Much can be said with very little, as is the case with the early era of the experimental titans known as Swans. Their discography ranges from the intensely violent to the melancholically beautiful and their sophomore effort Cop stands out as the perfection of the style present on their debut Filth which acted as the foundation of what was to come.
Influencing the likes of Godflesh, Cop launches forth with a cerebral wall of sound crushing everything in its wake like a colossal bulldozer laying waste to a city. The most consistently pummeling album in the Swans catalog — unlike later efforts (namely Soundtracks for the Blind) — attempts to engage its listeners in a gradual and destructive descent into the darkest recesses of the earth rather than projecting a more horror-inspired soundscape. The brooding ambiance conveys a sense of downward direction towards something unknown, like rappelling down a previously unexplored cave.
Though arguably not quite a metal release, it possesses heaviness both aesthetically and internally as well as the ability to create an all-encompassing atmosphere of destruction and dark curiosity. I recommend this album to any metal fan looking to explore the influential and often undiscovered Swans.
Tags: godflesh, Industrial, swans
Tower Records and Musicland didn’t seem to have much the other day. So I went by Camelot music instead. I was wearing my old green Slayer demon head shirt. I had built up points at that store, and they gave me a free purple shirt with their logo on it. I hated the shirt and donated it to Goodwill. In the metal section was the cassette soundtrack to Troll 2. I was almost certain this was a mis-categorization. I didn’t have the money to buy it that day and it sold out before I could get my hands on it.
Tags: bach, burzum, Camelot Music, Dvorak, guitars, kvlt casettes, metal, Raputin, Richard Band, soundtrack, The Omen, Tower Records, troll 2, trve kvlt
Tau Cross regress from playing Motorhead and Killing Joke influenced crust punk and heavy metal on Pillar of Fire to mainstream 1990s alternative rock similar to Amebix‘s Sonic Mass swansong. Boredom awaits.
Tags: alternative rock, crustcore, dumbing-down, hard rock, pillar of fire, Post-Punk, relapse, relapse records, review, rob miller, tau cross
Today’s American black metal has found itself right within the parameters of Poe’s Law which, when applied to this abomination of a music scene, would sound something like this:
Tags: black 'n roll, California, cancer, communists, crypto-indie, deafheaven, drugs, hard rock, hipster bullshit, hipster invasion, hipster music, idiots, Leviathan, metalcore, moribund, moribund records, pitchfork media, pop punk, post-hardcore, post-rock, profound lore, scenesters, screamo, shit, shoegaze, USBM, vice magazine, weakling, wolves in the throne room, xasthur
Bill Steer, the guitarist of sell-out grindcore legends turned butt rock turkey Carcass, did an interview with hipster social justice warrior rock website Vice Noisey last week where he ranked Carcass’s albums in order of his favorites. Bill Steer admitted that Necroticism: Descanting the Insalubrious was pretentious death ‘n’ roll instrumental wank and that continuing in that style would not have provided any future for the band so they started writing heavy metal for arena rock fans on Heartwork as only about three hundred people at every big show Carcass played actually liked death metal at all. Bill Steer finally dropped all pretense of Carcass’s later material being traditional heavy metal and admitted it is actually written as arena rock in order to please the most people.
Tags: arena rock, beavis and butthead, Bill Steer, butt rock, carcass, death 'n' roll, Grindcore, Heartwork, pop metal, reek of putrefaction, sell-out, Speed Metal, stadium metal, stadium rock, Surgical Steel, vice magazine, wanking
These bands attempt to masquerade their GarageBand music fit only for arcades, pizza parlors, and high school dances as underground metal. They fail.
Tags: agonia, anasarca, aversions crown, chalice of suffering, diablerie, dischordia, duch czerni, durr metal, herem, hostage of fate, lux ferre, moontower, murkocet, pessimist, sadistic metal reviews, scalpture, snogg, spitefuel, sturmtiger, tenebrae in perpetuum, violblast, vultur, witchery, wolfshowl
By the 1990s, the CD reigned supreme. As the economy boomed, annual global sales surpassed 1bn in 1992 and 2bn in 1996, and the profit margins were the stuff of dreams. The CD was cheaper than vinyl to manufacture, transport and rack in stores, while selling for up to twice as much. Even as costs fell, prices rose.
The popular music industry peaked financially in 1996 but had creatively begun bottoming out years before that. Digital file sharing of lossily (and later losslessly) compressed formats simply burst the bubble of the industry’s festering corpse the ignorant had mistaken to still be moving as the putrefying gases bloated body cavities.
Tags: 1990s, assimilation, compact disc, false metal, History, music industry