OK I’m going to open this post by just saying: HELL YEAH. That was my first reaction when I learned that Dance With the Dead (of whom we’ve already spoken) were working with Scandroid on a remix of one of his tracks for his upcoming release, Dreams of Neo-Tokyo. Apparently, the new release will feature remixes of all tracks with vocals from Scandroid’s amazing self-titled retrowave release. The idea is to breathe new life into these tracks and re-release them as their own unique story suite. Enter Dance With the Dead and their unique mix of rock and metal with retrowave. Hear the result of this incredible collaboration right below!
These posts are written by: Eden Kupermintz
There’s a very specific cross-section of post-rock, stoner rock and progressive rock in which exist bands like The Samsara Blues Experiment or Tumbleweed…
Third albums; can’t live with them, can’t live without them (if you want to keep being, that is). The even more dangerous beast is the third album following on the heels of a wildly loved second, especially if that love comes from music journalists. While Foundations of Burden’s merits vis a vis Sorrow and Extinction are up for debate, Pallbearer certainly owe their current place in the spotlight to the former. Perhaps indicative of latecomer syndrome, Foundations received a hefty amount of praise in the journalism community. While the love certainly isn’t out of place, we ourselves loved it, it leaves the band in a precarious position for their next release.
Junius have always beguiled listeners with their straddling of the border between light and dark. Such light-play features prominently in their lyrics and artwork as well, so imagining it to be some sort of coincidence is an ill advised move. Indeed, very little of the band’s decisions seem to be accident; all of their records, LPs and EPs included, give off an air of contained power, meticulously planned theories which, nonetheless, explode with instinctive and primal energy when performed.
Voyager have been on our scopes for a while now; the progressive metal band are known not only for their brand of uplifting and engaging metal but also for a great live act and an overall energy that’s hard to resist. And so, when we learned that they were undertaking a crowdfunding campaign, we knew we had to pitch in. However, there was also within us a burning desire to know what made such a juggernaut of progressive energy tick; it’s always interesting to look into the influences which make such bands exist.
Darkness. The walls of Schinmanski, Brooklyn are all expectant, together with the audience, for the French phenom called Carpenter Brut to take the stage, incarnated into the form of drummer, guitarist and keyboards. For all those familiar with the act’s predilections what comes next should have probably been obvious; for those uninitiated, Brut’s early moments of the show might have come as a surprise.
The moniker “cinematic” post rock is constantly used today; it denotes the orchestral, drawn out and melodic grandeur of a certain type of post rock, first made famous by Explosions In the Sky and God Is An Astronaut. The ties to cinema are purely conceptual, running through the linked themes of soundtracks and their musical habits. However, what if I were to tell you of an actual cinematic post rock band, one which draws on film not only for its concepts but also as samples in their music? Enter Féroces, a French band which does just that; their debut EP, Juliette, integrates film right into the music to create an intriguing take on somber, melancholic post rock.
HARK’s previous record, Crystalline, marked them as one of the bands to watch from the multitude of artists emerging across the progressive stoner scene. That album held incredible promise, a promise which we’re now delighted to see fulfilled on their 2017 release, Machinations. It is a step forward in every respect, doing away with few problems Crystalline had and further solidifying HARK at the very top of their style. Cutting through some of the filler tracks from the previous album and enhancing the flow of the whole thing in the process, Machinations is a magnificent piece of music which belongs up there with the seminal works of Mastodon themselves.
Black metal deserves every single piece of criticism laid at its doorstep. Let’s be very clear on that before we begin. You don’t get to base your genre of music on despicable, and sometimes plain murderous, figures and then act surprised when people levy enhanced and abrasive scrutiny against you. (I mean, you definitely can do that but it’s just childish and coy.) A genre which actively courts racism, nationalism, violence and shock images should not be surprised when people pick on it; you’re asking for it and, deep down, you fucking love it. Black metal wouldn’t exist if it wasn’t for the knee jerk reactions of mainstream culture towards it, clear and cut. If black metal’s original antics were simply taken in stride, if they were treated as the petulant children they so often were, the genre would have been stillborn.
Welcome to a new Heavy Blog feature! It was spawned out of one of the greatest forces on the planet: fandom. Often used for evil, the basic excitement that draws us to love something is an inherently powerful force. Here at the blog, and music journalists in general, often have to curb it in order to more accurately (we don’t believe in objectivity, in case you hadn’t noticed) and that can get hard. Love Letter is our way to vent! On this column you’ll find no nuanced analysis, no broader context or blind Lady Justice. You’ll only find someone gushing about a band, a track, an album, gear, a show, artwork or whatever else.
And the best thing? It doesn’t have to be staff members! We invite you, our readers, to submit your own Love Letters. Rules are this: send 300 words TOPS (no, really) to firstname.lastname@example.org with the subject line “Love Letter” or post your letters in the comments below! We’ll go back and forth between your letters and our staff’s!