Netherbird Dual Review

Genre: Melodic Black Metal

Name: Netherbird

Album: The Ghost Collector (2008) and Covered In Darkness (EP, 2009)


Malice Through the Looking Glass

I have good news and bad news: The bad news is that I won't be able to buy a Netherbird CD this weekend. The good news is that they offer two available for download on their website! With the booklets as .PDF files! They, my friends, are awesome, which is only further proven by the fact that, on their facebook page, if you ask a question, leave a comment or just headbutt your keyboard, they reply. Awww, shucks... ain't that just dandy?

Netherbird, until very recently, had no line up - that was, apparently, part of the point. The vocalist, guitarist and keyboardist shared "a vision on how to write and record metal music without the limitations of a set line up or metal". They, however, have now procured a bassist, presumably from some form of lost-and-found, and have set themselves to release their second full length CD on May 15th (besides this, they have three each of EPs and Singles).

I plugged my ears in and bathed in the intro to The Ghost Collector. This track, "Dead Grid Incantation", has lyrics worthy of Carach Angren, and music just as good. The postponement of the final whisper of terror only adds to the tension, which is shattered by the sonic violence (and we all love gratuitous violence) of "The Blackest Breed", the first song of theirs I heard, and the only song I needed to hear to get hooked. The sublime blending of high-pitched black metal shrieks and deep death-metal doom-laden vocals create a chorus of epic sonic attributes, and the pair of tracks set the perfect tone for the following songs.

And not only are the vocals good, but the lyrics are poetry par excelence. The epitome of this can be found in the second track - "The darkness is our salvation now, / We have all become malice in wonderland" is simply exquisite. Ever since I heard it, I've been cursing myself for not having thought of it first.

The rest of the songs do not disappoint. The exemplary examples of black metal are rounded off brilliantly with the strings of an orchestra, and are interspersed with the occasional atmospheric piece, the most notable, and probably my favourite, being "Boulevard Black (Reprise)".

This excellent track is preceded by the centrepiece of the album, "Boulevard Black": 14 minutes of snares, bass drums, guitars, keyboards, piano, an orchestra second to none (well, maybe London Philharmonic) and, of course, screams which pierce your very soul and drag you down to the lowest levels of Beelzebub's palace of punishment and pain. And following this dramatic track, you are met by my aforementioned favourite: the piano is simply excellent, once again bringing back memories of "Electronic Voice Phenomena". In short, these guys really need to tour with Carach Angren.

Having now turned my attention to the EP, "Covered In Darkness" (nice pun), I found myself desperate to find out who these bands were. Annihilator and Paradise Lost are just outside my musical circle, with the former only existing on a Painkiller live album and the latter constantly nearly breaking in, but always superseded by someone else. However, this EP has been the greatest propaganda on behalf of the four bands covered that I've ever met. Paradise Lost are covered to begin it, with the quite scary intro to "As I Die" rattling the bones before we move on, and eventually we reach "Alison Hell", by Annihilator, which has captured my ear and my heart. All the covers are excellent, and inspire me to both explore the covered bands music, none of which I have heard before, and also to buy more Netherbird. Anyone who can cover something so well (especially songs not originally made for black metal) clearly has a very musically talented mind.

Summary: Excellent examples of why keyboards should be compulsory for any Black Metal band. Instantly shooting up to at least my top three, if not higher.
Rating: 8/10
Track listing:

The Ghost Collector
1. Dead Grid Incantation
2. The Blackest Breed
3. Carcass Symphony
4. Adrift On The Sea Of Misery
5. LightHouse Eternal (Laterna Magika)
6. Hidden Beneath Flesh Pest Ridden
7. The Beauty Of Bones
8. Forever Mounful
9. Adrift Towards Eternity
10. Blood Orchid
11. Ashen Nectar
12. Boulevard Black
13. Boulevard Black (Reprise)

Covered In Darkness
1. As I Die (as made famous by Paradise Lost)
2. Nepenthe (as made famous by Sentenced)
3. Alison Hell (as made famous by Annihilator)
4. Firmament Vacation (as made famous by The Soundtrack Of Our Lives)

Myspace

Download

Netherbird (Promo)

Hey guys,

Facebook adverts are an awesome way to find crazy bands: I found Moss (there's another promised review) that way, and now have found "Netherbird", a Swedish (they're always Scandanavian in some form or other) black Metal ban. I think that, from what I've heard so far, they're absolutely epic. Expect a review shortly, as soon as I've pieced the money together to get the CD (most likely not prior to this weekend).

Until then, to sate your appitite, here is their youtube page: Listen to that and tell me it's not absolutely awesome.

Abigail Williams have some tough competition, methinks.

Echo's Wolf out.

Coheed And Cambria - Year Of The Black Rainbow

Genre: Debateable. Supposedly Post-hardcore or Punk, I say Progressive Metal

Name: Coheed And Cambria

Album: Year Of The Black Rainbow (2010)

And the speakers played black...

Coheed and Cambria have been one of my favourite bands ever since a friend played me one song - just one - from the album "Good Apollo I'm Burning Star IV, Part One: From Fear Through The Eyes Of Madness" (yup, it's a long title). I eagerly anticipated this album, and, dashing into my HMV snapped it up as soon as I could.
My expectations had been high for this album, having recently bought my own copy of the aforementioned album (their best, in my opinion) and The Sheep, a Rock Band fanatic having told me that "Guns of Summer" was now officially the hardest song on Drums. I was, in short, setting unreal expectations. After all, Coheed & Cambria are, unfortunately, only human.

Before playing the CD, I noticed the lack of any 'Suites': There were no songs all under the same name, as their had been for the Velourium Camper (In keeping Secrets Of Silent Earth), the Willing Well (Good Apollo, I'm Burning Star IV, Part I) and The End Complete (Part II: No World For Tomorrow). This was a disappointment for me: I had found that C&C reached their pinnacles in these sagas of sorrow. In addition, the artwork was mostly abstract, rather than the detailed, if bizarre, images of before. The only image I can remember is the "ashen crow", and there were others, but they weren't pictures of anything, especially not of the story: they were simply images.

I seated myself in front to the CD player and awaited the excellence. After a very atmospheric intro track, The Broken leapt forth with lyrics of the type I'd come to expect from Claudio Sanchez - "Your red lips speak of painted figures, The teeth of mangles little listeners, The thoughts that hide your rusty scissors and hooded men" is a prime example: it's dark, nearly nonsensical and creates the perfect image in your mind. Alas, that's all that seemed to seize my heart: The guitar seemed to have been stolen from another track and, for reasons I've never quite worked out, I've never really listened to, or though much of, Coheed & Cambria's drummer, which is foolish, because he's really quite good.

The song was good, don't misunderstand, but it wasn't Coheed & Cambria. I simply took it in my stride as a blip, and listened to the eagerly-awaited Guns of Summer. Alas, it seemed to be more of the same: Sanchez' lyrics, but guitar from a combination of Tool and Metallica, with maybe just a hint of Megadeth, all merged into a synthesizer-like machine, which seemed too fast for its own good, not like the usual shredding of the twin guitars. It was very, very odd. And it continued in this vein, even progressing by the fourth track to screams. Coheed & Cambria never scream - their lyrics are too poetic for such a thing. I desperately checked the CD, but I had not been mistaken: it was Coheed and Cambria blaring through my speakers.

The fifth track - "Far" - brought to centre stage something that had been annoying me the whole time, nipping at my heels. I ignored my worries that this was possibly the mellowest song on the album (misplaced) and focused on the music. It was like the other three bands I've mentioned, but not really: it only bore a passing resemblance to them. But nonetheless, it sounded familiar. It was as this song faded in that I realised: This entire album was actually Cult Of Luna! Somehow, during the recording process, the whole thing had been sped up. This came all the more evident during "This Shattered Symphony": the guitar line in the Chorus is nearly stolen from Leave Me Here, my favourite Cult Of Luna song.
But besides the speed of the songs, there was another key difference. If you listen (or at least, when I listen) to Salvation by Cult Of Luna, the entire album, despite the distortion, gives off an aura of minimalism, and a clean, uncluttered sound; much like the album cover: The speakers seem to play 'white'. This album was living up to its name, however: It was ridiculously dark. Coheed & Cambria had been serious before, but not spooky, not actively verging on the point of horror. This album sounds like the mind of a serial killer, or the thoughts of a scizophrenic madman. That's not bad, but, my gosh, it's not Coheed & Cambria. As I listened to this, I began to dread the oncoming apocalypse, the end of humanity and all bad things that are fated to pass. In short, this album was amazing: the album played 'black'.

Eventually, Coheed & Cambria seemed to have muscled their way into the recording studio, and you can hear them warming up in tracks such as "World Of Lines" and "Made Of Nothing (All That I Am)", with excellent backing vocals, a trademark of theirs, but the apocalyptic feel returned towards the end, after the partially acoustic love song "Pearl Of The Stars" (well worth a listen), even with their presence, evident in the names of the songs: "When Skeletons Live" and "The Black Rainbow".

The album ends brilliantly on said track, a very typical ender for C&C in the form of a long, spooky, dark and slow piece (See "The Willing Well IV: The Final Cut"), and I was just about believing that Coheed & Cambria had, if nothing else, at least overseen the production of the album, and maybe jotted down the lyrics. But I was not sure why this was how they had opened the Amory Wars saga (inside knowledge required here, I'll explain in a footnote): the end-of-the-world, dystopic feel was more suited to the ending, surely, after the destruction of the keystone?

I love the album - it haunted me more than my black metal whispers of ghost ships, tales of zombies and even my favourite post-hardcore album "Worse Than A Fairy Tale", which describes, in graphic, if poetic, detail the deeds of one invented serial killer in and around a certain Saylor Lake. It had the atmosphere of a doomed mission to reignite the sun, and was brilliantly written and excellently played, with guitar lines to rend hearts and licks that could kill the weak of heart in an instant. It just wasn't Coheed & Cambria, though, and I wasn't sure at first. But if this is the direction that C&C are going in, post Amory Wars, then I'm all for it. As soon as the CD finished I played it again, and a third time, not moving from my seat, just revelling in the sheer majesty of it.

In short, I would recommend this album to anyone, but, if you want to know what Coheed & Cambria are really like, then get hold of a copy of either of the "Dear Apollo, I'm Burning Star IV"s, which are by far their best pieces.

Rating: 9/10

Summary: Apocalyptic, nightmarish visions of doom and filiacide.

Lyrical Themes: The opening of the Amory Wars (Parents try to kill their children for complex reasons, and the kids flee to destroy the universe, obviously)

Track listing:
1. One
2. The Broken
3. Guns Of Summer
4. Here We Are Juggernaut
5. Far
6. This Shattered Symphony
7. World Of Lines
8. Made Of Nothing (All That I Am)
9. Pearl Of The Stars
10. In The Flame Of Error
11. When Skeletons Live
12. The Black Rainbow

Myspace
Download blocked by DMCA, twice. Therefore, buy it from here.

Steel Panther - Feel The Steel

Requested Review:


Genre: Hard Rock, Metal, Glam

Name: Steel Panther

Album: Feel The Steel (2009)


My apologies for the vulgar language below..

Talk about a one-track mind...

Well, I think that Metacritic has got it dead right for once: They gave a review (at time of press) of 55/100. Steel Panther have been around since 2001, and this is their second release (the first that is all music) and fourth name (the others being Danger Kitty, Metal Shop, and Metal Skool). If you glance at the track listing below, I think you'll get an idea about what their songs are about.

The album can be summed up by the fact that the first word is "fuck". If Corey Taylor can be lampooned for his overuse of particular four letter words, I fail to see why Steel Panther can get away with it: there a 32 uses of "Fuck" or derivatives in the album, excluding repetitions (in choroi, for example), and those are only the ones in the booklet. In total there are 77 words that have been obscured with at least one asterisk, by either the record company or Steel Panther themselves, though I fail to understand why: it's not as if anyone who's reading this is going to decide not to complain because of a couple of asterisks.

Even if you do not find this annoying, the lyrics aren't exactly imaginative: "I wanna f*ck you, you f*cking wh*re" (their asterisks) is standard, and the fiery torments of Beelzebub and all of his minions take place in an area described as "really really really really really hot" (which takes up two lines). To be honest, if you asked my dog, he could probably come up with better lyrics than that.

There is only one song that is not based around what the vocalist would like to do to members of the opposite sex, and only one of those that's not completely vulgar (Eyes Of A Panther, which is, aside from "Death To All But Metal", the only actually acceptable song on this). I can understand songs making fun of things - Two acquaintances of mine have done a pair of songs, one of which is called "Two Fatties On A Bench" (but the title of the other one eludes me), based on this. I remember fondly the song "London Underground" which made the circuits in 2005. But this is "an exercise in taking jokes too far."

There are occasional moments of musical flair when "Satchel rips it up", and the hammered dulcimer at the start of the second track is an interesting touch. Party All Day sounds, for the most part, a little like Bon Jovi (take that how you will). There are these occasional moments, but not enough to compensate for the sheer lack of even vaguely interesting acoustics elsewhere: the bass is incoherent, the drums could fit any song, and the riffs are more often than not predictable, dull, or simply standard. In short, their is no prowess to be found in this veritable peal of pandemonium.

But I could abide all this - I'd never listen to it again, but I wouldn't actively hate it - if they hadn't brought down a variety of other people with them: hidden on the CD are Brett Anderson and Allison Robertson of The Donnas, Matt Nelson, Justin Hawkins from The Darkness, Anthrax's Scott Ian and one of the Atomic Punks; namely, Joe Lester. None of those particularly annoy me either. But then they brought in the aforementioned Corey Taylor on three - three! - tracks and M. Shadows on another. That's a total of eight guest musicians (far too many, in my opinion) and
lowered two of my favourite metallic heroes to their level, thus incurring my wrath. I know, it's terrifying. But at least you guys won't damage your ears. Please, take my advice and burn any copies of this CD you may happen to see. If you don't take them out of the shop first, it's not stealing!

And just to show that I'm not the only one who finds this atrocious, I thought I'd give you a few other quotes:
"Steel Panther's ability to create songs that sound like they came from 1987 is commendable. That's about as close to clever as it gets, though. As David St. Hubbins said, "It's such a fine line between stupid and clever," and Saenz's locker-room humor wears thin quickly." - Allmusic - NME
"only those with a retarded grasp of comedy would want to sit at home and listen to fifth-rate, crass glam-metal parodies with titles such as ‘Asian Hooker’ and ‘Stripper Girl’."
"They can still be fun dealing with other topics than sex." - TheLineOfBestFit.com

Rating: 2/10
(Below that, and it's classed as hip-hop, R'n'B or rap)

Summary: It's vulgar, unimaginative and is much like the "Girl From Oklahoma" - she sucked, too.

Track listing:
1. Death To All But Metal
2. Asian Hooker
3. Community Property
4. Eyes Of A Panther
5. Fat Girl (Thar She Blows)
6. Eatin' Ain't Cheatin'
7. Party All Day (F*ck All Night)
8. Turn Out The Lights
9. Stripper Girl
10. The Shocker
11. Girl From Oklahoma
12. Hell's On Fire

If, despite all this, you really want to hear this atrocity:
They don't have Myspace, but here's their website
You want to download them? Really?
All right, if you insist... Download

Trancelike Void - Where The Trees Can Make It Rain

Genre: Doom

Name: Trancelike Void

Album: Where The Trees Can Make It Rain (2010)

If this EP were a font, it would be Minima Sans Serif

Now, first, let me make one thing clear: I thought that trees did have some affect on precipitation. I still believe that they do, in some weird scientific way, but having been informed by the in-house fashion designer that they don't, I shall admit that I am currently losing this battle.

Onto the music. It is, to say the absolute minimum, minimalist. The bass and vocals have been scrapped, the drum kit has been coated in several layers of cotton wool and there are long periods of silence. However, it is not necessarily bad.

The opening track on this twenty-two-and-a-half minute acoustic journey has a slow, melancholy intro, with pauses, which seems repetitive, but after only one-and-a-quarter minutes you get a new theme. That's right, we've got two now! There are even drums for a while. I know, shocking, right? We then return to the original riff, which isn't actually too dissimilar from the second - it's just slower and missing one note. We then get the second riff again, in another "faster" (speed is relative) section. It is only towards the end of the tenth minute that we are shown a new idea, but we soon return to the second lick once more.

The second, and final track is similar: Within an instant you see where the guitar is going, and it simply repeats itself moving up or down an interval each time. We get a hint at a change after one-and-a-half minutes, but only for an instant, and we get three minutes of the same repeated riff. We get a new idea at 3:45, but after that, I'll admit, my attention wavered a little, and I have no further comments to make. It is just more in the same vein.

Now, don't get me wrong: I did enjoy this. The music is pleasant, if not interesting: it doesn't exactly grab you, and it certainly isn't a "blink and you'll miss it affair". There are no moments that you anticipate for the entire song: no excellent fills, no lyrical twists (no lyrics at all) and no expert guitar playing that leaves you weak at the knees. It's simplistic: there aren't even any chords underneath the melody. It is the music I would use to fall asleep (in the nicest way possible), or perhaps listen to if I needed to think deeply about something.

Having written this review, I did a little research. The Belgian duo that is Trancelike Void have supposedly done four other releases, and this is "an incredible risk for TLV. It's entirely acoustic and considerably less dark in both tone and aesthetic than its predecessors" (Courtesy of Cory from emotionallyvoided.blogspot). It appears that this is unusual for this band, and they perhaps are more prone to heavier music. I shall certainly make sure my opinions are informed, and you can anticipate a review of one of their full length releases in time.

Rating: 6/10
Summary: Peaceful, pleasant but perhaps a trifle plain.

Track Listing:
1. The Stone Pond
2. Ghost Mountain

Myspace (No songs from this EP)
Download

Ne Obliviscaris - The Aurora Veil Demo

Genre: Metal: Death/Doom

Name: Ne Obliviscaris

Album: The Aurora Veil (2007)

Drums: Fast = Good ?

Now, Australia is somewhat cut off from the world: Many of you will not know that they have managed to lose a Prime Minister, one Harold Holt, who, upon strolling down the beach one evening "plunged into the surf and disappeared". The fact that they managed to lose a Prime Minister is somewhat impressive - if only we could achieve the same. But I use this to illustrate that there is a lot in this country that you will never have heard of.

Ne Obliviscaris is but one of these. They have only one release and this is it: A three track, thirty-three minute long demo.

The first track, Tapestry Of The Starless Abstract, opens with a fantastic drum fill: alas, it is the best we shall hear (but more on that later). The melody glides in over the top and is strangely enchanting. But then comes the first flaw: despite the brilliant singer, since they are a death metal band, they feel obliged to add some screams. Although I am usually in favour of such things, this particular time I am not. They add nothing to the song, they aren't even very passionate shrieks and they quite literally follow the singing. In short, they are utterly pointless.

Another annoyance in this band is the drums. Drummer Daniel 'Mortuary' Presland won the Australian Final for the Worlds Fastest Drummer Competition, crowning him as the Fastest Feet in Australia in 2006. Now, that isn't necessarily bad. But the band's thought process seemed to go something like this:
"Aha! We've got the one of the world's fastest drummers! Clearly every second of the song must be full of pointlessly fast drums that are really very, very bad.""
Drums are not all about speed. Speaking as a drummer myself, I can attest to that although it is hard, nigh impossible to play that fast, it is more challenging, and possibly sounds better to play in 27-32 time. Having attempted both, I can speak from experience.

Fortunately, both those ills are cured by the triplet-filled acoustic bridge, where you are allowed to relax, take a few breaths and prepare yourself for the next burst of speed. And, while receiving this audible massage, my ears were pricked by a new sound. Could it be? Surely not! Yes - It's a violin. Usually, violins are thrown in at the last minute in a somewhat vain (in all senses of the word) attempt to seem cultured. Most often, it is pointless: it is either inaudible or harmonically pathetic. However here, the strings are perfect: brilliant melodies and it never falls back on repetition.

Having seen that they are not just a standard death metal band, I awaited the new break to speed with eager ears. My more favourable outlook was rewarded with more violins and a much less riff-based section. Alas, the drummer seemed intent to make me lose my faith in the world of drummers by using the much-overused "Blast Beat": 16ths or 32nds (or, as I prefer, semiquavers and semidemiquavers) are played on the bass drums, 8ths or quarters (quavers or crotchets) on the ride and a snare once a bar. It's dreadfully dull and a standard 4/4 bar is all this really fits. Admittedly, I am slightly biased, having come from an introduction to metal based on Mike Portnoy, Lars Ulrich and 'The Rev' (R.I.P.), so have come to expect more, but really: to all budding musicians out there, never fall back on Blast Beating.

After a melodic outro there is the next (effectively) self-named track. It breaks in with an acoustic intro which seamlessly fades in percussive rolls, violins and then an electric guitar, so brilliantly that you don't even notice until suddenly you realise it's happened. Although the violins here seem a little discordant at first, it's soon back to its usual standard.
Unfortunately the blast beat rears its ugly head again, after another section similar to the intro, the screams are fewer and farther between and the guitar dares to stray from the bottom three strings. Unfortunately, the bass drum is constantly pounding out 16th notes which most certainly do not add to the piece.
Screams come in towards the end, but much better this time.

The third track has another minimalist intro with soothing, if I can say that, drums. The shortest track, it is more riff-based, bar the violin, and with the obligitary blast beat in the middle, it ends in a similar manner to that with which it began.

On the whole, Ne Obliviscaris are very good: they use interesting, if not necessarily innovative, melodies and the violin is exemplary. The drums leave a lot to be desired, and the screaming is quite clearly something they were obliged to put in. But aside from those few flaws, they have potential. If they address these matters, their album, should it come out (no signs yet, alas) would fly onto my shelves.

Rating: 6/10
Summary: Death/Doom with a twist, but leaves something to be desired
Lyrical themes: As yet unknown, but caught references to paternal relations (As Icicles Fall) imply family chaos.

Track Listing:
1. Tapestry Of The Starless Extract
2. Forget Not
3. As Icicles Fall

Myspace

Download

Triptykon - Eparistera Daimones

Genre:
Metal: Doom, Funeral, Sludge

Name:
Triptykon

Album:
Eparistera Daimones, (2010)

Only Death Is Real

Celtic Frost were a - well, not a household name, but they were the Pioneers of their genre. They have fallen apart time and time again, but their last release, Monotheist (which I shall review in due course), reached new pinnacles of sheer brilliance. But more on that another time.

It seemed that, upon the "obliteration of Celtic Frost", we had lost a brilliant musician: Tom Gabriel Warrior. But no, I rejoiced upon hearing that, nearly instantaneously, Triptykon was in the works. And when I heard that their album was to be like Monotheist, I knew that this was going to be either brilliant or a failure in all forms.

It did not disappoint. From the first riff I was hooked. The opener, Goetia, is a tirade against "the feeble human quest for salvation within the mass-delusion named 'religion'" is eleven minutes of pure bliss, bar the subject matter, and it is followed by more in the same vein. But it gets even better.
It is when you reach track seven, Myopic Empire, that you realise just how amazing this band is. The lyrics, chanting the name, are strangely hooking, and the "grand piano section" is brilliant, showing that Triptykon are not exclusively stuck to the bottom three strings of the guitar (although they show extensive skill there), but can flit to other instruments. This exquisite track is followed by the best of the album: My Pain. I'm a bit of a sucker for tragic love songs, so this naturally captured my heart, but Simone Vollenweider's vocals once again seize my ears and hold them to the speakers. In short, this is acoustically, lyrically and completely brilliant.
It ends on the longest track of the album, approaching twenty minutes long: Prolonging. This is lyrically very typical of the album, showing Warrior's bubbling hate (this can also be seen in the 'Gratitude' section, included at the end of this post). It is a brilliant ending, with guitar lower than Hermes Conrad's limbo pole that captivates and compels and courses with venom.

Now, the album itself is brilliantly presented, with cover art by H. R. Geiger (Who also did the cover for To Mega Therion and some work for the Alien movies), named 'Vlad Tepes'. Each song also has comments, which, although informative, are a little patronising, arrogant and a tad too elevated for my liking: "It is often the neophytes, the inexperience and unproven ones, those who shine solely by means of a carefully crafted and yet utterly inflated act, who ultimately and unwittingly reveal themselves to be the ingrate vermin" is but one sentence.
But the overall feel of the album is that of anger: Warrior is still caught up with collapse of Celtic Frost. And here is an obvious clue as to the boiling vat of pure hatred that is fuelling Warrior (and doing it rather well): "Those who opposed us, those who lied to tarnish our name, those who interfered, those who lacked faith, may they relish being pathetically self-appointed divinity and continue to decay within their own festering ignorance". And that's from the gratitude section. Remind me never to piss this guy off.

Rating: 10/10
Summary: Dark, dark album very well expressed.
Lyrical Themes: Anger, Religion, More Anger, Love (just the once), Even More Anger.

Track Listing:
1. Goetia
2. Abyss Within My Soul
3. In Shrouds Decay
4. Shrine
5. A Thousand Lies
6. Descendant
7. Myopic Empire
8. My Pain
9. The Prolonging

Myspace
Or: Alternative
Download
But I'd recommend actually getting a hard copy of the CD. The commentary is very interesting and eyeopening, and (unintentionally) downright amusing. Plus, it's legal.