Mike Shinoda – Post Traumatic

Today marks around 12 months since the passing of Chester Bennington, another all too frequent day that sends shockwaves rippling through the music community. In this instance, more so than most, the sadness and anguish weren’t contained to the metal or rock communities, but the music world more broadly. Yet, as difficult as his death has been for countless people the world over, few would have felt his loss to the extent that friend and bandmate Mike Shinoda has. Our words couldn’t possibly describe how he would have been feeling, for grief is such a personal emotion, and so we won’t even try. But we can touch upon the various motivations that may have been at play when deciding to write, record and release Post Traumatic, a 16-song LP released in June.

All Pigs Must Die – Hostage Animal

When you try and cage what was never intended to be caged, a primal rage can be brought to the surface. Trapping an animal can lead to the unlocking of something deep inside that lets it know it was never supposed to be kept from its freedom. Though the vicious All Pigs Must Die are free to roam the hellscape of life, it would seems that they’ve found a way to channel this cage induced rage on their latest album, Hostage Animal. Their latest record is the sound equivalent of chewed, worm cage bars, sleeping in the blood on the floor of your cage that’s leaked from your teeth when you’ve gnawed on the metal for too long and being prodded endlessly by those who only seek to harm you.

Hey! Listen to The King is Blind!

What exactly qualifies as “metal” can be a contentious issue. As any dedicated listener knows, the label itself accounts for a wide spread of sub-genres—ranging from softer, more atmospherically-inclined fare such as post-black/gaze and folk metal; to the frantic, bombastic realms of speed and power metal; and onto the spasmodic worlds of math- and grindcore; and even the bleak, all-encompassing, sonic oppression of drone and funeral doom. Many of these sub-genres remain contentious, and what is considered metal, or even just heavy music can shift and change depending upon what circles you frequent. Then again, there are those bands who (for any number of reasons) simply ooze the ideal of heavy metal, no matter which way you look at them, so that their status as a nothing less than a fucking heavy metal band cannot be denied. The King is Blind are one of those bands.

The Metal Explosion: 1983 – 1984

Metal, like any current history, is a neverending story — a songbook perpetually revising its denouement in the storm of new releases shattering our ears and expectations by the month. But as exciting as it is to experience the history unfolding before us, that work is already done by listeners and blogs like this one on a daily basis. Vitally important and critically overlooked, I think, is the history of metal — the first chapters yellowing in the forty-odd years since they were bound in black and leather. This post, then, will serve as a continuation of this article detailing the early days of metal, and particularly the incredible importance of Iron Maiden’s The Number of the Beast to the fledgling genre.

The Devil’s Roots: LaVeyan Satanism In Metal

In America during the 1960s, times they were o’ changing. Rock n’ roll was huge, Beatlemania was runnin’ wild, the Civil Rights Movement was changing the world, hippies were doing drugs and having sex all over the place, and other countercultures that opposed televangelism and conservatism in favour of individualism and free thinking were suddenly more popular than ever. Times like these also afforded men like the Church of Satan’s founder Anton LaVey to become mainstream celebrities, both feared and adorned, and if there’s one man that was essential in the emergence of Satanic philosophy becoming known in the public consciousness, it’s Lavey.

Hey! Listen to House of Lightning!

House of Lightning are back. Where were they? Who knows? Who cares? What’s really important is that they’re back with a new full-length since their 2014 debut, Lightworker. Consisting of members from Torche, Wrong, and Floor, these dudes don’t mess with Frankenstein-esque genre experiments or tomfoolery. Instead, they invest their talents into the piss-and-vinegar energy of an in-your-face blend of metal, rock, and punk.