Since this is my first review of the year, it’s a good time to mention one of my annual music resolutions. I try to evolve my listening habits with a new focus come Jan. 1, with this year’s theme being to cut down on my “Lazy List.” With all the…
Classical elements have always been inextricably linked with black metal. There’s the obvious example of symphonic black metal, but beyond that, the genre has shared classical music’s vision for massive sonic displays on the scale of an orchestral delivery. Ulver went so far as to drop black metal entirely and…
Wilting and blossoming – two natural processes which both have something beautiful about them when viewed from different sides of an emotional spectrum. I won’t wax poetic about a simple metaphor, but I love it when an album title can capture the essence of an album on several layers concisely,…
Premiering new music from familiar faces is one of our favorite things to do. Not only does it give us the chance to highlight more incredible songs and albums, but it gives our readers another opportunity to discover an artist they may have missed the first time around. Which brings…
Though Swans has had several sonic reincarnations, The Great Annihilator is one of the most important phoenixes in the flock. After five perverse, punishing records, Michael Gira and crew began to slowly drift up from the gutters into some puzzling territory. The band followed up Children of God (1987) with an unexpected absolution and released The Burning World (1989), a collection of gothic-tinged neofolk album which was easily the most pleasant offering they’d composed up until that point. Then came sister albums White Light From the Mouth of Infinity (1991) and Love of Life (1992), which strayed slightly from their predecessor but took the general framework along with them. Swaying between dismal post punk, morbid folk and unidentifiable bliss, these albums flirted with a sound that Gira and crew would perfect on The Great Annihilator (1995), one of the greatest achievements of Swans initial life as a band.
Long Island based Iapetus provide us with a left of field lesson in what ambition bridled by talent can create. Their 2017 self-release (which is, and always will be, completely free) The Long Road Home is an ambitious album which spans progressive death metal, neo-folk and progressive metal. It insists, even unto the brink of failure, to go where the vision of the two artists takes it rather than where convention would dictate it should go. As mentioned, during this process it comes dangerously close to overreaching its boundaries and even faintly grazes the markings of overwrought artistry. But for those willing to brave those extremes of wild, self indulgent and un-tethered self expression lies an album full of great musical moments.