I’m sitting there, sweat dripping off my nose, vision blurry, with no groove, no noise besides the unfiltered masses of people and their hideous voices, screeching like nails on a chalk board. Knuckles drag, mouth breathing loudly, lost in their own little self-indulgent world of narcissism, looking at themselves in the mirror when I realize that I have work to do eventually and need something to drown out the shitty ass Journey playing overhead (Trust me, “Lights” is fucking terrible and Steve Perry is god awful). Continue Reading
Doom music is known to be the music that was either fueled by drugs (Sleep) or pain with drugs as a form of coping (Neurosis). It was the music of the long haired, jean jacket and battle vest wearing stoners who had an outlet that allowed them to see the music, feel the music and its intricate message, or both. Slowly but surely, as every genre of music does, it started to encompass other genres, becoming a bastardized version of what was considered pure and old school doom (Black Sabbath in my opinion) to something completely different (first band that comes to mind is Torche with pop, followed by later Neurosis and their inclusion of country), taking what it could, creating something new and exciting, much like black metal nowadays. Doom is a genre with many sub genres, and each one is different, with a hit-or-miss, trial-and-error catalog.
Self-titled albums are usually associated with identity-defining albums that either mark a significant point in a band’s career or introduce them to the world – Black Sabbath’s eponymous debut, Metallica’s genre-shifting black album or Van Halen’s unmatched first full-length. Swedish rockers Svvamp, it seems, missed this, as their self-titled debut is one with very obvious influences, to the extent that it occasionally becomes derivative.
“Oh, that nu metal band? Who likes them in 2016?”
-A bunch of idiots who haven’t heard the last three albums Deftones have released.
So as you may or may not have heard, Long Island, New York’s Prog/Sludge/Party Wunderkind Moon Tooth are coming out with their debut full length Chromaparagon next week, with a release party at St. Vitus in Brooklyn on February 4th. Combining instrumental and melodic virtuosity with songwriting chops that have garnered well-earned comparisons to Mastodon, Living Color, Dillinger Escape Plan, and many more musical pioneers, Moon Tooth will be finding themselves a household name before long. I had the chance recently to ask vocalist John Carbone and Guitarist Nick Lee about the album, the band, and well, find out what the hell a Moon Tooth is.