Tag Archives: Hard Rock

Album of the Day: Moths, “Moths”

It seems more than fitting that San Juan, Puerto Rico’s Moths would conclude their first self-titled EP with a cover of King Crimson’s fractured and complex classic “21st Century Schizoid Man.” As veterans of a metal scene as diverse as the shifting time signatures of the monumental prog track, its members have spent their years soaking up the sounds of the myriad metal acts who’ve graced the small island over the years—from the epic doom of legendary heavyweights Dantesco, to the the death/thrash style of more recent metal stalwarts Zafakon, the former band of bassist Weslie Negrón, and the crossover/thrash of their contemporaries Fullminator, whose frontman, Robert Santos, penned Moths’ single “Lepidoptera.” Combining jazz-infused prog, ‘70s heavy metal and stoner doom, death and thrash metal, and heavy grunge, Moths’ debut is nothing short of a behemoth.  Continue reading

Eleven Bands Keeping Texas Rock Heavy

The Well

The Well, photo by Rob Hilker

From the 13th Floor Elevators’ sun-damaged psych, Josefus’ soulful heavy blues, and ZZ Top’s lascivious boogie rock all the way through to Pantera’s strident groove metal and The Sword’s laid-back desert doom, the heavy rock scene in Texas has always had the same independent swagger as the state.

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Ten German Hard Rock Bands Bridging Present and Past

Heat

Heat

Bands from the U.S. and U.K. were responsible for some of the most significant contributions to the formation of hard rock—plenty has been written extolling the virtues of Led Zeppelin, Deep Purple, Blue Oyster Cult, the Alice Cooper Band, and other such luminaries. But so much of this lionizing tends to overlook Germany’s significant contributions to the genre. Bands like Scorpions (and one-time guitarists Michael Schenker and Uli Jon Roth, who would go on to join/form other influential outfits) darkened heavy blues, while krautrock-related prog artists like Lucifer’s Friend and Amon Düül II helped bring in a healthy experimental approach. Over the years, the genre has remained vibrant throughout the country, whether it’s gone in a metal (Accept), art-punk (Nina Hagen), or AOR direction (Pink Cream 69).

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For Northern Haze, Indigenous Rock Has Become a Family Affair

Northern Haze

It’s Friday night in Iqaluit, and it seems like the entire city is at the local Legion. Iqaluit, nestled on the shore of Frobisher Bay, is the capital city of Nunavut, one of three territories in Canada’s far north. With close to 8,000 residents, it’s home to nearly a quarter of the territory’s widely-dispersed population. It’s steak night at Legion (a big draw in and of itself), but the bar is humming with more than the usual excitement. Suddenly, the packed room erupts with cheers and hollers as people flock to the door. After a few moments, the reason for the pandemonium becomes clear: the musicians of Northern Haze had arrived.

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A Walk Through Buckethead’s Massive Bandcamp Catalogue

Buckethead-1244

Illustration by George Wylesol

Buckethead has one of the most unique careers—and personas—in the history of rock music. Over the course of the last 25 years, the enigmatic guitarist has operated in paradox, working with high-profile names like Guns N’ Roses, Bootsy Collins, and Serj Tankian, while still managing to maintain a shadowy aura. But for all of his marquee collaborations, Buckethead’s true magic lies in his solo performances, where he decorates the stage with small statues and plays scenes from Japanese animated videos behind him.

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