What’s old is new again; or it wants to be, at least. Over the past decade or so, there’e been an influx of bands that look to the forefathers of heavy metal and classic rock as the blueprint for the type of music they want to play. Bands such as Black Sabbath, Led Zeppelin and Pentagram serve as some of the primary inspiration for this movement, and everything from the songwriting to the production style draws from the old way of doing things. Additionally, occult themes seem to play a big part in what these bands are doing. For example, take UK-based Uncle Acid and the Deadbeats. Something of a cross between the bluesy doom of Sabbath and the classic pop rock of The Beatles, these occult doom rockers have only been at it for a total of six years, but they already have three full-length albums under their belt, and their latest opus The Night Creeper sees the band continuing to pay homage to their idols while continuing to do the things that make them more than just a rehash of things already done.
Tag Archive The Beatles
Welcome to a new feature on Heavy Blog, “The Anatomy Of”. Taken from the Between The Buried And Me album of the same name — in which the band pays tribute to artists/bands that they feel have most inspired their songwriting — it’s a feature in which we hand off the metaphorical microphone to bands so they can talk about their influences.
Since this column’s inception, we’ve wanted to reach out to Norwegian progressive industrial outfit SHINING to get frontman, saxophonist, and band leader Jorgen Munkeby’s take on the genesis of Blackjazz. We expected the typical rundown of influential records that all of the bands have delivered thus far, but Jorgen went above and beyond and gave us a technical track-by-track breakdown of some of the record’s standout tracks! Check out Jorgen two-thousand-plus word essay detailing the ins-and-outs of the group’s groundbreaking 2010 record Blackjazz.
Over our 15 years long career, Shining has straddled such diverse genres as acoustic jazz through artrock to industrial metal. I could very well have written an article discussing The Anatomy Of Shining, which would include all our influences ever present in our abnormally varied music catalog.
But something happened back in 2010. We stumbled upon a unique gem. Hard as a diamond and black as the deepest vacuum space. We called it Blackjazz, and we have loyally stuck with it since then. In fact we’re still polishing this jagged and piercing beast. In this article I will instead focus on our period after the discovery of Blackjazz, and I will shine a light on what lies inside the hard walls of this black I will also do something I rarely get to do, but something that I love. I often include lots of parts in our music that are direct paraphrases and tributes to other artists I admire and that have greatly inspired me. Back in the days these bits and pieces could be from Mahler or Miles Davis, but now they’re more often from Marilyn Manson or Meshuggah. I’ve left them there in the music to remind me that we owe a huge amount to those who came before us, and that we are in fact “standing on the shoulders of giants,” to quote Isaac Newton.
At age 22, I’ve already seen countless bands announce their retirement. From the almighty Isis calling it quits in 2010 to The Safety Fire using April Fool’s Day as a means to actually announce their breakup, to even bands like Rush announcing that after more than 40 years of touring that their last US trek would be the end—we’ve seen great bands come and go. However, it is a common trend that once a band has disbanded, the populace, particularly in the music scene, begins to talk about their legacy. This leads to some major differences depending on the band. The whole point of a legacy is to do something that warrants novelty, that makes a large impact on something in its respective field in some way. But how do we accurately define what a “legacy” truly is in a way that makes it uniform for all bands, short lived or otherwise?
T’is that beautiful time of year again. A season of good will, understanding and compassion towards your fellow man — a time for giving, loving and appreciating. The cold may have rolled in and the trees may have shed their once vibrant foliage, but the world finds solace in the love and company of others. It’s a time to reflect on the memories of the year and plan ahead for the next.
But most of all it’s a time to listen brutal fucking metal and drink a fuck tonne of Advocaat, because 2012 was full of great releases and now’s your chance to catch on releases you may have missed or may have never even heard of. My first draft of this list was composed of 30 albums, which then shot up to 37 when I realised that I had forgotten to include EPs. Everything from new bands that came out of nowhere to blow my mind (We Are Knuckle Dragger, Bloodshot Dawn, Oddland, Exotic Animal Petting Zoo etc) to the old guard continuing their brilliant legacy (Gojira, Aborted, Napalm Death, Deftones etc) all unfortunately fell by the wayside in the ruthless culling exercise that produced this list. And I regret cutting every single one of them, but alas, if I was talk about every album this year that was great, I’d probably lose your attention pretty quickly. Who am I kidding? You’ve most likely already skipped on to the list and you’re not even reading this bit. I could write anything I want here and no one would notice. Anything at all.
Man, I just love Arjen Lucassen’s latest offering, Lost in the New Real. It’s a near perfect album with some of the strongest personality you will ever hear on a disc. One of the strongest tracks on the record is ‘Pink Beatles in a Purple Zeppelin,’ a richly layered and poppy rock song that draws influences from, well, Pink Floyd, The Beatles, and Led Zeppelin. It’s right there in the title.
As anyone who has already heard the song could expect, the video is a psychedelic trip through lots of cheesy and seemingly drug influenced landscapes. It’s a cheesy video no doubt, more of an throw back to videos of old than anything else, really. You can check out the video below. Cheers!
Arjen Anthony Lucassen
Lost in the New Real
01. The New Real
02. Pink Beatles In A Purple Zeppelin
03. Parental Procreation Permit
04. When I’m A Hundred Sixty-Four
06. Don’t Switch Me Off
07. Dr Slumber’s Eternity Home
08. Yellowstone Memorial Day
09. Where Pigs Fly
10. Lost In The New Real
Lost in the New Real is the new musical project from Arjen Anthony Lucassen, the Dutch musician behind such hefty projects as Star One and the mother-ship of modern prog, Ayreon. Arjen is a busy-bee sort of musician, and Lost in the New Real comes out to be his fourth album in the same amount of years, but it’s a project that has been hinted at for almost a decade. After his less than successful run as a solo musician under the Anthony moniker, Lucassen decided to pursue different avenues with his music, and with that came Ayreon and his various side projects. However, with the Ayreon story having come to an end it was time for a change, and for the past few years Lucassen has been experimenting with new projects once again. With Lost in the New Real, Arjen delivers a torrent of progressive music that ventures into fresh territory, but at the same time harkens back to the sound and style fans have been familiar with for years.
The Ghost You Gave To Me
01. Sirenum Scopuli
04. High Times
06. On With The Sun
07. The Ghost You Gave To Me
10. It’s Alive
11. Only Child
12. The Barrier
This is a band that I was just recently exposed to. Like most metal fans I’m constantly seeking out new musical endeavors and possibilities, and I was more than pleased when I first heard the title track from 3’s The Ghost You Gave To Me a few weeks ago over at Metalsucks, and whilst I was excited to hear this record, it’s not exactly what I was hoping for.