Rolo Tomassi are a long-standing band that makes nailing down their genre a bit difficult. They aren’t as poppy as most post-hardcore, not as structured as metal but too strange and heavy to be taken in by any sub-genre of rock. It’s an experimental orgy of influences that is performed with such ability that it sounds progressive and includes more post metal than their previous work. It’s going to be somewhat of a track by track, more so than I usually do but it’s such a crazy album with a lot to talk about and be excited for. […]
These guys play a variety of music that most metalheads would see on paper and decide it’s not for them, I’m talking screamo and jazz. The Number Twelve have always been on the experimental side of post hardcore and mathcore, which if you ask me, is the only side of these genres – I’ll save you my rant about the origins of post hardcore being rooted in experimentation and then being degregraded by the popularity of a particular handful of bands. They’ve stayed true to that experimentation with this new album, something I was not expecting since I was unsure of the bands status in recent years. I’ve been a fan for well over a decade and am recently stirred up by 2019’s The Callous Daoboys, so I’m more than excited to dig in. […]
ACKOD is a very unique project that somehow exists between the void of minimalism and the bravado of extreme metal – not so surprisingly, out of California (partly), recorded at . It’s complex and brooding. It’s also likely to challenge a lot of people whose idea of music is more neatly packaged and familiar. Personally I find it quite exciting because it’s a part of a sound that doesn’t belong to a time in music but rather one that pops up here and there throughout it’s history like a rare breed. Stuff like Maudlin Of The Well if anyone can remember an underrated project from so long ago. ACKOD have come to 2019 with two releases and two more on the way. All of these releases are following the same story thread started with their first release in 2015, Vol. I: Enculturation and then Vol. II: Organic Emotions in 2016.
These two 2019 albums in particular are quite special, not only as a return for the project but also their collaboration with artist ma-ko (@drivemeawaytroubledheart) on both album covers, really elevating the presentation of the project. ma-ko’s art has been on my feed for some time, I completely adore their style which to me seems very inspired by video game fantasy, I have a feeling these covers had some inspiration from Hyper Light Drifter but their other work on IG speaks to older JRPG’s with a beautiful and traditional aesthetic. The lyrics seem to come from the same place as the art, perhaps there was synergy there. The stories resemble the volatile societies, history and politics of such fictional places. So let’s get into these two albums and keep an eye out for the third. […]
This list isn’t pride in Australia as much as it is a list celebrating musicians who despite being Australians, managed to successfully create and distribute their music. There’s a lot of barriers to musicians here due to a fucked economy, poor employment availability and terrible telecommunications infrastructure. So these bands deserve praise and attention for having the ability to create potent art in this modern western culture, even at the risk of crippling debt, or even worse, no one hearing it. […]