Bands That Made Me Heavy - Heavy Blog Is Heavy

Category: Bands That Made Me Heavy



Poison The Well are timeless when it comes to the listening selections of my catalog. I’ve always loved them since I first heard the classics Opposite of December and Tear From The Red. I even loved them through the clean singing on You Come Before You and the completely under-rated The Tropic Rot. Seriously if you wouldn’t give The Tropic Rot the time of day I beg you to reconsider. The album is a grower but it will firmly find a place in your heart. Admittedly after multiple listens, Versions was the one album I just couldn’t “get.”

All that being said, the two classics mentioned above were re-mastered and re-released yesterday through Rise Records and I couldn’t be happier! Personally I was hoping Ash from Sumerian Records would secure these rights, but Rise did this the right way with proper promotion the whole way through. While I don’t think there was anything wrong with the production quality the first time around, I can’t help but excitedly think this could invite new fans and maybe even a break from hiatus. I have my original copies stored safely in my collection, but out of excitement I ordered the re-issue bundled with a hoodie and posters. Some bundles still exist, link found here. With all that, I’ll leave you with Turn Down Elliot above.

-PC

I remember the first time “Post-Metal” was ever mentioned to me. It sounded obscure, like some weird life form that grows on a planet in a different universe. How could a genre be “post-” anything? It never made sense to me, and still doesn’t. To me post-metal is just a thing where songs are longer, lyrics are shorter, and it builds and builds to an epic climax. However many people just like to associate music and lyrics together, such as the case with pop music: it has a good beat you can dance to, and fun lyrics you can sing. With Post-Metal, however, these two groups are separate, which always seems to cause a rift between fans of metal.

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Freshman year was—let’s just say—less than satisfactory. Getting sick with an ailment that doctors couldn’t diagnose for almost 7 months, missing half of my first semester, and not being able to spend time with friends was a real bummer. The two things that really kept me happy were my poetry and my music. My library grew extensively over that year, mostly due to me being bedridden most of the day. The only joy I got was when I could get the newest releases from my local music store or Amazon. I remember searching endlessly through the internet trying to discover the next band that would floor me. I came across this one band from Sweden that released an album earlier that year. The album was called obZen. I dug a little deeper and found that the band actually been around since 1989, and that it was their sixth album. Now, naturally, whenever I find a new band, I begin from the middle or early portion of their discography, so that I can hear them morph over time. I chose their album from 1999, Chaosphere, and gave their song ‘New Millennium Cyanide Christ’ a listen, and liked it enough to buy the album.

I listened to the first track, and had to stop after about 45 seconds. It was WAY too intense. I couldn’t follow it to save my life, the vocals were abrasive, the drums all over the place. I thought, “Maybe it was just that one song”. After NMCC, the album was ridiculous. Every song was really scattered, out of place. The players didn’t seem to get each other at all. I thought it was garbage. I removed their CD from my collection and threw it in my closet. It was like the demon seed of my musical libary. I was almost angry that I wasted my money on something so terrible, then I stopped whining about it and moved on.

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Tool is among the rarest breed of bands there is. Only they can have huge gaps between albums, reaching 4, 5, and even 6 years between releases, and come back with an amazing album, sell out shows the world over, and keep their fans loyal. It seems absolutely absurd that any metal fan with half-decent taste would NOT like Tool, as they are the creators of music that holds the same musical power as it does emotional power. Yet before I really discovered Tool, before I even had the chance to let them in my lives and embrace the beautiful music that they make, I passed them by.

It was sixth grade and I was slowly getting into metal, starting with alternative metal acts like System Of A Down and Deftones. I wasn’t really into anything too complex yet. Most of the music I listened to I could count in my head without really thinking about, since almost all of it was in 4/4. I went to visit family and my cousin Tre and I began to discuss metal. His wife Tracy asked, “Have you heard the new Tool?”, and me, being the naïve kid I was, said “No, what’s it called?” The kicker? I thought it was a literal tool; something you used to help you do work around the house. So I was shocked when he brought me a copy of 10,000 Days so I could listen to it, and was confused. Then I realized the band was called Tool, and that I was an idiot.

I listened to ‘Vicarious’ and ‘Jambi’, and I didn’t like what I heard. The rhythms contained in this song were not normal, seemingly out of time with one another. The instruments all seemed to be doing different things, which made it even more difficult to decipher. During the middle section of ‘Jambi’, I had to press the pause button and wonder: what are these guys doing? I had never been introduced to something so outer-worldy before, since most of my friends listened to terrible pop music, and even the heavy metal kids didn’t go really heavy into stuff like, say, The Faceless or Nile. After those first two songs, and listening to the beginning of ‘Wings For Marie’, I I had to stop. I went back to my System Of A Down and didn’t revisit Tool for a good year and a half, at the least.

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From The Archive

The discovery of a new band is always exciting. Will it be something you’ve heard countless times? An experience that leaves a bad taste in your mouth? Or is it a treat from which you cannot stop consuming? I wanted to take a trip back in time to reminisce about bands/albums that not only introduced me to heavy music, but kept me coming back for more…

From The Archive: Agent Steel – Unstoppable Force

 

It’s been a bit of time since I last delved into the genre of thrash/speed, but I would be a fool to completely ignore a genre of metal that pretty much was at the forefront of my everyday listening for quite some time. I was only a young lad when thrash was at it’s highest point, the 80′s. Sure, there is no denying that thrash today is still prominent and one of the top genres of metal, but there is no mistaking how amazing and in your face it was during the 80′s. All the greats where in full force; Sodom, Slayer, Kreator, Metallica, Riot, the list goes on. But rather than cover a band that has no doubt been discussed to death, I’m going with a band that I believe is one of the greatest in the genre, Los Angeles, California’s Agent Steel and their 1987 full-length album, Unstoppable Force.

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From The Archive

The discovery of a new band is always exciting. Will it be something you’ve heard countless times? An experience that leaves a bad taste in your mouth? Or is it a treat from which you cannot stop consuming? I wanted to take a trip back in time to reminisce about bands/albums that not only introduced me to heavy music, but kept me coming back for more…

From The Archive: Life of Agony – River Runs Red

Life of Agony - River Runs Red

It’s been a bit of time since my last write up, and thanks to fellow heavy bloggers Juular and DeusExMachina, at least this column wasn’t diminished due to my absence, so I thank them for keeping it alive! Anyway, I last left off talking about Long Island, NY hardcore band Skycamefalling, and I felt it was best to continue my trek through the music of my teenage years. So for this weeks installment I will be covering another band that is close to home, Brooklyn, New York’s Life of Agony, and more importantly their 1993 debut album, the angst-filled hardcore/heavy metal hybrid, River Runs Red.

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I find it a bit disconcerting that very few people are as excited about Arjen Lucassen‘s newest release as much as I am. So in order to help drum up a bit more enthusiasm, I thought I would discuss the first album I heard from the mind of Mr. Lucassen. For those unaware Ayreon is the epic saga of rock-operas penned by Arjen Lucassen. Each album in the discography, with the exception of Actual Fantasy, follows a loose narrative that is interconnected to the previous albums. It’s very tenuous at times, and not always that well fleshed out, but these discs hold a special place in my heart, especially The Human Equation. Not only was this the first release from Lucassen that I had heard, it was also my first foray into progressive music. It’s a sprawling, epic, evolving sort of musical landscape that spans the course of nearly two hours, across twenty tracks. Each song represents an individual day in a consecutive narrative that all builds and culminates into a beautiful story of struggle and emotional perseverance.

The variety on display here is something that has and will continually amaze me as I keep coming back to this record. Each and every song feels distinct, with layers of beautiful and exotic instrumental arrangements and vocal melodies that soar and rip through any given song. It’s a masterpiece that features 10 various instrumentalists, and 12 vocalists, each one unique, honest, and epic. I will be using that word quite a bit with this record. Epic.  From cellos and violins all the way to didgeridoos, panpipes, and flutes, the music on here runs the gamut of folk, and progressive styles, and nothing feels bloated or pretentious. It feels lighthearted and purposeful, and it’s all so well done. Almost every instance is memorable and distinctly recognizable, no matter how small or fleeting it may seem.

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Unlike some of the older fellows who write for this website, I actually got my start from listening to metalcore rather than nu-metal. Indeed, my first post on this site was about All That Remains was my first real metal band, and how it opened up so many doors for me, not just in terms of this new genre I would soon love with all of my heart, but music in general. When I first listened to All That Remains, I searched for a while to find more of the same style they performed. After going through many bands that were good, but didn’t impress me like I wanted to be, I discovered a band named Anterior, a band based out of the United Kingdom.

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From The Archive

The discovery of a new band is always exciting. Will it be something you’ve heard countless times? An experience that leaves a bad taste in your mouth? Or is it a treat from which you cannot stop consuming? I wanted to take a trip back in time to reminisce about bands/albums that not only introduced me to heavy music, but kept me coming back for more…

From The Archive: Carcass – Heartwork

Carcass - Heartwork

Carcass. The name itself instantly embeds an image of something dead and left to rot, but if you happen to listen to metal music, then perhaps you might find yourself thinking of the goregrind/melodic death metal band who hailed from Liverpool, England. Once going by the name of Disattack, and playing hardcore/punk, they eventually changed their name and gravitated towards goregrind with the release of their first full-length album, Reek of Putrefaction. Overtime though, the band moved on to a more death metal sound, and it wasn’t until Heartwork came out that we saw the band evolve into melodic death metal. Along with albums such as Slaughter of the Soul and The Jester Race, Carcass’s Heartwork is one of the first melodic death metal albums to be released, and one of the most popular and influential in the entire genre.

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From The Archive

The discovery of a new band is always exciting. Will it be something you’ve heard countless times? An experience that leaves a bad taste in your mouth? Or is it a treat from which you cannot stop consuming? I wanted to take a trip back in time to reminisce about bands/albums that not only introduced me to heavy music, but kept me coming back for more…

From The Archive: Nevermore – Dead Heart in a Dead World

Nevermore - Dead Heart In A Dead World

Happy New Year everyone! After taking last week off to relax (sort of) and join in the mass posting of each heavy bloggers top albums of 2011, I was also pondering what album I wanted to cover next for my FTA article. Well, after much thought, I felt it was best to come back strong and discuss not only a band that, overtime, became one of my favorites, but a particular album of theirs, that to this day is still one of my go to albums. My first introduction to Nevermore was when I saw them back in 2000, where they provided support for In Flames durning their Clayman tour. I remember enjoying their sound as well as their performance, and at that time they just released their fourth full-length album, Dead Heart in a Dead World. So like any curious human being would do, I picked up their new album, popped it in the cd-player, and the rest is history.

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