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Reviews:
This is definitely one of
the most creative heavy progressive-instumental albums thus far in 2008.
Irata possesses more than the typical technical riffs, distortion and melodic
lines. It experiments with a mix of under-and over-tone bridges incorporatin
a perfect industrial flow in and out of a formula that says, "We aren't
sticking to a formula.
~ Heather Mac, Yes! Weekly
Irata's self titled debut
serves as proof that a band can do just fine without a singer. As Irata
is all instrumentals, the songs are so overly complete that it's easy to
forget that there are no vocals. It moves along with enough character and
bravado that nearly a third of the way in you realize no one's singing.
And that's just fantastic.
Irata is comprised of fuzzy
guitar harmony that climbs and falls to create not only ambiance but an
emotional vibe that lands between melancholy and electric funk. Opening
track 'Infinite Eight' easily moves into 'Slide' which sounds like a hybrid
of A Perfect Circle and Semisonic. 'Clown Rehab' is especially sonic, coming
on with wave after wave of reverb and breakdowns. The noodling guitar of
'Pilgrim' sounds like steel rolling around, about to break, and the thick
slide guitar is barbaric and angelic simultaneously. 'Baby's Breath' mixes
heavy riffs with Indian flavors to create heavy handed world music while
'Eye of Ra' fuses an Asian thread throughout the track along with a Dick
Dale styled guitar riff.
The trio hails from Greensboro,
NC and utilize a Moog and a saxophone hooked up to a guitar amplifier as
well as a variety of percussion. Part experimentation and loosely devoid
of structure, each song is its own world. The melodies drone and caress
one another to craft a plentiful musical landscape. While much of the album
is a variation on a musical theme, Irata is a work that explores infinitely
outside the box of what music can be, yet, is typically not done.
~ Brian Tucker, Bootleg
Magazine
Instrumental post rock/hardcore
with a stoned doom rock edge, these dudes know how to lay out some heavy
groove without being stale. I mean these guys have a wah-wah-FX sax
for grud's sake! They have been described as prog.... The genres
blurrrr....
~ Blotter - The Bad Acid
Podcast
Part post-rock, part prog,
part psych, part art-rock/metal, but mostly ass-kicking rock, Irata is
completely … Irata. Thunderous and at times pummeling, Irata blasts out
of the gate with Infinite Eight, both setting and defining the stage for
what’s to come. And what comes is a nut-busting burst of sonics that is
as strong as the whole record is consistent. Each track stands on it’s
own, but there’s a cohesiveness through the whole platter that seals the
deal, made especially evident in the side-by-side Eye of Ra and The Myer.
Impressive for a band that isn’t adhering to usual ‘song’ structure. Irata
is progressive in the sense that they don’t go for the obvious throat when
they set you up: they take it someplace else. Check Eye of Ra and how it
morphs into an almost Mermen-esque exotic surf feel or the scorching closer
Angel’s Share that kicks off with a Hawkwind worthy riff but quickly grows
into something else altogether with a fantastically emotional coda. Each
track, in its own right, bobs and weaves taking a different tack than what
is expected, or usually delivered.
Irata is big, existing in
a great soundscape that is both distorted and crisp. Incredibly agile,
they move through each track, fast or slow, with great ease, delivering
equal amounts atmosphere and scorch. Stellar sounding guitar crunch, drums
that do more than keep time, some keys, saxophone and a belching bass worthy
of Lemmy {Drunken Dwarf} all make an instrumental, and intelligent, rock
record that charts its own course. Highly recommended.
~ Mr. Atavist
A monster of a record from
Irata. Coming on exotically mournful and wounded one minute and burgeoning
into a raging Leviathan the next, Irata blisters and burns through a set
that, not to be flippant, grabs post-rock by the throat with one hand and
shoves the ‘rock’ back in with the other. There’s a raggedy, fraught tension
through Irata that sets it apart from other post-rockers who can’t break
free of an overly stringent, rigorous approach.
~ Mr. Atavist
Here on their debut album,
Greensboro, NC rockers Irata have made themselves strong contenders for
the best progressive rock band in the state. Between members Jason Ward,
Jason Duff and Jon Case , the swirling, driving guitars and intricate,
pounding drums build epically progressing instrumental gems that call to
mind everyone from legends like King Crimson and Tool to bands like Explosions
in the Sky, Graboids and the like.
From the opening track "Infinite
Eight," the album is an incredibly solid entry into the prog-metal fold.
The amount of noise that comes from this three piece, from their devastating
live shows to the entirety of this album is amazing. The pure amount of
layers on songs like "Baby's Breath" is enough to allow the listener to
pick up new notes each time through.
In the same vein as fellow
instrumental badasses Graboids and Ahleuchatistas, who have both passed
through the NC bar scene regularly the past few years, they have a bit
of fun with the song titles. Irata's debut features titles like "Clown
Rehab" and "Drunken Dwarf" leading one to ponder their meanings just a
bit as the rock begins to melt their face. Catch these guys all over NC
in '08. Cause this album gets 41/2 jesters.
~ Matt Davis, Village Idiot
There are times when I realise
just how lucky I am doing this. Over the years of doing this website I
have been sent an awful lot of music, some good, some bad, some indifferent,
but sometimes, just sometimes, I get sent something truly exceptional.
Today is one of those days.
With their eponymous debut
album, North Carolinans Irata have created a monster, a rampaging behemoth
that leaves every other stoner / space rock album I’ve heard this year
as bloody roadkill in its wake.
What makes Irata stand out
from those who would be their peers; White Hills, Sleepy Sun, Black Mountain
and the like (and have no doubt, we love those guys) is that rather than
jamming their way through they are laser focused and tight as hell. All
these tunes feel like they know exactly where they are going right from
the outset and whilst they have many great ideas they never let any of
them outstay their welcome. They wring what they can out of a tune and
then kill it, stone dead sometimes, and move on to the next one, there’s
no self indulgence here. For me personally, this is about as good as it
gets.
The first tune showcases
exactly what these boys are about. ‘Infinite Eight’ opens with an insistent
melody and pounding drums that soon unfolds in to a moody, bass driven
heavy riff. This properly attention grabbing stuff, background music it
ain’t. Half way through there’s a breakdown involving some percussion and
then the dirtiest, sleaziest brass riff you have ever heard before diving
back in to the main thrust of the tune. Magnificent.
From then on it’s just hits
all the way. ‘Slide’ is probably the most out and out space rocky of all
the tracks but even here nothing is by accident, everything is in its place
because that’s where they want it. Regular reader of this site will know
that I have a bit of a thing about bass sounds, and Irata posses such a
sound that immediately places itself in my top five or so bass tones ever
and no more so is that evident than on the intro to ‘Pilgrim’; an absolutely
immense epic of a tune half way through which I it comes to me: this is
the album Tool were trying to make when they made ’10,000 Days’. The sound
is not dissimilar, they share same the heavy, progressive ethos, the same
desire to explore the darkside of the universe through riffs but there
is a clarity of thought here that was sadly lacking from Tool’s most recent
work. Bearing in mind that Tool are possibly my favourite band in the history
of music you’re starting to get a feel for how highly I rate this record.
And on and on it goes; ‘Baby’s
Breath’ with that gorgeous bass sound again to the fore, ‘Drunken Dwarf’
all dark and sleazy and ‘Eye Of Ra’ and ‘The Myer’, all great, but it is
‘Lemeloing’ and the album’s closer ‘Angel’s Stone’ that again take the
breath away. The former starts as one of the albums more introspective
moments, but gradually adds layers and builds tension until bursting in
a cataclysmic climax, the latter rounds the album off in the way it opened,
sledgehammer all the way, massive riffage, throbbing bass and pounding
rhythm, blasting the listener out in to the cosmos one last time. Utterly
brilliant.
If you have any interest
whatsoever in space rock, stoner, psyche or progressive metal then you
need this album in your life, period. It is a masterpiece of the genre
and not just my album of the year, by a considerable distance, but a new
entry in to that hallowed list of my favourite albums of all time, and
I can’t say fairer than that.
~ Dan Salter, Echoes and
Dust
I’ll be the first to admit
that, for as much as I like the genre, post-rock has a few problems. Without
going into too much detail, it’s laregly owing to a few common cliches
and the greater stumbling block of being able to effect long-term engagement
(particularly with instrumental post-rock). I mention those (albeit briefly)
because it’s nice to come across an instrumental post-rock act who, by
and large, avoid those problems.
Having recently discovered
the label Silber Records, I took it upon myself to explore a few other
titles in their catalogue. (First, the lovely China Mountain by Lotte Kestner
– reviewed over at [sic]). Next up on my “hit-list” was Irata‘s self-titled
debut, which I admittedly approached with equal amounts of trepidation
and anticipation. Trepidation owing to the aforementioned issues; anticipation
owing to Silber’s own description:
"Irata dwells in the world
where drone, post rock, & metal unite into a giant monster to kick
your ass. Guitars, drums, bass, & saxophone form this instrumental
group from Greensboro, NC."
It is, at least, a combination
that sparks intrigue, as my taste for projects blending drone into the
mix has only been recently developed.
Ok, so what you can expect
is some well-paced and energetic instrumental pieces that appear to draw
heavily on action over emotion – which for me means it rocks without draining
my energy. The riffs hook easily and there’s no unnecessarily extended
or drawn out builds into cinematic-like climaxes (where often – even without
lyrics – one can come away with the feeling of being a tad emotionally
manipulated). These guys get straight into it and give it all right there.
It might be just me, but I can see this being a great soundtrack to an
action movie with tons of car chases and spy tactics. And ninjas. (Yes,
there is some subtle subversiveness in this here music. Also, I just like
ninjas).
You’ll get the post-rock,
the metal and the drone, seasoned with the occasional touch of blues, shoegaze
and even a light sprinkle of Middle Eastern influence. If it suffers from
anything at all, it’s a bit of a tendency for repetitiveness, but at least
the pace is swift enough to be able to carry it.
I’m often fascinated by
the titles some post-rock bands will bestow upon their songs. Again there’s
a common tendency to issue them with unnecessarily overlong and convoluted
names that perhaps serve as an attempt to better clarify the story or concept
with the listener… But I’m looking at this tracklisting and I have to say
I find the comparitively succint Clown Rehab far more fascinating – my
imagination has run away with it already (last seen wondering about the
effects of clown addiction, whether or not one who suffers from it would
hide big red noses and floppy shoes in various places about the house.
It might seem like I’m making fun – I’m not. Consider it more having fun
with what I’m being presented with; which I actually think is cool that
I can do ;) . If one was to actually take a more philosophical approach,
one might consider it to be a reference to the often implied notion that
the happiness of a clown is a facade, and perhaps there is an addictive
quality to maintaining that).
So there you have it, taken
it on the nifty action packed level and let your imagination do some wilder
things than mine; or study it all a little more deeply and find your own
rewards.
~ Angie Mack, Satellite
for Entropy
The Greensboro, North Carolina
trio of Jon Case, Jason Duff and Jason Ward formed in late 2006 and has
developed a reputation as one of the most exciting and best progressive
rock bands in the entire state of North Carolina. With the release of their
debut album, Irata on the Brooklyn, New York-based label, Silber Records,
Irata has recorded what I think is one of the most sonically challenging
and exciting albums I’ve heard in quite some time, as well as one of the
hardest albums I’ve heard in the better part of a year. Duff’s guitar lines,
full of fuzzy distortion buzz, drone and roar with a muscular insistence
but also manages a gentle country and alt rock twang, depending on the
song. Ward drums with a thundering and almost cathartic power while holding
down some rather complex rhythmic structure – frequently changing rhythms
during some stunning and heady changes in key, mood and chords. “Pilgrim,”
starts off sounding much like the intro section to Pink Floyd’s “Another
Brick in the Wall, Part 2,” before ending with a sequence that was reminiscent
of Nevermind-era Nirvana. “Eye of Ra,” ends with a section that sounds
like 1960s surfer rock on steroids and amphetamines.
On the first few listens,
the songs on Irata have a wild, unpredictable nature. The sudden changes
in tempo, mood and chords and keys are a trippy head rush. Certainly, no
one can doubt that these guys are amazingly talented musicians as the song
structures reflect a jazzy and downright mathematical precision. Granted,
on several songs I could easily hear Tool, A Perfect Circle and other bands
– on a debut album that can be expected – but as they develop and carve
out their own sound, I’ll definitely be excited to follow them.
~ William Ruben Helms, The
Joy of Violent Movement
One of the new CDs I received
from Silber Media to review was the new one by raw, edgy, experimental
Irata, entitled Eye of Ra. Don’t pay attention to anything that may read
“metal” in conjunction with this CD. Although they are kind of hard and
edgy, they’re more like Tool or the lesser-known instrumental, metal-tinged/syncopated
jazz rhythm band Apeyga. Since the latter band is also an instrumental
band (as is Irata) – they are a bit more apt as a comparison than Tool
– but still, one can’t help but hear certain Tool influences here and there
throughout Eye of Ra. The bassline, for one, really harkens back to Tool
recordings as well as the consistently bombastic, yet tightly wound drumming.
Then there’s the excellent guitar work of Irata, which seems to be on a
plane of their own. Influences for the guitarist are harder to pick out,
just by guessing and listening.
Listening to Eye of Ra I
fell in love quickly with the album as a whole and really was impressed
by the solid arrangements and the tightness with which they play. These
qualities are evident on such examples as “Clown Rehab”, a 4 minute jam
that really keeps you paying attention, it doesn’t drone off or get hyper-redundant,
but cleverly just plows through the song and there is some kind of je ne
sais quois about it that pulled me in the first time I listened to it.
“Pilgrim” is another good cut, a bit slower than “Clown Rehab”, but it’s
a longer tune and it still rocks and penetrates the psyche. Another song
worth mentioning here is an 8 minute jam, “Baby’s Breath”.
Irata seems to have the
spark and the intensity of a Smashing Pumpkins – talented, loud and at
their best when just playing instrumentally, no singing needed, it’d only
be superfluous. They also have what may seem to be the showmanship of someone
like The Fantomas – Mike Patton’s (Faith No More, Mr. Bungle) latest project.
And if you’ve ever seen Patton live – no matter who he was with (Mr. Bungle
being the most entertaining and original projects), you know what I mean
by “showmanship”!
But just focus on Irata
and what they can do for you: they will take away the stresses of a long
day at work, get you pumped up for your daily workout routine or it can
be a soundtrack to your party or your one-man vice machinations.
~ Kent Manthie, Reviewer
Magazine
Irata is a new instrumental
group from North Carolina formed by Jon Case (bass), Jason Duff (guitar,
sax, Moog) and Jason Ward (drums, percussion, electronics). The band’s
pretty unique sound is a combination of heavy metal, post rock, drone,
psychedelia, experimental space rock, stoner rock, prog and surely lots
of other styles as well. This debut album of theirs has now been re-released
on Silber Records and for a good reason. The band features excellent musicians
who really know how to make high-quality, multidimentional, at times atmospheric,
at times heavily grooving music that doesn’t really sound like somebody
else. The most peaceful stuff does still bring to mind bands like Explosions
in the Sky or Mono a bit though; some of the prog metal parts are somewhat
similar to Tool. Sometimes they rock really tightly too. I really like
the playing style of all the members and together they form a greater whole
than their sum. The use of effected saxophone, percussion and electronics
adds wonderful extra dimensions to some of the tracks, but the band mainly
focuses on creating very inventive sonic tapestry with just guitar, bass
and drums. One of the best pieces is the seven-minute closer “Angel’s Share”
that at first rocks hard and energetically. After a beautiful, tranquil
part they go for a hypnotic, repetative mid-tempo going. I also really
like for example the delay bass on “Pilgrim”. There are no weak links included:
all the tracks have brilliant ideas and excellent playing. This band is
definitely worth checking out! They very well might someday become one
of the greats.
~ Dj Astro, Psychotropic
Zone
Freunde der härteren
Instrumentalmusik sollten ein Auge auf die jüngste (Wieder-)Veröffentlichung
des Dröhn-Labels Silber Records werfen. Das selbstbetitelte Debüt
von Irata aus dem Jahre 2008 steht dort zum digitalen Download bereit.
Einige Titel, auf denen der Gitarrist des Trios zum Saxophon greift, so
der Opener „Infinity Eight“ oder „Eye of Ra“, erinnern an die ebenfalls
vorgestellte neue Seven that Spells-Scheibe und zählen zu den Höhepunkten
des Albums. Wobei ich nicht den Rest herabwerten möchte, schließlich
ist das ganze Album atmosphärisch dicht und druckvoll. So seien „Clown
Rehab“ oder „Angel´s Share“ als weitere Anspieltipps genannt. Die
Truppe aus North Carolina bietet guten, heftigen instrumentalen Rock, nicht
mehr und nicht weniger.
~ Electric Magic
Da stöpselt man doch
gern die Luftgitarre ein. Lange nichts mehr von Tool gehört? Macht
nichts. Eine Menge beinhartes Eisen, intelligente Frickelei ohne Selbstzweck,
präzises Timing und Liebe zu luftig-leichten progressiven Soundlandschaften
machen Spass. Wir betreten keine flache, eintönige Gegend, sondern
vermintes Terrain. Ich bin ob des Albums regelrecht aus dem Häusschen.
So gute Musik aus dieser Abteilung habe ich schon lange nicht mehr gehört.
Für passionierte Luftgitarrenverbieger und Freunde von psychedelischen
Prog-Metal und ein wenig Heavy-Rock gibt es aus dem Album “Irata”
eine Menge an eisenhaltigen Nektar zu ziehen.
Das Trio Irata stammt aus
Greensboro, North Carolina und wurde Ende 2006 gegründet. Die Instrumente,
mit denen Irata Klang und Nektar produziert, sind Gitarre, Saxophon,
Bass, Schlagzeug, Percussion und eine Menge elektronischer Sounds,
die für das wabernde psychedelische Fundament sorgen. Die Musik atmet
und fließt, erscheint trotz harte Akzente und schwerem rythmischen
Unterbau leicht wie eine Feder. Quadratur des Kreises, sehr schön
umgesetzt.
Und so lasst uns das Trio
aus North Carolina ehren und preisen und diese Musterschüler für
Progressive-Metal zwischen Feinmechanik und wuchtigen Schmiedearbeit loben.
Langeweile kommt bei den mitunter ausuferndenden, elegant die 15 Minuten
durchbrechendenden und technisch brillianten Songs nicht auf. Zwischen
pulsierenden Schlagzeugbeats, präzise getimten Gutarrenlinien, pluckernden
Bassläufen sowie psychedelischen Luftholen passiert so ungemein viel
in den Songs, das mir alten Hallodri der Atem stoppt. Und das alles
ohne Gesang. Der wird nicht eine Sekunde vermisst. Bewundernwert, empfehlenswert.
Nachtrag I: Die Hundedame
geht so langsam, da muss man sich beim Gassigehen noch Arbeit mitnehmen
muss. Unglaublich, aber wahr. Das Album von Irata habe ich auf meiner ersten
Runde (4,8 Km) mit Neuzugang Ebby nicht nur komplett gehört, sondern
während des Spaziergangs via iPhone und dem Simplenote App, einem
Tool, dass ich schon lange nicht mehr missen kann, diese Rezension verfasst.
Moderne Zeiten, ein Leben in der Wolke.
Nachtrag II: Ebby
hat nicht geknurrt, zwar mir gegenüber noch recht verhalten aber im
Grossen und Ganzen sehr nett.
~ Schallgrenzen
E chi l'ha detto che il progressive
strumentale dev'essere necessariamente serioso, a mò dei Tortoise,
e non capace di coinvolgere il corpo oltre che la mente? Direi nessuno,
e arrivano dunque gli Irata con il loro album di debutto per la Silber
Records a dimostrarci che una via di mezzo effettivamente può esistere.
Barcamenandosi spesso su
tempi musicali piuttosto ridotti (specialmente per una struttura di canzone
così tipicamente "lasca"), i tre di Greensboro portano a fruizione
una proposta davvero allettante, unendo ogni tipo d'ispirazione possibile
onde tracciare un percorso... effettivamente difficile da tracciare. Su
ogni buona idea vi si costruisce sapientemente sopra; ascoltare il basso
molto Chancellor-esco di Pilgrim, che diventa base su cui la chitarra di
Jason Duff disegna accordi e note quasi drone. Ottimo anche il lavoro di
batteria di Jason Ward, tentacolare e intricato come giustamente serve
al genere.
Prodotto in maniera impeccabile,
nei dieci pezzi di 'Irata' si trova davvero molto da apprezzare, e nonostante
l'orecchiabilità sia sempre ad alti livelli è difficile entrare
nel sound dei tre. Figuriamoci che a malapena vi accorgerete di essere
già a metà disco e ancora nessuno è intervenuto a
cantare, talmente ci si sente a proprio agio. Allo stesso tempo, però,
si avverte una maggiore necessità di sperimentazione, carta che
il gruppo gioca piuttosto poco, limitandosi piuttosto a tracciare il proprio
percorso sul rock classico. Quando però si ascoltano quei guizzi
di elettronica o di sassofono (in Lemeloing e nell'esotica e misteriosa
Eye of Ra, corredata anche da un discreto video musicale in bianco e nero)
si resta sorpresi e impressionati, impossibile non volerne di più.
Dunque, un'ottima prima
proposta da parte degli Irata, che attendiamo volentieri per una seconda
prova ove confermare quanto di buono già ascoltato.
~ Damiano Gerli, Kathodik |