Grammy-nominated Swedish doom metal legends Candlemass have come full circle with the return of original vocalist Johan Längquist, whom recorded vocals on the band’s 1986 debut masterpiece Epicus Doomicus Metallicus. After 35-plus years, Candlemass remains firmly on top of the doom metal heap. Edling spoke with us about Candlemass’ Grammy nomination, their new EP, and the band’s long-lasting legacy.
“New music sucks, new music sucks, new music sucks.” That refrain cries out from every corner of Posehn’s new album, Grandpa Metal. The genius behind Grandpa Metal is comedian Brian Posehn, who’s enlisted the help of his famous and super talented friends to round out the best comedy/metal record of all time. Scott Ian, Corey Taylor, Joe Trohman and Patrick Stump of Fall Out Boy, need we go on?
It almost beggars belief that, 17 years into Midnight’s career, they remain something of a best kept secret—a seditious pleasure celebrated only by those who lurk in the darkest alleys of the underground. Founded in Cleveland in 2003, Midnight is a one-man shop, conceived by multi-instrumentalist Athenar, whose original vision saw the band staying well out of the spotlight, favoring EPs and split releases over full albums. The approach was both celebrated and bemoaned by his growing fan base.
Crowbar and Down guitarist Kirk Windstein steps outside of his wheelhouse on his debut solo album Dream in Motion. Handling every instrument except drums, its 10 tracks are a fantastic affair, including a riveting cover version of 70 rock icons Jethro Tull’s “Aqualung.”
Formed in 2013 in Boston, symphonic/power/black/melodic death metal band Seven Spires’ members met while attending the renowned Berklee College of Music. Featuring frontwoman Adrienne Cowan, guitarist Jack Kosto, bassist Peter de Reyna, and drummer Chris Dovas, the band has just released its sophomore affair, Emerald Seas, through Frontiers Music.
Even after 11 albums and a history that goes back further than most of you reading this have been alive, God Dethroned’s Henri Sattler is still bright-eyed and bushy tailed about the band he formed as an unruly, Christ hating teenager back in 1991 in the Dutch village of Beilen. It’s the band he still leads—and is still excited about—as a rebellious adult who has failed to conform…
Lamb of God guitarist Mark Morton steps outside of his day job with his second solo effort Ether. Known for his extreme metal style of playing with Lamb of God, Morton strips the music down with five acoustic songs, including covers of The Black Crowe’s “She Talks to Angels” and Pearl Jam’s “Black.”
In the interest of full disclosure, my Annihilator fandom goes back to 1986 and the Phantasmagoria demo. Back in the day, the four track demo may have had the most ridiculous looking piece of headgear for its cover art, but it set my home and native land ablaze. Annihilator ended up being placed in a stead with Sacrifice, Razor, and Slaughter to often be referred to as The Big Four of Canadian Thrash…
The rise of Copenhagen quartet Konvent has been astronomical. When bassist Heidi Withington Brink got the idea to direct her lifelong love of music towards actually creating and playing it, she didn’t let her inexperience get in the way. Teaming up with a collection of fellow exuberant amateurs from the local scene, Konvent was born, and in four short years, the doom/death quartet—Heidi, guitarist Sara Helena Nørregaard, vocalist Rikke Emilie List, and drummer Julie Simonsen—has gone from nervous newcomers to Danish festival regulars, a band with European tours under its belt, and a deal with Napalm Records, who are issuing the band’s debut, Puritan Masochism.
Hindsight can be a funny thing. I’ll admit that, at the time, I didn’t quite hip myself to what Satyricon was doing with their fourth full-length LP, Rebel Extravaganza . Gone were the medieval trappings of The Shadowthrone and Nemesis Divina, and in its place were songs that were cold and aggressive, with a very noticeable mean streak. Oh sure, I eventually grew to dig the album pretty hard, based largely on the presence of undeniable jams like “Havoc Vulture” and “Filthgrinder,” but the actual sound of the album always felt like it could’ve used improvement.