Growing up in the late ’90s and early ’00s meant being exposed to some of the greatest examples of bad metal. Like, genuinely really bad metal. Some of it was great though, of course. Everyone loved it at the time too, or so one would think, given the absurd amount…
This week we bring you “the content”s in our regular fashion. Shocking. We talk about Apple Music surpassing Spotify in the US, Dol Ammad’s new album, new Aborted, new Soulfly, new Black Fast, and a few other random topics. Then we spend some time discussing the notion of newer things in music being better due to being able to build up on older works, and a lot of alternative explanations, implications, and counterarguments to this idea. Then, cool people time with The First Purge, Ryan Brown’s Curse Words, Ant-Man & The Wasp, and more. Enjoy!
Psychosis has come out during a period when it seems the Cavalera name is more visible and relevant to the metal world than it has been in a long time. The iconic Max Cavalera appeared to have hit his post-Sepultura peak with the back-to-back release of Dark Ages (2005) and Inflikted (2008)—the later of which saw him reuniting with estranged brother Igor and the establishment of the Cavalera Conspiracy. From there, however, it seemed Cavalera senior was content to churn out a steady flow of serviceable yet largely unremarkable Soulfly records, while each of Cavalera Conspiracy’s subsequent releases—though certainly each embedded with their own distinct personality—failed to excite in the same manner as their masterful debut. Yet, beginning with 2014’s superb supergroup collaboration, Killer Be Killed, Max’s career looks to be, once again, on the upswing, and Psychosis only further supports such speculation.
Strap in for another ugly one.
Another year draws to a close and here we are again, telling you about yet another superlative release from the one, the only, Holy Roar Records. For those who aren’t aware, we are paid handsomely by the label to cover their releases; I myself am writing this from an unnamed Pacific island which I have made my home, thanks to all the gold that they have bestowed upon me. Money is no object to me and I’m richer than all of you so suck it. Nah. They don’t. And I’m not. We have dedicated a feature to this specific label because like us, they don’t believe in dull, insipid music and as such do not release any. This edition of the HR-Files will get a bit dirty, a bit rough around the edges and definitely doesn’t belong in the ‘dull’ category. Playing vibrant and vicious metal from the UK, never afraid to toy with conventional metal sounds, we present you Watchcries and Wraith.
It’s been a while, but we’re back, so welcome to another edition of Connecting the Dots, and today we will be focusing on mathcore masterminds The Dillinger Escape Plan! Whilst they’re soon going to be shutting up shop (R.I.P), we can remain eternally grateful to the incredible records they’ve released during their two-decade career, their vicious live performances, and the incredible other musical projects they leave in their wake. Without further ado, let’s dive into the amazing projects these musicians have been a part of.
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…
Summer is nearly wrapped up over here so it’s time to get right back into the miserable weather, miserable conversation and general misery of being in a Northern part of the world. Fuck the tanned people and their day drinking, fuck the sweaty patch on the small of your back, fuck the tourists who stop walking every two seconds on the street. It’s high time for the grey, grim and gruesome to rear it’s resentful head. This weeks entry into Grind My Gears might just be the most obtuse and vehemently bleak thing you’ll hear the rest of this summer. I love that I get to write this next bit. Get Fucked.
Anticult’s lead singles are both textbook examples of how late career albums tend to bisect veteran bands’ fan bases. On the more vocal side are evergreen Decapitated fans who tolerate just about anything a band does while aggressively dismissing any dissenting opinions; to quote directly from the comments: “Hate all the people comparing those tracks to the “old” Decap. Fuck, its a new constellation with a switched style, so get over it and enjoy or leave.” Then there are traditional Decapitated fans, at whom these types of comments are directed. In their view, everything since Carnival is Forever has embodied the steady decline of an integral architect of modern tech death, and fans who’ve embraced the band’s last few records are doing so solely because of the name attached to music they’d be otherwise indifferent about.
Today, I’m going to explore an album that was a huge influence on me in high school that I haven’t listened to in some time: Ministry’s Psalm 69, released in 1992 on the Sire/Warner Bros label, and considered not only one of the best Ministry albums, but also one of the most essential industrial metal albums ever.