Genghis Tron – Dream Weapon

Rip the bandage off now if you haven't already and are in denial after the first two singles; to call Dream Weapon a metal record would be a stretch by any metric, and there's nary a glimpse of grind in sight. Remember to breathe, it's okay. Once Dream Weapon gets going and you forget that you're supposed to be listening to a Genghis Tron record, it's quite a wonderfully bright journey that serves as a calm and content reflection on extinction.

Spell – Opulent Decay

Of all the genres to augment and splice with new varieties, good ol’ heavy metal seems to be the one that escapes the creative mutations most often. It makes sense. If a heavy metal-augmented style becomes “to... Read More...

Thomas Giles – Don’t Touch The Outside

Don't Touch The Outside, Between the Buried and Me frontman Tommy Rogers' fourth proper full-length under the moniker Thomas Giles, takes the retrowave and electronic influences on previous outing Velcro Kid (2016) and imbues those new wave vibes with some of the wilder experimentation and genre diversity which made Pulse (2011) and Modern Noise (2014) so incredible.

Heavy Blog Guest List – The Ocean

Robin Staps and Paul Seidel of post-metal band The Ocean give us a rundown of what has dominated their listening habits of 2018. Their lists represent the true meld of genres that The Ocean is, moving from heavy, doom-y stuff like Ancestors (one of my all time favorite bands) through obscure (to us) electronics and dreamy sojourns in foreign lands to heavy, abrasive, downright nihilistic at times, experimentations in music.

Audrey Horne – Blackout

"What happened to Audrey Horne?" It was a question that permeated much of last year's Twin Peaks revival, and one which lingers long after its close. Yet, while the cult TV series' timely return has brought such bygone contemplation to the forefront of contemporary pop culture, that very same question has been pressing upon my mind with regard to the musical sphere for some time now. Having peaked with their eponymous third album in 2010, this once lively group of Norwegians (who take their name from a prominent character in David Lynch and Mark Frost's cult television series, in case that introduction made absolutely no sense to you) seemed to degenerate—much like Twin Peaks itself—from underappreciated semi-cult act to middling pastiche with their two subsequent records. However—again, much like the origin of their namesake—Blackout sees this bunch of retro-rock worshiping ragtags return with their strongest offering in years.