In 2007, during a time where plastic peripherals were all the rage, the mighty Guitar Hero III: Legends of Rock embedded and shredded itself deeply into our hearts, allowing us to face off and play as rock legends Slash and Tom Morello, do battle against the devil himself, and blast…
17 years ago in Chicago, American Football’s released an album that would, for better or worse, dramatically change the face of emo. Instead of the shouting/screaming vocals they opted to gently sing theirs. There were no blast beats, no sudden crashes of chaotic feedback but instead gently arpeggiated guitar parts and a light dusting of trumpet. While their contemporaries – such as I Hate Myself – were sad, poetic kids who scared everybody, American Football were the kind of kids who had just enough charm to not seem douchey when whipping out their acoustic guitar at a party. Their music was gentle and had lyrics deeper than even Chicago’s deepest dish, and all of this culminated into one particular stellar debut record. However, that was 17 years ago, and while American Football may have returned on a live stage to a large amount of fanfare by the critics who made them legends and fans who adore them, it is questionable how well they have stood the test of time.
Ah, Meshuggah. Whatever one’s opinion of them might be, there’s no denying that the Swedish masters’ constant innovation has had an enormous impact on metal of almost all kinds. However, we’re at a point where the amount of bands that are either heavily inspired by them (or choose to ape their sound entirely) increases exponentially year after year; and so, the question of whether the forward-thinking giants can remain in their long-held position at the top arises. With a new record hardly two months away, we’ve recently been treated to “Born In Dissonance”, the first new track from the band in about four years. But how does it hold up, and what does it bode for the new record?
I discovered Myrkgrav in the years of my youth when review scores on The Metal Archives were as comprehensive and inarguable as Michelin stars. So Trollskau, skrømt og kølabrenning’s 99% score (albeit on three reviews) revved my anticipation for epic folk metal in the vein of Finntroll. What I received, however, paraded no beer-pounding jolliness or magnificent bombast, but was instead a softer and more stony-faced dialect of folk metal I haven’t heard before or since.
This week we’re joined by fellow editor Nick again! And as you can probably tell from the title, we talk about some streaming service drama! Specifically, the trainwreck that followed Frank Ocean’s new Apple Music exclusive album, the UMG salt that followed, and Spotify stirrings in relation to industry trends. But wait, there’s more industry drama! A former Victory Records employee wrote a huge expose talking about all the stuff that goes down in the label, confirming the suspicions of many. We then talk about SubRosa and their interview about the music they wrote in relation to the Mormon church’s treatment of LGBTQI individuals. We talk about a bunch of new music and music-related announcements as well. Including: poorly-realized analogies about post/weird-death metal involving Ulcerate, Coma Cluster Void, Car Bomb, Negura Bunget, Meshuggah, Mithras (and more Mithras), Allegaeon’s Rush cover, WRVTH being awesome, In Flames being terrible (seriously), Ninjaspy, Darkthrone, Emperor, Brujeria (and their tongue-in-cheek interview), Ion Dissonance, Leander Kills, The Dear Hunter and The Aurora Borealis Project x Drewsif Stalin’s Musical Endeavors. Finally, we talk about the passing of Tom Searle of Architects. Enjoy! (the episode, hopefully, not the terrible news)