December is a shocking month to release music in. If you’re thinking about doing so, don’t. Most publications have already settled on their end-of-year list, and if they haven’t been published yet they’ll be coming soon. Music journalists are going into shut-down mode as they give themselves some time off and try to recover from the mountain of listening they did in preparation for their end-of-year list. Listeners are on holidays and are enjoying their time off with loved ones. If they’re listening to music it’s going to be their personal favourites and not some new record that’s dropped. What this all means is that albums released in December are likely to get lost, falling into an abyss from which escape is near-impossible even for those with a formidable PR machine behind them. When you’re independent you’ve almost got no chance. That’s my theory for how an album as great as Fleshmeadow’s debut Umbra slipped through the cracks in late 2016 and why they’re still a largely unknown quantity. But we’re trying to fix that because these blackened death metallers are ready to rip your face off.
It hasn’t been too long since we told you about Turin’s Ultra-Violence, a band approaching thrash metal from a clever and convincing perspective. The secret to the formula was injecting it with plenty of heavy metal influences, found on emotional outros, killer bass lines and larger than life choruses. Seeing as the band hail from what we’d consider a “musical periphery” and don’t exactly conform to many of the habits of the more mainstream and settled scenes of metal, digging into their influences presented us with a tantalizing opportunity. And thus, we are proud to present to you today a host of interesting picks from Loris Castiglia (vocals/guitars).
Debut albums are an odd beast. Even when they’re good they tend to come with a lot of growing pains, and bands at this early stage in their career tend to lack the self-awareness to really exploit their own potential. Sometimes, this rough, unrefined approach is great. It can often…
In 2015, Kyle Gaddo told you to listen to the band; citing its equal influences from Gojira, Tool and, to an extent, the nu-metal scene, Kyle found much to love about the groovy and evocative metal that Adimiron produced on Timelapse. And rightfully; that album is damn good. Nearly two years later, Noyan rediscovered the band via a related link and shared his “new found” passion with the rest of us. This conviction led me to listen to them and I instantly fell in love; to the influences cited above I could add Opeth, especially during the Blackwater Park / Ghost Reveries period, which is my favorite. This mix of modern influences and a flawless execution is what initially drew me to the band, once my social circles had brought my attention to them, twice.
Hello and welcome once more to Death’s Door. You know the drill. The month of August was an absolute monster in the world of metal, but especially so in death metal. Good lord of darkness, just LOOK at the amount of music being covered this month! We’ve thrown guidelines out…
For all the shit I give the UK for it’s inherently inbred scene politics, there are some ridiculously suave acts plying their trade in the home nations right now. Harbinger have been slowly amassing a following verging on screaming teen girl fandom (I’m a Harbingal, what can I say) and on their recent Basick Records debut Human Dust they’ve cemented their place in the new elite of UK metal. Their sound is awash with technical flair, hair whipping groove and solid death metal riffing. 99% of bands trying to incorporate stylish leads and crushing breakdowns end up falling victim to the ten-ideas-at-oncecore that isn’t pleasing on the ear whatsoever. Not Harbinger. The riff and lick factory that they operate produces seamless and wholly satisfying modern death, even with the wide array of influences present in the band; an array of influences which each member of the band gives us an insight into below. Enjoi.
It’s been a minute since our last Holy Roar Records File and even longer since I wrote one. It’s only appropriate that the post is dusted off and brought back for this. Somehow, I hadn’t covered Employed To Serve in this feature before but that HAD to change for one reason; The Warmth Of A Dying Sun releases today and is a bona fide game changer in hardcore and heavy music. You can throw Code Orange at me all you want, Employed To Serve are thee band at the forefront of genre smashing heavy music. As always, make your own damn mind up about but if you feel like you need convincing then read ahead. There will be bountiful amounts of hyperbole and fruity language – oh, and a track by track breakdown from EtS’s very own Justine Jones. Tight.
During the mid-2000s, the UK hardcore and metal scene underwent a re-energisation of sorts due to the emergence of several bands who have since spearheaded the genres to modern popularity. Bands like Enter Shikari and Bring Me the Horizon resonated with mainstream crowds since their inceptions and have since established themselves as global institutions. On the other hand, Architects instantly occupied the forefront of an underground charge and, over the years, have also crossed over into popular realms. However, bubbling underneath the surface was (and still is) a whole scene of innovative, vital artists whose records define the country’s musical output at its finest, with albums that will undoubtedly stand the test of time among aficionados of heavy music. One such act is Devil Sold His Soul who, in this writer’s humble opinion, are one of the best bands the UK has ever birthed.
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.
It could be said that three albums and one EP into their career, Fit for an Autopsy are one of the most consistent bands in deathcore. Note that “consistent” here does not mean the band is churning out the same stuff over and over again, but rather that they hold themselves…