When TesseracT’s Daniel Tompkins decided to explore his own pet project by joining forces with Skyharbor’s Keshav Dhar and Randy Slaugh to create White Moth Black Butterfly, it began as a modest attempt to explore some ideas that diverged from the type of rock for which his main band is most known. 2013’s One Thousand Wings (here’s what we had to say about “Certainty” from that album) was a sonic departure, to be sure, but it still maintained something of a kinship with its flagship influences. As with anything that we’ve come to understand about Tompkins, he will expound upon ideas over time and so the re-emergence of this project in 2017 means we should expect a few new twists, turns, and embellishments on the sound he helped to create several years ago.
I’ve written before, as I’m sure I will again, about the therapeutic nature, if not outright necessity, of music. The healing properties and medicinal purposes of this art is fairly well-chronicled but we can never be reminded of that enough. In my own experiences, and where I find myself in life, a lot of that healing or mental well-being is cultivated in listening to varieties of post-fill in the blank music. I listen to it at night when I need to calm my brain down, when I need to be able to focus on work, or I feel something that I can’t express. Others will inevitably have their own preferred niche, genre, or style. None of them are invalid options.
By now, most know what happened in Charlottesville, VA on Saturday, August 12th. We have been shaken by the tragic and senseless killing of Heather Heyer at the hands of a white supremacist. We saw Nazis, actual ones, in uniform with allies from other hate groups, including the KKK, on…
Sometimes you put on a record and the music cascading into your head gives you a jolt straight up your spine. That opening salvo is everything you want, pushing all the right buttons and getting your blood pumping, your heart racing, and your mind zeroed in on nothing but the music. Pure, unadulterated sound that fills you with elation, an exuberance you can barely contain. I have been overcome by this sensation many times as a music listener. It’s that uncommon state of absolute and unashamed excitement for what comes next. Unfortunately, what actually comes next doesn’t always live up to that initial rush, either by sheer sugar rush effect or simply because the remaining tracks on the album aren’t up to the standards set by the opening track. What it comes down to is that many albums are good, but few are great. It is a truth that music lovers have to accept every time that damned opening track teases us into blind, all-encompassing hope that the rest of the album will live up to the soaring heights of those first few, precious moments. Cormorant’s new album Diaspora gave me this feeling I just described. But in those first few incredible moments, I couldn’t help wondering whether this reaction would persist. What resulted over the next hour was a thoroughly remarkable journey that I have relived and revisited many times since then. TL;DR: This album is profoundly good.
Each month, we always seem to come to the same conclusion when it comes to our Editors’ Picks column: Friday release days open the floodgates and unleash a seemingly endless stream of quality new music. But while some of our Editors and Contributors sit down gleefully each week to dive into this newly stocked treasure trove, others find themselves drawing a blank at the end of the month due to the breakneck pace needed to keep up to date with what’s been released. Which brings us to this Heavy Blog PSA: a weekly roundup of new albums which pares down the the week’s releases to only our highest recommendations. Here you’ll find full album/single streams, pre-order links and, most importantly, a collection of albums that could very well earn a spot on your year end list. Enjoy!
A little while ago, Scottish atmospheric miscreants Falloch released This Island, Our Funeral on Candlelight Records. The record was a doozy, with our very own editorial darling Scott Murphy reviewing it and finding plenty to praise but enough to criticise also. By the end of the record, the black metal tag was long since painted over, with post-metal, folk and gaze sounds becoming more prominent. Fast forward to right this very second. Falloch have brushed the dust off their shoulders and blown out the candle on the last record with a refreshed lineup and delicately tinkered new sound. After sitting on Prospice for nearly a year they are finally ready to unload seven tracks of gorgeous, atmospheric music upon the world. Head on over the jump to hear the first track from the album, “Fata Morgana.”
Richmond, VA post-rock/metal act Shy, Low are a band that have miraculously escaped our official attention on this site, which is quite simply a huge mistake on our parts. The band’s previous full-length, 2015’s Hiraeth, is an example of brilliantly-executed and emotionally-tinged cinematic instrumental rock that skirts the line between post-rock and metal in league with the likes of Caspian and We Lost The Sea. It’s great stuff that any fan of this kind of music should be listening to.
Another homegrown project we are immensely fond of comes straight from our dear editor-in-chief, the aforementioned Eden Kupermintz, and our good friend Greg Greenberg (Seven Circles), who, with guitarists Doug Van Bevers and Nick Maini and drummer Travis Orbin (ex-Periphery, Darkest Hour) form Instar, a beautiful fusion of post-rock, math-rock, jazz/metal fusion, and spoken word. Those who are at all familiar with Eden know that he is an ardent lover and connoisseur of sci-fi and a writer himself, and he lends his own illustrative prose and mellifluous voice to give the project a distinctly cosmic post-y feeling. The last time we mentioned the band on this site it was to recommend their debut EP, which featured Eden on one track and other guest vocalists on the other two. Eden has since joined the project as a full-fledged member, and if the lead track from their upcoming album Ex Nihilo Cycles “Stepping Stones” is any indication, Instar is prepared to take an enormous leap for their first full-length release.
As I wrote in my review of LA post/math-rock enclave Arms of Tripoli’s recent sophomore album Daughters, I have a particular soft spot for the band not only because they clearly pull influence from so many instrumental and progressive bands that I already love, but also because they were the first band I came to know and love specifically through writing for Heavy Blog back in 2014 for their debut full-length Dream In Tongues. In my mind the band are just about everything that is good about instrumental post-rock without any of the bloat, mediocrity, and tediousness that plagues so much of the genre and its heavier cousins in post-metal. I’ve been following them closely since and eagerly awaited their next release. So when Arms’ bassist Mike Bouvet reached out to me personally about the upcoming release of Daughters, I knew that I wanted to talk to them about a whole bunch of things. Over a few e-mails we discussed their formation, their collaboration and improv-focused writing process, what sets them apart from most post-rock bands out there, and, of course, eggs.
If we were to make a word cloud out of all of the post rock reviews and op-eds in the world, how much space do you think the word “drums” would take? While such a word cloud remains an unreachable goal, we’d wager that it wouldn’t take much space at…