I’ve never had that feeling from Russian Circles, and it is for that reason that they are a fitting example of the movement: they feature both the good and the ill.
The trick is to balance the intellect and ambition with a fire.
The quiet bits are neatly arranged, and the band manages the crescendo well, but it feels a bit too thought-out, which is a big risk when you’re dealing with post-metal. The production is smooth, allowing the dynamics to flow, and bringing in some interesting keyboard textures. Take ‘Schiphol’. Empros is their fourth album, and by this point they were pretty damn sophisticated in their musical arrangements. Russian Circles are supposedly named for some ice hockey drill rather than anything arcane to do with the mysterious behaviour of the former Soviet Union. Cook was in noisecore legends Botch as a young lad, and after their demise helped form the scintillating noise-rock supremos These Arms Are Snakes, also now firmly shuffled off this mortal coil. I thought Brian Cook had always played bass for them. One of the mainstays of the post-metal scene, Russian Circles are a Chicago band apparently formed by members of defunct band Dakota/Dakota, one of whom was the bass player. Listen to the list’s highlights now on YouTube, Rdio and Spotify. The only guarantee is there will be some very long songs. Some attempts at justification will be made for a band or album’s inclusion. Some of the aforementioned will be on this list. As a result, you end up looking at 90s metal-that-isn’t-metal, like Helmet, Rollins Band, Swans or Fugazi. No sooner is a movement given a name, than people then have to look back to investigate what may have caused this. Once the material Relapse and Hydra Head were releasing started getting slower, more bass-heavy and abstract, the name post-metal came about: This is most likely due to the fact that post-rock, by that stage, inhabited a similar area, thanks to the likes of Mogwai, Godspeed You! Black Emperor and Lift To Experience loudening up what was once the domain of Tortoise, Labradford and Ui. Eventually, the time passed for noisecore, and those young intellectuals decided to slow it down, growing oddly tender at times. Between 19, bands like Botch, Kiss It Goodbye, Dillinger Escape Plan and Coalesce were twisting hardcore and metal into increasingly technical shapes, blurring the brutality with jazz, pop and, well, Gregorian chants. Noisecore was the culmination of the fast-and-complex style of thrash and metallic hardcore. We’re also starting the list in the 90s, so while Gore, early Swans and Godflesh and even Last Exit and Glenn Branca may be deserving, they won’t be on this particular list.Īround the time grime was evolving from garage – in the simplest terms – so too was post-metal emerging from noisecore. So we’ll be featuring nothing totally proggy, like Ayreon nor pure doom, like Electric Wizard nor your modern black metal fellows like Leviathan, Wolves in the Throne Room, or Velvet Cacoon, though their peaks certainly coincided with post-metal. The truth is post-metal takes in all of these elements without being entirely any one of them. And where do you draw the line between post-metal and doom, or modern black metal, or even prog?
But then, the best Neurosis albums don’t sound anything like the best offerings from Isis. If you ask the average underground metal head, they’ll tell you that post-metal is the stuff that sounds like Neurosis or Isis (the latter beating Anthrax into a cocked hat for the title of Band Most Ruined By Unrelated Terrorists, even if the rock group was rather long gone by the time Mosul fell). Music is often most interesting when you’re left wondering what the hell it is even supposed to be. As with the recent indie hip-hop list, the first thing we need to do is define what post-metal even is.Īs with most sub-genres of music, by the time people started accepting post-metal as a thing, time was running out for it.
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