Review Summary: In the band's progressive metal outing, they deliver one of the most memorable career ending albums in recent memory.
There’s something about Isis’ progressive metal outing that cuts right to the core.
Wavering Radiant may not be their best work to date, but there’s no denying that it showcases some of the most powerful sections of their discography. Boasting epic production quality, a newfound love for musicianship and perfect band harmony, this album soars high. Though they did indeed go all out progressive metal here, this without a doubt remains an Isis album through and through. With the help of emotionally beautiful buildups and atmospheric pieces sprinkled throughout, this album will grip the listener for beginning to end.
With the help of Adam Jones from Tool in “Hall of the Dead,” the band’s suddenly heightened musicianship shines through more than anything else. Aaron Harris’ stunning drumming performance really gets the blood pumping and his potent force while hitting the snares and toms pound through the crisp production. Along with Harris’ amazing performance comes Jeff Caxide’s essential role on the bass. During the heavier sections, his exceptional bass riffs are always heard, but it’s during the slower parts of “Hall of the Dead” that his vibrancy is revealed. He adds so much life and energy to the atmosphere. Then comes Jones and his signature Tool guitar sound to make this song one of the best on here. Make no mistake that this brilliant musicianship remains quite consistent throughout the record and that Michael Gallagher also holds his own during most of the songs. The prominence of Bryant Clifford Meyer on the organ is also a welcome touch.
In addition to the progressive metal sections that dominate the record, there exist more atmospheric pieces true to their post metal past. “Hand of the Host” features a plethora of extremely memorable guitar riffs, engaging drum rolls and beautiful clean vocals. However, it suddenly alters its course (pun very intended) in a more ominous direction. The creepy atmosphere really induces a thought provoking mood and Jeff’s reverbing bass steals the attention for a short while, but it’s the band’s exemplary timing that truly excels here. After the buildup, Aaron Turner comes in with his animalistic roars at the perfect moment to make the listener jump.
The complex atmospheric buildups juxtapose swimmingly throughout the whole thing. “Stone to Wake the Serpent” exists as a fantastic progressive metal driven epic, with Meyer, Gallagher and Harris collectively working together to steal the show. Once it all slows down, the tribal drumming along and drone esque terrain truly reveal how moving a metal song could be. Plus, Aaron’s clean vocals closing it all out provide one of the best Isis song conclusions ever. The same could be said for “20 Minutes/40 Years.” It boasts some of the band’s most signature riffs and some of Aaron’s most passionately delivered vocals, and yet, the gradual rise to the heaviness in the second half contains the most emotional depth. The guitar’s spacey tone is nothing short of beautiful and the bass adds a surprisingly touching layer to it all. Once it all explodes, the listener will feel extremely empowered and satisfying.
However, not everything reveals itself to be up to par unfortunately and those flaws include “Ghost Key” and Aaron Turner’s vocals. To put it bluntly, he’s quite hit or miss in terms of harsh vocals. Even though his clean vocals have improved immensely, his voice just doesn’t cut it when singing aggressively sometimes. In songs like “Stone to Wake the Serpent” and “Hand of the Host,” it sounds like he’s really straining to get those roars out like he used to on
Oceanic. However, on 20 Minutes/40 Years,” he sounds better than he ever did so it’s quite unusual and conflicting. He doesn’t sound amazing on “Ghost Key” either, but the song itself is more a problem than him. It’s not bad even in the slightest, but compared to the rest, it stagnates quite a bit. The organ sounds homely and the tremolo picking proves to be jaw dropping, but the second half simply runs out of direction or literally anything to do. They’ve made worse, but it makes for a bit of a drop in momentum for the second song.
Thankfully, this awe inspiring swan song sends off their career with an explosive bang. “Threshold of Transformation” essentially proves one hell of a riff driven number for progressive metal lovers out there. It’s one of their heaviest tracks and it truly brings everything full circle as every band member gives some of their best performances to date. Gallagher happens to be the true highlight of the song, with his solo guitar breaks adding an extra dose of head banging guitar work that is both expertly played and memorable. The moving crescendo to close it all out also stuns with the help of Harris’ incredible snare sound. Once it’s over, the listener will want to play this record on repeat over and over again. Though Turner isn’t perfect and the record contains one dud, it’s one of the band’s most gratifying listens. The increased musicianship and love for adding much needed substance to progressive metal draws in immense appeal for those looking for something different in the genre. The band will without a doubt be missed, but luckily they crafted one of the best career concluding albums in recent memory.
