Author Archives: Max Heilman
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ALBUM REVIEW: Bibio treats folk as ambient music on ‘Sleep On The Wing’
While some of Stephen Wilkinson’s promotional photos might give the impression that he’s simply a guitar-slinging folk singer, that’s only one facet of his newest release as Bibio. Wilkinson’s discography runs the gamut of indietronica, deep house and acoustic love songs, while his last two records have arguably been his…
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Tuesday Tracks on a Monday: Your Weekly New Music Discovery – June 9
Clockwise from top left: José Feliciano, Terrace Martin, Gaytheist, All Them Witches, Cory Henry & The Funk Apostles, and Silvertung. Music has long been the voice for the voiceless. At the very least, provide catharsis for those experiencing hardship As the protests sparked by the death of George Floyd…
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ALBUM REVIEW: Chelsea Wolfe and Jess Gowrie bathe in the filth of Mrs. Piss
It’s safe to say that Chelsea Wolfe’s 2017 album, Hiss Spun, is her most aggressive record to date. This is due in part to the animalistic drumming of one Jess Gowrie. The two have grown their musical chemistry over the years, so it was only a matter of time…
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ALBUM REVIEW: Deerhoof writes post-apocalyptic indie rock with ‘Future Teenage Cave Artists’
Since forming in ‘94, San Francisco’s Deerhoof has remained a bastion of rock music at its most alien and unorthodox. The indie rock building blocks are always there but looking beyond the surface reveals some seriously mind-bending stuff—even for noise rock. With that in mind, Deerhoof’s 16th album, Future Teenage Cave Artists, could…
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ALBUM REVIEW: Caleb Landry Jones transcends definition on debut LP
While known for acting roles in movies like “Get Out” (2017) and “X-Men: First Class” (2011), Caleb Landry Jones has long harbored musical ambitions. Other than the short-lived Robert Jones project in the 2000s, his relegated his ideas to the deep recesses of his mind and the occasional recording…
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ALBUM REVIEW: Vader stampedes onward with ‘Solitude In Madness’
Considering the consistent brutality of Vader’s output since its ‘92 debut LP, it’s amusing to account for the Polish death metallers’ beginning in speed and thrash metal. The band’s evolution through the ‘80s reflects a global awakening to the death metal underground. In hand with the gumption of founding…
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ALBUM REVIEW: Cirith Ungol takes its legacy by the throat with ‘Forever Black’
Only one year after Black Sabbath’s debut birthed the genre, Cirith Ungol began pushing boundaries in Ventura. Considered an early player in both doom and power metal, the band’s obsession with Tolkienic sword-and-sorcery blazed a trail for much of metal as it’s known today. The band’s 20-year initial run…
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ALBUM REVIEW: Elder takes a delicate approach to prog-doom with ‘Omens’
Don’t even try to talk about heavy psychedelia in the 21st century without mentioning Elder. Rising from the stoner doom underground, the Boston quartet used progressive arrangements and trippy textures to produce some of the past decade’s best albums. While fans pit 2015’s Lore against 2017’s Reflections of a…
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ALBUM REVIEW: Shabazz Palaces create their own world with ‘The Don of Diamond Dreams’
Since the release of 2011 debut Black Up, Seattle duo Shabazz Palaces has essentially become the Sun Ra of jazz rap. Psychedelic, abstract and impressionistic, the band’s saga has had its ups and downs. The first outing remains the most universally impressive, maintaining cohesive production and thought-provoking lyrics within its unorthodox…
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ALBUM REVIEW: The Black Dahlia Murder extends its legacy with ‘Verminous’
There’s a reason you’ll find The Black Dahlia Murder shirts at Spite and At The Gates concerts. The Michigan export’s consistent output of quality melodic death metal simultaneously taps into contemporary and orthodox developments within the extreme metal umbrella. Time and time again, Black Dahlia freshens up its sound…