By One Line - Issue 3. Movies

OK then, today we have some movies to smear with poo-poo, as could dr. Martin Ssempa say.

Remember, here we have the same scale to check:

- definitely awesome but nothing to say

- matter of taste and controversial

- get the fuck out of here

Welcome to the Cinemarathon:

By One Line - Issue 2. Music again.

Sorry, but there is no material for big reviews now. Maybe it will appear later.
As earlier, we have such marks here:

- definitely awesome but nothing to say

- matter of taste and controversial

- get the fuck out of here

And now for something completely different:

Altitude (2010)

XXI century brought us into the controversial state comparable with emotional, axiological and theleological tetraplegic paralysis while hanged in weightlessness. People of XXI century saw everything, heard everything and pretend to know everything so it becomes very hard (nearly impossible) to wonder them. The big amount of media also makes a contribution in this actually sad situation, so the chance to see something moreless uncommon and peculiar decreases day by day. So each successful attempt of such case arouses the more pleasure and interest; the dark side is difficulty to mine such film from annually made pile of homogenous cinematographic ore and distinguish it from boring and secondary brood. Of course in such genre you cannot hope to discover a New Guinea, but considering this event of facing moreless uncommon movie as a pleasing surprise could be really wise and useful deed.

“Altitude” is truly independent and maybe this factor has become the reason of its dissimilarity with anything. Because the plot writer has no demands dealing with audience or restrictions, he wrote anything for himself and thus avoided a lot of stamps that could appear here (although he couldn't avoid all of them). Starting as an interestingly (from technical point of view) even though merely low budget short story-about-teenagers-who-decided-to-go-somewhere-and-will-atone-for-that, narration turn things twisted. First, teenagers are going to trip somewhere by a small plane with one of them as a pilot, and second – the very atmosphere that I personally felt only in Stewart Gordon films. And this foretoken was a kind of true – the chthonic horror which is an imprescriptible attribute of Gordon’s films definitely has here a place to live and does its very horrifying deeds. The only drawbacks of this actually interesting attempt is relatively weak performing of actors, especially main; when girl at least tries to dissipate attention using her cute face and advanced mimics, the buddy is emotional as facial nerve paresis victim. Nevertheless, for an ending they have a little more freedom to express themselves and thus almost have drawn the final of movie. Almost. But even with their acting, the ending is still chilly and strong enough to even take a tear or two from an emotional overcharged schoolgirl. LIKE FUCKING ME.

As A Result: an additional proof that crowdfunding is a future of indie filmmaking

Watch It?: better yes, but not necessary

Frozen Ocean - The Withering Eidolon

New track is available on SoundCloud!

The Withering Eidolon

Here's the lyrics:

Frozen Ocean - The Withering Eidolon

Famished serpent that abominably crawled
From times before the light of reason
A bewitched eidos, a venomous entity
A shield from iniquity lurking within

Fetters of fidelity

Bestial rage and inescapable pavor 
Hide under the cloak of exoneration
Yawning chasm of spurious enlightenment
Will relentlessly devour the weak

Hear the vanishing echoes, last call
Of souls that was vainly fed to abyss
We saturate our spirit with hate
To withstand the obsolete lies

By One Line – Issue 1. Music

I decided to begin new series of posts where I will observe music or movies or books just by one phrase. Often you cannot say more, and my past experience showed that any intermediate format of review expands to full-length without such a restriction. Welcome then!

Pictograms near the title are analogues of Watch It/Listen It line in full-size reviews:

- definitely awesome but nothing to say

- matter of taste and controversial

- get the fuck out of here

Abominable Putridity - The Anomalies of Artificial Origin (2012)

Each genre of music, and metal → death metal → brutal death metal all are not the exception, has its own distribution between quantity and quality, and often this distribution is quite similar for all genres. Quantitatively the percent of good and original bands and projects could vary, but it always oscillates near one point (what point you could calculate by yourself), so if we face unknown band or project, we can predict of its quality (in subjective meaning of course) with definite probability.

This band from Moscow, Russia, incarnates the essence of the notion of “mediocre brutal death metal”, in all senses (both good “firm” and bad “worn”) of this controversial definition, but positions itself as a member of First League in genre, and while this statement calls a lot of doubts, the whole impression of band's music could be strictly wounded by this attitude. Facts say that AP had established oneself as a quintessence of worn in death metal, presented as a collection of all the genre stamps and musical means multiplied on not-very-good technical execution, and reviews on their first full-length “In the End of Human Existence” confirm it. Add to this the general negation to slam subgenre of brutal death metal, and you shall finally obtain a portrait of AP and presumption to their worx. Seems sucks, eh?

Most probably recently the band decided to change something in this life and presented a new promo work after 4 years of silence full of shitloads, arrogance and rain of criticism, and this work has shown that all these things were profit them. The new material had blameless qualitative execution, and all the inherent mediocrity they usually reveal had turned by its good “firm” side.

“Anomalies of Artificial Origin”, a second full-length album forthcoming then, haven't ruined this impression but underlined it and make it merely stainless. Now AP sounds with all the damned power it can; modern fashionable tuning of instruments and lot of studio works especially with drums don't pass by and form the kiloton avalanche of sound that could blow the unprepared man out like a feather and twist him in a fucking doughnut or nail him in the floor. Thus the presentation manner of band has become perfect, and whats about the second feature?

The second feature still takes place, and it will become the primary problem to band to solve it before next work. Music of AP still does not fit its presentation. Although blowing head off, music on album have almost no chance to be remembered. Middle tempo is an advantage, so use it as it should be used, place the rhytmic features forth! No, they would like to eat shit. Instead musicians used the boring alteration of faster and slower times, without any catchy riffs; only two or three ones could be remembered after the whole listening. Even the merely outstanding work of a singer (Matti Way who sang in Pathology, Disgorge and Liturgy) cannot turn things to normal, and all that saves this album from being exiled off the playlist is its sufficient length of 25 minutes. It is merely a woe to see how boring so damn good produced release could be, and a band should fix this further. Maybe words just also have their power, and aforementioned Artifical Origin definitely has impact on it. But I am afraid that the cover (just brilliant example of album cover, best in 2012) is the most original thing on this release.

As A Result: This album is like a dildo: impressive size, amusing colouring, glowing in the dark and can give you an orgasm, but however something is wrong.

Listen It?: Why not. It is nothing weird to use dildos.