Steven Wilson and Mikael Åkerfeldt are both two musicians I hold in incredibly high esteem. Wilson’s flabbergasting diversity of styles covered with Porcupine Tree or his various solo projects and Åkerfeldt’s amazingly thoughtful and moving compositions with Opeth both continue to astound me no matter how often I listen to them. It should go without saying they are both gifted musicians of the highest calibre. It also turns out that they’re both huge fans of each others’ work, which led to their collaborative project Storm Corrosion, who released their self-titled debut in 2012.So what exactly happens when you take the two of them, throw them in a room, and have them write music together? If you were expecting merely some progressive rock supergroup, then you’d be about as far off the mark as you could possibly get. I wouldn’t blame anyone for having that impression, either; the album was prominently described by Opeth’s Facebook page as “the final part in the odd trilogy of records completed by Heritage and…Grace for Drowning”. This actually set my expectations for Storm Corrosion incredibly low, because I scarcely cared for either of those albums. On one hand, Heritage was an interesting embellishment and exploration … Read more
Rolling Stone didn’t do Aaron Freeman any favors in running their interview that announces the end of Ween before I … Read more
To coincide with their romp across Europe, the split 7” from Brendan Kelly And The Wandering Birds and Dan Andriano … Read more
While he’s best known as the front man for Long Island pop-punk juggernauts Bayside, Anthony Raneri has been making a … Read more
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When it was announced that Nick Cave was releasing a new album Skeleton Tree to accompany the release of his documentary One More Time With Feeling, it felt decidedly unnatural for a couple of reasons – first and foremost, marketing tie-ins don’t really come to mind, when it comes to an artist like Cave. And two, it was all coming on the heels of an extraordinarily tragic period for Cave following the tragic death of his son in 2014.Now in the interest of full disclosure, this writer has not seen the film, but all indications are that it covers the period after the death of Cave’s son as well as the final recording sessions for the album. I won’t presume to make any assumptions as to the nature of the … Read more
In order for me to talk about this album, you're going to need some [CONTEXT].If there's one thing I absolutely hate about Cynic, it's their squandered potential. In 1993, right in the middle of the technical death metal craze that bore the likes of Atheist, Nocturnus and Suffocation, as well as refined the raw sounds of Death, Sarcófago and Meshuggah, … Read more
When a band releases a live album, there's usually some great importance behind it, whether it be documenting an important performance, showing off some otherwise unreleased material. or just the band sharing a once-in-a-career quality set. Live recordings released for the sake of releasing a live recording otherwise tend to be bland, boring, and unnecessary, and if they're not handled … Read more
There's something generally referred to as a summer record. That elusive album that you can blast out of the windows of your car and feel perfectly in that time frame and state of mind. Most of the time these records are otherwise questionable pop albums that may be slightly embarrassing otherwise. Rarely it works out that these records are just … Read more
A year after their dissolution, post-metal powerhouse Isis is preparing to digitally re-release its entire live discography on a fortnightly basis throughout the summer of 2011. The set of five—wait, hold up a moment. I finished those last summer. What's with the new release?Turns out Isis still have a few cards left to play despite, you know, not actually being … Read more
It’s always curious to see a veteran musician team up with their junior. Last year Jimmy Cliff joined with producer Tim Armstrong (Rancid) for the Sacred Fire EP, a pairing that sparked Cliff’s creativity and lead to this follow-up full-length. While it’s easy to note Armstrong’s presence on Rebirth (the album features a reappearance of the EP’s “Ruby Soho” cover), … Read more
Doom quartet Samothrace follow up 2008’s widely acclaimed Life’s Trade with the majestic and tragedy filled Reverence to Stone. Comprised of two tracks, “When We Emerged,” - a reworking of a song found on their 2007 demo - and “A Horse of our Own,” Reverence to Stone is thirty-five minutes of wonder and solemnity. Having disappeared somewhat after Life’s Trade … Read more
Daylight is one of those pop punk bands that run in the same vein as Run for Cover label mates Basement and genre heavyweights Title Fight, characterized by upbeat melodies and catchy riffs while retaining a clean sound. The Difference Between Good and Bad Dreams is the band’s latest release and follows their acoustic EP. The four songs come to … Read more
If you were a fan of White Lung's debut album, It's The Evil, for it's raw and straight forward approach, then you might be a little taken aback by the sophomore record, Sorry. They've re-evaluated their style of songwriting and have turned it into something more melodic and refined. It was all for the better though. Make no mistake, the … Read more
Hope in Dirt City is the third release from Edmonton, Alberta’s Cadence Weapon. With a smooth flow and an ear for wordplay, Cadence Weapon creates a kind of thumping hip-hop, with big beats that are crafted using sounds that are not traditionally percussive. All that, of course, with a bit of 20-something ironic hipster to it and a focus on … Read more
What I love most about French metaller Alcest's newest release Les Voyages de l'Âme (roughly, The Journeys of the Soul) is how it invites your impressions to shift and change as you listen to it. At first, I picked out mostly the folk elements, comparing it to Opeth, except much more melodic in nature. Then I started hearing the ever-so-slight … Read more
Royal Headache has been gathering some hype lately. Their self-titled record is a twelve track piece of high energy garage-punk, blazing past in twenty-six minutes. It’s clean; it’s crisp; yet, it’s also got a driving rhythm section and more than its share of aggression. While the genredrop isn’t necessarily difficult based on their sound, it feels unfair to pigeonhole them, … Read more
In 1988 Dinosaur Jr. released their third record Bug. Despite it being lead singer/guitarists and band leader J.Mascis’ least favorite outing, it was their most successful album up to that point. While touring in support of it, tension between Mascis and bassist Lou Barlow, who had known each other since high school and played together in hardcore band Deep Wound … Read more
Fiona Apple's brutal honesty can be summed up in one lyric: "Every single night's a fight with my brain." She keeps howling this on "Every Single Night," the introductory song to The Idler Wheel.. (there's more to that album title, but I'm not attempting to type that all out).Because she possesses this honesty and because she is able to express … Read more
There aren't many ways that I can describe the emotions I get from Indian djentlemen Skyharbor's debut album, and part of the reason is that the cumbersomely titled Blinding White Noise: Illusion & Chaos brings with it some incredibly polarizing feelings. On the one hand, it's one of the most pleasurable aural experiences I've had the pleasure to receive. On … Read more
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