Listen to Thou's awesome cover of Alice In Chains' "Them Bones" from 'Dirt Redux'
Thou are having a busy year, especially covers-wise. They contributed a Bad Religion cover to anti-racism benefit comp Shut it Down: Benefit for the Movement for Black Lives, they covered the Yeah Yeah Yeahs for Save Stereogum, they released an entire covers album, an entire Nirvana covers album, they’re on Sacred Bones’ Black Sabbath covers album, and they’re also on the upcoming Black Sabbath Vol. 4 and Alice In Chains Dirt tribute albums that Magnetic Eye Records is putting out on October 30. Their cover of “Them Bones” from the latter was just released, and it should be no surprise that Thou absolutely killed this one. They’ve covered plenty of grunge songs in the past (including AIC’s “No Excuses”), there’s plenty of grunge in their own sludge metal sound, and they know exactly how to stay faithful to this kind of music while also making it heavier and harsher than the original was.
“It seemed inevitable that we’d do another AIC song since their music was such a big part of [Thou guitarist] Matthew [Thudium’s] and my formative years,” vocalist Bryan Funck told Revolver. “We had covered ‘No Excuses’ some years ago, but it never quite got the reaction I thought it deserved, and our arrangement was a slowed-down and kind of left-field take on the song. With ‘Them Bones,’ we had a chance to tackle a song that more directly translated to our style. The song had been on my mind anyway — I had recently listened to a podcast that dissected all the tracks on Dirt and it really dawned on me that opening the album with ‘Them Bones’ was such a bold and cool move. No count off, no intro, just straight into the insanity.”
Bryan also adds, “I think [Alice In Chains is] what set [Matthew] on a path of listening to heavier stuff, as it was for me.” Listen to the new cover below.
On the non-covers front, they’ve got a collaborative album with Emma Ruth Rundle on the way. And Shut It Down isn’t the only anti-racism benefit comp they contributed to this year; they’re also on Overgrow to Overthrow.
Also listen to Khemmis’ cover of “Down In A Hole” from Dirt Redux.
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Must-Hear Metal Albums of 2020 So Far
Boris – NO
Ulthar – Providence
Terminal Nation – Holocene Extinction
Oranssi Pazuzu – Mestarin kyns
Ulcerate – Stare Into Death and Be Still
Code Orange – Underneath
Huntsmen – Mandala of Fear
Umbra Vitae – Shadow of Life
In the time since Converge last released an album (2017's great The Dusk In Us), frontman J Bannon explored his softer side with Wear Your Wounds' excellent sophomore album Rust on the Gates of Heaven, and now he's taking the exact opposite approach with the debut album by his new band Umbra Vitae, the most punishingly heavy album he's released in years. "While working on the previous Wear Your Wounds album, my love for Death Metal was rekindled," J said, "likely [as] a reaction to working on non-aggressive music for such a concentrated period."
Umbra Vitae shares a couple other members with Wear Your Wounds -- Mike McKenzie (also of The Red Chord) and Sean Martin (also ex-Hatebreed) -- and it also features Greg Weeks (The Red Chord, Labor Hex, etc) and Jon Rice (ex-Job for a Cowboy, Uncle Acid, etc). So it may be a new band, but it's familiar faces all around, many of whom are already frequent collaborators. And J may have said that death metal inspired this album, but he isn't just hopping on the new death metal bandwagon. If anything, Umbra Vitae reminds you that death metal has been in J's musical DNA since the early Converge days, and the way he interprets the genre in Umbra Vitae isn't a million miles away from the more chaotic moments of Converge. If you like "Concubine," you'll like this.
Old Man Gloom – Seminar VIII: Light Of Meaning & Seminar IX: Darkness Of Being
Black Curse – Endless Wound
Sweven – The Eternal Resonance
Death metal has been all the rage lately thanks to a crop of new bands who are taking cues from the genre's earliest days in the late '80s and finding ways to bring it into the now (like Blood Incantation, Tomb Mold, and Horrendous). But a few years before those bands released the critically acclaimed albums that brought this new wave of death metal to prominence, Sweden’s Morbus Chron were paving the way for just about all of them. Their second and final album, 2014's Sweven, is a landmark of modern death metal, and it's mix of prog, psych, black, and death metal is a clear predecessor to the current scene (and to the recent material by fellow Swedes Tribulation). Morbus Chron sadly aren't around anymore to benefit from all the hype the genre is getting, but fortunately frontman/founder/songwriter/guitarist Robert Andersson now has a new band named after that 2014 album, Sweven, and their own debut album The Eternal Resonance is very, very good.
Morbus Chron fans will probably be very excited about how this album sounds, but it does more than just pick up where Morbus Chron left off. Sweven the band goes even further down the genre-blurring rabbit hole than Sweven the album did. It's almost a disservice to talk about this album in terms of "death metal" or any other subgenre for that matter. It's still a harsh album, vocally, but instrumentally it's even more prog/psych than Morbus Chron was. For the uninitiated, Tribulation remains a good reference point because that band also continues to be more of a prog/psych band than a metal band, save for the black/death-inspired vocals, but Sweven are also a very different band than Tribulation. Tribulation ultimately write really evil versions of pop songs, and The Eternal Resonance can be closer in spirit to Pink Floyd or post-rock, with long, sprawling, dreamlike passages that are about sucking you in to the overall experience. It requires a bit of patience, but it doesn't take very long to realize it's very worth it.
MSW – Obliviosus
Vile Creature – Glory, Glory! Apathy Took Helm!
Paradise Lost – Obsidian
Paysage d’Hiver – Im Wald
The two hours which comprise Im Wald are a cumulation of everything visionary musician Wintherr has learned over his many releases -- the clean vocals which herald "Stimmen im Wald" reflect the ambiance found within Das Tor, the violins on "Le rêve lucide" recall the self-titled demo, the coldness: Kristall & Isa. It's all there, everything on which Wintherr has meditated since 1997, and it truly is perfect.
This is the best black metal album you will ever hear if you have the patience for it, and it can only be listened to in its entirety. Do not skip through this adventure through the Alps from whence this project was born. Read more about Wintherr's philosophy and the greater meaning of Paysage d'Hiver in the interview I conducted with him throughout 2017. [Jon Rosenthal]