Just in time for the weekend, we have a full stream of the brand new self titled record from San Diego’s brutal death reps Pathology. With a somewhat familiar lineup back in the midst, Pathology have had their longest break from releasing a full length since inception, but slammin’ riff junkies don’t have to wait any longer. We got the goods. Definitely one of the nastier premieres we’ve had in awhile, over the jump you’ll find the West Coasts most active death outfit, burning through a half hour of typically punishing brutal death material. Put the kids to bed, hide all sharp objects, grab a hammer.
Do you enjoy no nonsense, riff filled death metal? Do you like sub bass drops and beat downs? Do you also believe that the ruling class of the world is made up of scaly, lizard people? Well, even if you only answered yes to the first two questions, you will almost definitely enjoy the devilishly wholesome offerings of Brisbane’s Reptilian Civilian. Five guys hanging out and playing sick death metal with plenty of tech and slam, these chaps deliver on the promise of every tag you’ll find their music under on Bandcamp. Slamming brutal technical deathcore with a global conspiracy theme? Yes, this will be fine.
There are several great things about premiering a track from Humanity’s Last Breath. The first is that we absolutely love the project (even though we pine for Vildhjarta’s return). The second is that the project needs absolutely no introduction; the third is that neither does the music. However, with “Abyssal Mouth”, you might do to expect a little bit more variety. HLB are known for hitting hard and then hitting harder and that’s definitely true for this track as well. However, the overall structure of the song and the vocal ideas contained therein might cause you some more pause for reflection. Head on down below and start the process, we’ll dig into it after.
Is there a better feeling in this world than having your expectations fulfilled? Especially when discovering music, where cover art, track names and recommendation set those expectations before the first note even starts, having your prognostications met is a true pleasure. This is a rare thing so, when it comes, we must cherish it and try and spread it far and wild. That’s why we’re here today to talk to you about Dvne Asheran. Recommended to this viewer by a member of the wider Heavy Blog Family, the bar was instantly set high for Asheran: the cover art is incredible, the band name and track names are on point and their previous releases all hold tremendous promise. So, right as the play button was first pressed, murmured mutters of “please, please be as good as you seem” could be heard coming from this writer’s work room followed by immediate cries of “HELL YES”.
Russian Circles is a band that needs no introduction: they are a monolithic, shaping force of post-metal. Even at their worst – Station and Guidance come to mind immediately as my two least favorite records from the Chicago trio – they are still one of the best bands in the genre, transforming vaguely unsettling minor key melodies into resplendent post-rock beauty or reshaping off-kilter guitar chaos into some of the genre’s most memorable and powerful grooves. They are virtuosi within post-metal; they have not put out a bad album yet and it’s hard to believe they ever will. Seeing them live several years ago while…
A good psychedelic rock album is like no other; the expansive vibes lend these sort of releases an unmistakable sense of grandeur. However, it’s hard to find albums nowadays that can pull off the style (although I’ve been having good luck with that, recently). Luckily, bands like Impuritan are more than willing to step up to the challenges. Much like Kylver, these guys blend post rock, stoner and psychedelic rock to create a drawn out, looming style of music that’s highly effective at generating mood. I am honored to be able to premiere today not only their latest EP, Altered Statues, but also a music video for the track “Spruce”, off the same release. Head on down below for both!
In 2015 Native Construct’s fantastic debut Quiet World took the community by storm. We at HeavyBlog loved it so much that we placed it at #3 in our Top 50 albums of 2015. It truly was a great album, flush with brilliantly executed genre-transitions, vibrant compositions, a grandiose concept, technically accomplished playing and a flair for originality. If you loved that sound as much as we did and you’re aching for something similar, then look no further than Others By No One’s debut EP Book 1: Dr. Breacher. Check it out below!
Until this review, the name In the Presence of Wolves was unfamiliar. Now, during the course of this review, it is hard to imagine a band this good not being known by a wider audience for the fantastic music they produce. The Philadelphia, PA based group plays progressive metal that sound like a cross between a livelier, more energetic version of the modern-prog Between the Buried and Me, Coheed and Cambria and progressive metal/rock up and comers (as well as blog favorites) Thank You Scientist. If any of these bands tickle your fancy, you owe it to yourself to check out In the presence of Wolves. If that’s not enough to convince you, perhaps a breakdown of this concept EP’s tracks will lead you be a tad more curious.
Ever press send on an important email only to glance it over and find a glaring typo? That’s roughly how I felt when the name “Colin Webster” popped in my head right after we published our second Jazz Quarterly of the year. For those unaware, Webster is a prolific saxophone madman whose constantly challenging his instrument and ever-widening group of collaborators (for more on Webster, read Bandcamp’s excellent piece on him, Travis Laplante and other essential modern saxophonists). With Webster’s name in mind, I reluctantly pulled out my phone over my morning cup of coffee and checked his Bandcamp. I knew full well I’d find a new, exceptional album worthy of inclusion in our latest Jazz Quarterly, and sure enough, Molar Wrench fits this description perfectly. The four-track maelstrom pits together sax, percussion and electronics for abrasive free jazz that’s harboring a voyeuristic obsession with noise.
I love hearing the influence of bands I already love in new music. Maybe The Cartographer weren’t necessarily thinking of Fear Factory when they wrote “Vultures”, but that’s kind of what I’m getting. Taken from their Human Error EP released last year, we’ve got the video premiere for this groovy beast of a track. With consumer tastes in “proper” metal changing so rapidly, it’s nice to have a band to remind people that certain sounds are always satisfying. It’s groovy and it’s heavy and it will damn well make you bang your head.
Brooklyn’s Couch Slut is a band who is very deliberate when it comes to word choice. How else would you end up with that band name? It certainly doesn’t make finding them on Facebook easy. There’s never an autocomplete suggestion given for their name, even as you get to the second “U”. Zuckerberg & Co. would rather assume we’re trying to get to the personal page of Couch Slug (a seemingly inactive account) instead of insinuating that it’s users would actually seek out something with the word slut in it. It’s not rocket science. It’s an off-putting word. It’s an unsavory word. It makes people uncomfortable. I admittedly had a brief pause about liking their page because I’d imagined how this would come across my family’s newsfeed (sorry for any confusion, Aunt Mel!). So it shouldn’t come as a surprise that Couch Slut create hideous music. They cover topics like substance abuse, sexual assault, and a shitshow of the other headfucking kinds of disrespect that humans endure from one another with the instrumentation to back it up.