365 Days of Metal: The Blackest of Rebecca Black Metal Fridays

It's Black Friday! So obviously Rebecca had to come out and play. While true black metal tradition would require this blackest of black metal Fridays to feature something like Varg Vikernes, Emperor or Darkthrone, they'll just have to wait their turn, and make way for this talented group of musicians.

Day 77

Agalloch - Marrow of the Spirit

Band Origin: Portland, Oregon, USA

Genre: Black Metal / Folk Metal / Post-metal

Label: Profound Lore

Running Time: 65 minutes

Release Date: November 23, 2010

Best Part: Black Lake Nidstång is a classic example of a long-form epic track, clocking in at over 17 minutes. It also features some of the band's best ambient work, and ends in true Agalloch fashion.

Favorite Tracks: Black Lake Nidstång, Into the Painted Grey, Ghosts of Midwinter Fires, The Watcher's Monolith, and To Drown

Grade: 5

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Marrow of the Spirit in way more than 20 words or less:

The first full-length release by the band in four years also marks a return to its traditional roots, with a completely vintage style recording process which adds just the right texture to its abundance of style.

The Band:

Agalloch is a four piece metal band from Portland which has always incorporated elements of black metal, folk and doom into their compositions, including later influences in the form of more post-metal oriented tones. The band was formed in 1995 by vocalist, guitarist and drummer John Haughm and former keyboardist Shane Breyer whom began recording material for an early demo tape. Guitarist Don Anderson would join the duo in later into the recording process, and bassist Jason William Walton also joined shortly after the final product, creating the bands first official lineup. Breyer would leave the group in 1998 because of a lack of interest in music, and until 2004 no other lineup changes would occur until drummer Chris Greene would join the band, to be later replaced by Aesop Dekker in 2007. Agalloch has released four EP's and four full-length records, each with the own twists and shifts in composition and style, all the while keeping true to their folk and black metal roots.  

Agalloch's previous releases include: Pale Folklore (1999), Of Stone, Wind and Pillor EP (2001), The Mantle (2002), Tomorrow Will Never Come EP (2003), The Grey EP (2004), Ashes Against the Grain (2006), and The White EP (2008) 

Jay's Take on Marrow of the Spirit:

Admittedly, I had only run into Agalloch relatively late into their career, but their discovery after being featured as #1 on Hellbound's Top 20 albums of 2010 has been nothing but a boon, in the sense that their music has been some of the most refreshing to listen to amidst a plethora of artists that I've had the the chance to both discover and enjoy. Marrow of the Spirit is a very special record in that regard because it takes everything that the band itself has been about and brings it back to its fundamental roots. John Haughm stated upon its release that the band was looking to create an album that sounded more alive, more real, and felt more organic than their previous recording which they felt sounded too mechanized. It is for that reason that Marrow of the Spirit was recorded using vintage, analog equipment, giving it a more old school vibe and unpolished texture. If this sounds at all familiar, it's a technique that is also used by other bands such as Wolves In The Throne Room. The album was the bands first full-length record in four years, and is the first to feature newest drummer Aesop Dekker, who also tracked drums for their previous EP The White. Marrow of the Spirit includes some great instrumentation outside of the skill set of Haughm, Anderson, Walton and Dekker. Guest musicians provided much of the ambiance and subtle intricacies of the album, including Jackie Perez Gratz's cello work most notably on the intro track They Escaped the Weight of Darkness, Jeffrey Neblock of Vindensång who provided the field recordings for the record and piano on The Watcher's Monolith, Nathan Carson of Sunn-O))) on keys, vibraphone and glockenspiel on the 17 minute epic Black Lake Niðstång, and Veleda Thorsson's petrified bone, glass and metal sheet percussion work on the closing track To Drown.

Sample of the Day:

Two-fer today, of course. There was no way I could not include the 17 minute epic Black Lake Nidstång from the samples.

 



- J

365 Days of Metal: A Doom Ridden Catharsis

I realize I haven't been quite consistent of late. I did not lie when I said this will continue, it may just be in bursts, so don't frown if there's no updates for a few days - or a week.

Day 76 

Vallenfyre - A Fragile King

Band Origin: Halifax, West Yorkshire, England

Genre: Death / Doom

Label: Century Media Records

Running Time: 42 minutes

Release Date: October 31, 2011

Best Part: Despite the tragic inspiration for this record, for this band, the outcome is for lack of a better term, cathartic.

Favorite Tracks: Desecration, My Black Siberia, Cathedrals of Dread, The Divine Have Fled, and Seeds

Grade: 4.5

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A Fragile King in way more than 20 words or less:

The first full-length release of Gregor Mackintosh's side project, conceived as a form of catharsis for the loss of his father delivers a dark, classic death and doom metal experience where heaviness abounds.

The Band:

Vallenfyre is a five piece death metal band from the UK which was conceived by Gregor Mackintosh, lead guitarist and founding member of Paradise Lost. Inspired by the loss of his father, Mackintosh sought to channel his grief into something constructive, something originally meant to not be heard by anyone else. Going back to his roots in death metal, doom and crust he grew to enjoy the work and wished to invite friends along to make it an even more enjoyable experience - Vallenfyre was born, joined by fellow Paradise Lost drummer Adrian Erlandsson, guitarists Hamish Glencross of My Dying Bride and personal friend Mully, and bassist Scoot of Doom.

Vallenfyre also released an EP entitled Desecration in early 2011.

Jay's Take on A Fragile King: 

It's often the case that it's much easier to get 'into' a record if you're in the same state of mind as the artist(s) who created it. Or at the least have an understanding of the reasoning behind their choices of style, lyricism, instrumentation, etc. Vallenfyre is a necessary creation that spawned from the feelings of grief and self-destruction of a man that had lost the most important figure in his life - who had given him the tools to his future career and enjoyment of the musical arts. It's fore that reason, that sentiment of loss, that tragedy, that A Fragile King is as poignant as it is. It goes back to Mackintosh's roots and incorporates the very styles he grew to love into one dark, heavy and illuminating experience. A Fragile King is not a record about sunshine, happiness and rainbows - it is very dark, and features some very dingy feeling and sounding guitar work, which is what makes it work. The record was not only created from his love of early extreme music, but it is an homage to the man that inspired him, and to the trials he faced following his passing. A Fragile King is a record that brings you in touch with the core inspirations of the artist, which is what makes it all the more enjoyable - in spite of its innate doom ridden nature.

Sample of the Day:



- J

365 Days of Metal: Danish Thrash-abilly

Day 75

Volbeat - Beyond Hell / Above Heaven

Band Origin: Copenhagen, Denmark

Genre: Heavy Metal / Rockabilly / Punk

Label: Vertigo / Universal

Running Time: 51 minutes

Release Date: September 10, 2010

Best Part: The thrash inspired tracks Who They Are, and Evelyn.

Favorite Tracks: Evelyn, Who They Are, The Mirror and The Ripper, A Warrior's Call, and 16 Dollars

Grade: 4.5

Side Note: Despite the genre arguments, the track below is the swing vote that made me put this up today. Mark fucking Greenway.

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Beyond Hell / Above Heaven in way more than 20 words or less:

While this band from Denmark may not stick to certain puritans definition of heavy metal, they have enough of it laced in their mixed bag of genres to keep you on your toes.

The Band:

Volbeat is a four piece heavy metal / hard rock band from Denmark that play a style of music that is hard to narrow down to one specific genre. Their sound is inspired from a number of genres and artists from heavy metal, rockabilly, blues and punk rock. To try and classify Volbeat by one specific genre or yet even try to define them under one specific track would be nigh-impossible, as their style shifts from song to song, with songs that dabble between the blues driven spectrum of rock and roll as far as thrash and groove metal inspired, hard charging and heavy renditions. The one element of the band that can be said to distinguish them is the vocal work of vocalist and guitarist Michael Poulsen.

Volbeat's previous releases include: The Strength / The Sound / The Songs (2005), Rock the Rebel / Metal the Devil (2007), and Guitar Gangsters & Cadillac Blood (2008)

Jay's Take on Beyond Hell / Above Heaven: 

I debated for a while to put a Volbeat album up on 365 Days of Metal mainly because of how certain people may distinguish the band in terms of genre. More specifically, their primary use of less metal-centric genres would be the issue of debate. Beyond Hell / Above Heaven however is probably a good example of a record where you get prime examples for the type of range the band has in its use of styles, and also their incorporation of heavy metal into their music. Tracks like Who They Are and Evelyn are stand outs in this regard, as they are thrash metal inspired and metal to the core. Evelyn also has the fortune of being graced by the harsh vocals of Mark Greenway of Napalm Death, making it an instant fucking win, in my book. Beyond Hell / Above Heaven is just a fun record to listen to, as I'm a constant fan of all of their associated genres, to have a band that can easily jump between blues, rockabilly, punk rock, and of course metal makes for an enjoyable listen whenever you're in the mood for a slight change in pace. Poulsen's voice, which is superb in its own right is made better by his ability to represent each genres vocal style appropriately from track to track, making listening to each track fresh and interesting. Jon Larsen's drum work even from the least metal inspired track is still distinctly the work of a heavy metal and punk inspired drummer, something that bridges the genre gaps yet again for me.

Sample of the Day:



- J

365 Days of Metal: An Ode to Homosapiens

Day 74

Cynic - Carbon-Based Anatomy EP

Band Origin: Miami, Florida, USA

Genre: Progressive Death Metal / Jazz Fusion

Label: Season of Mist

Running Time: 23 minutes

Release Date: November 11, 2011

Best Part: The ambient sections are short but sweet.

Favorite Tracks: Carbon-Based Anatomy, Box Up My Bones, Elves Beam Out, and Amidst the Coals

Grade: 4.5

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Carbon Based Anatomy in 20ish words or less:

A stylistic shift for this highly influential progressive death metal band has them exploring the more ambient and melodic sides of their progressive nature.

The Band:

Cynic is a progressive metal band from Miami that at various stages over the past 20 years has created music that blends technical death metal, with hints of alternative rock and a heavy dose of jazz fusion. Cynic was formed originally in 1987, eventually splitting up in 1994 after the release of their highly influential debut record. Cynic would reformed in 2006 with original vocalist/guitarist Paul Masvidal and drummer Sean Reinert, recording their first album in over 15 years in 2008, with the help of original bassist Sean Malone who has contributed the bass and Chapman stick tracking for every Cynic release, including their most recent EP. Cynic are currently working on their third full-length album due in 2012.

Cynic's previous releases include: Focus (1993), Traced in Air (2008) and Re-Traced EP (2010)

Jay's Take on Carbon Based Anatomy: 

Carbon Based Anatomy is the first recording by Cynic since guitarist Tymon Kruidenier and bassist Robin Zielhorst left the band, leaving the guitar recording of the group in the hands of Masvidal. It also represents a distinct take-off for the band, as half of the EP is comprised of short and ambient tracks which when looking back at their previous work is rather unheard of - but a pleasant twist nonetheless. Where Cynic has always been known as very technical, and a progressive death metal band, Carbon Based Anatomy keeps their progressive mindedness but heads into a calmer, more ambient and melodic direction. The music has a much larger emphasis on emotion as a result, and it begs the question as to whether this will be the new direction for their third full-length release which they've announced is coming in the next year. Still, I'm reminded this is just an EP, and also did not include a full compliment, missing a proper rhythm or lead guitarist in the recording stage. Both of Cynic's first two albums were masterpieces, with their debut Focus remaining one of the more influential records of its genre and time, giving credence and inspiration to bands such as Between the Buried and Me and Veil of Maya, to whom which their band name is credited; Veil of Maya being the opening track on Focus. The bands members are equally as renowned, as Masvidal and Reinert were recruited by Death for the recording of the album Human. Sean Malone has also pursued a successful career as an author and leader of the band Gordian Knot which has included a who's who of musicians which includes members of Cynic, John Myung of Dream Theatre, Steve Hackett of Genesis, Ron Jarzombek from Watchtower and many others.

Sample of the Day:



- J

365 Days of Metal: The Discovery Music Channel

Day 73

Born of Osiris - The Discovery

Band Origin: Chicago, Illinois, USA

Genre: Progressive Death Metal / Metalcore

Label: Sumerian Records

Running Time: 53 minutes

Release Date: March 22, 2011

Best Part: There are a real range of movements and technical points that stand out through the entire record. But their final three tracks (Regenerate, XIV and Behold) flow together perfectly, with an instrumental interlude (XIV) that has a fabulous sweeping guitar solo that carries into the final track of the record.

Favorite Tracks: Regenerate, Dissimulation, Follow the Signs, Recreate, Shaping the Masterpiece, and Behold

Grade: 5

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The Discovery in 20ish words or less:

BoO's third full-length record is a remarkable step forward from their sophomore release, featuring a broader range of sound, technique and instrumentation - by far their best yet.

The Band:

Born of Osiris is a six piece metal outfit from Chicago that has always sought to expand their boundaries throughout their musical evolution in the industry. In their formative years, and also while known under the name Rosecrance their sound teetered more towards a breakdown focused technical metalcore sound, which was very evident on their debut EP released through Sumerian Records. Their first full-length record showcased the rising development of the band into the progressive death metal avenue of sound. Their most recent release has solidified their status as one of the forerunners in their respective class, with the incorporation of new techniques, instrumentation and composition work - the band continues to evolve their sound with each passing release.

Born of Osiris' previous releases include: Rosecrance EP (2006), The New Reign EP (2007), and A Higher Place (2009)

Jay's Take on The Discovery: 

A Higher Place showed a clear level of musical evolution fro Born of Osiris when you compare it to their EP The New Reign. Not to take anything away from that EP, it was heavy, driven, features some great tracks and Born of Osiris classics, which are mainstay at their live performances. Where a near omnipresent focus on polyrhythms and breakdowns, with timely synth interludes, and strong growls on the part of Ronnie Canizaro was present in The New Reign, A Higher Place turned the technical gauge up to a new level. A Higher Place drove away from the breakdown centric feeling of their past releases and added in a large focus on the rest of the bands instrumentation, but also more noticeably towards the keys, effects and the back-up vocals of Joe Buras. Buras' presence on keys and backing vocals was much more prominent, adding just the right type of ambiance to an album chock full of elegant guitar work and drumming.  

The Discovery is a direct result of the steps forward that the band took with A Higher Place and features yet another step up in musical evolution for the group. Throwing in eight-string guitars for the first time in their history, the band added gamut of sound to their already dynamic range. Cameron Losch's drumming work is superb and technical, filling out the background and enveloping the many layers of sound that the band pushes forward. Buras returns with another leading role in the band next to Canizaro, his work on keys and synths is heavily present on the entire record, from its most heaviest points to its most serene interludes, and his backing vocals take on almost a co-leading role with their well placed presence. The transition work on the album is really great, with no awkward trips between the high paced and technical sections of the record and the more melodic passages. The Discovery was an early forerunner for a spot in many individuals lists of records for the year, as it displays a clear evolution in the groups musical ability, and is by far their best work to date.

Sample of the Day:



- J

365 Days of Metal: We Are But Animals

Day 72

Animals As Leaders - Weightless

Band Origin: Washington D.C., USA

Genre: Instrumental / Experimental / Progressive

Label: Prosthetic Records

Running Time: 46 minutes

Release Date: November 4, 2011

Best Part: The ridiculously fluid guitar sweeps and grooviness of Tosin Abasi and company return, en masse. Oh and the track To Lead You To An Overwhelming Question deserves special attention.

Favorite Tracks: Cylindrical Sea, To Lead You To An Overwhelming Question, Odessa, An Infinite Regression, and Weightless

Grade: 5

Side Note: May take a couple of loops to fully sink in - but Weightless is that good. Surefire contender for record of the year on many critics shortlists - guaranteed.

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Weightless in 20ish words or less:

For arguments sake, Weightless is AAL's true debut, as it captures the creative energy, flair and style of its members and steps it up a notch in both composition and grooviness.

The Band:

Animals as Leaders is an instrumental trio from Washington D.C. that pushes the envelope on experimental and progressive metal. Originally the brain child of guitarist Tosin Abasi, who was approached for a solo-record deal by Prosthetic records following the dissolution of his original group Reflux. Abasi originally declined the offer, choosing to enroll at the Atlanta Institute of Music to aid with the creative elements of music composition. Eventually deciding to take the label up on their offer the debut album was conceived and the guitar and bass work handled solely by Abasi, while effects and drums were provided by friend and co-producer Misha Mansoor of Periphery. Adding in fellow 8-string guitarist Javier Reyes and later drummer Navene Koperweis, Animals as Leaders began touring on the Summer Slaughter Tour in 2010, and opening for well known metal acts worldwide, including their most recent tour in support of Between the Buried and Me this fall in Europe and again currently in North America.

Animals and Leader's first album was their self-titled release from 2009.

Jay's Take on Weightless:

The record created by Tosin Abasi back in 2009 that would give birth to Animals as Leaders was for lack of a better term, phenomenal. It featured highly technical guitar work, with ridiculously melodious sweeps and copious amounts of shredding and djenting. It was one of the grooviest and most outlandish instrumental debut records that I had heard at that moment in time. Getting to see the band live as one of the opening acts at Summer Slaughter in 2010 was a treat in itself, as the band which belonged clearly to a completely different style of music as the remainder of the bill, provided a clinic that roused even the most dedicated death metal enthusiasts that showed up to the venue. To say the self-titled album focused solely on heavy grooves and fast paced technical shredwork would undercut the value of the record. Weightless takes a slightly different direction, the grooves are still present, the technical guitar work is present and accounted for, but there is more focus on effects and arrangements. I say arrangements because Weightless for sake of argument really is the actual debut record for the band, if you consider Animals as Leaders to be a solo record, which it essentially was. Weightless gives off the feeling that it was composed, constructed and played by a well oiled machine, rather than a one-man wonder. The rhythm guitar and leads play into each other flawlessly, and create a real gamut of sounds, while Koperweis' percussion work and sound engineering fill out the remainder of the background that makes Weightless a truly inspired composition.

As I mentioned, in comparison to the original 'debut', Weightless is decidedly different, more subdued overall but is a step in the right direction, as it showcases the evolution of the band as a whole. If this is the debut record that the trio created as they only began to get their creative juices flowing, just imagine the future possibilities.

Sample of the Day:



- J

365 Days of Metal: WTF Wednesday, Structural Collapse

Day 71

Structures - Divided By

Band Origin: Toronto, Ontario, Canada

Genre: Metalcore / Progressive

Label: Sumerian Records

Running Time: 33 minutes

Release Date: October 24, 2011

Best Worst Part: The part where my headphones exploded (not literally), 45 seconds into the record.

Favorite Tracks: Encounter..., Clockwork, In Pursuit Of, and /

Grade: 2

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Divided By in 20ish words or less:

Their self released EP was heavy as fuck, technical and memorable for all the right reasons. Divided By is memorable - but for all the wrong reasons.

The Band:

Structures is a five piece metal band from Toronto who provide high-energy and heavy as fuck performances with their blend of hardcore and progressive metal. After self-releasing a highly memorable EP in early 2010, touring excessively and garnering a strong following in both the Canadian music scene and abroad, the band was eventually signed on to Sumerian Records in June of 2011, leading to the announcement of the release of their future debut record to come in the fall.

Structures previous release was their EP All of the Above which was released April 6, 2010.

Jay's Take on Divided By: 

Structures EP All of the Above was a great self-released effort when I first got my hands on it - and also got to witness the performance live, on more than one occasion. I had reasonably good expectations for Divided By as the band had managed to do a good job of impressing me in the past, which is why I feel equally torn by what's coming next. I'll get one thing out of the way, Structures are great live performers and clearly have talent - the album does feature some good grooves and composition work but the problem is it gets jumbled in the loudness of the album. The end result is an album with a high level of potential, that instead sounds like a fuzzy, overamplified mess. 

For a great rundown on the primary gripe that many people have with Divided By, I encourage you to read the article JR posted on Heavy Blog is Heavy on October 25th, on the topic of Structures new album. I read this the day it landed on the page and it honestly didn't give me a good feeling going forward towards my eventual first run of the album, which I only got around to purchasing after my long Halloween/Graduation weekend.

Sumerian are known for generally having a generally high level of production quality with their records, just take any of their more recent releases as examples: e.g. Betraying The Martyrs, Born of Osiris, or even something from last year Veil of Maya's [id]. There has been no problem in the past with heavy bands losing any points in the production quality department - Divided By is the odd man out. The album is unbearably loud during its heaviest moments, with breakdowns and bass drops sounding as if they came from the cutting room floor of tracking a brutal deathcore album. I've listened through the album four to five times, but listening to it in one sitting with headphones is a chore, especially without readjusting the volume and equalizer just to make sure I don't blow my own head off. 

I have to agree wholeheartedly with JR on this one - Divided By sounds terrible and is definitely the worst produced album I've heard from this year - which is a damned shame.

Sample of the Day:

Here's the re-recorded album version of the track In Pursuit Of which was on All of the Above. Be warned, the final minute pushes the limits of overamplified fuzziness. And below, the self-released EP version of the same track. Judge for yourselves.







- J

365 Days of Metal: Turn Up The Volume

Day 70

Volumes - Via

Band Origin: Los Angeles, California, USA

Genre: Groove Metal / Metalcore / Progressive

Label: Mediaskare Records

Running Time: 50 minutes

Release Date: September 27, 2011

Best Part: Dat groove - it's everywhere. The return of Wormholes and Intake, and of course The Columbian Faction.

Favorite Tracks: Intake, The Columbian Faction, Wormholes, Serenity, Edge of the Earth, and Affirmation of Ascension

Grade: 5

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Via in 20ish words or less:

The debut record from this heavy, groovy and technical outfit from LA takes the core from their first EP and adds on another layer of style and groove.

The Band:

Volumes is a five piece metal outfit out of Los Angeles that takes their core of groove metal and fuses it together with elements of technical and experimental metal, and hardcore. Their sound can be best described as a layering of different styles, as each member comes from different musical backgrounds - whether it be jazz, post-rock, rap or metal. Their use of dual vocalists also creates yet another layer on top of their groovy, technical and heavy approach. The band was signed to Mediaskare records in late 2010 and simultaneously released their debut EP in November, garnering a sizable amount of attention, opting to head straight to the studio to record their debut LP for release this year.

Volumes previous release was their EP The Concept of Dreaming released in 2010.

Jay's Take on Via:

The Concept of Dreaming was one of my favorite EP's from last year, from yet another band that I had discovered from relative obscurity, but also with a little help from my delving into the 'djent' movement. Via is simply put a great continuation and step forward for the band, who have taken the same approach as with their EP and built upon it, creating one of the grooviest and inspired records of the year. The layered dual vocals was one of the factors that stuck out most for me when I first encountered the band. While dual vocalists are far from a rarity, it's not a trait that all bands are able to execute to its fullest potential, something that Volumes has no problem doing. It adds an extra dimension to a band that incorporates an already interesting layering of styles, that includes bone crushing grooves, melodic clean guitar passages and technical riffage, with just the right smattering of effects and keyboard thrown in at every turn. The transition work throughout the album is also tight, and where required seamless, such as between the instrumental interlude Reversion and the track Serenity. And returning from The Concept of Dreaming are the re-recorded tracks Wormholes and Intake which are a very welcome addition to the 10 new tracks by the band, adding a fresh helping of nostalgia for fans.

Sample of the Day:

Two-fer Tuesday! 





- J

365 Days of Metal: Going In Circles

Okay, so I kind of lied when I said 365 Days of Metal would be back last week after my long Graduation / Halloween weekend. But I wasn't fibbing when I said I truly do enjoy giving the few people who read this crap, something to check out every other day, at the least.

So hopefully the little hiatus, caused by being extremely busy and simultaneously lazy, will be the last one for a little while. Time to get this Metal Monstrosity back chugg-a-lug-lugging along.

Day 69 

Russian Circles - Empros

Band Origin: Chicago, Illinois, USA

Genre: Post Metal / Instrumental

Label: Sargent House

Running Time: 41 minutes

Release Date: October 25, 2011

Best Part: The intro track 309 really sets the tone for the record, echoing back to the core of their last record and pushing the focus on their instrumental movements to the next stage

Favorite Tracks: 309, Mlàdek, Schipol, Atackla, Batu, and Praise Be Man - (Yeah, that's the whole record)

Grade: 5

Side Note: I'm starting to feel like Post-metal is quickly becoming my favorite metal sub-genre.

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Empros in 20ish words or less:

The fourth full-length release of this instrumental trio forgoes a small portion of its slow building heaviness, for a more direct and equally as looming performance.

The Band:

Russian Circles is a three member post-metal band from Chicago who's musical focus is on evocative instrumental movements, that range between slow laboring build-ups, heavy discordant charges and serene melodic sections. The extensive use of samples and looping allows the band to create sweeping movements that draw you in and create a vibrant, or even murky atmosphere, primarily because of their bass driven attitude. This also allows for the band to create unique and powerful live sets when covering their material in front of an audience.

Russian Circle's previous releases include: Enter (2006), Station (2008), and Geneva (2009) 

Jay's Take on Empros:

Geneva, the bands third release had a similar flow throughout many of its tracks, with a focus on a slower build-up into something more powerful, fierce, or even eerily calm. It's something that worked greatly for them, as Geneva is one of my favorite post-metal records in recent years - so when Empros was announced to be released this year, I was excited for new material from the group. Empros has a larger focus on the bands use of movements that sweep across their range of sound, where for a few minutes you're riding a roller coaster of heavy, bass driven sound, and the next you find yourself in a calm interlude of lightly played ambient guitar - and then you get thrown back into the fray. The idea for Empros was to get away from some of the old pattern and to make a record more similar to their live sets, which focus on an equal use of quiet, melodic interludes and heavy discordant bridges. While the majority of the instrumentation is from Brian Cook's bass, Mike Sullivan's guitar and Dave Turncrantz's drum work, a special note goes to the injection of cello, and accordion by Phil Karnats, providing some great bridge work between tracks, and their timely use throughout the album. Empros is a record you have to check out if you're into post-metal/rock and instrumental music in general - it's incredibly well produced and will definitely earn its share of mileage on your stereos.

Sample of the Day:



- J