It's time to talk about the iconic album (with an iconic album cover to boot) from the juggernaut of Post Metal:
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| Neurosis circa 2016 |
(Because it was pretty comprehensive the first time around, I'm copying the introduction to the band, which was written in my review of their other album back in 2019):
A historical context for those unfamiliar with the band: Neurosis originated from Oakland, California, formed in the year 1985 by Scott Kelly (guitar and vocal), Dave Edwardson (bass), and Jason Roeder (drum). Originally starting as a punk hardcore band, the band then added second guitarist Chad Salter (join in 1987), later to be replaced by Steve Von Till in 1989. Their first two records, Pain of Mind (1987) and The Word As Law (1990) saw them playing hardcore punk/crossover thrash style, were not well received critically. At this point, the band subsequently added a keyboardist (Simon McIlroy in 1990, later replaced by Noah Landis in 1995), beginning to move away from their hardcore roots to embrace the emerging sludge and doom metal scenes. Their third release, Souls at Zero, released in 1992, saw them experimenting with the sound of doom metal, combined with elements as varied as post-punk and gothic rock, noise rock and industrial music, psychedelic and progressive music, and folk music. The record, as well as their subsequent releases in the 90s, helped spearhead a movement which would subsequently be termed Post Metal, and in the years to come Neurosis would continue to be a towering influential force in this movement and beyond, influencing artists such as Isis, Cult Of Luna, Pelican, Mastodon, Yob, Gojira, to name a few.
While some of the bands influenced by them have come to receive critical and commercial success, Neurosis themselves are apparently not that well known among the public. I would like to think that this has something to do with their DIY (Do It Yourself) ethos brought upon by their early hardcore background, where they remain fiercely independent and avoid any attempt to break into the mainstream (they started their own record label, Neurot Recordings, in 1999, and have continued to release their post-2003 works on this label).
Through Silver In Blood was released on the 23rd of May 1996, with the album featuring the lineup that remains is to remain stable to this very day (with previous keyboardist Simon McIlroy replaced by Noah Landis in 1995). The record features similarly abrasive sound of their previous album Enemy of The Sun, all the while continuing to incorporate the sonic elements that is to define their later works, with the subject matter of this album appearing to be borne out of personal struggles and the search for spirituality (more on those in a bit):
The album begins with the 12 minute title track, where industrial/electronic pulse clashes with the pummeling of toms, slowly building up with synthesizer, guitar, and bass, before really kicking into full gear at around the 2:52 mark. It wasn't until around 3:23 that the first lyrics, and indeed what one article has pointed out, the thesis statement of the album, is stated:
Through silver in blood
We stand judged not by eyes of flesh
When transit times cross
When transit times cross
Prey vision
Consumed
Consumed
From here on out the song doesn't let up, with even certain parts of the songs punctuated with electronic sounds that gives the impression that the ground beneath the band is creaking - even during the small break before the long chaotic part before the conclusion, there is a sense of the song on the verge of exploding, which it did - all the while lyrics hinting at nuclear fallout are repeated:
Don't crawl seek his burn of war
When the fallout comes he is fire
And just as the song starts, the song ends on a similar manner - with the last ringing guitar parts giving way to pummeling toms and ugly electronic sound.
What follows is one of the two interlude tracks on the album, Rehumanize - which I feel could safely be cut out from the album without adversely affecting the flow of the album. Thematically however it does fit it with the rest of the track, hinting at the overarching spiritual and metaphysical theme of the album, as evidence by the collection of samples:
a What’s it like out there
b It’s impersonal
c It is ‘the machine’ if you like to put it that way that has created you
d In the beginning there was only darkness everywhere, darkness and water
e There's no light without darkness
d In the beginning there was only the great self, reflected in the form of
a person
?e Matter and spirit
d Reflecting it found nothing but itself
e Body and mind and soul is what unifies
d This am i
e Soul knows that i'm capable of evil
From there the track literally explodes into the next track, Eye, where the slithering bass line fits in with the opening lyrics about serpents:
Third seed throw down
Visions of serpents
Cut - life storm - drown
Suffocated spirits
Regression's avowed
While none of the song off this album is 'straightforward' in its traditional sense, with this song being the shortest (excluding the interludes), I would definitely say it's one of the less complicated track off the album.
Ending on a droning electronic screech, the track seamlessly transition into another massive 12 minute plus track (the longest track of the album, at 12:18 minute), Purify. This song takes time to build up, with synthesizer part slowly followed with the slow plucking of the bass and clean guitar arpeggio, before distorted guitar, rumbling bassline and drums appears at around 2:19. It isn't until around 4:59 that vocalist Scott Kelly and Steve Von Till trade back and forth lyrics, amidst the almost trance-like pummeling of toms:
Blazing eye sees all
Nature of fiery triumph
Patterns unfold
Whispers revealing
Path of spiral reaps
Fetal buried gold
Humbled in the womb
A center opens
To the unknown
before giving away to harsh guitar sounds, as Scott Kelly takes over... such a cycle is repeated once more, before launching into a long drawn out outro, with loud ringing guitar noise punctuating plucked bass and guitar parts. Bagpipe begins to appear in the background, which completely envelops the song as the guitars fade into a feedback.
As the song fades out, snippet of the next song begins to creep in. Drum parts begins the song after the brief humming sound interlude, where clean guitar arpeggios rings out against the dirty rumbling bassline, as electronic sound in the background gives the impression of breathing and screaming sound (the last one which will appear prominently in the background throughout the song). At around 1:15, all instruments drops out save for the sound of breathing, before Scott Kelly howled a single word: "Rise".
Locust Star is one of the few songs to receive an official video, and could be considered a single of sort. Apparently it's one of the few tracks from this album that the band has since played live, with this one in particular being their most played track at concerts.
(I would highly recommend anyone who is even remotely interested in the band to check out this particular live performance of the track. This was actually the recording that had gotten me to finally check out the band. If I could persuade you to check only one song off the album, it'd be this)
The highlight of the track is when bassist Dave Edwardson steps up on the mic and roared the lyrics:
The will to power
Ascension manifest
That which is above
Is as that which is below
Thy will be done
Thy kingdom come
On earth as it is in heaven
So mote it be
To the background screaming of "You all lower me" from Steve Von Till, as Scott Kelly joins in with the part:
Christ's shine blinds
Your belief is scars
Your world
Your belief is scars
I can't get over how damn perfect the ending part of that song is.
After the punch-to-the-face of Locust Star, the next track, Strengh of Fates, begin with vocal parts that are sung in a more conventional way, where Steve Von Till croons:
On this earth
Lay me down
Soil my blood
This shell will fade
Gods with eyes
I'm ready now
At the hanging tree
Giver of life
Great mother heal
I will rise
Of course, such relative moment of relief eventually breaks down (although this song takes up until around 7:16 before the rest of the band joins in), with Dave Edwardson appearing near the tail end of the song with the lines:
What hath god wrought
Divine misthought
No senses, cold and sedate
A self-imposed
Fear-driven state
Too hurt to see
Unhidden truth
Increasing void
Worsened fate
Only for the song to abruptly stops. A screech marks the transition to the second interlude of the album, Become The Ocean, where a speaker quotes an excerpt from the book Human Survival and Consciousness Evolution:
We even ignited the first atomic bomb on the day commemorating the transfiguration of Christ, thus unconsciously signaling that we intended likewise to transform the world, only not after the light but after darkness - with a blast that burned several times hotter than the surface of the sun.
What follows is what I would consider the high point of the album, Aeon. Beginning with mournful piano parts, strings, and minimal drum parts, the song gradually build up to where the rest of the band joins in (compared to tracks like Locust Star or Strength of Fates, the transition doesn't feel as jarring - or maybe at this point you would be used to such build up?).
If there was still any doubt about the underlying apocalyptic theme underlying the album, the bands highlights it in the lyrics that calls upon the imageries of destruction and doom:
Our universe will breed, Aeon
Ravens descend, freeze
Your destiny breathes discord
Fall, obsidian tides
Will be nature's bane
At around 6:18, a terrible screeching lingers on while drum and bass pummels on... before the songs climaxes, with soaring synth part that personally gives me the impression of watching the universe collapse upon itself... At one point, all the instrument drops out except the drums (which is then muffled), before strings and keyboard part conclude on what would otherwise be a damn perfect way to end this album.
I believe it is a deliberate choice by the band to not end the album on a cathartic note: instead, the album ends on the track Enclosure In Flame, which is a song that I honestly would say is ugly sounding. The song begins and ends on guitar arpeggio, with the lyrics being shouted out in an incoherent manner (I tried listening along with the liner notes, and find it hard to follow the provided lyrics). The song ends with one the vocalist apparently announcing:
Silently praying for
Enclosure within the
Flame of origin
And it is here where the album ends, a 70 minute sonic assault set to lyrics that allude to the search for spirituality, in an apocalyptic world that is crumbling upon itself.
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| Neurosis circa 1995/1996 |
Following subsequent interviews with the band, it was clear that the album was crafted when they were undergoing some difficult times, with the topic of addictions and homelessness being mentioned. It is perhaps not surprising that some have conjured that the title track is an allusion to the injecting of heroin (through silver) in(to) the (blood)stream (Dave Edwardson playfully points out in an interview back in 1996 that some may take the title as to "stab someone with a silver knife").
There is however plenty of evidence pointing to a spiritual theme of the album, from the significance of silver and blood in alchemy and esoteric wisdom, to reference of concepts such as 'as above, so below', Yggdrasil, and Aeon, to name a few, that is littered through the album . I would highly recommend this blog post which dissect the possible occult connection for the whole album: here's a writing on the possible interpretation of the album title and cover:
Silver can also be symbolic of Divine Wisdom. Conversely, blood is closely associated with the sun. On the one hand then the title could employ an attempt to merge the two strands. On the other hand it could be taken more literal, i.e. Divine Wisdom could only be gained through blood. The album cover, which depicts two silver serpents over a face bleeding from the eyes, seems to point toward the latter. Serpents are often associated with wisdom, while the face, seemingly blinded, does not seem to be able to handle them.
Indeed, Dave Edwardson, in that aforementioned interview, gave an explanation on how the title is a reference to "dealing with humanity's place in the cosmos and dealing directly with alchemy and psychedelics".
What is less obscure, is the fact on how difficult this album to get through, especially for those who are unfamiliar with the band. I was such a listener, who had a sort of high expectation of the release, hearing the consensus that this is their heaviest and best album (as well as my impression of the band, from the previously mentioned Locust Star live video). Upon initial listening, besides the aforementioned song, the rest of the songs did not stick with me at all, with my impression was that of the stereotypical 'it's all just a bunch of noise!' (with some samples thrown in between for some reason... because they're cool?).
It is reasonable to assume that playing these punishing music on the road would take its toll on the band... which does seems to be supported by the fact that only a handful of the tracks off the album has been played live over the years.
On that note, it is interesting to note how there hasn't really been that much insight about the album from the band itself, despite it being touted as a monumental release not only in the band catalog but the Post Metal movement in general. The few comments from the band members on occasion alludes to the difficulty in making of the record, with Steve Von Till memorably commenting in a 2016 interview that the album is “a fucking railroad through hell.” (the interview is also where both Scott Kelly and Steve Von Till shared the surrounding issues the band was undergoing during the making of the record).
From an interview with Scott Kelly in 2013 from (a now defunct blog) Long Gone Loser, some insight on the mindset of the band during the creation of the record:
We were pretty self-destructive at that point and there wasn’t a lot of thought as to a future as much as it was just about the music. Everything was about the music. We were just so obsessed with digging this stuff out and getting to where we wanted to be.
There is, however, an insight on how some positivity may have emerged from the recording of the album. From the interview back in 1996, when asked on what they wanted fans to get out of the record, Dave Edwardson answered:
For people to be inspired by it. Maybe with the emotions we reveal people can relate to it and get through that shit. To have a part of it speak to their deeper self or soul.
"And I know that a lot of people hold that record up above all of our others... And I understand why. There's a feeling in that record that goes beyond anything else that we did before or since"
With all that has said about the album, all that is left it is up to the listener to experience the whole thing by itself and see if they can actually get any sort of (for lack of better word) enjoyment out of it. For some, it might just be a bunch of noise. For some, it might represent a shift in not only the band's trajectory, but the birth of an experimental heavy music subgenre - a shift where they long the band to return to. And for some, despite all its accolade, represents a difficult period which one does not which to relive, albeit one which is a necessary process for them to grow into who they are today.
25 years later, this album still stands heads and shoulder above the acts that were inspired and/or tried to rip off their sound. It is remarkable that the band member could channel their pain and suffering to create this masterpiece, suggesting that the claim that they are shamans that channels energy of forces from beyond may not be a far fetched claim.
I feel that the best way to sum up this review is by borrowing the conclusion from an excellent review of this album back in 2016:
Through Silver In Blood has played an undeniable role in defining post-metal, and its influence reverberates in the sounds of countless bands. But this album inflicts levels of disorientation, fear, and hopelessness that few records have attained in the past 20 years, giving Through Silver In Blood a shelf life that has yet to glimpse an expiration date.
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