heavy metal

SIVA Addiction pounds out heavy metal in that uniquely blue-collar American way that is totally untouched by other countries, influences or genres. There is a sliver of the genre that remains impossibly true to the original form of heavy metal; a logical, blown-out extension of rock and roll from the middle seventies that revels in all the pomp and dirt that the legacy of that era entails. That sliver thrived in the U.S.

One thing that can be said about progressive rock and metal musicians is that there's no short supply of ambition in their work. Whether talking about concept albums, hour-long songs, or star-studded lineups, there is no such thing as 'too big' for their thinking. In large part, it's this kind of boundless creative energy that makes progressive rock and metal such an interesting landscape. So many sounds, feelings, and approaches can fit under the banner and be accepted that there's always a bit of a mystery when you first hear a new band, no matter the pedigree of the musicians involved.

One of the questions that has long puzzled me as a music fan is to what degree an artist's standing as an innovator and genre-definer should be incorporated into their legacy. While being the first to travel down a certain path does necessitate a historical remembrance of that person's efforts, it doesn't mean that the work done to blaze that trail is worth remembering.

Fame out of nowhere. All-girl rock group Cherri Bomb has gone from the fringe to the main stage through their association with acts like Filter, Rise Against and Billy Corgan. Continuing the trend, the band has attached their single "Shake the Ground" with the biggest movie event in a couple of summers, landing on the soundtrack of Marvel's blockbuster "Avengers." I sat down with Julia Pierce and Miranda Miller to talk about their music, gaining fame early, and being in an all-girl band.

Dan Briggs is used to pushing the envelope. His main band, Between The Buried And Me, is full of twists and turns that throw convention to the wind. Naturally, his side project would not be an exercise in restraint. Trioscapes is as progressive as anything he has ever done, eschewing normal instrumentation and structure to put together an album that needs to be heard to be understood. He was kind enough to answer some questions on the nature of his music, how he approaches creativity, and what the future holds.

Brendon Small’s “Galaktikon” is as much a story about finishing what you started as it is the divorce of the galaxy’s most popular superhero. Halfway invested prior to the recording of “Dethalbum II,” Small shelved this ad-hoc unfinished project until such a time as he could return to it and complete it. From that end, “Galaktikon” is anything but a typical vanity project, and shows not only Small’s dedication to his artistic exploration, but also his loyalty to Gene Hoglan and the musicians who helped him create it. He doesn’t want their work to be for nothing.

You got EDM in my heavy metal! You got heavy metal in my EDM! Such is the life and times of Cameron Argon, musician and producer at large known commonly by the names Big Chocolate and Disfiguring the Goddess. Combining the heretofore unblended elements of dubstep and death metal, Argon is one of the few who can walk in both worlds. With Disfiguring the Goddess' new release on the horizon, we sat down to talk about his music, his inspirations, the debate on drum triggering and more

Mainstream rock has been a forgotten son of the metal family for almost as long as I have been aware of the music. Ever since the grunge explosion (the merits of grunge even being a definable sub-genre not withstanding), the singles that populate rock radio have had immeasurable influence from the bands that came out of Seattle. The post-grunge movement, as it became known, is known most of all for two things; bands that prefer angst to any other expression of emotion, and a wave of productions that made the bands indistinguishable from one another.

What seems like a lifetime ago in 2003, I remember doing a music news report for my college radio station detailing how Cattle Decapitation had announced that their upcoming album, to be released in 2004, was to be called "Humanure." Little did I know that nine years later, Cattle Decapitation would not only evolve into a real thing, but would still be making music for a prominent label.

Certain styles of music seem incompatible with long careers. Death metal is high on that list, with the focus on brutality and shredded vocal chords standing at odds with the rigors of aging. If it's true that people tend to mellow with age, it would stand to reason that death metal would not be populated by elder statesmen. Yet it seems to be that conventional wisdom, once again, is wrong. Death metal finds itself seeped in figures from the early days still cranking out new music.