Zen Buddhism has always played a central role in Scheidt’s songwriting for YOB, especially on the two previous albums, 2004’s The Illusion of Motion and 2005’s great The Unreal Never Lived, but on The Great Cessation a considerably more blunt approach, which often seems to border on despair and even anger, permeates such tracks as “Burning the Altar” and “Breathing From the Shallows”.
Find out what HELLBOUND’s contributors are listening to going into the month of July. Each writer has submitted their Top 5 list and have an option to list a book and a film they are into right now too. We also have 3 special guest lists from members of the music industry that we like and that have supported HELLBOUND in some way.
With July 1st being our nation’s official birthday here in Canada, we thought we’d try to do something to pay honour to the many great bands and albums in the metal realm that our ten provinces and three territories have given birth to. We asked Hellbound’s regular contributors to write a paragraph or two about their favourite Canadian metal album of all time, the results of which follow below. All of the albums mentioned are indeed worthy of the nod and worth checking out if you have never heard them before.
Until The Light Takes Us is the upcoming documentary examining the Norwegian Black Metal scene including the church burnings and the murder of Oystein Aarseth/Euronymous.
Despite the fact that symphonic metal has become a very popular metal subgenre over the last decade or so, and although it’s become commonplace for metal bands to employ full orchestras on their studio albums, it’s not every day that a band is afforded the opportunity to perform live with a full orchestra behind them. So when Epica had a chance to stage a full-blown extravaganza in Miskolc, Hungary, of all places, needless to say the Dutch symphonic sextet jumped at the offer.
Swiss band Eluveitie have reappeared with a new offering that is being billed as “an acoustic album” that is the first of a two-part concept series. Despite the use of the term “acoustic,” Evocation 1 is far from having a minimalist folk sound.
San Francisco boasts a long and well-recognized tradition of musical creativity. Not just an artefact of the past, this inventiveness has carried through to the present. Saros stands out among the Bay Area’s current crop of eclectic and talented artists, fusing multiple influences and personalities into a flowing inundation of moody aggression.
Taking the name of his label from the first of writer Robert E. Howard’s fantastical Kull story series, it’ll probably come as no surprise that Shadow Kingdom Records’ and Distro deals extensively in material where swords, shields, impossibly tall marble castles and scenic green hills are stained claret-red with the remnants of some mythical battle feature prominently on album covers. But a random sampling of both the titles Shadow Kingdom owner Tim McGrogan distributes and the bands with which he works illustrates that he’s not as dogmatically dedicated to epic/traditional metal as you might expect.
The Hellbound staff wax poetic about their favourite Maiden album.
While the classic Swedish death metal scene of the late eighties and early nineties has influenced today’s scene immeasurably, there are legions of new metal fans today that have yet to discover classic bands like Nihilist, Carnage, Unleashed and Grave. The retro thrash movement is of course all the rage as of late, but not a lot of new bands have yet to pay homage to those classics captured in the formative days of Stockholm’s Sunlight Studios. Ventura County, California based quartet Fatalist is one band that would like to try and help reintroduce that classic Swedish sound to the burgeoning metal masses.