Starting about a year ago signs of life began to stir once again on the Facebook page of Philadelphia black metal band Woe. At first, they only promised shows. Another chance at seeing a band who’s delicate blend of crust and black metal formed a uniquely progressive style all their own. This was exciting news to the wider Philadelphia area extreme music scene as the band was a long time favorite of many, sort of a source of pride. However, soon the murmurings of shows for the summer went silent, and fans were left wondering if it had all just been the hopeful ramblings of one member.
Bluegrass generates most of its interest from technical ability, even in its most traditional veins. Generally, the genre operates a lot like jazz: different configurations of instruments improvise solos on standard tunes. There’s mostly likely an upright bass and some light percussion like tambourine or washboard in the rhythm section, treble instruments like fiddle, banjo, mandolin, and guitar taking solos, and multi-part harmonies in the vocals. Bluegrass generally borrows from the same sources as country and folk: Scottish, Irish, and English folk music, African American spirituals, and blues. Progressive bluegrass started, like progressive rock, in the late 60s. While, the compositions never really reached the complexity of prog rock, the idea was the same in the beginning: the chord progressions got more complex, it started borrowing from other genres most notably jazz, modern rock, pop, and classical music, and the lyrics became deeper.
Zud are a band you’ve got to hear. In their best moments, they conjure all of the emotional weight of post-black metal with none of the pretense or artifice. However, let me be clear: this is not post-black metal. It’s dirty, raw, black metal in the style of Midnight, with a similarly gnarly guitar tone and and rasped vocals spat with surprising intelligibility. Despite the indecorous rawness, Zud’s spacey, squealing solos take their time to wail and scream with all they’ve got, building into absorbing climaxes laden with soul. Zud’s solos aren’t technically impressive, but they’re arranged with that casual sort of mastery where just the right note is struck at just the right time.
This week we have a super exciting guest! I’d try to slowroll it, but obviously from the episode title you can guess that it’s Herman Li of Dragonforce. We discuss a variety of topics, including the upcoming Dragonforce album Reaching Into Infinity, success, haters, creativity, Babymetal, video games and more. Herman was a great guest! Also Eden and I discuss some news after the interview. Chuck Berry’s passing and the way the coverage has handled his problematic legacy, a bunch of new music, and Earth’s Hibernaculum and Machine Head’s The Blackening turning 10 years old. The new music includes Somnium Vox, Bloodshot Dawn, Entheos (not that one), Witherfall, Northlane, Emmure, Gorod, Enslaved, Solstafir, Beyond Creation (kind of). We also continue last week’s discussion on how the mentality focusing on new music sometimes makes us overlook albums, in this case Metallica’s latest. In our cool people section we discuss Netflix’s Marvel’s Iron Fist and Better off Ted.