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.
The wait is over. The release date for Opeth’s latest, Sorceress, is almost upon us; and with it, the latest round in the controversy that has dogged them for three albums now. “What happened to the death growls?” “Why aren’t these guys heavy anymore?” “Opeth sucks now.” These are not opinions that I personally share, as I’m huge fan of Pale Communion. That said, Heritage is certainly not their best record, or even one of their top 5. In fact, it may even be their weakest. No shame there, given the ridiculous quality of their complete discography. Time will tell how successful and well-regarded Sorceress is, though early indications are that your opinion on Sorceress will likely mirror your opinion on Pale Communion. The two tracks released in advance, the title track and “Will O’ The Wisp” certainly strongly suggest this.
But they aren’t the first band to release a record that has the fans howling with rage.
Doom metal is currently undergoing a dynamic, explosive proliferation, where you’d like to call a revival or not. Now is the time to try and understand this vector before it races far away from understanding into the endless realms of modern music. Let’s dive in.