Foo Fighters aren’t the type of band you associate with breaking boundaries, but their career has seen them unleash eight studio albums that most of us will agree are pretty solid, with a couple that ascends to levels of greatness. Also, as far as modern rock acts go, they don’t come much bigger. Their prolific career has seen them rise to meteoric heights through the release of popular singles, hilarious music videos and a reputation for being some of the nicest dudes in the biz. We don’t just want to support these guys because they know how to appeal to our stadium-sized sensibilities with almighty, but easily digestible, melodic rock, but they’re genuinely likable and good poster boys for music in general. It’s also a testament to their talent that they were able to break out of the shadow of Nirvana and establish themselves as a huge deal in their own right, and at this point in time, you could argue that their legacy is just as magnificent.
For being as venerable and insanely talented as they are, I feel as though Immolation gets the shit-end of the death metal history stick. They have their following and they’re not exactly a band that’s languished in obscurity or would be considered anything near a “forgotten classic,” but they really deserve a lot more attention and respect than they get. Calling their discography gem-studded doesn’t do them justice; their almost 30-year history as a band has been almost entirely gems. Seriously, what other classic early-90’s death metal band is still putting out new albums and, more importantly, evolving their sound with pretty much no breaks? That’s impressive as fuck no matter how you slice it!
The story of metal is not linear. We didn’t arrive at the mayhem lurking in our Spotify playlists through a measured progression of technique, style, and genre. Rather, the evolution came in leaps and bounds, with dead ends and bursts of growth and pockets of innovation. To continue the evolutionary metaphor: the Cambrian Explosion of metal shot off in the mid 1980’s, as subgenres and geniuses and success combined into a specimen closely resembling much of modern metal. But the growth, although frantic, wasn’t instantaneous; rather, it seemed to expand exponentially from a single source, a catalyst in a chain reaction. That incipient band, the patient zero of metal as we know it today, is Iron Maiden. More precisely, the stratospheric success of The Number of the Beast, with it’s intricate compositions, transgressive lyrics, and trailblazing progressivity, diverged metal from hard rock completely and legitimized metal as a commercial viability, heralding the eruption of metal in the years to follow.
There’s no shortage of folk influence in the world of metal, but the vast majority of it is undeniably Eurocentric, which is to be expected, given England’s (and later Scandinavia’s) claim to its birth and subsequent rise. In the past decade however, we have been fortunate enough to see a…
Back in March, I spent the better part of an hour speaking with Between the Buried and Me bassist Dan Briggs to discuss his myriad of projects and his development as a musician and evolution as a bass player. The first half of our talk was published last week, wherein we discussed collecting vinyl, the prog aesthetic, and the records that inspired him to first pick up a guitar — and eventually, bass and keyboards. In this second half of our interview, we discuss his new project Nova Collective and its place in the genre of jazz fusion. We also discuss the process of revisiting their modern classic Colors, and where the band goes from here.
I’m a curious guy by nature. When you tell me something exists, but you refuse to show it to me, I’ll go to great lengths just to have it. This brings me to today’s Heavy Buys. Coming from Ontario, Canada, Crystal Larva have created an almost-monochrome Bandcamp page for their…
Over the years, we’ve watched North Carolina’s Between the Buried and Me climb the ranks from metalcore weirdos struggling to find a place in the metal scene to prog metal masters with a legion of rabid fans and achieving worldwide headliner status. Through a series of critically-acclaimed opuses, a scene had formed itself around Between the Buried and Me as trailblazers of a new branch of modern progressive music, and one might argue that the biggest splash from the group came from their 2007 opus Colors, which turns 10 this year(!!!).
For this edition of Heavy Movies, I want to talk about the magical experience that is Jason Lei Howden’s DEATHGASM (all caps because lower case is for pussies). You see, DEATHGASM isn’t just a fantastic Heavy Movie, folks; it’s also one of the greatest horror comedies ever made. Taking cues from the metal-infused Satanic hysteria horror of the ‘80s, coupled with practical FX-laden splatter fare, it has all the ingredients you need for some blood sprayin’ bad ass cinema with tunes to match. Couple that with demons and an impending apocalypse, and you have a heroic underdog story we can all get behind. Then, throw in endlessly witty dialogue and a romantic sub-plot that oscillates between genuinely sweet and hilariously mean-spirited, and what you have is a coming-of-age tale which hilariously, yet sincerely, captures the awkward perils of teenage life.
For those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly into the confines of conventional “metal,” it should come as no surprise that many of us on staff have pretty eclectic tastes that range far outside of metal and heavy things. We can’t post about all of them at length here, but we can at least let you know what we’re actually listening to. For those that would like to participate as well (and please do) can drop a 3X3 in the comments, which can be made with tapmusic.net through your last.fm account, or create it manually with topsters.net. Also, consider these posts open threads to talk about pretty much anything music-related. We love hearing all of your thoughts on this stuff and love being able to nerd out along with all of you.
Last year, my interest was piqued by a surprise release from Woodsplitter, an instrumental solo project from Ben McLeod, guitar player of one of my favorite “new” bands, Nashville’s All Them Witches. Inflamed examines metal guitar through a variety of lenses: post, prog, death, stoner, doom, and even krautrock; showcasing an impressive variety and a refined level of comfort as each track seems to pare down to the core of what makes these sounds appeal to so many. His newest venture, Egyptian Overload explores an even wider swath of sounds and textures, plus the addition of saxophone. I asked Ben a few questions about the project, the rawness of his latest record, and future plans.