#4 - Oceanic

#4
Artist: Isis
Album: Oceanic
Year of Release: 2002
Label: Ipecac

I've talked a lot about post-rock on this list but haven't even mentioned post-metal (Neurosis gets lumped in with the genre, but they are better described as sludge metal in my opinion).  Part of this is because post-metal is a less well-defined term that seems to encompass a relatively smaller sliver of bands.  But the bigger reason is that most such bands are merely fine.  Russian Circles, Pelican, Cult of Luna...it's all fine.

Isis is more than fine.  In fact you might even know that they are my favorite band of all time.  The reason for this is not just that the band is the standard-bearer for the post-metal genre (although they are).  Rather, it's that they excel so thoroughly at each of the defining aspects of the genre that they make it impossible for anyone else to live up to that standard.  Accordingly, their third full-length Oceanic is their best record precisely because each of these aspects is on clear display.

Metal - We've certainly established that the term post-rock does not imply a deficit of rocking.  The same goes for post-metal.  Isis' early work was more relentless in bringing the noise, but the relatively mellow sounds of Oceanic still require moments of catharsis.  The opening "The Beginning and the End" features two of the record's best riffs at...the beginning and the end of the song.  "The Other" doesn't sing or even scream its lyrics as much as it bellows them.  "False Light" is essentially just one catchy groove stretched across seven minutes, with only a brief respite in the middle.  And that's just the first three tracks.

Balance - The "post" part of post-metal speaks directly to the dual nature of the genre.  The loudness is important, but the delicate touch of both quiet passages and atmospherics is just as crucial to making this all work.  Oceanic marks the point in Isis' discography where this emphasis becomes clear.  This starts right away, as the opening notes of "The Beginning and the End" are elevated by Bryant Clifford Meyer's electronic work.  Mid-album palate cleanser "Maritime" serves as a sort of rebirth after the album's punishing first half.  And "Weight" is a culmination of sorts for this musical idea.  The song itself can be reduced to a few notes repeated over and over with minimal vocals.  Where the true art arises then is the patience and care that the band puts into wringing every ounce of pathos they can from the slow build to the finish.

Composition - Finally, a deft touch and some level of intricacy is needed to make this all work.  The dynamic nature of the first two aspects is crucial, but if every song simply alternates between loud and soft with no larger purpose or design, everything falls apart.  I would argue that Isis perfected their approach to this with their 2004 follow-up Panopticon, but they're clearly on the right track here.  The transitory middle section of "The Beginning and the End" uses a slow build and hushed female vocals to bridge the gap.  And "Carry," the best song on the record and maybe of their whole catalogue, is the champ at this.  The layered guitar work, the creative uses of the otherwise typical 4/4 time, and the controlled crescendo indicate a band at the height of their powers.