A few month ago I popped over to catch Monuments’ most recent UK headline run. In support were Basick reps No Consequence and Murdock. Now, I surprisingly enjoyed the new No Consequence album but it was Murdock who I was there to see. After waiting (im)patiently for their first full length, I was left reeling by just how good it was. If you haven’t already given time to Dead Lung then you are a fool and I will smite you. It’s a frenetic, rich sounding album that skips across genres faster than the brain can comprehend. Before their raucous set, I managed to catch Aidan, the singer/songwriter/guitarist of Murdock for a couple of words. We jumped in his van (he was very gentle) and shared some words about Basick Records, Ireland and of course, chicken shits.
Tag Archive Deafheaven
In case you haven’t been following, Singled Out is our new weekly column to round-up all of the singles and new tracks from the past week dropped by bands we cover. Consider this our weekly mix to help keep you all on top of the latest releases from across the metallic and progressive spectrums. We’ve got an awful lot of new music to cover this week from all over the place, so let’s forego the whole introductory setup today and just get to it. Let’s get singled out!
Following the release of the 2013 sophomore album Sunbather, California black metal/shoegaze/”blackaze” outfit Deafheaven have locked themselves away in the studio since the end of 2014 (with the exception of playing a few shows and festivals here and there), but yesterday, July 27th, the band uploaded a minute long teaser of the new album, which is (supposedly) titled New Bermuda and will be released in October through Anti- Records. Now, the reason the word “supposedly” is in parentheses when the name of the album was mentioned is because we are not sure if that is the name of the new album, but in the trailer you do see the words “New Bermuda” flash rapidly for a second at the end of the trailer. Whether that is the name of the album or a single they will be releasing is currently unknown, but let’s just wait and see. Head on over the jump for the trailer itself!
Jazz’s influence on music has been monumental, with this being especially true for metal. The musicianship and improvisation of jazz has informed much of the more technical aspects of metal (Atheist being a prime example), while numerous progressive metal bands have incorporated elements of jazz within their compositions. Due to both this and the affinity for jazz among several members of our staff, we decided to implement a new segment titled “The Jazz Club,” where a few of us will gather around with cigars and whiskey and discuss a current jazz band/artist, album and/or event that we believe is an essential point of interest for jazz fans.
For this installment, we decided not to discuss an album, but rather the legacy of saxophone legend Ornette Coleman, who passed away on June 11th at age 85. A recipient of numerous accolades for his contribution to jazz, Coleman provided the impetus for the emergence of avant-garde jazz, particularly with albums such as The Shape of Jazz to Come (1959) and Free Jazz (1961), the latter of which spawned an entire subgenre of jazz bearing the same name. Editors Scott Murphy & Nick Cusworth and staff members Simon Handmaker & Ahmed Hasan sat down recently to discuss Coleman’s immense impact, touching down upon his convention smashing style, how his passing will affect the state of jazz and the parallels between his playing and the realm of metal.
It seemed strange that Atheist’s Cornea was touted as both the most straightforward and progressive release in Envy’s discography. The eminent Japanese band’s style revolves around a blending of hardcore punk, post hardcore, post rock and screamo, with the cornerstones of each of these genres leaning in somewhat different directions regarding the use of brevity and progression. This is not to suggest that such a combination is impossible to execute successfully, but as Atheist’s Cornea demonstrates, attempts that falter cause a disjointed feeling. In their attempt at a triumphant return after a five year absence, Envy mustered up eight enjoyable tracks that do not typically venture much further in terms of quality.
Legendary grindcore progenitors Napalm Death have a massive running list of achievements throughout their hugely influential thirty year long career, but it appears that, of all possible things, they’ve decided to add three shows opening for the one and only Faith No More to that list. Dates and more after the jump!
Over the last couple of years, the phrase “post-black metal” has come to be associated with soundscapes of bright, twinkling guitars, overly-affected screamo, and an overall air of nostalgia and longing — oddly enough, a worthy candidate for the antithesis of metal. Acts like Deafheaven and Alcest popularized the style, but remain controversial acts among purists making somewhat valid arguments that neither band are metal at all. While there’s no shortage of bands combining post-metal and black metal while remaining within the confines of extreme music, the stereotype has infected the tag for everyone and comes with some preconceptions. New Hampshire’s Vattnet Viskar are making great strides in shaking this mischaracterization while keeping to the spirit of combining black metal, post-rock, and sludge.
If you’re in the northern hemisphere like most of you who read this site, then you’re no doubt enjoying the benefits of natural seasonal changes as the nightmare that was winter 2015 has given way to a beautiful spring. And if you’re in the southern hemisphere — particularly if you’re in Australia, as many of our readers are — you’re almost certainly feeling the relief of more tolerable temperatures as your summer has given way to fall and is quickly approaching winter. Either way, all over the world we’re entering the magical time of year known as Festival Season. Many of the biggest and best bands in the world (and leagues of smaller ones as well) are preparing to set out for various tours and huge outdoor festivals that will attract thousands upon thousands of individuals. The global festival circuit has become so huge and varied though that it can be nearly impossible to know where even to start if you’re looking to travel to one.
We’re here to help! Obviously there are far too many metal festivals around the world for us to provide anywhere near a comprehensive list, but we asked our staff to highlight a few festivals on 3 continents — North America, Europe, and Australia (apologies to the rest of the world as we only have so many staff members from different places). Check them all out below!
New Hampshire post-black metal outfit Vattnet Viskar are poised to release a 2015 highlight (and possibly their best work yet!) with their upcoming record Settler. A lot of post-black bands these days tend to be on the flowery side of the spectrum, but what makes Vattnet Viskar such a great act is that they really do feel like a solid meld of black metal and the type of expansive post-metal descended from the strings of Neurosis rather than anything in the vicinity of Alcest or Deafheaven. So in case you’re unfamiliar with the act, don’t judge them by their genre and the peculiar album artwork — which, by the way, was inspired by this photo of Christa McAuliffe, the schoolteacher who was killed in the Challenger explosion in 1986. Kinda changes things, yeah?
Early last month post-black metal outfit Vattnet Viskar announced their sophomore album, Settler, with few details attached. Since then we’ve received new information in drips and drabs. The artwork you see above is the cover art, and if it looks a bit cheesy and strange and other words not normally associated with good (particularly for a band as heavy as VV), well, there’s at least a pretty good reason for that. Settler is purportedly about Christa McAuliffe, a schoolteacher from Vattnet guitarist Chris Alfieri’s hometown of Concord, NH. McAuliffe was selected by NASA to ride up in the Challenger Space Shuttle in 1986 — yes, that Challenger. The cover art is based off of an old photograph of McAuliffe prior to the launch. So it’s got that going for it.
More importantly, Vattnet have released the first single to the new album, which is the title track “Settler.” Listen to it after the jump!