It’s been a long time since I’ve watched They Live but I’m sure Rowdy Roddy Piper’s character would have proudly played this loud as hell. Hero In Error, back with a refreshed lineup, new music and bigger choruses than you’ve heard anywhere this side of a Mariah Carey Xmas compilation; ready to play riffs and chew bubblegum but there’s no bubblegum so… Riffs. With their brand new EP, Obey, the band punch into the rafters of anthemic, hard hitting metal and we have it streaming for you over the jump. Obey.
Due to the way we’ve decided to divide up the time zones, correspondence with an international audience from the humble southern continent of Australia often feels akin to looking into the past. Yet, despite this perceived futurism, Australian culture often trails its American and European counterparts by some distance. So it is that, while the northern thrash revival has come and (more-or-less) gone, the Australian metal scene is currently experiencing the biggest genre boom it has undergone since thrash metal originally emerged in the mid ‘80s. Back then, we brought our own quality acts to the fold, most notably in the form(s) of Mortal Sin and Hobbs Angel of Death, and the Allegiance in the ’90s. Yet, while the style had effectively remained dormant since then, the last five-to-ten years have seen an explosion in the amount of world-class thrash metal bands to have emerged from these southern shores.
Despite having made a fairly triumphant return to form with their last album, 2015’s Hammer of the Witches, Cradle of Filth seemed to be doing everything in their power to quash that momentum in the lead up to to their twelfth full-length offering, Cryptoriana – The Seductiveness of Decay. The album’s hokey artwork only added to the off-putting nature brought on by its clunky title, and the two uninspiring singles and the seemingly rushed and seemingly un-selfawarely camp videos that accompanied them did little to drum up confidence in the forthcoming record. Add to that the release of Carach Angren’s similarly-themed Dance and Laugh Amongst the Rotten—released earlier in the year to widespread acclaim and popularity—and it really looked like the Brits had painted themselves into a corner from which there was little hope of return. Fans of the band needn’t have worried, however, for Cryptoriana is yet another surprisingly solid entry into one of the most consistent catalogues in the history of extreme metal.
Welcome back to Part 2 of our retrospective on one of black and extreme metal’s paradoxically most popular and overlooked acts: Cradle of Filth. This part covers everything from 2004’s Nymphetamine to the present day and tries to pin down exactly why their reputation has suffered during this period, even though they’ve still been putting out some fairly decent albums. Refresh yourself with Part 1, and follow through to the end for a quick wrap up and some speculation on what the future holds for the band nearly a half-century into their sordid career.
We’re at a point where a hot shit, flavour of the month band can become old hat moments after they are touted as the next big thing. It’s so easy to lose track of who’s who, what’s hot and not and generally what the hell is happening in music and it’s always gonna be impossible to hear everything good out there. That’s where Heavy Blog, and others like us, come in. We have our core features focusing on specific genres—what’s up Grind My Gears fans?!—but today I’m lumping together bands who’s only similarity is their shared suffix. They’re all “core” in some form or another. To make things more digestible, I’ve even added a strapline for each, covering their sound in one fantastically humorous sentence. Please, enjoy and rock responsibly.
Cradle of Filth have become one of the most recognisable and quickly dismissed names in extreme metal. Yet, although the band are widely regarded as populist, entry level rendition of the black metal formula, a closer look at their extensive catalogue reveals a far more innovative and surprisingly consistent act than their reputation suggests. Since their discography is so extensive—the band have released eleven full-length studio efforts to date, with one in the pipeline as we speak, and numerous and often notable tidbits here and there—this survey has been broken up into two sections. This first offering examines what many would consider to be the band’s classic period: moving through their early, formative years, up until their commercial breakthrough and (only) major label release in 2003; while part two will pick up from 2004’s Nymphetamine and carry through to the present day.
Fun times! This week we discuss a bunch of new music. Leprous, Tesseract, Archspire, The Haunted, Aborted, Cloakroom, and Fox Territory. Then we have some live footage from Zeal & Ardor, Spotify suffering losses, and Rolling Stone’s top 100 metal albums. Then we discuss the Transformers movies, and what makes a good villain. Enjoy!
Ah, NAMM. It’s one of the biggest trade shows in existence, a veritable mecca for music and gear nerds. We at Heavy Blog would, of course, love nothing more than to send a few of our staffers out there to cover the event and bring back exciting news and interviews from the whole thing. Sadly, none of us lives remotely close to southern CA, and we don’t exactly have the money in the Heavy Blog bank to cover airfare and lodging for people. So we had pretty much resigned ourselves to completely missing out on the event when the beautiful lads over in Seattle’s A Sense of Gravity came to us with a proposition. Watch them carry the mantle for us as they catch up with esteemed bands and artists including Arkaik, Angel Vivaldi, Alaya, Painted In Exile, Nekrogoblikon, Xanthocroid, Aliases, Ola Englund, Per Nilsson, and others to find out what they’ve been up to and to ask the important questions like how they prefer their eggs.
Welcome to our artist-written 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 the artists and bands that they feel have most inspired their songwriting — it’s a feature in which we…
After nearly two decades of silence and side projects, Sweden’s melodic death metal maestros At the Gates dropped 2014’s seamless At War With Reality and have been assaulting the entire globe with a touring schedule as relentless as the riffs ever since. With a confidence and chemistry most full-time bands would kill for year after years of relentless practice, At the Gates really do seem like one of the most proficiently savage and insanely-catchy bands to ever emerge (and then re-emerge) from this subgenre.