As a genre, stoner doom has some fairly definitive characteristics: slowed-down tempos, rumbling low-end bass and rhythm, a focus on mountainous, hypnotic riffs, and a certain intangible haze cast over it all, creating a psychedelic-glazed listening experience. But perhaps most importantly, stoner metal worships at the altar of marijuana. Proudly wearing its influence on its sleeve (and name), stoner metal varyingly employs marijuana as a muse, a political rallying cause, an artistic aesthetic, and generally as the raison d’etre for the (sub)genre as a whole. From the smoke-filled cough intro in Black Sabbath’s “Sweet Leaf” to Sleep’s epic journey to Jerusalem to Dopelord carrying the genre’s torch in one hand and a bong in the other, stoner doom is fundamentally and un-apologetically intertwined with marijuana. And yet, as firm of a grip as the green leaf has on the genre, there are contingents within the stoner doom scene that don’t embrace weed with the same fervor as their counterparts. Indeed, as counter-intuitive as it seems, examples abound of bands in the stoner doom realm that either explicitly or implicitly eschew the very association with marijuana that the scene largely views as a prerequisite.
Djent had an explosive entrance into the world of heavy music, around the start of the decade. It was a truly exciting occurrence, with first-wave acts like Periphery, Animals As Leaders and Cloudkicker filtering the technically-driven progressive sound of acts like Meshuggah, Sikth, and those of the budding “Sumeriancore” movement, into something altogether more accessible, while still retaining much of their forebears’ technical and progressive edge. Yet, like most new sub-genres, djent quickly devolved into pastiche and gave way to over saturation—perhaps a little bit quicker than most. Djent, it seems, has had a propperly ballistic trajectory, and—in 2017—as its momentum trails off, it’s hard to get excited about this once-promising phenomenon.
Metal, like any current history, is a neverending story — a songbook perpetually revising its denouement in the storm of new releases shattering our ears and expectations by the month. But as exciting as it is to experience the history unfolding before us, that work is already done by listeners and blogs like this one on a daily basis. Vitally important and critically overlooked, I think, is the history of metal — the first chapters yellowing in the forty-odd years since they were bound in black and leather. This post, then, will serve as a continuation of this article detailing the early days of metal, and particularly the incredible importance of Iron Maiden’s The Number of the Beast to the fledgling genre.
Long before I started watching wrestling in the mid-’90s, it was synonymous with metal. Whether it was dude’s with long hair who were evident fans of the genre, the theme rockin’ theme music they used or performances by bands at the shows, metal and wrestling have always been bedfellows that go together like spaghetti and meatballs, Beavis and Butthead and Nicki Minaj and terrible music. Given the long-standing relationship between each medium, we here at Heavy Blog thought it would be fun to examine their similarities and the components which connect them to establish why it is they’ve remained so interconnected throughout the years. Now, without further ado, LET’S GET READY TO RUMBLE!
We’ve covered a fair bit of ground with our Starter Kit series, where we select a handful of key records that highlight a niche musical style or penetrate the prolific status of a staple genre. Unfortunately, this format doesn’t lend itself to covering proto-genres—microcosms of musical history comprised of a specific set of albums released in a fixed period of time. But these movements are crucial to the evolution of our favorite genres, particularly when it comes to the trajectory of sludge metal. What’s become a multifaceted and often refined style was once a disparate lineage of bands from different genres who all applied the “sludge factor” in different measures. While you won’t find a dedicated section for proto-sludge at your preferred music store, the following albums an artists laid the framework for the modern sludge landscape. So whether your sludge purveyors of choice come from the atmospheric, blackened or progressive sects of he genre, they’re all indebted to the groundbreaking statements these albums made.
“Sumeriancore” was an interesting genre. A highly specific brand of progressive metalcore that coincided with the rise of Sumerian Records, lead by prominent bands on that label, it was very popular for a few years and then dissolved into djent shortly after. Born of Osiris were at the forefront of this, if not the main driving force. Being part of the original “big 4” of the genre along with label mates Veil of Maya, The Faceless and After the Burial, they’ve inspired many other artists and headlined many tours. They’ve had some wildly acclaimed albums, and some that are borderline ridiculed. A decade after their debut, where are they now? Where is the genre? And what’s their future? That’s what we’re here to discuss today.
From the Stanford Encyclopedia of Philosophy: “”Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for…
Editor’s Note: the below post was written by one Greg Greenberg, friend of the blog and dedicated musician. We are proud to give such an insightful piece a platform, as it discusses on issues which should bother all denizens of the modern “West”. Death, as metal teaches us, is to be…
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.
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.