A shout out for internet pirates!

A new bill called the E-PARASITE act is being debated in the US House which will give governments, courts and corporate biggies the power to shut down any website which is infringing on their copyrights (of course, according to their own decisions). This is even worse than the existing legislation that allowed websites to take down content deemed copyright-infringing and save itself from legal action. In effect, anything the overlords want us to pay for, we have to - if we really want to use it.

I'm going to argue against this mainly from my vantage point: i.e. as someone in a modest Indian town with a deep interest in matters of the world, and especially, cinema. It is no big secret that Indians don't have even middling-decent DVD rentals or arthouses where one can pay agreeable money to watch a decent variety of cinema. The local DVD rentals in my place keep only safe bets: blockbusters from Tolly, Bolly and Hollywood, a huge stock of b-grade Hindi and Bengali cinema (which, surprisingly, has a steady market), a nominal amount of "art cinema" (the big names in Bengali would be something like: S Ray, Aparna Sen, Goutam Ghose etc.) and large stocks of porn. Kolkata is somewhat better off than Durgapur, of course, but one only gets the theatre experience when the odd film festival comes to Nandan (not counting private screenings). The stores in Kolkata are also somewhat better off - I frequent the Music World on Park Street just to check out what titles they have on the shelves - though they usually keep the Certified Classics only. Thankfully, they're getting somewhat brave and bringing some rarer stuff - besides the usual Kurosawa, Bergman, Truffaut, Fellini et al - I've spotted the odd Olmis and the Dardennes. The gist is this: for a young, impressionable student in Durgapur/Kolkata interested in cinema, the options of getting a steady and healthy supply are still underdeveloped.

Now, let's do some preliminary mathematics to show why the internet saves me from film-ic ignorance. Due to the recent boom in telecommunications, even a mofussil like Durgapur has excellent broadband connectivity. And for around 800 to 1000 rupees, one can get a connection with no limits on data transfer. Basically, a 'free' ticket to share whatever files you want to. Thanks to a very well-developed file sharing web on the internet, I have access to whatever cinema I want. Everything from 1920s German horror to the latest film playing on the festival circuit is within reach if you have found your way around the net. So whereas I can only get three or four DVDs at most with a 1000 per month, I can (and do) download somewhere around 20 to 25 films with the same outlay.

Does this mean I won't buy DVDs at all? I will, but only a few I have already seen and loved - and when I have the money to spare. The way I see it, I'm not cutting down on the business of the corporations at all: it's a choice between not being able to buy and not buying it. My question is - why should an artiste mind if he's reaching out to a wider audience? As far as I know, corporations take the major chunk of sales profits anyway. For the artiste it's a choice between a little more money from royalties and sales profits (and that too is debatable: most filesharing proponents won't buy stuff as heavily as they share) and a huge, well-distributed audience. It's not without reason many bands are releasing their albums for free on their websites - they have already realised that their earning from sales amount to only about 10% (the rest coming from shows).

The internet is also more egalitarian, free from censorship. In one notable example, Iranian director Bahman Ghobadi released his 2009 film on censorship within his country - No One Knows About Persian Cats - on the internet as it could not shown in theatres. (Many similar underground artistes thrive because of the internet.) Now if a site like Pirate Bay - which hosted a copy of Ghobadi's film - were to be shut down because some bigwig corp in USA decided that it had also hosted one of its copyrighted films, then Ghobadi would be shut out of circulation. This is one reason why this new act, if it were to be passed, would be disastrous for democracy. To put it succinctly: for the First World with its various alternatives to showcase art, the internet may be a nefarious parasite eating up business (a claim which is debatable as I've pointed out). For us Third World citizens with no decent DVD rentals and arthouses, it means the death of culture altogether.

YouTube has already been taking down videos that attracted notices from corporations for copyright violation. As someone pointed out, their filtering mechanism is very random. Mashups, parodies or video essays featuring snippets of copyrighted material are often taken down, whereas whole scenes from those very films/music videos survive the treatment sometimes. This has already resulted in people shifting from YouTube to Vimeo (which has a somewhat more sensible stand towards copyright violation), but the implications are bad. As it stands now, you have to pay corporations big money even if you want a snippet (which should ideally be allowable for free as per Fair Use policy) in your work. This is just strangling of creativity; financial arm-twisting. I hope sense prevails and the internet - the only place where we can speak of global culture and cross-breeding with some amount of truth - remains truly free.

Orphaned Land - Mabool

Genre: I'd actually just write "grand great music", but on second thoughts, label it as progressive middle-eastern folk metal. The wrong thing about this tag is that it only describes half of the album's content. The other half is just, well, music!

Rating: 10 on 10. No doubts about that!

Commentary: To start with, let me state that I generally abstain from death metal, especially the brutal/technical death metal genre. Fine, they are very accomplished musicians, just that such extremely intense music is not my cup of tea exactly. Till this day, I've been able to appreciate only a select few death metal bands, and all of them are in my favourites list only because they are progressive in nature. So their kind of music is a mixture of fast and slow, intense highs and soothing lows-- basically, contrasting styles, and because these bands incorporate elements from various genres of music (folk, jazz, blues, classical et al); blending everything perfectly to give a nice enjoyable product. Opeth is one such band, and so is Cynic and Atheist. And well, if you didn't figure out, there's Orphaned Land. Also, the lyrics these bands write are a lot more meaningful in nature than the lyrics typical death metal bands write-- which almost always revolve around blood-and-gore, to my extreme distaste.

It took Kobi Farhi and Co. almost seven years to come out with Mabool in 2004 after their 1996 album, El Norra Alila (which, I must add, is also quite brilliant). Must say that the wait for old-time OL fans must've been quite fulfilling. The reason for this long production period is explained by the album itself-- the music unfolds itself in so many different layers that it's quite amazing how you hear something new everytime you give the album a listen. In the period between El Norra Alila and Mabool, OL got Eden Rabin on keyboards. This inclusion was crucial because Rabin gave the album the whole ambient/symphonic background with some very commendable keyboard-work.

The lyrical theme of Mabool centres around The Great Flood-- the Lord's wish to purge the Earth of it's sins with a sweep of divine retribution. The story revolves around how three brothers belonging to the three main Abrahamaic faiths (Judaism, Islam and Christianity) try to warn their own people of the coming flood, in vain.

The reasons for Mabool being a great album are many. Firstly, maybe this is the only album that mixes genuine middle-eastern and oriental jewish folk music with heavy metal riffs (okay, Melechesh does this too; but only upto this! Not the next part) as well as western classical music (no, not your neo-classical music; but proper classical music sans those "neo" influences!). This unique combination of very different musical styles often in the scope of a single song is a great advantage to the album. Then there are the vocals. Admittedly, I was never much of a fan of growly vocals. This was probably the first time when I became a fan of growled vocals. But umm, maybe, that's because vocalist Kobi Farhi's growls are never unbearable in the way, say, a Lord Worm or "Corpsegrinder" song is. But wait, not unbearable is not a reason good enough for one to actually love Farhi's growls. Truth is that there's a certain sweetness or grandiose (I am not quite sure which!) in the way he growls that makes me like him. Besides, his use of growled vocals is situational-- they are there only when the growls make sense in the context of the song. And on second thoughts, maybe his growls are more like him speaking in a somewhat hoarse way. Anyway, did I mention that the album has possibly the widest range of vocals ever seen in any album ever done! There's Farhi's brilliant clean vocals (actually, I am quite confused how one man can have such a nice low-end voice and also a brilliant high-register. And he uses these two vocal styles almost alternately in some songs. Wow!), and choir passages (both oriental and english), and spoken recitations from the Bible. Not to forget splendid female Yemenite vocals (wait, I'll get to her soon!) and some local chants too. Quite some range surely. Lest I forget, possibly this is the only album where you get to hear middle-eastern folk instruments (like the oud, saz and bouzouki) duelling with guitars! And the output is, quite simply, mindblowing.

Okay, enough in praise of the album. Let's get to the songs. I have so much to say about them, I'm afraid people may think that I have literally put the whole music translated to words-- that is, if that is quite possible. But believe me when I say that my review would seem incomplete to me if I don't explain why I love this album so much. So here's it. Please bear patiently with me.

The album starts with the song Birth Of The Three (The Unification) which is an out-and-out death/doom metal song with lots of prominent folk influence. Lyrically, it signifies the birth of the three brothers-- each one into a different Abrahamaic faith. The song starts with a middle-eastern female distantly chanting some oriental melody and the song suddenly (but not abruptly) changes into a dense metal riff playing in absolute sync with a middle-eastern folk instrument (don't know which one). The song flows rather smoothly with folk interludes between death/doom parts and midway through the song the whole riff takes the form of beautiful chug-beat rhythm which keeps on mesmerising me for reasons I am unaware of. Farhi's vocal variety on this song is absolutely mindblowing-- from his throaty growls to his highest vocal registers to mid-range crooning. First ball and I'm bowled out! Oops, I forgot to mention that this song has one of the catchiest guitar chord progressions ever. And there's also a choir singing to metal riffs somewhere in between. The best possible way the album could have started.

Next on, there's Ocean Land (The Revelation). Which starts with a folk instrument playing a very nice and instantly likeable riff. And then comes that duelling of folk stringed instruments and downtuned Sabbath-ish guitars. Also, this song has some of the best guitar solos on the album. By now, the lyrical context has switched to God wishing for divine intervention seeing that His hallowed land is marred by the sins of men-- and He chooses the three brothers to dictate his Holy decree. The song ends with it suddenly (again, but not abruptly) switching to a man plaintively crying out to the Lord in Hebrew to purge the land of it's sins-- along with, I must add, some really commendable oriental percussion adding to the pathos in the man's voice.

The Kiss Of Babylon (The Sins) is the lament of the three brothers as they walk through the land seeing the terrifying state it has been brought to. Inspite of their attachment to the land, they concur with the Lord that divine retribution is sadly required-- there's no other way that the earth can be purged of wrongdoing. Musically, this is one of the most interesting songs in the whole album. Probably, the most pure doom-metal offering here-- it has it's moments of superlative brilliance. Some rather nice folk-instrument-guitar duelling again; as well as backing arabic vocals. A complete mystic experience. Farhi and the backing choir abandon lyrics for a long stretch just doing vocal calisthenics with a simple "na-na-na" being chanted on and on. But strangely, that does not get boring. The best thing about the this song is it's ending though-- the chug-chug doom metal riff slowly fades away to the gradually rising voice of Shlomit Levi singing a plaintive hebrew folk tune.

A'salk is in complete continuation with the flow of The Kiss Of Babylon, and has the most amazing vocals in the whole album. Yes, Shlomit Levi is completely mindblowing. There's possibly no voice as divine as her (maybe, just maybe, she beats Lata Mangeshkar too!), at least from what I have heard till now (though Paula of the Brazilian folk metal band Ashtar comes a close second there!). This is the only out-and-out mid-eastern folk song in Mabool, accompanied by eastern percussion and strumming. One thing is guaranteed-- any, and I mean just any, music lover in this world will love this song. Lyrically, this song is a sad prayer repeated over and over again to God by a devotee who seeks forgiveness for all the sins of mankind.

Halo Dies (The Wrath Of God) is the most dense of all songs in this album and yet is enchanting in it's own way. Again, some beautiful folk strumming from Yossi Sharon. As well as Kobi Farhi at his growling best: a friend compared his vocal delivery aptly with a lion angrily roaring. There's his clean vocals too-- brilliant and other-worldly as they are! The story has advanced to the Lord showering his anger; hence the aptly growled curses... (remember something about situational vocals?). Some memorable downtuned riffing and blistering guitar solos are, of course, there for people who enjoy metal. And there's also Rabin adding his ambient keyboard work. All in all, a great track representing the metal half of the album's music.

Next up, A Call To Awake (The Quest) is the last song of the "heavy" first half of the album (save A'Salk). Starts with a nice memorable guitar solo. But to be frank, my least favourite song in the album. Not that it is bad-- it has it's moments (nice vocals, the by-now-common folk-instrument-guitar duelling, doom riffing, good solos, nice keyboard-simulated ambience et al), but just that I would have preferred a soothing song after the very heavy Halo Dies. Anyway, not a skippable track by any means. (Heck! Skipping even a single track on this whole album means losing out on a whole lot of great music.) One can call it the least among all the great songs on offer in this album. Meanwhile, the three brothers are roaming around the land warning the people of the coming flood. (a funny way to put it, I know! :D)

Whoa! Now the second soothing half of the album begins (which, though, has heavy parts too!). Building The Ark is a very easy-on-the-ears song, with a choir singing in Hebrew and English to the background of a superb acoustic/folk melody and keyboard/light percussion ambience. The classical influences show prominently here. The story has meanwhile proceeded to the Lord ordering how the Ark, for carrying the lone survivors of the storm, should be built.

Norra El Norra (Entering The Ark) is one of the best songs on this album. Starts with some acoustic strumming and gradually skips to metal mode with downtuned guitar riffing; but for a surprise, accompanied with fullblown choir vocals instead of Farhi crooning. And then, the song leaves metal mode and enters classical mode. Rabin's classical piano solo accompanied by acoustic guitar and light percussion is one of the watermarks of this whole album. The piano solo keeps playing on in my mind even when I am asleep these days-- yes, it's that enchanting and addictive! Oh yes, there's Shlomit Levi doing some soulful background vocals (yeah, I am smitten by her voice-- if you can't make that out till now). And well, you should be able to interpret the lyrical theme from the title of the song itself.

The Calm Before The Flood is, as the name suggests, a rather quiet song. No drumming or percussion. Just a minimalistic instrumental with a long acoustic guitar passage accompanied by, I suppose, a keyboard too! And oh, there's a strong gale flowing in between. In short, sets the mood for the upcoming disaster-- naa, not a musical one! :D Really love the sound of rain and splashing water at the end of the track.

And with that we move on to the title track, Mabool (The Flood)-- a brilliant song depicting the Great Flood. Starts with a burst of thunder, and violins playing an epic classical tune which has the essence of a catastrophe in the brewing. Love the way the violin riff slowly fades away giving way to the same riff played on guitars with the tempo rising by the second. The whole song depicts the storm in it's rage and magnitude-- the downtuned doom metal guitars do exceptional justice to the mood of the song. A storm could not have been signified by music in a better way, honestly. Ah, then there's the ever present voice of Kobi Farhi giving voice to the ferocity of the flood-- again a nice melee of his growls and clean vocals.

The Storm Still Rages essentially continues in the same way as the title track (by the way, the two songs are even musically connected-- The Storm Still Rages picks the cue up from where Mabool (The Flood) left off); just that it portrays the human side of the catastrophe while also describing the flood in detail. To accentuate the feeling of sadness and pathos, Yossi throws in the best guitar solos (there are at least five or six of them!) of the album-- all of which I will remember for a long time, I can assure you. "Moving" is the right word-- the guitar literally weeps in prayer to the Lord to take care of His orphaned child. The lyrics portray much the same. Quite some vocal variety in here too-- and, possibly, my most favourite choir passage of the whole album. The best track Orphaned Land have ever done, period.

It's Rainbow (The Resurrection) now-- a fitting last track to a classic album like this. Like The Calm Before The Flood, it is also a soothing instrumental. Just that while the former was a dark one signalling the advent of a disaster, this one is an uplifting one. With birds chirruping in the background, new life is seen again. The earth is on it's way to resurrection. The Flood is over. The wait begins yet again.

(And I patiently wait for the next OL album coming up in 2008. Yes, I am pretty excited!)

Last word: If you are an open-minded music lover even remotely accustomed to heavy metal music, this is the album to have. If you aren't, sigh!

P.S.-- First music album review. Hope it's not that bad! By the way, for the lyrics, visit this site. Quite some amazing poetry there... You'll be in for a pleasant surprise seeing that even metal musicians can write really commendable literature.