Wednesday 30 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Indie · Idre - Idre

Idre - Idre

Joshua Boydston May 28th, 2014

For a long time there, metal felt like it was on life support, relegated to the dankest of underground clubs and precious few high school loner iPods.

But then Mastodon and The Sword came, along with Baroness, The Dillinger Escape Plan, Russian Circles and ISIS.

And in the past few years, an even newer class of critical darling metal bands have emerged, ones that are pushing the form in new and vibrant directions: Pallbearer, Deafheaven, Metz, Pinkish Black — the list goes on.

Oklahoma City’s Idre doesn’t necessarily sound like any one of those bands, but they definitely share the same defiant spirit.

Idre’s dark blend is a slower, plodding take, one with the trudge of an art-house Frankenstein, not CGI flash, flare and spectacle. It’s slow-building — almost glacial — but no less effective in building to a blissful, body-swallowing crescendo of righteous heaviness.

And good lord is it heavy — like Andre the Giant deadlift heavy — captured beautifully at Oklahoma City’s Dust House Studio. There are varying degrees of post-rock, stonerdoom jams and stone-shattering punk to be found here, but they are all celebrating shades of gray and darker gray with the mastery of a monochrome Monet.

Idre might only contain two tracks, but it’s inarguably a fulllength record. Opener “Factorie” gets to roam for nearly half an hour before the comparatively brief (and awesomely titled) “Witch Trial” gets to make its appearance.

Yes, Idre feels it has about as much use for brevity as a three-ring Lisa Frank binder, but they might be right. These are two tomes of gloom and despair that feel consciously and thoughtfully crafted, as pared-down and purposeful as songs over 10 minutes long can feel.

“Witch Trail” climaxes at the eight-minute mark with a thrashing, cathartic breakdown worthy of the Hitchcockian pacing leading into it, with the foreboding processional drums halfway to that point getting their payoff. It’s the more affecting and effective of the two parts; the scarlet desert heat emanating from “Factorie” is pleasantly warm and hypnotic, but its slopes and slants lessen the heights they tease like a mirage. As a whole, however, it’s a successful pairing — the disorienting opening movement of “Factorie” jumbles the head and ear canals just enough to set up that closing act.

Idre isn’t for the faint of heart — or the impatient. It’s largely void of vocals and admirably committed to exploring every sonic nook and cranny made available, deconstructing its findings before looping back again. A few more immediate payoffs would make the long, winding ride even more worth it, though its watershed moments are powerful enough to mostly make up for it. It’s more stimulating than indulgent — despite the inevitable accusations of the latter — and by most measures, the band positions itself nicely to conquer new corners of metal from here.

  • Currently 3.5/5 Stars.
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