Tag Archive: Isis


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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Apparently I’m A Huge Hipster

Click image to enlarge.

Hmmm. Well, since you put it that way…

[via /mu/ Essentials]

- JR

 

During one of my routine commutes this weekend, I had the newly acquired Ghost record by Devin Townsend Project on play in the car. During car trips, I usually play something a little more upbeat, fast, and heavy — but this time, the dulcet tones of flute and acoustic guitar ran through the car. Previously, my car featured the airtime of Ghost‘s pissed off oddball of a sibling Deconstruction. Where there was once chaos and insanity is now host to ambiance and serenity. This morning, I was listening to the soundtracks to one of my favorite video game series, Portal—specifically, Portal 2: Songs To Test By, an ambient electronic soundscape to… well… test to. That’s when it hit me; why do metal fans tend to enjoy ambient music? Once you stop and really think about it, it’s quite fascinating how commonplace this dichotomy is in the world of extreme music.

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Ah, The Tony Danza Tapdance Extravaganza. Yet another tech core band with humble goof-off origins turned serious musical force to be reckoned with. After losing damn near everyone but vocalist Jessie Freeland, saving grace multi-instrumentalist Josh Travis stepped up to the plate to write the instrumental front to the much anticipated third album Danza III: The Series Of Unfortunate Events. The hype was so large that the monumental expectations seemed impossible to meet, but Danza III shockingly exceeded those expectations. Travis’ fresh take on the patent Danza sound added a melodic twist, throwing down pummeling riffs and technical wizardry against melodic ambient undertones, at times sounding like The Dillinger Escape Plan, Meshuggah, and Isis were thrown into a room and told to hammer out some ideas. This, coupled with Freeland’s ferocious and pissed off screaming, made Danza III one of the greatest albums of 2010, serving as close to a breakout hit as this particular scene could allow.

It’s not exactly a secret that the band—now with a full lineup—have been writing. Guitarist Josh Travis seems to be once again taking the helm with the major songwriting duties, as he uploaded two new demos to his soundcloud page. Now, there’s no indication if it’s Danza material or some sort of solo project or what have you, but it certainly sounds like an exploration of the sound we heard on Danza III, while still sounding like it could be for something else entirely—it’s hard to tell. It should go without saying that the new tracks are mindblowing, moving in an even more melodic focus while still keeping the aggressive and technical aspect that the band is known for. If this is what Danza IV is going to sound like, then it might just top Danza III.

Unfortunately, one of the tracks has since been removed. Awww bummer. However, the other new demo track and an older demo from a couple of months ago were uploaded together on YouTube. Hooray internet!

The band has promised to deliver some ‘big news’ soon enough. We’ll let you know when that happens!

- JR

 

Despite having been kicking around this place for the best part of eighteen months, I’ve not yet had the opportunity to blow my load over anything related to Old Man Gloom – the seminal sludge/doom band formed many a year ago by members of ISIS, Converge, Cave In and Agoraphobic Nosebleed – because they having put out a record in seven fucking years.

Fair enough – it’s a ‘sometimes’ side-project for them, and the guys have been busy. Nate Newton (guitar, vocals) and Kurt Ballou (producer) have been busy making some of the best hardcore records of the noughties, as well as the latter handling desk duties for some other brilliant releases during the same period (Kvelertak‘s recent self-titled, Doomriders, Trap Them, Genghis Tron and Beecher, to name but a few). Caleb Schofield (bass) has had his hands full reforming Cave In, and Aaron Turner (vocals, guitar) was up to his neck in ISIS.

But the planets seem to have aligned, and with everyone free (or at least semi-free), Kurt announced last night that after a massive hiatus, we can expect new material from OMG in the near future. OMG indeed.

For those unfamiliar (which may be a number of you – young whelps!), give the following tracks a listen and try not to love them. Absolutely crushing.

More after the jump, including the sublime acoustic track “Clenched Tight In The Fist Of God” and the charmingly-entitled “Rape Athena“. Maybe that’s got something to do with why she’s got white arms?

- CG

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