If there’s one album that could launch a band into the stratosphere this year, it’s Sleeping Lions, the third outing from Las Vegas mob Otherwise. Mark my words: this album is prepped and packaged for the radio airwaves, plus almost every track sounds capable of inciting an arena-sized singalong, but that’s not always a bad thing. Their previous album cracked the Billboard 200 at number 50. This could surpass that. If they catch their big break with this record, the general population of rock enthusiasts will find something to appreciate about Otherwise. Generic? Absolutely. But it knows what it is.
We’re at a point where a hot shit, flavour of the month band can become old hat moments after they are touted as the next big thing. It’s so easy to lose track of who’s who, what’s hot and not and generally what the hell is happening in music and it’s always gonna be impossible to hear everything good out there. That’s where Heavy Blog, and others like us, come in. We have our core features focusing on specific genres—what’s up Grind My Gears fans?!—but today I’m lumping together bands who’s only similarity is their shared suffix. They’re all “core” in some form or another. To make things more digestible, I’ve even added a strapline for each, covering their sound in one fantastically humorous sentence. Please, enjoy and rock responsibly.
Anticult’s lead singles are both textbook examples of how late career albums tend to bisect veteran bands’ fan bases. On the more vocal side are evergreen Decapitated fans who tolerate just about anything a band does while aggressively dismissing any dissenting opinions; to quote directly from the comments: “Hate all the people comparing those tracks to the “old” Decap. Fuck, its a new constellation with a switched style, so get over it and enjoy or leave.” Then there are traditional Decapitated fans, at whom these types of comments are directed. In their view, everything since Carnival is Forever has embodied the steady decline of an integral architect of modern tech death, and fans who’ve embraced the band’s last few records are doing so solely because of the name attached to music they’d be otherwise indifferent about.
Junius have always beguiled listeners with their straddling of the border between light and dark. Such light-play features prominently in their lyrics and artwork as well, so imagining it to be some sort of coincidence is an ill advised move. Indeed, very little of the band’s decisions seem to be accident; all of their records, LPs and EPs included, give off an air of contained power, meticulously planned theories which, nonetheless, explode with instinctive and primal energy when performed.
When analyzing art, it is important to keep both the artist’s experience in creating the art and the experience of the consumer absorbing the art in mind. Often times, an artist’s vision can be obscured by our view point and we can lose sight of what was meant to be gained from the experience. On the other side, regardless of what an artist’s intent may be, the consumer has every right to like or dislike something based on their own personal preference. There’s even the possibility that you can completely understand where the creator of art is coming from and appreciate their intent and artistic integrity, but think that the art itself isn’t something remotely enjoyable. In this middle ground of understanding and distaste for what is understood, we find the new self-titled Suicide Silence album nestled quite comfortably.
This post probably seems way out of place among the many pieces I’ve written for Heavy Blog. But for anyone that knows me, bands like Emmure comprised the bulk of my high school listening, and I threw down hard during their set at Warped Tour 2010. That same year marked the peak of my adoration for “-core” music, though, as I started gravitating more towards the old school metal bands that my friend Mark would show me during lunch. My iPod started filling up with songs like “Dead but Dreaming” by Deicide rather than “Dead but Dreaming” by Carnifex, and before I knew it, I was another metal elitist scoffing at the very thought that Emmure used to be one of my favorite bands. Thankfully, I’ve matured quite a bit since then; not to the point where I’d write an “In Defense Of” post for Emmure, but enough to ignore any news updates about the band rather than leaving an unproductive shitpost in the comments section (“lol, binary code metal, amirite???”). And as I saw updates on their latest album Look at Yourself, it made me reminisce about my old listening habits and prompted me to revisit what used to be my favorite record of theirs: Felony. The result was the following nostalgia-ridden Stepping Stone for a band I view as both one of the worst and most important bands that defined the trajectory of my growth as a metal fan. It was my full intention going into this to be as objective and honest as possible, and I hope this will read as a fair critique of one of metal’s most polarizing bands.
Brooklyn, New York’s genre-defying act Candiria have been away for a while, their last album being the 2009’s Kiss The Lie. Far from resting on their laurels in the interim, however, the band have been busy, with several lineup changes, as well as playing their first live show in NYC in a decade at Webster Hall in January of 2015. Now, in late 2016, we finally have the latest release from the band, While They Were Sleeping, in our hands, and despite a couple of small missteps, it was well worth the long wait.
Leave it to Italy to bring us a band like Destrage. With their music striking an impossibly fine balance between relentless progressive metal and all sorts of silliness, the band blew us away with 2014’s Are You Kidding Me? No, somehow keeping up an almost playful sense through the album while simultaneously…
Linkin Park exploded onto the scene in 2000 with Hybrid Theory, an album which would become a hit of monolithic proportions as it enjoyed enormous commercial success, and a fair amount of critical success to go with it. Their 2003 follow-up Meteora continued in much the same vein, and was also received reasonably well. However, 2007’s Minutes to Midnight marked a significant turning point for the band and for its fans. In a move which sparked a significant backlash among their fans, the band moved on from their nu-metal roots and adopted a more experimental, alternative rock sound. Fans cried of how the band had sold out, abandoned their roots and gone soft, whilst music journalists branded it bland and a failed U2 rip-off. That being said, it’s now time to begin our defense of Linkin Park’s most underrated album.
Welcome to yet another installment of Half Life, where we at Heavy Blog dissect a current band’s (i.e. a band that is still making music) discography. For previous articles in this column, please click here. Deftones are somewhat of an oddity in the rock/metal community. Their sound has an undefinable…