There is a dissonance to the music of Dysrhythmia not employed by the above bands, and, obviously, Neil Peart has never employed blast beats, though Rush is perhaps a great analogy for what Dysrythmia aspires to, as both bands feel collaborative and feature equal contributions to the larger sound. But these extreme metal flourishes are only one element of the music and weave seamlessly with the larger tapestry, rather than being the dominant color, resulting in an album influenced by extreme metal, as opposed to an extreme metal album.
After getting over the initial shock of my words “No, I haven’t heard of him before,” my fellow photographer quickly assured me that this should would not leave me disappointed. For a moment, he paused and set aside his own duty of being at the show to review it and photograph it like I was. He began to tell me the history, from start to finish, of Andrew Bird. So many details of Mr. Bird’s talent in whistling, use of instruments and stage personality. He promised me that I would walk away thoroughly impressed as a new fan. I readied my camera and caressed anxious excitement to my waiting.
I haven’t done one of these types of posts in a while, so bear with me. I recently was shown…
Fellow tech death enthusiast Ahmed joins me this week and we geek out about tech death for over an hour! Since Eden isn’t cool like us, we don’t get a chance to do this while he’s around, so we really went deep with this opportunity! We discuss some news first, like new music/content from Opeth, Meshuggah, Ion Dissonance, Anaal Nathrakh, Astral Path, VOLA, and an interesting Patreon by The Reign of Kindo. Then we go into tech death, how it has evolved historically and geographically; what its watershed moments were, and we discuss some of the most important and influential albums in the genre. Enjoy!
When you get right down to it, Neurosis are truly one of the most important bands in heavy music of the last twenty years. Not only have they been responsible for the creation of a new subgenre (the ever-confusing post-metal tag), they’ve dropped numerous classic records, helped usher in an entire generation of DIY bands and never once compromised their vision as artists. The band has always done what they do best on their own terms and only seem to create when it feels like it’s the right time to do so. It’s been four years since Neurosis’ previous record,…
Hardcore will never die. It’s just a fact. While it may never be the same as it was in the…
The wait is over. The release date for Opeth’s latest, Sorceress, is almost upon us; and with it, the latest round in the controversy that has dogged them for three albums now. “What happened to the death growls?” “Why aren’t these guys heavy anymore?” “Opeth sucks now.” These are not opinions that I personally share, as I’m huge fan of Pale Communion. That said, Heritage is certainly not their best record, or even one of their top 5. In fact, it may even be their weakest. No shame there, given the ridiculous quality of their complete discography. Time will tell how successful and well-regarded Sorceress is, though early indications are that your opinion on Sorceress will likely mirror your opinion on Pale Communion. The two tracks released in advance, the title track and “Will O’ The Wisp” certainly strongly suggest this.
But they aren’t the first band to release a record that has the fans howling with rage.
For the comparatively niche space it occupies, there’s just something about solo fingerstyle acoustic guitar music where literally no one I’ve met seems to actively dislike it. Sure, some may be disinterested in hearing music that involves nothing more than just a single acoustic guitar, but most people will happily admit that it sounds pretty good at the very least. As originally popularized by
For those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly into the confines of conventional “metal,” it should come as no surprise that many of us on staff have pretty eclectic tastes that range far outside of metal and heavy things. We can’t post about all of them at length here, but we can at least let you know what we’re actually listening to. For those that would like to participate as well (and please do) can drop a 3X3 in the comments, which can be made with tapmusic.net through your last.fm account, or create it manually with topsters.net. Also, consider these posts open threads to talk about pretty much anything music-related. We love hearing all of your thoughts on this stuff and love being able to nerd out along with all of you.
Shamefully, it’s still all too easy to allow a new record from Netherland-based black metal enigmas An Autumn For Crippled Children slip by unnoticed. Last year’s stellar The Long Goodbye garnered praise on this website, and the radio silence from other outlets sparked a brief think-piece bemoaning how, in a post-Sunbather world, An Autumn For Crippled Children still garner little fanfare despite doing things within the post-black metal genre that are incredibly fascinating, if not groundbreaking in the band’s oeuvre of going to such extremes in fusing black metal with bright New Wave and shoegaze melodies. A year later, and we’re back at square one: a brand new record, Eternal, unceremoniously dropped into Bandcamp with almost no one talking about it. Never underestimate the power of PR, kids.
The show is called Monumental and it works like this: on a stage stand, fall, lie, scream, scratch and dance nine performers. Sometimes, on a barely visible screen behind them, words from a writer called Jenny Holzer are projected. More often, that barrier is lifted and beyond it, barely glimpsed behind its film, reside Godspeed. Mixing tracks from F # A # Infinity (yes, “Dead Flag Blues” was included, among others), Asunder, Sweet and Other Distresses and new music exclusively composed for the show, they are the soundtrack to the physical madness which slowly unfolds. Even when their music is silent, it echoes behind and below the movements of the dancers.