If I were writing in 2006, I would be telling you about how Cynic released the definitive technical death metal album, Focus, in 1993 and then disbanded. Along with Atheist and Death, Cynic were one of the most outstanding members of the late 1980s/early 1990s death metal scene in Florida, and pushed the limits of metal more than any. Focus incorporated compositional techniques drawn from genres well beyond metal, primarily jazz, and thematically it was a positive, uplifting, and humble album, lyrically infused philosophic meditations and spiritual mysticism.
Moreover, out of all the wildly technical metal bands going around, I would consider Cynic to be easily one of the most listenable, possessing a fluid style led by astonishingly complex guitars woven together into a vivid fabric, buttressed by Sean Malone’s warm and full bass, and resting on Sean Reinert’s skilful drumming. Oh yeah, and let’s not forget how all the clean vocals of Paul Masvidal were processed through a vocoder, giving the band a distinctively synthesised and robotic sound.
That is everything I would have told you in 2006. Cynic were done, leaving just one album and a collection of demos as their deeply influential legacy.
However, this is 2010.
This blog so far has a disturbing lack of metal. Well, I guess that’s why I’m here. I love metal. I think it is one of the most diverse and fascinating genres. You’ll pick up my biases in due course, but at a glance, they tend towards atmospheric albums (as in any genre I like), they focus on extreme genres such as black metal and progressive death metal, and I most love my metal when it 1). has something socio-political to say and/or 2). evokes the grandeur of winter and frigid, forsaken forests flanking the white mountains on which you will die.
Yes, metal has a bit of a bad reputation amongst the general public. Thanks to thrash bands and non-metal rubbish like metalcore (it’s derived from hardcore punk, people!) and nu-metal (do I even need to explain why every metal fan worth their salt will not associate their beloved genre with this bastard child of music?), many people seem to just write the genrre off. I have very little time for the false impression that metal is juvenile, rebellious music by teenagers that requires little talent and even less thought, and that you quickly grow out of it. Every genre has examples of that, and judging them by it would be absurd. Many of the most talented musicians alive play in metal bands, and I am not referring just to those with prodigious talent (though you’ll find few more accomplished bassists than Sean Malone or drummers than Jan Axel “Hellhammer” Blomberg). I am also referring to those who realise less is more, who are in love with atmosphere, who have something to say, and who realise that metal can be a very primal medium but at the same time can be exploited to say something complex directly to the core of the listener. I would like to introduce you to these people.
Let’s start with Orphaned Land. Specifically, their masterpiece from 2004, Mabool: The Story of the Three Sons of Seven.
An Ocean of Noise 