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.
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.
2016 has been chock full of great releases, some of which we (sadly) missed out on. We can’t post about everything or we’d be up to necks in content (first world problems, I know)! One such release is Oni’s Ironshore, a progressive album that’s extremely cohesive and endearing. Rooted firmly in complexity, Ironshore nonetheless manages to evoke melody, emotion and conviction. Listen to “Kanvas” for example: amidst breakneck keyboard work, intricate guitar lines, harsh and clean vocals, hides an honest emotional streak that runs throughout the album and ties it all together.
Seeing as the album is so intricate, we thought we’d get the band to shed some more light on the influences that make them tick as musicians. We hoped it would give us more insight into what seems like another, incredibly strong addition to the annals of modern progressive metal and boy, we got more than we bargained for! Head on below to read their in depth and enlightening list in one of our personal favorite Anatomy Of posts!
It is no small challenge for bands to find a way to sonically distinguish themselves from the legions of acts in their genre. There’s no shortage of ways (intentional or not) for groups to get this done, but in the past ten years or so, we’ve been hearing bands more frequently pull from unusual and atypical influences, bringing about a “What the hell is this?” line of thinking more and more often. Whether it’s a mixture of seemingly incongruent styles in the overlap of some wacky Venn diagram like this year’s fantastic Zeal and Ardor release Devil is Fine, or Between the Buried and Me’s spontaneous (and quite addictive) polka/circus/surf segues, it’s proven that there’s reward for ambitious risk-taking. As a result, it seems as though the metal community as a whole has adjusted their tastes. There’s more open-mindedness for things that stray from the path, and that’s exactly where Madison, Wisconsin grind duo The Central excel on their latest release, Discovery Of A Rat.
Coming out of the void of potential and inactivity, Painted in Exile released one of the more powerful and emotional progressive metal albums of 2016. Drawing heavily on many clear influences within progressive metal, The Ordeal nonetheless also contains much of the theatrical, the jazz-y and more. Thus, inviting the band to write an “Anatomy Of” article for us was somewhat obvious, an organic attempt at delving the musical depths which we recognized behind their release.
It should be of surprise to absolutely no one that Between the Buried and Me frontman Tommy Rogers doesn’t like to sit still. While his 2004 solo debut Giles was hardly a serious effort, but 2011’s Pulse (the first under current project Thomas Giles) painted Rogers as a capable and serious musician in his own right across several genres, including progressive rock, industrial, electronic, and folk. Pulse was a portrait of an artist trying different things, but its follow-up Modern Noise was where Rogers truly appeared to find his artistic voice as a more focused and stylistically cohesive record.
We make much ado about cohesion over here at Heavy Blog; it’s a quality that often separates good albums from great one, as well-made music transcends tracks and becomes an album. However, whether it wasn’t possible due to lack of ability or to the circumstances surrounding an album’s release, it’s possible to have great albums without it. Take Painted in Exile’s long awaited album, The Ordeal. It is a progressive metalcore release in a style that has fallen out of fashion in the years we have been waiting for it, calling back to the heyday of Between the Buried and Me’s Colors and The Great Misdirect. Unlike those albums, however, The Ordeal is more far-ranging, almost scattered in its approach to variation and growth throughout the release. The result is a challenging and borderline confusing album which, somehow, still manages to be endearing and moving.
Upon first listen, it’s clear that up-and-coming Floridian progressive death metal act Infinite Earths are familiar with their state’s history with the genre. Their upcoming EP Into The Void eerily captures the sound and spirit of the 90’s era region-specific developments from acts such as Death, Atheist, and Cynic. Even the…
It’s been almost seven years since Between the Buried and Me and Devin Townsend Project last toured together. At the beginning of 2010, both of these bands hit the road with the ever-so-airy Cynic soon after they had released Traced in Air. Between the Buried and Me themselves had unleashed…
Progressive hardcore isn’t really a thing; you could probably find three or four bands which match the description. However, on the off-chance that you can get around to discovering such a band, it possess great appeal. On one hand, you have the harsh, full speed ahead vocals of hardcore and the signature, bittersweet cleans. On the other, you get odd time signatures, varied instruments and compositions to offset the simplicity which sometimes plagues hardcore. That’s exactly the sort of mix you have with Dioramic, a band with three albums to their name and one great album. Technicolor is just a cut above the rest; it’s not that the other two are bad, they just don’t have the seamless integration and flow of Technicolor. Here, metalcore, hardcore and progressive metal all blend together, synths side by side with harsh vocals and gang choirs.