Musical Chairs are back, and so is Gary Lee. This time we ask our metal maniac to cast his omnipresent eye over the release by 6:33-The Deadly Scenes, released on Kaotoxin Records.
I first got into 6:33 through their 2013 album The Stench from the Swelling (A True Story) which
had a definite underpinning of big band and swing, delivered with a confident
crafting of the metal style. I highly recommend you check that album out.
However, we are not here to discuss that, we are here to discuss the 3rd
studio album by the Parisian grouping Deadly
Scenes.
Deadly Scenes
should probably not be considered a metal album, I mean it has metal styling’s,
and it is a studio released, “long play”. However, this is very much a concept
album, and in fact feels more like it was supposed to be a “rock/metal opera”
that explores morality, the human condition and the deadly sins ( I am a fan of
the scenes/sins word play) pretty deep stuff, and some may even consider brave considering
the churlish way concept albums are sometimes met. But, what exactly does this
album hold?
The first song on the album, Hellalujah begins the musical. It starts out
with a choir and gospel vocal that sings to “Lord Jesus” before vocalist
Rorschach sings over the building musical swing “I’ll tell you what you need/trust
me I am used to it.” Then, with his voice now at full range, he belts out “smash
your bollocks/just go down on your knees” and I must stress that you can almost
hear the glee that is wrapped around the word “bollocks.” I would bet that this
is a shot at the futility of religion, or at least living your life by its
code, and it’s supposed “deadly sins” without question. The song then comes a
battle between those that do not believe, and those who do-or at least that’s
how it seems in the “story” of the song. This continues, becoming prominent in
the refrain “Don’t wanna hear you cryin’/trust me there’s no deadly/don’t wanna
hear you yellin’/trust me there’s no deadly sins.”
Musically this song as already stated is built mostly around
groove. It begins, and ends in piano led fashion, although a stabbing guitar
riff pushes it forward from the opening. From here, it becomes a fusion of sound,
double kicks, heavy metal/death metal drum grooves, and some bass swing. The
chorus has the big band vibe again, that I came to love from the 2013 release,
and around the 2:42 mark there is a nice heavy metal guitar riff. I feel this
song was perfect to open the album, it’s a little of every zany facet of 6:33
while maintaining cohesion, and is enough of a hook to lead you into the album,
plus it’s almost story style of song craft leaves you wanting to find out more,
turning the page if you will.
The second track, both on the album, and that I would like
to point for is Ego Fandango. This
track caught my eye when I was looking through the tracklistings before even
playing a single song from the album. Why? Its track length is 6:33, and that
gives me nerdy tingles. Ok what does
this song offer to a listener? Well this seems to be the “pride” track, from
the “deadly sins” ethos. This becomes very clear from the opening “Your tits and
ass ain’t good enough for me/covert my handsome body/yes I believe I am better
than anyone/I deserve my golden crown.” I’m we’re all in agreement on the arrogance
here. Musically once again the concept of God is thrown up straight away, with
a sampling of a preaching, ranting over a church organ. Again, it is swing, revelry
and fun abound all filtered through a metal guise, I am a fan of the blast
beats that come in around 2:25 and again at 2:35. But the track just really
expands on the musical elements explored in Hellalujah.
Although I don’t want to dwell on the track for too long I love the pulsating tribal drum rhythms in The Walking Fed (and the pun with popular AMC TV show “The Walking Dead.”) This gives the song an organic and vibrant energy, and serves to help it stand out from the first two tracks which shared the “big band” style.
I’m A Nerd is
probably the most aggressive track on the release, which would be pretty
fitting with what I consider to be the “wrath” track. The intro (after the
repeated choir motif) would fit in a death metal album with all the double
kicks that come pounding through your speakers. It is all accompanied by the
usual groove that 6:33 offer. The bouncy guitar riffs make me want to pogo to
this, and mix with the vocal delivery to give it an energy reminiscent of early
System of a Down. Track 6, and what I would consider to be the “envy” track, Black Widow also fits this mould,
especially in the intro with the erratic vocals and yet more stabbing guitars,
and the almost polka breakdown.
Overall this album is a rich experience that I have enjoyed
listening to, several times already. I love that 6:33 continue to have fun and
do not take this at all seriously. Of course it does help that they are able to
meld styles well and create an interesting concept, that rewards the listener
the deeper they delve into the album, I feel other songs deserve a mention,
such as Last Bullet for a Gold Rattle which
channels a country music vibe, or the title track Deadly Scenes that plays out entirely like a mini play, with the
lyric book including notes for 3 voices. However, it is clear that this album will
never be one for everyone, but I feel you would be doing yourself a disservice if
you did not at least dip your toes into what was on offer here
Tracklisting
2 Ego Fandango
3 The Walking Fed
4 I am Nerd
5 Modus Operandi
6 Black Widow
7 Last Bullet for a Gold Rattle
8 Lazy Boy9 Deadly Scenes
The Deadly Scenes is released January 12th
Article by Gary Lee (@thewheelbear)
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