Veil of Maya – False Idol

In 2015, metalcore pioneers Veil of Maya released their fifth album Matriarch. It was their first record with clean vocals on it, courtesy of new vocalist Lukas Magyar. Depending on who you ask, the injection of this new blood either reinvigorated the group, poisoned them, or worse, made them sound like a Periphery clone. Whether…

Loincloth – Psalm of the Morbid Whore

Loincloth are an interesting group, one that meshes together various elements from realms of metal but keeps a very distinct sound of sludgy, crushing, and almost atonal instrumental metal. Their records sit nice and snuggly on their Southern Lord label, baring resemblance to the general dark ambiance and heavy production that bring together other artists in this territory. Not only do they have their sound up to scratch, but they even get quite progressive within their sound, employing left-field rhythms and grooves that are extremely math-core inspired and really grab you and keep you engaged. This band have so much going for them, and they truly showcase what it means to do a lot with a little. Not to mention I absolutely love that I can put an image to this music of three shirtless, bearded guys in a claustrophobic room, jamming intensely while getting lost in the power of the riff. But yet, while this record is a fun experience at first, there’s some qualities to it that need some workshopping because this release wears pretty thin, pretty fast.

Hey! Listen To Sea In The Sky!

Do you like exclusively clean vocals? Do you like progressive rock with a bit of a groovy, even djent-y edge to it? Will you listen to anything that comes out of the San Francisco Bay Area music scene? Well then, have I got the band for you! They’re called Sea in the Sky and though they liken themselves to Periphery, CHON and Polyphia, I hear flashes of swancore bands like Dance Gavin Dance, Stolas and Hail the Sun. They’re releasing a new album on September 29th called Everything All at Once, but luckily we can listen to two singles from it right this very moment!

The Celtic Connection – Serenity Came Calling Debut “Tenebris” Music Video

We’re a wee country, Scotland. We like to think we’re world beaters at anything we try our hand at. Doesn’t matter whether it’s football, politics or metal, it’s not in our people’s nature to half ass anything. Last week we got to hear brand new music from one of the country’s more elusive acts and today, we give you the brand new, still warm to the touch it’s that hot off the press music video from Serenity Came Calling. Newbies should head over the jump for crushing yet silky tones a la Northlane and bruising metalcore a la Wage War. No half measures.

Djent Was A Genre Full Of Great Debuts And Little Else

Djent had an explosive entrance into the world of heavy music, around the start of the decade. It was a truly exciting occurrence, with first-wave acts like Periphery, Animals As Leaders and Cloudkicker filtering the technically-driven progressive sound of acts like Meshuggah, Sikth, and those of the budding “Sumeriancore” movement, into something  altogether more accessible, while still retaining much of their forebears’ technical and progressive edge. Yet, like most new sub-genres, djent quickly devolved into pastiche and gave way to over saturation—perhaps a little bit quicker than most. Djent, it seems, has had a propperly ballistic trajectory, and—in 2017—as its momentum trails off, it’s hard to get excited about this once-promising phenomenon.

EXCLUSIVE PREMIERE – The Cartographer Swing In To “Vultures” Music Video

I love hearing the influence of bands I already love in new music. Maybe The Cartographer weren’t necessarily thinking of Fear Factory when they wrote “Vultures”, but that’s kind of what I’m getting. Taken from their Human Error EP released last year, we’ve got the video premiere for this groovy beast of a track. With consumer tastes in “proper” metal changing so rapidly, it’s nice to have a band to remind people that certain sounds are always satisfying. It’s groovy and it’s heavy and it will damn well make you bang your head.

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?

Release Day Roundup – 7/14/17

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 trove, others find themselves drawing a blank at the end of the month due to the breakneck pace needed to keep up to date with what’s been released. Which brings us to this Heavy Blog PSA: a weekly roundup of new albums which pares down the the day’s releases to only our highest recommendations. Here you’ll find full album/single streams, pre-order links and, most importantly, a collection of albums that could very well earn a spot on your year end list. Enjoy!

Uneven Structure – La Partition

Let’s get the superlatives out of the way right now: Uneven Structure’s debut album Februus is the greatest album to come out of the djent movement. There are contenders, for sure. Masstaden. One. Periphery. Each album was groundbreaking in its own right and contributed great things to the genre, but when examine progressive songwriting abilities, emotional content, scope of dynamic, and overall ambition, Februus rose above the rest. Needless to say, this provides a bit of a challenge for the French prog unit; some bands that find themselves wedged into a niche fail to find much light trying to claw out from behind the shadows cast by a monolithic debut. Factor in lineup changes and nearly six years between records, the hype and anticipation built for their sophomore full-length might seem insurmountable. Can lightening strike twice, or can Februus’ power be attributed to a fluke of being in the right place at the right time?