Death metal, on the whole, is a fairly hateful genre of music. So much so that I often wonder why I enjoy it as thoroughly as I do. Its sonic textures, lyrical themes, and visual aesthetic are frequently driven toward the excessively violent, emotionally morbid, and the downright macabre. None…
Welcome to Death’s Door. Wipe your snowy boots on the mat. Which, I mean, is obviously a joke. Because there’s no snow anywhere on this godforsaken rock. It’s a million degrees outside and all of humanity is hurtling toward ecological destruction. How delightful. Pull up a bone chair and get…
Eden is back! And this week we’re extra salty due to being tired and overworked. We discuss some new music, new stuff involving music, and cool people stuff. Enjoy!
The moniker “cinematic” post rock is constantly used today; it denotes the orchestral, drawn out and melodic grandeur of a certain type of post rock, first made famous by Explosions In the Sky and God Is An Astronaut. The ties to cinema are purely conceptual, running through the linked themes of soundtracks and their musical habits. However, what if I were to tell you of an actual cinematic post rock band, one which draws on film not only for its concepts but also as samples in their music? Enter Féroces, a French band which does just that; their debut EP, Juliette, integrates film right into the music to create an intriguing take on somber, melancholic post rock.
Just this past week we saw how important the ACLU still is. One of the first to confront the so called “Muslim ban” enacted by the indifferent pen of Donald Trump, it began the long and arduous legal battle against this administration. With not only the presidency but also Congress and Senate painted in the most extreme and reckless red imaginable, their work will grow seven-fold; now they must take on the legislative branch instead. Thus, and despite of the already remarkable success their fundraising has seen in the past week, Bandcamp’s contribution to the ACLU is admirable. We’re here to do our share; below you’ll find a list of artists that are worthy of your support on this Friday.
Side projects are either an iteration on the main project’s sound or a complete departure thereof, aiming at identity and self-definition. It takes a special breed of musician to walk that thin line and somehow meet the main project while still maintaining uniqueness. It has to be a subtle and a thematic welding point; too obvious, and the styles just stick together, too obscure and there’s no real ground for comparison. Let me introduce you to Convulsing, a steaming, abrasive trainwreck of corrosive blackened death metal from the mind of one Brendan Sloan, also a premier part of a band called Dumbsaint. Yeah, those guys; the guys with the movies and the post metal. So how in the hell does one find common ground between the monolithic hatred of Convulsing and the cold misanthropy of Dumbsaint? Simple; it’s all in the tone.
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.
Hello everyone! We have a bit of a special week for you; as Noyan was unavailable, we are proud to present you with Eden’s interview of Nicholas Andrews (which goes on for more than the 30 minutes which Eden mistakenly cites in the intro because he is an egg), member of the post-metal band Dumbsaint! As Eden says in the intro, these guys are one of the most promising post metal acts around, coming right out of the dynamic Australian scene. They’re doing something pretty unique and special with their latest album, Panorama, In Ten Pieces.. In June, a full feature film will be released which serves as a companion piece to the album. It explores themes of horror, urban decay, personal instability, sexual deviance and more, all while meshing with the album’s music in intelligent ways. The two talk about the album, post metal, the Australian scene and much more!
We often talk about the aesthetics which surround a band which go further than just their music: clothing, artwork, lyrics, videos, stage sets and more. All of these blend into what is, ultimately, an intellectual construct, the image of the band in our heads. This image is important to understanding and appreciating the music. It can tilt it in numerous directions and even cause us to pay attention to something that we might not have, otherwise. One of the bands with the most grandiose and ambitious history at creating this extra aesthetic is Dumbsaint. The post metal ensemble from Australia has been delving, for years now, deeper into a shared image base for their releases. Their three part album, told in reverse, Disappearance in A Minor Role, was a step up in this regards: it was accompanied by intriguing video-art, opening a portal into the dark landscape which operated in tandem to the music.
But this time, the band have outdone themselves. Their latest album, Panorama, in ten pieces., was released in August of last year and was a damn masterpiece. I’ve written a lot about it, so go check it out over here. With its monumental musical achievement, we also got two videos: “Cold Call” and “Rosie”. It was obvious, both from the videos themselves, and from statements from the band, that these were part of a larger story. How much larger? Panorama, in ten pieces. is a feature film, matching every single second of music found on the album. Having been privileged enough to watch the whole thing well ahead of its June 13 release, I can safely tell you that it’s amazing.
The Southern hemisphere’s island-continent of Australia has lately been the unholiest of breeding grounds for music, and the label Art as Catharsis has been hand-picking the most beautifully hideous flowers for years to make an ever-growing bouquet of the most obscene kind. They deal with all sorts of music, mostly metal – post-metal, drone, shoegaze, black metal, you name it – and jazz, but always with an experimental twist to it, and often blending various styles and blurring the lines between the genres. Most recently, I’ve come to absolutely love it through bands like Instrumental (adj.), Dumbsaint, Serious Beak, We Lost the Sea and, today’s topic, Kurushimi.