Since first listening to Metallica in
high school, my experience with the Heavy Metal genre of music has expanded
greatly to include the plethora of sub-genres in some form or another. One of
the flavors of metal that I’ve come to love is Death Metal and a number of its
permutations, one being Melodic Death Metal (think Death Metal crossed with the
melodic elements of Iron Maiden). The interest in this particular sub-genre
came about a couple of years ago when I finally discovered Dethklok, a band
promoted by the use of its music and associated imagery via the Metalocalypse
cartoon, created by Brendon Small and Tommy Blacha, on Adult Swim. I have since
watched all four seasons of Metalocalypse and own Dethalbums I-III, both of
which are among my favorites in their respective mediums. On October 27 of this
year, Adult Swim aired a one-hour special for the cartoon called The Doomstar
Requiem - A Klok Opera (sometimes shortened as simply The Doomstar Requiem), a
rock opera which counts as a movie for the purposes of this blog (as alluded to
by co-creator Brendon Small’s original plans for the show). Interestingly
enough, I was completely unaware of the special until my TiVo began recording
it on the night it aired, but, nevertheless, I watched it at the earliest opportunity
and found myself impressed by the end result in more ways than one.
Spoiler Note: The Doomstar
Requiem takes place directly after the events of the Metalocalypse Season 4
finale “Church of the Black Klok”. As such, there will be unmarked spoilers regarding
its placement in continuity and it is suggested that you have at least seen “Church
of the Black Klok” before continuing. Don’t say I didn’t warn you.
As per the events of “Church of the
Black Klok”, Dethklok guitarist Toki Wartooth (Mike Keneally) and band producer
Abigail Remeltindrinc (Raya Yarbrough) have been kidnapped by Magnus
Hammersmith (Brendon Small), a former Dethklok guitarist who seeks revenge for
being kicked out of the band. At the same time, a star known as the Doomstar
has been born in the sky and the only way to harness its power is for Dethklok
to reunite by locating and rescuing Toki; according to the prophecies of the
Church of the Black Klok, someone is also supposed to die in the process.
However, remaining Dethklok members Skwisgaar Skwigelf (Brendon Small), William
Murderface (Brendon Small), Pickles (Brendon Small) and Nathan Explosion
(Brendon Small) are too busy partying to care about the safety of their
kidnapped brethren. With continued failure by the band’s manager and CFO,
Charles Foster Offdensen (Brendon Small), to locate Toki, he and Church of the
Black Klok leader Ishnifus Meaddle (Brendon Small) try to convince the band of
the importance of their missing member. As this happens, Toki tries to make the
best of his situation by reminiscing about the time he joined Dethklok.
The members of Dethklok (Left to Right: Willaim Murderface, Skwisgaar Skwigelf, Nathan Explosion, Pickles the Drummer, Toki Wartooth) |
While some may not care so much about
the plot of The Doomstar Requiem because of the music, more on that later, I
felt that the story of this rock opera was actually executed pretty well. There
is quite a bit of setup and recapping going on at the beginning, including some
of the band members introducing themselves, but I found this necessary as it
not only allows The Doomstar Requiem to be a stand-alone feature, but also lets
the audio-only CD version function entirely on its own with a self-contained
plot. Regarding the rest of the special, it felt afterwards as though they had
made the plot of what would normally be a double-length episode (Metalocalypse
episodes are usually 11 minutes long) be extended to fit a 47-minute (quadruple
length?) one. If one were to look solely at the plot and nothing else, it might
seem like the special contains quite a bit of padding, though this didn’t
matter to me because a rock opera requires that they use songs, and only songs,
to move the plot and describe the emotions of the characters.
With that said, I found the story, which
is also to say the music, to be very well-written. Not only did the opening set
the stage for what was to come, but questions introduced are answered in a way
that is satisfactory for longtime viewers and help tie up the loose ends of the
plot. As I watched and listened to each song, written and composed by Brendon
Small plus an accompanying 50 piece orchestra composed by Bear McCreary, I felt
a dynamic range of emotion. I found myself genuinely moved one moment (such as
with the song “Abigail’s Lullaby”) and then laughing the next, with some major
revelations serving to act as both a major source of suspense and shock. There
was absolutely nothing that didn’t keep me watching until the very end in the
hope that Dethklok could accomplish their goal before it was too late. As a
bonus for those that are watching the special, there is a cliffhanger created
during the credits which seems to set up a potential fifth season of
Metalocalypse, which I am now highly anticipating. However, I must say that
even without taking other parts of the canon into account, there still remain
some lingering questions brought up by the special, such as what the Tribunal
will do next, so if you choose to only experience this special, you will find
yourself confused.
On its own, the music is also some of
the best that Brendon Small has ever written; it is also performed by Dethklok’s
studio lineup, which includes Gene Hoglan on drums and Bryan Beller on bass
while Brendon Small does everything else. The number of different styles
present, including a couple of ballads and a Thriller parody, does nothing to
detract from my enjoyment of The Doomstar Requiem, since each new track flows
very well into the next for seamless storytelling. There is a good balance of
both dark and upbeat tones to keep things interesting and break up what would
otherwise be a completely serious special; this is a good sign that comedy is
still an important element to Metalocalypse. One of my favorite moments in fact
is watching a two-minute guitar duel between Toki and Skwisgaar in the past,
which contains both some epic shredding by Brendon Small and a small section of
Baroque style guitar work; this song, known as “The Duel”, seems to perfectly encapsulate
what The Doomstar Requiem is like: A serious project presented with a fine
comedic edge.
There are also some guest vocals from
Jack Black and George “Corpsegrinder” Fisher (lead singer of Cannibal Corpse), the latter of whom is the Metal
Masked Assassin, among others. This introduces some good variety into the
vocals, though Brendon Small did show an incredible ability to distinctly voice
13 different characters on his own.
The Metal Masked Assassin, voiced by George "Corpsegrinder" Fisher. |
Visually, The Doomstar Requiem contains
the best animation I have seen from Metalocalypse. The animators at Titmouse
still have it in them, with dynamic visuals and a great range from a mostly
dark color palette (though when the colors get super bright such as during “Partying
Around the World” it’s played heavily for laughs). When Titmouse isn’t showing
off how well they can synchronize virtual guitar playing with what’s actually
being played, they manage to animate the story in such a way that if someone
were unable to understand the lyrics for one reason or another, they could
still follow along with the story (I have yet to find what happens when the
situation is reversed), so I never found myself lost by what had happened.
When all is said and done, The Doomstar
Requiem is an amazing rock opera. Though some may find fault with the amount of
exposition needed to make this production a stand-alone effort, I felt
impressed by what I had seen. With some of the best visuals and music that
Metalocalypse has to offer, fans of the show who have been anxiously awaiting a
continuation of the show after 15 months may find themselves pleased. Those who
end up enjoying the special regardless of any flaws may also find themselves in
the same boat as me, waiting (im)patiently for the possibility of a fifth season
to be fulfilled thanks to the still-lingering questions the mythology of the
show has created. In any case, I applaud Brendon Small’s efforts and can’t wait
to see what he has in store next for Dethklok.
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