Ischemic - Stagnation and Woe

Two years after the very strong All Paths Lead Nowhere, an EP which I stated showed a band maturing and developing quickly into something of their own, Canada's Ischemic follow through with their debut full length, Stagnation and Woe, an album which not only recalls the inventive melodic tendencies which were at play on it's predecessor, but really necessitates their inclusion on extreme metal fans' must-watch lists for the foreseeable future. Stagnation and Woes shows a band that is still peaking creatively and musically in all aspects. In truth, the only stumbling point for me on this full length is in the packaging, being absent of lyrics or deeper thematic interest and that is such a footnote that I am glad to already move on to greener pastures.

Ischemic showed their melodic ingenuity and maturity previously on a track like "Barren", but on Stagnation and Woe Ischemic truly find themselves experimenting with melody to a vast degree from all angles. Opener "Witchcraft" plays with numerous melodic vistas, not only during the suffix to the massive doomy chugging main riff but through the sweeping triumphant middle section which marries with the earlier traditional doom vibes. The familiar cadences of the opening track are contrasted with the incredibly dissonant and tense melodies on "Carrion Kingdom" which is abrasive and ugly and yet, especially during the chorus motif, cathartic. "Marasmus" the album's longest gift, exists between these first two tracks in terms of melodic attitude. "Sigil", the instrumental interlude at the halfway point depicts a band actively seeking fresh ideas in the melody and rhythm departments while "Cerebral Pestilence" explores a tumbling tepid and indifferent feeling. "Filth" has a tendency towards a dark ascending frivolity. Final track "Murk Within Marrow" is a little bit of an oddball throughout it's sludgy (Eyehategod / Neurosis) guitar motifs.

The ugliness of these melodies and the innate tension that results as Ischemic shift between the ugly and the serene reminds me of tracks like Hivelord's "Atavius Lich" where dissonance and angular melodies reigned supreme. Perhaps there are elements of Deathspell Omega and Blut Aus Nord to be sorted out or considered as well. The present doomy-ness is more akin to Ataraxie's chugging behemoth Anhedonie than genre milestones like Antithesis of Light which rely on an expansive atmospheric foundation. And so, I get the feeling that there is a particular appreciation for bands from the French repertoire overall and while there are movements that are laced with melancholy and sadness, I don't find the overt "Gothic" feel of the UK Doom-Death lineage. There is also a definite influence to be found from the Cascadian Black Metal scene.

Stagnation and Woe's swift flow is another area which Ischemic have capitalized on. Simply put, the pacing is pristine. Perhaps one of the most thoughtfully arranged track listings I can think of recently, which is especially important for Ischemic and plays into their hands, due to the variety found in the songs. The more recognizable forms found in the opener attract attention and delineate the overall musical elements. This opens the ear palette to "Carrion Kingdom"'s dissonance, experimentation, and up-tempo briskness. Marasmus, the longest track is set against these two opening heavy hitters and separated from the second half of the album by the cleansing instrumental "Sigil". After listeners' ears have been 'reset', the album slowly picks up again with "Cerebral Pestilence" before "Filth", Stagnation and Woe's shortest track, which comparatively speeds by to the final song, the sludgy but hasty "Murk Within Marrow". 

The individual performances are all worthy of attention as well. While the cumulative of all is impressive, listening for the individual performances yields plenty of enjoyment as well. Bassist Anthony Abbatangelo chooses smart moments to stand out, such as on "Carrion Kingdom" and especially "Marasmus", where he lends needed highlights to the otherwise lengthy exposé. Guitarists Adam Korchok and Tyler Bontje are a strong tandem both rhythmically and harmonically, especially noticeable in headphones where the stereo panning pushes their respective playing to noticeable extremes. Drummer Chris Orr makes a lot of interesting usage of toms and cymbals in his patterns and his creative percussion is right at home compositionally, though I wish the kick drum was louder and more pronounced. Vocals are shared by Tyler and Isabelle Tazbir but it's Isabelle who shines as Frontwoman. She harnesses the intensity and character needed to allow the songs feel dimensional and dynamic. Mixing low and high vocals as growls, screams, and grunts the emotive quality is powerful and convincing. I could swear I heard some background bleed in a couple spots, but the fact that I'm not sure means that I still give the production here very high ratings. 

Going back and reading my thoughts on All Paths Lead Nowhere, after writing this review, it's surprising how prophetic my assessment seemed to be on the direction the band would take. Prescience aside, the comparable bands I listed there (Ataraxie, Hivelords, Evoken) were recalled in writing my assessment of Stagnation and Woe again without remembering that I had linked them previously. To me, it's telling that a band can progress in their own style, yet retain noticeable influences as previous releases, and still sound themselves. Stagnation and Woe truly has impressed me for it's breadth and attention to details often lacking in less developed projects' premature debut albums. Ischemic show that working out the kinks on demos and EPs allows the release of a full length to be regarded with a greater amount of attention and consideration. For Ischemic, this extra attention and consideration has payed them dividends, as Stagnation and Woe should be considered a top-tier release for extreme metal fans.