Boston’s forktie has come to an end. But before that, they’re going to remind listeners of what they’ll be missing out on. Closing the book with a pair of new tracks, forktie explore new sounds and styles which give greater insight into what might’ve been from the New School Alt-Grunge mavericks.
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You read that right, kiddies! Not a hoax! Not a dream! We have resurrected a long dormant column! But that’s not why you’re here. You’re here to find out what’s next for the ladies of Flight of Fire so without further adieu, guitarist Tanya Venom is here to tell you the news:
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Lowcaster create the kind of Post-Desert Doom that you can’t experience in bits and pieces and on their upcoming full-length, Flames Arise, this San Franciscan quartet have assembled a body of work that demands to be listened to as a whole to fully appreciate it.
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The best kind of Electro/Industrial music is the kind that acts as a sort or sonic palette cleanser. The sort of music you put on and it washes over you like a wave, clearing out whatever may have come before. Be it Metal or Pop or Hip-Hop or Country. That reason, among others, is why I love this genre so much.
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Unlike many a typical post round these parts following a tried a true formula, we’re going to treat this one about Boston’s Flight of Fire slightly different. Sans a “But I digress” even!
But I digress.
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Life Of Agony putting out new music is cause for celebration. Life Of Agony putting out new music that’s a continuation of the story from River Runs Red, though? That’s cause for taking the whole week off to commemorate the occasion and just rawk the fuck out.
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Private Jetlag is not our typical bag. At all. Then again, not much around these parts is “typical” so why should we be surprised when a smooth jam like “Apres Ski” falls into our lap and makes our heart skip a beat with its’ rich grooves and solid beats.
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Bleak, cold, and unforgiving like the Blizzard of ’78…or like their fitting moniker, Boston’s Glacier create the kind of lurching and lumbering soundpieces that are the perfect soundtrack for New England winters and on No Light Ever, they deliver an unrelenting atmosphere that’s easily one of the Post-Metal standouts of 2019.
But I digress.
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I’m conflicted! For Halloween 2019 I have quite the conundrum to work out: On the one hand I’ve never seen The KVB live, having been a fan for a few years now, yet I also love watching scary movies with my kiddo. Regardless of my indecision, The KVB will be playing Great Scott in support of last year’s Only Now Forever AND this year’s Submersion EP (And the Boston date will actually be a make up from a missed March date).
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I haven’t given a shit about The Darkness in over a decade. When Permission To Land dropped in 2003 I was working in a local record store in Boston and, like most, was swept up in the fervor that accompanied the album which, to this day, still fucking rules. Since then, the band followed up with a pretty lackluster album (Which initially caused my disinterest going forward), disbanded, and then reunited in 2011 and have put out three more full-lengths (Not including the one being reviewed here) in that time. And now you’re up to speed, too.
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