2. Through Silver In Blood (1996)
If Neurosis developed into a great band on Enemy Of The Sun, they developed into an absolute juggernaut on Through Silver In Blood. Though Given To The Rising is more metal and Souls At Zero was more inventive, TSIB is the darkest and most frightening Neurosis album, which makes it one of the scariest metal albums ever.
Music of all sorts sounds creepier when played slower and lower. Neurosis takes full advantage of this fact on TSIB. It's like a chopped-and-screwed version of Enemy Of The Sun — the same components are filtered through drop-A tuning and crawling tempos. (Scott Kelly has a neck tattoo of the Black Flag bars with the legend "MY WAR SIDE II"; that influence becomes obvious for the first time here.) Riffs that would've been merely bruising on Enemy balloon into grueling tectonic shifts. Noah Landis delivers his first Neurosis performance here, and it's a doozy. He expands McIlroy's textures/samples role dramatically, piling layers of filth onto even the album's riffiest moments.
It's TSIB's unforgettable songwriting that seals the deal, not the aesthetic. These songs are by turns sinister (the title track, "Enclosure In Flame"), heart-rending ("Strength Of Fates," "Aeon"), and triumphant ("Purify"). "Locust Star," which Kelly tossed off backstage while on tour one night, might be Neurosis's single most efficient and affecting tune.
My favorite photograph of Neurosis is the one posted on their Wikipedia entry. It’s a grainy shot of the band performing in Seattle in 2008. You can make out the band members, but only just. The blue-white eclipse projected on the wall behind them washes out their features.
It’s a great picture, despite the graininess, because it captures the way Neurosis the band subsumes its component individuals. Few bands — and especially few metal bands — have achieved their degree of ego-free cohesion. Neurosis is a singular entity; their music is an austere ritual. Lots of songwriters say that they ‘channel’ their music rather than compose it. Coming from Neurosis, it’s a believable claim.
Neurosis formed in Oakland in 1985, rising from the ashes of a previous band called Violent Coercion. Initially, they were a relatively run-of-the-mill member of the burgeoning Bay Area hardcore punk scene. (Neurosis headlined the second-ever show at the legendary DIY venue 924 Gilman Street; Operation Ivy, No Use For a Name, and pre-Green Day punkers Isocracy played the third.)
Neurosis had become something utterly different by their third studio album, 1992′s Souls At Zero. This second-tier hardcore band was suddenly hard to describe. A touch of punk remained, but Neurosis also crammed sludgy riffage, gradual dynamic shifts, electronic textures, and a whole clutch of non-rock instruments into their lengthy songs. It was artsy music, by contemporary standards; unlike their didactic and/or goofy peers, Neurosis wrote imposing songs and elliptical lyrics that defied easy interpretation. Drawing on Jungian psychology for inspiration, they started festooning their live performances with disturbing visual projections. (Neurosis finally discontinued the practice a few weeks ago.) Souls At Zero was a rarity — a truly original, unprecedented metal album.
Over the ensuing decade, Neurosis would synthesize a laundry list of influences — Black Sabbath, Swans, Amebix, Townes Van Zandt, Black Flag, Loop, Joy Division, Melvins — into a unique approach. (Unique approaches are rarities to be cherished in the metal world.) By the turn of the millennium, Neurosis’s slow-burning shamanism had become its own subgenre: post-metal. Some bands, like ISIS and Mastodon, openly aped Neurosis before pursuing other sounds. Many, many others have tried unsuccessfully to simply imitate them. Post-metal has mostly faded, but Neurosis lives on.
Neurosis toured relentlessly for the rest of the ’90s. Upon finding themselves pressured into tours that conflicted with their deep-seated DIY ethics, the band retired both their van and their record label affiliation. Their own Neurot Recordings, which was founded to release music by their ambient side project Tribes of Neurot, became their permanent home. In the decade since, Neurosis has effectively become a self-contained studio act, playing rare live dates while its members lead more balanced lives. (One member, Steve Von Till, is a schoolteacher; it is amusing to imagine him leading a classroom full of unsuspecting children.) At present, they’ve got five US dates scheduled to support their new release, Honor Found In Decay. Coincidentally, just this morning they announced a rare NYC date, on 1/19/2013, five years to the day since their last NYC show.
Neurosis began as a pact among friends who wanted to do something meaningful with their lives. For Neurosis’s most enduring lineup — Von Till and Scott Kelly on guitar and vocals, Dave Edwardson on bass and vocals, Jason Roeder on drums, and Noah Landis on electronics — that pact has been fulfilled. Neurosis is one of the most influential and beloved metal bands in the genre, and for good reason. This is the kind of band that inspires devotion, even obsession.
Here are their full-length albums, from worst to best. You can get lost in here. If you’re lucky, you will.
All upcoming Neurosis US tour dates:
12/29 – Atlanta @ The Masquerade (w/Rwake, Primate, U.S. Christmas)
12/30 – Chicago & The Metro, w/ Bloodiest, The Atlas Moth
01/04 – Los Angeles @ The Fonda Theatre (w/ Savage Republic, Ides of Gemini)
01/05 – Seattle @ The Showbox At The Market
01/19 – New York @ Brooklyn Masonic Temple