It would be easy to expect most people to come into this wondering who Old Faith is, assuming they’re a fresh band hitting the scene with a debut record. And you’d actually be partially correct, but there’s more to the story where this Greensboro, North Carolina quartet is concerned. This…
So, April has come and gone and now spring is here in earnest. While there was definitely a slow down in the SHEER VOLUME of releases from April, there definitely wasn’t a decline in quality. May brought us some of our favorite albums from 2016 so far and some which are certain to feature on high spots in our end of year lists. Speaking of which, next month we won’t be doing an Editors’ Picks or rather, we will but it will be a special, Worth Your Time in 2016 so far edition. In the meantime, let’s dig in to this month’s selection, featuring some heavy, some sad and, mainly, a whole lot of excellent.
For those who missed our last installment, We post biweekly updates covering what the staff at Heavy Blog have been spinning. Given the amount of time we spend on the site telling you about music that does not fall neatly into the confines of conventional “metal,” it should come as no surprise that many of us on staff have pretty eclectic tastes that range far outside of metal and heavy things. We can’t post about all of them at length here, but we can at least let you know what we’re actually listening to. For those that would like to participate as well (and please do) can drop a 3X3 in the comments, which can be made with tapmusic.net through your last.fm account, or create it manually with topsters.net. Also, consider these posts open threads to talk about pretty much anything music-related. We love hearing all of your thoughts on this stuff and love being able to nerd out along with all of you.
We just published a taxonomy of post rock to which I wrote the intro. You might have discerned, if it hadn’t hit you like a wrecking ball, that I am somewhat frustrated with a lot of post rock today. Even in the context of these, a series of posts dedicated to the genre, I often start by bemoaning the state of the genre today. And it’s not without reason: a lot of post rock out there is tired and defeatist, satisfied with plowing the same fields which have been tilled by those before them. Therefore, we often call for innovation and experimentation within the genre, for whatever our opinions are worth to recording artists. In the taxonomy post, we opened with tackling the most fundamental sound of the genre, claiming that it still has merit and worth, that not all innovation must lie in the splicing of new sub-genres into the core of post rock.
The goal of these taxonomy posts is not to provide an exhaustive and accurate list or definition of a certain genre or genres. Quite the opposite in fact: attempting to make such a complete list would only replace one stagnated image-object with another, creating an equally irrelevant definition, whether it can be considered currently accurate or not. Therefore, we want to keep some of that fuzz, to leave ends untied and room for further articles and discussion among our readers. We’re not saying that this is going to be a series; these posts take far too much time and energy to commit to something like that. We are saying however that there’s plenty more to discuss, within and without the progressive metal genre and we’ll try and do that when we can.
So, post rock. Post rock is a perfect candidate for such an examination. On the one hand, there’s a very strong and often negative image of what post rock is. Seminal bands like Godspeed You! Black Emperor, God Is An Astronaut and Explosions In The Sky have enjoyed widespread, cultural popularity, solidifying the image of post rock in the eyes of the public. Pretentious, long-winded, dreamy, beautiful, cinematic, instrumental and rarified are all adjectives which were born from this image. Post rock was, and still is, perceived as a genre for the few, starry eyed and sentimental. Perhaps owing to just how good the afore-mentioned bands really are, their music also overpowered the conceptual space for the genre, leading people to expect certain things from the music that fell under the moniker.