Just another absolutely dynamite premiere today here at Heavy Blog; marking the beginning of a new calendar month with some absolutely rip-roaring rock'n'roll of the noise variety. As cold and clinical as Peter... Read More...
Just two years after their debut, Cathedral pumped up the tempo and incorporated a slew of influences stretching beyond their solid, but somewhat limited, doom metal sound on Forest of Equilibrium. Shades of sludge à la Black Flag and The Melvins are most apparent, but the band reaches further beyond the low-and-slow realm to pull in influences from hard rock, heavy metal and progressive rock. Most importantly, the band's vibrant personality sheds its skin entirely and reveals its true colors, thanks in large part by an unhinged, dynamic vocal performance from Lee Dorrian. It's an exceptional combination that slightly edges out the band's initial groundbreaking efforts. Whereas several bands contributed to the sound developed in part by Cathedral on Forest of Equilibrium, there's never really been an album that sounds quite like The Ethereal Mirror, and it remains a multifaceted album with reverberations felt in music from the likes of Baroness, Pallbearer and a decent chunk of modern stoner metal.
It’s been a while, but we’re back, so welcome to another edition of Connecting the Dots, and today we will be focusing on mathcore masterminds The Dillinger Escape Plan! Whilst they’re soon going to be shutting up shop (R.I.P), we can remain eternally grateful to the incredible records they’ve released during their two-decade career, their vicious live performances, and the incredible other musical projects they leave in their wake. Without further ado, let’s dive into the amazing projects these musicians have been a part of.
Doom metal, in its purest form, is Sisyphian, forever attempting to move its great weight over a seemingly unreachable peak. That that mythical figure was, well, doomed to his task for cheating death is an apt metaphor for the bleak artistry of this genre of metal. In attempting to establish where this particular scene lies in the greater schema of music right now we can look to this ancient myth as an apt metaphor. Taking into account the plethora of new releases, new Sisyphuses, pushing their own respective boulder-esque projects it’s easy to see that doom is in a bit of a renaissance, currently, as crucial (relatively) new bands such as Elder, Pallbearer, Dreadnought, and SubRosa have raised the bar for longtime practitioners.
Comeback albums are in vogue this year, especially for rock music and its offshoots. At the Drive-In, Gorillaz and nearly every major shoegaze pioneer (The Jesus and Mary Chain, Ride, Slowdive, etc.) have all resurfaced for returns-to-form or late-career flops, depending on whom you ask. The fact many of these bands had been laid to rest for decades certainly contributed to disappointment among some fans, as did the heightened expectations created by their pre-breakup classics. Part Chimp bucks the drawbacks of all these metrics with their hiatus-smashing record Iv, which provides and incredible delivery of the band's signature blend of sludge-ridden noise rock and stoner metal. The band's comfortable position in the underground and relatively short hiatus—they disbanded in 2011 and reunited last year—has allowed Iv to feel less like a comeback album and more like a reunion with a beloved friend, where good memories come flooding back and it feels as though everything is still in its right place.
With time, Josh Scogin will be able to release music without it immediately being compared to his work in The Chariot. That time isn't upon us yet, as fans of the Georgia legends still hanker for them, tearfully screaming "long live" at anyone and everyone within earshot. The second release from Scogin's stripped down '68 project should help these lost souls in finding new comforts, away from the mayhem and maelstrom that The Chariot offered. Two Parts Viper is one part Southern Americana, one part ex-The Chariot Josh Scogin and one part wonderfully over the top rock and roll. But 2014's Humor And Sadness was made up of much and such the same measurements. Has the sound evolved enough for '68 to finally become a stand alone entity?