EXCLUSIVE PREMIERE – A Constant Knowledge of Death Are Back With “Abysmal Valley Dolorous”

It’s been almost three years since we last spoke about A Constant Knowledge of Death, an incredibly mercurial and hard to pin down band working in the realms of post-rock, post metal, electronica, drone, and progressive metal. Back then, we premiered their work around their then-new album Vol. II Organic…

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The Celtic Connection – Bones, Chugs and Harmonies

There’s nothing quite like a great sandwich. Whether it’s cookies either side of creme, cold cuts stuffed in slices of bread or earnest, driving hard rock with heart stuck between two slabs of dirty, bludgeoning death. We’re going with the latter on this weeks Celtic Connection with Scottish and Irish produce, as per. It tickles my pickle that I get to cover three bands with nothing shared other than their red haired heritage. Sure, the two Scots acts may share the same rough area but they couldn’t be any further apart in terms of taste, style and fans. Throw in some low end loving Irish folks and hey, we’ve got a party on our hands.

91 – White Supremacist Math-Rock

This week, Eden is gone! I swear this isn’t some Fast and Furious 8 situation where Eden and I hate each other and don’t appear on screen at the same time (see Vin Diesel and The Rock), but just real life getting in the way. But Tidal is still alive, so we must go on. This week we have Simon Handmaker, fellow Heavy Blog editor and meme master. We discuss some news/new music, like The Faceless facing troubles, Spotify needing to change their business model, and new music from: Myrkur, Contrarian, Wolves in the Throne Room, Celeste, Humanity’s Last Breath, Cytotoxin, Rings of Saturn, Ne Obliviscaris, Tera Melos, Converge, Akercocke and August Burns Red. Then we do some cool people stuff talking about The Room and The Disaster Artist, some movies by A24 productions including The Lobster, then Pyre and PLAYERUNKNOWN’S BATTLEGROUNDS. Enjoy!

Decibel’s Toxic Nostalgia – Exploring the Magazine’s Narrow View of Modern Death Metal

The following article is a collaboration between editors Jonathan Adams and Scott Murphy.  Before we dive in, let’s make one thing clear—we and Decibel (“America’s only monthly extreme music magazine”) agree that 2017 has been an exceptional year for death metal. Jonathan has highlighted countless fantastic death metal albums this…

Hey! Listen To Reptilian Civilian!

Do you enjoy no nonsense, riff filled death metal? Do you like sub bass drops and beat downs? Do you also believe that the ruling class of the world is made up of scaly, lizard people? Well, even if you only answered yes to the first two questions, you will almost definitely enjoy the devilishly wholesome offerings of Brisbane’s Reptilian Civilian. Five guys hanging out and playing sick death metal with plenty of tech and slam, these chaps deliver on the promise of every tag you’ll find their music under on Bandcamp. Slamming brutal technical deathcore with a global conspiracy theme? Yes, this will be fine.

Rings of Saturn – Ultu Ulla

No, there hasn’t been a glitch somewhere in the Heavy Blog matrix. This is a review of a Rings of Saturn album in the year of our egg, 2017. The sci-fi loving deathcore darlings (ahem) release another blast of widdly diddly death metal full of sweeps, synths and other worldly references too obscure for this writer to care about looking up. Look, if they are going to be lazy enough to record each note at a time then you won’t catch me doing the hard work either. In the few short years since Lugal Ki En was released, the world of technically leaning death metal has spawned some outrageously talented acts; Archspire and Inanimate Existence are the golden boys of tech-death, leaving breakdowns and breeing behind. Do Rings of Saturn still belong in a world that belongs to bands like this? Can they save the world from the alien invasion of tech-death newcomvers?

83 – Max Phelps Of Exist

In case the title wasn’t clue enough, this week we have Max Phelps of Exist, Defeated Sanity and Death to All (also ex-Cynic) as our guest! We discuss his creative process, touring with Gorguts, and of course, the upcoming Exist album So True, So Bound, which comes out this week! We also discuss new music from Origin, Bloodshot Dawn, Rings of Saturn, Vintersorg and more! We also discuss Fredrik Thordendal’s hiatus(?) from Meshuggah and Per Nilsson of Scar Symmetry replacing him. Finally, we talk about how Spotify artist payments have been decreasing despite their financial growth. Enjoy!

80 – Stabbed Faceless By Silicon Valley

This was a week of diversions. Eden is back in his land, and I’ve seen Metallica live and am super amazed by them. Also, new music by Exist, Origin, Steven Wilson, and Rings of Saturn. Then we talk about some happenings. The shitshow surrounding The Faceless missing their New Zealand tour, Chester of Linkin Park telling fans to stab themselves in the face, and the sexual assault allegations leveled against PWR BTTM and the implications of that. Then Eden recommends some music – Brutus, Subetroth, and Arcadea featuring Brann Dailor of Mastodon. We then go into a cool people section discussing Get Out, Guardians of the Galaxy Vol 2, and Horizon: Zero Dawn. Then, just as we’re about to finish up, Eden mentions his Re:publica experience, and we go into an extended discussion about the ethical responsibilities of the tech industry to explain themselves. Enjoy!

Endless Sacrifice – Suffering, Metal, and Identity Politics, Part 2

Welcome back to Endless Sacrifice, our ongoing look at the role which the ideal of suffering plays within metal. Our opening article focused on content analysis, taking a look at the ideal of suffering as it comes across from the content which metal is concerned with. Lyrics provided a fertile ground for exploration because they are the standard which music raises in order to convey its meaning (although we saw that a grain of salt is indeed needed when considering them). Today we discuss the instrumental side of things. Approaching this topic was not the easiest thing to do at first; after all, how does one relate strictly musical content to the concept of suffering within metal? Where to even begin, when what one gleans from a certain musical moment is nowhere near objective? What this apparent divide necessitates instead is a re-framing of the question itself.