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New Music Report – August 7, 2020
New Music Report – July 31, 2020
This new music post is super short. I think we’re definitely into the part of the release season that’s been royally fucked over by COVID. So unfortunately, the pickings are slim this week, but there’s still something to write about, so here we go.
Northlane – Technically, this isn’t a new album. This is the deluxe version of last year’s Alien, it’s basically just instrumental tracks and a bonus single. That said, this was one of my absolute favorite albums that came out last year, and my undisputed favorite of the new wave of numetal-ish metalcore albums that have been coming out lately. This is the most progressive and fresh take on this sound I’ve ever heard. It’s not just re-hashed metalcore with an occasional Slipknot riff and synth breakdown, it’s an incredibly complex and dynamic piece of music that manages to eclipse not only most other contemporary numetal or metalcore albums that have been released around it. So basically, this isn’t a new album at all, this is just another opportunity for me to talk about a truly remarkable and novel piece of heavy music that I highly recommend everyone check out. It won’t be for everybody, but it’s interesting enough to certainly be worth the listen.
Upon A Burning Body – There is absolutely nothing contemporary about this EP. If it came out 10 years ago, it would still feel kind of dated. But I mean, that’s kind of what you expect with Upon A Burning Body; good ol’ southern metalcore that was very much in fashion 12-15 years ago with bands like Maylene, He Is Legend, super old Memphis May Fire (their first EP, before Matty), and Big Dirty-era ETID. Now, this isn’t quite as good as any of those bands, but it’s still a fun, straightforward EP with some nostalgic metalcore from an era that I honestly miss quite a bit. So, you know, for a little trip back to the days of metalcore past, it’s pretty cool, but that’s about it.
Read MoreNew Music Report – July 24, 2020
I know I said last week that we’re in a bit of a lull right now, and I suppose in a way, that’s still true. Instead of 5 or 6 albums, I’m only talking about two, but MAN is one of these albums a big one. I’ve been talking about The Acacia Strain all fucking year, it feels like, and this week is the culmination of all of that hype and praise. So enjoy, now I promise I’ll shut up about them until it’s time for my top 10 list at the end of the year.
The Acacia Strain – Before even pressing play, this album has album of the year potential. Everything from the surprise mini EP releases, the suspense of guessing the album name, the absolutely INCREDIBLE album art, etc. TAS have really set the bar high with this one; this is already the coolest release this year. That said, we’ve heard the majority of these songs before, but listening to them as part of a big, cohesive piece really adds even more dimension to it. I’ve been captivated by this album for about 7 months now, so actually having it in front of me is a real treat, but it really lived up to expectations. In fact, this might just be the best Acacia Strain album yet. Which I know is a huge bar to live up to, but I’m genuinely convinced this album is not only their most creative yet, but the most diverse, and the biggest step up from their typical sound. Now, this isn’t like It Comes In Waves – I consider that to be kind of a standalone, anyway – because it sticks close to what they have been known for, but it really is just all that much better. It’s weird, it’s kind of hard to approach this objectively as a new, complete album since I already considered all these songs as individual pieces released throughout the year, but it’s an interesting new challenge that I happened to enjoy quite a bit. I’m going to be singing the praises of not only this album, but the novel approach to an album release, for quite a while to come, this is just excellent.
Neck Deep – I’m gonna get straight to the point: I’m not feeling this album. I loved early Neck Deep; really excellent, bouncy 2010’s pop punk. But the past few albums have slid really far into an “alt rock with leftover whiny pop punk vocals” kinda thing. It reminds me a lot of Yellowcard and New Found Glory from like 2003/4, and I feel the same way about Neck Deep now as I did about them back then. I get what they’re trying to do, I really do, and I understand the appeal, but I also recognize that it isn’t for me. It’s pop punk with about an 80% emphasis on the pop, and that’s just fine, they’re very good at it, despite a few somewhat boring and lackluster tunes on this album. In fact, if you want to check out the highlights, go listen to the singles. So, if you want a nostalgia trip back to the days of Simple Plan and Yellowcard, definitely check this album out. I wouldn’t fault you for it for a second, it’s just not for me.
Read MoreNew Music Report – July 17, 2020
We’re getting into a bit of a summer lull right now with new album releases. Things were pretty crazy back in May and June, and I expect things to ramp back up again around October and November, as these things usually do. That said, this time last year was chock full of releases, but we’re right at that point in time where COVID came about before the people that were planning on mid-summer releases were able to announce their album, so I know that affected a lot of release schedules. Thankfully, we’ve still got plenty of good music coming out every week. Here’s a couple from this past week.
Lawrence Arms – I’ll be honest, I never really paid enough attention to The Lawrence Arms growing up. I know they’re one of the great underrated, yet still incredibly important (alt) punk bands of the last two decades but that’s about it. And you know, that’s a really big oversight on my part. I admit that. I love all the bands these guys are often compared to like Alkaline Trio, Gaslight Anthem, The Swellers, etc. and friends of mine have sung their praises for years, but I just never took the time to really dive into them. But now that I’ve checked them out, man, this is a fun band. I honestly have no reference point against the rest of the back catalog spanning two decades, but I love this album as it stands alone, completely fresh to my ears. But that said, I’m about to do some digging into old albums and find out for myself.
If I Were You – The Dreambound bands have always been interesting to me. First off, I’m still not sure if it’s actually a record label or just a promotional company, but either way they’ve done an excellent job absolutely blasting YouTube and Facebook with a barrage of Warped Tour-era post hardcore bands. Which just so happens to be my favorite thing in the world. That said, it’s a prime example of throwing shit at a wall and hoping something sticks. They have a ton of truly incredible bands (Captives, Imminence, etc.) but so many of them are woefully forgettable. And honestly, I think that’s a problem that’s indicative of the genre itself, but this carpet bombing promo technique really brings it to light. That said, If I Were You is one of the highlights that I’ve come across from them so far. Now, they do sound very similar to what you’d expect from Dreambound bands, but they just do it so much better than most of them. Which happens to be exactly how I feel about Captives, just not quite as strongly. So, I have a feeling this album will be sitting in the rotation until the Captives album comes out.
Read MoreNew Music Report – July 10, 2020
New Music – 7/10
Well, I was so proud of being on time last week, so naturally I have to be very, very late this week to balance out the universe. With that, I’ll get straight to it.
Sharptooth – This. Album. Is. A. Banger. Good lord. I can’t think of another album that’s come out this year except for END that has hit this hard. And that’s just the beginning; of course, there is much more to a good record than meaty caveman breakdowns. First off, this is a big step up from their raw and unrefined yet still incredibly charming debut album. Everything feels like it’s been taken to the next level: the composition, the vocal range and delivery, the instrumentation, the lyrics, everything feels a bit sharper, and a bit more mature, yet still just as angry and aggressive as ever. The thoughtful lyrics take a strong and loud stance against not only the typical evils called out by the metal and hardcore scene, but against the latent toxicity of the music industry itself; highlighting the political, social, and feminist issues that have been plaguing the nation for far too long. The causes are real, and the stance is incredibly genuine, and you can feel it in every lyric. This is a direct, in your face record from start to finish, lacking any subtlety whatsoever. Which is fucking perfect, honestly. I love it.
El Ten Eleven – These guys are super weird. Like, really, really weird. They’re an experimental post rock duo that do a wonderful job playing with the boundaries of what can be accomplished with music. And if that all sounds a little mechanical it’s because it is, intentionally so. They don’t play with great flourishes of emotion and wonder like bands like This Will Destroy You. Instead, they create music that makes you think critically about what you’re listening to, utilizing captivating applications of repetition, subtle builds, and interesting synth-driven textures. You have to contemplate it more than you feel it. Which isn’t to say it’s devoid of feeling, instead they approach it from a very Avant Garde perspective that makes you question what those emotions really mean. This particular release is the second part in a three part concept series that’s proving to be incredibly interesting so far. El Ten Eleven certainly isn’t for everybody, but if you want something rather challenging, check it out.
O’Brother – Alright so this is another weird COVID one. This album technically came out this week, but they also released it very suddenly on BandCamp back in May as a pay-what-you-want type deal. So yes, this album has been available for months now, but as of now it’s technically officially released. These guys are a really cool band though, they’ve been described as a bit of everything from post hardcore, to post rock, sludge, grunge, indie, experimental, etc. They kinda just fall in wherever they fit with their newest release. Traditionally, I’d say they’re somewhere between post hardcore and post rock, sort of along the lines of mid-career Thrice and Moving Mountains. But this new album is really just a straight up alternative album. I’m not sure if that’s because it’s more mainstream or if it’s because it really just defies all other conventions and that’s the best way to describe it. But either way, it still utilizes a lot of the complexities you expect from O’Brother with strong dynamic shifts and beautiful atmospherics, but overall this feels different. That isn’t a bad thing, it takes the foundation they built incredibly well and adds new, perhaps softened elements to it to create a whole new sound. This was an excellent progression in the band’s sound, and I can’t wait to see where it takes them next.
Read MoreNew Music Report – July 3, 2020
New Music Report – June 26, 2020
New Music Report – June 19, 2020
This week turned out to be a big one for new music. We’ve got a surprise comeback with Protest the Hero, a few album releases that had originally been delayed due to COVID (Lamb of God & Make Them Suffer), an epic doom album (Bell Witch & Aerial Ruin), and an absolutely lovely indie album (Phoebe Bridgers). A few of these kinda flew under my radar for a while, but this week turned out to be very impressive.
Protest the Hero – Protest the Hero have been through the ringer to get this album done over the last seven years or so. First, they went through a fundraising round to be able to release this album independently. And of course, they raised several magnitudes of their original goal, which left everyone very excited. Then, singer Rody Walker shredded his vocal chords, delaying recording. There was actually real concern about whether his voice would even be the same when he was finally able to record. But here we are and HOLY SHIT this album is nuts, I’m not gonna lie, I wasn’t expecting anything quite this impressive, I felt like all these delays would make this album lose its focus and shine, but it’s just bonkers. But even after all these years, no one can touch these guys. This is pure FIRE, I can say with no hesitation that this is one of their best, right up there with Fortress, which is an absolute masterpiece. Now, don’t get me wrong, it’s all a bit cheesy, but that’s all part of PTH’s charm.
Phoebe Bridgers – I’m in love with this album, and honestly Phoebe Bridgers’ songwriting in general, but this just took it all to the next level. The way she can create such a pervasive atmosphere with her songs in such a sincere, intimate, and honest way is just endlessly charming. Her songs hit on such a personal level that you immediately feel incredibly familiar with every word. It’s a deeply emotional and profound experience. I’m also getting some Bon Iver vibes from the creativity in the instrumentation; the subtle complexity in the use of layering, and the overall feel and composition of these songs. This album is a lovely experience, and I highly recommend it to everyone.
Bell Witch & Aerial Ruin – Bell Witch absolutely turned my world upside down in 2017 with Mirror Reaper, an absolutely MASSIVE 84 minute long funeral doom album. So naturally, I was already hooked on this one. This album is a collaboration between Bell Witch, and dark folk act, Aerial Ruin, which is such a cool combination, and the execution is spectacular. The added dynamics and warmth from Aerial Ruin’s vocals and folk influences adds so much complexity to this album that was sort of lacking from Mirror Reaper. I don’t think this is quite as massive – frankly, the mixing is a bit odd, and I think that lets it down a little bit – but overall I’m a huge fan of this collaboration.
Make Them Suffer – MTS are one of the most underrated bands here in America, but even further testament to my theory that Australian bands are just better. The cool thing about these guys is they’re always pushing the envelope; every album sounds new and fresh, and somehow, they always manage to pull it off flawlessly. And this album is no different. To that point, I’m having trouble drawing comparisons to their previous albums, and I can’t quite tell if this one will age as well, but I feel like that uniqueness is absolutely a positive trait and will give this album the legs to stand on its own for a long time to come. This is yet another incredibly impressive effort from these guys, and it’s nice to see the rest of the world finally starting to realize that.
Lamb of God – This was the first big album that I was really looking forward to that was pushed back due to coronavirus, so it’s great to finally get to listen to it. The singles were very strong, and overall the album lives up to that standard. Consistency is the name of the game for LoG, they’re always strong. That said, I think I was expecting them to push forward a bit more than they did; it feels like they played it safe at times. The drums – despite everyone’s concerns following the departure of Chris Adler – are excellent, Randy sounds better than ever, it’s got riffs for days, and the songwriting overall is excellent. But it kinda feels like it’s missing that something special that As Palaces Burn and Ashes of the Wake had. Again, Lamb of God can’t write a bad album, it’s still excellent, but when you’re held up to such a high standard, not every album will be your masterpiece, especially without some innovation.
Read MoreNew Music Report – June 12, 2020
New Music Report – June 5, 2020
Originally, I delayed publishing this post out of respect for the events going on throughout the world last week. It was poised to be an incredibly exciting week for music, but obviously the fight for equality is much more important; music can wait, black lives cannot. I was kind of hesitant to post it at all, it is not intended to soften the voice of those standing up against discrimination and inequality or take the spotlight away from that in any way. Nor is that the intent with this any week, I’m just here to talk about a few albums that I’m looking forward to for anyone interested in listening. So, with that said, here are a few of my most highly anticipated releases of the year, plus some other albums absolutely worth checking out.
Currents – You know those bands out there that aren’t necessarily redefining the genre by doing something new and innovative, but they’re doing their genre so, SO well that they raise the bar for everyone else and push it forward in that regard? That’s what Currents has been doing to metalcore for years, and this new album is another great, big leap forward. This emotional and dynamic range of this album is just incredible, the guitar work is nothing short of brilliant, and the vocals are so much more diverse than anything we’ve seen from Currents before. 2020 has already been a huge year for metalcore, but Currents alone just stepped things up to an almost untouchable level. If you have even a passing interest in metalcore or metal in general, listen to this album.
END – If Currents was a technical masterclass on what metalcore can and should be, END is the musical interpretation of getting hit in the face with a brick. This album is absolutely brutal and gut-wrenchingly heavy blackened hardcore that hits with an immense, grinding weight throughout the whole album. END is a supergroup made up of members of Counterparts, Fit For an Autopsy, The Dillinger Escape Plan, Misery Signals, and Shai Hulud, which is a hell of a roster. And the amalgamation of those legends of metal and hardcore is somehow even heavier than you’d imagine. But not needlessly so; it’s absolutely unrelenting but in a very deliberate and palatable way, with captivating dynamics and clever tempo manipulation to make the crushing barrage of sound so much more than just heavy for the sake of being heavy.
The Ghost Inside – Unfortunately, while I was very much looking forward to talking about this album, due to recent allegations against a member of the band, I will not be promoting this release.
Emery – I’ve always loved Emery. The Weak’s End was an incredibly important album to me when it came out way back when, but I’d be lying if I said I’ve been following them consistently over the years. It’s always felt to me like Emery was most relevant around 2004, but I’m not entirely sure that’s true. After listening to this album, I feel like maybe I’ve missed out on quite a bit. This album is equal parts nostalgia trip and showcase of what 15 years of progress and growth can do to a band.
Run the Jewels – I’m not going to lie, I’ve been in a huge metalcore and post metal rut these days and have unfortunately almost completely lost track of hip hop, but I would be remiss if I didn’t include this brilliant and incredibly relevant and poignant album. RTJ, specifically Killer Mike, have been at the forefront of the social commentary and community leadership that’s been sorely needed for years now and this album provides the perfect soundtrack for the social unrest and revolution of the past several days. It’s a sincere and urgent commentary on the current state of affairs and couldn’t have possibly been more relevant if it tried.
And of course, given the events of the past few weeks, now is the perfect time to remind everybody that while music has and always given a voice to millions, it is also important for you to harness your own voice and use it for good, and for change; to support and defend the rights and lives of your neighbors. Right now, your black neighbors are hurting and fighting for equality, and it is the time to show support and solidarity no matter what background or place of privilege you may come from and join the fight against racism, inequality, police brutality, and an unfair and unchecked judicial system that exploits these social inequities. There are a number of ways you can help; protesting, volunteering, donating to organizations supporting BLM and the protests, supporting black-run businesses and artists, documenting and sharing stories to overcome media bias, etc.
In fact, many bands are joining this fight with merch or fundraisers going directly to fighting this inequality, including Silent Planet, a personal favorite of mine, and a band that has always at the forefront of the movement for social justice and equality. So please, look towards your favorite artists to see how they are helping, and how you can support that effort, and don’t stop there.
“Make every breath a protest in a world where your neighbors cannot breathe.” – Silent Planet
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