Honestly, I can’t believe we’re only just running this post; there’s so much about The Family Crest that has appeal for plenty of people on our staff. Basically, imagine a version of The Dear Hunter that emphasis the orchestral elements of their sound and is also 100% more melodramatic, infectiously optimistic and grandiose. I know, right? But that’s exactly what The Family Crest are and the end result is an album that’s sweepingly beautiful, all grand gestures, big, big lines and the sort of bright outlook on life that’s hard to resist. Head on down below for your first giddy taste!
These posts are written by: Eden Kupermintz
You know those albums that sound just like their cover art? This is one of those. If you’re at all…
Enter Boss Keloid. Their sophomore release, Herb Your Enthusiasm, was well belied by its name as it put them on our radar; their music was progressive stoner personified, all treble, fuzz and smokey haze. Honestly, we were expecting more of the same from Melted on the Inch and were content with that. Their brand of stoner mixed with sludge was to our liking. But, instead, Melted on the Inch threw us quite a bit of a curve ball. On it, Keloid have reached back into their progressive rock roots and brought forth a sound which, while not a complete stranger to their established tones, is certainly something new. The result is an album where composition is way more varied than before, synth tones rule the day, the vocals are non traditional and the overall theme seems much changed. Insert a weed joke here, something about breeds? Let’s just get to it.
Positive things need to try harder, at least in my book. Being upbeat, optimistic, clean, sweet and other such adjectives is something that it’s own reward. Thus, to prove to me that you’re not just indulging yourself and that there’s something more to your lighthearted creation, extra miles need to be walked in the realms of creativity and expertise. Sloth&Turtle are a fine example of how to do that; they don’t let their bright brand of of mathrock suffice itself with just happy riffs and short jaunts into the realm of guitar centered music. Instead, they’ve crafted a fully realized and wholly interested self-titled EP, playing very cleverly into the strength of their style. Head on below for a taste!
This Californian band’s first iteration lasted a decade, until 1997 (they are now reunited and working on new music, who’s quality is yet to be tested). During that decade they released four albums, with a clear difference between the first two and the latter two. Those two first album, and the debut especially, are masterclasses in progressive metal and represent to this day some of the best actualization of why progressive metal is great. They are technical but furiously aggressive, drawing from the pools of progressive rock and thrash equally. The result is two fantastically deep albums with the first being a timeless classic which has sadly gone forgotten.
Perhaps no one musician has contributed to the cello’s prominence and presence in the field of experimental music as Randall Holt but the name might not even be familiar to you unless you’re well versed in the Austin musical scene, the post rock landscape or other experimental/jazz circles. But the fact remains that he totes one of the finest pedigrees in the market. He collaborates or has collaborated with the likes of Thor Harris (drummer for Swans), Jonathan Horne (another of Austin’s elite of hardworking musicians, also the guitarist for The Young Mothers), Godspeed You! Black Emperor, Thee Silver Mt. Zion Memorial Orchestra, and Adam Rudolph, one of the most important jazz composers and percussionists in the world. In 2016, Holt was ready to foray out into the world by himself with a haunting and beautiful album titled “Inside The Kingdom of Splendor and Madness” and boy is it a ride. We’re proud to stream the full album here today to celebrate the album’s physical release, on cassette and CD, so head on over below for a taste and we’ll talk more after.
Thrash is often the good to example when talking about dead genres; it’s pretty much accepted wisdom that the heyday of the genre is over and done with. But, like all narratives, this sort of linear perspective on the life and death of a whole suite of musical ideas can blind us to great music still being made under its auspices today. Check out Vancouver’s Hallux for example. These guys make a high-octane, aggressive kind of thrash and blend it with plenty of influences from D-Beat, old school progressive death metal and more. The result is a self titled debut filled to the brim with fast riffs, high paced drumming and furious vocal screeches. Head on down below for your first taste and don’t forget to turn it up loud.
It is once again my distinct pleasure to recommend some great traditional metal revival to you all! Huzzah! Substratum hail from Seattle, a city whose role in music needs no exposition. They play a no frills, no apologies New Wave of British Heavy Metal type of music so you know what to expect; thick bass riffs straight from the repertoire of one Steve Harris, soaring vocals, sci-fi themes and kick ass riffs. Don’t forget the riffs, since they’re incredibly kick ass. All these elements are amplified by two facts: the first is that Substratum have chosen to reproduce the best parts of the British New Wave, namely those parts with longer tracks, interesting lyrics and varied compositions. The second is that Substratum don’t really give a fuck about anything other than having a good time and making good music. Head on over the break to have a taste for yourself; don’t forget to bring your leather jacket.
Our Anatomy Of series of posts is the perfect storm of blog material. This is because it fits both veteran…
Ah yes, a progressive stoner/doom review! This means that there’s a formula this intro paragraph takes: first, we tell you all about how progressive stoner/doom has seen a huge proliferation of releases in the past few years. Then, we ironically make the point that the main issue with the genre is repetition (ironic seeing as how these reviews tend to touch on the same point). Then, we either regretfully inform you that this is the case here or that a certain band has managed to break away from the mold. It’s usually the latter, since we like to review releases we like (shocking, we know). Now that that’s out of the way, can we please get to the amazing album that is King Goat’s Rapture?