What better format to study the interesting duality between morality and knowledge than a massive post rock album, filled with nuance and subtlety? This is exactly what Ravena did in 2016 when they released Laocoön, an impressive foray into the realms of cinematic post rock and post metal. We spoke about them recently on the blog when I covered the Open Language post rock compilation (second part coming soon!). I had extolled their virtues there but I felt that their music warrants a post of its own and so, here we are!
Richmond, VA post-rock/metal act Shy, Low are a band that have miraculously escaped our official attention on this site, which is quite simply a huge mistake on our parts. The band’s previous full-length, 2015’s Hiraeth, is an example of brilliantly-executed and emotionally-tinged cinematic instrumental rock that skirts the line between post-rock and metal in league with the likes of Caspian and We Lost The Sea. It’s great stuff that any fan of this kind of music should be listening to.
We like to joke around here pretty constantly that the amount of quality music out there in the world for us to consume and critique is magnitudes more than we can possibly manage, that we are drowning in a sea of music and are suffering mightily for it. We are all the “Why can’t I hold all these limes?” guy.
We’ve been lamenting the flaws inherent in post metal for a while now. For at least an equal amount of time however, we’ve also been discussing some bands that have discovered solutions to several of the more major flaws, producing what we believe to be the hope for the sub-genre. Ever since Telepathy blew us away in 2014 with their 12 Areas., their name has been a staple of such “savior lists”. Progressive, evocative and impressive, 12 Areas. was everything that post metal needed at the time. And today? Where does Tempest, releasing today, stand in the ranks of post metal? Why, right where we’d expect it: in the front. Tempest sees Telepathy under a sea-change, a shift in focus and flavor that does wonders for their conviction and their resulting sound.
Just this past week we saw how important the ACLU still is. One of the first to confront the so called “Muslim ban” enacted by the indifferent pen of Donald Trump, it began the long and arduous legal battle against this administration. With not only the presidency but also Congress and Senate painted in the most extreme and reckless red imaginable, their work will grow seven-fold; now they must take on the legislative branch instead. Thus, and despite of the already remarkable success their fundraising has seen in the past week, Bandcamp’s contribution to the ACLU is admirable. We’re here to do our share; below you’ll find a list of artists that are worthy of your support on this Friday.
Hello folks! Usually the title above connotes that you’re about to be treated to the writings (or ramblings) of on Matt MacLennan. He usually handles these posts about Holy Roar Records and all their wonderful bands, usually containing some sort of relationship with hardcore. However, we’re doing things differently this time around because we’re handling a slightly different sound and now I am here! The band in question is Pijn and their album Floodlit, which saw release a few days ago, on the 27th of January. Floodlit is an interesting blend between happy-go-lucky post/math rock in the style of VASA or And So I Watch You From Afar and heavy, grandiose post metal. Right? I can’t think of many other labels besides Holy Roar that would be a fitting home for something like that. Let’s send you on down for your first listen and congregate after for some choice words.
Last month, we at the blog had an absolute pleasure to sponsor Telepathy’s European jaunt. Hitting five separate dates with their post-metal fury, Telepathy exemplify the DIY tour mentality and thus, offer both staff members and our dear readers a rare glimpse into what actually happens on such tours. Below are the unedited, unabridged thoughts of one Teddy James Driscoll, who plays bass for the band.
If you look through the article we wrote on this sub-genre a while ago, you’ll find hiraeth in nearly all of the examples we listed there. One of those examples is what brought us here today. Telepathy’s follow up to 12 Areas. is one of the releases these two writers have been most anticipating. Lo and behold, just short of a European tour which Heavy Blog is proud to sponsor, the band have released “Hiraeth” and an amazing video to match it. Unsurprisingly, like much of their former work, it’s a chilling, dark and moving addition to the annals of post-metal. By returning again and again to this elusive feeling of bereavement, by strumming the strings of this particular, morose heart, Telepathy use the tools of post-metal in a convincing and original way.
It’s no secret that I love the following things: saxophones in general, saxophones in metal, and saxophonist Colin Stetson. I’ve been following Stetson for years now when he was putting together his trio of otherworldly solo records, New History Warfare. I wrote about him extensively for here last year when he and violinist…
Some band names are just spot on and this a good example for that. The Great Cold invoke frigid spaces but also expansive ones, a toundra which stretches into the horizon, filling your vision with white. Fittingly enough, their music is an instrumental blend of black metal, post metal and progressive metal, creating swirls of snow in a blizzard of violence and music. Their music has the staple of all great instrumental works: while a single common thread runs through it all, in this case the interaction between guitars and drums that eludes specific genre definition, it utilizes enough variety to keep the listener hooked. Thus, we are lost in the great beauty of the ice-plains but we also have landmarks to help us navigate.