In last month’s column, I discussed my love for melodeath and how it got introduced to me by a dear friend of mine who continues to be a major part of my life to this day. Of course, with melodeath going into an interesting direction (trance elements?), we have to talk about one of the more fun yet confusing genres in the metal world.
Also, talking about this genre has made me realize just how damn angry I was back when I first discovered metal. No kid should have the sheer amount of pent-up rage that I did when I was 13/14. Of course, now at 24, my anger has simmered, but it’s still there, hiding underneath the niceties and the spite that seems to power the entire core of my being.
Last month, I discussed how I got into black metal despite not being completely into it at first, as it wasn’t what I originally perceived it to be. Despite this, and the research that led me into it, I now enjoy it and consider it a genre of choice. Thus, in addition to these genres, I also got introduced to several others at the same time. Continue reading →
Good morning, it’s time to metal. Here’s some news you might have missed from yesterday:
Let’s lead off with something that should make our Literati Overlord quite happy: Peter Tagtgren’s industrial project Pain has announced its first-ever North American tour. However, it’s not a very big one — just nine dates in all, supporting Orphaned Land.
I have been following the work of Peter Tägtgren for several years now, specifically in terms of Hypocrisy and the impressive line up of albums he’s produced. It wasn’t until a few years ago that I stepped away from the death metal that defined his career (at least to my awareness) and welcomed the electronic/industrial-based Pain into my library. While industrial metal is something I rarely find myself appreciating, there was something about the Pain approach that took to me. It was something catchy — as one may expect — but also offered a serious enough tonality to hold interest and avoid coming across as shallow or superficial. With Pain’s latest album, Coming Home, we get a dose of what has defined the Pain project over the years with subtle differences that allow it to distinguish itself. Continue reading →