There is a dissonance to the music of Dysrhythmia not employed by the above bands, and, obviously, Neil Peart has never employed blast beats, though Rush is perhaps a great analogy for what Dysrythmia aspires to, as both bands feel collaborative and feature equal contributions to the larger sound. But these extreme metal flourishes are only one element of the music and weave seamlessly with the larger tapestry, rather than being the dominant color, resulting in an album influenced by extreme metal, as opposed to an extreme metal album.
The proliferation of a metal band is a clear sign of its growing popularity, but it could also be a reason for apprehension regarding its music’s quality. On the other hand, one can consider the longevity of a given band as an indication of quality, but that would only cast a shadow of zealous snobbery and faux-refinement. Truth is, quality in music is more likely to be a function of countless random things including, but not limited to, personal taste. There are countless examples of bands exploding onto the international scene with superb debuts only to fizzle away later and become weaker shadows of themselves. On the other hand, there are bands who start off strong but are a work in progress in terms of finding their own sound and standing out from the hordes; Colorado’s Allegaeon is one fine example of the latter.
Let’s face it: flying isn’t probably something that’s on your bucket-list—at best it’s a relatively quick (compared to pre-flight days) way to travel. It’s easier than sailing or driving, but it comes with its own army of annoyances, from the ever-popular crying baby to the sleeping guy next to you…
This week we’re joined by fellow editor Nick again! And as you can probably tell from the title, we talk about some streaming service drama! Specifically, the trainwreck that followed Frank Ocean’s new Apple Music exclusive album, the UMG salt that followed, and Spotify stirrings in relation to industry trends. But wait, there’s more industry drama! A former Victory Records employee wrote a huge expose talking about all the stuff that goes down in the label, confirming the suspicions of many. We then talk about SubRosa and their interview about the music they wrote in relation to the Mormon church’s treatment of LGBTQI individuals. We talk about a bunch of new music and music-related announcements as well. Including: poorly-realized analogies about post/weird-death metal involving Ulcerate, Coma Cluster Void, Car Bomb, Negura Bunget, Meshuggah, Mithras (and more Mithras), Allegaeon’s Rush cover, WRVTH being awesome, In Flames being terrible (seriously), Ninjaspy, Darkthrone, Emperor, Brujeria (and their tongue-in-cheek interview), Ion Dissonance, Leander Kills, The Dear Hunter and The Aurora Borealis Project x Drewsif Stalin’s Musical Endeavors. Finally, we talk about the passing of Tom Searle of Architects. Enjoy! (the episode, hopefully, not the terrible news)
It feels weird, writing a Hey! Listen to This post for a band that’s been around since 1989. Saying that Motorpsycho references classic pieces of stoner and psychedelic rock would be a mistake, since they were an integral part of the continuation of that music into the 90’s. Nonetheless, it’s pretty much impossible to resist the urge for comparison. Their latest album, Here Be Monsters, was released a few short months ago and is veritably swimming in classic references. Pink Floyd, Yes, early Rush and Genesis and countless other names from the Golden Era of progressive/psychedelic rock all live side by side, creating a heady and moving elixir of emotions and nostalgia. However, this is much more than just fan service; Here Be Monsters is a complete and impressive album, spanning an impressive range of ideas and sounds. Check out “Lacuna/Sunrise” below and let’s circle back afterwards.
Calling the past back into the present is a tricky endeavor. In music, it can often lead to the opposite of what a band intended, leaving their music derivative rather than innovative. However, for those bands who manage to skillfully reach back to bring some part of what made past…
The power metal streak I have been on is showing no signs of slowing down. But, lest you fear that I have forgotten my progressive roots, I’ve decided to splice it with more varied influences.
Some bands are overshadowed by the conceptions that people have garnered about them before the first note even plays. Admittedly, this is a good problem to have; it means that your success is such that your name precedes you and that you have created such fame for yourself that your very name evokes your style. However, this can also lead to ears shut fast, shying away from the conceptions that they have of what your music is and will be. Even fans can turn sour, as it becomes harder and harder to convince them to try something new. Iron Maiden suffers from this “problem” in the first degree: they are one of the most iconic and famous bands out there. Their music has an instantly recognizable style, one which has influenced countless bands and has left its mark on the metal scene forever.
While here at Heavy Blog we usually err on the “for its own merit” side of the album/career debate, choosing to focus on an album’s singular traits rather than its place within a band’s discography, this would be a mistake here. While The Astonishing, one of the most anticipated albums of the year, is certainly a departure from everything Dream Theater has been giving us in the past few years, it’s also a return to several key sounds from the beginning and middle period of their career.
Honesty is refreshing so let’s start with some of that: Heavy Blog has always, and continues to be, most about progressive metal. We’ve certainly expanded our tastes in the past and we’re looking to push that even further in the future, but progressive metal has a dear, close place to…