Pil & Bue’s sound lies within the vast expanse between progressive rock and metal, and, is, paradoxically, both extremely singular yet influenced very obviously by acts such as Sigur Rós and Karnivool, and basic garage and stoner rock bands; it’s as if Pil & Bue are a gumbo of sorts—they are more than the sum of their influences.
February 13th, 2016, Rhode Island concluded a tour that lasted about 2 weeks, a tour of which had an amazing but eclectic lineup. Opening the show was the new supergroup DRIFTOFF (featuring members of members from Rosetta, Junius). Although they weren’t on the tour, DRIFTOFF kicked off the show with…
The regionality of sound within the metal spectrum is an intriguing yet oft overlooked characteristic of this ever expanding genre. In the earlier years of metal, it used to be that bands were grouped under a regional definition to describe their style; NWOBHM, Gothenburg style death metal, Bay Area thrash are but a few examples. Yet this kind of geographic subdivision seems to become a thing of the past as the internet and other modern aspects of life continue to blur cultural barriers and connect everyone with increasing ease. Nowadays, these regionally defined styles can come from bands far and away from the sub-genre’s original birthplace. Take for example the old-school Swedish death metal with its classic buzz saw guitar sound, plodding drums and guttural growls. While still largely dominated by Swedish bands, it has slowly grown into a niche sound that’s being played by bands from other countries.
Iron Maiden are probably one of metal’s most famous names; with their origins rooted all the way back in 1975, it was perhaps heavy metal before heavy metal properly existed, one of the harbingers of the style. To be sure, metal has done a lot since they were in their prime but somehow, whether via nostalgia or their uncontainable personal energy, Iron Maiden have managed to stay relevant. Their shows are still jam-packed and their performances are just as vibrant as they used to be. Some of them are well into their 50’s, adding a certain admirable quality to their recalcitrance against voices calling for them to slow down.
Welcome to “Beyond the Veil”! In this feature, its name (partially) taken from the Gods of Eden track, we’re going to delve into some theoretical aspect of the music we love in an effort to elucidate the behind-the-scenes workings at play, but in a largely jargon-free manner intended to be accessible to those who don’t necessarily have a music theory background.
Ladies and gentlemen, hold on to your figurative metal seatbelts: the Fallujah’ing is upon us. Ever since they shuffled their deck of influences on their previous release, The Flesh Prevails, the community has been keeping its dirty, bloodshot eyes on these guys. For better or for worse, their new-fangled vibe caught us all by the jugular and forced us to look as a whole sub-genre was birthed before our eyes. Well, the guys are back and if you thought that they were done, you’re sorely mistaken. Head on over the jump to hear the first single, “The Void Alone”, from their upcoming album, Dreamless. Expect brightness, retrowave influences and just a hint of nu-prog. Yeah, see you there.
There’s something so uniquely captivating and emotive about acoustic guitars. They have a sonic power and expressive range on their own that few other instruments can match, not to mention a deeply rich history across so many cultures and types of folk music. It was those things that initially drew us to the richly dark, haunting, and beautiful work of Canadian acoustic trio Ulvesang last year (and if you haven’t listened to those guys yet, you seriously need to get on that already). And in a similar respect, it’s those qualities that now draw us to another trio showcasing acoustic guitar work, City of the Sun.