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Episode 320 - Starry Eyes

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Hope you're not bothered by someone pulling their hair out...

When we last heard from Enslaved, they were pushing forward with their blend of progressive and black metal, making a mixture of sounds that shouldn't work together sound unlike anything else. It was still a bit of a messy record, and I was far from in love with it, but Enslaved appeared to me to be one of the few bands in extreme metal that was doing something legitimately extreme; pushing beyond the assumed confines of the genre to explore what else lay beyond the horizon.

So here's how this week's review went down... I popped in the new album from Stormwitch, a band with which I was not familiar. I listened to it a couple of times, jotted down my thoughts and THEN moved on to the bands bio. Imagine how surprised I was to discover that not only is Stormwitch not a new band but they've been around for quite a long time. I had to double check my heavy metal encyclopedia.

There is an old story in the worlds of physics and metaphysics (very different things, by the way) about a confrontation between a scientist and what we will call a layperson. They were debating the origin of the universe, when she proposes that the world sits atop the back of a giant turtle. The scientist asks the obvious question, what is below the turtle? She scoffs, as the the question is ridiculous. The answer, she says, is another turtle. In fact, it's turtles all the way down.

Let us take a moment to stop and ask a rather odd question: what is death metal? It seems sill to be asking such an existential question about a genre that is close to thirty years old, but I'm not sure anyone has ever figured out what the true essence of death metal is. Is it the growled vocals that define death metal? The riffing style? The dark and disturbing subject matter? Some combination of these elements has been needed to truly be considered a death metal release for as long as I can remember, although I can't recall ever hearing an exact formula be spoken of.

I've got some good news and bad news for fans of the Canadian metal band The Agonist. Lead singer and founding member Alissa White-Gluz has departed the group to take over lead vocalist duties for Arch Enemy. But I said there's good news! She has been replaced by the outstanding Vicky Psarakis on the latest release from The Agonist, "Eye Of Providence".

I remember vividly getting involved in what turned into a very ugly argument over the musical skill of people involved in pop music. The majority opinion seemed to be that pop musicians must be unskilled hacks, because the music they made was so simple to play. Not that I portray myself to be a master of music, I took the opposite position, that not only is simple music deviously hard to do well, but that the amount of skill shown off during a song is a wholly incomplete way of assessing the totality of a musician's ability.

When the touring version of Thin Lizzy announced they were changing their name and releasing an all-new album, there was a huge buzz for the first new quasi-Lizzy music in a long, long time. That did not extend to me, however, as I had never been swept away as a fan of the band. So when Black Star Riders first album came out, I listened to it not with the expectations of a legacy, but as someone walking in blind. What I found was that, over time, the album grew on me, to the point where I can now say it's quite a fine piece of work.

Jason may have hung up his machete until it gets a little warmer out, but the dream of Friday the 13th is alive at Bloody Good Horror. In that spirit, we're giving away a Jason Funko Pop figure and a Camp Crystal Lake sign courtesy of the great folks at HalloweenCostumes.com.

“Well, art is art, isn't it? Still, on the other hand, water is water! And east is east and west is west and if you take cranberries and stew them like applesauce they taste much more like prunes than rhubarb does. Now, uh... Now you tell me what you know.” – Groucho Marx

Beardfish is one of those prog bands that has gotten loads of priase during the course of their career, and again upon the release of their previous album, "The Void". While they are critically acclaimed as one of the leading purveyors of modern prog, I was less than enthused by that album. When I reviewed "The Void", I found it a needlessly dark and uninviting listen, the kind of album that does little to pursuade the listener to keep listening. Compared to what had been a strong crop of other prog albums, Beardfish was low on my totem pole of modern prog.

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