arch enemy – Alternative Press Magazine

20 women vocalists in metal who are a driving force for the genre

Ali Cooper — Fri, 19 Mar 2021 22:55:36 +0000

Metal is no longer a man’s world. All across the genre’s many subcategories, from folk to black metal, powerful female figures are putting their stamp on a genre that’s finally coming to terms with the inclusivity of the present day. Where symphonic icons Nightwish and Within Temptation blazed the trail for female leaders to step toward center stage, new blood such as SKYND and Ad Infinitum have taken the torch and run with it.

From guttural screams to the heavenly tones that offset some of the dirtiest riffs, here’s our countdown of 20 women who are driving metal right this minute.

Lzzy Hale

If you haven’t heard of the colossal Halestorm and their show-stealing frontlady Lzzy Hale by now, how’s it been living under that rock? Out here in the real world, both rock and metal have been battling to claim Halestorm and Hale’s presence since the band’s first EP, (Don’t Mess With The) Time Man, in 1999. From the vitriolic masochism of “I Miss The Misery” to the heart-wrenching “Here’s To Us,” Hale’s vocal range reaches each extreme of moving emotion and devastating attitude. We couldn’t pay tribute to Hale without also recognizing her guitar talents. Check the sassy leading line from “Love Bites (So Do I)” as an example of this phenomenal lady’s ability to step beyond musical expression and into aural artistry.

SKYND

True crime has never been more compelling than at the hands of Australian electronic-metal sensation SKYND and their mystifying frontwoman of the same name. Tackling a new real-life mystery with each track, covering the disappearance and mysterious death of “Elisa Lam” and the doomed cult following of “Jim Jones,” SKYND’s haunting vocals tell each tale as if they were acting out in front of you. SKYND’s dedication to her theatrical persona (plus the ability to keep her real identity a secret), her iconic look and the creation of lore around her exposition of real-life crimes is a mystery the metal world may never solve, but perhaps it never should.

Taylor Momsen

Gossip Girl? We don’t know her—we know Taylor Momsen as the sultry tones commanding metal’s sassiest frontrunners the Pretty Reckless. With her gravelly vocals offset by her signature blacked-out eyes and suspenders, Momsen is an all-around powerhouse frontlady who bends all of your stereotypical expectations of a female vocalist. Take the hissing attitude of “Make Me Wanna Die,” the iconic summer anthem through “Messed Up World (F’d Up World),” the doomed “Going To Hell” and the gloriously filthy “My Medicine”—she’s not here for your entertainment, simply to make music in her own inimitable devil-may-care way.

Sharon den Adel

Where symphonic-metal outfits go through vocalists like water, Within Temptation’s Sharon den Adel has held on to her throne at the very beating heart of the genre since 1996. The band that introduced you to the dark side in high school has come a long way from “Angels” and “Our Farewell” to their most recent sensation “The Purge,” but the enduring talents of the angelic den Adel at the helm remain as moving as ever. Whether your heart breaks or races along with the captivating stories told through her cherubic vocals, den Adel’s talents have kept this legendary band alive and relevant for 25 years. We’re hanging on the edge of our seats for a new album.

Amy Lee

Most millennials were introduced to the world of metal through Evanescence’s invasion of radio airtime in the early 2000s, making vocalist Amy Lee an initial encounter in female presence in a heavily male realm. With an unforgettably haunting vocal range that can reach into your chest and pull out your heart with a single note, Lee’s trademark sound has lived in our minds since 2003’s Fallen and has no intention of letting go. From the iconic “Bring Me To Life” to her solo career’s “Speak To Me” and most notably the captivating “My Immortal,” Lee’s inimitable voice of an angel showed metal how to truly capture the mainstream.

Melissa Bonny

You’ve never seen symphonic metal quite like Switzerland’s Ad Infinitum and, consequently, you’ve never seen a frontwoman quite like Melissa Bonny. With her compelling vocals at the helm, each track tells a story steeped in historic struggles and triumphs as the band members each adopt a story of survival during the time of the Black Death in Europe. Every member appears in a plague doctor’s mask except Bonny, commanding the narrative as her show-stopping range transitions from heavenly cleans to venomous screams with ease. Ad Infinitum and Bonny’s towering talents begin an epic quest through the ranks of metal, and nothing will stand in their way.

Simone Simons

Symphonic-metal outfits face a constant challenge to stay relevant and move forward with the scene around them, more so than any other subgenre. However, the dreamy contributions of Simone Simons have kept Epica at the forefront of their genre since 2002. The band that once created “Storm The Sorrow” have matured to the lofty heights of “The Skeleton Key” with Simons’ operatic tones at the helm, bringing her angelic range to the band’s cinematic instrumentals and occasional death-metal infusions.

Maria Brink

Since their inception in 2005, In This Moment have redefined performance art and metal all at the same time, thanks to the command of iconic vocalist Maria Brink. Challenging religious imagery alongside feminine stereotypes, Brink’s presence both on and offstage has decimated the white male dominance of the metal genre. It takes a certain conviction and attitude to pull off the likes of “Whore” and “Blood” without trivializing their core moral messages, but Brink has rewritten the book on expectations of women in the heavy music industry. Long may she reign.

Larissa Stupar

Vicious, teeth-baring uncleans are the domain of Venom Prison’s Larissa Stupar, death metal’s brightest rising star. Whoever said women had to be the saccharine, angelic feminine contribution to metal clearly never met Stupar, who belts savage growls as if delivered from the gates of hell itself. The likes of “Uterine Industrialisation” and “Slayer Of Holofernes” prove devastating both live and in the studio when this unrelenting powerhouse gets her chops around them.

Alissa White-Gluz

Arch Enemy’s screamer-in-chief makes belting superhuman notes look easy. Alissa White-Gluz’s cord-shredding talents are the result of a career that started when she formed the Agonist at the age of 19. Joining Arch Enemy in 2014 gave White-Gluz a platform to showcase her range and also gave us her contagious live presence on a bigger stage. Providing her distinctive tones to regular collaborations with Kamelot and Delain, the voice behind Arch Enemy’s “War Eternal” and “You Will Know My Name” is no stranger to framing racing riffs with her guttural chops and showing off her heavenly cleans when the instrumentals allow.

Cristina Scabbia

The dual vocal onslaught we know and love from Lacuna Coil compels and fascinates, thanks to the storming presence of Cristina Scabbia. Dominating the metal scene since the ’90s, the enduring Italian crew pour richly gothic melodies over devastating riffs. Scabbia’s heavenly clean vocal is the cherry on top. From unforgettable classics such as “Our Truth” to their latest show-stopping “Save Me,” her dream-like range has been an invaluable gift to metal for over two decades and hopefully many, many more.

Tarja Turunen

The thought of losing founding Nightwish vocalist Tarja Turunen to the abyss of former symphonic singers when she left the outfit in 2005 was too much to bear. Luckily for us, Turunen kick-started her solo career the following year, and she’s been a mainstay of the metal scene ever since. The heavenly operatics that once heralded classics such as “Wish I Had An Angel” and “Nemo” now belts “Innocence” and “Tears In Rain” with the most celestial, earthbound vocals the genre has seen to date.

Suzuka Nakamoto

Easily the youngest member of our ranking, Suzuka Nakamoto, known as Su-metal, is the founding member of Japanese sensations BABYMETAL. With all the maturity of an artist twice her age, this 23-year-old puts us all to shame with her consistent energetic vocals and seemingly endless energy supplies while performing impeccable dance routines onstage. Between the iconic “Gimme Chocolate!!” and BABYMETAL’s latest “Kingslayer” collaboration with Bring Me The Horizon, there’s no denying she has a long and prolific career ahead of her.

Amalie Bruun

Myrkur has become a relentless hot topic in metal since its inception in 2014, and we have only recently discovered the identity of the haunting vocals at its heart. Now we can credit multi-instrumental composer Amalie Bruun with the rise of this mysterious Danish project, led into the wilderness by her raw screams bursting through cherubic cleans just when you least expect it. Often singing in Norwegian as an authentic twist on her own style of black metal, the theatrical “Ulvinde” and “Juniper”’s lingering atmospherics merely scratch the surface of Bruun’s compelling storytelling talents.

Elize Ryd

Amaranthe’s triple-threat vocals fetch their lighter tones from Elize Ryd, the Swedish outfit’s not-so-secret weapon who brings cherubic notes to their modern take on organized metallic chaos. Also known for her additions to Kamelot, both live and in the studio, Ryd’s heavenly cords and quirky songwriting add a bucketload of atmosphere and depth to the likes of “Amaranthine” and “Maximize,” making Amaranthe’s unique versatility one that continually sets trends for years to come.

Cammie Gilbert

Houston doom-metal upstarts Oceans Of Slumber have found themselves on a near-vertical trajectory over the last few years, a movement fronted by the tireless energy and boundless talents of their powerhouse vocalist Cammie Gilbert. Upon joining the band in 2014, Gilbert’s towering range came to the surface as her vocals neatly expand the lulling melancholy of “Winter” and the desperate cries of “A Return To The Earth Below,” as if her vocals project both fragility and strength at the same moment.

Heidi Shepherd and Carla Harvey

We couldn’t separate the two ladies commanding Butcher Babies, so this slot goes out to both Heidi Shepherd and Carla Harvey as the double-trouble onslaught who have brought us “Monsters Ball” and “Magnolia Blvd.” If you’re looking for a nonstop, indulgent party with the possibility of a snapped neck or two, look no further than L.A.’s dirtiest metal export that have become a staple on everybody’s festival bucket list. This versatile pair have made thrash their own ever since their 2013 debut, Goliath, showed the metal scene what it had been so desperately lacking—two relentless ladies who know exactly how to have a good time.

Chelsea Wolfe

Surprisingly the only strictly solo appearance on this list, Chelsea Wolfe has made metal her very own since her arrival in 2010, draping a veil of folk-y atmosphere and gothic depth over seductive doom-metal undertones. Combining her boundary-smashing approach with a sadistically dark visual style, Chelsea Wolfe somewhat ironically injects life into doom by refusing to conform to the genre’s ’90s stereotypes. She wraps her smooth vocal swathes around the compelling melancholy of “Feral Love” and “16 Psyche,” as if redressing the world around her in her own image.

Tatiana Shmayluk

You’d be forgiven for thinking Ukrainian outfit Jinjer tell their lyrical tales through the voice of three separate individuals covering melodic cleans, ear-splitting screams and guttural snarls and somewhat effortlessly slipping between them. The single towering voice behind this band’s meteoric rise belongs to Tatiana Shmayluk, flexing her multi-talented chops on “Perennial” and “Sit Stay Roll Over” just to increase your vocal envy. We’re still not sure how she pulls off such smooth transitions between the polar opposite personas onstage, but we can’t seem to look away.

Floor Jansen

Taking on the mammoth task of fronting the pioneering outfit Nightwish in 2013, Floor Jansen donned her new role as if she was born for it. Jansen’s inimitable honeyed tones ushered in a new age for the symphonic-metal icons, weaving her slick melodic range through the band’s trademark cinematic instrumentals. The theatrical atmospheres tracked on “Élan” and “Noise” give Jansen the room to flex her operatic range while she narrates the vibrant, tall tales we know and love from Nightwish.

Top 50 metal songs from the past 20 years

Alternative Press Magazine — Thu, 23 Jan 2020 17:55:24 +0000

Metal has come a long way across the past two decades. From breaking away from the ’90s nü-metal boom into the new wave of American heavy metal and the shift to metalcore, deathcore and hardcore taking over once that scene started to fizzle out, there have been a ton of developments from bands both old and new.

Head below for the top metal songs of the past 20 years that helped define the genre we hear today.

2000

Disturbed – “Down With The Sickness”

As nü metal reached its peak, Disturbed made their debut and brought one of the most well-known songs of the era to the forefront. Everyone can instantly recall the “ooh-wah-ah-ah-ah” line vocalist David Draiman lays down as soon as the opening drum pounds kick in, and for good reason as it helped define a snippet in time when rap metal was the biggest thing around.

Marilyn Manson – “The Fight Song”

Marilyn Manson became an icon in the ’90s, and he carried his success over in the early 2000s with some of the best albums of his career. Holy Wood continued the dark, abrasive sound of Antichrist Superstar and Mechanical Animals while introducing huge hits for Manson, and nothing captures that album quite as well as “The Fight Song.”

2001

Converge – “Concubine”

Converge defined modern hardcore with their 2001 album Jane Doe. No song is as recognizable from the album as “Concubine.” It may be short and sweet, but its ultra-aggressive, no-frills approach set the bar for countless bands.

Rammstein – “Sonne”

Industrial-metal kings Rammstein have long reigned over the scene, and “Sonne” is a perfect show of how the band capture ominous vibes unlike anyone else. The track’s haunting vocal melodies are unsettling underneath tight, punchy instrumentals. This pushed them to new heights as they became one of the most talked-about acts within and outside of metal.

Slayer – “Disciple”

Slayer’s heyday may have been over for the most part by the time the 2000s hit. But 2001’s God Hates Us All was a huge comeback for them. “Disciple” stands out as a career-best, marking one of the best thrash metal songs of the last 20 years.

System Of A Down – “Chop Suey!”

Metal doesn’t often have cross appeal into the mainstream, but System Of A Down are one of the few bands who achieved that. Particularly with Toxicity, they deliver a straight banger from beginning to end. With “Chop Suey!” employing ridiculous lyrics and incredibly catchy melodies and riffs, everyone latched on to it.

Tool – “Lateralus”

Tool are one of the biggest acts in metal, and their lead over the prog scene can’t be dismissed. They’ve created some of the most complex music throughout their career. Lateralus is arguably their most well-composed record, concisely representing every facet of their music. The title track is a definitive moment of not only their career but also prog as a whole. It will be upheld as a bar for musicians to meet forever.

2002

Killswitch Engage – “My Last Serenade”

Killswitch Engage are early 2000s metalcore leaders, and Alive Or Just Breathing was where they really hit their stride. Few songs in their catalog are as iconic as “My Last Serenade,” and the track’s mix of soaring melodies and heavy riffs made for a winning formula countless others have tried to imitate.

2003

Bleeding Through – “On Wings Of Lead”

Bleeding Through brought forth symphonic elements into the metalcore scene in a huge way, setting themselves apart from the pack. “On Wings Of Lead” and This Is Love, This Is Murderous as a whole is a definitive representation of where metalcore was at in the early 2000s, and the song pushed the heights of melody that could be mixed with brutal beatdowns.

2004

The Dillinger Escape Plan – “Sunshine The Werewolf”

It’s highly unlikely any band will ever touch the chaotic heights the Dillinger Escape Plan hit across their career. And Miss Machine marks the moment an entirely new sound in metal was conceived. By introducing more pop sensibilities with their off-kilter hardcore sound, the band defined mathcore, and “Sunshine The Werewolf” will forever be their anthem.

Lamb Of God – “Laid To Rest”

Few metal bands have achieved as much success as a new act in the 2000s as Lamb Of God, and “Laid To Rest” was the moment they really broke big. The song has a perfect mix of melodies, aggression, riffs and traditional thrash elements, ushering a new level of heaviness in metal’s future.

Mastodon – “Blood And Thunder”

Mastodon shook up the metal world with their sophomore album, Leviathan, as a fairly new band with an album that bested well-established acts in 2004. “Blood And Thunder” was catchy, heavy and complex, offering fans a refreshing new take on sludge and prog, which the band continued to capitalize and refine with each subsequent release.

Slipknot – “Duality”

By the time Slipknot dropped Vol. 3: (The Subliminal Verses), they had already become one of the most talked-about bands through two groundbreaking records and an unmatched live show. “Duality” was primed for success and showed a considerable style shift for the Iowa nine, offering more hooks and melodies while keeping all of the heavy grooves fans had come to expect.

2005

Arch Enemy – “Nemesis”

With Carcass and At The Gates being inactive at the beginning of the 2000s, Arch Enemy were able to step up to the top of the melodic death-metal ranks after recruiting vocalist Angela Gossow. “Nemesis” marked a huge turning point in their career, landing at the forefront of the genre through remarkably technical riffs and a prominent and powerful voice from Gossow.

Avenged Sevenfold – “Bat Country”

Avenged Sevenfold could have turned out like any other 2000s Orange County metalcore act, but they made a drastic change to include more traditional heavy-metal and hard-rock elements on City Of Evil. “Bat Country” cemented their success with a huge chorus and the perfect melding of old-school metal vibes with new-age approaches.

Korn – “Coming Undone”

Korn managed to keep their momentum from the ’90s going strong, and the band masterfully put together one of their best albums with See You On the Other Side. The midtempo stomp on “Coming Undone” alongside Jonathan Davis’ eerie vocals were a match made in heaven for Korn fans, making it an instant classic.

Trivium – “Pull Harder On The Strings Of Your Martyr”

Trivium were a prominent part of heavy metal, particularly in the mid-2000s, and “Pull Harder On The Strings Of Your Martyr” is exemplary of how their success came together. They weren’t afraid to try their hand at melodic vocals and displayed a high proficiency to impress any naysayers with a thrash-oriented take on metalcore.

2006

Light This City – “The Unwelcome Savior”

Melodic death metal had a slew of incredible bands across the past 20 years after getting off the ground in the ’90s, and Light This City were one of the best new acts to emerge. “The Unwelcome Savior” sees the band flexing their chops through blast beats, shredding melodic riffs and vocalist Laura Nichol’s fierce growl.

2007

Between The Buried And Me – “White Walls”

Between The Buried And Me are one of the most recognizable bands who mixed prog metal with metalcore, and Colors is easily their most highly regarded release. The record’s complex and lengthy structure saw a major shift in them building intensely structured records as opposed to a collection of songs. “White Walls” takes listeners on a journey through the band’s skills, and it’s still regarded to this day as a staple of their discography.

The Black Dahlia Murder – “What A Horrible Night To Have A Curse”

Few bands are as hard working as the Black Dahlia Murder, and their attitude started to pay off when they saw massive success from Nocturnal. The record has some of the most important songs of their career on it, and nothing from their catalog stands out quite as much as the pummeling chugs on “What A Horrible Night To Have A Curse.”

Every Time I Die – “We’rewolf”

Every Time I Die popularized the whole Southern hardcore sound that took off in metal, and The Big Dirty is where you can really hear it shine. The sleazy rock riffs and cowbell kick off on “We’rewolf” were familiar sounding, bringing a classic-rock approach to metal without letting the song fall into corniness.

Municipal Waste – “Headbanger Face Rip”

Thrash metal seemed to be falling off people’s radar between the nü-metal boom and metalcore takeover, but Municipal Waste turned things around. The band led the massive thrash revival of the mid to late 2000s that saw bands old and new embracing the sound again, and “Headbanger Face Rip” is a perfect snapshot of the speed and aggression bands wanted to achieve all over again.

Suicide Silence – “No Pity For A Coward”

Deathcore cracked itself wide open to mainstream success after Suicide Silence dropped their debut record, The Cleansing. Meshing together hardcore and death-metal elements into a new sound, the band were one of the first and biggest to break, and nothing quite captures the scene at the time as well as the final breakdown, with late singer Mitch Lucker belting out the line “Pull the trigger, bitch.”

2008

Gojira – “TOXIC GARBAGE ISLAND”

When a band capture the attention of the entire metal scene, there’s clearly a winning formula to their sound, and Gojira pulled that off spectacularly. Whether fans are drawn to more mainstream sounds or underground acts, they have cross appeal for any heavy music fan. Despite “TOXIC GARBAGE ISLAND” not particularly introducing new sounds to the genre, the mix of blazing-fast mosh riffs and slow-burning grooves make for one of the best metal songs of all time.

Meshuggah – “Bleed”

Meshuggah went from great to incredible as they made their way into the 2000s, and no song captures their sound as well as “Bleed.” The song’s jarring rhythms were so captivating, they inspired the entire djent movement years after, and the tribal-esque drumming is unmatched within extreme metal.

Whitechapel – “Possession”

Whitechapel helped build deathcore, and no song captures their sound quite as well as “Possession.” The track’s grooves and dense breakdowns with their three-guitar assault are a snapshot of the late 2000s extreme metal scene, and new deathcore acts would try to push their sound for years to come.

2009

Agoraphobic Nosebleed – “Agorapocalypse Now”

No one will quite match the sheer speed and violent approach of Agoraphobic Nosebleed, even within the grindcore scene. The mechanical unhuman drum machine sounds coupled with chaotic guitar solos and abrasive riffs and vocals sets them apart from the pack. “Agorapocalypse Now” marks one of the few and first moments where the band sound more structured than they previously did, with the album offering short songs.

The Devil Wears Prada – “Danger: Wildman”

The shift from Myspace metalcore with goofy synths and nasally clean singing phased itself out right around the time the Devil Wears Prada dropped With Roots Above And Branches Below. The band’s decision to go in a more mature style was followed by countless others, and the heavy riffs on “Danger: Wildman” marked a shift for the band that eventually led to them defining their sound and becoming one of the biggest metalcore bands.

2010

Deftones – “Rocket Skates”

The future of Deftones seemed questionable after late bassist Chi Cheng’s car accident, but nevertheless, the band came out with Diamond Eyes and entered a new era of success. “Rocket Skates” is a perfect showing of how they evolved their sound to become heavier than ever while still being distinctly themselves, with a dense drop-tuned groove, melodic cleans and loose drumwork.

Ghost – “Ritual”

It’s undeniable that Ghost have become one of the biggest bands in metal. Their old-school sensibilities and aesthetic struck a chord with audiences in a way that’s growing without an end in sight. “Ritual” displays their skills in creating a catchy track without a ton of frills while dipping into ’70s metal sounds coated in a thick layer of doom and gloom.

High On Fire – “Snakes For The Divine”

Seeing Matt Pike shift from stoner-worship doom metal in Sleep to sludgy thrash metal in High On Fire proved there was a lot more to the musician than droned-out riffing. Over the course of nearly a decade, the band developed and refined their sound until it all came out perfectly on Snakes For The Divine. The title track succinctly packs together elements of so many different subgenres without falling prey to experimental fumbles.

Periphery – “Icarus Lives”

Periphery introduced the term djent to the world with their Meshuggah-worshipping metalcore sound, and “Icarus Lives” is where they really captured people’s attention. The track’s heavy grooves and tight technicality shaped much of what progressive metal has become since its release, making it one of the most important songs of the past decade.

2011

Trap Them – “Evictionaries”

The influence of Swedish death-metal act Entombed became extremely far reaching and expanded into both the hardcore and grindcore scenes as the 2010s came along, but before then Trap Them were bringing this feedback-heavy energy hard. Their cross between grindcore and hardcore comes through succinctly on the midtempo crush of “Evictionaries” with a harsh vibe built for the underground.

2012

Cattle Decapitation – “A Living, Breathing Piece Of Defecating Meat”

By the 2010s, both death metal and grindcore didn’t seem like it had anymore room for innovation, and Cattle Decapitation shocked the scene by proving that notion wrong. Vocalist Travis Ryan delivers a one-of-a-kind vocal that falls somewhere between clean singing and a harsh shriek for the first time on “A Living, Breathing Piece Of Defecating Meat” that has now become a staple of their sound, setting them apart from every other band.

Napalm Death – “The Wolf I Feed”

Since the turn of the century, Napalm Death have had a near-perfect streak of death-grind albums, but no song stands out quite as much as “The Wolf I Feed.” Abrasive as always, the band bring their usual punk ethos together in a totally different way than the rest of their discography on this song, adding some insanely harsh shrieks in the verses and surprising clean vocals coupled with their typical sound.

2013

Black Sabbath – “God Is Dead?”

The godfathers of metal finally returned to the original lineup with Ozzy Osbourne after decades apart for 13, and the album was everything you could want from them. The riffs felt fresh but simultaneously like throwbacks to their classic songs, and “God Is Dead?” stands above the rest as not only the greatest Black Sabbath track on that album but also the best since their ’80s Dio days.

Carcass – “The Granulating Dark Satanic Mills”

Comeback records can be hit or miss, but Carcass had one of the best comebacks in metal of all time. Surgical Steel felt like the record fans had been waiting for after some strange style changes on Swansong and almost two decades between releases. “The Granulating Dark Satanic Mills” is classic Carcass with some melodic death-metal elements mixed with grind, but the band really shine with modern production and a rejuvenated energy following their return.

Deafheaven – “Dream House”

Metal and shoegaze seemed like a strange pairing before Deafheaven, but the band managed to package black metal and indie rock in such a way that it became normalized. “Dream House” is a career-defining moment for the band and will continue to be an introduction to metal for outsiders for years to come.

2014

Code Orange – “My World”

With I Am King, Code Orange dropped “Kids” from their name and shifted their sound into jarring, industrial-tinged beatdown hardcore. No longer were the band tearing through speedy powerviolence but rather crafting breakdowns built for fights, and “My World” has become an anthem for the self-professed Thinners Of The Herd.

Youth Code – “For I Am Cursed”

Bringing together punk and metal sensibilities through hard and heavy electronics, Youth Code have become the next big thing to watch in electronic-based metal. Their sound calls back to Nine Inch Nails and Skinny Puppy, but their vocals are far more extreme, and “For I Am Cursed” is the kick in the ass the metal world needed again from the electronic world.

2015

Cult Leader – “Sympathetic”

Cult Leader are a newer band, but they managed to put out one of the most talked-about records in the crust and hardcore scenes with Lightless Walk. The entire record was a visceral show of how extreme a band can go with their sound, and “Sympathetic” comes out like a wrecking ball, relentlessly destroying everything in its wake.

iwrestledabearonce – “Green Eyes”

Blurring genre lines became increasingly prevalent as the 2000s wore on, and no one went quite as far into doing so than iwrestledabearonce. The band had some of the furthest-reaching sounds across their early releases before bringing it all back to tightly formed mathcore on their last record with “Green Eyes,” showing their strength in capturing a highly technical deathcore approach.

2016

BABYMETAL – “KARATE”

The ever-confusing subgenre known as kawaii metal was birthed by BABYMETAL. Though it’s strange to many, it’s undeniable that it’s both popular and paying respects to metal. “KARATE” is heavy and brutal, mixed alongside the cutesy vocals of the band’s two (formerly three) teenage vocalists who unexpectedly brought Japanese idol culture to the forefront of metal.

Jinjer – “Captain Clock”

Despite their slow-burning rise to recognition, Jinjer have become a prominent part of metal in the past few years. Their sound is far reaching in tapping into groove metal, prog, death metal, djent and more. “Captain Clock” shows their ability to meld influences into one cohesive sound while navigating a spectrum of tones and moods.

Metallica – “Hardwired”

Metallica went through a lot of growing pains after releasing their self-titled album. From the Load and Reload era to the awful mess that was St. Anger, they dipped into an all-time low, but Hardwired…To Self Destruct saw them embracing their thrash-metal past again and offering fans what they’ve really wanted for decades.

2017

Full Of Hell – “Crawling Back To God”

The introduction of noise elements into grindcore was pushed into popularity through the rising success of Full Of Hell, but the band also managed to put out one of the greatest straight-forward grindcore albums of the past 20 years with Trumpeting Ecstasy. “Crawling Back To God” stands out as a masterpiece within their strong catalog. Mixing elements of multiple extreme-metal subgenres without shoehorning anything, it delivers a tightly packed punch of harsh sounds.

Power Trip – “Executioner’s Tax (Swing Of The Axe)”

Straddling the line between hardcore and thrash metal, Power Trip captured the best of both scenes and quickly rose to prominence. Every aspect of their band was brought to new heights on Nightmare Logic, and the swinging grooves found on “Executioner’s Tax (Swing Of The Axe)” coupled with the band’s signature raspy vocals caught the attention of self-respecting metalheads who can appreciate the genre’s classic elements.

Suffocation – “Clarity Through Deprivation”

Suffocation’s …Of The Dark Light marked their final album with legendary vocalist Frank Mullen, and they couldn’t have had a better sendoff for their legacy. “Clarity Through Deprivation” has all of the complexity of their early material with just as much passion as they had when they were a young scrappy band. The vibe pushed them back into the limelight before their major vocal shakeup.

2018

Rolo Tomassi – “Rituals”

After getting their start as teenagers, Rolo Tomassi developed and matured their sound from goofy mathcore to serious genre-blending masterpieces. Their experimental nature ended up bringing their most diverse piece yet. With “Rituals” seeing a mix of everything from jazz to black metal and hardcore, it culminates in one concise sound.

2019

Venom Prison – “Uterine Industrialisation”

Death metal as a whole has been stepping back from the violent fantasy lyrics of its early days, and Venom Prison are showing there are plenty of real-life horrors to write about in this day and age. The band have been making waves with their explosive take on grind and traditional death-metal elements. “Uterine Industrialisation” specifically shows off their capabilities in leading the future of the genre.

BABYMETAL free us from guilty pleasures on ‘METAL GALAXY’—review

Fri, 11 Oct 2019 15:55:43 +0000

So, you’re an unapologetic pop (K-, J-, dark-, other) fan. Maybe your fingertips are horribly punctured from all the sewing of patches on your heavy-metal battle jackets over the years. Perhaps you’re fascinated by the things people come up with to get other folks to part with their hard-earned cash. Choose the hill you wish to die on, plant your flag on it and make sure BABYMETAL are in your earbuds.

The third full-length of candy-coated riffage from the Japanese pop-thrash brand (that’s not a typo, friends) is downright alluring. Yes, the idea of a trio of tweener Asian girls singing sweet pop harmonies while a faceless Slipknot tribute band thrash away behind them is right up there with fidget spinners, Members Only jackets, Chia Pets and Creed compact discs. The success of those things mentioned is all about the marketing.

Carnifex team up with Arch Enemy vocalist for melodic new track

Joe Smith-Engelhardt — Sat, 08 Jun 2019 02:51:53 +0000

Deathcore veterans Carnifex are preparing to release their upcoming album, World War X, but before then they’re releasing a killer new track with a special guest.

Their new song “No Light Shall Save Us” arrives with a feature from Arch Enemy vocalist Alissa White-Gluz and an accompanying video.

See More: 10 concert posters from your favorite bands before they blew up

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The Dangerous Summer drop new song and other news you might have missed today

Collin Goeman — Tue, 16 Apr 2019 01:46:06 +0000

Amon Amarth announced U.S. tour dates—plus, don’t miss the Aquabats celebrating their 25-year anniversary. Check out the news you might have missed today below!

1. The Dangerous Summer announce album release date, drop new single

The Dangerous Summer announced the release date for their upcoming full-length, Mother Nature, with another new single and music video. “Way Down” is the second single off the new record following “Where Were You When The Sky Opened Up.” Mother Nature drops June 14 via Hopeless Records, with preorders available here. The band hit the road ahead of their album release, kicking off in May with Have Mercy and Modern Chemistry. You can check dates below and grab your tickets here.

Dates:

05/24 – Columbus, OH @ Woodlands Tavern
05/25 – Howell, MI @ Bled Fest
05/26 – Chicago, IL @ Cobra Lounge
05/28 – Indianapolis, IN @ Hoosier Dome
05/29 – St. Louis, MO @ Firebird
05/31 – Kansas City, MO @ Davey’s Uptown Ramblers Club
06/01 – Denver, CO @ Marquis Theater
06/04 – San Francisco, CA @ Bottom of the Hill
06/05 – Los Angeles, CA @ Hi Hat
06/07 – Anaheim, CA @ Chain Reaction
06/08 – Phoenix, AZ @ Valley Bar
06/10 – Austin, TX @ Mohawk
06/11 – Dallas, TX @ The Prophet Bar
06/13 – Orlando, FL @ Sound Bar
06/14 – Raleigh, NC @ Imurj – The Artists’ Cafe
06/15 – Richmond, VA @ The Canal Club
06/16 – Asbury Park, NJ @ House of Independents
06/18 – Hartford, CA @ Webster Theater
06/19 – Somerville, MA @ ONC Ballroom
06/22 – Baltimore, MD @ MD
07/12 – Cheltenham, UK @ 2000 Trees
07/21 – New York, NY @ Mercury Lounge

2. The Aquabats celebrate 25-year anniversary with new music

The Aquabats are thriving following the airing of their Emmy-winning children’s show, celebrating 25 years of music with The Aquabats! Super Show! Soundtrack Vol. 1 and upcoming tour. Vol. 1 is set to release June 7, with two singles expected April 26. The band head out on tour with Reel Big Fish this summer, with dates to come. Tour updates are available here.

3. Amon Amarth announce U.S. tour dates

Berserkers! We’re raiding North America this fall with @archenemymetal, @AtthegatesGBG & @GrandMagus. Come fight and feast with us. Pre-sale & VIP Bundles are available starting tomorrow. Tickets on-sale Friday, April 19 here: https://t.co/tuicoAYOb3 pic.twitter.com/xLeu2zSeAt

— Amon Amarth (@AmonAmarthBand) April 15, 2019

Amon Amarth expanded their “raid” worldwide with the addition of North American dates on the Berserker world tour. The tour’s namesake album, Berserker, releases May 3 via Metal Blade Records, with preorders available here. Dates kick off Sept. 26 in Seattle with support from Arch Enemy, At The Gates and Grand Magus. Tickets go on sale April 19 at 10 a.m. local time here.

Dates:

09/26 – Seattle, WA @ Showbox SODO
09/27 – Portland, OR @ Roseland Theater
09/28 – Vancouver, BC @ PNE Forum
09/30 – Edmonton, AB @ Edmonton Convention Centre
10/01 – Calgary, AB @ Grey Eagle
10/03 – Salt Lake City, UT @ The Complex
10/04 – Denver, CO @ Fillmore Auditorium
10/06 – Minneapolis, MN @ Skyway Theater
10/07 – Chicago, IL @ The Riviera Theater
10/09 – Toronto, ON @ Rebel
10/10 – Montreal, QC @ M Telus
10/12 – New York, NY @ Hammerstein Ballroom
10/13 – Silver Spring, MD @ The Fillmore
10/15 – Charlotte, NC @ The Fillmore
10/16 – Atlanta, GA @ Tabernacle
10/18 – New Orleans, LA @ The Fillmore
10/19 – Houston, TX @ House Of Blues
10/20 – San Antonio, TX @ The Aztec Theatre
10/22 – Phoenix, AZ @ The Van Buren
10/23 – Las Vegas, NV @ House Of Blues
10/25 – San Francisco, CA @ The Warfield
10/26 – Los Angeles, CA @ The Palladium

See more: The 11 most punk films of all time

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There’s a genuine bromance between While She Sleeps and Trivium

Thu, 31 Aug 2017 19:10:00 +0000

[Trivium photo by: Jon Paul Douglass]

When Trivium and Arch Enemy announced an extensive North American co-headlining tour earlier this month, it wasn’t just fans of both bands who were stoked. Turns out, there’s a bromance among all the bands on this tour.

Support for the tour, which kicks off Oct. 27 in Orlando, Florida, comes from British metalcore outfit While She Sleeps and New Jersey deathcore act Fit For An Autopsy.

We chatted with While She Sleeps rhythm guitarist Mat Welsh at the U.K.’s Reading Festival last weekend – where the band were preparing to go toe-to-toe with Eminem as headliners on different stages, a prospect that didn’t intimidate the Yorkshiremen one iota. We talked about the upcoming tour and warming up audiences for a band who not only inspired them to form While She Sleeps, but who also are genuine fans of theirs.

WE PLAY AT 10:30 AT THE PIT STAGE! DONT MISS IT!

A post shared by WHILE SHE SLEEPS (@whileshesleeps) on Aug 26, 2017 at 6:24am PDT

Reading festival, that was a special moment for us. Leeds – it's time �� Photo @edmasonphoto

A post shared by WHILE SHE SLEEPS (@whileshesleeps) on Aug 27, 2017 at 3:12am PDT

“We just met Trivium the other day at this festival in Germany,” Welsh says. “They’ve been at a few festivals we have this summer. I met Matt [Heafy, vocals], Corey [Beaulieu, guitar], and they have an MMA fighter who’s like their personal trainer out with them. What’s blown our minds is that Matt’s a crazy fan! He’s been a massive fan of Sleeps for years.”

Get this album now! @whileshesleeps has just delivered their latest album and it is breath-taking. Support these great dudes. pic.twitter.com/NiC10JHEY8

— Matthew Kiichi Heafy (@matthewkheafy) April 21, 2017

Dudes. This record is unreal.

— Matthew Kiichi Heafy (@matthewkheafy) April 21, 2017

Trivium’s pungent surge of metalcore influenced While She Sleeps to form in 2006, and they started off by jamming tracks such as “Like Light To The Flies” from Trivium’s sophomore offering, Ascendancy.

Welsh explains how the bromance began: “Trivium found out about us a couple of years ago and reached out from Matt’s account. The guy who produced our last three records is called Carl Bown. He’s a fucking legend; he’s part of our band, really. He’s worked with Trivium, too.

“When we released Brainwashed in 2015, Matt gave Carl a guitar,” Welsh continues, “and when we recorded with it in the studio, Carl sent Matt a load of photos of us using his guitar, and Matt was mega-stoked. He watched our show the other day, and as we were walking offstage, we said it was super cool to meet him, and we obviously know exactly who he is! He told us that he can’t wait to get on tour. It was so nice. That’s my favorite thing about meeting people: When they haven’t got any sense of ego about them whatsoever. They’re the best people in the industry. Trivium were just telling me about their new record, and I’m really looking forward to listening to it.”

Welsh also commends the other co-headliner, Swedish melodic death metallers Arch Enemy, whose frontwoman Angela Gossow departed the band in 2014 after joining them at the start of the century and has since been replaced by blue-haired Canadian vocalist Alissa White-Gluz—a move that could have potentially shattered the band into pieces.

“Arch Enemy is a throwback to being 12 or 13 years old, watching music channels and being like, ‘Holy shit—that’s heavy as fuck!’” Welsh says. “They’ve got two kick-drums, some girl screaming her head off, and it was heavier than anything I was into at the time. I know that they changed singers a few years ago, and my opinion is: If a band can do it without breaking the band, then do it. If someone wants to leave a band, then that shouldn’t ruin it for the rest who want to carry on.”

While She Sleeps have been on tour since April. They’ll be home now until the tour kicks off in late October; but after a couple of successful overseas runs supporting Welsh foursome Bullet For My Valentine, the band are chomping at the bit to warm up for another two metal goliaths.

“That’s my favorite slot,” Welsh says, “someone else’s crowd. Maybe they don’t know us. We just get to go out for half an hour and kick the fuck out of it and hopefully make a load of new fans. I almost prefer doing that than headlining, because there’s so much challenge involved, and there’s something about our band that you can be a metalhead or you can be a punk and you can both like our dynamic. It’s nice to have something to prove; trying to do that every night is super.”

Here are the tour dates:

10/27 – Orlando, FL @ House of Blues
10/28 – Atlanta, GA @ The Masquerade
10/29 – Charlotte, NC @ The Fillmore
10/31 – Baltimore, MD @ Soundstage
11/01 – Philadelphia, PA @ The Trocadero Theater
11/03 – New York, NY @ Playstation Theater
11/04 – Worcester, MA @ The Palladium
11/05 – Montreal, QC @ Metropolis
11/07 – Toronto, ON @ The Danforth Music Hall
11/08 – Detroit, MI @ Royal Oak Music Theatre
11/10 – Sioux City, IA @ Anthem At Hard Rock
11/11 – Kansas City, MO @ The Truman
11/12 – Chicago, IL @ Concord Music Hall
11/14 – Minneapolis, MN @ Skyway Theater
11/15 – Milwaukee, WI @ The Rave
11/17 – Denver, CO @ Summit Music Hall
11/18 – Salt Lake City, UT @ The Complex
11/20 – Calgary, AB @ The Palace Theatre
11/21 – Edmonton, AB @ Union Hall
11/23 – Vancouver, BC @ Vogue Theater
11/24 – Seattle, WA @ Showbox Sodo
11/25 – Portland, OR @ Roseland Theater
11/27 – Sacramento, CA @ Ace of Spades
11/28 – San Francisco, CA @ The Regency Ballroom
11/29 – Los Angeles, CA @ The Wiltern
12/01 – Phoenix, AZ @ Marquee Theater
12/02 – Albuquerque, NM @ Sunshine Theater
12/04 – Dallas, TX @ Gas Monkey Live
12/05 – San Antonio, TX @ Alamo City Music Hall
12/06 – Houston, TX @ Warehouse Live

Follow While She Sleeps on Facebook, Twitter and Instagram.

Trivium and Arch Enemy announce co-headlining tour and other news you might have missed today

Alt Press — Thu, 03 Aug 2017 02:00:00 +0000

Trivium and Arch Enemy reveal fall dates for a co-headlining tour, Diet Cig perform a Tiny Desk Concert, and Gone Is Gone drop a bizarre new music video! Check out some of the news you might have missed today below.

Trivium and Arch Enemy get the lead out

Trivium and Arch Enemy will tour the U.S. this fall with While She Sleeps and Fit For An Autopsy! Check out the complete list of cities and dates below.

“We've been joining forces with Arch Enemy for over a decade now,” say Trivium. “From Ozzfest 2005, through arenas across the U.K., Europe, and Australia on The Black Crusade. This next chapter is going to be one for the ages: Trivium, Arch Enemy, While She Sleeps, and Fit for an Autopsy!!

Trivium & Arch Enemy dates:
10/27 – Orlando, FL @ House of Blues *
10/28 – Atlanta, GA @ The Masquerade
10/29 – Charlotte, NC @ The Fillmore
10/31 – Baltimore, MD @ Soundstage
11/01 – Philadelphia, PA @ The Trocadero
11/03 – New York, NY @ Playstation Theater
11/04 – Worcester, MA @ The Palladium
11/05 – Montreal, QC @ Metropolis
11/07 – Toronto, ON @ Danforth Music Hall
11/08 – Detroit, MI @ Royal Oak Music Theatre
11/10 – Sioux City, IA @ Anthem at Hard Rock
11/11 – Kansas City, MO @ The Truman
11/12 – Chicago, IL @ Concord Music Hall
11/14 – Minneapolis, MN @ Skyway Theater
11/15 – Milwaukee, WI @ The Rave
11/17 – Denver, CO @ Summit Music Hall
11/18 – Salt Lake City, UT @ The Complex
11/20 – Calgary, AB @ The Palace Theatre
11/21 – Edmonton, AB @ Union Hall
11/23 – Vancouver, BC @ Vogue Theater
11/24 – Seattle, WA @ Showbox Sodo
11/25 – Portland, OR @ Roseland Theater
11/27 – Sacramento, CA @ Ace of Spades
11/28 – San Francisco, CA @ The Regency Ballroom
11/29 – Los Angeles, CA @ The Wiltern
12/01 – Phoenix, AZ @ Marquee Theater
12/02 – Albuquerque, NM @ Sunshine Theater
12/04 – Dallas, TX @ Gas Monkey Live
12/05 – San Antonio, TX @ Alamo City Music Hall **
12/06 – Houston, TX @ Warehouse Live **
[* without Fit For An Autopsy]
[** without While She Sleeps]

Diet Cig play on a tiny desk

Diet Cig stop by NPR's lauded Tiny Desk Concerts series to perform their tracks “Sixteen,” “Tummy Ache,” and “Harvard.” Check it out above!

Gone Is Gone get creepy

Gone Is Gone (featuring members of Mastodon, Queens Of The Stone Age, and At The Drive In) unveil their truly weird new video for “Echolocation.”

Motionless In White want you!

Los Angeles – Do you want to be a part of our new music video? Email your name + age to [email protected] pic.twitter.com/lAPHnFeAer

— Motionless In White (@MIWband) August 2, 2017

Motionless In White want you to be in their new music video! Check out the application details in the band's tweet.

METZ drain the lake

METZ share a new tune—”Drained Lake—from their upcoming Strange Peace LP. The album's out September 22 on Sub Pop.

Dead Heavens go gore

Dead Heavens (Quicksand, Cults, White Zombie) have a new, exploitation film-esque vid for their song “Away From The Speed.”

The Major Minor get major

Detroit pop-punkers The Major Minor have announced a September tour on the back of their recent EP, Different Light (Imminence Records). Check out the band's dates on the In Pop Punk We Trust Tour down below.

The Major Minor tour dates:
THE “IN POP PUNK WE TRUST” TOUR
09/01 – Chicago, IL @ The Cubby Bear
09/02 – Bloomington, IL @ House Show
09/03 – Columbus, OH @ Donato's Basement
09/07 – Louisville, KY @ Magnolia's Bar
09/08 – TBA @ TBA
09/09 – Madison, WI @ TBA
09/15 – Allentown, PA @ TBA
09/16 – Kittanning, PA @ Radio Active Events Center
09/17 – Brookyln, NY @ The Gateway
09/22 – Ann Arbor, MI @ The Club Above
09/29 – Louisville, KY @ Tim Fulkner Art Gallery
09/30 – Marietta, GA @ Swayze's

The Rocket Summer play Billboard

.@TheRocketSummer is here performing for #BillboardLive https://t.co/N2tE2Ftkxk

— billboard (@billboard) August 2, 2017

The Rocket Summer performed live over at Billboard for the Billboard Live series on Periscope! Re-stream the show right above.

Watch more: APMAs 2017 Interview: LYNN GUNN | PRS Lounge

Arch Enemy reveal cover art for new album ‘Will To Power’

Alt Press — Wed, 21 Jun 2017 21:00:00 +0000

[Photo credit: Tim Tronckoe]

Swedish death metal bastions Arch Enemy have unleashed the cover artwork and further details for their upcoming tenth album, Will To Power, due out September 8 from Century Media Records. Check it out below!

Will To Power's cover art is designed by painter Alex Reisfar, with Arch Enemy guitarist Michael Amott commenting, “It was a pleasure working with [Alex] on the Will To Power cover artwork, he immediately grasped the concept and atmosphere we were looking for with this album.”

“We talked about the double edged sword that is human ambition, how it can be outstandingly creative and beautiful but can also be turned into something dark and powerful,” Amott continues. “Alex proceeded to masterfully paint a strong image that evokes a lot of feelings.”

Will To Power will be Arch Enemy's first full-length release since 2014's War Eternal and is co-produced by Amott and drummer Daniel Erlandsson. The band will hit the road for their Will To Power Tour 2017 later this fall but not before a stacked schedule of festival appearances across Europe—check out their list of summer tour dates below.

More details on Arch Enemy's new album will reportedly be made available in the coming weeks. Fans can also take part in a special campaign that gets their name inscribed in the Will To Power Deluxe Box Set Edition here.

Arch Enemy tour dates:

07/06 – Ballenstedt, Germany @ Rock Harz Festival
07/08 – Viveiro, Spain @ Resurrection Fest
07/12 – Dunaújváros, Hungary @ Rockmarathon
07/15 – Gavle, Sweden @ Gefle Metal Festival
08/04 – Snina, Slovakia @ Rock Pod Kamenom Festival
08/05 – Ostrava, Czech Republic @ Ostrave v Plamenech
08/07 – Majano, Itlay @ Festival di Majano
08/08 – Dornbirn, Austria @ Conrad Sohm
08/10 – Villena, Spain @ Leyendas Del Rock
08/11 – Vagos Metal Fest, Vagos, Portugal
08/12 – Leeuwarden, Netherlands @ Into The Grave
08/13 – Walton-on-Trent, UK @ Bloodstock Open Air

Watch more: APTV Interviews: SUICIDE SILENCE & WHITECHAPEL discuss the past, present, and future of DEATHCORE

7 un-metal projects from well-known metal musicians

Tue, 28 Jun 2016 18:28:00 +0000

Despite the stereotype of a metalhead being this untamable wild beast of a human, a good portion of us like some seriously un-metal music. Hell, some of us even make some seriously un-metal music. So let’s dive into the electronica, retro-rock, and post-rock projects from current and past members of bands like the Dillinger Escape Plan, Soilwork, At The Gates, Scar Symmetry and Isis!

The Black Queen

Earlier this year, The Black Queen put out its 1980s-influenced electro-pop masterpiece Fever Daydream, and it’s one of the catchiest records of 2016! The Black Queen consists of metal vocalist Greg Puciato (the Dillinger Escape Plan, Killer Be Killed) and trippy electronica wizard Joshua Eustis (Telefon Tel Aviv, Nine Inch Nails).

Spiritual Beggars

If Deep Purple had formed in 1992 and had some slight power-metal leanings, I imagine they’d sound a lot like Spiritual Beggars. The group consists of guitarist Michael Amott (Arch Enemy, ex-Carcass), bassist Sharlee D'Angelo (Arch Enemy, Mercyful Fate), keyboardist Per Wilberg (ex-Opeth), drummer Ludwig Witt (Grand Magus, ex-Shining, and vocalist Apollo Papathanasio (ex-Firewind).

Nightingale

Nightingale is the goth-influenced rock project of metal multi-instrumentalist Dan Swanö (Witherscape, ex-Edge Of Sanity, ex-Bloodbath) that was initially started as a solo outing in 1994. Swanö was then joined by his brother Dag (ex-Pan.Thy.Monium) in 1996, who plays guitars and keyboards, with a second expansion in 2000 that consisted of Erik Oskarsson (ex-Godsend) on bass and Tom Björn (Memory Garden, ex-Memento Mori) on drums.

The Night Flight Orchestra

The Night Flight Orchestra is… disco rock? That's the closest explanation one can give for this hard-rocking, straight-out-of-1975 group. The band has been around since 2012 and consists of vocalist Björn “Speed” Strid (Soilwork, ex-Darkane), Sharlee D'Angelo (Arch Enemy, Mercyful Fate), guitarist David Andersson (Mean Streak, Soilwork), drummer Jonas Källsbäck (Mean Streak, ex-Axia) and keyboardist Richard Larsson.

Anders Björler

Anders Björler (At The Gates, ex-the Haunted) put out one absolutely mesmerizing solo jazz album titled Antikythera in 2013 and a demo for a follow-up in 2015, which he really needs to complete and get out into the world. Joining Björler (the only official member of the instrumental group) on Antikythera was drummer Morgan Ågren (Fredrik Thordendal's Special Defects), bassist Dick Lövgren (Meshuggah), additional guitarist Carl Svensson, pianist Peter Wiberg,and saxophonist Anders Gabrielson.

Christian Älvestam

Aside from a few guest musicians and additional help here and there, Christian Älvestam's 2012 solo EP was written and played entirely by the man himself. Despite the Enigma-tinged radio rock you just heard above (and won't stop singing all day), you might know Älvestam as the vocalist of such metal acts as Solution .45, Svavelvinter, Miseration or as the former vocalist of Scar Symmetry.

Palms

Palms is a hazy, slow-moving post-rock project that began in 2011 and steps right up to the lines of getting heavy without ever exploding into full-on fury. The band is fronted by Chino Moreno (Deftones) and has three-fifths of the legendary post-metal band Isis, including bassist Jeff Caxide, drummer Aaron Harris and guitarist Bryant Meyer.