EXOPLANET

'Exoplanet' - The Contortionist (8/10)

Metal has always been a type of music where a little bending of the rules is encouraged, and with that in mind, many talented young acts have been taking advantage of the style to express themselves in new heavy ways. Enter The Contortionist, a five piece progressive metal act that carries that somewhat stigmatic label of 'deathcore' around with them, but as one can hear on their debut full-length record 'Exoplanet', there is much more going on to them than the label implies. Contrasting claustrophobic technical death metal with wonderfully atmospheric jazz and post-rock moments, 'Exoplanet' is a futuristic dive into metal that showcases the skill of some promising young talent.

Many of the younger bands have been attracted to the breakdown-heavy and crushing sounds of deathcore, but to be entirely honest, few are able to pull off the sound with intelligence or taste. The Contortionist is certainly a heavy act by all accounts, but as virtually every track on this debut indicates, there is more going on to them than mere metal riffage. 'Primal Directive' and 'Flourish' both start out as fairly straightforward technical metal tracks, complete with blistering drums and guitars, and fairly generic growls. As the music goes on though, the band is common to shift into lighter, melodic sections. This is where the great strength of 'Exoplanet' lies; in the atmospheric beauty moments where they take it down a notch and contrast their typically heavy metal sound. This is not to say that the metal aspect of The Contortionist is not tight however, just not as unexpected. The Contortionist is very technically complex, and during the most technical moments of their fury, it is often very difficult to predict where the band will head next, even if the sound revolves around the same guitar tones over the course of the record.

The Contortionist does contrast the heavy and light moments throughout the record, and at times, this can start feeling a little formulaic. Luckily, the melodic moments are so atmospheric, and the heavy parts are technical enough to keep the whole thing interesting to the end. The closest comparison or evident influence to the band's sound would actually be to Cynic, and while that influence certainly does not show in the band's necessary breakdowns and tech riffs, it is clear in the melodic moments, particularly in the way that a vocorder is used over the clean vocals. Overall, this gives the band a fairly futuristic sound to them that works well with the sci-fi lyrical themes they cover.

An excellent first full-length from this band, and while I'm not finding myself endeared to every sound that the band has to offer, there are incredible parts here that must be heard by progressive metal listeners.

Djent. As quickly as it entered the "metallisphere" (as I call it) with the rise of Meshuggah, people quickly realized that it's super boring and repetitive. But hey, at least the guitars sound cool? Does that count as progress?

Perhaps, but immediately djent focused bands had to refine their approach, and realized that they could alternate the signature "djent" power chords with more subtle guitar approaches, mix in some ambiance and clarity, and The Contortionist was one of the first to really break that mold and become of the first to rapidly gain attention in a more progressive metalcore environment.

And this album doesn't start off too bad. There's plenty of brutality for the heavy-set, but also a fair bit of singing as well as the contrasting "softer spots". Compared to their future albums, though, this album features the most screaming. Therefore, it may seem contradictory that this, their heaviest disc, might also be the most progressive? Hmm, not quite.

Personally, I like their second effort, "Intrinsic", most of all out their catalog so far. It's a pleasant enough balance between both heavy and soft, singing and screaming, hot vs cold tendencies. While "Exoplanet" is far from brilliant, it is fairly self explanatory in educating the un-educated on just what to expect when listening to this band.

Well to sum it up, it's essentially a brutal disc, occasionally behaving in a very rigid, almost technical way, before the occasional break in the sky and a sweet lull of singing and ambient guitar plucks save you from certain face-smashed doom. Beyond that descriptor, there's not really much more to say about this album (and quite honestly, this band).

I mean, if it's something you'd into from day one, congratulations, you might enjoy it. I still find (especially this disc) to be difficult to get into. The later two albums are more accessible, granted, but "Language" I think feels a bit lifeless, not in complete sell out mode, but almost in complete shut-down mode, and frankly, trying to explain this shift in their sound (so quickly, I might add, just a span of 4 years) is impossible even for me right now.

If you favor the brutal side, this is your album. If not, try "Intrinsic". If, however, you desire a more progressive metallic sound, but you want it to be very friendly and predictable, but also balance heavy and soft, then Skyharbor's "Guiding Lights" is for you (I've been stuck on them for weeks now). With radio friendly choruses but unconventional song structures, it shines where "Languages" tries, but in my opinion, fails.

The first Album from the Indiana based Djent metal band and ultimately one of their bests. Most of the songs are ultimately brutal,heavy and technical with some soft spots. It almost has the perfect mixture of growling and "softness", but the soft parts needed a boost. The guitars are technical, the bass is dirty and the drums is just "meh". They did take this hint, but their 2nd album "intrinsic" was less technical overall and had too much softness in it, while this album was near perfection in vocals. The best thing in this album was Exoplanet 1-3, intense progression, on point instrumental techniques and that perfect balance with the vocals. My only issue is that the self proclaimed album song series feels very different from the whole album, with way different song structure from the rest of the album. This isn't necessarily negative, but is just mildly interesting. Turns out some songs (Flourish, Primial Directive) and others were already pre written, while Exoplanet and the better songs in general were written recently to the album's release date. Overall this is a solid technical extreme djent album and is a must listen to all fans of progressive metal.

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.