Last week, I reviewed Perihelion’s Agg, an album which augments post-black with plenty of psychedelic, melancholic, and even gothic influences. During the review, I cited the unmistakable influences of bands like Katatonia and Anathema on the band. Today, we’re proud to premiere “Rejtek”, one of the tracks on which these…
We all know where post-black metal is coming from, black metal of course, but where is it going to? As the sub-genre draws close to double digit age, what is the purpose of post-black? The initial infatuation with the permutations it offered black metal is fading; we need something more…
The Load In With the festival season now (mostly) behind us, September is usually the beginning of peak gigging season for me, running through to a couple of weeks before Christmas. But not this year, because I spent the first three weeks of the month swanning around in Peru. How…
Hidden histories are a tricky thing. On one hand, they’re everywhere, untold stories bubbling beneath the surface of clean, accepted narratives. They’re also fascinating in their obscurity, inviting a host of retellings, rediscoveries and the create of new, even cleaner, more “accurate”, meta-narratives. On the other hand however, they tend…
Editor’s Note: it is our extreme pleasure today to be premiering this album alongside reviewing it. If you’d like to listen along as you read this review, please scroll all the way to the bottom first to find the embed for this release. If you’re a fan of atmospheric black metal…
Path of Might can serve as an excellent example of the blending between light and heavy; this St. Louis based band first made its appearance on Heavy Blog on the merit of their insanely thick riffs, high octane composition and overall blistering aggression. However, their most recent, Hallowed Gate Style, is a clever departure from all of this. We say “clever” because it’s not a clean break; some of the main sensibilities of the band’s original sound have been maintained, creating a heavy and muscular take on progressive stoner metal/rock.
There are artists whose power comes from being interesting even though you were dead-on with your pre-conceptions of their music. When speculating about how a future release by them would sound like, you got all the points right: the instruments sound as you had imagined they would sound, the lyrics are familiar, the production is what it needs to be. Everything has been played as you had expected. And yet, the album is still incredibly powerful. Something about the way it’s put together, even if you saw it coming, takes your breath away and reminds you why all those things exist as they do. This is very much the case with Daniel Cavanagh’s latest release, Monochrome.
What exactly qualifies as “metal” can be a contentious issue. As any dedicated listener knows, the label itself accounts for a wide spread of sub-genres—ranging from softer, more atmospherically-inclined fare such as post-black/gaze and folk metal; to the frantic, bombastic realms of speed and power metal; and onto the spasmodic worlds of math- and grindcore; and even the bleak, all-encompassing, sonic oppression of drone and funeral doom. Many of these sub-genres remain contentious, and what is considered metal, or even just heavy music can shift and change depending upon what circles you frequent. Then again, there are those bands who (for any number of reasons) simply ooze the ideal of heavy metal, no matter which way you look at them, so that their status as a nothing less than a fucking heavy metal band cannot be denied. The King is Blind are one of those bands.
Prepped and pumped from day one, armed with the knowledge of where the best food and spots were, we entered Poble Espanyol. The setlist promised to be stacked with some of my favorite acts and my expectations were high. I was worried about being disappointed but it was just a nagging voice in the back of my head; my spirit was frivolous and I allowed myself to imagine crazy scenarios of far fetched and perfect set-lists, incredible and soul lifting shows and what have you. Those rampant expectations were all met and exceed, as the second day proved to be one of the best musical experiences of my life. Venue, company, performance, crowds, bands, all combined in that perfect, harmonious way which is usually resolved for dreams and erupted on to the scene. But let us start in the beginning and chart this journey towards the end, an unbelievable catharsis at night.
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.
