If you have even a passing interest in the buying of synthwave music on physical media, specifically that of the vinyl format, you’re more than likely already aware of the producer known as Code Elektro and their high quality releases. If not, you should be because they’re well sought after…
This past weekend I was fortunate enough to catch Max and Igor Cavalera playing Sepultura’s iconic 1996 record Roots in full, as part of their twentieth anniversary “Return to Roots” world tour. The brothers were backed up by Max’s cohorts in Soulfly, Marc Rizzo and Tony Campos (now of Fear…
Music operates in cycles and waves, with the energy generated from one, feeding directly into another. This is one of the major ways that we see genres and styles achieve growth. One particular genre that we have seen outgrow its roots and reach with newly grown tentacles into ever-evolving styles is hardcore. Just look around at the number of sub-genres that include the affix of “core” to their names. In this piece we look at the bands who evolved hardcore in both subtle and major ways to arrive at what we now know as “metalcore.” First, we take a look at some of the bands who were most directly tied to hardcore in its last iteration before metalcore truly came into being.
Here at Heavy Blog, we’ve been quite vocally critical of musical crowdfunding. More often than not, the campaigns seem to stretch into infinity, forever unfulfilled. However, the basic concepts of fan supporting their beloved artists directly is one which we find highly appealing, seeing as how we’re fans who’d love to do that as well. Thus, it’s always refreshing to see an example of a crowdfunding campaign done right and, what’s more, one which produces an incredible album. Such is the case with sleepmakeswaves and their latest release, Made of Breath Only. This marvelous piece of high tempo post rock, bursting with the joie de vivre we’ve come to expect from these Australians, was successfully made possible by fans of the band (this writer included) and feels inherently made for them.
Chris Cornell was nothing if not human albeit one with otherworldly pipes and a mind ripe with the ability to form words and phrases in such a way as to simultaneously connect and befuddle listeners and onlookers. By all accounts he was a contemplative person who loved his inner circle very much but he wasn’t alone in his troubles. His imperfections, those that his fans knew about anyway, bred a certain closeness strengthening the bond they had with the performer. He was one of rock’s golden but least gilded gods. We have lost another great one but his legacy speaks for itself. We will miss you, Mr. Cornell. Our condolences from the Heavy Blog Family to yours. Read on for what our staff and special contributors feel is a sampling of some of the best work over the course of Chris Cornell’s amazingly moving career.
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.
This is part one in what will be an ongoing series of takes from artists across several genres as we explore what effect the changing political landscape in the US and abroad will have on music; the way we listen to it, how we listen to it, and who we look to for guidance, solace, or simple release in what is already proving to be a deeply challenging time, as well as how it relates in the larger context of society and history.
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.
Burning Ghosts is the band I’ve been looking for all this time. Hailing from LA, and signed to the experimental independent label Orenda Records, Burning Ghosts brings everything in jazz I like—lots of passionate, full-bodied playing and tons of free improvisation—and mixes it with metal. The group is a quartet, featuring trumpeter Daniel Rosenboom (who is also the founder of Orenda Records), guitarist Jake Vossler, bassist Richard Giddens, and drummer Aaron McLendon. This lineup alone makes me pretty excited—it’s a something you don’t see a whole lot. Usually when there’s a band crossing these genres, a saxophone player is usually part of the personnel (VIRTA being an exception to the rule). Having a trumpet take that spot stirs the pot a little bit, so to speak—it offers sounds and techniques of jazz that you don’t hear a whole lot.
I’ve talked before about some of the music that got me where I am today, with the likes of Linkin Park and Ministry. At an earlier time than my forays into Ministry and industrial music, however, there were a certain key groups that I immediately latched onto, mostly because my friend let me rip his CDs onto my crappy little Sandisk MP3 player. I’m talking bands like Linkin Park, but, also, a not-so little group from South Africa called Seether and their sophomore album Disclaimer II.