The Search For New Music

Nothing quite beats that feeling of discovering new music. It can be just one song first heard on a music video, or an entire discography built up by a band that has somehow gone unnoticed on your musical radar, but the feeling is the same; a sudden urge to rush to the record store and acquire it.

As a big fan of the progressive metal genre, from your obvious bands such as Gojira, Opeth and Mastodon, to your more obscure finds such as Pigeon Toe, Leprous and Circles, I am always on the look out for more progressive heaviness to satisfy my cravings. Somehow I have managed to completely avoid listening to Between The Buried And Me, even though people have recommended them for me numerous times in the past, but a couple of weeks ago I finally pressed play on Spotify and plunged headfirst into their already lengthy discography.

I started with their forth studio album Colors and after one listen decided to buy both that record and also The Parallax 2: The Future Sequence; their sixth and most recent effort. Colors starts off gently, following a relaxed piano motif, before exploding into a barrage of fierce drums and down-tuned riffery, which is continued throughout; the band taking very few breaks until the albums’ conclusion at around the hour mark. The Parallax 2 follows a similar formula, arguably providing a deeper immersion in technical wizardry through a more concrete concept which encapsulates the album’s twelve tracks.

Some of Between The Buried And Me’s best moments come from when they choose to switch genres, trying their hand at everything from jazz fusion to something resembling Honky Tonk amalgamated with Polka (listen to the track Sun Of Nothing). The success of these moments can be attributed to the superb and flexible abilities of guitarists Paul Waggoner and Dustie Waring, who are seemingly able to play any genre both fluently and flawlessly, along with the powerful vocals performed by Tommy Giles Rogers. Although the majority of the lyrics are screamed, influenced primarily by death metal, there are many sections where Rogers switches to an equally strong clean voice, providing the band with some beautiful melodies, especially during tracks Telos and Informal Gluttony.

On top of these two records they have released a further four studio albums, a live version of Colors, a cover album of songs that inspired the band (which includes a hilarious, yet tragic, cover of Queen’s Bicycle Race) and an EP that serves as the prequel to The Parallax 2. I am yet to purchase their other albums, but as you can see when I do get round to it, there’s definitely enough to keep me content for some time.

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