If you’re not convinced that we’re currently deep in the middle of the metalcore resurgence, then the simple fact that tomorrow sees the release of the first Bleeding Through record in over six-years should lay those doubts to rest. You’ll have to wait until then for Jordan to tell you just how good Love Will Kill All is, but this seems like as good an opportunity as ever to look back upon the career of a band who were foundational to the dominant heavy metal movement of the new millennium, and who certainly carved out a strong following for themselves, yet who—in retrospect—feel somewhat overlooked compared to their peers, especially considering the sheer quality and consistency of their output. You might say, that their genre’s Testament and, if new single “Fade Into The Ash” is anything to go by, it would also seem they haven’t lost any of that edge in the more than half-decade interim.
Parkway Drive have come a long way since the days of all-ages, community center shows at which I became acquainted with them. For one thing—going by the banner picture above—drummer Ben Gordon is now rocking an impressively luscious set of golden locks, while guitarist Jeff Ling is showing his seniority…
Trivium are a band in a unique position. They exploded onto the scene very early on, accruing a lot of fans and haters simultaneously. After putting out an album that helped define a generation, they stepped back from the spotlight a bit, but their most interesting material actually came out…
Welcome back to Part 2 of our retrospective on one of black and extreme metal’s paradoxically most popular and overlooked acts: Cradle of Filth. This part covers everything from 2004’s Nymphetamine to the present day and tries to pin down exactly why their reputation has suffered during this period, even though they’ve still been putting out some fairly decent albums. Refresh yourself with Part 1, and follow through to the end for a quick wrap up and some speculation on what the future holds for the band nearly a half-century into their sordid career.
Cradle of Filth have become one of the most recognisable and quickly dismissed names in extreme metal. Yet, although the band are widely regarded as populist, entry level rendition of the black metal formula, a closer look at their extensive catalogue reveals a far more innovative and surprisingly consistent act than their reputation suggests. Since their discography is so extensive—the band have released eleven full-length studio efforts to date, with one in the pipeline as we speak, and numerous and often notable tidbits here and there—this survey has been broken up into two sections. This first offering examines what many would consider to be the band’s classic period: moving through their early, formative years, up until their commercial breakthrough and (only) major label release in 2003; while part two will pick up from 2004’s Nymphetamine and carry through to the present day.
Here on Half-Life, we go through a band’s discography and see where they stand today compared to where they started. Pallbearer is one of metal’s rising stars and their progression has been so fun to watch. Every record has its own identity and set of surprises. To take on this project, I enlisted the assistance of my talented colleagues, Jordan Jerabek and Bill Fetty. We hope you enjoy!
When it comes to unique, Type O Negative fit the description. Formed in 1989 in Brooklyn, New York, the band – comprising of Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly…
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.
Limp Bizkit are far from the most unanimously loved band to ever grace the metal spectrum. Often derided as abrasive and angst-ridden rap metal for beer-swilling frat boys, it’s perfectly understandable why they’ve never found acclaim among the purists. However, there was a time when they were inescapable commercial juggernauts with a tendency to make headlines for the wrong reasons, as well as poster boys for the much maligned nu-metal subgenre.
At the Drive-In was unlike any else I had ever heard; they had a sense of angst that was so perfectly channeled that it barely seemed angsty somehow. It was raw emotion, but wrapped in ribbons and bundles that allowed it to be easily digestible, even more so than the Dischord Material I idolized (and still do). The band was artful and careful with how they did everything and, at the time, it seemed revolutionary. Now, some 4 or 5 years after that first initial meeting, I am sitting here re-visiting their discography in full, struck not only by its timelessness but by the band’s sonic evolution from release to release. Below is an exploration of those releases, their inner workings, and why they have retained such heavy, influential status among the post hardcore community.