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.
Like it or not, a whole bunch of the staff at Heavy Blog “grew up” on deathcore in the mid to late 2000’s. Some love to admit it and some loathe to—some didn’t listen to it at all because they were clearly more well-adjusted to life and stuff. With a decade of deathcore now (well and truly) behind us, it’s probably an appropriate time to look at some of the genre’s most notable releases in that time. As it’s 2017, let’s start with 2007 (well done, mathletes) and the first full length from California lyric shirt pioneers Suicide Silence. If your favourite deathcore release came out in 2006 then sorry, look elsewhere.
This episode is just too good. Seriously, just listen to it. What does it contain? Edgy cultural/political jokes, a history of black metal and racism, an extended cool people section shitposting on philosophers like Kant, and much more. I’ll just tag some of the relevant bands here for SEO purposes, and the left is at your own peril. Abandon all hope, we who enter here. Warbringer, Suicide Silence, As I Lay Dying, Dream Theater, Overkill, Nidingr feat Myrkur, Sikth, Megadeth, Angra, Killswitch Engage. There you go.
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.
Supergroups are almost always a tricky endeavor. It’s inevitably impossible to not have incredible expectations attached to them, especially when they involve members of some of Metal Blade Records’ biggest acts like Killswitch Engage, Cannibal Corpse, and The Black Dahlia Murder. Add to that the fact that Serpentine Dominion has been in talks for almost five years now in some shape or form, and it’d seem almost impossible for this project to live up to the expectations fans have built up for it. Thankfully, this self-titled debut doesn’t falter and delivers a concise yet brutally-appropriate slab of melodic death metal that feels like each of these three musicians’ best work in quite some time.
Meta-title! How metal of me to be very meta on a metal podcast that’s also pretty meta. This week we have a bunch of news. Either new releases, singles, teasers or whatever from: Inanimate Existence, Darkthrone, Wardruna, The Dillinger Escape Plan, Sinsaenum, Lamb of God, Voivod, Shokran, Dark Tranquillity, Thy Catafalque, Fit for An Autopsy, The Agonist, Disillusion, Exotype, Native Construct and Serpentine Dominion. Also an analysis of how global metal is, Pelagic Records’s starter kit, and a top 10 list of bands from Norway. While on the topic of top 10 lists, we do an impromptu “Top 10 songs that have the desired effect every time”. Or as Eden calls it, “Evergreen songs” or something. Whatever. Then we have our bullshit philosophy corner on Hegelian dialectics and the early metal scene! Finally, we talk about No Man’s Sky in the cool people section. Whew!
This week we don’t have a billion news items, thankfully! I was sick so I take the backseat a bit. We talk about Corey Taylor’s behavior at a show and also his comments about BLM, and Robb Flynn and Jesse Leach weigh in as well. That’s Slipknot, Machine Head and Killswitch Engage,…
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.
Jimmy Two’s first edition of this column was great and had me harking back to the glory days of browsing CD’s for hours and stressing because I only ever had enough money for one. One album kept coming to mind when I was considering what to pick for this feature. The album in question is the often heralded Alive Or Just Breathing by Killswitch Engage.
36 Crazyfists has always been a band that hasn’t achieved huge popularity, but they have proven time and time again that solid songwriting and musicianship aren’t tied to any particular genre. What makes A Snow Capped Romance so good, aside from its stellar songwriting, is the way the band is able to convey heavy emotions without becoming melodramatic in the process.