Top 10 Songs of the Week (4/25)


    Even for those who don’t directly partake, Record Store Day can function as a reminder that music is appreciated differently when we slow down, gaze at every square cover art, and generally put more thought into what we’re hearing than normal. Few things, however, are more life-affirming than listening to an eclectic stream of new music, which is where the digital world comes in handy. Our mission each week is to relay that feeling of discovery, and with the following 10 tracks dizzying us this week, it was only a matter of time.

    10. Slayer – “Implode”


    Premiered at the Golden Gods Awards, “Implode” is the lead single from Slayer’s forthcoming album (due out next year) and the band’s first new song since the death of Jeff Hanneman. Recorded earlier this month with Terry Date, the track is a snarling, hardcore-inflected shredder that rails against “the brain dead leaders of the world.” Tom Araya growls and screams, hitting registers that he hasn’t reached in years, while Kerry King delivers the pummeling riffs and spastic solos. For a Hanneman-less Slayer, it exceeds all expectations. –Jon Hadusek

    09. Gonga & Beth Gibbons – “Black Sabbeth”

    Gonga - Beth Gibbons - Portishead

    Portishead vocalist Beth Gibbons has had her eerie moments, but she dove into the creepy pool entirely when working with Bristol stoner metal outfit Gonga. Their cover of Black Sabbath’s eponymous track (here turned into “Black Sabbeth”) is the stuff of B-movie horror nightmares, Gibbons’ whispery vocals turned into curls of evil purple smoke, Latch Manghat’s bass nipping at your heels. While Gibbons has teased a solo album and Portishead work to get back into the studio, we’d gladly see an entire Beth-as-Ozzy album. –Adam Kivel

    08. Black Monolith – “Eris”


    The one-man metal project of Gary Bettencourt, Black Monolith amorphously drifts between furious black metal, crust punk, and shoegazing ambience. Veering toward the latter, “Eris” is the closing track from debut LP Passenger (self-released on All Black Records) and evokes post-rockers Russian Circles, as ominous chords quake and churn. As the drums creep in, Bettencourt’s guitar playing takes a triumphant turn, forming into a serene climax that’s more U2 than metal. Bettencourt has a loose definition of the genre, and his music benefits from it, never growing tedious. –Jon Hadusek

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