has its melodic, almost poppy moments. They just play at mid-tempo, which brings their melodic chops to the surface. If it was odd that their later records were so melodic, it’s only because we wanted to forget this record and believe in the Manics as explosive rock-n-rollers.

They never were that. Gold Against the Soul is the only logical continuation of their debut. All its fury and politics and anger and telling to people to fuck off were a last attempt at recovering from despair. Here, they wake up, quite indifferently, to a reality they knew they couldn’t change. How else to react to a rebellion you knew was lost in the first place?

The album’s power comes not just from despair, but a unique hopelessness. There was never a good time according to this music. Everything was always bad, but they just happen to sing about it now. “Life Becoming a Landslide”, in one sentence, points to a past that’s the same as the present. A lot of depressive music wax sentimental about a fall from grace. The fall is a common element in our thinking in dark times. Nostalgia is a place to run to, knowing that if things used to be good then maybe they have a chance of improving. The darkest albums have these, since they describe some kind of deterioration. There’s none of that here, just a monotony of despair.

The mood and sound are strong, but the songs alone don’t reach these heights. The album especially falters after “Roses in the Hospital”, and the final tracks are bursts of noise that only help to keep the overall mood, but not add to it too much. It’s also reliant on its sound more than anything. It sounds great when played from beginning to end, but if you find yourself choosing an individual song the choices narrow. “Sleepflower” is fantastic as an opener only.

When it’s good, it’s brilliant. “La Tristessa Durera” is a masterpiece. “Roses in the Hospital” is the second highlight, a funky Alternative Dance number that turns its despair into a protest. It’s the one song that captures some of the debut’s anger with the cry of “We don’t want your fucking love”, but only to fall back to despair. Other songs need the album’s mood to stick, but they’re good enough – “Life Becoming a Landslide” is strangely pretty, “From Despair to Where” is okay with brilliant lyrics and “Drug Drug Druggy” captures some Hard Rock intensity.

It’s also the album where the Manics begun their career as some of Rock’s best lyricist. The poetic titles are enough, but there are countless quotables here – “My idea of love comes from/A childhood glimpse of pornography”, “I am just a fashion accessory”, “I feel like I’m missing pieces of sleep”. If you need words to give your thesis or your book a title, there’s plenty here.

So it’s not their best album, but it is their best album, but if I have to direct a beginner I’ll direct them to this. They have more explosive albums, angrier albums, smarter albums and catchier albums. No album captured their essence like this, a poetry full of despair and intelligence that happens to go along with Pop hooks and guitar noise. Start your exploration here.

What the hell does the album title mean, by the way?

4 roses in 5 hospitals

Ed Sheeran – Divide

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Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5

(hed) pe – Broke

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There isn’t much left to do, or anywhere to go after (hed) pe’s self-titled debut. It was an explosion of Nu Metal – mixing angst and partying, Hip-Hop and sludge, melody, rapping and screaming without a care. They didn’t enjoy the success of their peers for a good reason. The album went in all direction and drowned in its own idea. It had no hit, no immediate hook. Only those who are used to such genre-jumping could’ve gotten into it.

One thing it did lack was hooks. They were catchy, but the songs didn’t revolve around them. That’s one direction the band takes in Broke. Another is fill a hole in the genre. Nu Metal is silly and exists for partying. Metalcore couldn’t replace the genre because it was too serious. Yet, no band exploited the genre’s potential as great party music. You occasionally got a “Got the Life”, but not many realized how fun all this jumping around from genre to genre can be.

Broke‘s main selling point is in its demeanor. It’s roaring guitar music about drinking, fucking and not giving a fuck. If it sounds ‘more mainstream’ than their debut, that’s because the concept needs hooks and catchiness. A progressive song like “Darky” is a lot of fun, but not something you’d play in a party. It’s too atmospheric and complex.

The band hasn’t lost any of their focus. Their executions are simpler, not reaching as wide but they don’t need to. The first five songs are all brilliant. “Waiting to Die” has growling and rapping at the same time, macho and self-pitying lyrics at the same. It’s literally the Nu Metal genre condensed into one song. “Feel Good” has the pseudo-socially conscious lyrics. “Bartender” has Boom Bap, a ridiculously catchy and feel-good chorus and an aggressive part. It was the band’s biggest hit, but it should’ve been bigger. With the Boom Bap beat and the joyous melody, it should’ve been a hit among those who liked Limp Bizkit but found the rest too grim. As for “Crazy Legs”, it’s one of the cockiest and obnoxious rock songs you’ll ever hear. It’s brillaint. When Jahred repeats over and over “You wanna slow me down?” the band sounds unstoppable, as if the later part of their career wasn’t going to happen.

The production is cleaner this time around, which helps showcase how versatile Jahred’s voice is. Critics occasionally paid attention to Nu Metal, so how hasn’t he gained acclaim as the genre’s best voice? Occasional misogyny aside (Which doesn’t rear its head here too much), he out-Patton Mike Patton here. More than any band, he mixes all vocal styles in the same song – “I Got You” features both singing, screaming and rapping. In rare instances, he does them all in the same time like in the aforementioned “Waiting to Die”.

There are two other candidates for Nu Metal’s biggest albums – the band’s own self-titled and Lostprophets’ debut. Since the former is too complex for outsiders and the latter was created by a notorious sex criminal, Broke may be the genre’s defining moment. There’s a little bit of anger, a little bit of gloom and a lot of venting frustrations with bullshit macho lyrics and genre-hopping. In general, it has everything you should want from a soundtrack to rock parties and frustration.

3.5 bartenders out of 5

(hed) pe – (hed) pe

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All this time, a great rock album was a click away.

(hed) pe are extremely talented and completely stupid. Their singer is versatile, capable of doing anything with his voice and has plenty of personality. His lyrics are often so misogynistic that listening to Lostprophets is more comfortable. They were a band Nu Metal needed. Nu Metal had plenty of weird bands, but it needed someone to go full retard. Bands flirted with genres, but very few threw themselves with conviction. No surprise the genre spat out a bunch of decent, but fairly one-dimensional bands. In the end, the experimentation was used mainly to drive angry and catchy rock tracks.

How can such a difficult task be done so well on the first outing? (hed) pe are genre-benders and you’d think they’ll need experience before dropping a classic. Yet here they’re fully formed. Everything you want in a Nu Metal album is here whether you’re looking for noise or experimentation or fun. It even beats Lostprophets’ debut (which doesn’t count thanks to Watkins) and Slipknot’s self-titled. It has consistent songwriting, variety and little of the misogyny that plagued later records. All this time I’ve been dying for them to drop a classic and here it was.

It’s a dizzying, confusing album. No album destroys the claim that “Nu Metal was generic and whiny” like this one. (hed) pe don’t even have to experiment with critic-approved genres like Deftones to gain credibility. Nu Metal, at its best, was about making the best Faith No More album that never was. Mike Patton was too preoccupied with being weird which took away from the song. King For a Day is an impressive album, but it’s more about the Jazz in “Star A.D.” and the screaming in “Cuckoo for Caca” than a good hook with a sound that makes it more fun.

The band creates a unique sound for each track, but it’s rarely tokenism. Their pool of influence may be more limited – primarily Hip-Hop and Punk Rock, but it allows them to explore these influence more deeply. You don’t bend genres by simply dropping a rap verse there and screamed vocals in the next song. You have to integrate it into your overall sound. Sometimes they isolate elements, like in “33” or “Firsty”. Mostly, the genres blur into each other. Even on Punk songs like “Circus” you’ll get a few rapped lines here and there.

It’s the sort of album you have to go song-by-song to express how varied it is. There’s the vague Heavy Psych of “Hill”. “Ken 2012” leans towards G-Funk. “Serpent Boy” is a straight-forward Rap Metal track that puts Rage Against the Machine to shame. “Ground” has a Punk-Pop chorus to it which makes it the melodic anchor of the album. There’s another ingridient that’s necessary for the perfect Nu Metal album – a mix of fun and anger.

Another unique aspect of Nu Metal was that it was both angsty and fun at the same time. Bands who didn’t borrow Hip-Hop beats still had its party attitudes. Many songs would sound great whatever mood you are in. That’s one reason no other Rock genre has yet to replace it. Punk-Pop was too silly. Grunge was too depressed. Metalcore and Thrash are so serious it’s funny.

(hed) pe perfectly captures the fun-yet-angry mood of Nu Metal. “Firsty” is the definitive angry song full of shouting about not giving a fuck. Its lyrics are full of refusing to be what people tell you to be. “Ken 2012” has macho bullshit and bragging, only to go full Metal in an angry, but still cocky hook. “Hill” is the only track that sinks to self-pity with the inspiration of Sisyphus. It’s actually out of place – it’s a slow, sad rocker in an album full of ‘fuck you’ Punk songs and ‘I’m awesome’ Rap songs. By the time it arrives you’ve gotten so used to genre-hopping that it fits the mood.

The ultimate highlight must be “Darky”. It’s pretty long, but only because it aspires to be the best Nu Metal song ever. The rapping is surprisingly competent. The beat is funkier and the bars are busier. The chorus has pseudo-Deftones whispering and atmospherics and it ends with talking about dropping bombs and telling someone to fuck off. It’s a song you can’t comfortably slide into any genre. In general, the band is more comfortable and forward-thinking in their Rap songs. It’s bizarre they bragged about being Punk Rock when it’s the rap songs – “Ken 2012”, “Tired of Sleep” and “Serpent Boy” where they play with structures and elements. The band became incredibly stupid later, but still talented. You can’t reconcile their overall stupidity with such sophisticated songwriting.

(hed) pe is an experimental, angry, fun and catchy album. If this doesn’t convince you Nu Metal is worthwhile, then nothing will. Then again, why would someone who’s into loud balls out rock wouldn’t like this? It has Nu Metal’s fury without the whiny-ness and stupid lyrics. It has Rap’s macho bullshit attitude without boring Boom Bap. It’s experimental without resorting to tokenism, creating a sound that’s both diverse and consistent. Such albums can’t be debut. It’s supposed to take great skill and musical knowledge to produce such an album. From here it was all downhill, but at least (hed) pe dropped this before becoming insufferable douchebags.

4.5 fucks that were not given out of 5

Cowboy Bebop

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Since being a critic means writing tons of words, people often think of us as pretentious assholes who can’t have fun. Some critics swallow that crap and then write meaningless bullcrap instead of admitting they enjoyed a stylish, flashy story. The easiest way to recognize it is when a series is said to be about ‘existentialism’. That’s so general, but so useful. After all, that stream of philosophy is huge and you can insert anything into it.

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Since I don’t care about my image, I’m not going to claim Cowboy Bebop is about ‘existentialism’ when I can’t back it up. I have no shame in admitting I love a story that’s all about flash, action and amusing characters. That’s what Cowboy Bebop is and it’s proof that mere storytelling is an art too. There are a few touching moments and the last episodes push for something more profound, but until then there isn’t any depth. Why should it have any when “Mushroom Samba” is one of the best anime episodes ever?

Watanabe taglined the show as “a new genre unto itself” and later called it an exaggeration. That’s like the fastest runner in the world saying he’s slow. Cowboy Bebop never runs out of steam or ideas. It always has a wide-eyed sense of wonder and always excited what other stories it can tell. Many of the tropes are recognizable, but nothing is a missed chance.

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The approach is akin to a band that tries a new genre with every song. People who complain about the episodic nature miss the point. The series has a wider reach than nearly every anime out there. Pretty much every episode is a whole different genre. The characters and art style are the same, but even the color schemes change. “Mushroom Samba” and “Cowboy Funk” are experiments with Comedy and have brighter colors. “Toys in the Attic” experiments with horror and is noticeably darker.

Even pacing and side-character design changes. The aforementioned “Mushroom Samba” has far wackier character design than “Speak Like a Child”, one of the more introspective episodes. The series doesn’t simply borrow a lot from Western fiction but distills it to one show. It had mass appeal because it had a wide reach – whoever you are, there’s something to like her.

Convincing the viewer that the world in your anime exists is difficult. Calling things ‘realistic’ or ‘unrealistic’ isn’t enough, since you first have to know what reality is (or, more correctly, how people perceive reality). The solid blocks don’t define reality. Spaceships and cities on the moon aren’t automatically ‘unrealistic’. If you told people from 1000 years ago that anime will exist they’ll think you’re possessed by a devil.

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Reality and real life go deeper than this. Reality is, among things, confusing and has a lot of sides. If it didn’t we wouldn’t need to create art. The most realistic anime are the most far-reaching ones. An anime is more realistic the more it can contain different moods and different people. It doesn’t matter whether you live as a drifter or in a small community – life has all kinds of things going for it.

The show has bounty hunters in space, loud gunfights and a failed experiment that learned to fly. It’s still more realistic – and thus more alive than most anime out there. The variety in mood and texture of the events brings it to life. I couldn’t imagine a show having a fat balloon assassin feeling realistic.

The cast is also a prime example of how to have an ensemble. Spike isn’t the main character. They’re all are. Their personalities aren’t simply different but connected, there is chemistry here. Jet isn’t just a contrast to Spike’s apathy, but a more warm figure for the damaged Faye and the young Ed. Spike’s apathy and cockiness is what puts him at odds with Faye but their greed is what they share and what unites them. Ed herself is a sun in the group of depressed individuals. The characters don’t act out of convenience but on their inner drives, and each of their reactions is uniquely theirs.

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Variety itself isn’t enough, of course. You need more than the basics of having different episodes with different styles and moods. The narratives are always tightly focused. The world is full of great anime, but few deserve the award of ‘no useless shots’. Except for the plot-heavy episodes (which don’t really work anyway), every shot equals progress.

It’s worth noting that Cowboy Bebop isn’t a dialogue-heavy show. It borrowed this from the film noire genre. Unlike noire’s bad side, Bebop doesn’t rely on dark shots to let you things are dark. Rather, it doesn’t use a lot of dialogue because it doesn’t need to. The shots are informative enough, and so are never boring.

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The series’ only flaw is the grand story behind it focusing on Spike’s past. The series doesn’t exactly lose focus, but confidence. Up until then the defining trait was elegance. Everything was small, but it was enough that counted for a lot. Suddenly we have this huge backstory of broken hearts and smoking guns and overthrowing a criminal syndicate. The last two episodes, while having decent actions, end up mostly as a collection of serious dialogue and dark staring. It survives only on the show’s natural charm. This is one route that demanded a whole new way of storytelling. It’s nice of Watanabe to try but it didn’t work.

Cowboy Bebop is a great anime not because it’s philosophical, influential or borrows a lot from Western fiction. It’s brilliant because it’s a masterpiece of pure storytelling. There are no useless parts in these 23 or so episodes. Each story is different both in events, pacing and mood. People who are uncomfortable with this will make stuff up about ‘existentialism’ but it’s their loss. Regardless of who you are, there’s something to enjoy here.

4.5 trippy mushrooms out of 5

Asking Alexandria – The Black

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Rock musicians are terrible people, aren’t they?

The Black is an appropriate title. A black cloud hung over this album from the start. The band had problems with Worsnop. Make Me Famous (An underrated and better band) had problem with Denis. One asshole gets kicked out, another one takes his place. How long will this version of Alexandria will last?

The band wasn’t satisfied with their previous album. Worsnop got into drugs and other rock star troubles. Denis, his replacement, was a complete asshole to his previous band. The record sounds like it. Despite the noise and the screaming and the heaviness, something about it feels off. It’s not that the band doesn’t want to play this kind of music. The darkness in it prevents it from working.

Metalcore, especially the contemporary variant isn’t about emotions. It’s about slamming. When Worsnop dissed a girl for having sex (Why do musicians diss girls for having sex? Aren’t groupies the reason you start a band in the first place?) in “Not the American Average” it sounded like the most logical thing to do with metalcore. All these silly bands spitting serious poetry over breakdowns and here comes a band that rocks hard. an sings about partying hard. Breakdowns don’t sound deep and neither are the anthemic chorus.

This is the glory of Trancecore. It injected fun to a genre that was built for it. The band didn’t become Killswitch Engage, but they lost their sense of fun. It’s apparent already from the opening track. There’s distress in the repetition of the title “Let It Sleep”. The song is some diss track towards an ex-wife, and there’s bittenress all over it. The song has no structure or direction. The band moves from section to section, just trying to pound away their frustration.

The same thing applies to the title-track, which is pretty brilliant. It kicks off with an intense, downtuned riffs and screaming the crowd can’t join in. The lyrics have the same distress the opener has, with no sense of humor or fun. They need to cut Worsnop off, they want him to speak to them. It all climaxes in hushed singing and piano. Like the opener, there’s a lack of the stability to the track. Metalcore’s poor song structures now sound good – the band sounds too worried, too angry to care about coherency.

Carrying an album based on emotionally-rich Metalcore is hard. Killswitch Engage have been failing at it miserably for a while. Alexandria aren’t talented enough for this sound. “Let It Sleep” is a one-off. Multiple its messiness and all you’re left with is noise. No other track is as weird as the title-track. Alexandria abandoned the Electronic elements for some reason.

The band falls into the trap that many weird rock bands fall to later. Just like Disturbed and, to a lesser extent, Slipknot, Alexandria normalizes their sound. There’s nothing unique here. There are a few tracks that rely more on melody, but the biggest departure is a piano ballad. Doesn’t every band with loud guitars have a piano ballad?

Even Denis lost all of his charisma. He fronted Make Me Famous. They were one of the best Trancecore bands. Back then, Denis came off as a cocky, sure frontman who always broke up the Metalcore noise with Electronic interludes or beautiful melodies. Even if the band didn’t mix every genre in the world, they sure sounded like it. On The Black, Denis sounds like he lives in a world where the only music in existence is Metalcore.

There’s talent in the band. “Circled By the Wolves” comes at the end to bring the same intensity of the opener. It’s a roaring, messy song with no structure that just slams. In context, it sounds like another burst of noise. You can’t bludgeon the listener with the same sound. The heaviest bands were always more than loud and always had more than one genre. Slipknot’s debut is one of the most intense records ever, and they took cues from Industrial and Hip-Hop. Heavy music is like shock value – use the same trick too many times and the effect loses it.

The band still has potential. Every song sounds worse in context but the album is a stand-out in the genre. It has more emotional weight than anyone else, and that makes “Let It Sleep”, “The Black” and “Here I Am” worth a few spins. I doubt they’ll re-capture this though. Such emotional distress is lightning in a bottle. If they couldn’t milk the issues with Worsnop while it’s fresh, the opportunity is missed. Hopefully their next album will be more fun.

2.5 blacks out of 5