Sep 282020


Genre gene-splicing in heavy metal, as in all forms of music, offers the potential for glorious highs and abysmal lows. When it works, the results can be electrifying, particularly when the differing strands woven together by the music would hit a whole bunch of a listener’s sweet spots individually. Pulling them all together in a way that doesn’t feel jarring but instead seems intuitive and natural compounds the pleasure in ways that just focusing on one style would not (and honestly, sometimes that pleasure derives from a feeling of pleasant surprise that the feat has been pulled off so well).

On the other hand, we are all familiar with the pitfalls of genre-splicing that has gone awry, when bands have strained to do something — anything — different, as a way of standing out from the ever-expanding pack, and the result is a Frankenstein’s monster of stitched-together parts, a forcing together of ingredients that sounds, well, forced-together.

With those observations as a prelude, it will come as no surprise that the subject of today’s premiere — Boston-based Lord Almighty — are a band who pull from different genre wellsprings, and achieve a union among them that in my humble opinion is hugely successful. Continue reading »

Aug 302020


I’ll dispense with an introduction to this closing Part of today’s column. The intro to Part 1 was long enough.


Adam O’Day‘s cover art for Lord Almighty‘s forthcoming second album seized my attention before the music did, but man, the first advance track from that album turned out to be even more attention-seizing.

I didn’t know what to expect, in part because I hadn’t paid attention to this Boston group’s 2015 debut album, Paths, and in part because I hadn’t yet read anything about their new full-length, Wither. Later, I read that their base inclination is rooted in black metal, past and present, but that they bring into their music “a love for NWOBHM, sludge, hardcore, blues rock, and more” — all of which is borne out by “Cry of the Earth“. Continue reading »