If you're new to doom, sludge, or stoner metal this record may work for you. All the earthy fill of down south with the grit of modern sophistication and current events to boot. This record wowed me when it was released and every year that ticks by brings me closer to appreciation of what it is. Still holding true on every lyrical theme it holds, each track has a raw sludge blend that gives a listener what they need. Some tracks even have a few outside of the country sounds blended in. This record winds up deliver a very consistent spelling of what HOF is, and a retelling of what it has done over the years.
Even though it's older now, Yellow & Green by Baroness was the seminal record that cemented their place in Prog/sludge annals of history. This record is a great example of those two genres and extends a vibrant view of a few subgenres in-between, namely indie rock. The lead singles "Take My Bones Away" and "March To The Sea" are phenomenal tracks to start with. It is a double album and the album they released coming back from that bus accident in Europe that saw two members leave due to trauma (rip Allen Blickle). That said the lyrical content of this record is pretty evidently covering drug use and some seedy human traits we may very well all suffer with. The progressive instrumentation on the first slab (yellow) is definitely unmistakable. Lots of buzz on the closer of yellow "Eula" which i think is apt. Though "Twinkler" is the age tested track and bonified genius midas touch of the yellow side, the double album, and possibly their career. Arguably of course.
Green disc is backed by heavyweights "Foolsong", "Collapse", & "Stretchmarker". With "Stretchmarker" easily being a follow-up to "Twinkler" as a singular entity and an instrumental, at that. There are plenty of heavy tracks on Green disc to blow you away, "The Line Between" being a natural lead out to "Stretchmarker" with crazy tinges of indie rock smashed in between the two records. I think this is my favorite offering from all of their records as it sees new input change a little and tweak a little of their signature sound. This double LP is also a great example of these subgenres and their work in general.
A little psychedelic, a little "goth", and a little Bauhaus. This is the third offering from Love and Rockets back in September of 1987. If you like bauhaus and alternative rock from the 80s and haven't heard this, it's probably for you. They do get a little more psychadelic/college alternative on this outing than any of the Bauhaus stuff ever got. More folk and indie on this 3rd offering than the other two before it. I think the single was "No Light" followed by flute heavy "No New Tale to Tell" which proceeded "Waiting For The Flood" & "Mirror People". These tracks are pretty radio friendly alt/college singles. Mostly different from their previous band but very similar to the record that came after this one. Most of the middle of this record sounds like it's influenced by peers of the day and The Beatles. So if you dig those, you'll probably dig this. The sax flavored track "Waiting For The Flood" & "Everybody Wants To Go To Heaven" are my personal favorites. There was a pretty good remaster/remix box set in 2013 entitled "5 Albums" that is pretty good, too. The best Love And Rockets album by far stands the test of time as alt gods with goth and psych tinged madness in these 13 tracks. This is not only peak 80's but peak LAR. Make yourself happy and get some vinyl.
If you've never heard of deathcore or are a fan of the genre this single is probably for you, either way. The instrumentation of blasts and ethereal accents are there as usual. Lyrically the b side "Make Your Exit" is a little bit "brocore" inspired, after coming off of European tours with Sluaghter To Prevail I suspect. But, don't let that deter you from their restated beginning which may be the attempt in this outing. "Graceless" is a bit more of what fans may be used to if they know their Suicide Silence history. Again the instrumentation is like the good old days before the death of Mitch Luker, back in time to MySpace maybe. This could be a good sign of things to come for their 20th and for new fans just getting in to "The Big Four" of Deathcore. Perhaps the rest of what is coming can blow the lid off of the scene like the original line up did all of those years ago. Hunter Young and Austin Coupe produced this effort and it shows, as it smacks of the beginning of their career. In the end, this single seems a lot like a newer step forward with the past staying relevant and on equal footing, which is what one wants in music today. Included is a pre-order link to the new record which should be smashing conception in November, and the track I like the best... the b-side.
If you don't know who this band is because you're younger, or not into post-punk or goth Rock, let this record be your introduction. I think this album was their biggest financially successful record, and spawned their most heard single maybe. They were pretty big in Australia and some alternative or college crowds here in the states. If people were alive in '90 and didn't know who they were they missed out greatly. "Bloodletting (the vampire song)" is the best track on this record. I like "Joey" as well I just think that opener is the one for the history books. "Caroline" is pretty rad and memorable in an early 90's rock feel, but "Bloodletting" is the track that sold me on Concrete Blonde. The Gothic rock tendencies continue throughout the album with alternative radio charitable songs intermingled. "Days And Days", "Darkening Of The Light", & "The Beast" mix the best with goth styled rock. "Lullaby", "Joey", & "Tomorrow, Wendy" are definitely the more radio friendly tracks of the album. The 20th anniversary edition of this record is pretty cool, also. It has the B-side to "Joey" titled "I Want You" and a very 90'sstyled version of "Little Wing" by Jimi Hemdrix as well as numerous live tracks. There might even be some of these bloodsplatter regular editions left for 30 bucks, if you dig the included video.
If you're new to symphonic/blackened deathcore, this album might be the one to start with. If you liked Digital Apocalypse, this album will be that albums progression. Polished in the studio by Christian Donaldson, this album is fairly brutal and sonically jarring in a good way. Sam Cameron changes up some lyrical variety that aren't internet cringe cliches. With blastbeat speed runs, chugging open chords, and symphonic pops and breakdowns that enhance each track, this might be the best endeavor they've released. A Night In Texas check all of the boxes that deathcore fans want in my opinion. It's like magic to my ears, anyway. Like stated before it enhances the appeal I found on Digital Apocalypse, and takes a step further into a few genres with instrumentation and lyrical effect. Thankfully the band doesn’t keep things at high speedthe entire album they break down to more mid-tempo grooves that hit as hard as they can.
The Darkest Side Of Humanity is rounded up for the genre, and exceeds the niche of most of the bands in this category.They spent 15 years doing deathcore and I think this is a higher end step in the proper direction. Below is a video track of an example of that next step and notch they've now checked off. Lots of people on the internet detract from this band, as fans of the genre. To each their own and all, I don't understand it. Enjoy...
If you like Doom Metal, you will like Khemmis. I would find it hard to believe that you'd like metal and not know who they are by now with Dio and AIC covers having been out for so long now. If you like Mercyful Fate or Sleep you probably like Khemmis. The blast beats, the doom riffs, the vocals, the lyrics... all worthy of putting their records in your collections. Their newest slab is a self titled sonic death ride to oblivion. Having been out since June Ithink it covers ground that we need covered, musically. Instrumentation is in a fever pitch in a number of sonic harmonies and tones. Blending vocals and music together in their signature style of bass heavy 80's influenced metal. They are one of a handful of bands that truly define these sub genres. Already on a second press, if you're going to get it, the getting is good. My favorite track so far is "Carrion King" with a back of "Bemeath The Scythe". They did a set on KEXP that is just rad, if you can't get out to see them.
If you're looking for new hardcore or straight-edge to get in to, look no farther than Louisvilles own Weapon X... because they hate you.
That being said, "Demo 2" is where it's at and over a year old now. A newer offering that proves to be just as quick paced and to the point as previous offerings (demo), definitely proving consistency and drive. I appreciate this band a lot more than other bands in the genre, because they seem to be a bit more tuned up than other bands from this era. I'm not attempting to push nostalgia, but, they do have a certain ambiance about them from the original era.
It's not reinvention or throwback, but perhaps, a next step for both staright-edge and hardcore. The instrumentation and vocals definitely get more harmonious and tighter with each outing. Kicks and open E string chugging get that big sound we all know and appreciate in this genre, and the bullet toms and almost blast beat style rhythm bring a melding of what hardcore is becoming to the forefront. The lyrical content is spot on for what somebody would want in a straight-edge band. Good marks in my opinion. If you like bands like Harms Way, Truth of Pain, Contention, World of Pleasure, or Magnitude you might enjoy Weapon X.
If you're a fan of the original story of punk rock, this look back and reinvention of that sound is probably for you. No holds barred, and no censorship in relation to today's political morality exists in this record. It may not be a reinvention of the wheel but it definitely is a perfection of it. This is a good dose of what society needs, lyrically. Instrumentation is on point, as well. From guitar pedals and cabs, to spot on rhythm, this is what you should want in punk rock. It's only an EP (sad face) but if all goes well, this will be a reason these folks continue to make great music. They do set the stage, and I do follow looking for what they do tomorrow. You should too. Easy to listen on music share sites but they have a physical release out, that needs to sell out. Hope you dig their music as much as I do.
Luis R. Conriquez released "Cheerful Young Man" on July 10th and if you didnt know you liked Mexican music now you know. Hailing from Caborca and quitting his gas station job in 2018, his collaboration with La Adictiva and Peso Pluma got him a shot at the big game. This album cements that shot in my opinion. So many awesome sounds on this album. Guitars, trumpets, charchetas and mad features with Netón Vega, Peso Pluma, Óscar Maydon, Joel de la P, Tito Double P, Grupo Frontera, Fuerza Regida and Puerto Rican urban star Anuel AA. Jam packed with cultural richness and the sound he specializes in corridos bélicos which utilizes narcocorrido lyrical elements, earing him his nickname "El Rey de Corridos Bélicos".
"Al Chile Pega" is the song I think should represent the album as a whole. The lyrics are very poignant and the wind instruments blend perfectly with the vocal echo effect and percussive stringed accompaniment. "Que Gacho” feat. Netón Vega is basically a whole new sound and departure from most of his music. Guitars blending with vocal harmony set to a story of heartbreak that ends the relationship and sees the person begin a new life with sex. Good stuff.
So many fantastic tracks and features here, there's never a dull moment. I've included the lyric video of my favorite track, maybe eventually you can find a place to buy it. If it pops up I may drop it down here somewhere. Adios.
