![]() Simply put, metal bands that non-metal fans might like are wont to merit the tag and, thus, enjoy the crossover success that almost invariably comes with it. A dyed-in-the-wool doom metal band might get 8.4 with no best new music, while a doom metal band with poppy hooks or some indie rock or shoegaze influence might get the same rating with the coveted tag. It’s a label reserved for bands with crossover appeal, usually to the Brian Wilson-weaned indie rock crowd Pitchfork courts. As anyone who reads Pitchfork knows, Best New Music is not necessarily a designation for what the site actually thinks is the best new music. I suspect that even if I’d never heard of the Melvins, I might have found them through the 8.7 Best New Music their 2006 magnum opus Pink received from Pitchfork. But I was never a metalhead, and the metal albums that stuck with me generally erred on the side of “avant-garde metal” – the post-everything, genre-jamming style that seems to orbit around the Melvins and their label boss Mike Patton.īoris has enjoyed remarkable crossover appeal into indie circles. Yes, I previewed many of the bands Bukszpan championed on iTunes and even bought a track or two from the ones I liked (my limited budget of five bucks per week for downloads prevented me from ever buying full albums, and I was hip on neither Torrent nor streaming). I found them through their primary influence the Melvins, whom I discovered through Daniel Bukszpan’s Encyclopedia of Heavy Metal – a funny and well-written book I bought more for the pictures and design than the actual music. I was about 13 or 14 when I discovered the great Japanese band Boris.
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