Has there ever been a more aptly named compilation that A Thousand Arms’s Erosion? Probably named, as this compilation is filled with tons of geographically diverse stoner, doom, and everything in between. You have your feedback based meditations on the farthest reaches of space/the psyche, the heavier thundering of crashing waves on cliffs and the decidedly dipped in the good leaf. Most of all though, A Thousand Arms continues its efforts to bring to the light of day more obscure and less optimally located bands, shinning a light on some names you’re bound to find surprising and, hopefully, pleasing. As the compilation, which is divided into two sides, features tons of music, we’ve taken the liberty of being your guides. Let’s get started!
Let’s state facts: Clrvynt’s preface to “The Director of ‘Maryland Deathfest: The Movie’:’Metal is the Fucking Worst'” (this is literally how the post’s title was formatted by the way, I didn’t change it) is bullshit. Running an article filled with borderline/not-really-borderline-at-all misogyny, homophobia, and very palpable hatred for a huge swath of the community you’re part of is a terrible thing to do. However, if you’ve already decided to do that, don’t cop out by writing a six-line preface nominally denouncing the opinions contained therein. At least own the fact that you’re giving shitty opinions a stage and have some honesty.
I’ve been on a post black metal binge right now and let me tell you, I regret absolutely nothing. The stylistic fringes are doing some great things right now, perhaps feeding off of the general momentum black metal seems to have in 2017. As part of this slew of new bands, UK based Asira have carved something of their own niche within my rotation. I’ve seen black metal tinged with almost everything but progressive rock is a new one for me. That’s exactly what Efference does though: into the dream-y tremolo riffs and weighty blastbeats, it injects raw, treble focused solos that best belong on a Led Zeppelin album. Alongside, it also includes clean vocals and ambient sections which remind one of King Crimson or Yes. Yeah, I know, right? Head on below for your listen
There are some punk bands that still manage to subvert the grand cliches, both musical and stylistic, that overtook punk. One of those bands is Canadian hardcore/punk/experimental heroes Fucked Up, a band who has never shied away from pushing punk to its very furthest limits, effectively achieving the goals punk initially set out to accomplish. Recently I was lucky enough to talk to their drummer Jonah Falco about exactly what inspires Fucked Up to constantly push the boundaries of punk music, as well as their most recent release, Year of the Snake.
Today’s venture into the forgotten vault turns up a band more mummified than most; Sir Lord Baltimore’s seminal album Kingdom Come released in 1970 (nearly 50 years ago!), just as faster, louder forms of rock ‘n’ roll began to break ground. Still, their sarcophagus is more decorated than most. Sir…
Today we’re joined by none other than Michael Gagen, guitarist extraordinaire at bands you may have heard of, like hazards of swimming naked and (ex-) Arcane, and bands you’ve probably never heard of, like Echotide, agrammeofsoma and more. We don’t know which of those bands you’ve heard of, but we…
If a poster was created of famous devil-worshippers then Aleister Crowley’s face would no doubt be near the front and center. Despite not actually being a Satanist, Crowley’s “wicked’’ deeds placed him in league with the Dark Lord in the eye’s of the public back in his heyday. However, he was a practitioner of Thelema, a spiritual philosophy of self-empowerment that’s often lumped in with the glorification of evil much like Satanism has been throughout the years. And like old Beelzebub, Crowley and heavy metal fit together like a hand in glove, and his influence in heavy music can be traced all the way back to the genre’s earliest years.
The self-dubbed “Massachusetts Regressive Metal” foursome are back at it again after their release of the debut EP First Batch earlier in the year, which we had the pleasure of premiering as well. If you’ve been enjoying the EP so far (and if not, why not? It’s four bucks on…
With Heavy Blog having changed the kind of content we publish and how we publish it, we’ve decided to retire our recurring Unmetal Monday column in favor of more ongoing/mercurial coverage of unmetal genres like indie rock, alternative, EDM, and more. One of the side effects of this is that we no longer had a central place to write about new music and albums from these kinds of artists/bands in a more informal way – things we might want to talk about but not necessarily in long-form. In light of that and our tradition of combining certain metal releases into groups to form “Rapidfire Reviews,” we’ve established this semi-regular column to take three recent or upcoming releases from the world of “indie” in the pejorative sense and offer some quick takes on them. In our latest Indie Rapidfire Roundup, contributor Mike McMahan and editors Nick Cusworth and Scott Murphy offer their thoughts on three very different, yet all well-anticipated albums: La Sera’s Queens, Nicolas Jaar’s Sirens and Preoccupations self-titled debut.
Since these once trailblazers, a band who formed an entire genre underneath their influence, have turned to retrospection, the issues of meaningful repetition echo throughout their two previous releases. And now these issues thunder on in their newest effort, Sorceress, third of the “post-growl” Opeth (or fourth, if you’re someone who includes transitions within their phenomena). With a clearly stated backwards gaze, an intentional and meditated imitation of trendsetters at its basis, Sorceress simply cannot be understood as anything other than a further data point in the age old pursuit after the meaning and nature of inspiration.