Record #861: Heriot – Profound Morality (2022)

In feudal England, a heriot was a tribute paid to the lord of the land when a serf passed away. It was an undeniably oppressive practice, robbing poor families now bereft for the benefit of the already wealthy tyrant of the land. The heavy outfit Heriot from the UK practices a similar form of oppression, but in the form of their sonics.

One of my go-to phrases in describing music is “oppressively heavy.” But when I first heard Heriot, I realized that I have not known what it means to be so heavy that it’s oppressive. This is the kind of sonic density that squeezes your skull, that crushes your bones. It’s the sort of heaviness that dominates your attention and ceases the existence of all else.

Profound Morality, their debut, is only eighteen minutes long, but it leaves an impact crater far larger than its physical size, thanks to its unrelenting mixture of metalcore, industrial, post metal, old school hardcore, and even some glimmers of nu-metal.

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Record #860: Elder – Dead Roots Stirring (2011)

Ever since I heard Reflections of a Floating World, I have nurtured a low-key obsession with the Bostonian/German group’s brand of progressive, psychedelic doom metal. After following them to Omens, I’ve started working backward, picking up their back catalog as I can.

Dead Roots Stirring, their sophomore record, might not have anyone hoisting it up as the group’s best album, but this might contain their purest devotion to bands like Black Sabbath, Kyuss, and Sleep without the Rush worship that their later work has been criticized for.

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Record #859: Blood Incantation – Starspawn (2016)

As I’ve stated before—about this same band—I’m not the biggest fan of technical death metal. But for whatever reason, Blood Incantation somehow manages to bypass my displeasure for the genre’s indulgences. However, my appreciation of the Denver quartet has been satisfied by 2019’s Hidden Histories of the Human Race, the group’s apparent opus, so I haven’t done much exploration of their other material.

That apparently wasn’t enough for my subconscious: whatever nighttime phenomenon caused me to buy Hidden Histories in my sleep struck again, and I was greeted a few days later to a tracking number for a copy of Starspawn that I didn’t remember ordering.

While I expected it to utterly pale in comparison of its successor, Starspawn is a worthwhile work in its own right. Had I heard this instead of Hidden Histories, there’s a good chance that my feelings toward Blood Incantation would be the same.

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Record #858: Cave In – Heavy Pendulum (2022)

Cave In have often been described as chameleons. However, those tree-dwelling lizards can really only change their color, which is a poor analog for the Boston quartet’s sonic shapeshifting abilities. They’re more like some sort of Lovecraftian cephalopod, changing its color, shape, and size at will. From the brutal metalcore of their early records to the soaring space rock of Antenna, Cave In has thrived on reinventing themselves.

But on Heavy Pendulum, they somehow manage to fit every facet of their career into a single—albeit massive—record. They follow all of their seemingly contradictory instincts to their breaking points, creating what might be the most Cave In-y Cave In record of all time.

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Record #854: Helms Alee – Keep This Be the Way (2022)

Helms Alee has always been unpredictable. Even besides the triple-vocal attack—which ranges from throaty screams to dreamy cleans to riot grrrl-esque shouts—they have always implemented a number of styles into their brand of heavy, weird music. I first discovered them on a Wikipedia article about sludge metal fusions, describing them as “Sludge/shoegaze,” even though they themselves simply call themselves “grunge” (probably just because they’re from Seattle).

But they have never been as fearlessly inventive and monstrously heavy as they are on Keep This Be the Way. Nonsense title aside, this is a staggering album that showcases the best that Helms Alee has to offer, and pushes them into bold new territory.

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Record #853: Mike Oldfield – Tubular Bells (1973)

Tubular Bells is an absolutely iconic record. It’s a staple in almost any collection. It is also a hokey, sprawling mess.

However, it’s also one of the first records of its scope to have been recorded largely by a single person using overdubs. This isn’t quite an impressive feat anymore—there are legions of solo artists making ambitious music on their laptops (I’ve even done so myself), and a lot of them are more listenable than this.

But there is a charm in Oldfield’s initial opus, burdened as it is by ambition and lack of focus. After all, he was only nineteen when he released it.

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Record #852: The Mars Volta – The Bedlam In Goliath (2008)

Unlike my mysterious ignorance of AmputechtureI know exactly why I ignored The Bedlam In Goliath. 

By the time this record came out, my tastes had shifted significantly. My musical diet was still peppered with similarly experimental acts that I obsessed over at the same time I discovered De-Lousedlike Radiohead and Sigur Rós. But for the most part, my tastes were far simpler: I was devouring acts like Bon Iver, Fleet Foxes, Phosphorescent, and whatever else La Blogotheque and The Black Cab Sessions were featuring.

I had come to desire simplicity. Even as a musician, I had “matured” past the progressive post-hardcore of my high school band and honed my craft as a solo singer-songwriter. I might have still appreciated the first couple Mars Volta records, but I wasn’t returning to them often.

So when Bedlam was released, I had little patience for their maximalist prog, their meandering jam sessions, or the claims of a cursed Ouija board tormenting them—however, I did largely agree with the original engineer who quit the project saying, “You’re trying to do something very bad with this record, you’re trying to make me crazy and you’re trying to make people crazy.”

But now that I’ve gotten older—and made peace with my previous selves—I’ve come to realize just how wrong I was about this record. Is it a bloated, self-indulgent behemoth that is often a taxing listen? Probably, but all of the criticisms leveled against it can be directed towards the albums that I love either, so…

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