
Why the New GWAR Don’t Feel Dangerous Anymore
GWAR have always existed on the edge of chaos, a grotesque blend of satire, violence, and spectacle, but now, it’s predictable and choreographed.

GWAR have always existed on the edge of chaos, a grotesque blend of satire, violence, and spectacle, but now, it’s predictable and choreographed.

In November’s best metal, Yellow Eyes are in their finest moment, Barren Path rise from the ashes of Gridlink, and Blut Aus Nord navigate dreamscapes.

Whether intentionally or not, Babymetal’s “Elevator Girl” feels like an unspoken pop culture echo of one of the most chilling and inexplicable deaths of the digital era.

In October’s best metal, Coroner are more relevant than ever, Hooded Menace embrace heavy metal traditionalism, and Evoken gaze into the darkness.

In September’s best metal, Paradise Lost remain a solid force, Gjendød honor the black metal heritage, and Igorrr continue their avant march.

Babymetal’s “Gimme Chocolate!!” video, like your favorite B-movie, combines one part pop culture, one part art, and one part id as well as catharsis.

In August’s best metal, Malthusian focus on death metal, Kayo Dot continue to wander through the cosmos, and Catharsis return in fierce fashion.

In July’s best metal, Dephosphorus look to the stars, Wytch Hazel’s heavy metal anachronism remains delightful, and Hell keep raging with drone/doom malice.

Deadguy’s new LP sounds like a demolition derby locked inside a meat locker, and someone wired the walls. The record feels brilliantly averse to compromise.

While not a perfect record, Kyuss’ …And the Circus Leaves Town captures the Californian stoner rock juggernauts at a unique moment in time.

Warts and all, Ozzy and Black Sabbath’s farewell set a new standard for how we say goodbye to our favorite bands. Let’s hope for more shows of this kind.

In June’s best metal, Cryptosy reconquer brutal death metal heights, Anfauglir’s symphonic black metal returns, and Hexvessel offer mystique and bleakness.