There are times you just want to listen to music that’s going to decimate your frail mortal shell. There are…
These posts are written by: Ryan Castrati
“Come for the food, stay for the atmosphere” is the phrase that comes to mind when contemplating Salem Vatem, the 2nd full…
Progressive death metal outfit Entheos have had a productive three years, to say the least. 2015 saw their formation, shortly followed by the release of their debut EP Primal. 2016 saw the departure of founding guitarist Frank Costa and the introduction of their new guitarist, Malcolm Pugh. Frank had already recorded all of the rhythm guitars for the bands first full length album, so Malcolm came in and knocked out the lead guitars so that The Infinite Nothing could be unleashed upon the world. Only two months after the album’s release, the band announced the departure of Malcolm Pugh and in the same breath announced that former Scale the Summit guitarist Travis LeVrier would be taking his place in the band permanently. Now, in the latter half of 2017 we have received their second album, Dark Future, recorded in the early part of this year.
Some artists/bands are known for being able to make music that sounds huge. “Huge” in this case referring to music that has an awe-inspiring presence, as if it is either being performed in perfect sync on stages surrounding you in every direction or as if you were in a sphere of sound that encases your whole body. Music like this has a way of giving your ears a sense of depth instead of it being as cut and dry as left, right and center channel. With their last album, Peripety, the self-proclaimed Deathgaze group Kardashev showed that they wanted entrance into this particular section of the musical lexicon. With the release of their new EP The Almanac, they prove that they not only deserve to be included in this group, but placed close to the front of those who lead it.
In 2015, metalcore pioneers Veil of Maya released their fifth album Matriarch. It was their first record with clean vocals on it, courtesy…
When you try and cage what was never intended to be caged, a primal rage can be brought to the surface. Trapping an animal can lead to the unlocking of something deep inside that lets it know it was never supposed to be kept from its freedom. Though the vicious All Pigs Must Die are free to roam the hellscape of life, it would seems that they’ve found a way to channel this cage induced rage on their latest album, Hostage Animal. Their latest record is the sound equivalent of chewed, worm cage bars, sleeping in the blood on the floor of your cage that’s leaked from your teeth when you’ve gnawed on the metal for too long and being prodded endlessly by those who only seek to harm you.
Starting over is not the easiest thing in the world, but it does have its benefits. There is freedom in going back to the point of inception because there are no preconceived notions of what is to come. Even if people remember what came before, that was the past and this is the future, which stops for no one. When Vattnet, previously known to us as the post-black metal band Vattnet Viskar, lost one of their two founding members, they saw an opportunity to go back to the beginning and build from the ground up. Cleaving their band name in half, they looked toward the future and decided to make a self-titled album album that, in the words of guitarist Chris Alfieri, “we could listen to forever, even if no one else liked it.”
There’s an undeniable joy in watching something that has been preparing to pounce for so long finally take the leap. Where there was once stillness in the air, there is now a sense of urgency and the feeling of excitement. We as listeners should be thankful that we are not the ones on the receiving end of this violent lunge. The hunter in this case is singer-songwriter Chelsea Wolfe, while the prey is the art she presents to the world. With her newest work, Hiss Spun, we not only see Chelsea in the moment of her victorious pounce, but we also have the great fortune of consuming her kill.
There’s a great deal of irony in the latest album title of instrumental post-metal trio Sannhet. While their new album is called So Numb, it would seem that this is the most evocative song writing we’ve seen from the group to date. The emotions that this album can rouse from slumber deep within the listener are not just your simple “ooh’s” and “ahh’s” that come along with music that catch and impress the ear, but rather ones of blinding ecstasy and immobilizing sorrow. In crafting this collection of songs, Sannhet have taken the approach of the painter. The group uses every drum hit, bass plunk and guitar strum to paint a picture with textures and colors that are just as interesting and thought out as the work they comprise the entirety of.
Do you like exclusively clean vocals? Do you like progressive rock with a bit of a groovy, even djent-y edge to it? Will you listen to anything that comes out of the San Francisco Bay Area music scene? Well then, have I got the band for you! They’re called Sea in the Sky and though they liken themselves to Periphery, CHON and Polyphia, I hear flashes of swancore bands like Dance Gavin Dance, Stolas and Hail the Sun. They’re releasing a new album on September 29th called Everything All at Once, but luckily we can listen to two singles from it right this very moment!