In April of 2012, London outfit When Our Time Comes released a short, yet sweet EP called the Test the Waters EP which had some ties to the still surging djent movement djent movement. The EP was produced by Justin Hill of former Sikth fame and was a solid chunk of groovy metalcore, with the vocalist sounding a bit like Sean McWeeney from The Safety Fire (RIP) at times. They released their self-titled full length debut album almost four years after their EP was released and it’s pretty safe to say that the wait was worth it. The choruses have gotten bigger, the riffs better and what already worked before works well here as well. It’s probably one of the most slept on metalcore hits of the year.
2016 has been chock full of great releases, some of which we (sadly) missed out on. We can’t post about everything or we’d be up to necks in content (first world problems, I know)! One such release is Oni’s Ironshore, a progressive album that’s extremely cohesive and endearing. Rooted firmly in complexity, Ironshore nonetheless manages to evoke melody, emotion and conviction. Listen to “Kanvas” for example: amidst breakneck keyboard work, intricate guitar lines, harsh and clean vocals, hides an honest emotional streak that runs throughout the album and ties it all together.
Seeing as the album is so intricate, we thought we’d get the band to shed some more light on the influences that make them tick as musicians. We hoped it would give us more insight into what seems like another, incredibly strong addition to the annals of modern progressive metal and boy, we got more than we bargained for! Head on below to read their in depth and enlightening list in one of our personal favorite Anatomy Of posts!
While it’s unfair to call the “electroacoustic” tag unhelpful, the meaning of it’s name is far more self-explanatory than the works it labels. For those unfamiliar with the genre, the underlying concept is relatively straight forward: electroacoustic music applies any number of digital effects to acoustic (or more accurately, non-electronic) recordings, whether it be instruments, found sounds or field recordings. This method creates a certain detached tangibility – a recognition of the deliberate, musical purpose of sounds which you often times can’t quite link to a specific source. Such an odd bricolage may cause some to question the musicality of these works, but to the contrary, it’s precisely this careful crafting of disparate sounds which established the genre as a unique art form all its own. The process experimental music veteran David Toop used to create Entities Inertias Faint Beings illuminates precisely why this is: