Release Day Roundup – 5/18/18

Each month, we always seem to come to the same conclusion when it comes to our Editors’ Picks column: Friday release days open the floodgates and unleash a seemingly endless stream of quality new music. But while some of our Editors and Contributors sit down gleefully each week to dive into this newly stocked treasure…

Skinless – Savagery

I must admit, it’s quite refreshing when a record gives you exactly what is advertised. In a genre of music plagued with sentence-long track titles and abstract album concepts, such albums come as an often pleasant surprise. Such is the case with Skinless eagerly awaited new record, Savagery. Believe it…

The Crown – Cobra Speed Venom

Swedish death metal veterans The Crown are back with their 10th full length album, Cobra Speed Venom, almost thirty years since their formation in 1990. Despite their longevity, the band seem to have remained largely unknown relative to their contemporaries such as In Flames, At the Gates, Soilwork and more.…

Hey! Listen to The King is Blind!

What exactly qualifies as “metal” can be a contentious issue. As any dedicated listener knows, the label itself accounts for a wide spread of sub-genres—ranging from softer, more atmospherically-inclined fare such as post-black/gaze and folk metal; to the frantic, bombastic realms of speed and power metal; and onto the spasmodic worlds of math- and grindcore; and even the bleak, all-encompassing, sonic oppression of drone and funeral doom. Many of these sub-genres remain contentious, and what is considered metal, or even just heavy music can shift and change depending upon what circles you frequent. Then again, there are those bands who (for any number of reasons) simply ooze the ideal of heavy metal, no matter which way you look at them, so that their status as a nothing less than a fucking heavy metal band cannot be denied. The King is Blind are one of those bands.

Cradle of Filth – The Seductiveness of Decay

Despite having made a fairly triumphant return to form with their last album, 2015’s Hammer of the Witches, Cradle of Filth seemed to be doing everything in their power to quash that momentum in the lead up to to their twelfth full-length offering, Cryptoriana – The Seductiveness of Decay. The album’s hokey artwork only added to the off-putting nature brought on by its clunky title, and the two uninspiring singles and the seemingly rushed and seemingly un-selfawarely camp videos that accompanied them did little to drum up confidence in the forthcoming record. Add to that the release of Carach Angren’s similarly-themed Dance and Laugh Amongst the Rotten—released earlier in the year to widespread acclaim and popularity—and it really looked like the Brits had painted themselves into a corner from which there was little hope of return. Fans of the band needn’t have worried, however, for Cryptoriana is yet another surprisingly solid entry into one of the most consistent catalogues in the history of extreme metal.

Half-Life – Cradle of Filth, Part 2

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.

Half-Life – Cradle of Filth, Part 1

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.

Expulsion – Nightmare Future

Ever been in a real fight? A knock-down, drag-out brawl where chairs are launched, punches are thrown, and elbows are swung? Yeah, me either. Let’s be real, when a bunch of drunk dudes decide they want to start a fight for no reason whatsoever my first reaction is typically “check, please…”. There’s a part of me that wants to get into the thick of it, though. That primal, untapped portion of my psyche that not-so-secretly desires to feel the force of a fist slamming into my jaw, and my own bone-splintering retort. But I generally like my face (and most others’ faces as well), so seeing my handsome visage brutally disfigured over a disagreement regarding whose football team is the unequivocal and absolute best seems a bit silly. Thanks to our infernal overlords that we have grindcore and death metal to give wannabe brawlers such as myself a much less painful and infinitely more enjoyable release! Expulsion is the latest death/grind band to cross my ears and allay those violent urges, and with their debut album Nightmare Future they create a violent dystopia harsh and brutal enough to slake even the most fervent extreme metal fan’s bloodlust.

Decibel’s Toxic Nostalgia – Exploring the Magazine’s Narrow View of Modern Death Metal

The following article is a collaboration between editors Jonathan Adams and Scott Murphy.  Before we dive in, let’s make one thing clear—we and Decibel (“America’s only monthly extreme music magazine”) agree that 2017 has been an exceptional year for death metal. Jonathan has highlighted countless fantastic death metal albums this…

Rings of Saturn – Ultu Ulla

No, there hasn’t been a glitch somewhere in the Heavy Blog matrix. This is a review of a Rings of Saturn album in the year of our egg, 2017. The sci-fi loving deathcore darlings (ahem) release another blast of widdly diddly death metal full of sweeps, synths and other worldly references too obscure for this writer to care about looking up. Look, if they are going to be lazy enough to record each note at a time then you won’t catch me doing the hard work either. In the few short years since Lugal Ki En was released, the world of technically leaning death metal has spawned some outrageously talented acts; Archspire and Inanimate Existence are the golden boys of tech-death, leaving breakdowns and breeing behind. Do Rings of Saturn still belong in a world that belongs to bands like this? Can they save the world from the alien invasion of tech-death newcomvers?