“It’s gonna be cold, it’s gonna be grey, and it’s gonna last you for the rest of your life.” I believe that was the famous Bill Murray quote when asked his opinion on Cavernlight’s latest, As I Cast Ruin Upon The Lens That Reveals My Every Flaw (Translation Loss). Nah, I’m just having a bit of fun with Cavernlight. Or maybe I’m not considering that even though it won’t “last you for the rest of your life” (the album barely cracks the forty-minute mark) the cold and grey remarks certainly apply here.
I guess it’s a sign of being in the business for too long, when you look at a band’s name and presentation and immediately have some ideas of what’s ahead. With Incandescence’s Le Coeur De L’Homme (Profound Lore) I had an inkling towards it being the work of a multi-instrumentalist working within the confines of blackened death metal. Well, I almost nailed it. Le Coeur De L’Homme leans more into black metal and features Louis-Paul Gauvreau handling vocals while Philippe Boucher is the mastermind behind everything else. Continue reading →
Does your office or day job have that one annoying guy who wants to talk about heavy music with you because he noticed your Iron Maiden patch on your backpack? You know the guy. He’s the dude who keeps telling you about how he saw Disturbed at Ozzfest 2001 and regales you with tall tales about his exploits in the “mosh pit.” Well, next time he approaches your desk and asks what you’re jamming to do yourself a favor and throw on The Body’s latest collaboration (this time with OAA), Enemy of Love (Thrill Jockey). You’re welcome.Continue reading →
With a title like Revenge At All Cost (Rexius Records) I suspected Confess’ latest to sound angry. You’re probably saying, “this is heavy metal, anger is sort of the modus operandi.” And I totally get that. We likely wouldn’t have metal or punk today if it wasn’t for a few young people coming together with some anger or resentment in their hearts and a willingness to do something about it.
I pull up to the parking lot of the Palladium in Worcester, Massachusetts. It’s been two years and a couple of months since the last time I was at one of these things. One 40 ounce of malt liquor is disposed of while sitting in a warm car as ice and rain pounds away on the roof. Must make my way inside and show no weakness. My body has been in a state of mosh retirement for too long and there’s no telling how I’ll fare in a sea of savage longhairs.Continue reading →
Let’s take a minute and talk about hype. We all have a vague notion of what it is, but how does one obtain it? Can it be harnessed long term or is it a matter of riding that wave while it’s marginally available? For instance, how did Job For A Cowboy use it to jump from MySpace unto Metal Blade? Beats me. Whatever the case may be, it appears abundantly clear that Spiritbox know how to tap into it and are doing so on Eternal Blue (Rise Records). But can Spiritbox carry this momentum all through an album? Continue reading →
Would you like to know what’s one of my favorite aspects of metal? It’s that it’s too goddam stubborn to ever go away. As long as there is breath in a metalhead’s lungs they’re going to find ways to tune lower or crank in even more blast beats into a song. As To The End (Reaper Entertainment) roared from my car’s stereo is when I realized that Memoriam is Karl Willets’ latest musical endeavor despite already having a hall of fame run with Bolt Thrower. Bless that man.
Ghost Cult kicks off our massive 2020 Album of the Year Countdown! Chief editor Keefy is joined by the esteemed scribe Hans Lopez (WUML radio’s The Stress Factor)! We run down the albums from 30-21 on our list! All in all, over 300 albums were considered and voted on by our staff of worldwide contributors: writers, correspondents, photographers, and more. Check back here for the full list soon listen to Part I (75-31) here. Part III of the podcast series is coming tomorrow!
As of this writing, the music world continues to be in a state of suspended animation as the Coronavirus outbreak – particularly in North America – dashes any hopes of returning to music venues anytime soon. We’ve bungled the pandemic so poorly here in the states that our moron President and many of his colleagues have been diagnosed with the disease due to failure to follow social distancing measures. Having fans in attendance is starting to seem like a thing of the past, so more and more artists will start turning to live-streamed performances.
Napalm Death choosing to drop Throes of Joy in the Jaws of Defeatism (Century Media) is the definition of perfect timing. For those not keeping score at home, the current leader of the free world is an ass-clown who smears his face daily with greasy self-tanner and fancies white supremacists and McDonald’s food. Oh, and there’s a bit of a global pandemic that has paused the world and crippled economies.