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.
Managing an album’s length is more than just a numbers game. As important as the song count and run time of a track list may be, an album’s experiential length is more closely linked to the content contained within each track. More specifically, this is defined not by the quality of an album’s ideas, but the quantity of those ideas, as well as their organization. As an example, consider your standard 20-ish minute, 20+ track grindcore album—though it may be shorter than most people’s morning commute, a band with the the most simple genre formula is introducing the listener to roughly two dozen song ideas, and if these ideas are executed poorly, the album is going to drag and lose its appeal despite presenting bite size compositions. This isn’t relevant to Never Forever because it suffers from an ineffective length; to the contrary, MONARCH! (Monarch, from here on out), have crafted an album with perfect pacing and structure that enhances the impact of the record. But the band operate in a genre rife with overindulgence, as evident by the sheer number of doom and drone metal albums comprised of a handful of tracks that each rival the entirety of a grindcore album while presenting barely enough ideas to rise above being musical melatonin.
There is no other band in the world like Boris. That’s not a judgement of quality or a statement of complete reverence towards this Japanese power trio, just a simple fact: there is absolutely no other band in this world with the wherewithal to do what Boris has done over the…
We’ve covered a fair bit of ground with our Starter Kit series, where we select a handful of key records that highlight a niche musical style or penetrate the prolific status of a staple genre. Unfortunately, this format doesn’t lend itself to covering proto-genres—microcosms of musical history comprised of a specific set of albums released in a fixed period of time. But these movements are crucial to the evolution of our favorite genres, particularly when it comes to the trajectory of sludge metal. What’s become a multifaceted and often refined style was once a disparate lineage of bands from different genres who all applied the “sludge factor” in different measures. While you won’t find a dedicated section for proto-sludge at your preferred music store, the following albums an artists laid the framework for the modern sludge landscape. So whether your sludge purveyors of choice come from the atmospheric, blackened or progressive sects of he genre, they’re all indebted to the groundbreaking statements these albums made.
One of the main missions of music is to influence how we think and feel. The scientific possibilities for music to create altered states in humans transcending the aural into the psychological and beyond into physical manifestations have been studied at length. That the Journal of Music Therapy exists, among…
Welcome back to Jazz Club! It’s been a while since the three of us (Jimmy, Nick and Scott) sat down to dissect the one of our favorite genres, which was most recently a conversation about BADBADNOTGOOD’s excellent 2016 album IV. In that discussion, we tossed around the idea of pooling together a list of some of our favorite new jazz releases, something we’re excited to finally begin today with our first installment of Jazz Quarterly. This is also offering us an opportunity and excuse to get ourselves back in the habit of listening to new jazz regularly, which, if you’re anything like at least a couple of us (namely Nick) has been something we’ve been meaning to get back into for far too long. There are a few places now that offer some great monthly curated lists like Bandcamp, Stereogum, and more, and you’ll likely notice that a bunch of these selections are pulled from there because they provide a valuable resource for even supposed “curators” such as ourselves. As each of us prefers different flavors of the genre, you’ll find an eclectic list of recommendations below, ranging from more traditional offerings to experimental blends of jazz with Indian classical music, doom metal sensibilities, electronic music, progressive rock and much more. We’d be genuinely shocked if you can’t find at least one release worth your time from this list, so without wasting any more time, feel free to dive in to the best the genre’s had to offer so far this year.
While we’re always up for trying a new experimental release out, we figured it was high time we covered this artist in some degree, since Scott and I both share a love for his music. Scott Walker (no relation to the politician of the same name) was once a singer/songwriter on the road to becoming an act on the scale of The Beatles or The Who as part of The Walker Brothers, but who, in a Beatles-esque fashion, eschewed fame and pop-oriented songwriting after a while and decided to go in an avant-garde direction. After some ups and downs, and a solo career that had a fair amount of misses as well as successes, Walker has planted himself as one of the foremost experimental musicians of the modern era, with his later trilogy (consisting of Tilt, The Drift, and Bish Bosch) being of particular acclaim, along with collaborations with bands like Sunn O))).
In their down time from story-boarding episodes of Rick and Morty and Mr. Pickles for Adult Swim, the team at Williams Street Productions has been an odd source of quality underground music compilations and albums. Not only does their catalog feature works from the likes of Captain Murphy (a.k.a Flying Lotus) and Destruction Unit alongside annual, multi-genre compilations, nearly all of these albums are entirely free to stream and download. If you’re searching for a negative here, there isn’t one, a point the company proved yet again last month with their most avant-garde offering to date. The appropriately blunt title for NOISE should point to the abrasiveness of this collection of tracks; an eclectic range of compositions from an equally broad roster of artists, all of whom approach “noise” as a malleable concept meant to be stretched to its limit.
What makes art, in my opinion, so damn amazing, is that there’s no clear-cut formula of it. Every time we try to dissect art, we always end up with more questions than answers. No definition will perfectly fit it, and while that’s a frustration to many a philosopher, I find…
Nearly every drone metal album is bound to receive the inevitable comparison to Sunn O))), and unsurprisingly so. Drone is a difficult genre to master, what with it’s focus on mood and experience instead of typical songwriting tropes. Yet, while perusing reviews of Crystal Shipsss’ I Will See No Moon No Sky a couple years ago before writing my own, I found a blog with an interesting take on the album genre. While not verbatim, their general assertion was as follows: Crystal Shipsss’ brand of drone metal may recall Sunn O))), but in the end, no band can claim ownership of “the drone.” But let’s fast forward a bit – what exactly does any of this have to do with Twinesuns’ excellent new album, The Empire Never Ended? Well, after but a few minutes into the album, it’ll become clear that 1.) the bands sounds like Sunn O))) & 2.) this by no means discounts the sheer intensity and invention that they bring to the genre.