Since the dawn of metal the music industry has sought to stretch the definition of “heavy metal” to include anything with heavy guitars because that would enable them a new sales channel for the usual pap. The arguably metal-influenced seemed to excite labels for that reason.
I freely admit to liking this release but not recommending it. This takes some unpacking to make sense, so let me first remind us all of the role of a record reviewer: we need to help you buy the 1% among all the new stuff that is worth listening to multiple times. That elite group consists of records that are not only aesthetically interesting, but musically interesting, and have some form of artistic content, because nothing other than those three will hold the attention of a metalhead for very long. What I do not want to do is hype a record that has an excess of one of the three without the others catching up, like a punk record with really deep political reviews, or a post-metal disc with great production, or even a jam band that remakes jazz but communicates nothing. A record that you will listen to time and again requires all three in roughly matching proportions, and if it lacks those, you will find you bought something in the way pop music listeners do, so that it fascinates you for a week and then languishes in the closet to get dumped at the used record store (where you will find many others of the same record, and get fifty cents for it as a result).
Blackwolfgoat is basically an atmospheric jam. There are spoken interludes on drone-related topics that really offer nothing and are replaying a hackneyed technique; if you delete those tracks (1, 5 and 9) you are left with a record of distorted guitar which uses technique and recursive melody well but aims for ambiance, i.e. not really coming to a point. This is where it fails: this is a jam, not an artistic communication, so while there’s a lot to like here, there is not much to listen to repeatedly here. The intention to create specific moods and expand their depth rather than extend them linearly, which is the core attribute of ambient music, does not rear its head often. Thus while this is enjoyable, it is best passed buy until the time when it hits the used rack for fifty cents, at which time it will make an interesting study in technique and texture for the budding guitarist.3 Comments
The point of indie rock was to no longer be conquest music. Ordinary rock was about getting the girl, going out there and being a big star. Indie rock was about being at home in your room, wondering where the hell the world was going.
When indie collided with rock again, they mixed in ambient elements and took out the folk, giving a sensation of pure melancholy. Building in that vein, Better Living (Through Chemistry) showcases two bass guitars weaving simple melodies around droning sounds of emptiness and desolation contrasted by somewhat upbeat vocals.
Methadrone features ex-Incantation guitarist/vocalist Craig Pillard crooning softly over heavily repetitive bass. One bass guitar tackles rhythm; the other dodges and dives around this with noise, counter-melody and sometimes pure droning sound. The result is, like Jesu, a wall of sound from which absences make more impact than additions.
While Better Living (Through Chemistry) demonstrates the melancholy of isolation that indie rock applied to great strength, evoking the lost lone voice of a person trying to find a place in a world gone mad, it underscores this with a fascination with life itself. Despite the requisite anti-hero posturing involved with using drug imagery, this is an album of self-discovery and some mastery.
Indie rock remains ambivalent for many because despite its many musical contributions it sequestered itself in a certain world outlook that while inoffensive had no particular fascination past self-pity. By hybridizing that again with a contemplative but alienated withdrawal and loneliness, Methadrone casts post-rock into a new role from which it can grow.No Comments
Murky and obscure like the style itself, a definition of doom metal proves elusive. Proponents of doom metal uphold it as a qualitatively discrete sub genre within metal on the grounds shared set of aesthetic, formal and ideological particularities that binds together a seemingly disparate conglomerate of artists and styles.25 Comments
For Generation X, droning sounds were good sounds. The train passing at night meant that order was restored, the Hoover vacuum passing the doorway meant that a parent was home and somewhat engaged, and the relentless churn of machinery meant that the order that was would not collapse quite yet.27 Comments
It is time to put the piss-poor recommendations of these bonzos to bed. Forever.36 Comments
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Recently, I found a Youtube channel called “Atmospheric Black Metal Albums” devoted to what hipster urban lumberjacks have termed “atmospheric black metal”. We must call attention to the horrible Youtube, supposedly “black metal” sub-genre festering right under our noses for it is wholly different from the Eastern European flowing varietal.31 Comments
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Sandwiched between keyboard compositions which attempt to sound random while hiding a simple progression in notes that initially seem like tangential harmony, Silencioso Dolor Que Aniquila consists of moderately successful compositions using the language of Hellhammer but a sensibility more like a late speed metal band.8 Comments