Sometimes all it takes for a band to earn a listen is outstanding exhibition of the music. Logically, we’re not supposed to judge a book by its cover, but the easiest way for new acts to get attention these days as far as I’m concerned is to have outstanding album art. It seems almost counter-intuitive in some ways since streaming music is so fast and easy and physical copies aren’t selling so well. We’re not thumbing through record stores so much anymore, but if I see eye-popping artwork shared on my Facebook feed, I pay attention.
This is what lead to the discovery of Plini, an Australian instrumental prog rock solo act. For weeks, I saw the above artwork for the EP Other Things appear sporadically across my news feed, and finally decided to give it a listen based on how beautiful the piece was. As it turns out though, a good friend of ours Alex Pryle (Carthage, NYN, Ever Forthright) did the artwork. Pryle has also done some work for us in the past with logos and background images. Small world! It’s good to see him getting work!
Baltimore based progressive deathcore band Carthage have parted ways with old bassist Robbie Gossweiler and welcomed Ian Wilmot, of Illuminations, to the fold. Wilmot has posted a video of him playing their song ‘Blackout’, and by all accounts he nails it, especially the difficult riff around halfway through the song.
Carthage frontman and founder Tre Watson had this to say about the new lineup:
What a year. Here is a summary of my most pleasurable listening experiences. Quick shout outs to Gaza, Eldrimner, Acrania (Mexico), DisfiguringtheGoddess, GodsofEden, TrashTalk,Xibalba and TesseracT who just barely missed the cut. Sorry guys.
Anyways, I hope you enjoy my list. I didn’t mess around. Just meat and potatoes. Also, I’d love it if you left a comment validating my list or insulting me for terrible taste! Either way, happy doomsday!
We’ve been singing the praises of Baltimore based djenty deathcore-ers Carthage — and the solo projects of founding member Tre Watson, and new addition Noyan — for quite awhile now, and just yesterday we posted our review of the band’s debut full-length, Salt the Earth. I really only started liking the band once the more progressive stylings were made obvious from listening to some pre-production demos, but now that I’m hooked, I don’t think there’s anything that can get me of this damn line. While the wait for Salt the Earth has been rather frustrating — I really wanted this album — it was more than worth it in the long run. It really is a quality release, and one of the better deathcore albums I have listened to in quite sometime. While I’m not the biggest fan of that particularly sub-genre, Salt the Earth has enough interesting sounds going on in its mix to keep things fresh and allow the listener some nice breathing room,which is always an added bonus.
Now if you were like me and eagerly anticipating the release of this power-house, well fret no more, the thing is finally out! I don’t really have much else to say, go read the review if you want, or better yet go buy the album! These dudes worked their asses off to put out a quality release, and personally I think it could contend with nearly any big name release this year. I wish these guys the best of luck, and look forward to some more truly awesome music. You can buy the album from Carthage’s bandcamp page, or from the widget below. Expect to see the album out in physical release sometime in 2013. Cheers.
01. Destroy the City
03. Perception Fails
04. The Furthest Thing
05. Years & Darkness
06. Pushing Forward
09. To Return
13. Pushing Forward (Acoustic)
By now, everyone reading this should have heard of Carthage, listened to the songs they’ve released and seen the hype surrounding guitarist Noyan’s nine string guitar build with Etherial guitars. However, if you haven’t heard of the band, here is the run down. Carthage is a six piece progressive deathcore band based from Baltimore, Maryland, founded by Tre Watson, a phenomenal bedroom metalist who brought the world amazing works of musicianship such as the 2010 full-length, Lexicon of the Human Subconscious, and last year’s excellent Gravestones EP. Tre has built a strong following over the internet, and Carthage has provided an outlet for him and several bandmates to expand the portfolio of sound found in the deathcore genre, and they have slowly built a strong reputation as well as a fair amount of hype for their debut full-length, Salt the Earth. With that being said, will the album live up to the expectations of the band’s fan-base?
Created by Etherial Guitars luthier Matthew Brown, this custom-built carbon-fiber nine string was designed with Tron in mind, a film that Noyan is a massive fan of. The guitar even glows in the dark! A full specs sheet can be seen below (click to open full size in a new window) along with other photos of the guitar:
As I’m sure some of you regular readers know, our regular contributor Noyan Tokgozoglu is an active guitarist. He was picked up as a guitarist for Carthage in the past year and has a custom nine-string guitar coming his way shortly (more on that later). Before Carthage though, Noyan has been writing a collection of songs for a solo progressive death metal project — now titled NYN — which has finally come to fruition.
A single titled ‘Ynareth: The Destroyer’ has been posted online, and is available for streaming below:
It’s been a long time in the making, but we’re getting closer to seeing an actual release for Maryland-based deathcore outfit Carthage‘s debut full-length album Salt The Earth. Head honcho Tre Watson’s been busy mixing and recording the album, but at least he has the decency to not leave fans hanging for too long! The band has unveiled the new track ‘Continuous,’ which you can hear below:
No word yet on the album’s release date, but it is expected out by the end of the year. In the mean time, you can check out the other two released songs ‘Blackout’ and ‘Years and Darkness’ after the jump!
Our buddies in the 9-string wieldingCarthage have been hard at work with their debut full-length album Salt the Earth for some time now. It definitely feels like it’s been forever, but they’re approaching the final stretch in development. With mixing in full swing, the band has decided to make available a teaser featuring samples from most of the tracks on Salt the Earth. You can listen to the teaser below:
It all sounds great, but it’s worth noting that our very own Noyan Tokgozoglu recently started picking up vocal presence in Carthage, and you can hear him screaming in the first track sample. Killer stuff, all around. I can’t wait to hear the whole record.
Well, there is one immediately obvious answer. Many guitar players who aren’t very good songwriters like to simply chug the lowest note possible on their guitar. Wait a second, this answer doesn’t really involve the range of the guitar! Well yes, because if we go look at bands like Asking Alexandria, we can see that they chug on a six string guitar. If you give these guys a 7 string guitar, they will still chug on it. Similarly with more strings. The end of the line is that a bad guitar player is a bad guitar player regardless of what guitar he/she plays.
Similarly, take Jeff Loomis, ex-Nevermore guitar wizard. He was an insane guitarist with 6 strings, and when he jumped to 7 strings, he didn’t suddenly become a chugging machine. He maintained his style, and even developed it, becoming somewhat like a mascot of seven string guitars. Similarly for Tosin Abasi of Animals as Leaders and 8 string guitars. Even Periphery guitarist Misha Mansoor, who helped to further popularize the “djent” movement and extended range guitars, won’t write with an extended range instrument unless he wants to use a majority of the range on the instrument. To summarize, a guitar player shouldn’t be judged by how many strings they choose to play, but whether they are actually good at it. And no, you don’t “need to master six strings before moving on to seven”. I started playing guitar with a 7 string. It’s not an incremental thing. Thinking about an extra string as an increment is exactly the wrong mentality. Keyboard players don’t hark on players with more octaves on their instruments, so why do guitar players do this?