Man, 2017, y’all. We realize that it’s kind of our m.o. to be proponents of the whole “Golden Age of Metal” narrative and be incredibly positive about the consistently great level of stuff that is being put out from pretty much every part of the musical spectrum, but it’s such an easy thing to do when we are so constantly bombarded with new material that utterly consumes our attention. Even in months where one of us might not have as many new albums that really impressed them, without doubt there will be another one who could barely keep up because of all the superb releases from genres they pay close attention to. This April has certainly been no different in that regard, and we have a whole slew of top-notch albums to recommend to you all.
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.
Just this past week we saw how important the ACLU still is. One of the first to confront the so called “Muslim ban” enacted by the indifferent pen of Donald Trump, it began the long and arduous legal battle against this administration. With not only the presidency but also Congress and Senate painted in the most extreme and reckless red imaginable, their work will grow seven-fold; now they must take on the legislative branch instead. Thus, and despite of the already remarkable success their fundraising has seen in the past week, Bandcamp’s contribution to the ACLU is admirable. We’re here to do our share; below you’ll find a list of artists that are worthy of your support on this Friday.
On previous albums, Black Anvil’s blackened thrash always seemed to fall into a state of limbo. Triumvirate hit the black-thrash-for-the-masses nail on the head, but for what little progressive tendencies they exhibited (to be honest, this is definitely more Metallica-level progressivism than it is Dream Theater), it lacked the dynamism to make it truly interesting. They might as well have gone the route of a band like Skeletonwitch and cut the fat entirely in favor of a more lean and mean approach. In comparison, Hail Death felt like an overcompensation. More Watain-like in terms of progressive arrangements, the experimentation was worthwhile, but the record was hampered by too many forgettable moments, leading to inflated songs that felt like they were long for the sake of being long. While both albums are still damn good in their own right, it felt like the band had yet to find the balance that would showcase them at their best. As Was mostly reconciles this imbalance, and also brings some interesting new elements into the fold.
In case you haven’t noticed, there are two Jimmys (Jimmies?) that are a part of the Heavy Blog family, and while I’m the dude who started this site back in 2009, I’m not the Jimmy who started the Heavy Buys column. However, this Christmas season was incredibly fruitful, with a myriad of prepaid visa gift cards and sales going on that created a perfect storm for collection expansion. I took the opportunity to upgrade my current setup to something only slightly less casual (but still incredibly entry level) and expand the collection to pick up five records that I had been meaning to purchase from the previous year.
Last year I took it upon myself not only to organize and compile our own staff’s AOTY list, but to take things one insane step further and compile a bunch of lists from major metal or metal-covering publications and websites into one MEGA AOTY list to rule them all. Eden and I then analyzed the list and made some (mostly snarky) comments about the metal journalism industry and how they approach these sorts of things. Though I still 100% stand by what we wrote there and the conclusions we drew from it, I was really interested in seeing how well some of them would stand up to another year to use as a data point. Thankfully, this year I had a lot of help in all of our list-making efforts thanks to fellow editor Noyan, who put a ton of work into coming up with the method we ended up using to aggregate our lists (if you haven’t already, you should absolutely read his post delving into the nitty-gritty of that methodology) and then did the actual number-crunching.
Welcome back to our ongoing series of best-of lists for this year, where we give some of the bands we covered (or just adored) in 2016 a chance to publish their own lists regarding their favorite albums of this past year. Today, we’ve got a list by Wrvth, whose self-titled album ranked…
With our general list for 2016 out of the way, we can now shift the focus from our aggregate opinion to individual ones. Both outlooks have their own merit; the former provides us with an overview of our year in music. However, the latter shines a light on something we’re extremely proud of and that’s the varied and eclectic nature of our staff these days. We used to have a very certain type of music associated with Heavy Blog and while we still have a long way to go, we feel like we’ve done a good job at expanding our palettes and the representation of different kinds of music and metal in our staff. The lists below reflect that; you’ll find black metal, avant-garde, technical thrash metal, hip hop, rap, noise, ambiance, post metal and rock, melodic death metal and much more throughout these lists.
We wrote a pretty big check to ourselves when we closed off 2015. Publishing not only a list which proclaimed the triumph of 2015 but also a whole editorial dedicated to the idea of “The Golden Age of Metal”, we set ourselves up for disappointment. Like the rest of the music establishment which, in numerous places implicit and explicit, was apparently ready to join in the social lynching of 2016, we were well positioned to find it a sobering, dreadful, faith shattering year for music in general and metal specifically. Except it was nothing of the sort and we cannot stress our amazement at metal/music journalism’s reaction so far. 2016 was an absolutely fantastic year, building on the trend of solid and often groundbreaking releases from established acts and simply astounding, out of left field releases from virtually nameless bands. Sure, it had its disappointments for us from huge bands we had expected more from (although signs of their demise were certainly forthcoming) but, overall, it was a year which will surely be remembered in our circles as one of the best years for music in general.
Thrash metal. It’s the archetypal sub-genre of metal. It wasn’t the first one on the scene, nor is it particularly representative of what metal music means today. Yet, it was the genre which served as the gateway into metal for a huge proportion of our community. When those unfamiliar with metal are asked to name any metal bands that they may know, you can bet that Metallica would be one of the most popular answers. And it’s not surprising to learn why. Thrash metal exploded all across the USA and Europe in the mid 80’s, dominating the metal landscape with its speed, aggression and technicality. Fast, furious and pissed the fuck off, it was exactly what people wanted. Bands quickly rose to bona fide rock-star status, and we’ll be focusing, initially, on the big four: Metallica, Megadeth, Slayer and Anthrax. Through the early-to-mid 90’s some sought, and found, mass crossover appeal when turning to a more commercial style of music. Charts were topped, and millions of records were sold. Yet, this commercial zeitgeist was paradoxical in nature. Yes, some bands had scaled the mountain. They had made it. But they also had nowhere else to go, nowhere but down. It was an achievement, but it was also the beginning of the end.