We’re not new to the name of Colin Stetson, decidedly one of if not the best saxophone player of recent history. Although his works have been a lot into the ambient spectrum, his recent Sorrow: A Reimagining of Górecki’s Third Symphony is where he brought himself into the lands of metal. Being now part of the new band Ex Eye, his fast, relentless, versatile, and innovative playing style is a perfect match for the blackened doom they spew out. Whether they drone on in drawn-out atmospheric passages or tempestuously stampede during blast beat parts, Stetson is at the forefront, … Read more
mulating our opinion of an album before diving back into the endless sea of new releases. Sometimes, however, a confluence of factors generates a scenario in which one album stays in rotation for an extended stay before pen gets put to paper. White Ward‘s Futility Report is an album I’ve been trying to write about since January, when I heard its first publicly released song. It took about 30 seconds of that track to convince me this was a band worth paying attention to. They were kind enough to send me a review copy, but shortly thereafter, the always-excellent … Read more
Honestly, this combination of instruments could make something so awesome, that it’s criminal to have let the opportunity pass them by, and instead do some pretty uninspired sludge. Don’t get me wrong, the bass riffs are amazing and the songs … Read more
Like their band’s name so brilliantly puts it, Rejectionary Art puts aside any convention that might have been put up in the history of music (or so).
After the intro song, which is propaganda over spazzy rhythms and harmonies (featuring Morgan Ågren, no less!), the styles come and go, follow each other in lines coming from every corner of the Americas. Bluegrass, jazz, funk, etc. etc. etc.
Each song is different from the next one, so you really don’t know what to expect, and at times you’re left paralyzed, not knowing what to do. That’s just how impressive these gents … Read more