THE CONTORTIONIST

The Contortionist's second album Intrinsic is the one, for all intents and purposes, I know the very least. It does however mark an important point in the band's career, their final to feature the original lineup. I ignorantly had to check their personally-unknown first two releases (EPs from 2008 and '09) to verify this fully. Most notable I'd assume across the board is the would-be replacement of vocalist Jonathan Carpenter with Michael Lessard. Then of Last Chance to Reason, Lessard's been a most successful career replacer haha. Carpenter also contributed keyboards up to this point, ultimately replaced in this regard by collaborator and co-producer here Eric Guenther. Likewise, this is the final release to feature original bassist Christopher Tilley, the role subsumed additionally (momentarily) by guitarist Robby Baca.

Original album single "Holomovement" starts us out, a display of their more ambient flavors, before opening up the sonic floodgates. Definitely one of Jonathan Carpenter's strongest clean vocal performances I can think of. The cadence of the bridge's vocal melody reminded me stupidly, hilariously of the 'There's no sex in your violence' refrain from Bush's "Everything Zen". Those jazzy chords, though, evoking the great Allan Holdsworth (a plenty-Post-Bop, broadly), return us to known context. A big n' wide opener, with a much softer, melancholic and simply more melodious mode. In most positive comparison, "Feedback Loop" pulls all the strengths of the Contortionist of Exoplanet (2010) with that of Language (2014). The chord changes are almost frantic; it really sets a mood... The loudly underlying ambience sported here interestingly only intensifies the heaviness. Then we have this super clean bridge section, fleshed out with Wall-of-Sound instrumentation (including that of some mallets?). Definitely one of their more interesting compositions, given it's also just 5 minutes in length.

Continuing in somewhat similar vibe, comparable in quality, is "Causality", another über-melodic heavy- hitter looking ahead to the band's work anew (sans aforementioned OGs). It's very pretty, and a groovy head-bopper, too. Ever-drummer Joey Baca is a force on this track, toward the end laying down some exceptionally interesting percussion over more wide-open sweetness. Set apart from those preceding is another balls-to-the-wall forward march, "Sequential Vision". Vox FX are in full effect, their Cynic-love easy to spot; and I'm all for that. And just like Cynic's Paul Masvidal, at the same time, moments later that is, we get thrown the beef (Carpenter's harshest vocals yet). So heavy, with this killer, near-never-ending beat. Spunky fun was indeed had that day. Returning to serene beauty for a moment, the beeves delivery continueth on "Geocentric Confusion"; more brutal aggression at the gates of the Celestial City [Man, you ever struggle coming up with a great idiom? haha]. These last two were natural fits for my workout playlists.

The at-the-time-still-living ghost of Holdsworth comes in full force at the top of "Dreaming Schematics"; gotta get my hands on those, dang it (and Allan's ghost). Apparently the wonkiest grooves are the most intense; ridiculous rhythms herein. Yet again, Jonathan's clean vocals are at their peak in quality to my ears. With Progressive Deathcore in full, clear view at the end, I'd expect or hope earliest fans would have been pleased; the up-down cadence at the end brought contemporaries Job For A Cowboy to mind. Synths are padding all things near and far at the top of "Anatomy Anomalies", another which looks ahead to the heavy-to-delicate balancing act of Language. I can't put my finger on the time signatures for the life of me; so as a dork, that's genuinely cool haha. As much as it's somewhat set apart from some tracks before, it's songs like this that are really making me excited to return to this material far more frequently.

"Cortical" certainly starts off strong, but it's another where I can see how their older fans, on the other hand, could have been upset. Some metalheads are certainly unwavering in the amount of 'clean' they feel most appropriate. The incursion resumes, mind you, don't you worry haha, by the middle of the song, but will it be enough? (Sorry, this is too tongue-in-cheek, I'll behave). Genuinely, though, this is the weakest thus far, compositionally anyhow; they're still damn good at what they do, don't get me wrong. "Solipsis" picks things right on up next, the shortest of the bunch at just a minute and a half; a very fine interlude of Progressive Deathcore, I must say. With no mystery as to why it's least streamed, "Parallel Trance" is ambient minimalism that might make even Eno blush. It's very pretty, but a certain shock to the senses if you don't know what's coming (I didn't today). In that, pleasantly surprised how effective a closer this was. Interestingly solely available to me was the Deluxe Edition, featuring this closer's "Alternate Version", discernably distinct at first. I may like it more; it's cold as hell in my apartment, but this "Trance" is truly chilling.

I won't feel too bad about liking something much more than the lot this once haha. It's definitely different than what came before, perhaps a bit much to those waiting two years since the heavier statement that is Exoplanet. But as it looks ahead, as I really couldn't help but point out throughout, it's definitely neat to see this as a bridge between (in a sense) two mildly-to-fairly different, very excellent bands. All in all, it's a pretty darn cohesive album, without a single track I really disliked for any reason.

True Rate: 3.75/5.00

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). 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.

An Indiana-born band that was once given a "Deathcore" assignation has evolved: They're now sounding like one of Prog's atmospheric djent bands.

1. "The Source" (2:39) piano, delicately picked 12-string guitar and cymbal play form the background for lead singer Michael Lesser to show a dreamy, atmospheric side to his singing capabilities. Quite unexpected! (4.75/5)

2. "Language I: Intuition" (5:24) opening with some Edge-like guitar playing, Eric Guenther adds his keyboard magic before some David Blamires (PAT METHENY GROUP c. 1987--listen to "Minuano [Six Eight]")-like vocalise joins in just before the explosion serves to remind us that this is a metal band. The rest of the song's palette is rather jazzy with constantly shifting guitar chord play over djenty bass and more-jazz-than-rock drumming (and sound engineering). Even when the power/djent chords take over in the fifth minute, there's something more j-r fuse than tech/extreme metal here. (8.875/10) 3. "Language II: Conspire" (4:15) bleeds straight over from the preceding song, but immediately shifts gears into a totally different sonic universe: this one very black/death metal with some very aggressive growl vocals. In the third minute the vocals turn more to standard metal rock before a brief djenty instrumental passage. Then, as the rock vocals return, we get into more familiar Prog Metal territory until the end. (8.75/10)

4. "Integration" (5:46) opens with a series of very quick changing synth chords that sound very familiar (from the Fairlight CMI world of Trevor Horn in the early and mid-1980s), but then bass, drums, piano, and djenty guitars rush into the fray to take over and establish a heavy, djenty, odd tempoed motif over which Michael sings in a smooth rock (almost 1980s techno-glam rock). But then things turn demonic in the fifth minute with Michael's vocals turning to malevolent growls and the instrumental play turning hyperspeed on all levels. Wow! High alert: Incredible musicianship on display! (9/10)

5. "Thrive" (6:04) another song that bursts out of the blocks in full tech-metal garb, no holds barred, within/over which Michael sings in a song-syllabled diction with his smoother voice (though not quite as soporific as his performances on the upcoming songs). An atmospheric fourth minute allows bass and keys to show some of their wares before shredding guitars return at 4:00 to lead us back onto the autobahn, driving on into the sunset on the some kind of glorious summer day. The final minute sees the music shifting into something more ominous, as if one's interpretation of the sunset is suddenly in question. That second half alone is worth the price of admission. (9/10)

6. "Primordial Sound" (6:28) an incredibly rich, beautiful first three minutes does not hide the underlying tension waiting to explode; as the guitars and bass become more djenty you can feel the pressure mounting. Even as Michael Lessard's smooth vocals turn to growls ("gentle" growls), you know the heaviest stuff is still to come (especially with a title like that). Spacey synth break at 5:00 means nothing: it's still coming.? though maybe not in this song ? (9.25/10) 7. "Arise" (3:38) though the song bursts forth from its opening notes as if the volcanic explosion we were all expecting from the previous song, it never really goes crazy: Michael's vocals are still quite smooth and soothing (sounding quite a little like those of Ian Kenny). The musicianship on display here is quite skilled, filled with lots of subtle fills and flourishes. Growl vocals enter in the third minute but then smooth out again for the fourth--even going so far as to finish the song with a ghost-like a cappella choir. (8.875/10)

8. "Ebb & Flow" (7:06) the djenty music that opens this contains much more of the band's technical skills on display, including odd time signatures, polyrhythms, as well as individual instrumental skills. (The drummer, in particular, really gets to shine.) Growl vocals in the second minute are counterbalanced by more of Michael Lessard's soothing vocals in the third. Meanwhile, the drums and bass are definitely putting on a show--practically all by themselves--in a prolonged instrumental passage! Matter of fact, it's not until 4:30 that the vocals and guitars return. This full-band passage is quite stunning with the two guitars going THIN LIZZY on us while multiple tracks of Michael's voice weave a relaxing, almost sleep-inducing theme--one that, once again, continues on well beyond the finish of all of the other instruments. (13.5/15)

9. "The Parable" (7:05) opening with an incredibly seductive atmospheric prog soundscape (I could bathe in this music for a lifetime!), bass, drums, and guitars begin to make themselves (better) known in the second half of the second minute, eventually establishing another wonderfully multi-dimensionally interesting song over which Michael delivers more of his hypnotically smooth vocal candy. Beneath, the guitars and drums are running interference for their intrepid leader like three body guards around Jim Morrison. The song comes to a halt at 5:27, leaving ample space for keyboard genius Eric Guenther to fill with his spacetronics so that a recording of a public speaker on vampirical realities can play--to the song (and album's) end. (14.75/15)

Total Time 48:25

The comparisons to Prog World's other great atmospheric metal-workers is inevitable: Votum, Karnivool, Proghma-C, Kettlespider, Stare At The Clouds, and even Tool.

A-/five stars; a minor masterpiece of heavy prog in which the band shows many sides to its personality while displaying tremendously prodigious skills on all fronts (instrumental, compositional, engineering). This is truly an album of progressive rock music.

'Language' is an album that is best described as what happens when skilled technical death metal musicians decide to use their powers in service of light. True to their name, The Contortionist crafted an album that contorts passages of ineffable beauty with mind numbing technical heaviness. It would seem the personnel changes at vocals and keyboards during this time enabled The Contortionist to mature their sound and drop any lingering hamminess prevalent in previous releases. Perhaps most importantly, 'Language' is the album that most effectively captures everything modern progressive metal acts have been trying to accomplish. 'Language' proves that when you have the talent, only your imagination can limit you.

Despite being one of the best records, if not the best record, I have ever heard in my life, I've held off writing an actual review of this album. There's simply no way for me to fully articulate my adoration for it in a mere 150-word blurb and therefore avoided even trying to do so.

As progressive metal fans, we obviously expect our music to be ambitious with a variety of textures, moods, and styles being performed by extremely technically proficient musicians. As fans of modern progressive metal specifically, we want our music to grapple with our own feelings of existential uncertainty and detachment while also offering glimpses of meaning and transcendent beauty. This is a tall order for any artist to fill. And yet, on Clairvoyant, The Contortionist somehow do exactly that.

For my money, The Contortionist is the greatest of the new generation of progressive metal acts. And if the trend of nearly exponential growth in maturity from album to album persists into the future, we will be looking at one of the greatest rock groups to ever grace our world.

3.8/5 great vocals, effects, atmosphere (rounded to 4)

At first I had mixed feelings about this. One one hand, The Contortionist completely abandoned djent roots down tuning and extreme metal, while on the other hand, they actually did it atmospherically right. In the end, I came to terms with it and listened to the whole album with a clear open mind and boy was I happy to do so. This album is just sad and intense. From Monochrome, you can feel a cloud of sadness above you, then a flicker a hope from the paino of Godspeed, to more intense metal from Clairvoyant and return to earth and ending with another sad monochrome.

It is unironically one of my favorite The Contortionist albums.

4/5 An excellent album, one that is actually worth instead of intrinsic and a good continuation from exoplanet.

Finally we see a djent album that is actually worth it. the source was a good opening to Language 1 and 2, Language 1 with melody and extreme atmosphere, really hit me hard. While Language 2 surprised me that the Contortionist are actually keeping some of their djent roots. Then songs like Thrive remind me of Expire back in Exoplanet album while Primordial sound is completely new.

This is actually one of the Contortionists best works and should not be missed by any djent fan.

2.3/5 overall meh, did not absorb me like exoplanet and did not intrigue me enough with memorable songs. Intrinsic was an attempt from the band to be more melodic than exoplanet. It took a way different approach from the 1st album and as a result was just not as absorbing or memorable as the first one. Sure, the first one lacked overall melody, but was fun to listen to and the deeper metal riffs to calm grooves transition was well worth it and absorbed me into the album. I feel in this album they sacrificed all the pros within the last album, to obtain more melody and more clean vocals.

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.

In my opinion the new album from The Contortionist is very far from being progressive rock. It has some odd twist and turns and the song structures are more adventurous than your average pop or heavy rock song. But in terms of melodies, creativity in the instrumentation and the overall commercial and polished mainstream sound it resembles nu metal and post rock more than progressive rock. All the while the songs does some interesting things with time signatures, very often the vocal parts parts come off as pretty plain and straight forward, and a lot of the rhythm guitar feels generic. Like many other bands of today they incorporate progressive elements around what basically are pop songs. The musicianship is very good throughout the record, and the vocalist does a good job in contrasting the heavier guitars with a softer and cleaner expression. But, my main issue with this is that I feel that I've heard this so many times before from other bands.

All in all I'd say that this album and band has the potential to break into a big commercial market, but I would never label it progressive rock or progressive metal.