#periphery iv: hail stan

[t3rra-bull]

Meinl Cymbals - Periphery - "Reptile"

[dr-grayson]

Periphery - It’s Only Smiles

[suchaflurryflurry]

favorite lyrics from 2019 albums i like ↳ periphery iv: hail stan // periphery

[tyrantsxblood]

Band: Periphery

Album: Periphery IV: Hail Stan (Updated 320kbps)

Genre: Progressive Metalcore

Support: Facebook

Tracklist:

Reptile (Feat. Mikee Goodman)

Blood Eagle

CHVRCH BVRNER

Garden In the Bones

It’s Only Smiles

Follow Your Ghost

Crush

Sentient Glow

Satellites

Download

[itttsarkanyokvannak]

Periphery - Periphery IV: Hail Stan

[ghostcultmagazine]

Periphery Extends “Hail Stan” Tour Dates into 2020

Periphery Extends “Hail Stan” Tour Dates into 2020

Periphery has booked additional tour dates supporting their North American tour, extend the outing, adding a Winter 2020 swing through the U.S. with festivities kicking off on Jan. 30 in San Francisco. Plini and Covet open on all non-festival dates. Tickets are on-sale this Friday at 10 am local time.

(more…)

[oopsimtryingipromise-blog]

Song Lyrics That Make Me Yay (TW - Mentions of Self Harm and Possible Mental Illness)

So I listen to a lot of heavy metal and (unpopular opinion alert) the lyrics in most of these songs are beautiful and deep and way fucking better than other genres. Heres a top 5 cause no one asked for it. 

1 - “I found God clutching a razor blade, he said look at the fucking mess they made” - Nihilist, (All Our Gods Have Abandoned Us), Architects. 

2 - “I said it once, I said it twice, I said it a thousand fucking times. That I’m ok, that I’m fine, that it’s all just in my mind” - It Never Ends, (There is a Hell, Believe me I’ve Seen it. There is a Heaven, Let’s Keep it a Secret), Bring me the Horizon. 

3 - “Left in the arms of the living, I shake, Left in the cold, A cut upon the skin, They're always sharp in the beginning” - Satellites, (Hail Stan), Periphery. 

4 - “Now shed that violence all over, Let mayhem in the streets, From mountain top to oceans, we own your every need, It's coming down” - Reptile, (Hail Stan), Periphery. 

5 - “See if we keep them silent then, They'll resort to violence and that's how we criminalise change” - Gandhi Mate, Gandhi, (A Flash Flood of Colour), Enter Shikari. 

(Protip - listen to that entire fucking Enter Shikari album cause although the lyric is number 5, the whole album is so fucking full of meaning) 

[thatalbumreviewerguy]

This is my review of Periphery’s new album, Periphery IV: HAIL STAN.

[rotten-magnesium]

Periphery back in town <3

You drink the poison or pour it out because it's slowly killing you.

[t3rra-bull]

Periphery - It's Only Smiles (Guitar Playthrough)

[dr-grayson]

Periphery - Reptile

[m3t4ln3rd]

Periphery premiere new track "Garden In The Bones" Band: PeripherySong: "Garden In The Bones"Album: Periphery IV: Hail StanRelease Date: April 5th, 2019Label: 3DOT RecordingsPre-order: Periphery.net

[innovacancy]

Periphery House of Blues, Boston, MA 12 September 2019

I’ll start this one off with a disclaimer – I don’t know much about metal. While I’m quite familiar with where the genre intersects others, I’m woefully uneducated on metal when it’s not prefixed or suffixed with a hyphen connected to something more familiar, nor the various subgenres and styles like djent that exist therein. What I do know is that Periphery moves with an energy unlike any other band I’ve listened to, and their latest record, Periphery IV: Hail Stan, continues the trend of blistering blast beats supporting sweeping progressive metal sagas.

HAIL STAN is a true journey of a record, beginning with the band’s longest song to date, ‘Reptile’. Like many of the songs on the record, ‘Reptile’ is a tale of blood and war and carnage, in this case following a drug addict named Billy who leads an ultimately doomed resistance against the titular reptilian menace. On ‘Blood Eagle’, vocalist Spencer Sotelo takes the perspective of a Viking, recounting the clashes between their polytheistic, nature-focused, and often brutal beliefs with early Christians.

The album is awash with death, violence, and brutality, and for much of the album the music strives to match the lyrical content with an equal dose of high-adrenaline sound. Founding guitarist Misha Mansoor leads an arsenal of guitars that backs Sotelo’s wild vocals with a wall of the classic djent sound, which – coupled with drummer Matt Halpern’s vicious, superhuman kicks – creates the noisy, machine-gun grind that defines Periphery’s music. It’s endlessly engrossing to listen to the band form that titanic engine of sound, pause to let one or two of the guitarists dive out with an interesting riff or solo for a breather, and then just as quickly meld back into their trademark churning cohesion. Across its 16 minutes, ‘Reptile’ also contains a number of spacious choruses, owing to the band’s history in the progressive metal genre. It’s undeniably thrilling to hear a song carry itself between such soaring highs and profoundly undulating lows.

Live at the House of Blues on a late-summer evening, Periphery brought Stan to bear nearly in full force, performing two thirds of the album’s tracks including ‘Reptile’’s vast expanse, which seemed even more monstrously epic before the nearly sold-out crowd that had been digging on the new record since its release in early April. Over the past five months, the Periphery devoted have been nursing their desire to mosh to these new tracks, and the pure catharsis was evident in across all the present faces, as well as the circle pit that formed between the stage and soundboard, bodies crashing together wearing their latest Periphery adornments, including a nearly ubiquitous hoodie reading “We Come For War”, an iconic line from ‘Blood Eagle’.

The band performs with an astounding ferocity, with Sotelo at the head of the pack, goading the crowd and stoking the fires in each audience member, raising their voices in unison with him. Guitarists Mansoor, Jake Bowen, and Mark Holcomb all stalk the front of the stage as well, peering into the crowd and giving them a close-up of the inimitable technical skill that makes the band’s music possible. Only Halpern remains at the back of the stage behind his kit, a king on this throne of sonic creation. At one point, Sotelo leaps into the pit between the stage and barricade, climbing up the wall and leaning head-first into the crowd, losing himself in the sea of outreached hands and agape mouths singing his lyrics alongside him. He moves across the entire barrier, stage right to stage left, bringing as many people as he can into the ritual.

Everything about Periphery is a bit extreme – the gory narratives of their lyrical world; the physical skill with which they write and play music; and the performance of Sotelo as the masthead that united band with audience. Even as a relative metal outsider, it’s not hard to imagine how the band has won so many eardrums through the years. They exude passion in every note with the technical chops to match, and regardless of one’s background in music, it’s practically impossible to witness something of this caliber and not be enthralled and enticed to dive deeper into Periphery’s oeuvre.

[happymetalgirl]

Periphery - Periphery IV: Hail Stan

Periphery is one of those bands that I think draws way more polarized opinions than they need to. When it comes to them, it's either the big djentheads who appreciate what they do or the rest of the metal world that just can't get past Spencer Sotelo's vocal style. While it did take me a while to get used to, I eventually came around to Spencer's vocals around their second album.

Even though I am now on the fan side of the Periphery dichotomy, I have actually never been much of a fan of their beloved self-titled debut; I've always found to be kind of an overdrawn prototype for what was to come. I gave it a listen not too long ago before this album dropped and it again confirmed my position on it. I did of course find their sophomore effort to be a lot more polished and for the better.

It was with the Clear EP, though, and the subsequent, long-awaited Juggernaut double release though that I really found myself drawn to Periphery, and largely for Spencer's incredible melodies. The band were starting to really find the dynamic between anthemic choruses and crushing djenty heaviness that allowed both of those facets of their sound to compliment each other exquisitely. Songs like "Parade of Ashes", "Pale Aura", and "Feed the Ground" brought the best out of Spencer's slightly scratchy high range through anthemic melodies and set up the rest of the band for the best of the heaviness they had to offer.

The band really set the gold standard for themselves in a lot of ways with Juggernaut though, refining everything that made their sound already great at its best and raising it to a new best. There's djent at its most powerful on songs like "MK Ultra" and "Hell Below", which is absolutely filthy, slow 8-string deliciousness, and the absolutely ripping breakdown of "The Bad Thing" still fucking gets me every time I hear it (and I've heard it a lot). Spencer's highs at the climax of "The Scourge" and his entire performance on the also invigorating melodies of "22 Faces" are absolutely phenomenal as well, and the risky melodic direction of "Alpha" paid off stupendously. Needless to say, I really liked Juggernaut, and while 2016's Periphery III: Select Difficulty wasn't a complete letdown, it definitely missed that divine spark and seemingly the long grooming process that the Juggernaut albums did. It had its moments, but it's still just so overshadowed by the band's magnum opus.

So now a little further down the road from that towering monument of theirs, the band are back with their fourth self-titled album, which is another respectably ambitious effort that seeks to build its own monstrous djent castle on bigger compositions and darker themes. At 63 minutes, Periphery: Hail Stan is quite a beast of its own. Sonically, much of this album feels like a combination of the grandiosity and untethered heaviness of Juggernaut and the rawness and stylistic tendencies of the band's debut LP, and the mixture is, to a degree, predictably mixed.

As much as I love big, ambitious prog metal epics, and I love the idea of kicking an album off with one, the nearly 17-minute, string-backed "Reptile" that starts the album feels so unusually meandering and unnecessarily dragged out for Periphery, and despite the few shining moments in the track, it seems more like the band just wanted to make their longest song than anything else. So while it's not a particularly great start to the album, it certainly comes with enough highlights to not sink it immediately, and it does get better from there. The determinedly deathy, djenty, and eventually anthemic lead single "Blood Eagle" that follows the somewhat misdirected epic finds the band channeling their Juggernaut form into a much more focused and perfected piece than the preceding track, and it very much confirms where the band's strengths still mainly lie. The eerily relevant "CHVRCH BVRNER" subsequently carries the heavy momentum further by upping the speed and even the black metal intensity. Still, the band manage to impressively work in a sweet and fitting melodic vocal hook seamlessly, a testament to their progression as a group and proficiency with their common elements.

The album's second single, "Garden in the Bones", breaks the "kvlt" vibe with brighter, less aggressive instrumentation, hearkening to more ethereal prog metal anthems like "Heavy Heart" and "Priestess" from Juggernaut. I'm surprised the band used it as a single because it's not one of their most impressive contrasts to their heavy style on the album. An electro synth line then opens the following song "It's Only Smiles" much like that of "Alpha", but unlike "Alpha", Spencer's reverting to the debut LP's pop punk melodic tendencies on this song are not effectively balanced and given the vigor they had on the Juggernaut classic. It's not the worst example of the style, but it is the kind of song the band's and Spencer's detractors can point to to feel justified in calling Periphery weak (which is bullshit even just looking at this song in the context of melodic hardcore).

"Follow Your Ghost" follows with more indulgent heaviness but not really much in the way of tasty riffs, unique grooves, or infectious vocal melodies. It's clearly meant to simply juxtapose the lighter atmosphere of the previous track, which it does wel enough at an aesthetic level, but it's a little bit of an autopilot track. The electro beat that starts the next song, "Crush", ushers in an electronically supplemented, bass-y rocker that outshines much of what Underoath and Bring Me the Horizon were attempting on their recent albums. Its a bit long and I wish the climax was a little more climactic, but its consistent infectious bass and the swagger the band are able to pull off with it make up for it.

The following song, "Sentient Glow", is a reworking of a song from a previous side project of Misha Mansoor's and Mark Holcomb's, and it does feel a bit like an outside track that's just been Peripherized. Spencer's ethereal high melody at the song's explosive ending is a nice touch, but I still wouldn't say it alone justifies the song's inclusion.

The album finishes with the angelic and euphorically anthemic "Satellites", which is a bit of a new prog, melodic metalcore power ballad that ascends from atmospheric clean guitar echoes and soft singing into a crescendo of emotive, ambiance-supplemented djent with some of Spencer's most impassioned and impressive high singing atop it, and it makes for a fittingly grand and well-executed conclusion to a similarly massive and ambitious album.

Even where the band so stumble on Hail Stan, they are so tuned in to what they do well when they revert to their evolved form that they more than make up for it. And that's not to say all their musical ventures flop, they do pull off quite a few surprising hits on songs that don't fall within their usual modes of operation. And when they're on their tried-and-true shit the band don't slip up much, showing their focus and full capabilities with their style. It's still not quite up to the level of long-toiled mastery that Juggernaut was, but I definitely want to heap more praise than criticism on this album because so many bands have tried (or half-assed) the kind of reconciling of dense production, orchestration with an older, heavier sound and it usually falls flat on its face, while Periphery have managed to to stay themselves and still channel the best version of themselves even through less familiar means. Unlike the many bands who neuter, malform, or erase their signature essence through forays into bombastic projects like this, Periphery's most vibrant form shined through and kept the background from taking over the album, which is certainly a much more accomplished follow-up to their masterpiece than their previous album was.

Juggernaut: Beta/10

[monstersofsilence]

that moment where you listen to a new song coming out from a band you never heard of before

and then you started listening to their earlier works

and just

start liking them like

“I guess I like this band now.”

[simonjordison]

OH GOD!!!