MetalSucks

As one of the chief riff providers for swaggercore titans Every Time I Die, Andy Williams takes pride in making the discordant into catchy. For a perfect example of this, look no further than the band’s latest (MetalSucks-approved) album, New Junk Aesthetic. Distilling the band’s decade-plus essence into a tight half hour, it’s a satisfying mix of thunderous heaviness and easily the most appealing material the band have put to tape. But while he’s often overshadowed by vocalist Keith Buckley’s relentless wiseassery, it’s his and Jordan Buckley’s Skynard-by-way-of-Dillinger-Escape-Plan guitar work that make the band stand out and ultimately worthwhile.

A self-described “chatty Cathy,” Andy Williams was remarkably frank and refreshingly earnest in a recent interview with MetalSucks on the eve of the release of New Junk Aesthetic. Among other things, he discussed why he can listen to the new album and none of the band’s other material, his thoughts on the new Converge record, the changing landscape of the scene he came up in, and life over at ETID’s new label, Epitaph.

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This morning, I received the following e-mail from reader Parker Werley:

“How does a band get to earn the proud badge of having -core in their genre?”

That’s a pretty simple question, but it’s also kind of thought provoking. So I thought maybe we could explore it here a little bit. Because, honestly, I’m not sure that I know what the answer is.

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What? You were expecting someone else?

-AR

Okay, I’m going to come right out and say this but I don’t want it to deter you from exploring what I’m about to describe; Capricorns are a band from London who invariably fall into the doom/sludge category.

Wait! Don’t run away. Seriously, you should keep reading this time and I’ll even make it brief. While they’ve been labeled as such, Capricorns are so much more than your typical Neurosis knock-off. I really think they’re the sort of act that could change your mind about this style of music. The reason? Capricorns don’t wallow in dragging time signatures and brooding, growly vocals. In fact their latest effort, River, Bear Your Bones is completely instrumental. Thematically it explores the band’s own feelings toward living in close proximity to the great Thames river and “the London Towne that spreads from its banks like a concrete cancer.” Musically it has the hardcore edge of the best Black Flag material, the crushingly melodic undertones of a band like the Melvins and the sort of complexity in arrangement that made for the most memorable and engaging moments in Black Sabbath’s mid-to-late Seventies material. They’ve become a staple on Lee Dorian’s now 20 year old Rise Above Records label and have won over the admiration of many industry giants.

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