“Fuck the rules—that’s the rough translation of OU’s mission statement. Steeped in the streets of the Beijing jazz scene, OU (pronounced “O”) has emerged with a debut that challenges head-on the stagnant energy of the modern prog space. Striking a masterful balance of joviality, tranquility, and ferocity, OU have emerged from the underground to spread their idiosyncratic brand of futureprog.” The future is NOUW, olde man!
“I’ll admit right now that after almost nine years of listening to hundreds of promos for review, there’s a ton of music that may have left an impression during that time, but honestly doesn’t stay with me once the review is submitted. Call it lack of staying power or my own need to move on to the next promo for review, but with a few notable exceptions, many albums that I’ve fallen for on first listen end up drifting to the wayside, destined to be forgotten. An Isolated Mind’s 2019 debut full-length, I’m Losing Myself, was certainly not one of those albums. An unflinching look at mental illness, I’m Losing Myself tackled a difficult subject with care and grace, and landed my top spot of 2019 in doing so.” Isolated but not lost.
“As someone who’s candidly gone on record about mental health in the past, it’s always a gamble for me to dive into an album that heavily focuses on such a difficult subject. It’s not often that it’s treated with the necessary weight and care that it undoubtedly deserves, and more often than not, for every one An Isolated Mind’s I’m Losing Myself, there are about 50 of these littering the scene, taking up way too much space and energy. If there’s one band, though, that can tackle it with grace and honesty, it’s Pennsylvania’s Zao.” Corridors of the mind.
“Hello there! Hope you are enjoying the sunny weather in scenic California, and thank you for submitting Contemporary Tragedy, the second full-length (and third release) from your one-man post-hardcore outfit, These Colors Fade. Going from the supplied materials that accompanied your submission, Contemporary Tragedy took over 800 hours to write, perform, produce, and mix. That’s an impressive feat! More and more, we’re seeing talented one-person bands crop up out of the woodwork, going toe-to-toe with the heavyweights in contemporary metal music. With the costs of production and promotion starting to drop considerably, there’s never been an easier time to record, mix, and promote your music.” The color of tragedy.
Grymm and Kronos serve up a rich helping of metal opinions with their Top Ten(ish) of 2019.
“It always happens; you forge a plan, you lay out your strategies as to how you’ll get things done, and just when you’re about to do those things, life happens. In this case, a heavily-increased work schedule kept me occupied. Like, for months. No lie, we here at Angry Metal Guy planned on doing pieces on mental health awareness back in June, and this very interview was conducted back in October/November, months after initial contact with the ever-patient Kameron Bogges, sole creator of An Isolated Mind. The fact that this interview is seeing light in December should tell you that things haven’t exactly slowed down much.” Pressure and time.
“Metal music is rife with either “mosts” or “-ests.” The most brutal. The most extreme. The most depressive, oppressive, and downtrodden. The saddest, angriest, fastest, meanest, and heaviest. Our music lives and dies by those concepts. Every day, bands, fans, and us critics go on the hunt to find or create music that scratches the perpetual itch that those “mosts” and “-ests” bring forth. But in that unending pursuit, many bands and musicians fall by the wayside. Worse still, some of those musicians do so by their own hands. Today is a good time as any to talk about mental health in metal and rock music, and what can be done to stop the stigma associated with it.”
“In Gareth Tunley’s haunting and haunted 2016 film The Ghoul, the whole of reality is bent and infected by the protagonist’s depression. He is trapped in a twisted, magically real manifestation of a Möbius strip. Here, all means of escape are soon revealed to be nothing but bottomless ladders that descend into the darkest craters of the human psyche. The beginning is the end is the beginning. There is no escape. But unlike The Ghoul’s main character who ultimately appears powerless, Portland, Oregon’s A.L.N. has the music of the project Mizmor (מזמור) on his side, both as a weapon and a vessel of catharsis.” WMDs for hope.
“I wish I was born with the ability to remain blissfully ignorant, especially when it comes to the music you and I enjoy. For starters, my output would increase exponentially from not saying “fuck this bullshit” due to bands promoting questionable beliefs this calendar year alone, and I would most likely review an album at face value. Oh, and I would relish in the sheer joy of ignoring the fact sheet that comes packed with about 75% of the music we review. What am I getting at, you may ask? Tetanus Mystique, the second album by French “blackened” death metal merchants Mithridatic, is based on writer Roger Gilbert-LeComte, and his getting high by injecting tetanus into himself. Lovely. Oh, and the album prides itself on being an unflinching look into mental illness and stability.” Bad science.
On the road to finishing my dissertation, there will be many bumps. Today’s bump? I’m writing the Record(s) o’ the Month for July which robs me of time for completing my real goal. My real goal right now is to pump out 2,500 words a day of lifeless academic text that will suck the joy out of a fascinating topic for readers so that the ancient Blood God Academius, whose grotesque form lives solely upon the sacrificed blood, sweat, tears and writers guilt innocent and naïve graduate students, can be sated.
