The word that most frequently accompanies descriptions of Norway's Shining, is "blackjazz", which is either blackened jazz or jazzy black metal, depending on how you look at it. The title of their upcoming album International Blackjazz Society, due out next month, would certainly have you believe that those elements are key components of the band's sound.
But the latest single from International Blackjazz Society, "Last Day", sounds more like a heavy Nine Inch Nails-esque track, with an electronic-meets-hardcore kind of sound. So maybe the takeaway here is that International Blackjazz Society will have lots of different sounds going on? Get your copy in a bout three weeks' time to be sure, but for now jam "Last Day" and compare it to similarly-titled-but-different-sounding first single "The Last Stand".
Showing posts with label Nine Inch Nails. Show all posts
Showing posts with label Nine Inch Nails. Show all posts
Tuesday, 29 September 2015
Wednesday, 27 May 2015
Refused - Francafrique
Ready for some more new Refused? You say that you are, but we'll just see about that, as their newest noise comes with a bit of a twist.
The 'twist' in "Francafrique", the latest single from the forthcoming Freedom, is a weird kind of funky, poppy mentality that reminds me in places (the verses, specifically) of Nine Inch Nails more recent stuff. And lest you think you're ready even for that, there's some full on horns sprinkled throughout this one.
But inside this somewhat unexpected shell is a core that feels suitably Refused. The lyrical content and the attitude are as grimy and acerbic as you might expect, and the tonal shift musically isn't that outrageous given the band's experimentation in the past. So get on board (like me) or get butt hurt (like some of the internet seems to be on this one) but either way, get "Francafrique".
The 'twist' in "Francafrique", the latest single from the forthcoming Freedom, is a weird kind of funky, poppy mentality that reminds me in places (the verses, specifically) of Nine Inch Nails more recent stuff. And lest you think you're ready even for that, there's some full on horns sprinkled throughout this one.
But inside this somewhat unexpected shell is a core that feels suitably Refused. The lyrical content and the attitude are as grimy and acerbic as you might expect, and the tonal shift musically isn't that outrageous given the band's experimentation in the past. So get on board (like me) or get butt hurt (like some of the internet seems to be on this one) but either way, get "Francafrique".
Saturday, 22 November 2014
Sioux - Closer
The second edition of Loud Noises' Under the Covers of Darkness week is winding down now, but I've still got a couple more cool covers to throw at your before it's back to our regularly scheduled programming. In fact, tonight's penultimate song (that's "next-to-last", for all you non-word dorks out there) might actually be one of the more adventurous takes all week.
I'm sure you're all pretty familiar with Nine Inch Nails, and more specifically the album The Downward Spiral, and more specifically still the single "Closer". Dense industrial techno-rock with a driving beat and layers of synths and guitars, "Closer" is a song you're probably so familiar with that you could sing me the whole thing right now.
But take that familiar core, run it through a sludgy fuzz filter, and you have tonight's cover version by Portland's Sioux. It's like a grungy, drony, stoner rock band just jamming out on the fundamental elements of the Nails original. For that reason, it's also the kind of cover that can stand on its own alongside an original rather than having to draft in the wake of an original. Whether or not you like Nine Inch Nails' "Closer" (although, how could you not, really?), you should check out Sioux's "Closer" -- it's a whole other animal.
I'm sure you're all pretty familiar with Nine Inch Nails, and more specifically the album The Downward Spiral, and more specifically still the single "Closer". Dense industrial techno-rock with a driving beat and layers of synths and guitars, "Closer" is a song you're probably so familiar with that you could sing me the whole thing right now.
But take that familiar core, run it through a sludgy fuzz filter, and you have tonight's cover version by Portland's Sioux. It's like a grungy, drony, stoner rock band just jamming out on the fundamental elements of the Nails original. For that reason, it's also the kind of cover that can stand on its own alongside an original rather than having to draft in the wake of an original. Whether or not you like Nine Inch Nails' "Closer" (although, how could you not, really?), you should check out Sioux's "Closer" -- it's a whole other animal.
Sunday, 27 July 2014
Sunday: Nine Inch Nails - Piggy
Almost caught up on the catching up, and as promised your finale this evening is a Nine Inch Nails classic to celebrate the nostalgiarific Nails/Soundgarden tour stop in Toronto tonight. This one's for you, Mike. Wish I could be there.
My first real introduction to Nine Inch Nails (other than maybe hearing "Head Like a Hole" or something else from Pretty Hate Machine) was the classic The Downward Spiral in high school, and one of the songs that always really stuck with me was "Piggy". I don't know if it's just because it's one of the first tracks on the album and thus got into my brain early, but any way you slice it to this day "Piggy" is still one of my favourites. Maybe they'll play it tonight? Fingers crossed.
My first real introduction to Nine Inch Nails (other than maybe hearing "Head Like a Hole" or something else from Pretty Hate Machine) was the classic The Downward Spiral in high school, and one of the songs that always really stuck with me was "Piggy". I don't know if it's just because it's one of the first tracks on the album and thus got into my brain early, but any way you slice it to this day "Piggy" is still one of my favourites. Maybe they'll play it tonight? Fingers crossed.
Saturday: Soundgarden - Loud Love
Nine Inch Nails and Soundgarden are playing on the same bill in Toronto tonight, and even though I'm not going, an old friend from high school who now happens to live in the city is. My jealousy has inspired to me live vicariously through him a little bit and them the final two posts of your weekend catch-up to suit the occasion.
I'm not completely sure if the show is supposed to be a double-headliner kind of deal or whether one act is opening for the other, but in my head it feels like Soundgarden should be opening for the Nails (if only based on the band's careers lately) so we're going to do a Soundgarden song for yesterday leading into a NIN song for today. Sound like a plan?
For your Soundgarden opener, I'm going with one of the first Soundgarden songs I ever learned to play on guitar, and my first introduction to the band's deep catalogue. Like everyone else, teenage me was familiar with Superunknown, and to a lesser extent Badmotorfinger, but learning "Loud Love" on guitar turned me on to just how good 1990's Louder Than Love is. I hope that listening to "Loud Love" this evening will do the same for you.
I'm not completely sure if the show is supposed to be a double-headliner kind of deal or whether one act is opening for the other, but in my head it feels like Soundgarden should be opening for the Nails (if only based on the band's careers lately) so we're going to do a Soundgarden song for yesterday leading into a NIN song for today. Sound like a plan?
For your Soundgarden opener, I'm going with one of the first Soundgarden songs I ever learned to play on guitar, and my first introduction to the band's deep catalogue. Like everyone else, teenage me was familiar with Superunknown, and to a lesser extent Badmotorfinger, but learning "Loud Love" on guitar turned me on to just how good 1990's Louder Than Love is. I hope that listening to "Loud Love" this evening will do the same for you.
Tuesday, 8 October 2013
Pit Report: Nine Inch Nails
Perhaps calling this post a "Pit Report" is a tad disingenuous, given that we had seats a pretty good distance from the floor, but let's not quibble about semantics. I'm calling this a Pit Report and there's nothing you can do to stop me! So let's get started, shall we?
When I was younger, my admittedly puerile attitude towards live shows was that I paid to see band X, not the various shitty unknowns that band X decided to drag along with them on tour. As such, we always used to see the opening bands' sets as travel time to get to the show (if it was out of town) or drinking time before the show (if it was local). Now that I'm older, wiser, and taking music a little more seriously (I'm writing this blog, aren't I?) I've thankfully adopted a different attitude, namely that catching the opening acts is both a good way of supporting all the bands on a tour and a good way to discover new music that I might really end up digging.
Unfortunately, our Friday schedule's just wouldn't let us get to Toronto early enough to catch Trent's chosen openers, Explosions in the Sky. Actually that's not quite true: we did get to the ACC in time to catch literally the last few minutes of their set, and while that's not exactly ideal when it comes to forming an accurate picture of a band's sound, I did hear enough to get a few basic impressions. So in a nutshell, Explosions in the Sky sound like a tasty guitar-based post-rock band that's equal parts atmosphere and dense melodies. Definitely a band to check out if you dig that sort of thing (which I do).
And then there was Nine Inch Nails. Trent and Company put together a nearly two hour set that balanced the band's deep catalogue with the need to play a healthy amount of material from the new album Hesitation Marks. About the only cut I would have liked to hear and didn't was "Closer", but I can hardly complain about a set list that included "The Wretched", "Head like a Hole", "Terrible Lie", "March of the Pigs", "Wish", and "Hurt", among many others. (Since we live in an age of wonders, the complete set list is already online right here at setlist.fm)
Not only was the set list put together well, the lights show was also top notch, which is both something that's missing from many modern metal/rock shows as well as something I don't usually give two shits about. The way I see it, I paid to see a band perform, not to watch some Laser Floyd, fireworks display. Having said that, however, the light show on Friday night meshed really well with the music virtually every step of the way, and was second only to the time I saw Tool back in 2009 in terms of suitability and sheer coolness. Kudos to whoever came up with the eye candy.
Overall it was a great night -- including the three hours or so of driving each way -- but I was unfortunately reminded of a couple of my pet peeves about more mainstream, less underground shows. One's just a minor, personal thing: every big rock show has its share of drunker dancers (usually women, usually thirty-somethings or older) shuffling rhythmlessly from one foot to the other in some kind of sad zombie shamble. We both know the kind of concertgoer I'm talking about, and I always feel vicarious embarrassment for them.
My other complaint is a little more legit (in my opinion, anyways) and concerns something I've experienced a number of times over the years when enjoying a show from somewhere other than the floor or pit. I get that people want to get into this performance by their favourite band or whatever, but when I pay for a SEAT to a concert, I damn well expect to sit in it. Call me an old curmudgeon if you will, but it irks me to no end when people who are in seated sections stand up for some or all of a show.
Not only do you fuck over the person sitting directly behind you, but you fuck over everyone in the whole section because your decision to stand and block the view of the person behind you means they have to stand to see, which blocks the view of the person behind them and starts this big chain reaction that only ends when everybody's standing in front of the seats they paid, in this case, like ninety bucks a pop for. If you want to stand the whole time, fine, get a floor ticket. If you've got tickets for seats, then SIT THE FUCK DOWN. Rant over.
Just in case the last paragraph or two sounded a little bitter, let me reiterate: the Nails put on a great show, and considering Trent has gone on hiatus or the like at least once in the last few years I feel lucky to have seen them in good form and before Trent decides to retire for good. If you're on the fence about checking out the Tension 2013 tour, get off that fence and go get your ticket, because you won't be disappointed.
When I was younger, my admittedly puerile attitude towards live shows was that I paid to see band X, not the various shitty unknowns that band X decided to drag along with them on tour. As such, we always used to see the opening bands' sets as travel time to get to the show (if it was out of town) or drinking time before the show (if it was local). Now that I'm older, wiser, and taking music a little more seriously (I'm writing this blog, aren't I?) I've thankfully adopted a different attitude, namely that catching the opening acts is both a good way of supporting all the bands on a tour and a good way to discover new music that I might really end up digging.
Unfortunately, our Friday schedule's just wouldn't let us get to Toronto early enough to catch Trent's chosen openers, Explosions in the Sky. Actually that's not quite true: we did get to the ACC in time to catch literally the last few minutes of their set, and while that's not exactly ideal when it comes to forming an accurate picture of a band's sound, I did hear enough to get a few basic impressions. So in a nutshell, Explosions in the Sky sound like a tasty guitar-based post-rock band that's equal parts atmosphere and dense melodies. Definitely a band to check out if you dig that sort of thing (which I do).
And then there was Nine Inch Nails. Trent and Company put together a nearly two hour set that balanced the band's deep catalogue with the need to play a healthy amount of material from the new album Hesitation Marks. About the only cut I would have liked to hear and didn't was "Closer", but I can hardly complain about a set list that included "The Wretched", "Head like a Hole", "Terrible Lie", "March of the Pigs", "Wish", and "Hurt", among many others. (Since we live in an age of wonders, the complete set list is already online right here at setlist.fm)
Not only was the set list put together well, the lights show was also top notch, which is both something that's missing from many modern metal/rock shows as well as something I don't usually give two shits about. The way I see it, I paid to see a band perform, not to watch some Laser Floyd, fireworks display. Having said that, however, the light show on Friday night meshed really well with the music virtually every step of the way, and was second only to the time I saw Tool back in 2009 in terms of suitability and sheer coolness. Kudos to whoever came up with the eye candy.
Overall it was a great night -- including the three hours or so of driving each way -- but I was unfortunately reminded of a couple of my pet peeves about more mainstream, less underground shows. One's just a minor, personal thing: every big rock show has its share of drunker dancers (usually women, usually thirty-somethings or older) shuffling rhythmlessly from one foot to the other in some kind of sad zombie shamble. We both know the kind of concertgoer I'm talking about, and I always feel vicarious embarrassment for them.
My other complaint is a little more legit (in my opinion, anyways) and concerns something I've experienced a number of times over the years when enjoying a show from somewhere other than the floor or pit. I get that people want to get into this performance by their favourite band or whatever, but when I pay for a SEAT to a concert, I damn well expect to sit in it. Call me an old curmudgeon if you will, but it irks me to no end when people who are in seated sections stand up for some or all of a show.
Not only do you fuck over the person sitting directly behind you, but you fuck over everyone in the whole section because your decision to stand and block the view of the person behind you means they have to stand to see, which blocks the view of the person behind them and starts this big chain reaction that only ends when everybody's standing in front of the seats they paid, in this case, like ninety bucks a pop for. If you want to stand the whole time, fine, get a floor ticket. If you've got tickets for seats, then SIT THE FUCK DOWN. Rant over.
Just in case the last paragraph or two sounded a little bitter, let me reiterate: the Nails put on a great show, and considering Trent has gone on hiatus or the like at least once in the last few years I feel lucky to have seen them in good form and before Trent decides to retire for good. If you're on the fence about checking out the Tension 2013 tour, get off that fence and go get your ticket, because you won't be disappointed.
Explosions in the Sky - The Only Moment We Were Alone
Extree, extree, read all about it: Monday's song delayed for several hours, just now being posted.
I had intended to post this song last night, along with my now completed pit report about Friday's Nine Inch Nails show. Then I fell asleep. But since I get up for work at this ungodly hour, you still get all of this Loud Noises goodness almost on schedule. You're welcome.
Your song for Monday is "The Only Moment We Were Alone" by Friday's opening band Explosions in the Sky. This track, from their 2003 album The Earth is Not a Cold Dead Place, is the one we caught the end of on Friday evening, and it made me want to check out some more of the band's slow burning flavour. How about you?
I had intended to post this song last night, along with my now completed pit report about Friday's Nine Inch Nails show. Then I fell asleep. But since I get up for work at this ungodly hour, you still get all of this Loud Noises goodness almost on schedule. You're welcome.
Your song for Monday is "The Only Moment We Were Alone" by Friday's opening band Explosions in the Sky. This track, from their 2003 album The Earth is Not a Cold Dead Place, is the one we caught the end of on Friday evening, and it made me want to check out some more of the band's slow burning flavour. How about you?
Saturday, 5 October 2013
Age of Electric - Untitled
I've got a pit report (of sorts) in the works to let you know just what I thought of the Nine Inch Nails show last night (which was pretty awesome, by the way) but since it's not done yet you'll just have to wait until tomorrow. For the time being I've got a quick little slice of Canadiana for you, inspired by our drive home from TO.
Among the plethora of tunes we jammed on the way home was "Remote Control" by Canadian alt-rockers Age of Electric, and while that's not the song for today, it did get me thinking about this now-defunct group. More specifically, it got me thinking about how this song by them is that much better.
The not-so-creatively named "Untitled" from 1995's The Age of Electric has been a favourite of mine since I was in high school, thanks in no small part to its cool outro guitar solo. When compared to your average neo-classical metal shredfest, it's not exactly going to melt faces off, but it is a really tasteful piece that solos off into the sunset with understated aplomb. All these years later I still count it among my favourite solos, and only partly because of the high nostalgia factor. To be blunt, it's fucking tame when compared with some metal leads, but every note does its job. Check it out.
Among the plethora of tunes we jammed on the way home was "Remote Control" by Canadian alt-rockers Age of Electric, and while that's not the song for today, it did get me thinking about this now-defunct group. More specifically, it got me thinking about how this song by them is that much better.
The not-so-creatively named "Untitled" from 1995's The Age of Electric has been a favourite of mine since I was in high school, thanks in no small part to its cool outro guitar solo. When compared to your average neo-classical metal shredfest, it's not exactly going to melt faces off, but it is a really tasteful piece that solos off into the sunset with understated aplomb. All these years later I still count it among my favourite solos, and only partly because of the high nostalgia factor. To be blunt, it's fucking tame when compared with some metal leads, but every note does its job. Check it out.
Friday, 4 October 2013
Nine Inch Nails - Just Like You Imagined
I know I've been posting a fair amount of Nine Inch Nails stuff lately, but there is a reason for that: we're going to catch Trent and Company live and in person this evening.
To that end, I've just a quickie post today, but you can bet your boots it's a Nails song. Which one? Well, since I've got high hopes for this show that I've been picturing in my head all week, I've got my fingers crossed that tonight will be "Just Like You Imagined".... See what I did there? Yeah, shut up, it's not all that clever. Just listen to the song and be jealous that I'm there and you're not.
To that end, I've just a quickie post today, but you can bet your boots it's a Nails song. Which one? Well, since I've got high hopes for this show that I've been picturing in my head all week, I've got my fingers crossed that tonight will be "Just Like You Imagined".... See what I did there? Yeah, shut up, it's not all that clever. Just listen to the song and be jealous that I'm there and you're not.
Sunday, 29 September 2013
Song of the Day - Nine Inch Nails - Satellite
Our Nine Inch Nails excursion draws ever closer (this coming Friday, in fact) so tonight it's another Nails song to get us all ready.
Friday, 20 September 2013
The Song of Thor's Day: Nine Inch Nails - Closer
So I forgot to hit "publish" on this bad boy last night before bed. Like you've never forgotten anything...
Friday, 16 August 2013
Song of the Day: Nine Inch Nails - Copy of A
Perhaps I've mentioned it before, but I'm going to see Nine Inch Nails in concert in October. I have to keep reminding myself from time to time, both because I keep forgetting and because it's an awesome turn of events.
Wednesday, 3 July 2013
Song of the Day: Nine Inch Nails - The Wretched
Well, it's official: we're going to see Nine Inch Nails live this fall.
Friday, 7 June 2013
Song of the Day: Nine Inch Nails - Came Back Haunted
OK, before I get to today's song, there's one thing I want to mention first. I've said before (more than once) that I'm not interested in being a music news blog per se, but just in case you haven't heard, Protest the Hero drummer Moe Carlson is leaving the band to go back to school. No permanent replacement has been announced yet, but the indiegogo-funded album the boys are working on will have none other than Lamb of God's Chris "I am a drumming robot" Adler behind the kit as their studio drummer. Colour me even more stoked for this album's apparent fall-ish release.
Sunday, 26 May 2013
Song of the Day: Nine Inch Nails - Head Like a Hole
I was doin' some driving today, and as I'm sure we can all agree, being on the road requires the right music. If you're anything like me, you can't really spend a few hours in the car with anything too mellow or sedate. That shit can be dangerous.
Friday, 1 February 2013
Song of the Day: Nine Inch Nails - The Perfect Drug
Recently I've read a couple of things about the place of electronic music within heavy music (in particular an excerpt from an interview with The Dillinger Escape Plan's Greg Puciato in which he talks about the overlap of electronic music and metal) and I thought a song of the day would be the... ahem, perfect opportunity to remind everyone how electronic music and heavy music should overlap.
Wednesday, 30 May 2012
The List - Video Round-Up
This time out is going to be the first installment of a sub-species of The List dealing with music videos. Now, you might call another list post a cop-out, but I call it Video Round-Up.*
Yee-haw.
Yee-haw.
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