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.
The music industry is huge and can be intimidating. It’s complexity, breadth, and depth is unmatched by any other entertainment industry. That massive output can be quite discouraging if you really want to keep up with everything. As someone who recently transitioned from being an average listener to a serious writer of music, I totally and completely sympathize. Every week, there seems to be some new big happening with music, some new album, some new hype, and if someone tunes out, even for just a week or two, it seems like an eternity has gone by. Trends live fast and die hard in music, making it easy to feel left out. This is totally by design based on everything previously discussed. Labels are trying hard to make something stick and curators are trying to keep up with their massive output. Here’s a little advice to listeners (and journalists) who feel burnt out constantly listening to new music:
Travelling in space will probably be a lot less glorious than what most of science fiction would like us to imagine. When it comes, space travel will be intrinsically tied with the very real forces of economics, efficiency, and all powerful physics. As such, the smooth flight of an Enterprise…
Some artists are iconic because of record sales or bigger than life personalities but a lot of the time they reach that hallowed status because of the influence they wind up having on others and their ability to stay humble in the face of praise. A lot of the time it’s because they have their own guiding philosophy that keeps them contributing long after others have come and gone. The latter can operate in the spaces between traditional measures of success much of the time. Some even deflect the praise onto those they’ve worked with instead of keeping the recognition to themselves.