We here at Heavy Blog are very excited to premiere the video for Green Druid’s “Dead Tree.” As you may have heard us mention before, Green Druid are up-and-coming doom titans who recently signed with Earache Records and plan to put out their debut LP early next year. Although these…
The “jam” is one of those musical devices that walks a delicately drawn fine line. On one side are classics like Can’s “Halleluwah” or The Velvet Underground’s “Sister Ray,” both of which are defined by an embrace of improvisation, interplay and gradual evolution that keep the song fresh throughout a roughly 20-minute run time. But on the other side, you have endless journeys of gratuitous musical masturbation that create a significant imbalance of enjoyment between the players and their audience. Walking this line is obviously difficult; though defined by higher tier musicianship, an effective jam band can’t venerate their abilities as musicians at the expense of songcraft, particularly in terms of defining the genres and styles from which the extended composition is being drawn out of. All of this makes it that much more impressive that Mother Engine have not only mastered the “jam” formula, but excelled at replicating that equation fourfold on their third full-length outing Hangar, which we’re stoked to be able to premiere for you in full.
India is a place I wouldn’t really associate with extreme music. The limited exposure I’ve had with the culture comes primarily from Indian restaurants, vacation stories from friends, or movies. That being said, it feels like a really traditional kind of place. The limited amount of Indian music I’ve heard is immediately identifiable as such, and even the pop music feels like it follows in that convention, there’s a distinct “sound.” So when I caught wind of a split by hardcore bands from Bangalore and Mumbai, I was obviously surprised. But the more I thought about it, the more it made sense. Why wouldn’t there be an underground scene in India? Beyond that, considering how “conventional” and “traditional” it seems to me as some ignorant dude from the states, it makes absolutely perfect sense that there would be some positively savage bands out there stickin’ it to the man.
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!
Talking about Mutoid Man is invigorating but tough, for a few reasons. Foremost is the pedigree of its members: vocalist/guitarist Stephen Brodsky is a past member of Converge as well as the mastermind behind alt-rock/post-hardcore genre-ignorers Cave In, drummer Ben Koller has been staking his claim as the drummer of Converge for quite some time now…
Transportation is one of the biggest things that music can accomplish, to pick the listener up from where they sit and deposit them in some other place. The truly great albums in the short history of modern music all achieve this unbelievably elusive feat; something about their sound whisks away your attention and enraptures you within a world, of the band’s making. Not so long ago, we made the claim that Elder’s Lore does just that, encapsulating the fabled trope of “the hero’s journey”, launching its listeners into an epic journey through music and expression. How do you follow something like that up? A critically lauded album can often be a double edged sword, raising immense questions around potential, scarcity, and circumstance. More so when the album is such a transformative journey: do you have what it takes to create that sensation in your listeners again or will this album, however good, be fettered and miss the mark of greatness?
Boston’s newest riff-appliance, Summoner, just dropped their third album, Beyond the Realm of Light. On the Metal Archives, they are listed as “Stoner/Doom Metal”, though, this seems a far cry from the content on this album. Every song on this record uses mid-paced to fast tempos, plenty of melody, and tons of upbeat energy. The band’s DNA consists of all the usual trappings and song ideas of traditional metal and NWOBHM but the band avoids the “vest metal” label by having an aesthetic closer to Baroness and later-Mastodon than Black Sabbath or Judas Priest. Unfortunately, this shift away from the norm is about 5 years too late and not enough to save the album from moments of sameness.
Elephant Tree released their newest self-titled album back in April of 2016 but it recently received a bigger retail release. All the more reason to talk about this tripped-out, fuzzfest. They’re not quite a metal band, but they certainly draw from metal influences. According to their Facebook page, their earlier endeavors were in London’s metal scene and it’s only recently that they’ve switched to their bluesy stoner rock sound. You can hear their metal past in the way they completely overdrive their guitarwork, using their riffs as a foundation for everything else in their songs.
Since Year of the Cobra’s 2015 inception, Amy and Jon Barrysmith have proven that you don’t need a huge band to create a huge sound. Producing massive, infectious heavy riffage and a sound mightier than a duo should rightfully lay claim to this pairing pummel audiences the world over. You’d be forgiven for drawing the easy straight-line comparison to Jucifer considering the similar pieces parts but you’d be doing yourself a woeful injustice to both bands.
Bees Made Honey in the Vein Tree piqued my interest from the moment I came across their Bandcamp page. Much of what first drew me to Earth’s masterpiece Bees Made Honey in the Lion’s Skull is present on BMHVT’s debut Medicine: an alluring cover, unique title and promises of an expansive, mesmerizing take on doom metal. It’s this last point that sweetened the deal like hemp-infused honey candy, and if you’re at all a fan of all things sludge and doom, you’d be wise to succumb to what this psychedelic dose of Medicine has to offer.