DISMANTLING THE BAND

LONGWALKSHORTDOCK

disMANtled by Scumbag

It would be hard for me to sit here and talk about how much I know about electronic music. I’ve been to lots of different clubs and seen a lot of different DJ’s and Live PA guys in my time but when it comes right down to the inner workings of what is done during an electronic show, I wouldn’t know rat shit from rice crispies. In fact, my own personal electronic music collection is so slim that it contains only the established and well known; Daft Punk, Ferry Corsten, Bad Boy Bill, Armin Van Buuren, Benny Benassi…you know, the stuff everybody knows. A hardcore electronic fan would surely scoff at this the same way I would to someone who told a guy like me that they only have a metal collection that contains Metallica, Pantera, Iron Maiden and Judas Priest. That being said, what I do know is that Dave King, who calls himself Longwalkshortdock, puts on one of the best god damn live shows I’ve ever seen in my life.  

I’m fortunate enough to know Dave King well enough to call him my friend. He spends almost as much time at my guitar player’s house as I did, so I got lots of chances to hang out with the guy and get to know him. Not only is he one of the nicest guys I’ve ever met, but he’s the kind of guy that you can sit around with and talk to him about anything. I was aware that he was an electronic music guy, but I had never gotten the chance to see him play. As with all electronic stuff, I was a bit skeptical. You can understand this coming from a guy who has a pretty heavy hard rock and metal background. Even after I had heard some rough tracks of Longwalkshortdock it never really spurred me to go to one of his shows until he played the Lotus a little while ago for his CD release party for his debut album “Casual Tea”. We had got there early and managed to catch the guy who was opening, and as I expected, it wasn’t anything to write home about. It was a short wait before King got to the stage, but when he did, I couldn’t have been anymore impressed. 

Dave gets up there with the most energy I’ve ever seen from any musician I’ve ever gotten to see. The man flails, headbangs, jumps around, moshes, dances…you name it. All the while working his plethora of fancy electronic devices that range the gamut of anything from keyboards and computers to funky little switches that I haven’t the slightest idea to what they do. Not only is Dave King a sight to behold, but the transitions from beat to beat (all of which are original) is an anomaly in itself. I had never been to a club and danced during an entire set until I got to see Longwalkshortdock. I even recognized a lot of the studio songs I had heard before the show, which King manages to spice up tenfold. I read another review somewhere by another one of Dave’s associates where Dave said something along the lines of “It’s impossible to capture the intensity of a live pa show during recording”. He couldn’t be any more right about that, as the visuals that King brings to the table during his set are almost (but not quite) as compelling as the music itself. After that show, I went straight home and ripped a copy of Casual Tea to my laptop and have been listening to it consistently ever since. He also delivers his fans another treat, as you can download his live performance from Soundwave 2009 for free from his website (which I will post at the end of this). This track in particular is the coolest piece of electronic music I’ve ever been privy too, and I highly recommend you get a hold of it immediately.  

The coolest thing about Dave King and his music is that he has done what so many of us have tried to do, and completely rewrote the book on the genre, creating his own specific subgenre that he has aptly christened “Deathno”. While I can’t begin to tell you the exact definition of the term, I do know that I haven’t heard anything like Longwalkshortdock before or after I had heard King. Another thing you can come to expect from LWSD, as it has become a trademark of his, is his usage of original Nintendo Entertainment System samples during his live set. I’ve recognized samples from the Megaman and Castlevania series during his sets, and he even throws in obscure games like Shadowgate into the mix, which only a really avid NES player would be able to pick out. It’s really a treat to hear about he mixes in all the midi samples into his own beats, and is without question my favorite part of his brand of electronic music.  

Longwalkshortdock has developed a strong and loyal following in and around Vancouver, and he has been playing shows pretty consistently ever since I have known him. Oddly enough, Dave will be opening up for the one and only MSTRKRFT on October 18^th at Element Nightclub in Victoria. Now while it pains me to know that I won’t be able to make it, I have absolutely no doubts that King will steal the show as he usually does. If the tickets aren’t sold out yet, do yourself a favor and get one quick, or at least make it out to the nearest LWSD show in the near future so you can get a glimpse at what a real live show is supposed to look like. If you want to check out his stuff before hand, you can download his live performances at www.longwalkshortdock.com or check out his myspace page at www.mysace.com/longwalkshortdock. He also has a page on Facebook with a bunch of his stuff from streaming that you Facebook junkies can check out (http://www.facebook.com/pages/Longwalkshortdock/8891062061).

RANDOM

THE AWKWARD LIMP

disCUssed by analog 

Breaking strings is something that every guitar player has to come to terms with.  Some players break very few while others, myself included, break many, many strings.  A few years back my wallet screamed at the thought of my set of strings per show routine.  But I play less guitar now so I've managed to make my sets last for quite a few months.  Long enough for them to build up some character, some of that grime that only comes from the sweat under the hot lamps.  Slightly muffled.   

The break always happens in the moment you think you are safe.  It's the part of the song you least expected to give you problems.  Yet here you find yourself, looking for the note on another string, one still buzzing.  The awkward limp to song's end.  Discarding that injured vibration for an instrument that is unfamiliar and cold to the touch.   

In the act of changing strings, I must encourage a rebirth of myself.  I must be dedicated to the approach of something better for my future.  These new wound wires are bright and colourful and lively.  They have new found love and tenderness, forgotten in the raw muffle of the sound-system.  So I better be ready for something direct, cause this new signal is coming out wether I like it or not.  I must play with the same force that brought me here, like one step forward.   

Once more, count in... and there's no more thinking.  Just the notes and the drum.  If you could understand the safety I feel in a groove.  The search for that feeling keeps me steady in a world that grows more chaotic by the day.  It steadies my hand as I test myself against the content of my...   

***loud banging is heard in the reverb distance. it approaches quickly. a clutter of voices.  then out of the mix one speaks... 

InnerCollectiveDesireForAttention:  Yak,  yak.  Fucking artists.  Here's a beer.  Now shut up and play. 

AUDIO DECONSTRUCTION

RED CITY BREAKS OUT!

deCONstructed by electryone

Album: (Self-titled)

Release Date: 09/17/09 

So, I went to see these guys on the 17^th for their CD release show... And they are abso-fuckin-lutely amazing live. They were energetic, engaging, and passionate. Also the quality of their music was still awesome which was great, since there are too many bands whose music sounds horrible live. I must admit to being a tad biased, but I reviewed the album as if I had never heard of them and I don’t think it affected my opinions.

Packaging: The outside of the CD case is pretty basic - art and title on the front, track listings and picture on the back. When I opened the case I was delighted at the sight of the disk. It is pure white with a RCB graphic on part of it. The booklet contained stylized pictures of the band and lyrics to the songs. I really think all albums should come with lyrics so I was really excited, but it made me sad that a lot of them were incorrect or missing parts.

First Impression: They have a totally unique sound, without using gimmicks or weird noises or anything. Loving it so far... And it’s clear that every member of the band has a high level of skill and musicality. 

Favourite Song: Spectacular – it was definitely a tough call but this song starts off with dreamy, echo-y strings and by the end of the song my heart was captured. I LOVE the chorus as well, how the words and rhythm are arranged together.

My mom’s favourite song... (I was playing the CD in the car): Under the Sun – She didn’t know it was from CD and when she heard the initial riff she asked if it was the Chili Peppers. I think I’ll have to buy another copy of the album for her and my dad.

Other Notable Songs:

Magazine Eyes – definitely my second favourite. This song was on their site before the release, and when they played the song at their show I sang along to it. Also like the rhythm of the guitar.

Corporate America – I loved the drums, and this song is super catchy. The vocals are totally reminiscent of Bad Religion, but the lyrics dissed coffee... Which made me pout since caffeine is a heavenly and delicious substance.

It’s Not Fair – Acoustic song... Soft and pretty, with delicate guitar and the voice of an angel.

Save me Aquaman – the smooth and liquidy instrumentals melted together and were rather appropriate for the title and subject of the song. LOVED the guitar and bass in this one. 

Side Note: after the 5^th song I had to commute somewhere and I didn’t want to stop listening so I went and bought batteries for my diskman so I could take it on the bus with me... Then almost didn’t because I already loved the disk too much to risk breaking it... Then brought it after all because I REALLY wanted to keep listening. 

Overall: One thing that I didn’t expect in the least was the lyrics. They were so down-to-earth, relatable, and honest... So real, but still poetic and lovely. They have a ridiculously unique sound which I can’t describe since, even though there have been thousands of rock bands, Red City Breakout doesn’t sound like a single one I’ve ever heard and they don’t do anything annoying or weird to try and distinguish themselves. I love this album, really, it’s still playing now as I’m typing. My diskman will defs get a lot more use than he’s used to for the next few weeks until I bother to dl iTunes and put the album on my ‘pod. 

So yeah... You should defs check out www.redcitybreakout.com and hear a couple of the songs they have up there... Then after you realize how amazing they are go buy the CD!

RANDOM

Lily Allen Takes A Stand

Written by the amazing BOB LEFSETZ

 

Subscribe to his stuff, it's amazing: http://lefsetz.com/wordpress

Why don’t we just turn over GM to the drivers.  Hell, I’m in my car every day, I know how to run Chevrolet! Or maybe cancer patients should draft the health care bill.  Hell, they’ve been sick! To let artists have the final say on file-sharing is like firing Derek Jeter and letting a fan play shortstop.  Hell, I’ve watched a lot of baseball, I know what’s involved! You don’t. A great artist is just that.  He couldn’t design Facebook, couldn’t create the iPod…  His input is important, but just because he’s affected by file-trading, that doesn’t mean he understands it, has the right opinion on how to eradicate it, assuming that’s the ultimate desire. How long do we have to watch this  movie?  It’s been ten years already, and one thing we’ve learned is the technologists are always one step ahead.  Kind of like cable.  When everyone was pirating pay channels by removing the filters on poles and under houses providers didn’t win by suing people, but by coming up with a better mousetrap, scrambled digital transmission! In other words, the solution to the file-trading problem is not legislative, it requires business innovation.  Which I don’t expect to come from Ms. Allen, I’ve never heard she was a good programmer. Instead of bloviating, it’s best to research.  And even a casual Web-surfer, as opposed to a partier like Ms. Allen or a wannabe dad like Elton John, read TechCrunch’s report on Daniel Ek’s interview at the Glasshouse event at the Royal College of Physicians in London last week. Mr. Ek, said 80% of Spotify users have stopped file-sharing. That solves your problem right there, Ms. Allen.  Why steal when you can get it on demand?  Even mobile, with Spotify’s iPhone app caching? Then you have Richard Greenfield, of PaliResearch, stating last week that getting a little from a lot is better than the current model.

In other words, are you better off overcharging a few people for music, or getting everybody to pay a little?

I’m not living in a pipe dream.  I realize the success of Spotify is not guaranteed.  Can Ek generate enough paying customers?  How much revenue will ultimately be generated?  But working toward new models is a hell of a lot better than trying to keep fans in the past because you liked the twentieth century model better. People are accustomed to having music at their fingertips.  All of it.  And if you don’t come up with a business model that satiates them, they’ll just steal it.  Rather than castigate them, fulfill their desires.  To think that cutting off Internet access is going to solve online theft (truly, copyright infringement), is to think that the RIAA suing downloaders will achieve the same thing.  It won’t and it didn’t.

First, you can hide IP addresses.

Second, you can still transfer via instant messenger.

And third, of course, you can always hard drive swap.

You’re just driving people further underground, you’re not solving the problem.

There’s a delusional fantasy that if file-trading was eradicated happy days would be here again.  That suddenly, bands would sell a million copies a week.  Diamond albums would return, never mind platinum.  But the world has changed.  There are too many diversions.  And even in music, you’re no longer restricted to what the machine purveys.  You can surf online and check out all the acts your buddies have recommended. And it’s this ability, being able to sample, check things out, that has not only helped previously marginal acts, but threatened the old system.  You can’t prevent people from giving away their music.  So, those who do will ultimately triumph.  You might say that you don’t tour, or you’re a songwriter, and it’s not fair, but since when has life been fair? 

If Lily Allen were an American, she’d be committing career suicide.

But she’s not.

And, oh right, she’s never made it here!  Because we just don’t get it.  How a not beautiful enough girl with a thin voice sings material she isn’t completely responsible for and wants to be on the pop chart.  Don’t tell me it’s solely about beauty, Amy Winehouse is not a looker, and she made it here, big time.  But it is about talent.  And we just don’t think Lily has enough.  And playing in the Top Forty world, it’s about image, other things which Ms. Allen doesn’t possess. Also, in America, music is not a team sport.  It’s not like the U.K., where artists are embraced, despite occasional failings.  Cross a line here, and you’re screwed.  You might get away with an apology, but disconnecting Internet?  I doubt it’s even legal.  Because Web access is a basic right.  What next, are supermarkets going to repossess the refrigerators of those who steal food?

Come on.

Has the music business been roiled, shaken hard by technological innovation?

Absolutely.

But I’ll tell you in America, what we had was not worth preserving.  An industry selling overpriced CDs with one good track, the whole thing managed by overpaid executives telling "artists" what to do.  Is this what we want? Hell, that system was dependent on radio, which killed itself with twenty plus minutes of commercials per hour and static programming. And MTV can’t air videos profitably anymore when you can click online and see just what you want whenever you want. You see the problem isn’t the consumer.  A lot of things changed.  To scapegoat the consumer is to put forth the concept that artists like Lily Allen are entitled to their careers. I don’t care if she’s successful.  She’s an entertaining Tweeter. But Lily Allen is clueless when it comes to both the music business and the Internet.  Then again, no one knew who she was over here, maybe this Web brouhaha will help her career, maybe it’s all premeditated!

Then again, Metallica is still recovering from its anti-Napster stance.  And how did these tech-ignorant musicians win back hearts and minds?  By playing by the new rules, giving away more. Lily and those across the pond should learn Metallica’s lesson.  Call up Lars and see what he has to say.  Yes, their product should not be stolen.  But first think of the fan, an act is nothing without its fans.  Second, face business realities. Lily Allen was fifteen when Lars and company made their stand.  But just because she’s ignorant, do we have to fight this battle one more time?  Doesn’t this prove that techies will rule the world?  That you’re better off getting an education than partying?

Make legendary music and you’ll survive the new world Lily.

Because you’re never going to make it on your smarts.

Again, this was written by BOB LEFSETZ Subscribe to his stuff, it's amazing: http://lefsetz.com/wordpress

(disclaimer: bob is not a contributor. we subscribe to him, and love him. and wanted to share this)

RANDOM

A NOTE FROM THE HIKTS FAMILIA

hey guys - thanks so much for hanging tight with us over the last couple of days! I know that we have epic failed on the updates... we have had some major personal/family issues that we have been dealing with. but thankyou for continuing to check out the site and for being seriously groovy people. updates will be en route shortly. you guys are epic. tell your friends about the site. love you.

the HIKTS familia

RANDOM

DEATH CAB IS FOOD FOR THE SOUL

COOKED BY BeeTLE

TALK BACK

JUSTIN HAGBERG OF 3 INCHES OF BLOOD

interVIEWed by Scumbag

I recently got the chance to have a chance to get an interview in with Justin Hagberg of 3 Inches of Blood for my first ever mini interview. We decided to just do it via e-mail with all the variables involved, and even with his busy schedule he managed to get the answers back to me within the week. Justin’s definitely a solid dude, and he gave a lot of interesting answers to my somewhat amateur questions.  

You recently recorded your fourth studio album entitled "Here Waits Thy Doom". Being a musician myself, I know the pains and aggravations of recording and general studio work. What were your experiences like for recording this record and was it different than recording your last album, "Fire Up the Blades"? 

  

Justin: It was a different experience, definitely. When we were recording FIRE UP THE BLADES I must admit that there was a lot of partying going on. Lots of late night trashing, and hung over days for me. I had a fucking blast! For recording HERE WAITS THY DOOM, I was a lot more focused and a lot less trashed, and just more concerned with the record. And it was also a killer time.  

 

I know that you had to chance to have Joey Jordison of Slipknot produce "Fire Up the Blades". Which producer did the band decide on for "Here Waits Thy Doom", and what were differences between working with him and working with Joey? 

  

Justin:  Jack Endino produced our new record, and he rules! I'm a big fan of his work, so it very rad working with him. I really like his approach on production...raw and organic sounding, rather than sampled, triggered, and performed to a click track. We wanted HERE WAITS THY DOOM to sound like it would sound live, and Jack made that happen.  

Joey and Jack both have their own styles of producing. Jack has been producing for years, whereas Joey has just recently taken on producing.  But after working with Joey I can honestly say that he's on his way to becoming a killer producer. He knows so much music, and has been involved in so many bands so producing for him just seems like that next progression. 

 

 

"Here Waits Thy Doom" is the first album to be recorded without the vocal talents of Jamie Hooper. Some fans feel that 3 Inches of Blood lost an integral part of their sound when Jamie decided to leave. How much did Jamie contribute to the writing before, and who handles the large portion of the songwriting now?  

 

I understand that fans would miss Jamie's vocals.  I've always thought that Jamie's vocals were fucking crushing! He's a wailing banshee! And of course, his vocal performance on FIRE UP THE BLADES is incredible! No doubt about that! Jamie and Cam both co-wrote the vocals for BLADES and previous albums. But he suffered from throat problems which led to him leaving the group, and yeah it sucks. But we had to move on, and Jamie understood as much as we did. Now Cam handles the writing of the lyrics.  

 

With Jamie gone, you also handle all the secondary screams now. Have you always been a screamer, or is it something that you just picked up along the way when you joined the band? 

  

I did some vocals in my previous band, ALLFATHER. But I only picked up vocals and playing guitar at the same time when I started doing it in 3IOB, just before Ozzfest. It was a challenge for sure, trying to remember lines and play guitar took practice. I occasionally wrote cheat sheets and taped them to the monitors, or wrote lines on my arm and when I'd give the crowd the horns I'd just read from my arm and that would help me remember my shit.   

Jamie wasn't someone we could replace, so I offered to fill in until he got better...unfortunately he didn't... but that's how it started with me.  

 

For us guitar geeks out there, I'd like to ask what gear you decided to use for recording the new album, and does your studio rig differ from your life rig at all? 

 

We used Marshall amps and Gibson guitars for the most part. That's also what I use live...a Marshall JCM 800 and I play a 1980 Gibson Flying V. I also just recently purchased a Mesa Mark IV...quite crushing! On the recording I played a Fender Strat on a few songs, and we used a Zinky and Soldano modified Marshall as well. Shane uses Gibson SG's, and  has a classic Marshall JMP modded and sounding elite. That's what we used in the studio, and Shane also has a Mesa Mark III that makes for his punishing live sound.  

 

I remember speaking to you at Club 23 a short while before you played the "Monsters of Rock" festival in Calgary. What was it like to share the stage with bands like Heaven and Hell and Judas Priest? What was the defining moment of that show? 

  

We haven't played with Heaven and Hell [Scumbag Note: I’m retarded], but it was Judas Priest and Ozzy and Voivod etc who were at last years Monsters of Rock. Dude, it's fucking amazing sharing the same stage as those acts. The defining moment of that show, aside from playing to a kick ass crowd, was watching Judas Priest with my sister. We raged! And watching Voivod from the side stage was so fucking unbelievable. Fucking Voivod!  

 

You've toured with many bands over the years since you joined the band. Which band is the most enjoyable to tour with and why? Any defining moments from touring with the aforementioned band? 

  

Type O Negative is for sure one of the most enjoyable band I've EVER toured with. They are killer live, but they know how to fucking party! I think I can speak on behalf of the band when I say that tour took years off our lives. Nothing like Jack Daniels, Jager bombs, and Kiss ALIVE every night! 

What are the bands plans for the rest of 2009 and the new year? Multiple tours to promote the new album, taking some time off, or do you plan on hitting the studio again in the near future? 

  

Oh I reckon it will be mostly touring, or that's what I am hoping for anyway. We're really stoked about our new record, and noting gets the music to the masses like invading their cities as much as possible. There's no plan on hitting the studio anytime soon, but we're always writing and keeping busy.  

What is your take on the modern metal scene? Do you like any of the newer bands that are getting big these days or do you stick to the old school? What is playing most on your Ipod? 

 

From what I gather the "modern metal" scene seems as supportive as ever. There are a lot of newer successful metal bands and classic metal bands that are dominating the masses, and that rules! Lots of support from the fans... fucking A rights! 

Ten bands on the top of my head that I've been listening to on my ipod this last couple of days... Poison Idea, Destroyer 666, Motorhead, The Beatles, Ministry, Scott Walker, Assuck, Bison, Rainbow, and Death.  

 

In all of your experiences on the road, you've probably encountered your fair share of Motley Crue-esque tell all autobiography scenarios in your day. If you can share one for the people reading that won't reveal any incriminating evidence agains't you or your bandmates, we would all love to hear one. 

 

Sorry dude, what happens on the road STAYS on the road! 

http://www.myspace.com/3iob

http://www.3inchesofblood.com/ 

AUDIO DECONSTRUCTION

Ensiferum – From Afar

deCONstructed by Scumbag

Track Listing:

1. By the Dividing Stream (3:50)
2. From Afar (4:52)
3. Twilight Tavern (5:39)
4. Heathen Throne (11:09)
5. Elusive Reaches (3:26)
6. Stone Cold Metal (7:26)
7. Smoking Ruins (6:40)
8. Tumman Virran Taa (0:53)
9. The Longest Journey (Heathen Throne Part II) (12:49)

First off I’d to say that I love Finland. I really, really, really love Finland. I don’t know what it is about that country, but it does nothing but constantly spew forth musicians that are so ridiculously good at their instruments and, more specifically, making metal music that it’s hard to get your head around sometimes. It should also come as no surprise that along with the manufacturing of primary resources and engineering high tech devices, heavy metal is a chief export. Ensiferum are among an elite crop of metal bands that include their fellow countrymen Children of Bodom, Kalmah, Turisas and Stratovarius to name a few, not to mention the mind-binding and utterly ingenious side project by former Ensiferum frontman Jari Maenpaa called “Wintersun", that never fail to impress come time of new release. 

Ensiferum kicks off their new release entitled “From Afar” with a 3 minute all acoustic track that they christened “By the Dividing Stream”. For those who are familiar with the band you won’t be at all surprised by this sort of strategy for the introduction to an album, as they have always done instrumentals in the past to kick off the record. This includes “Ad Victoriam” and “Ferrum Aeternum” off their previous 2 records “Victory Songs” and “Iron”, respectively. They follow up the intro with the album’s first single and title track, “From Afar”. After giving myself ample time to listen to this record with an open ear, I can confidently say that “From Afar” was a safe choice for the opening single. It kicks off with a killer guitar riff backed by the steady double kick drums of Janne Parviainen and the heroic folk metal battle horns you would normally come to expect from our sword swinging Finnish friends. The song continues on in strong fashion with a strong chorus and unreal instrumental fills. In true folk metal fashion, “From Afar” is also accompanied by a hilarious under-budgeted and cheesy music video, which I’ve posted for your entertainment here:

http://www.youtube.com/watch?v=ALrjjJdmxgA

The album continues on the strong side, with the next track being arguably the best track on the album. “Twilight Tavern” has all the ingredients to be a slice of perfection in the form of a metal song. The verse is great to sing along to, the chorus is as infectious as a medieval plague, and every riff that hits you makes you want to bang your head through a wall. While I’m on the subject, I want to point out the underuse of gang vocals in choruses by modern bands. If The Misfits have taught us anything, it’s that you can easily build a career by the correct placing of gang vocals. Ensiferum gets the point, and every time the chorus for “Twilight Tavern” comes around you will be hard pressed to not find your fist in the air and voice filling the room.

My lone problem with Ensiferum is that they seem to have this recipe for album making that includes a whole lot of inconsistency. Unlike its predecessors, “From Afar” does not suffer from that same problem. In the past, you have gotten the recipe that includes a handful of really awesome tracks, a few tracks for filler, and a couple really boring tracks. This clearly isn’t the case on the new release. Now I’ve heard a lot of mixed opinions about the bands attempt  at a song so long that it splits into 2 parts (“Heathen Throne” at 11:09 and “The Longest Journey” at 12:49), but I find myself putting the tracks into that category that fits just above acceptable. I know that can be an unfair judgement, considering I tend to have a short attention span for these kind of proggy epics, not to mention the ludicrous amount of time bands have to put in to get a solid recording of a song that long with time changes and acoustic interludes, but it just never really tickled me the way that their shorter and more straight forward tracks do. That being said, the tracks both have some really awesome guitar work, and “Heathen Throne” contains one of my favorite riffs on the whole album, coming in at 6:45 of the song. Markus Toivonen is a really underrated shredder in today’s metal scene, although after being in the shadow of Jari Maenpaa for a number of years and then having an already famous Petri Lindroos of Norther step in as Jari’s replacement doesn’t help. By the way, I seem to be the only metalhead ever who prefers Petri over Jari. I don’t know what’s wrong with the rest of you, but Petri’s vocals fit the band way better musically, seriously. Not to mention that, but Norther was getting pretty awful when Petri finally had the good sense to leave, so if Jari was still in the band, we would still be getting stuff like “N” put out. Plus there would be no Wintersun. I’ve proven my point.

After they have hit you with their first part of the epic Heathen Throne, they follow up with “Elusive Reaches”. This is one of my other favorite tracks on the album, and also contains my pick for best guitar solo on the record. It’s one of those short and sweet “verse-chorus-verse-solo” songs I’m always raving about at my own bands song writing sessions, much to the disdain of my lead guitar player, who worships the boring and drawn out (Opeth). After the “1-2-Fuck You” punch of “Elusive Reaches” they hit you with “Stone Cold Metal”, which contains music as obvious as the song title. Pretty basic as far as musical arrangement goes, but man, I can’t stop wind-milling throughout the entire thing. I live for this kind of song writing. Hard and fast is what heavy metal is all about. This genre of music needs to contain that attitude that’s lacking from a lot of the newer North American metal scene these days. Those kids should really start getting in to these European exports, because they could learn a thing or two how to record a good metal song.

Rounding out the record are “Smoking Ruins” and what I can only assume is a rendition of an old Finnish tune called “Tumman Virran Taa” (which according to the free online Finnish to English translator means “Dark Virran Tilt”. Your guess is as good as mine). “Smoking Ruins”, while nothing to write home about, but contains a really solid intro and is based mostly around the clean vocals that the band uses. I have no complaints about that at all, but the track just doesn’t have the same effect as a lot of the songs on the record, and it seems a little subpar in comparison with what they can come up with when all potential is in use (“Twilight Tavern”, “Victory Song”, or “Sword Chant”).  “Tumman Virran Taa” is only 53 seconds long and is essentially a bunch of chanting in Finnish, and while I don’t speak Finnish (yet!), I can only assume that this tracks presence on the album was anything more than a laugh or piece of the story line. I’d translate the whole thing and find out, but I have to get to work soon.

All in all, “From Afar” comes out to be one of Ensiferum’s most consistent and listenable albums to date. I can only hope that the band will bring their swords and shields to a city that I’ll be frequenting in the near future, and that I’ll have enough cash money to attend this time around. I’ve heard nothing but good things about the bands live performance and apparently they put on a really good show to go along with really solid playing. I can only speculate at this point but what I do know is, Ensiferum has been of my favorite extreme metal bands for the past couple years and will continue be around the top of the list if they continue to put out material like “From Afar”. Ride on, Ensiferum, Ride!