Did Cryptopsy Sell Out?

Why is it that once a band gains some degree of success they are forever condemned to be pigeon held in that genre until death? After all, shouldn't the trade mark of a real musician be his ability to grow as an artist and continue to innovate his craft?

The reason I bring this up is because I recently acquired the latest Cryptopst album tittled The Unspoken King. Having very little exposure to Cryptopsy in the past (though I did see them live in 1999 and 2011) I thought it was a good album. My impression of the album was positive because initially I dismissed Cryptopsy as a typical Death Metal band no different than the rest: a lot of intense riffs with little contras. But with The Unspoken King, I had an album with brutal riffs and blast beats contrasted with slow melodic parts that incorporated clean vocals. To me it sounded like a mature album that combined sophistication without compromising its brutality. That is why I was dissapointed and surprised when I came across this passage on their wikipedia page:

" The new lineup released The Unspoken King on June 24, 2008. The album was subject to a backlash from fans of the band's previous works, due to the album's metalcore influence and the addition of clean singing....The band has announced via MySpace and Facebook that the new material is to be a return to the former sound of Cryptopsy with a modern touch. Raymond [the bassist] has stated in Youtube comments that the new album will not feature the clean vocals present on The Unspoken King."

The first question I have for the so called "fans of the band's previous work" is this: do you truly believe that the band was trying to get commercial success with The Unspoken King? If so, then it is obvious that you haven't listened to commercial radio in a long time. There is nothing on the airwaves that is remotely as heavy and aggressive as The Unspoken King. That album is full of dethmetal riffs, growling vocals, and blast beats. It will never be considered commercial or get any recognition from the main street establishment. It is a death metal album.

The whole "controversy" sparking this backlash revolves around two short parts, during two separate songs, where the band goes into a breakdown in which clean vocals are incorporated. The total length of that album is 47:06 minutes and the clean vocals take up a whooping 2 minutes. So lets recap, Cryptopsy sold out because in 47 minutes of music, two minutes included lean vocals?

Could that be all? Is the only thing annoying the so called "true fans" are measly 2 minutes of clean vocals? I figured that The Unspoken King must pale in comparison to the bands previous catalogue. I decided to download the rest of the bands discography and compare. I started with what is suppose to be Cyrptopsy's break through album Whisper Supremacy (1998). After a good listen, I have to say that it's a very good album. According to Wikipedia, "[The album] took Cryptopsy's style further, incorporating some jazz and fusion elements." However, in my opinion it's not as progressive as The Unspoken King. When comparing the the two albums, The Unspoken King is more mature in sound. The different layers of harmony and poly rhythms give it quite a sophisticated feel. Also, It includes much more Fusion elements then Whisper Supremacy.



If I could give Cryptopsy a piece of advice it would be to continue building on the foundation of The Unspoken King, but I guess I'm just a lone voice amids screams of animosity spewed by the so called "true fans." Maybe the "true fans" haven't bother to find out that Cryptopsy is a band with a high change over rate of members. In fact, the only member who has been in the band since the yearly years is the drummer Flo Mounier. The rest of the members weren't even in the band when Whispers Supremacy was recorded!

In conclusion, people need to be a little open minded when it comes to bands wanting to evolve in their sound. Not every change in musical style needs to be labeled as selling out. When Megadeth went from hard pounding, guitar driven, metal that you find on their album Rust in Peace to three minute pop songs found on Risk, that was selling out. Cryptopsy adding 2 minutes of clean vocals on a 47 minute album is called progress.

For the people who are unfamiliar with the album, the following song is a good example of the shift in style taken by the band.

Cryptopsy at the Rock Pile June 17, 2011 vs. Disco Fever

To me the appeal of metal has been, to a certain degree, the fact that it's part of the underground. While some elements of Metal music have found acceptance in the mainstream, True Metal has always stayed out of the spot light. And while some will see this as a validation to look down on the genre, I look at it as a badge of honor; because, to be blunt: mainstream blows.

I don't know why I still manage to get shocked. After all, it's not like I can look back at some glorious time when things where different. Things might have been better before I was born, but ever since I have been on this earth, I have held a disdain for the mainstream. I haven't figured out whether I'm a helpless optimist who holds on to hope that the intellectual level of our culture will improve, or someone who is in deep denial.

Last night I watched a movie that really spoke to me as an artist. It was Woody Allen's Midnight in Paris. The film was about a Hollywood writer who gets to travel back in time to fraternize with the greatest authors, painters, and play writes from the 1920's. Coming back, my friend and I stopped to drink a decaff coffee in the car and talk about the movie. Our car was parked across the street from a dance club. As we were sitting with the windows down, the repetitive dance music coming across the street was just unbearable. However, what I couldn't comprehend was that there where people in that club "enjoying themselves" by having that terrible noise blaring in their ear, and dancing like morons. There is so much beauty in this world yet people want to spend their life in sweaty club dancing to electronic music with flashing lights?

"So what do you like to do?" is the question I most often get as a response to my rants. "I like Metal" I answer with pride. At which point I get a few smirks and rolled eyes. So, in this post, I would like to describe the typical experience that I had at a dance club, and compare it to the night of June 17 when I saw Cryptopsy, supported by Toronto's finest indie bands, at the Rock Pile.



The last time I had to go to a dance club, I had to dress nicely. My girl ironed my pants and my shirt that she picked out for me along with the socks and shoes. We meet a couple of her friends. We all shared a car, drove for about 30 min, and arrived at some dance club. We stood in the lineup for about 15 minutes watching all the pretty people with their souped up cars. We chatted briefly but that came to an end when we got inside. Any chance of conversation was squashed by the loud beats. I forced myself to dance for about an hour, spend $20 on a bottle of beer and two rum and cokes, then sat at a table for another hour wanting to go home. One of those drinks went to my girl and there was also a $10 cover.



When I went to the Cryptopsy show I wore my jeans and Iron Maiden shirt. My band mate stopped by before the show and we played some guitars and drank some beer. Then the trusty TTC took us to Kipling station where I meet another one of my friends, who was generous enough to share his mickey of whiskey while we walked for about 15 minutes to the Rock Pile on a warm summer night. We went inside the Rock Pile at about 11 pm, without a lineup, paying $15 at the door. Inside we treated ourselves to $9 mini pitchers of beer. We saw two local bands, one of them was Unbreakable Hatred. We used the time in between bands to chat and go on the patio to mingle with like minded people. When it was time for Cryptopsy, we sat at a corner table with an unobstructed view of the band. We watched in amazement while Cryptopsy dazzled us with their brutal riffs and fast tempos. They played a lot of numbers from their latest album since this was a small, last minute show. Occasionally we would jump in the mosh pit clowning around like we were teenagers. After the show we walked back to Kipling station where we all went on different Blue Line buses since the subway stopped running a long time ago.




There are enough metal bands in Toronto that one should be able to see a metal show any day of the week. Each night Front street fills up with hordes of dolled up people who are willing to stand in line, pay expensive covers, and get drunk on expensive drinks. Who are those people? Sometimes I think that no one actually has fun at a dance club but is only there because they believe that this is what it means to be normal. Other times I think that I'm the freak. One thing is for certain, I never had a good time at a dance club while on the other hand I can't remember a metal concert that I did not like. This leads me back to my original point: mainstream blows!

Scott Columbus is Dead!

Imagine my surprise when I was informed that former Manowar drummer Scott Columbus died. I could not believe the odds: what are the chances that the first person I slammed in my last blog entry would pass away.

After hearing the news of Scott Columbus's untimely departure, I was overcome by guilt. After all, I called him a "traitor of metal." I regretted writing my last entry, which discouraged me from blogging altogether. It has also changed the way I hear Manowar. It's strange how a change in circumstances has the ability to let you her the same piece of music in a different way.

I felt disappointment in Columbus because left the band; it caused me to lash out. I had no right to judge him. No one knows what truly happened except the members of Manowar. He was a great metal drummer who knew his place in the band. The world of Metal has lost a true hero.

R.I.P

Scott Columbus: Traitor of Metal

"Strike while the iron's hot
Steel is strongest so say we all
And if we all were not brothers of metal would we fall?-No!
They tried to test our spirit
They tasted steel before they were done
Grinding their bones to the dust of the past
All blown away like a shot from a gun

We cast our lot together
Four still stand as one
And we'll remain forever
Till our kingdoms come

Brothers of Metal!"

These are the powerful words that open up Manowars's song "Brothers of Metal Pt.1" The lyrics describe a bond between band members which is thicker then blood: it's as thick as steel!

For nearly 30 years now, Manowar has been singing about virtues long forgotten or even taboo in contemporary society. Virtues like honor, fidelity, masculinity, bravery, and courage. Their appeal to the fans stems from the fact that they are able to put themselves above the different bands, bands willing to jump on any fad de jure. One of the ways that Manowar has exemplified such traits is by keeping a steady lineup. Throughout their entire career, they only had 8 official members. This is quite impressive for a band that has been together for as long as they have. Manowar sells their image as a virtuous band above petty squabbles and the current fashion trends. From the very first album in 1982, they made a pledge to their fans: they will never sell out, but forever fight for true metal and stand by each other.

This is why it broke my heart when I recently came across a blog post where Scott Columbus stated definitely that he has left Manowar, for the second and final time, in early 2008. He hinted that his decision to leave was not on the most amicable of terms. Though in the interview Columbus keep a calm and cool attitude, one can pick up little bits of spitefulness in his answers. According to him the split came after he had a conversation with Joey DeMaio after the "Gods of War" tour. When the interviewer asked him whether the conversation involved money, he admitted that "it was one of the topics discussed."


(Scott Columbus as a proud Metal warrior)

Columbus then went on to say that he was forced to lie in 1989 about the true reasons why he left Manowar the first time. According to Manowar's story, Columbus left to be with his son who was stricken with leukemia. "So you your son was never sick?" asked the interviewer. To which Columbus replied "No."

Columbus then proceeded to talk about his upcoming solo album where he wants to make "Metal elevator music." Apparently his solo project will not be so "overproduced" as Manowar, which is a style he apparently learned to dislike."I'm more of an analog guy," he stated proudly. I guess "analog guy" doesn't care that he will forever go down in history, since Manowar was one of the first bands to embrace digital recording. He also mentioned that he will reunite with former Manowar guitarist Ross the Boss (1982-1988) and they intend to play old Manowar songs together. Hey, just because you're no longer in Manowar, it doesn't mean you still can't make money from Manowar, right?


(Analog guy today rocking out to elevator metal. What happened to the mustache? did Joey make you grow it in the first place?)

What totally pisses me off about Columbus is his lack of gratitude. Joey DeMaio gave Columbus the opportunity of a lifetime: Fame, the chance to tour the world, the chance to be a role model. Now, Columbus is lashing out at the very institution that made him who he is today.

As a drummer, Columbus fulfilled his duties competently. He is able to play fast double kicks and fast rolls. However, he is not capable of doing anything more than that. The clearest evidence we have of this is in Columbus's "Elevator Metal" project (listen here). In it, Columbus does not stray too far from what he would usually play in Manowar: 2/4 beat with the occasional fast role. Also, as I mentioned earlier, he now will continue to make a living of Manowar by touring with Ross the Boss.

Columbus might have some chops; however, he is not a creative person. The best evidence of this could be heard in the following tracks (here, here) where his oversimplified playing is undermining good song writing. I remember when, with anticipation, I heard "Warriors of the World United" for the first time. Though I wanted to like the song very much, I could not; I could not get over the fact that the drums were so oversimplified. Ringo Starr could have done a better job. Even today, I can't listen to that song without losing attention half way through it. He butchered a song that could have become an anthem for the 2000's.

So let's recap: Columbus was given everything that an average rock drummer dreams of. In 1983, according to Wikipedia, he was able to quit his job beating aluminum at a foundry and play in one of the greatest metal bands of all time. He went down in history for being in the loudest band in the world; One of the first bands to embrace digital recording; The first and only band to record with Orson Welles; And, he was given a chance to be a role model for thousands of kids. Kids who, instead of embracing the destructive message of today's music (I cap yo ass, take your ho, ps. learning is gay) accepted a message of honor, chivalry and brotherhood. In addition, Manowar has inspired thousands of fans to learn about Richard Wagner, Mozart, Rimsky-Korsakov, Norse and Greek Mythology, by incorporating such themes in their music.

Columbus lashing out at Manowar could be compared to an average one trick pony at a carnival. Imagine this: a horse owner teaches a pony a cool trick; it's the only thick he knows. The pony goes on to travel the world, gets the best hay, along with world fame. People bring him the finest mares to stud with. Then, after making lots of money, the one-trick-pony lashes out against his owner because he only taught him one trick. That is who Scott Columbus is to me: an ungrateful one-trick-pony.

In a recent YouTube video (since removed) Joey announced that Manowar's original drummer Donnie Hamzik has rejoined the band. According to DeMaio, all the new tracks that they were preparing for the new album have been "scrapped, never to heard from again." Obviously Hamzik has brought new blood into Manowar and they are going to use the momentum to write a new album. The new album should be out in the next year or so. Hail Manowar!

The Droogie...Stripped of False Pride by AxMinister

Some Memorable Metal Of 2010

To name all the great metal albums of 2010 would take too long. However, two albums stick out above the rest: Sabaton's Coat of Arms and Enforcer's Diamonds.

In order for an album to be considered great, it should have enough good songs that you can listen to it in its entirety without skipping over any tracks. With the odd exception, the two albums mentioned safely fulfill that requirement.

For those not familiar with the band, Sabaton is a relatively new band from Sweden.They play traditional Power Metal with lyrics focusing on historical warfare. Coat of Arms is packed with tracks like Uprising (dealing with the Warsaw Uprising of 1944), Screaming Eagles( about the 101st Airborne Division) and The Final Solution.

Lyrically, they are capable of telling a good story that is historically factual and well versed. This is what attracted me to the band initially.

Musically, they are able to deliver a good punch without having to be over complicated. Their songs mostly consist of a formula: verse, chorus, verse, chorus, breakdown with a solo, chorus, chorus, which works very well for them. They are able to choose substance over style.

Enforcer is another relatively new metal band from Sweden; Diamonds is only their Second release. Many have labeled them as Old School Metal, which I don't believe does them justice. These guys have managed to take the best aspects of Iron Maiden, Motley Crue, Ozzy, Van Halen, and develop their own sound within that spectrum. Enforcer is able to pay tribute to the masters while still maintaining their own voice.

Looking at their pictures, its safe to assume that most of the members are in their twenties. All of them are quite skilled as musicians. I was especially impressed with the bass player who definitively graduated from the University of Steve Harris. He plays with his fingers and plays a major role in the music.

When you add all that to a formula of fast tempos, harmonized solos, and catchy choruses, Diamonds is definitely one of the stronger albums of the year.

AxMinister's Stripped of False Pride: Lessons from a Ten Year Journey

November 2010 will forever symbolize a great milestone: I finally pressed AxMinister's first full length album Stripped of False Pride. Now, as any musician will agree, realizing an album is always a thrill. Looking at the box full of your brand new Cd's ready to be distributed can feel quite good. However, Stripped of False Pride has a special place in my heart and marks a huge milestone, as I have dreamed of this moment for over 10 years. That's right, 10 years! I have a rough sketch of the lyrics to the opening track Empty Inside in a notebook that I started in the late 90's.

One might ask, what took so long ? After all, though recording an album is no simple mater, it's not an impossible task. Anyone with half a brain can pull it off as long as they are willing to commit the time and finances. And I absolutely agree. After all, while AxMinister was going through a hiatus between the years 2003-2007, I spend more then 3 years playing in a band called Grizzly Madams. During that short period we managed to put out a 3 song demo, a live album, and a full LP recoded professionally. So why did it take AxMinister 10 years? The blame could be placed in three main places: band infighting, the unwillingness to put a real financial investment in the band, and the believe that we could produce a better album by recording it ourselves. Though all the reasons have significantly hindered our process, I believe the biggest culprit was the third: believing that we could do a better job ourselves then in a studio.

Our misguided journey began in the winter of 1997 when Spire Cranes, a band that I have played in in high school, went to a studio to cut our first album ever. We found a studio in a flier. We knew very little about recording or music; we agreed to record 8 or 9 song album. We did not know much about the recording process and the studio was more then happy to take out money. In the end we released a album called Deaths and Entrances and pressed around 200 copies on tape. In total, the final cost was about $1500 which was split three ways. Looking back in hindsight we got a pretty good deal. Almost 15 years later, I still enjoy listening to that album as it has a real distinct sound reminiscent of the mid 90's. The songs have a real hint of maturity that surprises me even today. 15 years latter, the little imperfections, I believe, only add to its appeal. However, in 1997, we were quite critical of ourselves and soon I could not listen to that album without only hearing the out of tune drum set, the fluctuating tempos, the parts where the vocals go off tune, and the occasional misted note. It was then that we decided to start recording ourselves. Our reasoning was that we might spend more money in the starting stages, but our investment would pay off in the sense that we could keep recording for countless hours once we get all the equipment.

What we soon discovered was that recording is quite the complex task. You need countless equipment in order to get a professional recording. However, for many reasons we could not accept that. This soon evolved into a quagmire of endless second rate recordings and squandered money.

The problem with trying to record yourself is that you are constantly forced to compromise. The reasoning almost always went something like this "why go to a studio when this pirated computer program" or "this digital eight track can give you almost the same quality." The key word in that sentence is "almost." When you compromise just a little on the vocals , a little on the guitar, a little on the the drums and a little on the bass, all those "little compromises" in the end add up to a big piece of crap.

Old habits die hard. Even with this album we were destined to repeat the same mistake. We recorded the drums in a studio and recorded the guitars and bass ourselves using a downloaded computer program. We soon found ourselves reasoning that maybe we could do the rest by ourselves. Thankfully, sanity prevailed and we ended going back to the studio to do the vocals, mixing, and mastering.

In the end the whole project including the pressing of the Cd's ran us less then $2500, which is peanuts when you factor in the fact that you can enter a studio and leave with an album in 2 weeks, and the songs will last you a life time.

Another sub-lesson that I have learned from this is that when dealing with studios it is always better to negotiate a rate where the studio charges you per-song rather then by the hour. When a studio is charging by the hour, there is a big temptation to accept little compromises in the interest of keeping costs down. A recording lasts a life time and little imperfections that seam minute become big distractions down the road.

Naturally, I don't always take my own advice. Even though we tried to avoid past mistakes, we were destined to repeat at least some of them. However, I'm lucky that this album got made in the first place; and at this point I'm willing to live with the small imperfections. I'm hopeful that AxMinister can put out another album in a much sooner time frame then it took to release its debut and improve with each release that follows.

As for now, I can say that I'm proud of our debut and want to share it with people. If anyone reading this blog would like a copy of the disc, please e-mail me your mailing address to axminister31@hotmail.com and I'll mail you a Cd free of charge. You can also find the complete album posted on our myspace page. www.axminister.ca.