Tuesday, June 25, 2013
The Serpent
The Serpent
It is one tilted eye but no brow to follow,
The devil's chocolate stream is indeed persistent,
I am the great corruptor whose vow is hollow,
But nevertheless, at the time, am insistent.
I own your smile and create your desires,
And alas your footsteps that mimic my slither,
My glittering pomme is the one you admire,
As I, upon the branch, dangle promise thither.
But beyond the pearls and tender, warm caressing,
My heart strays distracted by the light of her moon,
And the lash flutters from my dreams of undressing,
To her bustle and the glance that follows her boon.
And now the cougar, your fantasy, has stolen,
Your serpentinous master who now sits swollen.
----------------------
Invino Veritas
6/25/13
EOF
Tuesday, June 18, 2013
Black Sabbath's 13 Turns Out Lucky After All
The day was Tuesday, the foremost lackluster day of the week. Tuesday was always the day that football refused to play. Tuesday was the day that even Monday wouldn't call a friend. Tuesday was the day where the local nightclubs would try out their new bands and guage the reactions of the sparse evening crowds. Accordantly, it was no surpise that the amount of enthusiam I had as my eyes opened that morning was matched by every other grimace that was born from the an uncomfortably ringing alarm clock. The sun streaming through the window at an angle mocked me, and seemed to smile the way my mother used to when I was a kid right before she realized that I was not making any effort to get out of bed. Some things never change, I guess. But despite the world trying to cheer me up about this lull in the cycle of time, I maintained my course. I was ready for some sort of symbiotic darkness in my morning. I NEEDED that dark tone so I could grab my bearings and transition into work mode. No, I wasn't going to grow fangs and howl at the moon. I was not pledging my undying soul to Baphomet. I needed some appropriate theme music to match my mood. Something familiar and comfortable, so as my mind flipped through its rolodex it became increasingly more apparent that this was a a day for the kings: Black Sabbath.
I was originally elated to hear that Ozzy was back singing with Black Sabbath. In fact, I was ecstatic. By this time, I had combed every inch of the new album, 13, like a school nurse looking for lice. Every nook and cranny was illuminated. Every fold and crease was examined with the utmost care, over and over again as if it was to be installed into my chest to replace my own heart. I thought to myself, "Man, I hope Ozzy doesn't mumble through the songs." Moreover, the legacy of Black Sabbath had been reinforced over the past few years as I rediscovered stoner rock and doom metal acts that nearly all cite Black Sabbath as influences. From legendary bands like St. Vitus and Kyuss to main stays of the genres such as Goatsnake and Fu Manchu , you can always seem to find a little Sabbath in there somewhere.
13 starts off with the throwback track End of the Beginning, an eight-minute prologue beginning with the Tommy Iommi's infamously gorgeous fat sound stomping on your skull like the gigantic feet of Frankenstein's monster. As I hold my eyes tightly closed waiting for the Ozzy's incoherent mumbling, all is forgotten with the first note characteristic of the Ozzy that I grew up with and love. End of the Beginning ceratainly sets the tone (pun intendeed) for the entire album, and iconjures visions of earlier recordings - most partcularly the song Black Sabbath from their first and self-titled album in 1970. With a quick flick of the wrist and change of the tempo, it becomes completely apparent that this is not your father's Black Sabbath but rather this incarnation is actually more like Frankenstein's monster that originally once thought. At 2:40 End of the Beginning switches from Black Sabbath to a cadence similar to Children of the Grave. Then after 5:04 of blissful anachronisms, we are transported to Ozzy's No More Tears style of songwriting.
Following up the train ride that is End of the Beginning, Ozzy and Tommy lay us down with familiar crunchy tone from Iommi's signature custom Gibson SG with nearly nine minutes of God is Dead? . But it isn't until 5:48 that we see that familiar Black Sabbath feel again, choosing to emerge from Ozzy's solo career in the 1990's like a zombie from a fresh grave. As the first single from 13 , nine minutes seems unfortunately long and tedious until the tempo change. But there is relief with the close of God is Dead? and the introduction of the album's third song, Loner. Loner starts with a good, honest rhythm resembling famous hooks like Sweet Leaf from Black Sabbath's Master of Reality in 1971. After a brief show-off of Brad Wilk's skill as a drummer, Iommi comes in with an equally brief solo to bring us back to the catchy main rhythm. But it isn't long before Iommi asserts himself with his own exercise of talent to end the song.
The fourth song on 13, Zeitgeist, comes as a bit of a surprise as its mellow acoustic tones accompany an effects laden voice from Ozzy reminsicent of his solo career once again. Suddenly, my mind drifts back to Zakk Wylde and Mama, I'm Coming Home. The addtion of bongos behind Iommi's low acoustic tone, however, is a nice change from the usual Sabbath demeanor, and shows a certain versatility that's hard to find in modern manufactured acts. But as much of a familiarity as Zeitgeist seems to be, the dreamy solo work on Zeitgeist is certainly one of the shining moments of the album, exuding a tasteful deviation from the classic Sabbath sound. Likewise, Age of Reason makes its appearance in the fifth position on the album, and is also what I would consider to be one of the shining moments of 13 as well. Sporting a dash of War Pigs, Age of Reason seemingly hands the keys to the kingdom to Tommy Iommi and sets him free in the wild. Age of Reason's driving rhythm is but a mere ruse under which hides a two-minute journey of awesomesauce disguised as an outro solo and outpouring by Iommi. The entire end of Age Reason is almot a ballad unto itself, pouring note after note of some darkly fantastic and heroic hymn onto the ears of devoted followers of the faith.
With the realization of the sixth song, Living Forever, the hard cold reality of all that is a Tuesday hits me square in the face. While Living Forever is not a bad song, per se, it's a very lackluster song with barely three rhythms. This is what we would typically call a filler song, and something that would otherwise not have a home if it weren't for this album. Living Forever carries no particular hook or catch, and is otherwise barely rememberable. We are, however, saved immediately after 4:47 of bathroom time by a gem by the name of Damaged Soul hich sits firmly on this album in seventh place. That familiar Black Sabbath attitude returns with a slow saunter, and belts out an occasional harp similar to what one might find in The Wizard from their debt album, Black Sabbath. Overtaking Ozzy's harmonica work is a taste of what's to come from Iommi as we witness what can only be described as an attempt to "pull off" a land speed record with his plectrum and three fingers. But Iommi is patient, and he continues to give glimpses and forewarnings throughout the song in the form of small eccentric riffs here and there, but then hits the ground running at about 6:39.
Following Damaged Soul is what could be characterized as the darkest song on the album, Dear Father. The song is about child abuse and doesn't really leave a whole lot to imagination. The song is given texture with strong drumwork by Brad Wilk of Rage Against the Machine fame. Iommi seems to take a break from the grand feats of the past few songs. Dear Father is a dark song honestly sort of makes me shudder ad wonder where Ozzy got the inspiration to write those lyrics. Spirits are, however, lifted with an acoustic intro to a driving song by the name by Methademic. Bringing whispers of Ozzy's Ultimate Sin and perhaps even a brush stroke of Diary of a Madman, Methademic again utilizes Brad Wilk's talented stick work. While at first Methademic seems pretty plain-jane, one quickly finds themself immersed within a multilayered sea of rock salad that could only be dreamt of by Black Sabbath. The band itself even seem to enjoy the song to the poit that the outro almost seems like a momentary jam that got cut off early in the studio. Methademic is the example as to what people should expect from bands like Black Sabbath: a collection of hugely talented and able individuals with a grand sense of taste and understanding of their crafts.
Coming in as the shortest song on the album of 3:51, Peace of Mind fills tenth position like a fifth bedpost - it's not necessary in the slightest, but it's probably not really hurting anything by being there. On the other hand, I was strangely reminded of mid-90's Megadeth moreso than Black Sabbath. Wild, rolling drum parts and promounced build-ups between parts that wouldn't really fit together without the drum leads make Peace of Mind appear as if someone decided to put two or three unfinsihed songs together to make one song. As the song ends, I get the strange feeling tht everybody simply got tire dof playing it and just ended the song. Like Live Forever, this song is nothing more than filler. It's still Black Sabbath, but there are far better Sabbath songs out there to enjoy.
Depending on which variation of 13 you purchase or check out online, Pariah is easily one of the best four songs on the album at track eleven. The standard edition has only eight tracks on it ending at Dear Father. Best Buy and Japanese Editions include the track Naiveté In Black, while the Spotify Bonus Tracks include a live performance of Dirty Women. As Pariah is the last studio song, we'll stop with that one. Should you have purchased either the Standard Edition or Japanese Edition, you made a poor decision and you don't have this song. Pariah begins with a simple, straightforward guitar intro but then quickly inject some attitude into things. The main backing rhythm is a bit on the side of average, but the bridge at about 3:23 is a nice change reminiscent of some of the Ozzy solo stuff from the 90's. The milk and honey of Pariah is, however, at the tone shift when Iommi comes in floating on a stream of notes and subtle signature vibrato. Anyone with any sort of ear for music can see why Black Sabbath's mastermnd has always been Tommy Iommi rather than the more visible Ozzy Osbourne, and it comes through in songs like Pariah.
Overall, 13 is a refreshing album from such a storied and respected act and group of people like Black Sabbath. Countless individuals have been influenced by their classic sound, and they are likely to drip from the lips of kids to come. With their 'reunion' in 13, this can only help that come true. It's a good album with a lot tooffer not only young kids but old folks who grew up alongside Black Sabbath. I think on a ten point scale I'd probably give it a seven. It's hard to deny that there's a couple average songs in there, but mostly the album is good stuff. If I were using a 5-star rating, then 13 would be crowned with a 4-star rating. Take your pick. I still got some rock in these old bones, and I can't think of exericising them bones too many other ways than with some Black Sabbath.
Invino Veritas
6/18/13
EOF
I was originally elated to hear that Ozzy was back singing with Black Sabbath. In fact, I was ecstatic. By this time, I had combed every inch of the new album, 13, like a school nurse looking for lice. Every nook and cranny was illuminated. Every fold and crease was examined with the utmost care, over and over again as if it was to be installed into my chest to replace my own heart. I thought to myself, "Man, I hope Ozzy doesn't mumble through the songs." Moreover, the legacy of Black Sabbath had been reinforced over the past few years as I rediscovered stoner rock and doom metal acts that nearly all cite Black Sabbath as influences. From legendary bands like St. Vitus and Kyuss to main stays of the genres such as Goatsnake and Fu Manchu , you can always seem to find a little Sabbath in there somewhere.
13 starts off with the throwback track End of the Beginning, an eight-minute prologue beginning with the Tommy Iommi's infamously gorgeous fat sound stomping on your skull like the gigantic feet of Frankenstein's monster. As I hold my eyes tightly closed waiting for the Ozzy's incoherent mumbling, all is forgotten with the first note characteristic of the Ozzy that I grew up with and love. End of the Beginning ceratainly sets the tone (pun intendeed) for the entire album, and iconjures visions of earlier recordings - most partcularly the song Black Sabbath from their first and self-titled album in 1970. With a quick flick of the wrist and change of the tempo, it becomes completely apparent that this is not your father's Black Sabbath but rather this incarnation is actually more like Frankenstein's monster that originally once thought. At 2:40 End of the Beginning switches from Black Sabbath to a cadence similar to Children of the Grave. Then after 5:04 of blissful anachronisms, we are transported to Ozzy's No More Tears style of songwriting.
Following up the train ride that is End of the Beginning, Ozzy and Tommy lay us down with familiar crunchy tone from Iommi's signature custom Gibson SG with nearly nine minutes of God is Dead? . But it isn't until 5:48 that we see that familiar Black Sabbath feel again, choosing to emerge from Ozzy's solo career in the 1990's like a zombie from a fresh grave. As the first single from 13 , nine minutes seems unfortunately long and tedious until the tempo change. But there is relief with the close of God is Dead? and the introduction of the album's third song, Loner. Loner starts with a good, honest rhythm resembling famous hooks like Sweet Leaf from Black Sabbath's Master of Reality in 1971. After a brief show-off of Brad Wilk's skill as a drummer, Iommi comes in with an equally brief solo to bring us back to the catchy main rhythm. But it isn't long before Iommi asserts himself with his own exercise of talent to end the song.
The fourth song on 13, Zeitgeist, comes as a bit of a surprise as its mellow acoustic tones accompany an effects laden voice from Ozzy reminsicent of his solo career once again. Suddenly, my mind drifts back to Zakk Wylde and Mama, I'm Coming Home. The addtion of bongos behind Iommi's low acoustic tone, however, is a nice change from the usual Sabbath demeanor, and shows a certain versatility that's hard to find in modern manufactured acts. But as much of a familiarity as Zeitgeist seems to be, the dreamy solo work on Zeitgeist is certainly one of the shining moments of the album, exuding a tasteful deviation from the classic Sabbath sound. Likewise, Age of Reason makes its appearance in the fifth position on the album, and is also what I would consider to be one of the shining moments of 13 as well. Sporting a dash of War Pigs, Age of Reason seemingly hands the keys to the kingdom to Tommy Iommi and sets him free in the wild. Age of Reason's driving rhythm is but a mere ruse under which hides a two-minute journey of awesomesauce disguised as an outro solo and outpouring by Iommi. The entire end of Age Reason is almot a ballad unto itself, pouring note after note of some darkly fantastic and heroic hymn onto the ears of devoted followers of the faith.
With the realization of the sixth song, Living Forever, the hard cold reality of all that is a Tuesday hits me square in the face. While Living Forever is not a bad song, per se, it's a very lackluster song with barely three rhythms. This is what we would typically call a filler song, and something that would otherwise not have a home if it weren't for this album. Living Forever carries no particular hook or catch, and is otherwise barely rememberable. We are, however, saved immediately after 4:47 of bathroom time by a gem by the name of Damaged Soul hich sits firmly on this album in seventh place. That familiar Black Sabbath attitude returns with a slow saunter, and belts out an occasional harp similar to what one might find in The Wizard from their debt album, Black Sabbath. Overtaking Ozzy's harmonica work is a taste of what's to come from Iommi as we witness what can only be described as an attempt to "pull off" a land speed record with his plectrum and three fingers. But Iommi is patient, and he continues to give glimpses and forewarnings throughout the song in the form of small eccentric riffs here and there, but then hits the ground running at about 6:39.
Following Damaged Soul is what could be characterized as the darkest song on the album, Dear Father. The song is about child abuse and doesn't really leave a whole lot to imagination. The song is given texture with strong drumwork by Brad Wilk of Rage Against the Machine fame. Iommi seems to take a break from the grand feats of the past few songs. Dear Father is a dark song honestly sort of makes me shudder ad wonder where Ozzy got the inspiration to write those lyrics. Spirits are, however, lifted with an acoustic intro to a driving song by the name by Methademic. Bringing whispers of Ozzy's Ultimate Sin and perhaps even a brush stroke of Diary of a Madman, Methademic again utilizes Brad Wilk's talented stick work. While at first Methademic seems pretty plain-jane, one quickly finds themself immersed within a multilayered sea of rock salad that could only be dreamt of by Black Sabbath. The band itself even seem to enjoy the song to the poit that the outro almost seems like a momentary jam that got cut off early in the studio. Methademic is the example as to what people should expect from bands like Black Sabbath: a collection of hugely talented and able individuals with a grand sense of taste and understanding of their crafts.
Coming in as the shortest song on the album of 3:51, Peace of Mind fills tenth position like a fifth bedpost - it's not necessary in the slightest, but it's probably not really hurting anything by being there. On the other hand, I was strangely reminded of mid-90's Megadeth moreso than Black Sabbath. Wild, rolling drum parts and promounced build-ups between parts that wouldn't really fit together without the drum leads make Peace of Mind appear as if someone decided to put two or three unfinsihed songs together to make one song. As the song ends, I get the strange feeling tht everybody simply got tire dof playing it and just ended the song. Like Live Forever, this song is nothing more than filler. It's still Black Sabbath, but there are far better Sabbath songs out there to enjoy.
Depending on which variation of 13 you purchase or check out online, Pariah is easily one of the best four songs on the album at track eleven. The standard edition has only eight tracks on it ending at Dear Father. Best Buy and Japanese Editions include the track Naiveté In Black, while the Spotify Bonus Tracks include a live performance of Dirty Women. As Pariah is the last studio song, we'll stop with that one. Should you have purchased either the Standard Edition or Japanese Edition, you made a poor decision and you don't have this song. Pariah begins with a simple, straightforward guitar intro but then quickly inject some attitude into things. The main backing rhythm is a bit on the side of average, but the bridge at about 3:23 is a nice change reminiscent of some of the Ozzy solo stuff from the 90's. The milk and honey of Pariah is, however, at the tone shift when Iommi comes in floating on a stream of notes and subtle signature vibrato. Anyone with any sort of ear for music can see why Black Sabbath's mastermnd has always been Tommy Iommi rather than the more visible Ozzy Osbourne, and it comes through in songs like Pariah.
Overall, 13 is a refreshing album from such a storied and respected act and group of people like Black Sabbath. Countless individuals have been influenced by their classic sound, and they are likely to drip from the lips of kids to come. With their 'reunion' in 13, this can only help that come true. It's a good album with a lot tooffer not only young kids but old folks who grew up alongside Black Sabbath. I think on a ten point scale I'd probably give it a seven. It's hard to deny that there's a couple average songs in there, but mostly the album is good stuff. If I were using a 5-star rating, then 13 would be crowned with a 4-star rating. Take your pick. I still got some rock in these old bones, and I can't think of exericising them bones too many other ways than with some Black Sabbath.
Invino Veritas
6/18/13
EOF
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