EXOPLANET

Coming out of what I would assume then a fresh Progressive Deathcore movement, The Contortionist released their first LP (following two EPs), Exoplanet, in 2010. I was aware of Deathcore somewhat at the time (Whitechapel, Job For A Cowboy and Chelsea Grin most immediately coming to mind), and Metalcore moreso generally, what I would consider more or less its firm predecessor (bands that most popularly fit that bill, with some educational aid, i.e. Wikipedia, were A Day To Remember, Asking Alexandria and We Came As Romans). Though I was aware, it was moreso a set of genres that I associated with "Mall Goth" and Scene kids, and I was certainly much more interested in Alternative music at the time (that, and I enjoyed "Classic Rock" and still likely considered it a legitimate genre). My knowledge and appreciation of Progressive Death- and Metalcore came in my young adulthood (literally just a few years ago). The Contortionist's 2014 release (only 4 years after this?!), The Language, was my introduction to them, and already, less than half a decade following, they were then shedding their Deathcore roots.

"Primal Directive" is a massive introduction to this album. And full-force, full steam ahead, too! With booming rhythm section, Jonathan Carpenter (nice name) handles beefy, though shredded death growls and, like Mike Lessard to take his place on their aforementioned third, a soft, if not beautiful clean delivery (either underlaid or as lead vocal). This increases it's progressiveness, along with their somewhat interesting use of breakdown at the end. Interesting melodic riffs at the end are also, to me, very much signs of its time. This last point is equally true of "Flourish" next. Bright Metalcore riffage, but then during its verses this incredibly chunky delivery. Only in its slight rhythmic complexity is this of much interest until around 2 minutes in when all softens to a sort of twinkly Math Rock section [Not sure what else it would be...]. In what would become more and more primarily their style, this section strengthens and crescendos in a sort of Post Rock passage; then a return to the heaviness of the frontend (quite effective here, coming off of near-ambience).

Another sign of the times is the weird, robotic vocal intro to "Expire". The bass is pretty booming on this one. Perfectly strange breakdowns throughout. Very intense. We return to wonderful melody on "Contact". Growls coincide with clean vocal in what feels like a Cynic homage (I mean, not quite, but you'll get it). More interesting rhythms over slamming breakdown nearing minute 2. In 2010, I would consider this just ahead of the curve. Of course, we're always looking backwards in some way, no? Haunting industrial chimes close out the track, but... then "Advent" just begins however the hell it wants haha. Back into Deathcore beeves on this one, but with pretty, melodic trills, including what sounds like a mallet percussion instrument (well, ya know, it's keys). Beautiful Fusion-inspired bass playing on this too, all while Jonathan vocally does not let up... Such a great dichotomy. Phenomenal non-breakdown here around the midpoint. I suppose bridges do exist in Deathcore haha. Fantastic, wonderful and just plain awesome.

"Vessel" continues on into intensity and mayhem. Like, what on earth is going on around minute 2?! Just nuts. Is that vocoder not somehow an homage to Cynic?! Regardless, love it. Once again, in a very nice way, showing its age. Woah! This melodic line in the second half! Good God. A bit of neo-classical, no? And perhaps with this track, too, showing a love for BTBAM? Just a thought. All falls away, and what follows on "Oscillator" is anything but its likeness. And then... they do it all over again, but with a clear Post-Rock feel, and honestly, they lost me. I don't care for it so much. Still good? Sure! "Axiom" brings back a different ambience which we've heard only briefly before; an interlude of sorts? [No.] Would make sense, as it could usher in the three-part title track (three individual tracks, as you can see), but frankly it does not do that, and I find that to be a mark against it... [A lost opportunity in my mind.]

"Exoplanet I: Egress" feels at first almost like Indie Rock, and yes, of that time. Not in a bad way, but it is very different in tone from all that came before. Not mad at it, in the least. As the song progresses, this is perhaps the second time, too, where I felt there was a noticeable similarity to their contemporaries Scale The Summit (they had released two albums before this). Some of these riffs in the second half could very easily fit into The Language. "Exoplanet II: Void" is anything but a void in its boisterous, incessant drive. Huge song, featuring Tech Death pinch squeals and divebombs and gargantuan chording. Another favorite, as there's some major greatness in its sonic diversity (despite being consistently big). And finally, our third part, "Exoplanet III: Light". In a different sort of way than on "Axiom", its first half has a Fusion-esque softness that we haven't heard from them before. Lovely juxtaposition here. And as it dies down to silence, the middle reveals our most excellent Progressive Deathcore gods (to be?).

I actually am quite curious how this album was received back then, because now, over 10 years later, I (rightly) hear nothing but praise for it. Like I implied outright, it's deserved.