“I’ve always thought that if there were to be a musical equivalent of abstract modern art then it would come in the form of eccentric, experimental prog or post-metal – music that requires patience and an open mind to appreciate and digest – and such a description could not be apter for Providence’s Queen Elephantine.” Horton hears some drone.
“Believe it or not the life of a music reviewer is not as glamorous as one would think. Yes, from time to time you’re invited to the likes of Thor’s Rock Opera in some trendy part of New York City, you’re jet-setting off to Chicago with tickets to Alehorn of Power IX, or you’re the first to get your grubby mitts on Swallow the Sun’s new triple album. Outside of those jaw-dropping moments though, reviewing consists of picking some unknown band/album off the promo sheet with your fingers tightly crossed hoping that what’s going to burst out of your monitors isn’t going to suck monkey balls. Aussie ambient/black metallers, Spire, was one of those random, finger-crossing, hope-for-the-best-expect-the-worst moments.” Sometimes you win and sometimes….
“Dante Alighieri once said “The path to paradise begins in Hell.” Andy Curtis-Brignell and Laurence Taylor, the backbone of Caïna, hold these powerful words true and no album makes this more apparent than their new outing – Christ Clad in White Phosphorus.” If you’re going through Hell, keep going.
“Solo projects are a mixed bag for me. On one hand, you’ll occasionally get a musician’s pure, unencumbered vision, free of competing egos, stylistic conflict, or bullshit social media drama that inevitably leads to a nasty breakup and months of blog posts detailing the extended legal battle over rights to the band name. More often, however, you get good ideas and musicianship hampered by a lack of self-awareness or weakened by the absence of an additional creative force. To paraphrase Stephen King, writers are often the worst judge of their own work.” And that’s where we come in.
“We here at Angry Metal Guy Industries try our damnedest to approach each album with an open mind and our full, undivided attention. We also give many, many listens to each album, grasping at as many straws as we can to formulate a 600-word review, and trying to relay our experience with said album in a way that’s both entertaining and informative. Sometimes, though, after so many listens, an album can be so thick with atmospherics and density that approaching it can feel hopelessly impossible.” But we at AMG never say”impossible.” Instead we say “I’m possible!”
“I first came across the nightmarish raptures of Spektr in 2006 with Near Death Experience. That album was perhaps the most unsettling record in my music collection at the time, and served to worsen my already-horrific insomnia. Since then I’ve been captivated by every one of Spektr’s disturbing soundtracks.” To sleep, perchance to scream?
“So Hideous occupy an interesting niche for me. As a post-black group with orchestral flourishes, their sound is unique enough to stand out in an over-saturated genre, but it’s never been compelling enough to make me a fan.” New York City continues to pump out some interesting variants on black metal. Must be something in the hot dogs.
“Josh Graham is a serial pie fingerer. Aside from his visuals and art work for established names such as Neurosis and Vattnet Viskar, he’s also embarked on a number of music projects including the post-rock Red Sparowes and post-metal A Storm of Light. Now he brings his tight atmospherics and stunning visual design to his new ambient project IIVII and its debut, Colony.” There’s complete anarchy here at AMG headquarters!
“The Kontinuum… continues! Not to be confused with the tech death band Continuum reviewed here by Dr. A.N. Grier earlier in the week, Kontinuum are an Icelandic band that plays a multifarious blend of dreamwave and post-rock/metal with some inviting and interesting gothic undertones.” Is Iceland becoming the next Finland?
