Customer Reviews

In the Absence of Truth

5 star:		(28)
4 star:		(12)
3 star:		(9)
2 star:		(3)
1 star:		(1)

 

 

I was introduced to Isis with their last proper album, Panopticon. My appreciation of the prog- and post-metal practiced by the band and their colleagues is growing, though I found Panopticon to be high on atmosphere and very low on personality or humanity. That's an issue with these bands who choose to remain semi-anonymous, while concentrating on the power of the music, not to mention their own technical chops. But with this new album, Isis has eliminated that problem by adding more variety and dynamics to their sound, while keeping the sonic grandeur and creeping metallic dread that has made them the masters of their field. The basic Isis method remains the same - carefully constructing slow-burn atmospheres that then erupt into dramatic climaxes of heaviness, with very long songs passing through many different movements in the creation of stirring sonic power. Best of all, these strong and skillful metal musicians build true heaviness by insistently building layer upon layer of drama and dynamics.

A weakness for Isis is the tone-deaf and incomprehensible moaning of Aaron Turner, though this album does add some more variety in the vocal department, especially in "1,000 Shards" and "Holy Tears," and in any case the music is mostly instrumental, with the vocals only adding atmosphere at strategic moments. Speaking of atmosphere, the only misstep on this album is the short interlude "All Out of Time, All Into Space" which is nothing but a poorly-defined reset between larger compositions. But otherwise, with this album Isis have perfected their sonic architecture, with "Not in Rivers, But in Drops," "Dulcinea," and "Over Root and Thorn," in particular, slowly reaching mindblowing heights of power and grandeur. This sonically stirring and compelling album places Isis at the top of the post-metal heap. [~doomsdayer520~]

Enough of the Tool comparisons. Enough of the unfounded and under-explained reviews. Isis's new record is outstanding. If you are interested in Isis, this is the best place to start as the quiet parts are catchy and the heavy parts are crunchy and powerful. As for the fans, weather you like Panopticon or their older stuff, their is something here for you. Lots of it. Every instrument is represented equally and everything from their dynamics to their style has improved. Let's not forget that these have to be the coolest song titles to grace an album.

1. Wrists of Kings- Starts quietly and perfectly with a single note with a slight crescendo and then come the drums. Right from the start we can tell Harris has improved his drumming as he is all over the place with an interesting beat. From then on this slow build up happens for about two minutes and then, just when you think the distortion is coming, it cools down and we're left with a quiet guitar and big bass, both with great tone. Turner comes in with some of his new found quieter and melodic vocals. The song continues in this vein until the distortion and the long awaited and exciting climax kicks in. 9.5/10

2. Not in Rivers, but in Drops- This song doesn't waste any time. It starts with a sweet bass effect and a vicious drum beat and doesn't let up. Vocals here are in between quiet and intense, adding to the dynamics to the song. For a long time this intensity continues, adding layers of guitars and keys until the song's awesome bridge with a soaring and catchy guitar part. This song ends perfectly with a quiet and ambient outro which leads in to the next song perfectly. 9/10

3. Dulcinea- is the most accessible thing here, starting with a great bass hook (Jeff Caxide, to me, is the most interesting member as his bass parts are often the main attention and he has tasteful use of effects)and quiet and again melodic vocals. The layers and fills and effects in this song are all perfect and the structure is surprisingly good as well. After the quiet, almost verse-chorus type intro, the song goes into a short and heavy part before going into the first ambient part, the perfect guitar notes backed up by a tribal beat that works great. This is probably one of the best moments on the CD and the only thing bad about this song is the climax which could be a little more interesting but satisfies nonetheless with its heavy and melodic riffs. 10/10

4. Over Root and Thorn- Quieting down from the climax of Dulcinea, this song begins with quiet ambience and mysterious effects, quite like track one but without the relentless drums. This song creates great flow to this album even though it does take awhile to get going. Some weird bass notes that sound very strange start about 3 or 4 minutes in and carries the rest of the song until the heavy distortion suddenly kicks in. After this louder part, the song goes into a pretty bridge and slowly crescendos until the perfect transition into 1000 Shards. While not much on its own, it nevertheless helps great with album flow and experience. 8/10

5. 1000 Shards- This song begins with an awesome flourish of notes that perfectly blends with the last track. Everything about this song is enchantingly interesting and the riffage is extremely cool. From the bass effects to the awesome use of guitar layering and motifs, this song never gets old. Turner experiments with a bit of vocal effects here and they are very interesting. Two highlights here include the interlude with the wah sounding bass effect and the guitar/piano interlude soon after that sounds like wind and sets the mood for the climax of the song. It ends with a great transition into the only filler track here. 9.5/10

6. All out of Time, All into Space- Even the filler on this CD is extremely interesting. Upon careful listening, one can here the bustling of a subway and a flock of birds flying away that picks up after the muttered intro and then later a spacecraft launch. Filler 0/0

7. Holy Tears- Perfectly picks up from the three minute journey that was track 6 with a heavy and distorted intro. This pummeling intro slowly goes into a quiet and spoken part and then we are flung into the beginning riff, now with harsh vocals. After about a minute of this, we are flung into a perfect ambient part that lasts a majority of the rest of the song. The guitar layering here is absolutely spectacular and the bass here is perfect as well, always with perfect tone. The bridge from the ambient part to the climax has some of the most soaring and catchy distorted guitar work the band has and the rest of the song finishes with a pummeling of chords. Probably the second most accessible song here and one of the best. 10/10

8. Furdous E Bareen- Begins with muted drums that is experimental and extremely interesting. The song sounds very electronic and experimental. They even use an acoustic guitar on this song and about halfway through a giant bass line comes in and carries the rest of the song. Guitar layering in this song again is amazing and the drums are always intriguing. I believe this song title is something like a different language for Hassan-I-Sabbah who provides the quote in this album's booklet, "Nothing is True, Everything is Permitted." 9/10

9. Garden of Light- This final epic begins with the riff from Maritime on Oceanic, but in a different key and time signature (I think). This song is nothing short of amazing from the layering of the guitar to the drum beat. Even the heavy parts in the beginning of the song add to the experience. Tension builds steadily until a little more than halfway through until things quiet down and the only thing left are the drums which form a steady beat and foundation for the final 3 minutes, the best minutes of the album. The guitar motif here is perfect, always being added upon and backed by two other guitars and a big bass line. The climax climbs and climbs and one could truly lose their selves in the majesty of it. After the final wailing of the climax, a quiet outro ensues and the song ends in the best and most perfect way possible. This is truly the best finish to any album I have heard. 10/10

Everything about this CD is amazing. From the quiet and perfect build of Wrists of Kings to the perfect ending of Garden of Light, from the pummeling interludes and climaxes of Not in Rivers but in Drops, Dulcinea and Holy Tears to the quiet glue and beauty of Over Root and Thorn and All out of Time, All into Space which holds the album together and the experimental tracks like 1000 Shards and Furdous E Bareen, this CD is one for the ages.

Isis is a mysterioso group that usually needs at least seven minutes to put a song on "slow boil." This makes them a challenge to describe to someone who's never heard the group before; saying they're a bit like Opeth or Tool is only semi-accurate and not really helpful. And they're certainly not the kind of band that you can play a song from and then say, "See?"

Isis is an original and intense group. It may take repeated exposures for them to get under your skin, but once they "take," no inoculation will get them back out. And that's a good thing.

SIDELIGHT: Apparently, their long songs beget long reviews... sheesh, look at the Isis fans wax eloquent!

What started as a sort of metal-tinged, Neurosis loving juggernaut, has quietly become one of post-rock/metal's most impressive, and yet overlooked bands. How many magazine articles or online editorials have you read detailing how innovative and talented Isis was? Probably many if you've come across them. It's no surprise though. These guys just have a nact for making great music. Isis is one of the few bands which can create such dynamic atmospheres. Heavy moments can instantly blend into soft melodic parts, and vice versa. Listening to a song is like taking a journey that has all kinds of twists and turns. You may start out in one place that feels safe, but by the time you're at the end it's almost guaranteed you'll be somewhere far removed from where you began. Patience is always a vitrue when listening, and if you have a severe case of ADD or a short attention span, then you'd do best to direct yourself elsewhere. Let the journey begin!

With Isis there is always an attention to detail, and a staggering sense of suspense. The opener "Wrists Of Kings" begins with soft drum beats, accented by miscellaneous guitar strums for over three minutes, the entire time building up a serene, and yet percussive atmosphere. When Aaron begins crooning, the song begins to slowly take shape. Very slowly. The suspense continues further onwards, until at almost the 6:30 mark, the music becomes jagged and Aaron unleashes his feverish growl. Chances are if you love Isis, this is exactly the kind of musicianship you expect and crave. The outro, full of double bass drumming, wild guitar dynamics and powerful screams is truly one of the best moments of the song. And this is only the first track? If you've felt worn out by that, then don't even bother tackling the rest of the disc, because it is no less challenging.

Aaron has chosen to focus a lot more on his melodic vocals for "In The Absence of Truth". However since most of the sharp, metallic edge from their "Celestial" days has been shed in favor of a more ambient rock feeling, this style is entirely suitable. The delicate calls that open up "Not In Rivers, But In Drops" and "1,000 Shards" wouldn't sound right any other way. This isn't to say that Aaron has totally ditched his trademark yell. Like I referenced about the first track above, he lets loose his venomous screams in every single song. This is sure to keep the purists happy. Tracks like "Garden Of Light" and "Holy Tears" where he slips back and forth frequently are his highest points. While many have commented that Isis might be better off going simply the instrumental route, it's hard to imagine these songs not having these dynamic vocals. While instrumental music in this vein (Red Sparrows, Explosions in The Sky, Pelican) is enjoyable, without those vocals to accent the moods, some songs become lost in the shuffle. This is never the case with Isis, and Aaron Turner deserves a lot of recognition for the wonderful job he did with "In The Absence Of Truth."

The band backing him isn't too bad either. Michael Gallagher (along with Turner) seems to have no shortage of musical tricks in his bag. His attention to detail and melody during the softer parts is key to every song, and when the giant chords become jagged and dissonant throughout the tracks, he is always on top of it. With Bryant complimenting the two on bass, every guitar player in this band is adamantly equipped at creating wonderfully entrancing music. The drums are as always of the utmost importance. Songs like "Holy Tears" and "Garden of Light" do a great job of showing how Aaron Harris quietly creates a steady ground for the band to tread upon throughout the album. While you'd be hard pressed to find any outlandish solos, fills or rolls, the way in which the drums (along with every other instrument) is done is perfect.

Like most of Isis' output, "In The Absence Of Truth" sounds like it could have easily been one long epic. However having nine separate epics works just as well. It's guaranteed that no matter where you flip to on the disc, you're going to find something outstanding. "Wrists Of Kings," "1000 Shards" and the closer "Garden of Light" are my personal favorites, but I'd be hard stretched to tell you that anything on this record is not quality material. "Not In Rivers, But In Drops" and "Holy Tears" do a great job of contrasting Isis' heavy edge with their softer elements. "Over Root And Thorn" and "Firdous E Bareen" are centered highly on atmosphere and soft melody. Even the instrumental noise of "All Out Of Time, All Into Space" feels perfectly in place right in the center of the album. Listening from beginning to end is the best way to take in the cd, but that should almost be common knowledge to all Isis fans at this point.

"In The Absence of Truth" is probably the best record that Isis has released thus far in their career. While there's elements of their previous albums in here (mostly "Oceanic" and "Panopticon"), ITAOT does an excellent job of expanding the band's sound, and continuing to transcend all genres. Fans of post-rock/metal in the vein of Neurosis, Sigur Ros, Pelican or anything similar should definitely look into this album. Heck anyone who is a fan of entrancing and imaginative music should give this disc a listen. While Isis may not be the most accessible band in the world, they continue to prove they are one of the most innovative. A job well done.

I'm grateful to this band. After having discovered them 2 years after their previous 2004 release "Panopticon," exposure to their non-mainstream work came to me only after extensive circuits through local record and elecotronic stores. After little success on those fronts I was eager to purchase fresh material, since there was at least some certainty it would be more accessible, particularly after having opened for TOOL on their recent 10,000 Days tour.

If this does not lend to the non-mainstream nature (as undeserved as it may be) of this band then nothing can.

In the Absence of truth is, as of yet, Isis most successful recording, and that's saying a lot. Their previous two releases, "Oceanic" and 2004's "Panopticon" were two progressive experiments in blending heavily contrasting genres of sludge rock and ballad-like harmonies to create a haunting, devastating sound. A 4-guitar-and-drum setup is responsible for Isis ability to deliver its characteristic layered wall of guitar that can jar so quickly between clean melodies and deafening sludge. Mixing the two together does more than keep the listener on its toes; it gives the music a pulse as each song evolves into something other than what it was when it began.

While Isis evolution between Oceanic and Panopticon was remarkable, ITAOT is a sign that this trend was not an isolated event. From the first track, "Wrist of Kings," any previous Isis listener will be well aware within a few minutes that the percussion on ITAOT is remarkably more complex as opposed to their previous catalogue. This adds another dimension to the music as the percussion adds another voice that changes with the melody and the tredge created by the quadruple guitar onslaught. More foot pedal abuse creates a startling, thundering sound in many of the songs giving them a stormy, urgent effect that often accentuates the sludgy dispair Isis can unexpectedly throw you into.

Technically the album is a step up. "Dulcinea," the closest thing this album has to a single, is a prime example, as the album grows from a beginning ballad-like opening to a thundering, colossal conclusion. The guitar work sounds cleaner and crisper here, and this may be an improvement in production rather than anything the band has done. The guitar work also sounds more elaborate, striking, and complicated in contrast to the screaming, diving sustains prevalent in Panopticon. Worry not, guitar work such as this, which is arguably the lifeblood of this band, still exist on this album; just realize that the music features more diversity than Panopticon did.

Aaron Turner's vocals in Dulcinea seem to be an outreach to his critics; his voice is often much cleaner during melodic segments and less rough than before. He still dives into his guttoral screams and yells, overall however I think he's exemplifying a bit more range than before. Lets face it, Turner isn't the best vocalist out there and this contribution continues to play a backseat to Isis music as before, but it does sound improved from previous incantations.

If you are a fan of Isis, this is a no brainer. This is prog-metal/post-hardcore at its finest, and this is band continues to show with ITAOT is one of the foremost bands in the genre(s). If I had to pick only one album to buy this year, this would be it (And yes, I am a Tool fan).

Buy and enjoy!

I certainly had high expectations of this album, having been a big fan of Isis' last two releases, and having read a few reviews and comments suggesting that this was their most progressive and best effort yet.

Unfortunately, after giving it careful consideration as a fan (and listening to it several times), I have pretty much decided that while it is clearly superior to Isis' early efforts ("The Red Sea", "Celestial", etc.)it is also inferior to the previous two Isis albums, "Oceanic" and "Panopticon".

This album does present us with an even more experimental Isis, with a greater degree of complexity and creativity, but a noticeably more tranquil and sedate Isis, with far fewer bottom-heavy "metal" moments building to climactic peaks like you would expect from their previous work...this newer album seems all serene, spacey Twilight-Zone-meets-Pink Floyd valleys.

The problem with this approach lies in the fact that at times it seem listless and kind of boring. Usually Isis albums seem very dynamic and wave-like, because of the rhythmic, pulsing tension-and-release contrast of the rumbling alt-metal heaviness juxtaposed against sublime, eerie soundscapes. Without this effective and intense dynamic (which is something I had come to expect from them), their music almost seems new-agey, and at times nealy yawn-inducing. What moments of distortion remain seems compromised as well, placed low in the mix, effectively negating their impact (at least it seemed that way to me).

Still, a sub-par Isis album is still much better than the efforts of some of their imitators (Pelican comes to mind), and well worth checking out. It is a good value of an album, with long compositions and playtime. For those new to Isis, I think most would agree that "Oceanic" or "Panopticon" are both better places to start. If you love Isis, you probably already have this album, and it is a decent release.....just think of it as "Isis-lite".

I'm going to address two things in this review. One is the reason I'm writing it to begin with, and the second is something I shouldn't even waste my time on, but will anyway.

The album wasn't like their previous albums, and Aaron Turner has never been a "singer" in the truest sense of the word. Not keeping that in mind, some people are going to be disappointed.
However, once I listed to the album, I was pleased with how well it turned out. There isn't anything on here that's going to resemble what's found on Mosquito Control. What you are going to find are a collection of songs that display the eloquence and dynamic tendencies that Isis has been developing upon since unleashing Oceanic upon an unsuspecting metal market. Literally, from start to finish, you're going to be on a musical journey that plays out something like a religious experience with a well orchestrated blend of heavy guitars, prominent bass lines, electronics, tribal drums, and vocals that have the feel and sound of an instrument. The music remains well-layered and well-composed like their previous releases, but if anything, have come to sound more mature than what they've released in the past.
Bottom line: If you like Isis, underground metal with a brain, and/or Tool and aren't one of those brown-nosing kind of Tool fans, than you'll dig the CD.

Second part, I love how all these people come up on here and start with the Tool comparisons. It's funny to me because I remember 5 years ago when I first got into Isis, any time I'd mention the word Isis people automatically started telling me about how they're nothing but a Neurosis and/or Godflesh ripoff. At the time, while Neurosis and Godflesh were heavily influential to Isis's sound, Neurosis and Godflesh mastermind Justin Broadrick did a lot to help Isis gain recognition. Fast-forward to Isis relocating to California, where Justin Chancellor (and the rest of Tool) takes an interest in Isis, jams on a song with them on Panopticon, and then invites Isis to support them for their 10,000 Days tour. The way I see it, Isis's peers have shown to be influential upon them. At the same time, Isis continues to become further and further recognized within the music community and will probably start to entice some mainstream label offers much like Mastodon. Bands like Tool, Neurosis, and Jesu (Broadrick's current band) show interest in Isis because while we live in a world where the mainstream media would love nothing more than to shove all the other unit-shifting radio crap down our throats, Isis has not only shown influence by the musically relevant groups they've been associated with, but have also continued to show an alarming sense of originality which is one of the main reasons why they've earned (and deserve) a fan base to begin with.

Words cannot justify the brilliance of this record. From start to finish Isis has created a modern masterpiece of aural majesty. After "Panopticon" of 2004, I was somewhat skeptical that Isis could transcend or even match that effort. But at first listen of "In the Absence of Truth" it was obvious that they figured out how to create something different than previous efforts, yet remaining the heavy and sometimes enraged powerhouse that they are. Aside from the actual sound of this album being different than any other release, two things stuck out to me as a new addition to the band. Aaron Harris' drumming has vastly improved, as it should after touring with one of the most unique drummers in metal, Danny Carey. I actually noticed a similarity between the two while listening, but wasn't sure if it was just me, but after reading some reviews and seeing the same thing, it is apparent that Aaron has improved and is learning new styles. One thing that really capped the album off for me is a few times throughout you actually hear some monsterous double bassing and some almost blast beat type breakdowns. This coupled with some of the most vitriolic vocals Aaron Turner has done yet makes for some very intense moments. However, the biggest change on this album is the vocals from Aaron. There is still plenty of the trademark growls and screams, but singing actually dominates the album. Not the usual monotone moaning from "Panopticon" and "Oceanic", but actual singing. There is a major J.K. Broadrick influence here, sounding brilliantly soothing and calming while at the same time keeping the rough edge Isis loves. There are nine songs, only one of which less than about 7 minutes, and only two that have no lyrics, which there are more of on this album than on "Panopticon". The songs are all very similar, usually starting slow and melodic, then building and building until finally the only thing that can happen is a massive explosion of growls and screams and some extremely heavy instrumentation. Each song leaves you with a feeling of awe and closure. This is just about the best album. Buy this damn album.

Upon ending my first listen of this album, I was ready to give it a three star review (something I thought I would never have to do with Isis). Everything seemed watered down. The crushing groove-oriented heaviness seemed to be either missing or out of place, and for me, it ruined the 'Isis atmosphere'.

After the fourth listen everything finally fell into place. True, that looping, pulsing, groove that you heard on 'Oceanic' seems to be gone, and the complexity of 'Ponopticon' seems to be missing as well. What we need to understand is that Isis is never going to release the same album twice. They have at first glance 'softened' their sound, but it is done for a very noble cause. With this new 'softened' sound, Isis can fully expand on the dynamics they have been experimenting with throughout their career. The songs do a lot of building up, and letting out on 'In the Absence of Truth' wich really does make for an entertaining listen.

Overall this is a supurb release from an amazing band, and while it may not be quite as powerful as 'Oceanic' and 'Ponopticon', it is entertaining, and does deserve the couple of listens it takes to fully appreciate.

I've been a fan of Isis for about a year now, and I have to say that their previous three releases (in chronological order by release: Celestial, Oceanic, and Panopticon) have catapulted them to being within my current top ten favorite bands. Over those three releases they've gradually infused very soothing melodies and atmospheres in with sludgy, brutal heaviness, starting with Celestial and being refined and polished on Panopticon (Oceanic is the best and most "pivotal" piece of the three IMO). To me it seemed like Isis found their niche in the vanguard of this newfound "post-metal" scene, and I was very afraid that In The Absence Of Truth was simply going to be a rehash of the slow-tempo, ambiance-to-metal-and-back style of Panopticon.

Much to my delight, Isis have moved forward a bit on ITAOT. The overall tempo is quite a bit faster and the songs feel a lot more "kinetic". Where I found that in their previous efforts that songs "meandered" a lot (took a long time to build up, or didn't know where to finish), Isis are a lot more direct on ITAOT. Overall, many of the signature elements of Isis' sound remain (thank goodness), especially the entwining guitar melodies (up to 3 guitars in some places). While the album isn't nearly as heavy as its predecessors (see Celestial), Isis have opted from switching back and forth between heavy sections and melodic ambiance to successfully fusing the two together in a very slick combo. The transitions are much more flowing and sound less like the band "flipped a switch".

Where the album really picks up its "dynamics" or "kinetics" is from the drumming of Aaron Harris, who often employs a delicious high tempo "tribal" beat. Though his drumming is among the album's strengths, it is the source of most of the criticism of the album, mainly that it is too "samey" (he does seem to use the same beat for multiple songs) and that the album is close of kin to Tool (Harris's drumming is very close to that of Tool's, which may be a side effect of the two bands touring together earlier in the year).

Overall, I feel that In The Absence of Truth is a welcome shift (although not radical in the slightest) in Isis's sound, and lives up to their reputation of artistic prowess, containing in my opinion some of the band's greatest moments.