When analyzing art, it is important to keep both the artist’s experience in creating the art and the experience of the consumer absorbing the art in mind. Often times, an artist’s vision can be obscured by our view point and we can lose sight of what was meant to be gained from the experience. On the other side, regardless of what an artist’s intent may be, the consumer has every right to like or dislike something based on their own personal preference. There’s even the possibility that you can completely understand where the creator of art is coming from and appreciate their intent and artistic integrity, but think that the art itself isn’t something remotely enjoyable. In this middle ground of understanding and distaste for what is understood, we find the new self-titled Suicide Silence album nestled quite comfortably.
Like gin and tonic or sunny days and the beach, crust and death are the perfect pairing. The glorious bludgeoning of death metal and overdriven, fuzzy crust makes short work of anyone uneducated in the mires of extreme music; novices may start and stop with Entombed, more shame on them. Henry Kane, a project headed by members of Wombbath, make even shorter work of those unwilling to get a bit of nasty dick crust in their jeans. Den Förstörda Människans Rike might compare to certain records with a certain guitar pedal sound, in that it sounds familiar in tone and feel, but not necessarily in terms of actual content.
Out of all the free improvisation I’ve listened to, there’s a distinct penchant towards tonal belligerence and chaos, which, while very enjoyable (seriously, I can’t get enough of dat saxophone skronk), can also sometimes be stale when you want something a little bit different. Which is why I wrote this article about Ballister, and their latest album, Slag.
Considering the prog metal trajectory they’ve been on for just shy of a decade now, it’s easy to forget that Canadian stalwarts Protest the Hero started out their career as a punk band. Of course, the punk roots are still intermittently noticeable throughout their post-Kezia discography — take the verses in “Spoils”, for instance — but for the most part, it’s plainly apparent that the band have comfortably adapted to a more technical, progressive sound over the years. In light of this, it’s actually somewhat surprising in retrospect that it took until 2017 for a more punk-oriented side project to arise from the band, but we’re now presented with Mystery Weekend, a three-piece featuring vocalist Rody Walker and drummer Mike Ieradi from Protest alongside guitarist/bassist Dan Hay.
There is the genre “ambient” and there is the descriptor “ambient.” And though NOÊTA often seems to aspire to the former, what they have created with their new album, Beyond Life and Death, more likely belongs in the latter. Ambient music is a weird thing that, to be successful, has to hover between conscious awareness and background music. If it’s too forward and direct, it won’t achieve this effect. If it’s unsuccessful, having it dripping from your stereo is the audio equivalent of watching paint peel. Balance is the key. Brian Eno’s Another Green World is often considered a pioneering…
Billy Talent is a band that has flown under the radar for many people in their 24-year career. Being relatively…
You like your metal techy? Particularly of the noodly tech death kind? Well, we’ve got you covered with Virulent Depravity!…
Eden has abandoned us yet again, so, statistically speaking, we’ll probably have Ahmed or Nick with us this week. I guess you’ll have to guess whom’st’d’ve!?
We talk about some news/drama, new releases, and mainstream-metal interactions. Namely Dallas Toler-Wade leaving Nile and getting replaced with Brian of Enthean. Then Cynic drama following the recent release of their demo tapes. Then some new music. Galactic Empire (and Anchorhead), Dodecahedron, Artificial Brain, Body Count, Linkin Park, Reaping Asmodeia, Ogarya, John Frum, Born of Osiris. Of course we talk about the dude singing Necrophagist at Canadian Voice. And the Grammys, namely Megadeth and Metallica.
Post-recording note: New Nile lineup is awesome. I’m stoked now. That fist bump was amazing.
With their latest record, Atonement, Immolation has brought to our ears what is essentially Jake LaMotta in audio. It is not attempting to impress with flashy speed or impenetrable technique. It is instead a fiendishly calculated and precise blow to the face; a menace glowering over the fallen, emanating power and reveling in destruction newly wrought. It is punishing. It is methodical. It is precise. It is destructive.
While we’re always up for trying a new experimental release out, we figured it was high time we covered this artist in some degree, since Scott and I both share a love for his music. Scott Walker (no relation to the politician of the same name) was once a singer/songwriter on the road to becoming an act on the scale of The Beatles or The Who as part of The Walker Brothers, but who, in a Beatles-esque fashion, eschewed fame and pop-oriented songwriting after a while and decided to go in an avant-garde direction. After some ups and downs, and a solo career that had a fair amount of misses as well as successes, Walker has planted himself as one of the foremost experimental musicians of the modern era, with his later trilogy (consisting of Tilt, The Drift, and Bish Bosch) being of particular acclaim, along with collaborations with bands like Sunn O))).
Welcome to Riffs from the Crypt! This is a new Heavy Blog installment in which we’ll be resurrecting old metal that has been long forgotten, and threatens to vanish entirely; metal interred to dusty cardboard boxes, sepulchred in a junkyard, entombed in a warehouse, or otherwise lost and underappreciated. We will generally focus on metal pre-1990. All genres are game. If it’s old, obscure, and — most importantly — it fucking rips, then the time has come for disinterment in Riffs from the Crypt!