Cockroaches and Creep Diets: A Beginner’s Guide to Alex Newport

Born on September 12th, 1970 in Wolverhampton, UK, guitarist/vocalist Alex Newport is responsible for some of the most unique and interesting heavy music of the 1990s and early 2000s.  Although his discography is far from vast, what it lacks in quantity it more than makes up for in quality, encompassing metal, hardcore, noise rock, industrial and beyond.  As a producer, mixer and engineer he went on to work with popular acts such as Death Cab For Cutie, At The Drive-In and The Mars Volta, but there was a time when Newport was an underground innovator, responsible for some of my favorite heavy music of all time.  So without further ado, let’s take a quick look at the discography of the man who convinced me to go on a creep diet and never look back…

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Daydream Nation and the Speculative Music of Sonic Youth

In October of 1988, Sonic Youth released Daydream Nation, an album littered with references to the speculative cyberpunk fiction of William Gibson. While I have never read Gibson’s work (though I have seen the god-awful film adaptation Johnny Mnemonic), it is my understanding that his writing predicted many of the technological and cultural developments we now take for granted, including the ubiquitous influence of computers and the Internet on our daily lives. Just as Gibson’s writings predicted these developments in technology, so too did Daydream Nation predict developments in rock music; if there is such a thing as “speculative music,” then surely Sonic Youth’s sprawling masterpiece (and really their early career as a whole) falls squarely into this category.

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IG’s Top 11 music related things I enjoyed in 2015

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I had an intro written and ready to go, reflecting on all the good and bad that heavy music in 2015 had to offer (mostly bad), but then I remembered that no one reads these long-winded, pointless intros.  So, without further ado, here are eleven musical things (not just albums) that grabbed a hold of my crank and kept on yanking in 2015…

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THKD’s Top 10 Metal Albums of 2014 that I didn’t write about.

THKD2014In early December, I decided I wasn’t going to do a year end list.  It isn’t that I’m all of the sudden anti-list; I still love lists, but this year I just wasn’t feeling it.  I gotta be honest, after five years of doing THKD I’m fucking weary, and laboring over a list just felt like yet another metal writing chore.  Besides, if you read the blog regularly and follow me on social media, you already know what I liked this year.

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The Six-String Kiss of My Bloody Valentine

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I don’t need to tell you to listen to My Bloody Valentine.  I don’t need to tell you what an important band they are.  And yeah, I realize that MBV is the cliche token shoegaze band that metalheads like, and the band that metal writers automatically point to whenever a band exhibits a shoegaze influence (with Slowdive coming in a distant second on both counts).  I know I’m guilty of it.  But sometimes, when you discover one band that’s so fucking amazing and addictive, it’s hard to pull yourself away and explore the rest of what’s out there.
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Halfway to Hell: The year in metal so far.

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2013 has already been a hell of a year for metal. Unlike last year, which saw an overwhelming avalanche of stellar releases, 2013 so far has been more akin to 2011, which was all about quality over quantity. Granted, we’re only halfway through, but at this point I’m still finding it very easy to separate the wheat from the chaff, which certainly wasn’t the case at this time last year. I’m not particularly interested in make lists at this point, but I am interested in taking a look back at what’s transpired so far; it’s always good to recap in order to keep things fresh in your mind and fight the urge to fall back on listening to old shit.

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Blitzkrieg #8: Oooh Baby I Like it Raw (from the Trashmen to Transilvanian Hunger)

In a recent conversation about music, my wife pointed out that I tend to gravitate towards stuff that is very raw and simplistic.  I believe “garagey” was the term she used.  She’s absolutely right.  I guess this has long been the case, but I had never really thought about it consciously until she brought it up.  I mean, I’ve certainly done my fair share of writing and espousing the virtues of raw, primitive music, but I never really considered just how much my listening preferences are dominated by these characteristics.
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