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2 weeks ago | 
treblezine.com | Langdon Hickman
A confession: I never have been big on Britpop.
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2 weeks ago | 
treblezine.com | Langdon Hickman
There are times when emotionally enigmatic work can be a frustration. Not on About Ghosts—Mary Halvorson and her newly expanded Amaryllis backing band paint images that are evasive in their discreet emotional character but are so rich in image it feels like a luxurious riddle to ponder. Between Halvorson’s writing and Amaryllis’ almost preternatural level of sensitivity in their interplay, they’ve become sharply attuned to painting lush and deeply floral sound-pictures.
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3 weeks ago | 
treblezine.com | Langdon Hickman
There is a lesson about expectation versus reality. A general sin as a critic which generalizes well to the real world is that we shouldn’t presume something’s identity first and judge it against that presumption. We are prone in general to creating an image of something in our heads, be that positive or negative or neutral, and basing all future experiences with that thing against this image that was based on little more than hearsay or supposition or a vague and careless kind of intuition.
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1 month ago | 
treblezine.com | Langdon Hickman
Last I checked in with Grails, they had just released their then-newest record Anches En Maat. Where previous records of theirs like Doomsdayer’s Holiday and the six volumes of Black Tar Prophecies showed a band only just beginning to break loose from some of the heavy music foundations the players came from as they moved toward more psychedelic and rich sound fields, Anches felt like the first fully formed record theirs that fully cemented their identity.
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1 month ago | 
treblezine.com | Langdon Hickman
Tonally speaking, Jenny Hval the novelist and Jenny Hval the musician couldn’t be further apart. Her novels, brilliant and brief, jagged like aged daggers, focus on a grit and grime of the body and our enmeshment within them, intimate in their portrayal of the natural violence of the heart and the thresholds of the sublime beyond the abject.
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2 months ago | 
treblezine.com | Langdon Hickman
Hello everyone, it’s me, the person who vastly prefers Ugly Season with its avant-garde textures and deep texturalism over the other records Michael Hadreas has released under the Perfume Genius name. Obviously, I’m aware of his sharp acumen as a songwriter; his work prior to Ugly Season was an upward climb for me until Set Your Heart On Fire Immediately, the clear apex up until that point of his more song-oriented material.
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2 months ago | 
consequence.net | Langdon Hickman |Colin Dempsey
Mining Metal is a monthly column from Heavy Consequence contributing writers Langdon Hickman and Colin Dempsey. The focus is on noteworthy new music emerging from the non-mainstream metal scene, highlighting releases from small and independent labels — or even releases from unsigned acts.
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2 months ago | 
yahoo.com | Langdon Hickman |Colin Dempsey
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience.Generate Key TakeawaysMining Metal is a monthly column from Heavy Consequence contributing writers Langdon Hickman and Colin Dempsey. The focus is on noteworthy new music emerging from the non-mainstream metal scene, highlighting releases from small and independent labels — or even releases from unsigned acts.
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Mar 20, 2025 | 
treblezine.com | Langdon Hickman
First, a point of correction. A few years ago when reviewing a previous Lonnie Holley record, Broken Mirror, made in collaboration with Matthew E. White, I wrongly presumed that the direction of the music was more driven by Holley than it turned out to be. Beyond wanting to offer a direct apology to White regarding that error, it also offered an instructive view of the compositional process for Holley’s work overall.
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Mar 10, 2025 | 
treblezine.com | Langdon Hickman
Jason Isbell has been one of my favorites for a while, a position I staked out deliberately following Southeastern’s Chicxulub impact into the crooked bones of my life. You start to see from the outside structures that perhaps the artist, embedded deep into the flesh of the machinery of their own creations, perhaps cannot always keenly see.
