Feb 172023

Yet another big week for new metal. I have many things I want to recommend, but not enough time today to throw them all your way. So I’ll make a start now, with a sandwich made of some big names at top and bottom and stunning Theophonos in the middle, and continue on Saturday.


It’s kind of amazing that Cattle Decap have now been around long enough to release a tenth studio album, which is what will happen on May 12th when Metal Blade ushers Terrasite into a waiting world.

We have a linguistic preview of what’s coming, thanks to this statement by guitarist Josh Elmore: Continue reading »

Sep 162013

Interview subject, with new friend Al Weiwei at The Ocean’s September concert in Beijing.


(Our man BadWolf had a long chat with The Ocean’s main man Robin Staps just prior to the release of Pelagial this year, and we have it for you here.)

Robin Staps comes across nothing like his music. Soft-spoken, and eloquent as he is lithe, Staps appears as some sort of scholarly outdoorsman. Which is true.

However, he’s also the composer/lyricist/lead guitarist and all-around mastermind behind cerebral genre interlocutors The Ocean, and in that capacity he is anything but soft. His early records, the instrumental Fluxion through the sprawling Precambrian, compose some of the strongest post-whatever music put to disc, mixing sludge, hardcore, and progressive metal with orchestral music and jazz. His subject matter—the food chain, the literature of Dostoevsky and the gradual cooling of the prehistoric earth’s crust—is arch as all get out. You could say he innovated the high-concept album. And what albums they are. The last two, conjoined twins, Heliocentric and Anthropocentric, form a literate, scientific, and absolutely burning indictment of Christianity.

“There is no alternative to the theory of evolution.” Staps insists through frontman-as-avatar  Loïc Rosetti.

Those albums may present a larger existential threat to organized religion than the entirety of black metal put together. Witchcraft destroys minds, but The Ocean changes them.

Earlier this year, Staps released his followup to the -centric albums, Pelagial, and it’s another doozy—a one-hour trip from the surface of the ocean to its floor. It begins delicate and ends crushing, and along the way dabbles in new territory. Hell, parts of “Mesopelagic: Into the Uncanny” sound almost like a down-tuned Queen, but still work in the album’s greater context.

From his music’s time signature to its instrumentation, conceptualization, packaging, and presentation, Staps pushes every aspect of his art to the extreme. He Skyped me just prior to the release of Pelagial to talk about what drives him, the way Pelagial was made, and the source of his inspiration—the ocean. Yeah, the interview took a while to get up. Sorry, Robin. Continue reading »