As I wrote in my review of LA post/math-rock enclave Arms of Tripoli’s recent sophomore album Daughters, I have a particular soft spot for the band not only because they clearly pull influence from so many instrumental and progressive bands that I already love, but also because they were the first band I came to know and love specifically through writing for Heavy Blog back in 2014 for their debut full-length Dream In Tongues. In my mind the band are just about everything that is good about instrumental post-rock without any of the bloat, mediocrity, and tediousness that plagues so much of the genre and its heavier cousins in post-metal. I’ve been following them closely since and eagerly awaited their next release. So when Arms’ bassist Mike Bouvet reached out to me personally about the upcoming release of Daughters, I knew that I wanted to talk to them about a whole bunch of things. Over a few e-mails we discussed their formation, their collaboration and improv-focused writing process, what sets them apart from most post-rock bands out there, and, of course, eggs.
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.
Music history is littered with pivotal moments. Many of those moments are based entirely on a movement that emerges from the appearance of something new finally clearing the horizon and landing right in front of audiences. Whether it’s the onset of jazz, often credited to the birth and maturation of…
The Ruins of Beverast is one of those bands whose every release feels like a deliberate exercise in the unpredictable. Its like a black and doom metal gumball machine. You know in general what you’re going to get, but you won’t fully understand the specific flavor, color, and texture of each release until you’ve got the thing in your possession. Candy analogies aside, Alexander von Meilenwald’s career over the past decade as the creator of and solo performer in The Ruins of Beverast, while varied in tone and sonic direction, has been nothing short of exemplary. From the lo-fi catacombs of Rain Upon the Impure to the doom-laden heaviness of Blood Vaults, each release has painted consistently mesmerizing portraits of death, suffering, and mysticism through a unique amalgamation of black and doom metal. While each release by the band has been unique in comparison to its predecessors, it’s been four years since The Ruins of Beverast released a full-length, and 2016’s puzzling EP Takitum Tootem! was a sonic curveball of epic proportions. Equally championed and reviled by fans, the EP not only added confusion as to which sonic direction the band would take with its latest record, Exuvia, but trepidation in some as to whether it would be any good. If you were worried that The Ruins of Beverast is losing its edge, may your fears be assuaged. This is some premium metal.
Foo Fighters aren’t the type of band you associate with breaking boundaries, but their career has seen them unleash eight studio albums that most of us will agree are pretty solid, with a couple that ascends to levels of greatness. Also, as far as modern rock acts go, they don’t come much bigger. Their prolific career has seen them rise to meteoric heights through the release of popular singles, hilarious music videos and a reputation for being some of the nicest dudes in the biz. We don’t just want to support these guys because they know how to appeal to our stadium-sized sensibilities with almighty, but easily digestible, melodic rock, but they’re genuinely likable and good poster boys for music in general. It’s also a testament to their talent that they were able to break out of the shadow of Nirvana and establish themselves as a huge deal in their own right, and at this point in time, you could argue that their legacy is just as magnificent.
Chris Cornell was nothing if not human albeit one with otherworldly pipes and a mind ripe with the ability to form words and phrases in such a way as to simultaneously connect and befuddle listeners and onlookers. By all accounts he was a contemplative person who loved his inner circle very much but he wasn’t alone in his troubles. His imperfections, those that his fans knew about anyway, bred a certain closeness strengthening the bond they had with the performer. He was one of rock’s golden but least gilded gods. We have lost another great one but his legacy speaks for itself. We will miss you, Mr. Cornell. Our condolences from the Heavy Blog Family to yours. Read on for what our staff and special contributors feel is a sampling of some of the best work over the course of Chris Cornell’s amazingly moving career.
Back in March, I spent the better part of an hour speaking with Between the Buried and Me bassist Dan Briggs to discuss his myriad of projects and his development as a musician and evolution as a bass player. The first half of our talk was published last week, wherein we discussed collecting vinyl, the prog aesthetic, and the records that inspired him to first pick up a guitar — and eventually, bass and keyboards. In this second half of our interview, we discuss his new project Nova Collective and its place in the genre of jazz fusion. We also discuss the process of revisiting their modern classic Colors, and where the band goes from here.
Over the years, we’ve watched North Carolina’s Between the Buried and Me climb the ranks from metalcore weirdos struggling to find a place in the metal scene to prog metal masters with a legion of rabid fans and achieving worldwide headliner status. Through a series of critically-acclaimed opuses, a scene had formed itself around Between the Buried and Me as trailblazers of a new branch of modern progressive music, and one might argue that the biggest splash from the group came from their 2007 opus Colors, which turns 10 this year(!!!).
One of the biggest misconceptions about rock and metal fans is that we’re all dreamer slackers with daydreams of musical superstardom. However, in the 90s, that didn’t stop Hollywood from churning out a slew of comedies which adhered to this notion. That said, the history of heavy movies is beleaguered by stereotypes anyway, so why should the 90s have been any different? The good news is that the decade did produce some hilarious efforts – a few of which went on to become cult classics – and that’s all that matters. Hollywood assumptions about subcultures aside, at least the cinema itself was entertaining.
Angry “post”punks from Bristol, IDLES’ new album Brutalism starts with someone being called a bastard before laucnhing headlong into a pulsing drumbeat and sinewy guitar line. Then that voice. Sid Vicious, Johnny Rotten, Crass. Rarely do we get a band that actually lives up to the praise and connotation of being linked to the actual classic lineage of punk but then there’s these guys. Fuck and you.