For the most part, Solstafir’s seventh full-length album follows in the footsteps of its predecessor, 2017’s Berdreyminn (Season of Mist). The songwriting still largely favors the band’s subdued side with influences ranging from Post Punk, Prog Rock, and Ambient greatly informing the Post Metal whole. Tracks like ‘Rokkur’ and ‘Her Fall From Grace’ are heavy on atmosphere with extensive space to breathe and ‘Or’ throws a curveball with its almost Jazz-tinged rhythms.
When listening to Forgotten Days (Nuclear Blast), Pallbearer’s fourth full-length, it’s hard to remember a time when they were ever this riff-driven. The title track sets an immediate precedent with its beginning feedback transitioning into pummeling yet catchy verses, a surprisingly hooky chorus, and a softer bridge that manages to keep the momentum going. ‘The Quicksand Of Existing’ and ‘Vengeance Ruination’ serve up even more heaviness in the album’s second half with the former’s straightforward chugs standing out. Considering past jabs I’ve made about Pallbearer being one of the most riff-adverse groups in Doom Metal, it’s a very refreshing change of pace.
Crosses (sometimes stylized as †††) a post-Punk and 1980s Gothic synth-pop influenced side project of Deftones frontman Chino Moreno may indeed be springing back to life for 2021. In a new interview with “The Boo Crew”, Bloody Disgusting’s weekly Podcast, Chino was interviewed by the gang to discuss the new Deftones album Ohms (review here), his horror episode score for Hulu’s Into The Dark series, stalking Anton Levay’s house in San Francisco, his favorite horror movies, and much more. Asked about Crosses, Chino confirmed that back at the end of 2018, the band had completed 6-7 songs with the idea of finishing them and teased some activity on social media at that time. When pressed about a future release Chino remarked that the break from Deftones touring to support Ohms until 2021 “might provide the chance to complete the new record”. Ghost Cult also interviewed Reyka Osburn of Death Valley High in 2019 and commented that he worked on new music with Chino, some of which was for Crosses too. Crosses released their self-titled album in 2014, and two other EPs, and toured the world several times. The band includes Moreno, Shawn Lopez (Far), and Chuck Doom. The interview was excellent and we suggest you check it out, like and subscribe to The Boo Crew Podcast too! Continue reading
Idles have come on in leaps and bounds since their last album Joy As An Act of Resistance (Partisan Records). It’s not even been 5 years since they were playing 100 capacity venues, yet here they are today having sold out giant venues like Alexandra Palace in under a day. With two giant albums under their belt, the big question was how the Bristol band were going to not only top it, but maintain the astronomical growth they’ve been on for the past 3 years.
Considering the lengthy silence between Chrome Waves self-titled EP in 2012 and 2019’s A Grief Observed, it’s great that the group has been so prolific since their comeback. Their second full-length album, Where We Live (Disorder Recordings), picks up where its predecessor left off while featuring its own set of changes. Dustin Boltjes (ex-Skeletonwitch, Sacred Leather) is on drums in place of the tragically passed Bob Fouts, and the eclectic influences behind the band’s melancholic sound are given room to expand even further. Continue reading
We caught up with Dez Fafara of Devildriver to discuss his upcoming new album Dealing With Demons I, out on Napalm Records on October 2nd, 2020. We chatted with Dez on the state of the word, changes to the bands’ songwriting approach for this new record, considering different angles for lyrics and vocals, his long relationship with Napalm Records, plans for the next album after Dealing with Demons II – already being written, some musings on Coal Chamber, Dez’s many business successes – especially his new record label, and much more. You can order Dealing with Demons I here, and check out our chat! Continue reading
Twenty-five years plus into his career, Marilyn Manson continues to be an enigma, wrapped tight inside a riddle, not wishing to be fully known. By never making the same album twice with his namesake band, he continues to defy expectations, and be equally loved and hated. While his early albums are masterworks that others from the 1990s would kill to rest their reputations on. However, as the rockstar gains on years and gets further away from his early years, he has transformed into a much more interesting character than when he was freaking out pastors and scarring moms and dads.
New York City’s synth-based/grindcore innovators OvertheTop have been steadily dropping new singles and videos for the last year, and their current album Resist released last spring. Today they have shared a new single and lyric video for the track “The Beating”! For the uninitiated, OvertheTop mashes up the awesome sounds of the 1980s dance and post-Punk, cinematic soundtracks, and classic grindcore, unapologetically and unironically so. The band is made up of members of stalwart NYC bands Alekhine’s Gun, Desolate, and Severed, and is a must-listen. Watch the clip for “The Beating” here!
Success has a way of messing with a good band. First world problems compared to the millions of bands that never make it, sure. However, so often when an emerging band that has fast become a genre leader, big corporate record labels can foul up the flow. This was almost the case of White Pony by Deftones, and the case where the hype was lived up to by pencil pushers, bean counters, and greed almost wrecked the game. White Pony is the band’s pivotal third album, where they built off the stylistic changes that came in with Around The Fur (Maverick) and pushed their sound further than before. In the process, they severed themselves far from the Nu-Metal wave that was exploding at the time and firmly created a new camp of “Deftones Music” as a category. That is, until, the label got in their business later on. Continue reading
Having originally formed in Texas, Doom/Punk quartet Wailin’ Storms relocated to North Carolina and it’s possible that both areas may be contributing to the band’s thick soup of rebellion and a life in the darkness. Third album Rattle (Gilead Media) sees the band incorporate a Grungey, swamp-drenched edge to that sound, further uniting related yet disparate genres. Continue reading