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I am always right, particularly when it comes to fashion. I would not typically be addressing the subject of this column, but the fashion epidemic on Grounds has recently risen to such prominence that my journalistic faculties have once again been called upon to decree and deride. And I’m the perfect person for the job.
If you don’t generally recognize the bestial bellows and beautiful baritone of former Killswitch Engage vocalist Howard Jones, you may not be a true metalcore fan. You may, however, be excused of this qualifier if you don’t recognize Jones while listening to Devil You Know’s new album, “They Bleed Red,” for his growls and vocal hooks are not quite what they used to be.
2006 — the year that Escape the Fate, the skinny-jeans-sporting, mic-and-axe-wielding, objectively best band on the post-hardcore scene, debuted on Epitaph Records.
Here’s some bad news for Mr. Lee Malia, Matt Kean, Matt Nicholis and Jordan Fish: you may be out of work soon. But that’s alright, because the rest of Bring Me the Horizon, including Oli Sykes and, well, Oli Sykes, might go on to become the next synth-abetted Gerard Way (the My Chemical Romance frontman who started a solo career and dropped a legacy).
When asked in a 2006 interview with Popworld whether heavy metal band Bullet for My Valentine would go more commercial, the band’s frontman Matt Tuck replied, “We would never do [that] … We’re more interested in what our music sounds like than what our f---ing hair looks like.”
An anthology is the salad bowl of literature — in fact, this is what “4: An Anthology of Fourth-Year Writing” strives to be. Consisting of various literary works by fourth-year students who have completed creative writing classes at the University, “4” mashes poetry and prose together quite audaciously. The resulting conglomerate does not seem to communicate a particular theme.
Vocalist Danny Worsnop left metalcore group Asking Alexandria and formed an ‘80s rock band to preach motifs of fornication, ogling and countless other taboos into the ears of scene kids worldwide. Typically, such a move would draw a dose of harsh cynicism and elitist condemnation, delivered sarcastically from the digital pulpit. But Worsnop’s quartet aims not at matter, but rather at method and mood.
The Apr. 12 premiere of the fifth season of HBO’s “Game of Thrones” has triggered a heartwarming reconciliation between the genres of hip-hop and metal. With “Catch the Throne: The Mixtape, Vol. 2,” a GoT-themed work, the masters of modern music — metal artists — have finally acquiesced to recording on the same tracklist as what some might deem an inferior breed of sound. But the result is a rather imbalanced work consisting of four metal masterpieces and eleven pieces of hip-hop that range from mediocre to messy.
Wit, not action, dictates the plot of Aphra Behn’s “The Rover,” a Restoration comedy performed at the American Shakespeare Center in Staunton, Virginia during the Actors’ Renaissance Season, which will last until April 5.
Falling in Reverse’s newest album, “Just Like You,” has fans giddy with anticipation. The Vegas quartet’s creative vision is unparalleled, but no one expected their new material to trump facets of the last two albums. Just how much better can music get than thought-provoking lyrics like “I’m on that rack! Fly like a jet! / I’m on that next! Girl loves sex” from “Alone” and lead guitarist Jacky Vincent’s absolute disregard for mood and tempo?
Inspired by Paul Klee’s statement of “a line is a dot that went for a walk,” “What Is A Line?,” the Fralin Museum of Art’s newest exhibition, is scheduled to open next year, and will continue the museum’s long tradition of multicultural pieces — this time by examining a particular artistic technique.
Just like their comrades in Anonymous, there seems to be more to Slipknot than meets the eye. Beneath the maniacal grotesquery, some perverted sense of self must be decipherable only through buying albums. There must be some hidden agenda behind the band’s “maggot” mosh pits, which can only be uncovered by buying concert tickets. And finally, there must be a reason why the cover of their second album is a giant triceratops.
“Not you.” The phrase is a common one for Tywin Lannister, repeated often to his son Tyrion when everybody else is excused from his despicable presence. Perhaps, also, by fans of the show every time one of their favorite characters is beheaded, maimed or served up a succulent sword to the stomach. Welcome to the whimsically wondrous world of Westeros. Welcome to “Game of Thrones.”
A few select men are generally accredited as being the founding fathers of the United States, praised as the initiators of a 238-year-old democracy. Similarly, melodic death metal has its founders too — a trio of bands hailing from or around Gothenburg, Sweden: Soilwork, Dark Tranquillity and In Flames.
The heights of heavy metal musical taste can be dizzying. Burdened with the slamming of inferior genres, and less hardcore fans, we often take ourselves too seriously. But have no fear, Tim Lambesis is back to humble us all with Austrian Death Machine, albeit while including features from a half-human, half-robot Arnold Schwarzenegger smoking atop a heap of skulls. Welcome to the world of “Triple Brutal,” the project’s latest album.
Refusing to take ridicule for making cheesy puns, I will say that Still Remains, the synthcore six-piece band from Michigan, still remains an asset to the metal scene. The band started living up to its name when it resurfaced in 2011 — coming out of a three-year hiatus.
The success of Orlando-based quartet Trivium has long seemed causally linked to an arithmetic pattern. Its even-numbered releases — “Shogun” and “Ascendancy” — prove masterpieces capable of melding melody and hardcore thrash, whereas its odd-numbered works — “The Crusade” and “In Waves” — substitute the band’s influences for its identity, exchanging the group’s signature lyrical depth and guitar-driven technicality for a sound deemed more accessible.
If you’re a true metal fan, you’ve likely been spending the last few weeks biting your fingernails with your Monthly Metal Allowance crinkling in your pocket while you anxiously scan The Cavalier Daily for my judgment of Killswitch Engage’s latest album, ‘Disarm the Descent.’ The Massachusetts quintet was hailed as the crusaders of metalcore after their 2002 effort, ‘Alive or Just Breathing.’ Following the subsequent departure of vocalist Jesse Leach, the band took a new direction with Howard Jones, a man whose crooning baritone could quite easily win the hearts of any ‘American Idol’ crowd before scaring them all out of the filming location with the sharpest scream/growl combo since Stefano Fiori of Graveworm.
Scrolling through my iTunes library, cluttered with only the hottest, most mainstream artists of the day, such as everyone’s favorite extreme gothic metal band, Graveworm, I typically fail to come across many groups that I have ignored as thoroughly as the Swedish sextet of Soilwork (accidental alliteration accomplished). Having previously purchased only two songs from their 2005 album Stabbing the Drama, I had almost no incentive to sit down and listen to the 84-minute monstrosity that is The Living Infinite. That is, until I happened across the pre-release singles on YouTube.