Wavering Radiant is the fifth and final full-length album by American post-metal group Isis, released by Ipecac Recordings and Conspiracy Records. The album was released on limited vinyl on April 21, 2009, and in CD format on May 5. Adam Jones of Tool plays on two tracks."Isis Prepare 'Radiant' New Album". Kerrang! 24 January 2009, issue 1245 p. 11. At 54 minutes, it stands as their shortest release since 2000's studio début Celestial.

On March 24, 2009, Isis added the song "20 Minutes / 40 Years" to their MySpace page, and a week before the album's release, made the entire record available for streaming.

On May 13 the album entered the Billboard 200 at #98 and the Top Independent Albums chart in tenth spot representing the band's highest placing to date.

It also entered the BBC Radio 1 Top 40 Rock Albums chart at #17; their first chart position outside the United States.

It also entered the Norwegian National Chart at #37, providing their first chart exposure in Norway. In the United States, the album sold 5,800 copies in the first week of its release.

Music

Milton Savage tussled with the challenge of defining Isis' sound: "If it's not heavy – 'dense' is better description – and the band's purer metal roots have grown into a towering trunk from which sprout the most tangled of branches, both sturdy and incredibly delicate, then how does one take in the full picture and condense twelve years of unfaltering advancement to a single adjective?" Roque Strew, of Pitchfork Media, struggles in the same vein: "pin a single label, style, adjective on Isis and it slips right off."

While reviewers were troubled with categorizing the band, much time was spent deliberating upon the album's sound when held in comparison with other Isis material. Robin Jahdi, writing for FACT Magazine, holds that the album presents a shift in dynamic. "It takes a while to realise, but is pretty different to what's come before from Aaron Turner and co. The last time this happened was 2002, when they transformed from brutal sludge metal to something altogether more delicate." Here, he references the transition brokered when Isis released Oceanic, a critically-acclaimed departure from the sound of 2000's Celestial. Other differences from some of Isis' previous material have been noted; on a broad scale, the album was deemed "less punishing than Panopticon, from 2004, and less ponderous than In the Absence of Truth, from 2006", but closer examination also led Slants Matthew Cole to suggest differences. "On past releases, Isis employed loud/soft dynamics to stunning effect, and while that element remains central to their sound, the best parts of Wavering Radiant suggest a more sophisticated integration. Rather than playing on the line between pretty and heavy, tracks like 'Stone to Make a Serpent' and '20 Minutes / 40 Years' dissolve it." Not all reviews held the album to be such a departure – for instance, Andrew Hartwig feels that "Wavering Radiant continues in the direction that Isis have been travelling since their inception, with an increasing prominence of melody and a greater focus on placid sections to balance out their signature crushing heaviness".

Although Turner's lyrics are found to be "far from wholly discernable", his vocals have "mellowed". Robin Jahdi writes that "Turner's vocals are growing as well, sounding eerily like Steve Brodsky, from Isis' peers Cave In. These journeys into melody are so successful (vocal harmonies, no less) that you wonder why Turner still bothers with the pseudo-death metal vocals at all. They add little to the music and must serve to turn off more potential fans than they attract." Nate Chinen, however, sees this variety as a vital component of the album's success, attesting that "Aaron Turner expertly alternates between a death-metal roar and a more human wail, using whichever better suits the needs of a song".

According to William Ruhlmann, "a big difference is provided by keyboardist Clifford Meyer, who provides texture, filling up the overall sound and also adding ethereal touches that sometimes make Isis reminiscent of Pink Floyd." This view is shared by Roque Strew, who argues that "equally vital to the record's dense, hypnotic shape is Clifford Meyer's command of the keyboard His blissful, knotty phrases, played on a dusty Hammond B3 or Rhodes, often recreate moments from the psychedelic and prog-rock past." However, Chris Norton of Tiny Mix Tapes contends that "the prominent keyboard tones sound pretty hokey on this album." Praise was spared for drummer Aaron Harris also; on this release, "everyone is playing off Harris and following his lead dynamically. His sense of moment is perfect; knowing exactly when and where to jump in or cut back, and just how much."

The influence of several contemporary bands was deemed apparent upon the sound of the album. Robin Jahdi writes that "the Isis sound, debuted proper on the 2002 album, is still present and correct, but there's more subtle shifts in mood here, most interestingly when they take influence from outside (Tool's Adam Jones plays on two songs). The basslines bounce and jolt with that familiar elasticity, but the seismic six-string shifts on songs like 'Hand of the Host' and '20 Minutes / 40 Years' are the sort not heard from this band in years. It is no coincidence that these are highlights." The rhythms of "20 Minutes / 40 Years" are described as "Pelican-like" by NME reviewer Ben Patashnik, and No Ripcords Sean Caldwell compares the album to Mastodon's Blood Mountain, citing its potential for "crossover" appeal.

Reception

Isis ensemble.jpgthumbleft250pxIsis performing live in June 2009.alt=Four members of Isis onstage, playing their instruments

Critical response to the album was, overall, fairly laudatory. Its score of 79 – or 'generally favorable' – on Metacritic attests to decent reception. Regarding its place in Isis' catalog, it has been described as their "most accomplished and complete album to date" by Ali Maloney of The Skinny, as their "smartest and richest record" and as "the toughest and catchiest Isis record since their 1999 debut full-length, Celestial." Beyond the band's own repertoire, it was described as "metal played at its arresting best" by Slants Matthew Cole, and Andrew Rennie of Now went as far as declaring it "close to perfect" in a review awarding a perfect score. Not all reviews were so glowing, as the NME characterized it as "45 minutes of awesomeness stretched out to a slightly bloated hour the unsettling Toolisms of 'Ghost Key' meander just too long and 'Hand of the Host' spends half of its 11 minutes repeating itself without really juddering into the granite riff golem it threatens to be." Similarly, Chris Norton of Tiny Mix Tapes feels that the album "isn't the band's best by a really long shot, even if it ain't bad." Accessibility was a similarly divisive issue, with the album being characterized as "perhaps their most rewarding yet, but simultaneously their hardest to immediately access given its prioritising of subtle nuances over senses-numbing assaults" and "a slow-burning success". Conversely, it has also been declared to be "easily the band's most accessible effort". Allmusic's William Ruhlmann felt that with regards to structure, "Wavering Radiant works as a single piece of music rather than a series of songs", as Milton Savage of Drowned in Sound concurred that Isis have "construct their latest so that it's best experienced as a whole".

The success of the album was deemed contingent upon balance. The Guardians Jamie Thomson posits that "the Isis of old gave the impression they were enjoying their meandering jams just a little too much, leaving the listener a tad lost. Here, they rein them in perfectly, and reward you with a colossal chorus for staying the distance", while Nate Chinen, of The New York Times, feels that the release "upholds a deliberative truce between brute physicality and moody rumination".

Critical selection of album highlights has provided multiple standout tracks: Milton Savage unequivocally declares that "'Stone to Wake a Serpent' is an obvious selection: its ominous, horror-movie keyboard tones duel with Turner's most ferocious performance in some years", a pick Andrew Rennie of NOW shared. Other selections include "20 Minutes / 40 Years" and "Hall of the Dead", which Roque Strew argues "may be the lushest, most astutely crafted opener in the Isis discography".

Theme

Jung 1910-crop.jpgthumbrightalt=Carl Jung stands, clad in a dark suit, on a cobbled city street.Carl Jung, whose works provided thematic influence for Aaron Turner's lyrics.

Reviewers have discussed the presence of a theme, with Milton Savage deducing that "track titles would imply an underlying conceptual framework to Wavering Radiant, with 'Hall of the Dead' preceding 'Ghost Key', and 'Threshold of Transformation' closing the album in epic circumstances – Turner, it seems, has left our world behind for exploration of another beyond the lives led by mortal men." Isis releases have always had a thematic basis; as Andrew Rennie dissects, "Isis's four previous full-lengths have clear story arcs, but Wavering Radiants themes are open to interpretation, giving it added appeal." Over time, Turner has become reluctant to divulge the thematic particulars of any given album and on Wavering Radiant he has been equivocal. When asked to describe the album in three words, he stated that it was a "path of exploration". He has not proffered any more concrete hints or clues himself, although bassist Jeff Caxide has revealed that Turner "mentioned that Carl Jung was a major influence on the concept and lyrics".

On May 5, 2010 all the official lyrics from "Wavering Radiant" (except for the bonus track) were revealed "to celebrate the 1 year anniversary of the release".http

Personnel

;Band members

* Jeff Caxide – bass guitar

* Aaron Harris – drums

* Michael Gallagher – guitar

* Bryant Clifford Meyer – electronics and guitar

* Aaron Turner – vocals, guitar and artwork

;Other personnel

* Joe Barresi – recording, audio mixing and production

* Faith Coloccia – photography and background colouring

* Adam Fuller – recording assistance

* Brian Gardner – mastering

* Jonathan Gardner – live sound

* Jerry Johnson – drum tech

* Adam Jones – additional guitar on "Hall of the Dead" and keyboards on "Wavering Radiant"

* Greg Moss – live sound

* Jun Murakawa – recording assistance

References

Category:2009 albums

Category:Isis (band) albums

Category:Ipecac Recordings albums

Category:Albums with cover art by Aaron Turner

it:Wavering Radiant

pl:Wavering Radiant

Artist/Band Information

Isis were a Los Angeles, California-based band, founded in Boston, Massachusetts, with a career spanning from 1997 to 2010. They borrowed from and helped to evolve a sound pioneered by the likes of Neurosis and Godflesh, creating heavy music consisting of lengthy songs that focus on repetition and evolution of structure. As such, a great range of musical labels are used to describe their sound, including sludge metal and post-metal.

The band's last album, Wavering Radiant, was released on May 5, 2009. The band decided to break up after their final tour ended in late June 2010.

History

Formation and early releases (1997–2001)

Several sessions of experimentation in Boston, Massachusetts led friends Aaron Turner (guitar/vocals; also the owner of Hydra Head Records and its subsidiary, HH Noise Industries), Jeff Caxide (bass guitar), Chris Mereschuk (electronics/vocals) and Aaron Harris (drums) to form Isis in late 1997. As Turner states, "Isis formed as a result of the dissatisfaction with past bands of the founding members. None of us were happy with what we were doing musically at the time, two of us lived together, we had similar tastes and similar record collections." Isis released a demo and their first EP, Mosquito Control, in 1998, with this line-up. After an East Coast tour in the summer of 1998 where they were joined by Randy Larsen of Cable on guitar, Mereschuk left the band. Jay Randall (now of Agoraphobic Nosebleed) soon replaced him, working on Red Sea (1999). However, his stay would not last; this ultimately led to the addition of Bryant Clifford Meyer of The Gersch as well as former Cast Iron Hike guitarist Michael Gallagher in 1999. After releasing their debut full-length entitled Celestial and its sister EP, SGNL>05 (on Neurot Recordings), in 2000, Isis gained national underground attention in the metal/hardcore scene through tours with Cave In and Neurosis. Isis remains with this lineup to date.

For the SGNL>05 EP, they contacted Justin Broadrick (then of Godflesh) through their friends in Neurosis to remix the title track from Celestial, which they used as the EP's closer. Following SGNL>05, Isis signed with Mike Patton's label, Ipecac Recordings, who have issued the band's subsequent studio albums.

Oceanic (2002–2004)

Whereas Celestial was still deeply rooted in metal and hardcore, 2002's follow-up, Oceanic, saw the band acquire new characteristics comparable to post-rock and ambient music, significantly aiding in the birth of the genre of post-metal in what many saw as a logical progression. While much of the material on the album retained the band's former "metallic" intensity, this departure saw the band appeal to a far wider audience; as a result, Oceanic may be the group's most noted album to date, and is widely considered a turning-point in the history of the band. Turner himself describes it as their "quintessential album". It was at the time their most successful release, receiving album-of-the-year accolades from Rock Sound and Terrorizer in 2002, In October 2003, Isis relocated to Los Angeles.

The distinctive tone of material since and including Oceanic had a noticeable impact on avant-garde metal, helping develop the sound of several contemporaries; Cult of Luna, Pelican, Tides, Rosetta, and Russian Circles all cite Isis as an influence. This underground success attracted the attention of the likes of Mogwai, with whom they have toured on numerous occasions.

Oceanic Remixes and Reinterpretations was released in 2004, featuring reinterpretations of songs from Oceanic by a number of influential artists requested by the band. Both Oceanic and Oceanic Remixes feature female vocals by Maria Christopher of the band 27. The album featured another remix by Justin Broadrick, who has supported Isis on tours with his band, Jesu, which is signed to Hydra Head Records.

Panopticon (2004–2006)

2004 saw the release of Isis' third album, Panopticon. It signified a further progression many had predicted since Oceanic, with a more advanced post-rock feel to the music both structurally and in terms of sound. Justin Chancellor of Tool makes an appearance on the track, "Altered Course". Overall, it was a very well received album, being awarded 'album of the year' accolades from Rock SoundBennet, J. Review of Panopticon. Rock Sound issue 66, November 2004. See for an online transcription. and reaching #47 on Billboard's Top Independent Albums charts; their first entry into any mainstream charts. at Billboard.com. Retrieved on January 13, 2006. Before touring the USA, the band performed a free concert at the Los Angeles Museum of Contemporary Art, a manifestation of the widespread recognition the band had acquired in artistic circles since the release of Oceanic. Reacting to the impact of Oceanic and Panopticon, Revolver named Isis the twelfth heaviest band of all time in December 2004.Revolver, On 23 July 2006, they performed Oceanic in full at KOKO in London as part of All Tomorrow's Parties Don't Look Back season.

Originally set for release on August 22, 2006, Clearing the Eye, the band's first DVD, documenting performances over the past five years throughout the world, was put on indefinite hold due to issues involving their label, Ipecac Recordings. It was eventually released on September 26, 2006. Also in September 2006, a collaboration with Aereogramme entitled In the Fishtank 14 was released as part of a project of Dutch label Konkurrent in which two artists are given two days' studio time to write and record their work.

In the Absence of Truth (2006–2008)

Isis band.jpgthumbleftAn example of Isis' stage layout from the 2006 tour with Tool

The band finished recording their fourth full-length album, In the Absence of Truth, on July 9, 2006. It was released on October 31, 2006 on Ipecac. The record sees the band again evolving in a manner similar to Oceanic and Panopticon, this time adding new elements of electronics, song structure, drumming complexity, and vocal techniques. It sees the emergence of a more melodic sound than before, and leanings away from previous "drone" inclinations and towards more traditional metal elements, predominantly in the heavier sections.Bennet, J. "Isis: Hear No Evil, Speak No Evil". Rock Sound issue 87, August 2006. 32-34. See for an online transcription. It was also their most commercially successful release, peaking at #6 on Billboard's Top Heatseekers chart.

Isis were the opening act for Tool's late 2006 North American tour in support of their new album, 10,000 Days. This led to increased exposure for the band, however the band members are not particularly comfortable with fame, and tend to keep their affairs private. Turner has stated that "We never imagined that Isis would become as successful or as popular as it has", and confesses: " taking a deeply personal interest in who I am, it fucking freaks me out. And I really do feel like sometimes when I get approached, I’m retreating into my shell."

As of February 2007, the band has enlisted Justin Broadrick to mix a live performance of Oceanic in full,: "Justin will now also be mixing and producing an ISIS one off performance of Oceanic in its entirety, performed in London as part of the ATP festival in July 2006. This is to be a DVD release with other formats TBA." Retrieved on February 9, 2007. and there is also a possibility of a collaboration with Tim Hecker, as Turner said in an MTV interview: "We've been recording everything that we've been playing together. It was all largely improvised but based on some really basic premises and parameters. That might actually end up turning into another record for us."

Wavering Radiant and break up (2009–2010)

The band's fifth studio album, Wavering Radiant, was released by Ipecac Recordings on CD on May 5, 2009 and in a limited vinyl edition (Light Blue 100 copies, Dark Blue 400 copies, Yellow 900 copies) on April 29, 2009. The album features Adam Jones of Tool.

In April 2009, the band won in the category "Best Underground Metal Act" at Revolver's 'Golden Gods' awards ceremony.

The band is confirmed to play the 2010 Bonnaroo Music Festival in Manchester, Tennessee.

On 18 May 2010, Isis announced their decision to break up following their final tour, with their final show to be in Montreal - the location of the band's very first show - on June 23, 2010. Isis collectively stated they have "done everything we wanted to do, said everything we wanted to say," and, as part of an agreement made by the band at its formation, it did not wish to be faced with the possibility that it would "push past the point of a dignified death."http The band will also finish work on an already scheduled EP and have been collecting live material for "future releases." Isis will release a split EP with Melvins on July 13, 2010 featuring the Japanese Wavering Radiant bonus track "Way Through Woven Branches" and the unreleased song "The Pliable Foe."

The band's final show was played on June 23rd in Montreal, the first city they ever played in. The final song of the set was So Did We, but the band came out for an encore and performed The Beginning and the End. Aaron Turner threw the plush cat that had been taken on every Isis tour into the crowd before walking off stage.http

Genre

Turner cites Swans, Melvins, Godflesh, and Neurosis as influences to Isis' sound, saying "those bands laid the groundwork for us we're part of a recognizable lineage." Early releases were derided as imitative of predecessors Neurosis, and he admits that the comparisons weren't "completely unjustified". However, material since (and including) Oceanic has not been so often likened to Neurosis; in fact, it has become the case that it is Isis who are being imitated in a burgeoning post-metal scene.

In terms of categorisation, Isis have been described as post-rock, a genre which leans away from the traditional elements of choruses, verses, repetitive vocals, or fast riffs—what Turner calls "guitar theatrics." However, post-rock has what is essentially a halcyon sound: one devoid of aggressive vocals and distorted guitars. Isis, however, have hardcore/sludge origins (especially in their pre-Celestial era) and hardcore-like vocals. Their music includes elements of hardcore, drone, sludge, indie, ambient music, and post-rock; yet none of these labels defines their sound fully. Critic Dan Epstein notes that "though originally lumped in with the hardcore and doom-metal scenes, the band has long since transcended the musical boundaries of those genres". However, their ongoing acceptance within the pantheon of hardcore music is attested to by Converge's Jacob Bannon, who has gone on record saying that "if I wanna listen to emotional music which I guess is contemporary I'll listen to Isis or something like that - something that is emotional, powerful music."Martin, Jim. "Resistance is Fertile". Terrorizer issue 124, October 2004. 10.

Turner, when asked to define Isis, described their sound as "avant-garde, drone-oriented rock, but that doesn't completely cover the bases". At the same time, he is reticent about settling on one label exclusively, and steers away from the use of specific genre labels—"'heavy, atmospheric, droning, post-epic, post-metal, shoegazer blah blah blah.'" When asked how he reacts to being asked to define Isis' sound, he admits "I never know what to say. I'm almost afraid of perpetuating a new tag."Birk, Nathan T. "Isis: A Glorious Burden". Metal Maniacs January 2007. 8-11. Likewise, he also describes their music using a slightly more open-ended tag: as "thinking man's metal"; however, it must be noted that this tag refers to the intellectual elements behind the music, as opposed to exclusively aural ones.

Due to the difficulty in pigeonholing, some fans and critics label Isis as post-metal; a portmanteau of "post-rock" and "metal", the "post" referring to a reinvention of an established concept, as in postmodernism or post-hardcore. This genre is accepted to contain similar-sounding contemporaries such as Pelican, Cult of Luna and Callisto; however, Isis are usually credited with the formulation of the genre with the release of Oceanic.

The music of Isis is not suitable for mainstream release or commercial radio playtime due to extensive song length and niche appeal; as guitarist Michael Gallagher states, "we've never tried to be on the radio, and we've never tried to please others. We've simply done whatever we've wanted to do, and we've all decided to be happy with the results."

Conceptual elements

Turner has gone on record saying "I like the idea of preserving at least a little shred of mystery and making the band to be more an entity—without hopefully sounding too pretentious — as a work of art ". Turner has also said in an interview in New Zealand music magazine Rip It Up that;"We don't want to hand-feed everything to the listener. We just want to have a sense of mystery". There is a definite attitude that art and music are interchangeable and synonymous to the band; he feels that "the songwriting and the artwork come from the same place". This logic relates to visual and aural aspects as well as overt intellectualisation, through literary references and driving philosophies. Books such as Don Quixote, House of Leaves, Labyrinths and the philosophies of Jeremy Bentham all play a role in shaping the themes of Isis' releases.

There is an overt intention of progressing heavy music present in Isis' output; a desire to further the intellectual cause that pushes them forward. This is evident within the clear progression of their sound from release to release, their influence on heavy music, and their acceptance in art circles where other metal bands are not so readily embraced. Their stated goal is "not to break away from the scene that came from, but to expand upon it". Publications such as Terrorizer attest to how Turner has completed his goal, explaining that "Aaron Turner has loosened hardcore from its geographical roots, and in the process created an intimate, yet immeasurable vision all of his own".Ipecac Recordings. . Press release. Retrieved on February 9, 2007. (See specifically: Terrorizer January/February 2003.) Turner has complained that "metal in general has long been unjustly maligned as solely the province of knuckle-dragging meatheads That said, there's never been a group of musicians like there is now, who are helping to advance the form."

Themes

Most of Isis' releases revolve around a theme. While each release has its own unique theme, many of the major releases interconnect. Turner has stated: "we wanted to have albums that weren't just grab-bags of songs but rather a cohesive experience from beginning to end, from the music to the lyrics to the layout of the record."

*Mosquito Control introduces the first major theme, the mosquito, as well as control towers (see cover of reissue).

*The Red Sea offers the first glimpses of both the water and female character themes.

*Celestial and SGNL>05 reintroduce the control towers and female character, as well as the mosquito through the artwork.

*Oceanic reintroduces the water and female themes through a specific story.

*Panopticon reintroduces the tower implicitly (see panopticon).

*In the Absence of Truth introduces the theme of Hassan I Sabbah and has many references to it in the song lyrics and song titles.

No Isis album contains an explicit diegesis, or story arc, instead focusing on themes rather than stories. As such, releases are defined by some as "pseudo-concept albums". The band see lyrics as important, but at the same time, Turner does not feel it necessary to enunciate every word. Instead, any connections made are mainly conjecture, and the formation of a theme takes into account the album artwork, previous albums, track titles and the use of metaphor just as much as lyricism. For instance, there is a deeply developed extended metaphor linking water with the female character, obvious in the artwork of Red Sea, Oceanic and Panopticon. Oceanic tells a convoluted tale involving love, incest and suicide by drowning.. Retrieved on February 11, 2007. This relates to the theme of the all-powerful female, present lyrically in every album except Panopticon. Turner does not explicitly acknowledge an "overtly feminine theme"; however, he does state: "I just think it's interesting to include that as part of what we do, simply because metal, especially, is considered to be this very male-oriented, testosterone-driven art form, and I feel like it's important to recognize the other side of our nature. As manly as we might or might not be, we have to acknowledge that there is a feminine part of our persona, and that the world isn't made up of absolutes. To achieve balance, you have to recognize every facet of yourself and everyone else around you." "There are certain themes which reoccur in my work just because of what I'm interested in and what is aesthetically pleasing for me", says Turner. "The idea of futuristic utopias and dystopias is probably something that does consciously and subconsciously return time and time again and sometimes I just can't help the fact that these themes creep into my work whether it's conscious or not".Pitchon, Avi. "The Vision Divine". Terrorizer issue 124, October 2004. 20-22. The other two ongoing motifs in the lyrics and artwork are that of towers and mosquitos; overall, the overarching feeling is one of being watched; of being overpowered and overwhelmed.

Panopticon was an overtly political release, and arguably the clearest statement made within their music as of yet. It displayed fears of surveillance and of tacit governmental influence; its namesake, the panopticon, was Jeremy Bentham's concept for a prison system in which all the prisoners can be viewed by one guard in a central tower, without being able to know whether they are being observed or not. Bentham described the Panopticon as "a new mode of obtaining power of mind over mind, in a quantity hitherto without example."Bentham, Jeremy. . In Miran Bozovic (ed.), The Panopticon Writings, London: Verso, 1995, 29-95. Quizzed on government conspiracies, Turner states: "I do believe that each and every day our government and the huge corporate entities of this country lie to us about numerous subjects. In this respect we are all victims of a huge conspiracy—most of those in power are only concerned with the advancement of their agendas and have no qualms about deceiving and hurting the American people."

After constantly explaining concepts and story outlines to interviewers and fans, Turner has chosen to keep the thematic basis of In the Absence of Truth quiet. "Through explaining the last two albums time and time again, I just started to become weary of the topic, and I started to feel like I was losing my connection to the music and the lyrics simply from having repeated it so many times, and for me, personally, it's really important to maintain that connection as much as possible. I feel there's a lot of emphasis these days placed on explaining everything in such a fashion that there's really nothing left for the listener or reader to explore themselves. It's all spelled out," Turner continues. "So it's interesting to leave some of that stuff open-ended so they have do to a little bit of legwork themselves."

Members

Aaron Turner 2.jpg200pxAaron Turnerrightthumb

Jeff Caxide.jpgright200pxJeff Caxidethumb

Current

*Jeff Caxide – bass

*Michael Gallagher – guitar

*Aaron Harris – drums

*Bryant Clifford Meyer – electronics, keyboards, guitar, vocals

*Aaron Turner – guitar, vocals

Past

*Chris Mereschuk – electronics, vocals (1998–1999)

*Jay Randall – electronics (1999–2000)

Collaborators

*Maria Christopher and Ayal Naor of 27 (both of whom contributed to Oceanic)

*Justin Chancellor of Tool (who contributed to the song "Altered Course" on Panopticon)

*Agoraphobic Nosebleed (collaborated on a cover of Melvins' "Boris" for We Reach: The Music of The Melvins)

*Aereogramme (Collaborated on the Konkurrent release In the Fishtank 14)

*Adam Jones of Tool (who contributed to the songs "Hall of the Dead" and "Wavering Radiant" on Wavering Radiant)

Side projects

*Old Man Gloom

*House of Low Culture

*Lotus Eaters

*Red Sparowes

*Loga

*Windmills by the Ocean

*MGR

*The Gersch

*Mamiffer

*Taiga

*Spylacopa

*Greymachine

*Zozobra

*Twilight (band)

Discography

Studio albums

Chart positions

Billboard (North America)

Videography

* "In Fiction" from Panopticon (2004). Directed by Josh Graham.

* "Holy Tears" from In the Absence of Truth (2006). Directed by Dominic Hailstone.

* "Not in Rivers, but in Drops" from In the Absence of Truth (2006). Directed by Sera Timms.

* Clearing the Eye . Features live songs (including an entire live performance), "In Fiction" music video, photo galleries, original artwork, lyrics and a complete discography. This release was postponed due to issues with material, sound quality, and the deadline, but has since been released in most regions.. Retrieved on February 2, 2007.

References