Djent had an explosive entrance into the world of heavy music, around the start of the decade. It was a truly exciting occurrence, with first-wave acts like Periphery, Animals As Leaders and Cloudkicker filtering the technically-driven progressive sound of acts like Meshuggah, Sikth, and those of the budding “Sumeriancore” movement, into something altogether more accessible, while still retaining much of their forebears’ technical and progressive edge. Yet, like most new sub-genres, djent quickly devolved into pastiche and gave way to over saturation—perhaps a little bit quicker than most. Djent, it seems, has had a propperly ballistic trajectory, and—in 2017—as its momentum trails off, it’s hard to get excited about this once-promising phenomenon.
A shift of pace from the rancid, foul grind that I regularly bring to the table as today bears witness to the sounds of Scotland’s latest metalcore miscreants. Check in for big bouncy riffs, hooks that kill and some fancy but not wanky tech chops. From the Sumerian school of guitar interplay and fast tracked to a scholarship on the Erra program, Aspire come in hard and heavy with the summer sounds on “Outsiders”. Taps aff, it’s time to swing your fists.
“Sumeriancore” was an interesting genre. A highly specific brand of progressive metalcore that coincided with the rise of Sumerian Records, lead by prominent bands on that label, it was very popular for a few years and then dissolved into djent shortly after. Born of Osiris were at the forefront of this, if not the main driving force. Being part of the original “big 4” of the genre along with label mates Veil of Maya, The Faceless and After the Burial, they’ve inspired many other artists and headlined many tours. They’ve had some wildly acclaimed albums, and some that are borderline ridiculed. A decade after their debut, where are they now? Where is the genre? And what’s their future? That’s what we’re here to discuss today.
It’s been nearly two years since A Trust Unclean popped up with the fantastic Reality Relinquished EP, a UK tech metal release that didn’t suck, unlike a lot of the other Brit tech bands that began crawling out of the woodwork at the time. The band’s youthful energy, death metal…
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.
We’ve talked about dissonance quite a bit on Beyond the Veil: so why not keep at it? Today we focus on the minor second interval, a device that’s become more or less ubiquitous as far as breakdowns go, but for good reason.
Metalcore, particularly the progressive iteration, is a dead scene. There’s plenty of support for the genre, but most bands have broken up, diversified or remain relevant but hardly influential. Most fans of progressive metalcore get by on a few releases annually and spinning old gems of the genre. Today however, we’d like to introduce you to Raptorbaby. Raptorbaby have recently put out an album titled Citadel and it’s chock full of the proggy metalcore that long time fans will find nostalgic, as well as travelling into some unfamiliar territory. Raptorbaby manages to throwback to early Sumerian Records style of metalcore and deathcore as the foundation for their sound. You can catch some Kezia-era Protest the Hero influence as well. But this isn’t just a rehash of a genre once thriving. It’s an exceptional homage to that era of music, but it also has plenty of tricks up its sleeves too. Let’s dig in.
In just one more week, Revocation are about to drop an absolute bomb on the metal world in the form of the fantastic Great Is Our Sin. Coming off of their excellent 2014 album Deathless, this new record is an all-out assault on eardrums the the world over, sporting some of the band’s meanest and most mosh-friendly tunes to date. Take this and add a heap of atonal/experimental death metal flourishes, loads of d-beats and more solos than you’ll know what to deal with and then cap things off with a Slayer cover. Sounds too good to be true, right? Well, that’s exactly what Great Is Our Sin is, and it’s an immediately essential piece of modern metal. I got a chance to speak with Revocation’s frontman and overall guitar wizard Dave Davidson this past Monday about the album’s songwriting process, working with Marty Friedman, upcoming tour plans and a lot more.
Spanish progressive deathcore masters The Raven Autarchy dropped a sick album last year, and they’re already back with a new single! Channeling the best aspects of giants like Within the Ruins, After the Burial and Veil of Maya, they’ve created yet another powerhouse of a track. Without further ado, I present to you “Inanimate”!
Akron natives and Heavy Comp Is Heavy alums A Sense Of Purpose proudly tout themselves as “False Metal” on their Facebook page. This alone is just about all you need to know to determine if you’re going to appreciate A Sense of Purpose or not, which is a blessing more than a curse; the band are lighthearted and self-aware of their place among the metal spectrum, aligning themselves among the contemporary metalcore scene where Periphery, August Burns Red, and Erra reign supreme.