Metallica fans have voted the titled track from their 1986 album Master of Puppets as the best song by the band in a poll. Starting in lat May 2020, fans were able to vote on 32 pairs of songs battling against each other and advancing in a total of five rounds in a knockout competition they dubbed ‘Some Kind Of Bracket’. The original 64 tunes included in the bracket were selected based on the highest Spotify plays, multiplying them by how many times those tracks have been played live. ‘Master Of Puppets’ defeated ‘Dyers Eve’, ‘Atlas, Rise!’, ‘Ride The Lightning’, ‘Sad But True’ and ‘Fade To Black’. Eventually, ‘Master Of Puppets’ beat ‘One’ land the top spot of the greatest Metallica song of all time.Continue reading
Modern Progressive Metal greats Monuments have released another lyric video for a new single from their forthcoming new album Phronesis, due out on October 5th via Century Media Records. Watch ‘Mirror Image’ now! The band will also be hitting the road to support the new album with a European tour, with openers Vola, Kadinja, and Atlas. All dates on sale now. Continue reading
Hailing from the east of Germany, Thuringia to be precise, and purveyors of psychedelic doom are Motorowl. Their new album Atlas follows in the footsteps of their 2016 debut Om Generator (both on Century Media Records): metal with fuzzy guitars, doom-laden riffs, meandering, sometimes spacey, sometimes carnivalesque, keyboards and a thick sense of melancholy. Continue reading
Ok, ok, complete transparency here from me to begin with. I happen to be a massive fan of Parkway Drive. From the very first time I heard the now classic record Horizons (Epitaph) the band have had my undying attention and indeed love. They became the absolute pinnacle and standout Metalcore act of the mid to late 00’s with heaviness and hooks in all the right places. Then came 2015’s Ire (Epitaph) and what greeted fans was one of the most divisive records of that year as PD chose to veer in many different stylistic directions but still managed to retains their innate knack for combining the catchy and the crushing. Continue reading
Metallica promised a new song on Halloween, and they have delivered. Continue reading
Metallica have released a 30 second teaser of their upcoming third single ‘Atlas, Rise’ from Hardwired… To Self-Destruct, due out this November 18th. You can hear it below:Continue reading
Metallica will be releasing their highly anticipated new album, Hardwired…To Self-Destruct, on November 18th via Blackened Records. We’ve all heard the ‘Hardwired’ and ‘Moth Into Flame’ singles by now, and the legends have just announced when the next single is coming our way. Continue reading
I first saw Croydon bludgers Slabdragger three years ago and, having been completely flattened by their bone-crunching resonance, immediately bought first album Regress (Holy Roar Records). Despite it being good, I subsequently felt they were a band to be witnessed rather than merely heard.That all changes here. Sophomore long-player Rise of the Dawncrusher (Holy Roar Records) is a mammoth, sprawling journey through the black holes of the cosmos, an achievement all the more amazing given the setbacks the band has suffered in recent years. The musical twangs of opener ‘Mercenary Blues’ carry enough portent to warn of the forthcoming walls of forest-levelling sound and, despite the melodic hollers of Yusuf Tary and Jim Threader, the ensuing riff grabs your soul and sticks it in a blender. Stoner-Sludge in tone and feel yet Psychedelic in its warping terror, the difference here is the wonderfully enlivening, Progressive nature of the linking passages: versatile verses with vocal switches between Blackened screams and guttural roars, still underpinned by the cavernous yet occasionally cascading stellar pathway.
Whatever Slabdragger had before, the ability to flick such a heavy pattern through the chords has multiplied their appeal tenfold. With four of the five tracks here easily surpassing the ten-minute mark, the listener is in for the long haul, yet will not for a second feel dragged along. The elongated coda of ‘…Blues’ possesses an electrifying emotion that rips apart the fabric of the template; while the segue into the bulldozing, YOB-tinged ‘Evacuate!’ pulverises the ears and introduces a rampant, occasionally nasty Jazz-infused groove. Severin Black’s drum pattern following the ominous intro of ‘Shrine of Debauchery’ is simple yet potent, hauling Tary’s terrifying bassline in its wake and setting the tone for the claustrophobia of the swelling, pulsating body.
And this is merely halfway in. The album’s last two tracks cover 33 minutes and crush so comprehensively they create a vacuum, riding and bouncing off planets as they travel along. The beauty of this second slab of vinyl is the paradoxical compatibility between its extremes: the implosive power of ‘Dawncrusher Rising’s opening gambit begins so steadily, growing almost unnoticeably to a gravestone-cracking rut whilst remaining compelling, hypnotic, masterful. The monstrous Blues of closer ‘Implosion Rites’, meanwhile, is Cream slowed to a crawl and delivered by Zeus, Poseidon and Hades: the slowed rhythms fulminating and muscular, the harmonised vocals Ozzy-esque yet resplendent, the pedal effects gradually halting the earth’s rotation.
Quite simply, and to retain the mythical analogy, this is Atlas: utterly despondent, pissed off with his fate, and deciding to fling the planets around after a few beers and a reefer. Rise of the Dawncrusher is fucking incredible, an unmissable masterpiece of both its genre and its times.
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