Posted on November 16, 2018 by Matt's Music Mine
Posted on November 16, 2018 by Matt's Music Mine
Posted on November 16, 2018 by Matt's Music Mine
Within the large, incredibly vast ocean of metal music and the millions of genres and types; THRON fits well within their own style. They are a melodic mix that comes with a new age of blackened metal that strikes chords of deceit, but also hardened ability on their newest 2018 release, Abysmal. From the twisted limbs of the brooding forest, or the well lit chambers of gentle gold; THRON can balance more than enough to create a solid release.
Density usually follows with black metal records, from the lo-fi recordings of the late 70’s to early 80’s. The overarching layers of pure wretched clothing and imagery, or the manipulation factor on creating something that feels truly evil; THRON is no stranger. They can create these otherworldly uses of strings and percussion, not to mention their vocal aspect which is both haunting as it is intriguing. The band is a coalition and enigma machine that correlates the best ideas into one giant squid of moving parts.
Opening the zenith with “Beyond The Gates”, THRON quickly displays this sense of vigor behind their music. From the stage presence which takes a similar approach to a macabre painting, and the intense and prolific sense of spacing and pacing within the tracks; “Beyond The Gates” is a perfect introduction to the madness behind THRON. The artists rapidly push to establish a lush background of multi-layered instrumentation that makes a winter night feel even more frigid. It is similar in the way that THRON operates as they are incredibly tight as a grouping, adapting perfect syncopation within their writing and music.
As the guitar solos and outliers start to show themselves within the following track, “Under A Bloodred Sky” is a continual blast of punches to the gut where THRON controls the system and makes the rules. They are the overlords as the wails and screams of the thrash influenced guitar that is stiff and almost robotic controls the listener. The guitar solos however are these rancid blasts that jump through the synchronization and instead opt for more of a flowing piece of work. They are great additions to the sound, allowing the space to mold more in the favor of THRON, giving the listener almost a hypnotic state of freedom.
Most of the selections on Abysmal are longer than five minutes with only two reaching under. As longer instances of track length allow for the punishing to commence in a similar format of black metal where the tracks stem into the double digits often times. Having longer movements is a positive push for THRON as their tune is already immensely engaging, but they never seem to tire or become repetitive. Instead, the band produces and rides through the flames before coming to the finale of the project.
As the guitar chimes in to illustrate the closing of the book on THRON, their darkened journey is about to be completed. They take the listener through an engaging display of the harsh hells and the warm glows of elegance within just shy of an hour. They may look disturbing and hold ugliness with their vague masks, but their music is as impressive as the cloaks they war to dissipate into the shadows.
Posted on November 15, 2018 by Matt's Music Mine
Listen/Watch Here –Â Youtube
Choreography: Stephen Petronio/Stephen Petronio Company
Director: Tim Saccenti
Production: Setta Studio
DOP: Luke McCoubrey
Editor : Matt Posey for PS260
Colourist: James Tillet
Dancers: Bria Bacon, Jaqi Medlock, Tess Montoya, Megan Wright
AC: Matt Henderson
Gaffer: Rusty Bennett
Key Grip: Tom Sarvello
Swing: Daniela Berg
Thanks to Steven Graf, Chemistry Creative, MPC NYC
Posted on November 15, 2018 by Matt's Music Mine
Posted on November 15, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
Listen Here –Â Soundcloud
Posted on November 14, 2018 by Matt's Music Mine
Listen Here –Â Soundcloud/Spotify/Amazon/iTunes
Posted on November 14, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
Listen/Watch Here –Â Youtube
Closed Casket Activities
Directed & Edited – Eric Richter
Acting and Special Effects by josh and ben townsend (8498 productions)
Posted on November 14, 2018 by Matt's Music Mine
Posted on November 14, 2018 by Matt's Music Mine
An absolute demon in her craft, Hiromi is a jazz pianist that manipulate the rules of sound to form along her own twisted, and dreamlike apparition within her 2004 release, Brain. While the sound is an experimental style and holds immaculate precision from her and the backing musicians, Brain is a convoluted and complicated masterpiece of diamond-esque cuts.
The continual tempo changes are enough to spin shoulders around and warp the sense of what jazz is. More influenced by the abstract sound rather than the rules of a product, Brain is graceful throughout but holds the idea of being a wildly untamed animal. The opening piece “Kung-Fu World Champion” is a quick dive to cover under the gaze of these rapid pushes to the foreground with a funky, but still lightning quick use of percussion and keys. It feels as if Herbie Hancock did Adderall and proceeded to perform all his most intricate works at the same time.
Not exactly on the level of a Captain Beefheart that is primarily just uses of noise, Hiromi has rhythm. She is an expert behind these segues and movements that really captures an essence of performance art behind the vibrant style. Still, in the most electrifying moments, Brain is a race that can be followed even if that race is a triathlon.
On the following track, “If…” there is a much more hesitant approach to the song writing and delivery. Hiromi is not in quite a dash as it is a jog that picks up and rides down gently. “If…” still has a deeply layered system behind it, but the gentle piano touches where the raging keys were present before. This style then transposes into “Wind Song” which is another moving piece that relies more on the softness than the blitzing action. These two tracks are more of a collective of emotional peace than the rest of the album which nose dives at every opportunity.
Hiromi can be a true monster of performance that relies on pure muscle memory as her hands must look as a blur through the entire piece. When there are moments of breaks, the band behind her is still moving and motioning in these sudden, almost sonic pieces of pleasure. Brain is an absolute blast of progression that few artists can capture within a trio.
With an album that stems just over the hour mark, Brain is a highly diverse piece of intense moments of rising actions and falling stars. From the overpowering momentum of speedy rushes through piano chords to the final moments of silence; Brain is a difficult piece to pin down and even harder to grasp.
Posted on November 13, 2018 by Matt's Music Mine
Posted on November 13, 2018 by Matt's Music Mine
Posted on November 13, 2018 by Matt's Music Mine
Posted on November 12, 2018 by Matt's Music Mine
Not to be confused with the 2018 release, the self-titled release Warthog (2016) takes the hardcore New York tendencies to a desperate level of darkened stabs and wild, belligerent ability. Within the nine-minute, 12-second track attack comes the aggressive push toward the deep end without a safety rope.
Forming quickly to the opening track “Culture?”, Warthog rushes in and deliberately wastes no time creating a wave of red blood that flashes within the pan as the percussion and immaculate screams push to the foreground. The band skips the theatrics and goes straight for a hardcore two-stepping dance that becomes a cult classic and underground beat down. Not only does it put the listener in these coffins disguised as tracks, but Warthog (2016) illustrates the metric ton of unapproachable hardcore that lives within the darker recesses of dive bars and sketchy websites.
Without knowing where to look, Warthog could go entirely under the radar and leave the public missing out on the giant hammer that comes crashing down directly on their head. As punishing as it is, Warthog (2016) is a constant rise that provides no vices on the listener as it is also incredibly freeing. Without fail, the stage divers and mosh pit frequenters are going to find a solace within Warthog’s animalistic motions. While the release is short, it is necessary as the tracks push to become a broken structure of random and sporadic movements.
“Tightrope” forms around the chaos as the band really starts to hunker down and double-tap with a bass drum that commands over. Warthog is rapid and almost unfazed by the short intermissions done between tracks as the track list starts to fall to a close. From the three out of four tracks together, there is no break within one moment in between. Rather, there is a punch fest that ends with the “Coward” which surprisingly, is the slowest track in the mix.
“Coward” miraculously becomes the last waltz for one of the better punk records to recent memory. And it may be a fast and almost impossible to understand what happens through each moment, the relentless action is a beast of burden that surprisingly does not weigh as much as it could have. The final track is a perfect send off into the unknown ether without destroying everything in sight. The Earth might crash and burn, Warthog however, can withstand the attack and continue on in the post-apocalyptic world they create.
Posted on November 9, 2018 by Matt's Music Mine
The complete list of all past streams can be accessed here as well
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The complete list of all past streams can be accessed here as well
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