Death’s Door – July 2018

Hello my Hellions, and welcome to Death’s Door. Don’t even bother wiping your feet on the mat this time around. The blood runneth over. What an absolutely insane summer it’s been for death metal. So great that we’ve had to eliminate a multitude of records from our monthly list because…

131 – Can’t Go Downhill If You’re Already At Rock Bottom

This week we’re super enthusiastic to bring you the contents! All of it. Specifically, Akon’s cryptocurrency haven, Tidal’s lawsuit, Michael Keene’s and The Faceless’s troubles, Cavalera Conspiracy doing a Sepultura throwback tour, Lamb of God in sign language, the new Obscura album, Periphery’s new label, Mike Shinoda’s new video, Antisoph, Shylmagoghnar, and Ghostbound. Then, cool people time with Westworld and a bunch of roguelikes. Enjoy?

119 – Don’t Blame Noyan Please

Noyan is away, so Eden hosts fellow blog editor, Nick Cusworth! This gives the two opportunity to talk about stuff that usually doesn’t come up on the cast which they use to shine a light on Jim Grey from Caligula’s Horse releasing a video for the A Capela segment on their latest album, Plini releasing a new track, and a deep dive on the changes undergoing the post rock scene, recommended bands that make post rock or metal and the close knit networks that make these scenes happen! Along the way, they mention bands like Man Mountain, This Patch of Sky, Town Portal, VASA, Rumour Cubes, The Physics House Band, Alpha Male Tea Party, Mountain, Below a Silent Sky, Flora, Soldat Hans and more!

Then, it’s time for the bad news. They start off with surprising opinions revolving around gun control, first from Run the Jewels’ Killer Mike and then from Taylor Swift. They then move on to the click-bait article published on The Washington Post which claims that physical sales exceeded digital ones in 2017. While that’s technically true, the two analyze why that happened and get pretty personal on vinyl and CDs! Lastly, there’s a trio of terrible politics from the metal community. The first is the ridicule in the wake of The Faceless breaking up again, and what that says about the community’s terrible perspectives on addiction. Then, there’s another statement from Decapitated who totally by accident (allegedly) misinterpret and represent the facts of their trial again. Finally, there’s the awful news of Inquisition’s Dagon involvement with child pornography and, surprise, the community’s desire to protect him.

Cool people time includes The Witcher 3, CW’s Black Lightning and Ninefox Gambit!

Krosis – Solem Vatem

“Come for the food, stay for the atmosphere” is the phrase that comes to mind when contemplating Salem Vatem, the 2nd full length album from Krosis, the Raleigh, NC based progressive deathcore band. The food is the music served to us, filling our mental plate with meaty breakdowns while also providing a variety of…

Good Tiger – We Will All Be Gone

In certain circles, such as the ones the blog runs in, The Safety Fire are legends; their blend of alternative rock, progressive metal and sheer musical genius will always have an echo. And so, as Good Tiger release their second album, We Will All Be Gone, the comparisons are inevitable; while the first release by the project enjoyed the grace of being the first, the sophomore release is well and truly chained to a narrative and that narrative will get compared to The Safety Fire no matter what anyone does. Which might be a shame, since the projects are so different in their approach to progressive metal and aim to accomplish different things, not to mention the obviously massive influence of one Elliot Coleman, a legendary figure in and of himself.

Heavy Blog Staff’s Top Ten Albums of 2017

Our staff has shifted quite a bit since we posted our first aggregate AOTY list back in 2014. From refocusing our content to implementing The Brooklyn Plan™ to publishing our 2017 AOTY list, our roster of contributors has fluctuated substantially in terms of numbers and genre preferences. This ebb and flow…

The Faceless – In Becoming A Ghost

It is folly to try to judge a piece of art independently of the circumstances surrounding its conception. A lack of awareness of those circumstances is excusable, of course, but when it comes to The Faceless, that seems quite unlikely to be the case. The Californian technical/progressive death metal band, which is probably better described as Michael Keene’s project, have been through some troubles. They made one of the most important albums of the genre in 2008 with Planetary Duality, and ever since then listeners have been looking for them to make an album that’s equally impactful. 2012’s Autotheism, regardless of its quality, wasn’t what most people wanted in that sense. After yet another 4+ year gap, and many line-up changes, tour cancellations and other drama, the band, well, Michael Keene is back with his fourth album, In Becoming A Ghost. It’s his most somber and personal album for sure, but is it a good album? Partially.