Irepress Samus Octology

It has become pretty apparent over the last year or two that the whole instrumental/progressive metal genre is becoming a bit saturated. Many bands have followed a little too closely in the footsteps of heavy hitters like Neurosis, Isis, Pelican, and the like without providing any distinguishing characteristics to appeal to fans already thoroughly familiar with the genre. Boston's Irepress (pronounced EAR-press), the latest addition to forward-thinking Translation Loss Records, has decided to throw their hat in the ring with the release of Samus Octology, and with these eight tracks the band makes it extremely apparent that they are not just another mediocre instrumental outfit. Irepress' style falls somewhere in between the experimental meanderings of Kayo Dot and the atmospheric metal of Tides. Samus Octology has healthy doses of both beautiful ambient melodies and heavy metallic riffing, as the band rarely seems content with limiting themselves to one specific sound for too long over the course of the disc.Irepress also displays a slight metalcore influence when the tracks dive into heavier sections dominated by precise, low end riffs with a hint of a Misery Signals/7 Angels 7 Plagues influence. Specific tracks also draw a few comparisons to well-established instrumental acts, such as the Red Sparowes-esque guitar twang in "Pistole," and the slightly dissonant note progression of "Frid Ohm-martin E.e.k." that possesses a Pelican feel. But by the time the listener manages to pinpoint these specific influences, Irepress has already moved on, continuing to explore new musical territory at every possible opportunity. One of the most appealing attributes of Samus Octology lies in the use of driving bass rhythms in the clean, melodic sections of the album. While the bass playing in many instrumental/progressive metal bands is often completely forgettable and almost a musical formality, the technically proficient, but not overbearing style exhibited on the album is very refreshing. Warm, staccato rhythms perfectly accentuate the often odd-time signature song structures of the band, as the guitars are left to focus on soaring tremolo melodies and ear-drum massaging picking. The combination of all of these musical qualities, along with a guest appearance by Kayo Dot's Forbes Graham on trumpet in "Nonografistole Adendum (Trampled to Death by Love)," makes for a very engaging listening experience that will be sure to appeal to those who love experimental instrumental music, but who are not willing to put up with mere carbon copies of existing artists. However, there are a few areas of Samus Octology that leave room for improvement. It's not uncommon for the heavier parts of this disc to feel a little tired and uneventful, as seen in the somewhat dragging and repetitive riffing near the end of "June Ipper." And while I love Irepress' willingness to push their sound and not be limited to one style, a bit more focus on natural musical progressions and transitions would make the disc even better. Nevertheless, I've found this CD to be extremely enjoyable each and every time I've treated myself to a listen. Bottom Line: Samus Octology is an impressive release from these experimental instrumental artists. Irepress consistently pushes their music in different directions throughout the entirety of the album, and although that may result in a few moments of discontinuity, it certainly will allow them to be noticed in the sea of all those other guys in the instrumental/progressive metal genre. If you love bands like Tides, Kayo Dot, and Pelican, or pretty much anything on Translation Loss' current roster, you should give this a listen.