When Isis released Oceanic in 2002, the definition of metal began to blur for me personally. A majority of the release was obedient to the tradition of heaviness, but there was an unmistakable shift in sound and intent. Compositions at times were driven by clean and calming atmospheres rather than aggression. The band's following records solidified this subdued notion, nonetheless I still recognized that the emotion within the vocals and evolving dynamics were representational of metal. Even though I view albums like In the Absence of Truth or Wavering Radiant to share the commonalities of apples to oranges when side to side with thrash or deathcore releases, I still believe the music is deeply rooted in metal's foundation. While it isn't a perfect parallel, I reminisce on Isis' pivotal ability to redefine metal as I listen to this new group, The Living.
The San Francisco-based quartet formed in 2015 and consists of frontman Derek Barnes, guitarist Julian Balestrieri, bassist Jeremy Shepherd, and drummer Jason Zaru. Their self-titled debut reveals the band as one with an expansive range of influences such as shoegaze, post-rock, prog, metal, pop, and classic rock. I'm one to respect and enjoy releases that pride themselves on diversity, yet variety does not inherently warrant masterful art.
Opening track "Tied to the Bed" works for a couple reasons and is held back for a couple reasons as well. The riff repetition and emotional vocals allows for an alluring experience, but the immersion isn't in full effect due to the raw production and quirky dynamics. And honestly, this was the pros and cons I felt consistently throughout the first several tracks. "Delay," "Deceiver," and "No Love Gets Away" continued this vibe through their mish mash of shoegaze, post-rock, clean vocals, and occasional sludgy tones. Just when I felt the vocal melodies and stylistic experimentation almost hook me in, I came to terms with the understanding that there was something missing to fully grab me. Perhaps some synths, a big chorus, or some guitar tone manipulation would have done the trick. Just a little extra pizazz to allow these songs to come off as more wholesome.
However, as I was approaching the threshold of feeling an overall "meh" towards this group, the momentum that had slowly built began to pay off as they changed my mind with the remaining chunk of the record. I find it kinda strange that The Living held back on their stronger material for approximately twenty minutes. In the end though, I'm glad I waited it out because there are some special moments ahead. And before I black stamp the first four songs, I'll admit that there's commendable parts, comparable to Royal Thunder's recent couple albums, but altogether somewhat lacking.
In my opinion, it isn't until "Hot Breath" that the band executes their full potential. Sludgy riffs create a more captivating energy along with funky guitar noodling tastefully building up tension. "Corpse Pose" also shows The Living letting their hair down, blending shoegaze and sludge metal with more finesse. The album's closer, "Headless Pillow" is a lush, brooding anthem that is part post-rock, part stoner rock. Although I may be a tad biased towards favoring the band's heavier material, it seems they hold more substance.
At this point, I'm on the fence about this album. I really wish I could enjoy it front to back, yet certain aspects make it difficult to appreciate in its entirety. To be clear though, this record is far from disappointing as the tracks on the latter half of the disc provide powerful innovation and creativity. In an effort to bring it full circle, I think a decent amount of the material off The Living's self-titled debut in a way shows an effort to redefine the parameters of metal, alike how Isis was seamlessly able to throughout their career. Although this record may not have worked in all areas, the band's intentions to warp stereotypical traits of metal is a commendable feat.
Score: 7/10
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