Prepare For “Mega Magicka”; Path of Might Are Back!

Last year, we told you to listen to Path of Might not once but twice. They had this heaviness about them that’s rare even within their stoner/sludge sub-genres; both releases were chock full of riffs and sheer awesomeness. Well, rejoice! Path of Might are back/still around and this time, they have a full release for us! Hallowed Gate Style sees the band preserve much of their chunkiness and dominant tones but lean much more heavily on their desert rock, Witchcraft influenced roots. The first released track, “Mega Magicka”, is a perfect example of this newfangled direction for the band. Head on over down below…

Daniel Cavanagh – Monochrome

There are artists whose power comes from being interesting even though you were dead-on with your pre-conceptions of their music. When speculating about how a future release by them would sound like, you got all the points right: the instruments sound as you had imagined they would sound, the lyrics are familiar, the production is what it needs to be. Everything has been played as you had expected. And yet, the album is still incredibly powerful. Something about the way it’s put together, even if you saw it coming, takes your breath away and reminds you why all those things exist as they do. This is very much the case with Daniel Cavanagh’s latest release, Monochrome.

Hey! Listen to The King is Blind!

What exactly qualifies as “metal” can be a contentious issue. As any dedicated listener knows, the label itself accounts for a wide spread of sub-genres—ranging from softer, more atmospherically-inclined fare such as post-black/gaze and folk metal; to the frantic, bombastic realms of speed and power metal; and onto the spasmodic worlds of math- and grindcore; and even the bleak, all-encompassing, sonic oppression of drone and funeral doom. Many of these sub-genres remain contentious, and what is considered metal, or even just heavy music can shift and change depending upon what circles you frequent. Then again, there are those bands who (for any number of reasons) simply ooze the ideal of heavy metal, no matter which way you look at them, so that their status as a nothing less than a fucking heavy metal band cannot be denied. The King is Blind are one of those bands.

101 – Why Would Anyone Listen to Prog-Power?

This week we’re doing something different as well. Instead of covering the news (there wasn’t a lot) we’re just going to do a “starter kit” on progressive power metal (despite my objections)! Basically, why anyone would want to listen to the genre (no idea) and if so, what bands should they start with (none of them)? Eden and I both discuss some classics. Names mentioned include Blind Guardian, Angra, Therion, Pagan’s Mind, Kamelot, Teramaze and Fractal Cypher. Then, we do an in-depth spoiler discussion on the excellent Blade Runner 2049. Enjoy!

Winds of Plague – Blood Of My Enemy

It’s easy to see why Winds of Plague are the butt of jokes in “internet metal circles”. As they rose to popularity during the most oversaturated era of deathcore, their imagery and lyrical content was mostly emblematic of all the tropes of the genre. Their most recognizable songs were aggressively simplistic thematically and musically. This reception is almost a shame, because Winds of Plague have always had a brilliant band hidden somewhere in that well of unrealized potential. The entirety of The Great Stone War, which was a progressive deathcore showcase, and tracks like “Angels of Debauchery” from their debut showcased the band’s more creative and clever aspects, but it’s also undeniable that the band brought this upon themselves with tracks like “Reloaded”. Regardless, there’s been a small contingent of fans wishing for a return to the more nuanced and epic sound that they often hinted at. After 4 years and a nearly-entirely-new lineup, the band returns with Blood of My Enemy, which doesn’t fully satisfy that craving, but is a massive step in the right direction for the band.

COUTOUX – A Hell on Earth

The first full-length album from COUTOUX (pronounced “KOO – too”) comes to us care of KILL ALL MUSIC, a self-described “anti-label,” which is fitting because to nail down exactly what COUTOUX should be labeled as would be akin to correctly identifying the true origins of some mutated abomination as it sludges it’s way through the irradiated wastelands in a post-apocalyptic Earth. You may very well call it industrial metal, due to it’s at times heavy hitting and seemingly unrelenting assault, but at other times it does relent a bit and eases quite quickly into an unnerving sound of atmospheric electronic doom metal by way of experimental dark synth. Perhaps we need to step back a bit and look at the prior analogy to some Godforsaken hellspawn and how it moves about because, in such a way, COUTOUX feels like it’s own beast which can only be described as “sludge synth.”

Scream Bloody Gore – Metal and Unintelligible Aesthetics

The word “aesthetics” is perhaps one of the most maligned and misused term in the modern age. To wide circles of the population, it has come to mean one of two things. It is either the Internet-popularized term (often presented as “a e s t h e t i c s”), channeling the post-ironic range of performance and sensations associated with the milieu of retro-futuristic, vaporwave pages. It can also be used as an example of the hated pomposity of academic philosophy, the ivory tower, postmodern pontification that dominates the public image of the philosophical field. But aesthetics wasn’t always…