Hey! This week we discuss stuff. Stuff like Marduk’s show getting cancelled because they’re thought to be nazis, Wintersun’s neverending shenanigans, Suicide Silence’s new album. Yeah, this episode is called “Salt”. But we also talk about Dimmu Borgir releasing a live DVD and a new album, Gruesome being a…
This week we get weirdly political and anthropological. Well, maybe not weirdly. We are weird dudes after all. Not a lot of news, so we shitpost about Wintersun a bit more. Mini balls-deep on Mastodon while discussing their new single. We talk about a bunch of metal from places around the world that we normally aren’t well attuned with. Like Wisdom Eyes (thanks Bandcamp!), Violet Cold, and Sanatana. Also more Psykup, Eden gushes over Spectral Lore, we discuss the Ne Obliviscaris news. Then we bring back underrated releases with Gire’s self titled. Finally, cool people time gets weird. Enjoy!
As has been discussed on the podcast twice now, the French Canadian death metal scene has continued to be unbelievably innovative and prolific for over two decades now. Propped up by a roster of key musicians who often have multiple projects to their respective names, it goes without saying that the scene has birthed entirely new approaches to tech death. Just last year, we were treated to stellar releases from both long-established acts (Gorguts) and equally excellent debut albums (First Fragment) — but it appears the scene insists on being the gift that keeps on giving well into 2017 as well.
Enter Samskaras, a two piece featuring multi-instrumentalist and vocalist Eric Burnet of Derelict alongside drummer Alexandre Dupras of Unhuman. At its core — as one might expect — the debut EP Asunder is built on the same fundamentals underlying most of the French Canadian scene, both in its approach to technicality as well as its sense of melody.
Eden is out doing shady things, and I am yet again ridden with the darned cold, so this week we get Ahmed again and of course, we discuss tech death again. It’s relevant to recent happenings though! Mainly Relapse reissuing Necrophagist’s classic Epitaph. We also talk about the upcoming…
Set stage: 2004, Finland. Former Ensiferum frontman Jari Maenpaa releases his debut semi-solo album under the name Wintersun. Featuring a unique blend of power metal, prog, folk, symphony and black metal, this powerful album is met with wide acclaim. Two years later, the recording process for the follow-up begins, with a release date of 2007. The follow-up releases in 2012, and is split into two, with the second part being promised for later in the year. Five years later, the follow up is no longer coming, and Jari announces a new project with basically the same line-up. What the hell happened? Let’s take a look.
Yay, we have a threesome! If we were youtube clickbait, I’d have to call this METAL PODCAST PRANK (GONE SEXUAL). Anyway, this week we have Nick around again, and as we are often wont to do, we talk about industry shenanigans with him. Namely the Nielsen report on 2016 music sales, Tidal’s new gimmick, some Facebook deathcore page scamming people, and then we go into some news. New music or whatever from Panopticon, Pyrrhon, Convulsing, Pallbearer, Good Tiger, and Wintersun (enjoy my rant on that). Also in our weekly Season of Mist worship, the One And All, Together, For Home album featuring Drudkh, Primordial, Winterfylleth and more. Then we talk about good double albums, what makes a live show good, and the shittiness of the notion of “female fronted” bands.
All music has themes but metal is a genre which wears its heart on its sleeve. Thematics color everything in metal, from audience reception and marketing to the actual composition and execution of the music itself. It can affect production, tone, scales, and much more in an effort to align everything with a perceived image or to jar that image by deviating from the norm in just the right way. Take goth metal; a sub-section of doom, it relies on the theme of autumn, death, depression and nature for its impact. We haven’t even mentioned bands yet and album art, track names and that certain goth sound has already sprung into your mind. Sometimes, these themes become even more powerful and, by some twist of fate or by a pecuilar predestination, reflect in the musicians themselves: they might reflect the ideals of the music in their actions or in the facts of their lives.
And sometimes, that reflection has a bitter edge.
Even a cursory glance of our biweekly “What Heavy Blog Is Really Listening To” posts (last week’s update here) will reveal that there is a great deal of variety among our staff’s musical tastes. Due to this, we brainstormed the idea of “Playlist Swap,” another biweekly segment that takes place…
You didn’t think that, once I discovered the secret of being lazy about these show notes, I’d go back to being not lazy, right? The structure of that sentence was abysmal. But I had a fun time trolling Eden this episode, and so did his new dog (RIP)! We talk about: Oddland, Disillusion, Alcest, ColdWorld, Native Construct, Babymetal, Devin Townsend, Departe, Brain Tentacles, Opeth, Orphaned Land, Infant Annihilator, Betraying the Martyrs, Inanimate Existence, Fountainhead, Anciients, Hannes Grossmann, Leander, Abnormality, Wintersun and Nader Sadek. Then, balls deep on Lamb of Dog! I mean, Lamb of God!
Wintersun’s eponymous debut was a watershed album for me. Before Wintersun, I listened exclusively to power metal. If I found the courage to tell someone I liked metal, I assured them I didn’t listen to “the heavy stuff with the screaming”. But the basis of my hasty qualifications began to crumble away as I became bored by the pomp and feather-light punch of supposed “power” metal, and I found myself enjoying the odd song with harsh vocals. Wintersun was the album where extreme metal finally began to “click”, and struck through the stubborn levee that I’d built. As such, it was the bridge for the heavier parts of the metal, an album which made me more confident in listening to the music I liked rather than the music I already knew. That is the very essence of a “stepping stone”, opening up a whole new field of music for us if not whole new methods of listening.