“Metal” is a very broad term, roping together a sweeping mass of bands that do not necessarily belong in the same genre. Sleep falls into this category, stoner metal specifically, but denies the stereotypes that make metal as a whole sound shallow. Their songs are essentially full albums with well thought-out compositions. Sleep knows how to find a hook and blow it up tenfold into long, massive songs that fade into each other and make longer, more narrative pieces. It’s difficult to find parallels between Sleep and certain godfathers of metal because they have moved beyond the blueprints set up for them. Sleep is evidence that metal has almost untraceably evolved since its beginnings. Read the rest of this entry »
Helmet’s seminal 1994 release “Betty” came during a time when rock was going through some weird shifts in the mainstream. Grunge was its nadir and the industry glommed onto so-called “alternative” or “post grunge” rock bands like Candlebox and Offspring to fill the void. So when “Betty” was released it made an impact, even though the album was not as much of a commercial success as Helmet’s sophomore effort, “Meantime.” Some music fans view “Betty” as their mainstream entry point into underground post-hardcore and metal while some critics see it as the accidental template for the rise of the much maligned sub-genre of nu-metal and representative bands like Slipknot and Limp Bizkit. Regardless of where one falls in the debate on the historical influence of “Betty,” the album stands up on its own. The meaty down-tuned riffs at the intro of “Milquetoast” or the pulverizing bass of “Biscuits for Smut” still manage to inspire mosh-pit action, even if said mosh pit is slower and much more cautious than in 1994. Read the rest of this entry »
And now for the only full-on metal act of this entire festival, the eagerly awaited (by some) Deafheaven. A lot of folks at the fest were clearly not ready for vocalist George Clarke’s gut-wrenching shrieks, but whatever. We will be back to indie rock mumbling and such soon enough.
A certain segment of metal critics/fans lost their collective shit for the band’s 2013 release, “Sunbather,” a wet dream for anyone who is equally enamored of both, say, Gorgoroth and Godspeed You! Black Emperor. I have been largely unmoved by the band’s records, but I will say their shoegaze-y elements are much more stirring in a live setting. Also Clarke’s evil-German-film-studies grad-student vibe actually works live; he’s got a weird kind of sexy malevolence that fits their sound and is dynamic to watch. They debuted a new track,”From The Kettle Onto The Coil” with a nice chunky breakdown in the middle that appeals to my metal traditionalist sensibilities. You win this round, Deafheaven. Mostly because you guys are the only metal I’ll see all weekend. (Keidra Chaney)
Pig Destroyer is about as close to a household name as underground metal can get, to the point that some metal snobs consider the band to be “mainstream” in comparison to its younger, more extreme counterparts. (They probably wouldn’t pass the “does your mom know them?” test, unless your mom goes to Kuma’s regularly.) Of course musically, the band is no less savage than they’ve ever been. Their last full-length, 2012’s “Book Burner” was both unusually ambitious–with some of the best, most disturbing lyrical storytelling vocalist J.R. Hayes has ever written–while sounding younger and more punk than ever, thanks to primary songwriter/guitarist Scott Hull’s guiding hand. Read the rest of this entry »
The Dillinger Escape Plan is not every metal fan’s musical cup of tea. Some are put off by the frenzied, tempo-hopping riffage of guitarist/founding member Ben Weinman. The “no clean vocals” purist crowd doesn’t care much for vocalist Greg Puciato’s smoother vocal stylings. Even so, the mathcore quintet’s fan base seems to grow with each new release, despite an ever-changing lineup and a commitment to creating persistently alienating music. Their most recent album, “One of Us Is the Killer,” shows the band at their most artistically confident, marrying the incomprehensible technicality of Weinman’s guitar playing and Billy Rymer’s drums with melodic , dare I say, pop-influenced choruses. It’s all topped off with Puciato’s impressive vocal range, jumping from high-pitched shrieks to guttural bellows to R&B-tinged crooning, sometimes in one song. It’s a trip. Read the rest of this entry »
When Black Sabbath abandoned the name Earth, it was left for Dylan Carlson’s crew to assume two decades later. Earth’s mythology and music from the early nineties have proven to be equally formidable forces. Their seminal “Earth 2” is regarded as the first drone metal album, though their stint on Sub Pop is considered the beneficial byproduct of a close friendship with Kurt Cobain. Carlson and Cobain were former roommates, confidants and co-dependent drug users; their camaraderie culminating in Cobain’s suicide via a shotgun purchased in Carlson’s name. Two more albums were issued on Sub Pop, the epic distortion excursions of their genre-defining masterpiece tapered to shorter outbursts edging toward standard song length, replete with a Hendrix cover. And then, radio silence. In recent interviews, Carlson has credited this lost time to a continued struggle with drug addiction and depression, but by the mid-aughts, Earth had begun playing out again, revitalized by the inclusion of Carlson’s wife Adrienne Davies on drums, and supported by the successes of bands like Sunn O))) who owe much to the genre’s forebears. Read the rest of this entry »
Though Texan Scott H. Biram has released a number of well-received albums and has been performing for more than a decade (amassing a considerable following in that time period) his latest release from Bloodshot Records (“Nothin’ But Blood”) is bringing new fans out of the woodwork. Biram calls his music “the bastard child of punk, blues, country, hillbilly, bluegrass, chain gang, metal and classic rock,” and for once this is not an example of an artist over-selling himself. Despite the first track on his latest album implying that he’s taking it “Slow & Easy,” Biram still preaches as much hellfire as he does redemption with both his lyrics and musical style, following loud, fighting-angry metal tunes like “Church Point Girls” with easy listening bluegrass ballads like “I’m Troubled.” Seeing Biram take the stage alone with his signature trucker hat, the uninitiated may expect a fairly typical country singer-songwriter—but once he gets going, it becomes clear why he’s also known as “The Dirty Old One Man Band.” Read the rest of this entry »
What exactly is “post-metal?” Some fans swear by the term, others loathe it. It tends to be used in reference to bands that appeal to people who don’t have much use for heavy music in any other context. You can decide for yourself whether or not the description quite fits for Chicago’s Russian Circles, but anyone with an appreciation for the layered instrumentals of Explosions in the Sky, or the heavier riffing of Pelican will appreciate this band. Without a singer to tell stories through lyrics, the trio—guitarist Mike Sullivan, bassist Brian Cook, and drummer Dave Turncrantz—create musical narratives through finely crafted arrangements. Read the rest of this entry »
Extreme metal’s never been a genre known for its appreciation of gentle beauty. But when critics and fans alike consistently describe an album’s listening experience as “ugly” and “torturous”–and it’s meant as a compliment–you can assume you’re in for something special. “From All Purity,” the fourth full-length release from Chicago quartet Indian, has been lauded by many as the band’s most impressive release to date, while at the same time being described as one of the more unpleasant and difficult musical offerings in recent memory. Not a small feat from a band that’s already built a reputation for their particularly snarling sound.
The six tracks on “From All Purity” radiate loathing and paranoia through a wall of feedback and power electronics punctuated by vocalist/guitarist Dylan O’Toole’s rabid screams. The pummeling opening song, “Rape,” immediately gives you an idea of the type of album you’re in for from the title alone. The eardrum-splitting penultimate track “Clarify,” is a four-minute-long rising cacophony of feedback that becomes nearly unbearable. The album is a challenging listen even for extreme music fans, but at only forty minutes long, “From All Purity” is also a lean and well-crafted musical statement.
“Unpleasant is how I describe it [too],” says guitarist Will Lindsay (formerly of Wolves in The Throne Room and Nachtmystium). Lindsay moved from the Pacific Northwest to join O’Toole, drummer Bill Bumgardner, and bassist Ron DeFries during the band’s last album, “Guiltless” (2011) and now splits songwriting and vocalist duties with O’Toole. Read the rest of this entry »
While Portugal’s Moonspell has had the usual shifts in style that are characteristic of a band with a lengthy history, in a black-metal-dominated contemporary scene that clings to “no clean vocals” like a religion, the band’s gothic influences are an acquired taste for certain fans. That being said, “Alpha Noir,” part of the band’s most recent two-part release, is their thrashiest in years. Read the rest of this entry »