Singled Out is our weekly column to round-up 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. Read past entries here, and go on ahead below to get Singled Out!
Tag Archive Deafheaven
Hipster black metal kids who name drop Darkthrone rejoice, and basement dwelling black metal elitists beware, as Deafheaven has released a new track. The track is titled “Brought To The Water” and will be the opening track on their newest album, New Bermuda, due out October 2nd. Surprisingly, the track shows the band drawing a bit more on their black metal influence, carrying a significantly darker energy than what was present on much of Sunbather, at least until about the 3 minute mark where they settle back into their groove of shoegaze shimmers amidst the black metal attacks. By 4 minutes in, the track has safely tread back into familiar Deafheaven territory, giving break to a massive, major key, post rock-black metal burst that carries the track through until its end. Also noticeable is that vocalist George Clarke is not mixed incredibly low into the background this time around, and helps to serve as the forefront of the song for most of its run time. Head on over the jump for the stream!
In recent years, an almost non-stop debate has begun as to what can be considered true “kvlt” black metal. Must it remain true to the first two waves, forever doomed to copy the styles of Bathory and Mayhem, or can it expand, incorporating (gasp) major scales and ambient parts? If anything, these “debates” (if you can even call a bunch of guys on internet comment boards arguing a debate) have grown increasingly hostile as bands such as Deafheaven and Bosse De Nage steadily gaining popularity in the metal and even wider music scenes. It is these bands popularity, as well as their willingness to experiment, that help to perfectly pave the way for Chicago/Baltimore based experimental black metal/noise band Locrian‘s latest effort, Infinite Dissolution.
Starter Kit analyzes the ins-and-outs of some of the more obscure and niche sub-genres within the metal spectrum and offers a small group of bands that best represent the sound. Read other Starter Kit entries here.
Comprised of lilting, reverbial cleans, and hard-hitting, harsh walls of distorted aggression, the disparate dichotomy of post-black metal makes it an inherently difficult genre to get into. Fear not, though! The dynamic duo of Jimmy Rowe and Simon Handmaker is here to guide you through this fearful genre like it’s a forest at night and we’re the ones with the flashlights. Just follow us, and by the end of this, you too will be ready to navigate the darkened woods that make up this beautiful, evocative, and strange metal subgenre.
The sound of post-black is, for lack of a better word, formulaic, but in a way that works almost exclusively to the genre’s advantage: rather than being focused on constantly pushing boundaries outwards, post-black has nestled itself into a comfortable sonic niche. The two parts that make up its sound are, in the order of which they usually appear in a track, the typical black metal parts, comprised of wails, staggeringly distorted riffs, and plentiful blast beats, and the clean parts, which are usually instrumental, and often include little beyond guitar arpeggios absolutely drenched in reverb. These clean parts are, more than anything, what give the genre its distinct flavor, a fine bouquet of invigorating anger and refreshing peace that creates and then immediately relieves tension.
Post-black is one of the few metal genres that I would call “beautiful”. There’s a certain spectral elegance to the way the instruments intermingle and play off of each other that isn’t really emulated with any other subgenre within metal. And so, here, for your listening pleasure today, Jimmy and I have pooled our minds together to give you the definitive Post-Black Metal Starter Kit. Enjoy.
Last week, Deafheaven unveiled their upcoming album New Bermuda on Anti-Records. Yesterday, they announced their fall tour with Envy (!!!) and Tribulation. Be sure to check out New Bermuda when it comes out on October 2nd, 2015. Official statement and dates below.
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.
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.