Monday 28 Jul

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0
Home · Articles · Music · Music · Darkened tones

Darkened tones

Alt-metal titans Chevelle are no strangers to gothic melodrama. But on its seventh full-length album, the trio gets even darker.

Joshua Boydston April 9th, 2014

Chevelle with Nothing More and Middle Class Rut

6:30 p.m. Monday

Diamond Ballroom

8001 S. Eastern Ave.



American alt-metal act Chevelle is facing some interesting conundrums as it releases La Gárgola, the trio’s seventh studio album.

You might even call it a life-or-death scenario.

“We’re not sure if we are going to be the ones being killed or the ones killing,” drummer Sam Loeffler said of the short horror film they are writing that will act as the group’s next music video. “We’ll probably be the ones getting murdered. Pretty violently, I might add.”

Doom and gloom isn’t usually too far out of the Chevelle playbook, but La Gárgola — which translates to “the gargoyle” — willfully dives deeper into that blood-and-guts head-space more than any disc before it.

The trio’s usual brand of melodic hard rock draws cues from classic horror films like Rosemary’s Baby and The Thing. La Gárgola amplifies the influence of industrial metal gods Ministry, with its spiky riffs and creeping distortion making for one of the band’s heaviest efforts to date.

“It’s nice to pull from something like that … it’s just fun,” Loeffler said. “The darkness that creeps in, it comes from imagining the type of music going on in the background as a person is being chased around by an axe-wielding murderer.”

Loeffler thinks it’s just the right amount of twist in the formula to continue the trend of subtle evolutions between albums. It’s an evolution that has carried through since “The Red” and “Send the Pain Below” broke out and made 2002’s Wonder What’s Next a platinum smash in the midst of the hard-rock wave that made Linkin Park, Hoobastank, Puddle of Mudd and Staind some of the biggest names in American music.

Chevelle has enjoyed a steadier road and critical success a decade later than most of its early aughts’ alt-metal peers, a path the band credits to a willingness to shake things up just enough to keep it interesting but without being overworked.

“At this point, we’ve published over 80 songs, and I hope that no two songs sound alike. And I don’t think they do,” Loeffler said. “It’s a hard thing to accomplish, especially when you aren’t trying to be different for the sake of being different.”

And La Gárgola stays true to that, offering some strikingly soft and pretty moments to pop through the otherwise-dreary night sky, a fitting move consistent with its quandaries of life and death.

“Getting out of our box, it’s something that’s almost expected of us,” Loeffler said. “The bands we loved, they did their own thing and paved their way. Those are the ones we look toward.” 

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