Show: Enslaved and Dimmu Borgir

I almost missed this but thanks to an unlikely coincidence I was reminded to get my ass up to Norther Lights in Clifton Park. The venue was smaller than I was expecting. In the center of the room was a large rectangular bar surrounded by maybe 20 feet of standing floor on each side with the stage in the front. And, get this, the bar served Dogfishhead 60 minute IPA for $6 a solo cup which paired nicely with progressive black metal.

The opening band, Dawn of Ashes was interesting. They played a sort of fun blackened GWARish metal complete with costumes and breakdowns aplenty. They were definitely fun live, but I'm afraid I can't with good conscious recommend them. Here's their myspace in case curiosity strikes:
http://www.myspace.com/dawnofashes

The second opener is considerably more well known, Blood Red Throne. Even though these gents weren't clad in hellish costumes they embodied brutality and evil much more accurately. This band is all about harsh blasting, slightly blackened, death metal. Most of what they did tended to blur together in constant bludgeoning speed, but there were a few memorable solos to be enjoyed, so I was content:
http://www.myspace.com/bloodredthrone666

Enslaved was up next and I was indeed giddy. There's something about seeing a band in person for the first time after watching countless interviews and the infrequent music video, something that makes my time spent admiring music seem worth it. As far as their performance it was exactly what I was expecting, expertly choreographed, expertly executed with a stage presence that was honestly menacing. Grutle Kjellson was especially impressive as the frontman. His vocals although obviously not leveled any higher than normal fought with the already overwhelming guitar tone, which in this sort of music is rare and I can only image how much damage he's dishing out to his poor vocal chords. I certainly appreciate his sacrifice in any event. Here's a taste, but I highly recommend all their albums especially their most recent Axioma Ethica Odini:
http://www.myspace.com/enslaved

Dimmu Borgir has been taking a lot of flack lately, and I can see why. Their focus has shifted over the past few albums toward an orchestral-centric sound, which means they're moving away from guitar-centric much to the fans' chagrin. Live however, a band has an obligation to play the old with the new and it was the old that captured my attention, especially a couple tracks off of Puritanical Euphoric Misanthropia; one of the guiding albums in my metal education. And even though the rest of the material wasn't nearly as memorable, it was still solid fucking metal and the band was tight. There was a lot of focus on the light show and the lead even needed a break for a costume change, which I thought was rather silly, but overall a good end to a good night. Here's some Dimmu:
http://www.myspace.com/dimmuborgir

Movie: Night of the Living Dead

Traversing the strange realm of the zombie flick, I was led here by very reliable sources of guidance. I had not known until now that this was the film that defined the genre and after sitting through Dawn of the Dead, I was skeptical. However, as anyone should know the skeptic in me is often wrong and after the final scene of this cult classic I was skeptical no longer.

I first started watching the 30th anniversary version with over dubbed audio, but as soon as I was told that the original was available on IMDB I switched over. There's something wrong about a film from the late 60's having perfectly produced synth work as the soundtrack. The original soundtrack is much more haunting, but anyway.

The aspect of this movie that stood out for me was the script which is full of the most memorable quotes of any horror film I've ever seen. In fact a few of them I had heard before at the beginnings of Death Metal and Grind songs, as those musicians are apt to use such things in their compositions.

Here's a few:

Johnny: They're coming to get you, Barbara, there's one of them now!

Newscaster: It has been established that persons who have recently died have been returning to life and committing acts of murder. A widespread investigation of funeral homes, morgues, and hospitals has concluded that the unburied dead have been returning to life and seeking human victims. It's hard for us here to be reporting this to you, but it does seem to be a fact.

Ben: Don't you know what's goin' on out there? This is no Sunday School picnic!

Johnny: Hey, come on, Barb. Church was this morning.
[pause as lightning is seen]
Johnny: I mean, prayin's for church.
Barbara: I haven't seen you in church lately.
Johnny: Well, there's not much sense in my going to church.

Dr. Grimes: In the cold room at the University, we had a cadaver, a cadaver from which all limbs had been amputated. Some time early this morning, it opened its eyes and began to move its trunk. It was dead, but it opened its eyes and tried to move!

Newscaster: All persons who die during this crisis from whatever cause will come back to life to seek human victims, unless their bodies are first disposed of by cremation.

Field Reporter: Chief, do you think that we will be able to defeat these things?
Sheriff McClelland: Well, we killed nineteen of them today right in this area. The last three, we caught them trying to claw they're way into an abandoned shed. They must of thought someone was in there, but there wasn't though. We heard them making all kind of noises so we came over, beat 'em off and blasted them down.

Sheriff McClelland: Good shot! OK, he's dead; let's go get 'im. That's another one for the fire.

Another quality worth some explanation is the perspective the modern era has toward this film. There are obvious scenes of racism and sexism throughout. I think the most shocking for me was when Ben slapped Barbara across the face because she was freaking out. I understand that in movies back then when a woman broke out into "hysterics" a man would hit her. This doesn't happen very often in modern cinema and I'm thankful for that, and I'm not about to say anything condoning such a response, I'd just like to say that I appreciate the shock value of such a scene.

One more interesting aspect having to do with how dated this film is was the use of radio as the source of updates on the zombie outbreak. Just hearing the words spoken by a fearful newscaster describing what was happening was so much more powerful than if it had been a tv station reporting on pictures of what they saw. Little devices like that make the imagination run wild and I wish modern horror at least attempted to take advantage of them more often.

Anyway, I now understand why this film provoked a movement and I'm glad I finally experienced it.

5/5

Book: The Road by Cormac McCarthy

Wandering the rows of fiction in B&N, buzzed on caffeine, keeping an eye out for girls hovering around the Murakami section, this jumped out at me. I should say the newer addition with the movie tie-in jumped out at me, but fuck that. I reached down, pulled out the original and fanned through it for a minute wondering if watching the movie first ruined any future enjoyment I might have. As with most trips to B&N this trip was motivated by impulse so I carried it to the checkout and drove home on a new avenue of self-inflicted depression.

I'm not sure if the general public knows about this story. If I recall correctly, the movie did rather well, but I can imagine the subject matter having somewhat of a polarizing effect on hopeful audiences. Just in case the story isn't known I'll describe enough to convey the mood.

The Road is about a father and his son, both unnamed, traveling toward the ocean. The world around them is burned, decaying and cold. Everyone they knew is dead, and many of the remaining survivors have resorted to cannibalism in order to stay alive.
The story documents their journey as they attempt to live as good men, finding food where they can, finding warmth and avoiding survivors who no longer have the capacity for mercy.

Given I'm not a novelist, nor do I ever plan to be, so I'll leave the technical commentary to those better educated. What I can comment on is how it made me feel.
And, quite simply this novel made me feel awful. Empathy was pouring out of deep wounds cut with paranoia, loneliness and desolation. And if you know anything about me, you'd know that I quite enjoyed it.

There were so many heart-wrenching scenes. I've heard criticisms of repetition, but they're unfounded. Each scene of loss builds on the last, each step they took was toward a conflict of whether or not to live. And the father, a man of great strength always chose to keep going, and tried to instill the importance of the fight, the fire of survival, in his terrified son.

A few scenes are going to stick with me for a while and I'll describe two for my own future benefit, but please stop here and go buy the book if this sort of thing interests you. The man and his son happened upon a farm house, seemingly vacant and a possible source of forgotten nourishment. Within the house the man finds a cellar and descends with his son eager to find food, but what they find are people, stripped, emaciated and unclean, chained to walls and steel mattresses begging for help, gasping in terror. And they had to leave them there, food for cannibals, helpless. Truly horrifying.

The other scene worth mentioning is one that hit me on a personal level. When I was in grade school, my father came down with an illness that brought him near his own demise. There was a day before he was admitted into the hospital when he asked for me to listen to him. He simply wanted to tell me that he loved me. This jarred me as a teenager, I was filled with sadness and hate and... it was hard. So toward the end of the story when the father is speaking his last words to his son, trying to convince him to keep the fire alive, to keep going without him, I was there with him. It was a profound moment for me, so I owe you some gratitude Mr. McCarthy. That's the sort of emotion I live for because pain reminds us how fragile and beautiful life is.

Anyway, buy the book, enjoy it, if you can; if you can handle being dragged through mud and ash and fire and loss.

5/5