Black Metal mixes with everything and anything these days, and mixed results will happen. It is like part of the color wheel, it can be add to anything, but the results vary depending on what it is mixed with. You have blackened crust punk (Young and In The Way), Post-Black Metal (or Black Shoegaze as I called it, with Deafheaven), traditional black metal (if I don’t love me some Emperor) and black metal meets arena rock ( the new Black Anvil I can NOT get enough of and is in my top 3 for record of the year).
Let me tell you young’ins something you will learn actually fairly quick, and Coalesce said it best with an album title: There is nothing new under the sun. Let me repeat that for those skimming through my shitty, ADHD, virally infected writing and say it louder, since reading may be too good for you: THERE IS NOTHING NEW UNDER THE SUN! This has been true for a while, but goddamn, you can at least do a good job at making the music and kicking ass. Those bands I mentioned above do very well with what they have and their ideas and their mixture of genres.
Noise is quite an interesting “genre” as it is like black metal in my mind: it can encompass multiple other genres yet still be solely in the main genre. (Post-black metal, I’m looking at you kid, although you do carry a lot of fucking gold.) Now, when I think of noise, I think of bands from Amphetamine Reptiles (I am fucking old), KEN Mode, Today Is The Day (their early records and later records are so much tits that conventional lingerie has trouble holding that shit in), and Fashion Chic. You know, musicianship where there is a musical know how to break rules, a driving rhythm section of doom, and lyrics that hint at possible hilarity but lead to an idea that there is pain and anger. And then comes along CHRMR with their self titled EP. This album…let’s talk about this album’s bandcamp first shall we?
Super groups and the like are a ridiculous sort, often given to manic and high priced egos while carrying the weight of expectations meant to cripple the god Atlas, all while never giving up the core members’ ideals and opening up the power vacuum to the most dominant member. Common people and critics hold these groups so high that they may as be Icarus and those wax wings the tears of fans that wash away all hope of those super groups and them creating something of substance, rather than totally ripping off your wallet for the hope of prolonging their damn careers and keeping that spot light on them for 5 more seconds not knowing when the horse is beaten to death and should be given a proper burial.
A band known to many. A band singular in vision and unity. A band willing to expand and ebb and flow and mix genres. A band that helps others express themselves artistically through their record label Neurot. A band whose individuals members have the same vision, integrity, and strength as the whole does. ( They have a fucking back patch that says “strength and vision” for fuck’s sake).
Steve Von Till, like the band he is part of, needs no introduction, but I’ll give a little one: he is the co-guitarist and co-vocalist of the band mentioned above, and like every other member of the band, he has side project(s) that are his vision of music, catharsis, and expression. Harvestman is the side that loves drone, ambiance, psychedelia and folk, as shown, once again, on the new album “Music for Megaliths.”
Prog-Metal and prog-rock tend to get thrown around a lot these days, with many of the new bands growing up with massive prog bands such as Dream Theater being their influence, flaunting and showing their chops with six string arpeggio sweep picking techniques, odd time signatures and a massive amount of chops in the riffage department. This can lead to great music but also to undeniable wankery and pretentiousness that can cause any amount of cohesiveness to be lost in translation.
There is the flip side to this coin, where there is a vast amount of musicianship, but song craft and layers are used, creating a sound that is vastly under rated and under appreciated. The band Zombi comes to mind, the duo who create prog-rock as a love letter to the 1980’s horror movies that we all love and cherish, where sounds come together to create an amazing sound wholly reminiscent while also being entirely their own.
Today marks the anniversary of the death of one of the greatest acts ever in all of music: Prince. Now, I am not here to tell you what was so great about him, because that would take a book. I’m not here to tell you why you should listen to him, because if you aren’t or do not, well…let’s just say I’m judging you if you say you do not. All of my compatriots have different tastes in music and we all agree on one thing: Prince is awesome, especially his seminal albums with the Revolution (you should probably go out and get the albums 1999 and Purple Rain, and watch the movie Purple Rain. Don’t worry, I’ll wait.)
You! Yes YOU! Do you like stop/start, stuttering noise mixed in with your hardcore punk aesthetic? Do you have the attention span of a hyper active 14 year old male, newly released on to a high school populace and just noticing the female form in all its beautiful glory, snapping your neck to look at each and every one of them as they walk by you in the hallway, desperately hoping that one talks to you?
If that is true, then do I have a band for you. Newly signed to Three.One.G, the record label started by Justin Pearson, of bands RETOX and THE LOCUST, DEATH EYES has unleashed a 34 second (you read that right) banger with the song titled “Life” and have also released a video, which premiered on GearGods, the sister site of Metalsucks.
This song has everything you need: dissonant noise, stop and start tempo changes, lyrics in both Spanish and English, and punk as fuck mentality to match the speed and groove for which this song has. If what I described in that sentence appeals to you, you will be more pleased than that 14 year old described in the first paragraph after he found his first issue of Hustler under his father’s mattress.
DEATH EYES will release their EP, Si La Revancha Fuera Una Opcion, on July 28th through Three.One.G records. Keep your ears on the ground.
Boss Metal Zone pedals have had a recent resurgence in the past oh….I don’t know…Lets use a round number like 15 years give or take. These pedals and the bands that idolize the old metal sound of bands like Entombed, and more recently Trap Them, have become bigger and more prevalent than we could ever know really. As extreme music gains more and more of a foothold on what we can say is “popular” music, these worshipers are becoming ever increasing in numbers, ultimately leading to a decline in their appeal and originality and creating a genre so full of half-assed copycats that there is no more originality or appeal to it. I am looking at DJENT and Deathcore and tech death metal as examples of this. I don’t care if you have a 10 string guitar, add chuggas to your death metal, or can do a sweep arpeggio of 400 notes in 2.6 seconds while a drummer beats off in 4/5.7 time because he can. If it sucks, it fucking sucks, and reaffirms that there is nothing new under the sun (thanks Coalesce). This happens with every band in every genre, and it is hard to avoid with idol worship, and ultimately the bands may as well jump off the fucking cliff to a well of despair like lemmings thrown to their deaths.
A stark white album cover with some spots of blood and a tooth. Simplistic font with the name of the album and the band name. Song titles as funny and dark as they are long. An abrasive tone and style wholly their own and introspective, pensive, yet upfront and in-your-face lyrics that equally cause one to think what the singer is talking about, but know that the dude, and the band, are pissed off. Drowningman’s second proper LP Rock and Roll Killing Machine has all of this and more, creating an album that is at times beautiful, sarcastically funny, and scalding like acid.