Every once in a great while we have calendar years that see iconic releases across a range of styles. It is rare that we see this happen in just one particular style. 1987 was one such year, though, as the entire spectrum of heaviness saw iconic records drop like so many tears from the eyes of mainstream pop music stars that these albums would devour. At the time, it didn’t seem like this was any different of a year for music until fans started to take a look at their growing record collections and what would spin out from the influence of so many landmark albums.
Here on Half-Life, we go through a band's discography and see where they stand today compared to where they started. Pallbearer is one of metal's rising stars and their progression has been so fun to watch. Every record has its own identity and set of surprises. To take on this project, I enlisted the assistance of my talented colleagues, Jordan Jerabek and Bill Fetty. We hope you enjoy!
Hello, This Is a Play By Play Rebuttal Of David Hall’s Terrible Article And Also A Rebuttal to A Rebuttal by Clrvynt’s Editor And Some Thoughts About The Metal Community
Let's state facts: Clrvynt's preface to "The Director of 'Maryland Deathfest: The Movie':'Metal is the Fucking Worst'" (this is literally how the post's title was formatted by the way, I didn't change it) is bullshit. Running an article filled with borderline/not-really-borderline-at-all misogyny, homophobia, and very palpable hatred for a huge swath of the community you're part of is a terrible thing to do. However, if you've already decided to do that, don't cop out by writing a six-line preface nominally denouncing the opinions contained therein. At least own the fact that you're giving shitty opinions a stage and have some honesty.
There are certain words and phrases that evoke powerful images for receivers of art and part of that power comes from the way that it effects people on such a visceral personal level. That is one of the more immeasurably important pieces of any work of artistic expression. Sometimes we reach for these symbols, words, and phrases in order to better acquaint the uninitiated with something that we ourselves are often only just beginning to understand. The need to connect and communicate, to dialogue and unpack, the importance of these signifiers is what brings urgency to the way we pass important personal affections back and forth.
Denver’s Khemmis materialized as quickly and supernaturally as the panel van wizard-style illustrations that grace their album art. Absolution, their impressive debut album from the not-so-distant 2015, bubbled up as a critical favorite, garnering attention from publications large and small - no small feat for an upstart band in an already populated scene. Taking nods from old-school progenitors like Candlemass and Thin Lizzy, Khemmis carry diverse classic vibes into the modern era, zeroing in on a more alloyed kind of retro revival than peers like Pallbearer or The Sword. Somehow, in wizard-like fashion, they’ve quickly conjured their follow-up, Hunted, a record that polishes the ideas presented on Absolution, but ultimately feels like an all-too-familiar sequel.
"The occult" is a term that gets thrown around quite a lot these days. It's mostly used to describe a certain aesthetic, one laden with candles, burly cloaks and pentagrams. It can also be used to connote an eerie or bizarre, a sense that something is off. That shouldn't be surprising; after all, "occult" comes from the Latin "occultus", something hidden or secret. However, the occult is also a field of study, a body of knowledge and a sociological term which underwent plenty of historical permutations to finally end up with the meaning and context is bears today.