The Eighth Outing Of The Metal Festival Featured Unparalleled Performances By Black Metal Veteran Abbath And Death Metallers Suffocation.
It got a bit damp in the downpour that affect-ed a late winter day in Bengaluru, but you can’t say the same thing about the spirit of metal at G-Shock Bangalore Open Air. Last month, the eighth edition of the metal festival was held earlier than its usual date in July, but nonetheless delivered what it promised – some of the best artists in the world of heavy music.
With rain striking twice during the day-long metal melee, attendees were divided between retreating to the nearby tented areas and staying to witness an all-out aural assault courtesy of four bands competing to win Wacken Metal Battle – India Subcontinent and three international-standard heavy-hitters.
One way to look at Wacken Metal Battle playing out at BOA was the chance to see emerging talent from the subcontinent – from the technical prowess of Guwahati’s Nephele to pummeling energy from Colombo’s Mass Damnation and blazing Pantera-worship from Dhaka’s Trainwreck, followed by devouring death metal from Kathmandu band Krur. The other way, of course, was to see it as an easy way to resolve any programming quandaries by having new talent compete.
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Esta historia es de la edición March 2019 de RollingStone India.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
Get Closer: The Intimate Gaze of Films at NYFF62
A second intimacy arises between our lives and those unfolding on screen... and in setting their sights on exploring ordinary lives at close range, filmmakers at this year's New York Film Festival deepened that intimacy to great effect
Meet the Women DJs Shaping Global EDM
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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
The singer reached a new peak when her song ‘Nasty’ went wildly viral. Now, Tinashe is energized and ready for more