Burst - Lazarus Bird

Burst has been moving slowly deeper into the genre, from what were crust/hardcore roots.  In Coveting Ways was their peak of layered, spacey, labyrinthine arrangements.  Origo should have cemented their leadership in the genre, but poorly arranged good cop/bad cop vocals and compressed production hurt its appeal.  Lazarus Bird fixes all that, it's their finest album yet.  The clean vocals now stand on their own, layered in their own right, and more tightly integrated than just a counterpoint to the heavier elements.  Linus' hardcore vocals have become more expressive as well, including growls, spoken passages, allowing the shouts to be more emotional, by not being so repetitive.  The songs from their myspace are still the standouts from the album, though Cripple God is enhanced by the end of Momentum - There are plenty of songs that waffle in abstract sounds for more than half their length before exploding back into metal territory.

IntrOnaut - Prehistoricisms

IntrOnaut's follow up to their well received (a 10 on Blabbermouth) Void was also released this Tuesday.  Where their previous efforts played on the progressive polyrhythms of the likes of Meshuggah, the previous spacey elements have now exploded into longer fusion-jazz in a completely metal aesthetic.  Unlike Cynic, or other prog/fusion metal bands who mix jazz sounds into metal, IntrOnaut just plays fusion like it's metal, never letting up the heavy.

Kylesa/Pinback

I closed out the week by seeing Kylesa at Mohawk.  Kind of an odd show, they were opening for Pinback.  Nonetheless, the first few rows of the crowd were full of older, tattooed dudes, rocking out.  The sound was a bit muddy, as you would expect for a sludge band with 2 drummers, but as the set got tighter, so did the sound.

Pinback was plagued by a multitude of issues.  The last time I saw them, shortly after Offcell, their fastest and most electric EP, they played all their songs twice as fast.  This time, at least their tempo was more level.  I really shouldn't expect a band formed by a bunch of studio musicians to be able to translate their flawless albums to a great live show.  The overlayed vocal and guitar harmonies comes across as rich and beautiful on their albums, but seem too much too fast, live.

Mohawk has built a new concrete block wall, presumably to shield the new condos across the street from the brunt of the sound.  I can't imagine it's helping them much, since Pinback were assaulted by music from Club De Ville next door, and music from indoors at Mohawk.  For a band as understated as Pinback, that's a pretty major issue.  They were also plagued by a faulty slideshow, and a broken sampler, which weren't huge obstacles, except that they all seemed very awkward and frustrated by the setup.

By the end of the set, though, they started coming together.  Frenetic songs like Fortress and From Nothing to Nowhere go better with the live aesthetic.  They closed with AFK, my personal favorite, before the encore.  When they came back, Rob took over on keys, and their touring keyboardist took up the bass.  The result was a warmer, softer sound, that was better suited to most of their songs.

It's a funny name for a show, presumably playing on the testosterone orientation of the audience. Ironic, then, that the gender ratio of the audience was the closest to even of any metal show I've been to.  Perhaps that owed to the outdoor show, with most of the bands being local and having female members who brought friends. Or perhaps it's the rising popularity of post-metal like Mouth of the Architect.

Rise Thy Ruin opened, and they were possibly the best opening band I've seen. Their post-metal tends toward the zappa-prog end of things, with a solid groove. The singer appropriately shook what his momma gave him, in between spazzed out yells. Add in the light show, and it had me grinning ear to ear.

The best thing about Red 7 is that not only can you smoke on the patio, there's another entire show going on out there. I showed up to see 5 bands, and actually saw about 9. The first band, Unravel Mars, were a female-fronted hard rock band, who haven't quite gone completely goth yet, which meant I could still enjoy them for a smoke break.

Mouth of the Architect were probably the best attended act of the night. They stick the closest to the build-explode-repeat formula of post-metal, although they do it beautifully.  Behold... The Arctopus were kind of an odd fit. They're easily the wankiest prog-metal I've ever heard. It's great music, the kind I work well to, but live it's nothing short of hilarious.

IntrOnaut are definitely post-metal. All the elements are there: the spacey naval gazing, a la Cave In, the angular breakdowns, the muted vocals. But where MOTA and the rest play dark against light, IntrOnaut plays dark against darker. Their sound is almost impenetrable; monolithic and unyeilding, it just keeps going, building heavier and heavier all the way. They played almost exclusively from their forthcoming album, save for "Gleamer". By the end of their set, Brodeo seemed much more appropriate: the ratio had shifted towards heavily male, and there were no more polo shirts or sandals.