No Heroes In New England // Week of May 22, 2016

Welcome to No Heroes in New England, a new feature on Heavy Blog where we give a nod to some of the newest and relatively undiscovered hardcore talent coming out of New England. The word “hardcore” is a term with a bit of history, so we’ll be covering anything within the hardcore genre, whether it’s punk, metallic hardcore, or post-hardcore. As long as it tears faces off with its aggression and comes from New England, we’ll cover it. New England has been one of the capitals of hardcore music since bands like SS Decontrol and DYS broke out of Boston in the 1980s, and in the last thirty or so years it’s cemented its status, giving the world groups like Converge and Killswitch Engage who have indelibly changed the face of metal and hardcore music for the better. To ignore this part of America is missing a crucial chunk of music today, as even relatively new acts such as Trap Them and The Great American Ghost hail from New England.

The Body – No One Deserves Happiness

However, despite what the name implies, No One Deserves Happiness is NOT the warm, fuzzy Rom-Com soundtrack we all thought it might be, instead proving itself to be a strange, savage piece of music that fits somewhere between the usual output of The Body and a Rihanna album. It is odd in all the best ways, a true testament of counter-counter-culture, perfect for listening to while lurking in a basement somewhere with the lights off, refusing to shower, refusing to use even a smidgeon of deodorant for fear that it may actually attract someone of the opposite sex. Yes, this album is nasty, a true central pillar in a world of grime, but oddly enough, poppy in the most perverse way possible, a contrast that proves once again that The Body is unafraid to tread where others fear to go, refusing to set trends because the music is abrasive to the point where no one in their right mind would want to copy it. With all of this in mind, enter No One Deserves Happiness, a masterpiece of perverted pop music.

Jørgen Munkeby of SHINING’s Guide To Playing Sax In Metal

jorgen sax guide

When I wrote my article on incorporating sax into metal a few weeks ago, I was not subtle in my praise for the man and the machine known as Jørgen Munkeby. As the individual behind Shining and the player responsible for so many of modern metal’s great sax solos, it would be near impossible to get far in discussing the instrument’s use in the format without landing squarely on him. So I was just a little bit more than flattered when Jørgen shared the post himself and praised it. I figured that would be the end of it, but I was wrong in the best possible way, because Jørgen took this whole thing one step further and contacted us out of the blue with a list of seven excellent tips he feels are crucial to any aspiring sax player who wants to doot some brutal-sounding shit.

Entombed A.D. – Dead Dawn

The regionality of sound within the metal spectrum is an intriguing yet oft overlooked characteristic of this ever expanding genre. In the earlier years of metal, it used to be that bands were grouped under a regional definition to describe their style; NWOBHM, Gothenburg style death metal, Bay Area thrash are but a few examples. Yet this kind of geographic subdivision seems to become a thing of the past as the internet and other modern aspects of life continue to blur cultural barriers and connect everyone with increasing ease. Nowadays, these regionally defined styles can come from bands far and away from the sub-genre’s original birthplace. Take for example the old-school Swedish death metal with its classic buzz saw guitar sound, plodding drums and guttural growls. While still largely dominated by Swedish bands, it has slowly grown into a niche sound that’s being played by bands from other countries.

Hey! Listen To Lik!

It seems that whenever I get recommended new music, it comes from one of three places: Youtube “recommended” videos (which are usually full album streams), through staff members of our site, and through my good friend Bradley. While the first two can encompass a wide range of genres, Bradley is…

Twitching Tongues – Disharmony

If one major issue had to be pinpointed with the larger genre of hardcore music, it would have to be redundancy through imitation. More specifically, it’s an obsessive hang up that many hardcore bands seem to have with trying to emulate Madball, both sound-wise and lyrically. Normally, if only a handful of…

What Heavy Blog Is Really Listening To – Playlist Swap – 9/26/15

Even a cursory glance of our biweekly “What Heavy Blog Is Really Listening To” posts (last week’s update here) will reveal that there is a great deal of variety among our staff’s musical tastes. Due to this, we brainstormed the idea of “Playlist Swap,” another biweekly segment that takes place…

Wombbath – Downfall Rising

In discussing Downfall Rising, it is impossible to avoid framing Wombbath’s resurfacing within two themes within the annals of death metal history. It is first obvious to focus upon Downfall Rising’s status as a comeback record; one would hope that the impetus for ceasing a two decade hiatus was a…

Undergang – Døden Læger Alle Sår

Only vulgar adjectives accurately describe the sounds fileted for public consumption by Danish trio Undergang. With a self-described M.O. of “regurgitating sewer death metal since 2008,” the band has spent the several years churning out bile-grade releases that harken back to the genre’s Nineties golden age. Indeed, albums such as…