Tangled Thoughts of Leaving is one of the most interesting post metal bands out there. From the far reaches of…
These posts are written by: Karlo Doroc
In 2015 we told you that Chaos Divine had the goods, and today we’re lucky enough to speak with them. Starting off as something of a melodic death metal band, Chaos Divine have gradually evolved into the progressive/alternative rock sound which Australia has become famed for. We speak with them about their fantastic 2015 release Colliding Skies, their experiences with crowd funding, the Australian scene, what it’s like being a band from the isolated west coast of the country and, of course, eggs.
Today we’re joined by none other than the mercurial Gods of Eden from Sydney, Australia. These progressive metallers earned a rave review with 2015’s exceptional debut LP From The End of Heaven, a release which found itself right up there on our 2015 end of year list and helped inspire our Beyond the Veil column. Grandiose compositions, enchantingly technical guitar playing, cinematic soundscapes and diverse vocals are the name of the game here, and we’re predicting big things to come from these guys. Without further ado, let’s get into it and see what they have to say about the concept behind their debut, what their new album will sound like, the Australian scene and more!
As you may have noticed, over the past month or so we’ve been interviewing a series of Australian artists, and we’ll continue to bring those to you this month. Today we’re lucky enough to be joined by Andy Marsh, guitarist in Australian deathcore outfit Thy Art is Murder. The band have been making waves on the international scene for some time now and are one of Australia’s more successful exports. Vocalist CJ McMahon has recently reunited with the band and a new record is on the way, so we spoke to Andy about that, their split EP with Fit For An Autopsy and The Acacia Strain (available here), Australia and more. Enjoy!
Today we’re joined by none other than Michael Gagen, guitarist extraordinaire at bands you may have heard of, like hazards…
Last week we spoke with Brendan Brown of Infinite Density, Ne Obliviscaris and Vipassi fame, and today we’re joined by another very special guest. His bandmate in two of those projects, the inimitable Ben Boyle, contributed vocals to Infinite Density’s debut 2016 release Recollapse of the Universe, and guitars and composition on Vipassi’s debut EP Śūnyatā. As well as those two projects, Ben is the mastermind behind the experimental grind band A Million Dead Birds Laughing (got to be the best band name ever, am I right?), and is perhaps best known for his role as a guitarist and songwriter in the death metal band Hadal Maw. Every single one of these projects is creating art of the highest quality, and they absolutely deserve all of your time.
Today we’re lucky enough to be joined by the mastermind behind technical death metal band Infinite Density, Brendan Brown, also of Ne Obliviscaris and Vipassi fame. This year marked the release of Infinite Density’s debut album, Recollapse of the Universe, and it’s one of the best releases we’ve heard all year. Bearing strong thematic and musical similarities with bands such as Wormed and Inanimate Existence, the album showcases a varied vocal approach, massive grooves, ear worm melodies and a few nice surprises along the way too. It’s definitely going to sit pretty high on this writer’s end of year list, and we’re super excited that Brendan has made himself available to talk us through the album itself, how it came about, the Australian scene, and maybe even a word or two on his other projects.
Thrash metal. It’s the archetypal sub-genre of metal. It wasn’t the first one on the scene, nor is it particularly representative of what metal music means today. Yet, it was the genre which served as the gateway into metal for a huge proportion of our community. When those unfamiliar with metal are asked to name any metal bands that they may know, you can bet that Metallica would be one of the most popular answers. And it’s not surprising to learn why. Thrash metal exploded all across the USA and Europe in the mid 80’s, dominating the metal landscape with its speed, aggression and technicality. Fast, furious and pissed the fuck off, it was exactly what people wanted. Bands quickly rose to bona fide rock-star status, and we’ll be focusing, initially, on the big four: Metallica, Megadeth, Slayer and Anthrax. Through the early-to-mid 90’s some sought, and found, mass crossover appeal when turning to a more commercial style of music. Charts were topped, and millions of records were sold. Yet, this commercial zeitgeist was paradoxical in nature. Yes, some bands had scaled the mountain. They had made it. But they also had nowhere else to go, nowhere but down. It was an achievement, but it was also the beginning of the end.
We’ve told you to go and listen to James Norbert Ivanyi before, and we’re here today to tell you to go and listen to him again. In a burgeoning scene which is becoming increasingly populated with derivative and uninspiring music, Ivanyi is still one of the finest one-man instrumentalists out there and he shows it again with his EP from earlier in the year, The Usurper.
A Gift to Artwork breaks down and analyses your favourite album artwork to see what it communicates to the listener…