When it comes to the glamorous allure of Southern California and its immense amount of cultural icons and influences it could be claimed that the Inland Empire doesn't have that much to offer (trust me I grew up there). However, when it comes to the local music scene the previous pessimistic perception could not be more inaccurate. I hope to shed some light on a few bands rising out of the dust cloud of the IE to make a name for themselves and I'd like to start with Beulah and the Beat.
Beulah and the Beat formed in 2010 with a prolific creative vigor that would have made Michelangelo's jaw drop in amazement. Bored with their old projects these four music veterans decided to collaborate on what has become a perfect tribute to the very core of rock 'n' roll. Sometimes their music hits hard enough to spur a full on head bang sesh while other times it feels fit to raise a pint and sing along to the southern twang of Steve's penetrable lyrics. Vocal harmonies and irresistible hooks show off the complimenting songwriting abilities of Mike and Steve while Beulah and Danny hold down the fort with a consistent and smooth rhythm section. If this wasn't enough to catch your attention then wait until you're confronted with the brass section that is Matt and Nate! The songs are too catchy to ignore and the live show has a Doc Holliday (Tombstone) atmosphere to it as the set will make you want to love, fight, and drink with friends all at the same time!
Now that you've got the 'readers digest' version of the band, let's talk about their music specifically. BATB has a crusher of a debut album with "Divebar Prophets." This album hovers somewhere between an amateur demo and the greatest hits album of a legendary rock group. Pretty good mix if you ask me. It has the raw grind of a fresh act straight out the garage with the beauty and cohesion of explicitly advanced song structure and lyrical content. One of my favorites would certainly have to be "Date with the Living Dead."
This song just makes me feel like I'm walkin through Lake Elsinore with a whiskey bottle in my left hand and a cigarette in the other and then I come upon "The Hideaway" biker bar and its the only sign of life for miles. I see some ladies that I wanna f*** and their boyfriends who wanna f*** me up even more! I walk in and find a madhouse full of rowdy hoodlums looking for a good time with good people. However, this is no ordinary group of drunkards....kinda looks like this....
There are quite a few jams on the album that invoke similar feelings of debauchery drunken good times such as "Luck Song" and "White Trash Mustache." If you're feeling a little more euphoric and reflective than try "Hollywood Freeway" and "Never Walk Alone" on for size. "Never Walk Alone" is a deep album diamond that has certainly grown on me over time. Maybe not a first listen glory boat but the lyrical sentiment of this tune will find you smiling in amazement of its relation to every one's love and the scuffles that come along with it.
If you're looking for a jam with a little more substance an exploration than please feast your ears on "Testify," "Sinners and Saints" and "Horseshoes and Hand Grenades." These songs are a bit more 3-dimensional and will take you on a journey through musical expertise and ol' western tales.
I really can't say enough about this band's ability to write a quality, radio-ready song at the drop of a hat. Not to mention, their live show is amazing! Their sound is much larger in person due to the blast of Matt and Nate's horns and really, just the amount of people and instruments going on stage at once. Steve is a spark plug and never slows up throughout the set. It is truly refreshing to see a front man having a good time on stage rather than trying to act like Mr. Badass all the time. Now moving on to Ms. Badass....Beulah! Wife of guitar player Mike, Beulah lays down smooth bass lines with ease but also handles a lot of the artistic vision of the band as well as organizing shows, etc. When you see this group live together you cannot help but notice the consistency across all the rhythmic elements but then your hit with one of Mike's blistering guitar solos and that's it! this band has it all!
I suggest you all check them out in Hollywood on Sunday, March 25th!!!
Before I get into the meat and potatoes of this article's topic I want to pose a question to all of you that really has no definitive or objective answer: What defines the characteristics of progressive metal?
Sam Dunn, a proactive heavy metal enthusiast and researcher, attempts to answer this question on the season finale of his new metal documentary series Metal Evolution. Despite his in depth analysis and research I am still not convinced that "Progressive Metal" is simply a grotesque expansion of "Progressive Rock." I refuse to give in to the notion that Meshuggah is just a heavier re-imagining of Rush. Defining any sub-genre is a difficult and menial task and I try not to put much weight in it but I was thrown back by a recent discovery. Please come along with me and lend your eyes and ears to a band reigning terror in Ontario, Canada, Misguided Aggression!
I don't want to put labels on this band (even though I'm about to do just that) but in my opinion they embrace the musicianship and technicality of "Progressive Metal" without sacrificing the necessary 'groove' aspect of metal that entices nearly all fans of heavy music. Let's talk more about this relatively new and very impressive metal act, Misguided Aggression.
Conceived in 2004, Randy Allcock (Guitars), Ben Dobson (Guitars), Rob Demedeiros (Vocals), John Ryan Godfrey (Bass) and Ben Taylor (Drums) combined forces to unleash a high quality brand of heavy metal virtuoso. I don't believe they're reinventing anything but they are simply doing it harder and better than most acts could dream of. Consistent dedication to the music has allowed this quintet to become a staple in the Canadian metal scene and a growing name around the states. I want to take a moment to emphasize the bands' commitment to their sound as some members are handling new family lives and other entrepreneurial ventures such as Fun Fest and still prevail as enthusiastic contributors to the band. It's a long road to the top (if you wanna rock 'n' roll!) when you are trying to make it in today's music scene and to honor Misguided Aggression's tenacity I want to review and definitely promote their latest album release, Flood The Common Ground off of Year of the Sun Records.
Alright so although I'm a young buck I still prefer the traditional 'album' style of releasing music and when this album opened up with a minute long convoluted, euphoric, and politically catalyzed "Intro" I was immediately intrigued. The political "theme" continues with "Winter Soldier" and I want to point your attention towards the break down at about 1:06. Have you ever wanted to eat a fetus? Well, I hope I'm not stepping on anyone's toes here, but I'm pretty sure I just had a full serving of Kentucky Fried fetus, completely inspired by the breakdown in "Winter Soldier." Without completely dissecting the entire album I want to also highlight the instrumental virtuosity of the third offering on the album, "Chasing Sanity." I believe this is what makes the band special and draws a lot of comparison to the likes of Meshuggah and other "math metal" type acts. Sludge base at 0:15 gives way to trance-worthy guitar riffs that are only further complimented by the overwhelming vocal assault provided by Demedeiros. For you music theorists out there please take a listen to this song and the plethora of unorthodox time signatures intertwined with brutal drum flurries and just the right amount of what I like to call 'stop-n-go's".
Although I'm not doing a full track-by-track breakdown I must insist that Flood the Common Ground by Misguided Aggression is a great album and through listening to all the way through (at least like 20 times). Beyond reviewing this album I will certainly be keeping track of this band as they progress through the metal ranks.
A series of unfortunate events have left today’s metal scene almost completely watered down and irrelevant. New bands arising today turn up as mere ‘copycats’ of pre-existing movements or money hungry posers who grew up in Beverly Hills buying their way into stardom. It is due to this heavy metal ‘slump’ that many of us metal heads are re-focusing our attention on traditional metal standards and more ‘pure’ forms of metal. This is an exciting trend for metal classicists out there because we’re seeing a resurgence of older more experienced bands producing material that is not only new and fresh, but raw and can only be described as ‘metal at its core.’
I want to direct your attention to a specific band I’ve stumbled upon recently thanks to some friends in the Toronto scene, and that is of course, Nephelium. Nephelium first made their marks on the metal world back in the 90s when they participated as a major factor in the emerging metal movement in the Middle East. Hailing from Dubai, United Arab Emirates. Nephelium’s back-story is enough to intrigue any metal fan. However, I am not easily impressed by demographic (or I guess geographic in this case) miracles and upheavals unless there is something concrete to admire in the music. Well…it turns out Nephelium’s music is literally a chunk of concrete slammed into your ears. Okay, that was corny and cheap…allow me to make up for it. Nephelium’s music is the perfect synthesis of excessively brutal death metal, sludgy riffs and vocals, and a surprising sense of music and instrumental virtuosity. They have more recently relocated to Toronto, Canada in order to reach new audiences with their merciless message, and while personnel changes are a challenge for any band, Nephelium is back stronger than ever!!!
I’ve given you a little bit of background, only so I can tell you about Nephelium’s upcoming release “Coils of Entropy.” The album will be released on February 7th and judging by the reviews that it’s getting it is going to do just fine. Positive reviews are rolling in by the masses from the likes of MetalUnderground.com and even members of the almighty King Diamond. I have been lucky enough to have heard the new 6-track album and all I can say is that I’m impressed. I am not afraid to admit that I am NOT an expert on death metal and I might even be overlooking some of the subtle splash points on the album, but what I can tell you is that this album does exactly what I would want a death metal album to do. Right out the gates with “Burial Ground” I felt as though I was struck in the balls with the raw obtrusiveness of Thor’s hammer!!! The second track “Merciless Annihilation” is a six minute masterpiece that, to me, sums up the purpose and core competencies of Nephelium. Thick crunchy riffs that give way to muddy grind beats combine with Devlin Anderson’s growling vocals to create an overwhelmingly intense musical experience.
Without boring you with technical details I can only praise the real musicianship that is displayed in all the album’s songs. A lot of metal bands today tend to forget about the groove and the melodic aspects of the guitar in favor of 100% thrashing riffs. Now, don’t get me wrong, the tempo and mood of the music is hard, heavy and fast all the way, but if you really listen to the intricate notes being played you will understand the appeal of this Arabian death metal quintet. I also want to point out the powerful high pitched scream delivered in the last minute of “Malediction.” Something about that was just fucking epic! As a casual listener of Death Metal I love the album and believe that Nephelium certainly has a place to shine in the metal industry.
I encourage everyone to check out their music and get to know Nephelium at the following sites:
Is Dubstep a genre? a sub genre? a cultural phenomena? a lifestyle? a dance?
I suppose the answer to these questions would depend on who you ask, but in my personal opinion Dubstep is NOT a new genre, but a cultural re-imagining of electronic music and its impact on youthful rebellions and belief systems. This might sound a bit over-analyzed and academically exhaustive and well....it is haha. My explanation is first based on the obvious fact that electronic music is NOTHING NEW!!! It has been around for decades and even when narrowing the spectrum to 'high-intensity', 'bass heavy' , 'dance' music...we're talking 90s alternative bands like The Prodigy. So I refuse to recognize it as a new genre but I will admit that there is something fresh about the Dubstep movement. I believe this 'fresh' or 'exciting' vibe stems from the combination of the dynamic range of sounds possible in electronic music and the youthful rebellion embodied in the scene. for more information on my perception of this movement feel free to check out my article here: http://gettoknowthesource.blogspot.com/2011/04/lovely-la-magazine-spring-2011.html
Alright, now that I have completely alienated my audience with by dejecting Dubstep as a genre and going on to even justify my outlandish claim it is time to get to my point.
Who is the greatest Dubstep artist around?
I propose this question because I want to understand the elements of music and/or artistry that are regarded as special or remarkable in the eyes of the general population. So through some basic understanding of who is popular as well as some web research (cough cough Wikipedia cough) I've gathered a reasonable list of artists who could possibly hold the throne. Regardless of whether or not these artists represent a group, band, DJ, or anything else, please do not let that affect your vote.
I simply want to know which entity represents the greatest achievements a midst the Dubstep phenomena. Combine your knowledge of each artists catalog, live performance, popularity, record sales, word-of-mouth, etc. Also, I am NOT a Dubstep expert and admit that I may even be completely ass backwards in all of my judgments so please feel free to leave your comments below! Also, if you want to do your own research or need a quick refresher on the artists you can simply click their names below to go to their respective websites.
The Official pole is being tracked on the right---------------------------------->
Here are the following candidates that I have nominated for this pole:
Keeping up with the dubstep world has become overwhelming these days with millions of Djs trying to make a name for themselves and of course the massive amount of electronic adaptation attempts by traditional artists and established stars. However, if there is only one DJ that you keep up with in 2012 than it might as well be Skrillex.
So what has the prince of dubstep been up to?
BANGARANG EP
Released: December 23rd, 2011
If you haven't heard it yet than you must be walking around with your fingers stuck in your fuckin ears because the seven songs that make up Skrillex's fourth EP release are bangin! Surely you've heard the title track "Bangarang" as it has made its way onto nearly every radio playlist in the country and even got some love on the billboard charts (who the fuck checks billboard these days?).
As you have surely figured out, I am a huge Skrillex fan! So, it is no surprise that I love the new tracks, and while I've enjoyed the live teasers and leaked clips of the recent past, this crisp clean studio recording is the best way to embrace the tunes. The name of the game for this album is definitely 'exploration.' For old school fans of Skrillex (uhhh like 2 years old??) there is certainly a lot to get excited about. In fact, the first track on the album, "Right In" relishes in what I would declare Skrillex's core competencies: Diluted vocal atmospheres laying over top building electro-house until a brief pause and.....DROP! Lather, Rinse, Repeat.
The album takes a sharp turn into experimentation starting on "Bangarang" and really takes off into the unknown after that. "Bangarang" is exactly what the dubstep world asked for. A mainstream radio hit that is accessible to the masses and still unique and intriguing enough to appeal to the die-hard, more technical fans of Skrillex and electronic music in general. This track also introduces us to some samples of Sirah, an up and coming female rap/pop talent from Los Angeles. Sirah truly shines on "Kyoto" where she is able to lay down some full bars and present her ambitious delivery style.
"Bangarang"
My favorite song from the EP, and by far the most experimental, is "Breakn' a Sweat" featuring the surviving members of The Doors, Ray Manzarek, Robby Krieger, and John Densmore. The track is part of a project knows as Re: Generation. The idea was to take modern DJs/producers/artists and attempt to mix their creative styles with those from entirely different genres and time periods. Skrillex of course, is Sonny Moore who used to front the post-hardcore band From First to Last. Because of this experience with traditional song writing and structure Skrillex has become a master of collaboration with notable recordings with metal band Korn. Manzarek and Moore hit it off immediately and all interviewers and insiders point to a very smooth and effective collaboration. Well.....it sounds like it! The track opens up with an eastern cultured keyboard riff by Manzarek and when the drums roll in it instantly becomes very dance-able. Great start....then.....Krieger's wandering guitar is warped into the mix and soon enough you're eyes light up by the surprising sound of the almighty Jim Morrison as he is sampled in. Now, the only thing missing from this epic concoction is thhhhh---DROP!!!
One of the best examples of two genres, and furthermore two distant time periods, collaborating together to create something amazing. It is certainly an electronic song, but Manzarek's keyboards and Krieger's guitar licks are admirable for their acclimation and breadth. I think even Jim Morrison wouldn't mind putting his name on this one.
"I like to say this is the first new Doors track of the 21st century," Ray Manzarek tells Rolling Stone
"Breakn' a Sweat" from Re:Generation
Banagarang gets an A+ from me and The Source and I encourage all of you (electronic fans AND electronic haters) to buy this album (yes...with money and everything) and open your mind to experience new musical horizons.
I also wanted to allude to the upcoming LP Voltage. It was talked about heavily a few months ago but it appears to have lost some steam recently. I wonder if Voltage sort of morphed and dwarfed its way in being Bangarang. Perhaps the rumors of A-list collaborations like Pretty Lights and Nero are holding up the creative process. Maybe he is just taking his time in order to make sure his first full length cut is a fuckin banger! Or the more likely chance that Hollywood politics (Holla-tics!) are slowing down the release of the records just to figure out more ways to make money off the deal. Either way I'll be on the look out!
On this day in history Quarterback Matt Barkley of the University of Southern California was to announce his decision whether to enter the NFL Draft or return to USC to play for the Trojans one last year as a senior in 2012. There are several pros and cons for each possible scenario and while every individual has the right to their own opinion, the truth of the matter is that Barkley would relish in a massive volume of success no matter what his decision is. Many of you understand the tremendous importance of this decision and all of the implications that go along with it, but if you want an in depth analysis on the decision, and the main factors contributing to said decision, no one can explain it better than Arrogant Nation's own Zach Jerome of 'Lost Angeles':
My Opinion? I'm a Trojan! Of course I want Barkley to return! While it is obvious that going to the NFL has its financial benefits (could you pass that up?) there is something about USC that is special. I am not an athlete at USC nor do I represent any prestigious stature here but I can tell you from experience that being a Trojan is an enticing and captivating experience and no one should ever run away from that experience.
Well, he didn't run...
...instead...
MATT BARKLEY ANNOUNCED
HIS RETURN TO USC IN 2012!!!
"My Own Personal Cell Phone Footage"
The quality of the video is sketchy (had to prove I was there though right) but there is a high quality video posted to the USC Football website here: http://www.usctrojans.com/allaccess/?media=289618
Matt Barkley's Announcement came with these words:
"I will earn my degree, the bonds have been forged, but I know in my heart that I have not yet finished my journey as a Trojan football player. Our USC football team has been through some tough times and we have persevered, but the 2012 team has some serious unfinished business to attend to, and I intend to play a part in it."
This was one of the most exciting experiences of my young life and although I have been to a lot of concerts, sporting events, etc. I have never felt an electrifying presence as strong as I did today when the press sat and stood within the confines of Heritage Hall and applauded the announcement that Matt Barkley would return next season.
2012 may now become one of the most successful season in USC Football History. The National Championship is the Trojans' to lose. The Heisman Trophy is already being engraved with Barkley's name. The anticipation is tremendous and if anyone has the athletic ability and mental capacity to take advantage of this opportunity it is Matt Barkley.
Matt Barkley WILL BE the greatest USC Trojan in the history of the institution. Barkley represents everything that goes along with being a student-athlete of the University of Southern California. I am overjoyed with the decision he has made and I wish him good luck in 2012.
In 2011 the most polarizing figure in sports is unarguably Denver Broncos quarterback Tim Tebow (But all his friends call him ‘Timbow’). The same love-hate relationship has surrounded the best/worst album of 2011 depending on who you ask. I speak of Korn’s latest album release. My point is that many of you are likely to close this article as soon as you see the mention of Korn because they accidentally created the 2nd most generally hated genre that exists under the ‘metal’ umbrella (let’s face it, glam rock is still #1). However, on this album they have explored the electronic music world as they collaborated with a multitude of today’s top DJ’s in the world! Dubstep and Metal!?! Oh yeah…it just happened.
It was thrust upon the world all the way back on April 11th, 2011 at the Coachella Music Festival. Skrillex, who many consider to be the ‘Prince of Dubstep,’ was tearing through his set when he invited “a couple of friends out” to join him for a couple tunes. Jonathan Davis and Munky of Korn hit the scene and the crowd went fucking crazy!!! 8 months later Korn released their 10th Studio album The Path of Totality through Roadrunner records to sell 55,000 copies in its first week and hit #10 on the billboard charts.
Coachella 2011 - Skrillex Welcomes Korn to the Stage
(Korn introduced at 1:05)
I think the fusion of dubstep and metal is a match made in heaven. They are both genres that inspire a lot of emotional release and physical displays of primitive debauchery. Korn’s music follows a lot of the basic principles that dubstep music typically follows as well as far as the tempo and pitch are concerned. Bass up the ass is the name of the game and no one knows how to play it better than Korn of the ‘90s and Skrillex of today’s new electronic uprising. I LOVE the album. Is this is an ‘experiment’ as they say than consider it a raving success (ha, ‘rave’…see what I did there?). It is certainly a Korn album and all Korn haters will likely continue to hate but they truly executed on a great collection of tunes that weave in and out of guitars, drums, and computers, seamless and with impeccable fervor. While some of the songs seem to kind of run together, there are others like “Narcissistic Cannibal” and “Get Up” that are stand out anthems! Skrillex had the biggest impact on the record and quite frankly the quality of his tracks is far superior to the others. Jonathan Davis pushes his vocal range past his limits which is nice to see as we did on a few tracks from their 2007 ‘Untitled’ album.
The opening notes of this track are particularly curious as it is seemingly a harmony of guitars and computer-based high pitched sound waves. It is in this song’s explosive riffs and the head-bang worthy chorus that we discover the massive brute force that results in the synthesis of electronic, dubstep, and heavy metal music. These first two tracks are undoubtedly not ‘hit singles,’ they manage to project a powerful message and I think that message is: “Metal and Dubstep were made to be together!”
3. “My Wall” (feat. Excision)
Black Sludge. Two words that together describe this third track perfectly. Bass driven, slow-paced, electro-sludge metal. Hahaha I love genre identifiers…so worthless. Anyways, by this time in the album I feel like I’ve heard three songs that sound nearly the same and I’m anxious to move on and hopefully find something a bit more exciting.
4. “Narcissistic Cannibal” (feat. Skrillex & Kill The Noise)
BINGGOOOO!!!! I wanted exciting and this track here is just that! If you have ever wondered what kind of heavy metal music the high-intelligent aliens of a distant universe are listening to (which we all wonder from time to time) than you should probably take a listen to this song! The chorus is catchy and powerful but, it is a bit too perfect and for some reason it sounds a little cheesy (or Korny). Nonetheless this song is another perfect example of a seamless relationship between today’s Dubstep DJ phenomena and the crunching sounds of metal!
Official Music Video
5. “Illuminati” (feat. Excision & Downlink)
In this tune, similar to “My Wall,” the production skills of Excision are obvious and intentional. Barreling bass trudges around like the depressed white ball in the Zoloft commercials. Davis plays with some interesting vocals during the verse that is rather penetrating but the lyrical content on the whole feels bland. Overall this song is forgettable and only the purest of Korn fans will see anything to smile about here.
6. “Burn the Obedient” (feat. Noisia)
A lot of people reviewing this album make claims that much of the album reflects the sound of Korn’s 2002 offering ‘Untouchables.’ For the most part I think this is an exaggeration however “Burn the Obedient” really does sound like something off the previous effort. It fits in somewhere between “Make Believe” and “Blame”….right? Anyways, good tune for the number six slot on an album.
7. “Sanctuary” (feat. Downlink)
This has to be the most interesting recording on the album. I don’t quite know how to put my finger on it but “Sanctuary” is an extremely compelling and overwhelming track. I feel like I’m being hypnotized with what sounds like an attempt at a ‘dubstep-ballad. Altogether I think it is a lovely little gothic number that left me wanting more however I feel like I am in the minority here. Not many that I have talked to seemed to get too excited over this song so maybe there’s some subliminally personal connection for me. One last thought…take Robert Smith and The Cure and slam them together with the sounds of Brock Lesnar pounding on the back of a an immobilized and hallowed out beached whale crying out for help and you get… “Sanctuary.”
8. “Let’s Go” (feat. Noisia)
There are a lot of things about this song that are ‘vintage Korn’ (are they old enough to be vintage yet?). A little repetitious groveling that sounds like that of an adolescent teen who just got picked on for the first time in high school. However, that is what a lot of people appreciate about Korn; their emotional vulnerability. Anyways, this song is great but certainly nothing new added to the music world.
9. “Get Up!” (feat. Skrillex)
The Prince of Dubstep returns for his last track of the album! BOOOOOM WAAAH WAAH WAAH WAAH WAAAH SHUT THE FUCK UP GET UP!!!! There ya go haha my typed impression of this song. In all seriousness this is by far one of the best songs on the album and I hope this shows the world that mosh pits can have fists, glow sticks, leather, lace, weed, and ecstasy in it all at the same time and not only survive harmoniously, but thrive vigorously!
Official Music Video
10. “Way Too Far” (feat. 12th Planet)
Listen up folks because this track gets my official certification for best song on the album! “Way Too Far” just edges out “Narcissistic Cannibal” and “Get Up” for best track on The Path of Totality. What won me over about this track is its perfect storm of heart-thumping power, intimate melodies, and the aura it creates during a live performance. Davis clearly enjoys growling over the electronic bass waves of fury and soon his demonic freak outs turn to lighter-burning sing-a-longs with the crowd! 12th Planet is the featured producer on this one and although it is his only appearance on the album, the American Father of Dubstep leaves no doubt who the master is. I believe this will be the third single off the album and if people could put aside their preconceived notions about Korn and their ‘nu-metal’ stereotype than it could be quite the hit.
11. “Bleeding Out” (feat. Feed Me)
Keyboard intro feels a little out of place here as we quickly jump into the crunching guitar riffs we’ve come so familiar with. All you really need to know about this track is that Jonathan Davis explains that the song is about a rat that lived in a tree at his house where he and his friends would smoke. He got tired of the rat pestering the area so he shot that motherfucker with a gun! Hahaha hence the “…bleeding out” reference….derp. The best part of this song, and one of the most exciting/surprising moments of the album, was the bagpipe solo that enters un-introduced in the bridge. The sustained bagpipe notes lead into a funky collaboration of choppy bagpipe flutters and ‘drum n bass’ rhythm that is to die for (or dance for!).
12. “Fuels the Comedy” (feat. Kill The Noise)
I love the intentions of this song but the execution is just not quite there. It feels like an attempt at a spontaneous and frantic free-styling through a stream-of-consciousness lens that comes off as a bit immature and whiny. However, it is certainly corrected by having a completely addicting and catchy chorus. It’s a track that certainly has its ups and downs and it is understandable as to why this was only released on deluxe albums.
13. “Tension” (feat. Excision, Datsik & Downlink)
This is an all dubstep track with Jonathan Davis performing vocals over a swarm of Datsik and Downlink infused dubstep. Again, it only appears on deluxe versions of the album and it actually seems like it might have been more deserving of a slot of a JDevil EP or LP (cross your fingers). The freak-out that begins around 2:43 completely caught me off guard and if I was at first intrigued; I was quickly thrown back against the wall with amazement. Davis scats harder and crazier than I have ever heard! The violent vocal menagerie is combined with appropriately time ‘drum ‘n’ bass’ thumps that create an exorcist like surrealism.
As I'm sure most of you have heard, football is coming back to Los Angeles. There are a lot of mixed emotions regarding the yet to be announced Los Angeles team franchise and I'm as skeptical as the next guy. I've been a Green Bay Packers fan since the mid-1990s and regardless of what team becomes the Los Angeles team, I'm not so sure I'm willing to transfer my loyalty (Oh and Yes! I'm a bandwagon fan, I hopped on the Brett Favre bandwagon when I was 7 haha). 5 major candidates for the new Los Angeles franchise include the Vikings, Chargers, Jaguars, and our old friends the Raiders and Rams.
Who do you want to come to LA???
Will you become a die-hard Los Angeles Football fan immediately???
Is it considered 'band-wagoning' to be loyal to a brand new team???
These are the questions us SoCal natives must address in the very near future (I'll be staring at myself in the mirror with the lights off for 24 hrs straight waiting for a revelation.....it's the proper way to do things).
However there is 1 thing that everyone in SoCal can be certain about.....The Los Angeles Football Stadium is going to be the greatest stadium ever built!!!
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