When is something good just as another example of its genre, without effort at innovation or experimentation? In other words, how do you distinguish between something that’s just lazy and an earnest work of art created out of love of the genre that might go a bit too far with leaving most of that genre’s tenets intact? Sail’s Slumbersong raises these questions and then some, as it mercilessly worships stoner metal in all its fuzzy glory, never bothering itself with saying anything new or audacious about the genre. But you know what? It works. Slumbersong is a pleasing album, clearly crafte with love and a not irrelevant amount of talent for riffs, raspy vocals and groove.
Known internationally for his work with Shearwater, Smog/Bill Callahan, the Angels of Light, Swans, and Devendra Banhart, Thor Harris is also a legendary craftsman whose woodworking skills are apparent in the handcrafted percussive instruments he employs – Monofonus Press. Our latest piece in this series on protest music and art is an interview with Thor Harris, he of the crushing soothing percussive sounds behind Blog faves, Swans, and lately more notorious for having been banned from Twitter for either a video on how to punch a Nazi (don’t do it unless you have to) or for images used on his profile. YMMV.
Cynic is a legendary and influential band. Since news that drummer and founding member Sean Reinert has left the band, many fans have wondered what is on the horizon, if anything. While there’s still no word on new music from co-founder and guitarist/vocalist Paul Masvidal (who vowed to continue the band), late last year, an announcement from the realm of music archaeologists got nerd minds spinning. Uroboric Forms: The Complete Demo Collection would be released and fans would maybe get some answers about how the hell Cynic went from being in Death (which was basically a Chuck Schuldiner backing gig) to dropping an absolutely groundbreaking gem in Focus. Southern Florida in the late 80s and early 90s is hallowed ground in extreme metal. Would Uroboric Forms rewrite the narrative?
It’s been a while since I could just write about some excellent, expressive post-rock. No genre slashes, no wild experimentation, just good old expansive, dream-y, beautiful post-rock. Luckily for me, Heron released You Are Here Now and gave me just such an opportunity. The album is an expressive and evocative take on classic post-rock, hitting the same sorrow tinged pressure points as The Khost or mid-era Explosions in the Sky. It manages to shrug off the aura of mediocrity that too often smothers the genre and soars well beyond its confines. On the way, it gathers influences from a range of rock styles and channels them all through a contemplative lens. Let’s meet after your first taste of it.