One of experimental rock’s most stacked modern supergroups is back, and we’re thrilled to once again premiere a track from their new project. For those who missed our premiere for “Here In My Heart It Is What It Is” last year, NOUS features a varied and seasoned lineup led by…
I’ve always gravitated towards multi-instrumentalists with an array of sonic interests. Artists who extract unique ideas from a kernel of creativity always tend to mix flavors with each side project. A great example is the collective work of Kevin Hufnagel and Colin Marston (who just released another excellent Dysrhythmia album),…
It wouldn’t be particularly unfair to peg Texas blackened doom merchants Dead to a Dying World as maximalists, at least on paper. With seven core members, not including a constant stream of guests that populate each of their records with disparate vocal musings or accompanying instrumentation, it would not be…
Perhaps no one musician has contributed to the cello’s prominence and presence in the field of experimental music as Randall Holt but the name might not even be familiar to you unless you’re well versed in the Austin musical scene, the post rock landscape or other experimental/jazz circles. But the fact remains that he totes one of the finest pedigrees in the market. He collaborates or has collaborated with the likes of Thor Harris (drummer for Swans), Jonathan Horne (another of Austin’s elite of hardworking musicians, also the guitarist for The Young Mothers), Godspeed You! Black Emperor, Thee Silver Mt. Zion Memorial Orchestra, and Adam Rudolph, one of the most important jazz composers and percussionists in the world. In 2016, Holt was ready to foray out into the world by himself with a haunting and beautiful album titled “Inside The Kingdom of Splendor and Madness” and boy is it a ride. We’re proud to stream the full album here today to celebrate the album’s physical release, on cassette and CD, so head on over below for a taste and we’ll talk more after.
Writing a standout doom metal album is a difficult task nowadays. This isn’t due to an overall lack of quality within the genre’s modern progenitors, but because of the antithesis; more and more excellent doom metal albums seem to enter the running for our year ends lists with each passing year. MONARCH! (Monarch from here on out) has never struggled with this endeavor over the course of their 15-year career, particularly when it comes to their recent output with the eminent Profound Lore Records. Yet, while Sabbracadaver was certainly a doom highlight in 2014, Never Forever sees the band returning this year with their most colossal and grandiose album to date, presenting a masterful synthesis of drone metal with doom’s more macabre characteristics. We sat down with the band to discuss the process of writing their latest epic, as well as a handful of other topics related to their past, present and future within the shifting landscape of modern doom.
There’s a lot happening in the music world, and we here at Heavy Blog try our very best to keep up with it! Like the vast majority of heavy music fans, our tastes are incredibly vast, with our 3X3s in each Playlist Update typically covering numerous genres and sometimes a different style in each square. While we have occasionally covered non-metal topics in past blog posts, we decided that a dedicated column was once again warranted in order to more completely recommend all of the music that we have been listening to. Unmetal Monday is a weekly column which covers noteworthy news, tracks and albums from outside the metal universe, and we encourage you all to share your favorite non-metal picks from the week in the comments. This week, we’ll be highlighting several albums that struck our fancy over the past few weeks. Head past the jump to dial down the distortion:
We’ve covered a fair bit of ground with our Starter Kit series, where we select a handful of key records that highlight a niche musical style or penetrate the prolific status of a staple genre. Unfortunately, this format doesn’t lend itself to covering proto-genres—microcosms of musical history comprised of a specific set of albums released in a fixed period of time. But these movements are crucial to the evolution of our favorite genres, particularly when it comes to the trajectory of sludge metal. What’s become a multifaceted and often refined style was once a disparate lineage of bands from different genres who all applied the “sludge factor” in different measures. While you won’t find a dedicated section for proto-sludge at your preferred music store, the following albums an artists laid the framework for the modern sludge landscape. So whether your sludge purveyors of choice come from the atmospheric, blackened or progressive sects of he genre, they’re all indebted to the groundbreaking statements these albums made.
When I found out that Ben Hopkins was outed as an abuser and rapist I was heartbroken. I was heartbroken for my friends who loved PWR BTTM. I was heartbroken for all of the queer kids and young queer adults who looked up to this band who (at the time) appeared to really care for their communities. They were activists. They were one of us. They held space for a community of people who didn’t quite fit in anywhere else. PWR BTTM stood up for us. They were just like us, and when people like us are ousted we see ourselves in them and we lash out. We grieve. We process. We take action. We compartmentalize. We move on and hope we won’t have to deal with this again until we do, because this is work that never stops.
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.
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.