Tag Archive: Isis


Abigail Williams – Becoming

Abigail Williams

Becoming

01. Ascension Sickness
02. Radiance
03. Elestial
04. Infinite Fields of Mind
05. Three Days of Darkness
06. Beyond the Veil

[01/24/11]
[Candlelight Records]

Abigail Williams were always a divisive band in the realm of black metal. You could probably accurately pin it on a number of factors, including their roots in deathcore and the fact that they don’t particularly look the part. However, the LA-based band have been undergoing a transformation into a full-fledged black metal band, thanks in part to a revolving door lineup policy. Becoming, their appropriately-titled third record, sees the polarizing band evolving into an atmospheric black metal band akin to the likes of Wolves in the Throne Room and Agalloch. Yes, I’m serious; and no, it isn’t bad. In fact, it’s quite good.

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We’re only two weeks in, and 2012 has already got off to a funny start. We’ve had some drab news; The Human Abstract have faded away quietly at the height of their power, along with the likes of The Carrier, and Oceano; the latter due to the departure of vocalist Adam Warren amongs other things. Similarly, Killswitch Engage are without a frontman as Howard Jones confirmed he had left the band, although they are looking for a replacement, who may or may not be Jesse Leach… We also had last week’s announcement that absolute metal legend  Tony Iommi of Black Sabbath being diagnosed with early stage lymphoma. Although we remain hopeful, in the vein of 2010′s Nergal crisis, nothing is assured.

It’s not all doom and gloom, though. The past few days in particular have seen a couple of rays of excitement, firstly in the news that post hardcore legends At The Drive-In have made good on a statement made by Cedric Bixler-Zavala in 2009  that the El Paso quintet could once again play together, and secondly with the word that Swedish hardcore punk heroes Refused are also back and scheduled to play Coachella in April, Way Out West in August, and possible other shows beyond to give The Shape Of Punk To Comeits proper dues. This got me thinking; what with Paul Scholes re-signing for Manchester United, Thierry Henry returning to Arsenal on loan, and my hamster from when I was thirteen clawing its way free of the shoebox in which it was buried to terrorise the cat, it seems like 2012 could be the year of the grand return. Whether or not you think this is a precursor to the actual dead walking the earth, and thus a sign that the Mayans were right and we’re all going to die up by December 21st, you have to admit that there are a few more legends that need to resurface to make the end of the world party worth attending. Behold my humble wishlist:

At The Drive-In

First up, the mercurial masters of nineties post-hardcore, who as I said above, reunited this week after eleven years away. It’s a fucking good start, I tell thee. If you do the math, you’ll know that At The Drive-In were last seen in 2001. March, to be exact, off the back of a six year recording/touring cycle that culminated in a world tour. By that time they were fucking tired of each other, and vocalist Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez were on some serious drugs by this point. Things were not happy. In this video, filmed for the renowned …Later With Jools Hollandshow in the UK in late 2000, you can see the sheer passion with which they played, but also how much they clearly despised each other by this point. On the one hand you’ve got guitarist Jim Ward and the rhythm section soldiering on, playing the fucking song…and then you’ve got Cedric leaping around, throwing around chairs and not bothering with half the songs, and Omar at times barely playing his own damn song…but then pulling it back at others. Absolutely electric stuff, and for me 100% what At The Drive-In were about.

Bonus shot: Robbie Williams’ face at having to follow ‘One-Armed Scissor‘.

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We don’t get to talk about Pelican very much, because they’re not hugely active or prolific, but personally I hold them in very high regard, so the news that they are to release a new EP in April is very welcome.

Entitled Ataraxia/Taraxis, the four-track release will no doubt evince the ambient yet crushing atmospheres they are wont to create. Each track was also recorded in a different place, with engineer duties handled by two different people - Sanford Parker, a legendary Chicago producer and member of Buried at Sea and Minsk, who has worked with the likes of Twilight and Nachtmystium, and Aaron Harris (ex-ISIS) – which are as follows:

01. Ataraxia
02. Lathe Biosas
03. Parasite Colony
04. Taraxis

Ataraxia/Taraxis will be with us on April 10th through Southern Lord. In support, Pelican will be heading out on a two-week run of dates in Europe and the UK:

4/06/2012 Dunk! Festival - Zottegem, BE

4/07/2012 The Garage - London, UK w/ Chelsea Wolfe

4/08/2012 Vudu Club - Birmingham, UK w/ Chelsea Wolfe

4/09/2012 Brudenell Social Club – Leeds, UK

4/10/2012 Stereo – Glasgow, UK

4/11/2012 The Ruby Lounge – Manchester, UK

4/12/2012 The Haunt – Brighton, UK

4/13/2012 The Cooler – Bristol, UK

4/14/2012 Roadburn Festival – Tilburg, Netherlands

4/15/2012 La Maronquinerie – Paris, France

4/16/2012 Jubez – Karlsruhe, Germany w/ Tombs

4/17/2012 Bad Bonn – Dudingen, Switzerland

4/18/2012 Magnolia – Milan, Italy

4/19/2012 Feierwerk – Munich, Germany w/ Tombs

4/20/2012 Cassiopeia – Berlin, Germany w/ Tombs

4/21/2012 Nosturi – Helsinki, Finland

As one of the few post-metal bands that truly prick up my ears, and particularly in the absence of contemporaries ISIS, I’m pretty stoked for this one. Keep an eye out for my review closer to the time.

- CG

Ulcerate – The Destroyers Of All

Ulcerate

The Destroyers of All

01. Burning Skies
02. Dead Oceans
03. Cold Becoming
04. Beneath
05. The Hollow Idols
06. Omens
07. The Destroyers of All

[01/25/11]
[Willowtip]

Woah, what am I doing reviewing a record that not only came out at the beginning of the year, but we once reviewed already? Well, with their recent signing to Relapse Records bringing Ulcerate back into my field of view and my discontent with the negative (yet valid!) score they received, I felt compelled to give their most recent album The Destroyers Of All a shake from my side of the aisle. If you’ve never heard of these New Zealanders before, their sound is characterized by creeping dissonant guitar lines and blistering fast and technical drumming. It’s all absolute chaos that challenges the status quo of not only in the realm of death metal, but progressive metal and sludge as well. Hell, I even raised the question earlier this year about their categorization as “Post-Death Metal.” Sound interesting enough? It should.

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East of the Wall – The Apologist

East of the Wall

The Apologist

01. Naif
02. Linear Failure
03. My Favorite Society Guy
04. False Build
05. Precious Memories
06. The Apologist
07. Running Tab Of Sweetness
08. Horseback Riding In A Bicycle
09. A Functional Tumor
10. Nurser Of Small Hurts
11. Whiskey Sipper
12. Underachiever

[10/25/11]
[Translation Loss]

Opening to roaring feedback and a trudging doom riff fit for heyday Sabbath, East Of The Wall‘s sophomore effort The Apologist opens up quite unexpectedly. After all, such an opening wouldn’t often hint at a stylistic change that follows that would sit well among technically-minded music fans that East of the Wall’s fanbase is comprised of. For those unfamiliar with East of the Wall, think Mastodon with a post-hardcore flair or Isis‘ penchant for thoughtful instrumentation crossed with The Dillinger Escape Plan‘s acrobatic guitars. You’re in the ballpark, but just shy of home plate.

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Because there is, like, nothing happening today, and we’re too busy writing reviews in the form of esoteric rap, we thought we’d shoot you another question, this time inspired by an article over at Noisecreep, rather than the rambling of some sweaty Brit who enjoys staring at twinkly lights like some fruity moth.

In said interview-thing, Clutch vocalist Neil Fallon explains his own list – but being the arrogant arsehole that I am, here’s mine, and then you can follow with your own.

Blood Sugar Sex Magik
Red Hot Chili Peppers (1991)

Odd choice? Not when you consider this band were responsible for getting me into music in the first place, and that this is still a classic album. It’s twenty years old. Fuck.

This album is rammed with classics (“Under The Bridge“, “Give It Away“) and barely a note of filler. It’s hard to underestimate the impact this record had one me, considering I was a musical virgin up until the age of about fourteen. I just didn’t care for it. This changed everything.

Panopticon
Isis (2004)

If Blood Sugar Sex Magik got me into music, then Panopticon undoubtedly got me into metal. The opening riff to “So Did We” is forever burned into my brain, so many times has it been spun. I probably only break it out a couple of times a year now, but it’s enough to satisfy my nostalgic cravings before I go back to spinning whatever new crap is being thrown my way for your pleasure.

This is what metal is for me. Whereas most people cite your Black Sabbaths, your Metallicas, your Iron Maidens and other classic metal bands as their first steps into our murky world, Isis will forever hold pride of place in my musical library.

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Although not technically label-mates, Chicago-based post-metal outfit Pelican share their Hydra Head Records home with Godflesh main-man Justin K, Broadrick for his solo work and side-projects, and indeed have collaborated with him a number of times, including on this remix for Pelican’s March Into The Sea EP:

The point of this little history lesson is to inform you that, as The PRP reports, both outfits are somewhere along the road towards putting out new releases.

Speaking with Decibel, Brit Broadrick (that has a nice ring to it doesn’t it?) confirmed that, whilst busy, writing is occuring – slowly – and we could see something from the godfathers of industrial and post-metal within the next twelve months.

“I guess because I’ve had my son, it’s slowed things down a bit for us. I mean, Ben Green got married last year and he still holds a very good job, so he’s very busy, we’re both very busy but we have a lot of ideas.

Also, there’s no way we’d approach a new record just to milk the new-found popularity of Godflesh. I mean, it could take another year before we release something, and even the intitial impact of the reformation could have subsided by then, but that’s kind of meaningless, really, it’s just making another really good, cold and bleak record.”

Pelican, meanwhile, are already in the studio with former ISIS drummer Aaron Harris, tracking the beats for an as-yet untitled release, who was speaking via his blog. No other news on that, but colour me excited.

Good times, yo!

- CG

Nearly two weeks ago but hey…we’re a little slow on the uptake sometimes.

I’ve never quite understood why I’m drawn to Giant Squid‘s music so much, it tends plod along quite daintily compared to the aural assaults to which I normally subject myself. Whether that’s entirely down to the soothing vocals and cello of Jackie Perez Gratz (Grayceon, ex-Ludicra) is subject to personal opinion but, overall, this is music that mesmerizes, not pulverises.

Revolver recently premiered a track from their upcoming album/EP Cenotes and whilst I may have missed it initially, I’m glad I stumbled upon it because this is everything I loved about their previous record – off kilter and haunting cello lines sit happily alongside a doom-y band jam that wouldn’t be out of place on a latter day Isis record. Cenotes is set to be released through Translation Loss Records on the 25th of October but you can listen to ‘Figura Serpentinatahere.

- DL

I was pretty excited when post-metal legends ISIS announced they would be releasing a series of live album post-humously. I don’t normally go in for live recordings of songs I’ve already got/can just go see live if the urge and opportunity strikes me, but one of these – V, in particular – I’m very keen to hear, because it’s a recording of one of the first metal shows I ever attended (d’aww).

Plus, ISIS fucking SLAYED live.

The show in question was their performance of the seminal Oceanic in its entirety. I don’t normally go in for these either, but it’s such a good album that I was kind of spoiled for every similar show I’ve seen since. No filler, all good, all of the time. Support was also handled by Oxbow and Final, one of Justin K. Broadrick’s (ex-Napalm Death, JesuGodflesh) pseudonyms.

Anyway, my reason for all this babble is that guitarist/keyboardist Bryant Clifford Meyer recently spoke to Alt Press, giving a run-down of the tracks, regarding the show in question, the album, and their live performance in general. The jammy buggers have also landed an exclusive preview stream of the album, which I will most definitely be whacking on when I get home.

- CG

I hold the opinion that some of the best black metal is often of the atmospheric variety. Obviously, you have your exceptions, but I’ve taken a liking to Post-Black Metal and Cascadian Black Metal; basically that stuff that hipsters apparently listen to. The frontrunners of that scene are Wolves in the Throne Room, who are finishing up their latest offering, Celestial Lineage. While I am pretty excited, the highly verbose press release confuses me to no end. The dudes are no doubt fairly eloquent with their vocabulary and descriptions, but they certainly won’t hesitate to let you know. Check out the press release below:

The transmutation reaches a new level with the completion of the album. In contrast to the bleakly hypnotic architecture of Black Cascade, the lifespan of Celestial Lineage breathes more expansive and visionary life into the duo’s work. The WOLVES IN THE THRONE ROOM trademark long-form approach to arrangement remains intact, but there is a stronger thread of Popul Vuh-inspired underworld synthscapes and star-lit pulse woven with the intertwining guitar figures. Celestial Lineage will end a trilogy of releases which began with Two Hunters (2007), and is segued by Black Cascade (2009), and like both previous albums, will be released via Southern Lord Recordings, with a street date of September 13, 2011 now confirmed. Three songs on the album feature Jessika Kenney’s liturgical choir and solo voice, as heard on Two Hunters as well as 2009’s Malevolent Grain EP, the album also including orations from Aaron Turner (Isis).

Some rather cool news in there! I have to appreciate the creative writing though, and I admit that I’m quite jealous that I can’t come up with clever ways to describe a guitar sound. I’m starting to understand why WITTR are associated with hipsters and pretentiousness. Just check the rest of it out:

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