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In The Absence Of Truth

Rate It! Avg: 4.5 (215 ratings)
In The Absence Of Truth album cover
Wrists Of Kings
Not In Rivers, But In Drops
Over Root And Thorn
1,000 Shards
All Out Of Time, All Into Space
Holy Tears
Firdous E Bareen
Garden Of Light
Album Information

Total Tracks: 9   Total Length: 64:47

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I like it


This was my first exposure to ISIS.They are a great band and I hope to see them live very soon

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More great music!!


I'm in agreement with JCBurchett & Quinimine - EVOLVE!Oceanic & Panopticon are incredible albums and this is the next step.Hey,you complainers,it's called progress!Isis moves forward and grows without losing the elements that drew me into thier world in the first place!I can't wait to see what they come up with next.I'd like to recommend Ufomammut's "Snailking" to all you Isis fans,in case you haven't heard it already!ROCK ON!!

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Disappointing as hell


No where near as good as Panopticon. I came into this expecting more sludgy, slow, yet icy sounding post metal, but what I got was something that sounded all together less ethereal and all together more, well, earthly. Probably the intended goal, but not what I wanted, and honestly, as an album, it is simply not as good as Panopticon, most of the tracks simply fail to hold my attention for extended lengths of time. I'm sure there are people who prefer this, but for me, Panopticon will always be their best work.

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Not their best


NOT as good as Oceanic or Panopticon. Still good, just not as good.

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Daring, in-your-face evolution


Oh my god where has this album been all my life? Need I say more? Check out Over Root and Thorn - crackin'! Then again, if, as JCBurchett pointed out, you are into listening to the same thing over and over ad nauseum, don't bother. And don't bother reviewing it if you don't "get" it. m/

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Weakest album blah blah blah


You know those people, the ones who hear a band's first album and then demand absolute repetition in each subsequent album. They won't like this album. Isis's creative cycle is clearly on an upswing with this album, as it's pushing the limits of their sound and style. While it doesn't sound like Panopticon, Oceanic, or Mosquito Control warmed over, it's easy to hear how all these previous works inform this one. This album is not as heavy as some of the others, but the Isis trope of heavy riffing still plays a huge role here, and it's well done. Come on folks, support bands who change, evolve, grow, and experiment. Without them, we'd all be listening to nothing but Hootie & the Blowfish.

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Evolve or Die!


Isis move one step closer to becoming the heir apparent to godspeed, or at least the metal version of godspeed. The added layers, intricate timeshifts and nuances do not dilute the power shown on previous releases like Oceanic one iota. Each track on this album for the most part references the viscera you come to expect from Isis. They are merely taking their time to get to the climax by weaving swirling and chiming guitars, tribal drumming, and more melodic vocals, until the jackhammer of guitars hits paydirt (check the outro of Dulcinea as an example). A completely worthy and excellent addition to the Isis oeuvre.

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Evolution or Extinction, you choose


I started with Panopticon, and quickly got my hands on every other Isis release. Did it shock me that their roots in Mosquito Control or The Red Sea were so sludgy? Maybe. Did I care? No. Do I enjoy every Isis release? Yes. And In the Absence of Truth is no different; its Isis, and I can still hear Mosquito Control. This record rocks!

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Isis's best album yet


Very good album at first...great album upon further listen. This album is saturated with atmosphere and mood. Fantastic drumming. Epic and sprawling musical landscapes. Heavy when it needs to be. You can tell touring with Tool has really influenced them but it still sounds very Isis. I do have to say for a band who has always had great artwork and packaging, what's with this one?

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Isis's Weakest Album Yet


When The Red Sea came out, I was pretty gung-ho about this band. I thought they had an interesting sound, combining metal with drone rock, a great sound to hear live especially. I saw them in 2002 with Dalek and was blown away by the sound of both of those bands. Oceanic was a great album, but pointed toward a softening of the band. Panopticon was definitely a dissappointment. This record? It just sounds like some crappy Tool or something. I have to imagine that Isis's creative life cycle is about to end. They're pretty much spinning their wheels now.

eMusic Features


Who Are…Morne

By Jon Wiederhorn, Contributor

Impacting with the same bleak emotional pounding as Neurosis, the lumbering drone of Sleep and the stylistic flair of groups like Isis and Pelican, Morne are outsiders who dwell far beyond the trendy circles of post-metal or the insular enclave of stoner metal. Polish-born front man Milosz Gassan relishes his role as a mercurial outcast. When he's not working at a Boston theater building stage sets, he spends endless hours obsessing over every tone and… more »

They Say All Music Guide

Isis pushed the envelope so far on 2002′s Oceanic and 2004′s gloriously pretentious concept album Panopticon that they spawned countless imitators, which is the greatest form of flattery in some quarters. In the Absence of Truth is the fourth full-length from Isis. This set is not a brave leap forward — most of us haven’t caught up with the last one, and Oceanic spawned an even more experimental set of remixes in 2005 — but a further look up the holy mountain to a new plateau, a hike to sacred ground. Thank the gods. On these nine tracks, Isis never nervously explore; instead they seem to know exactly what corners to look into, what crags to reach in and grab onto, what caves lead to a blinding light that holds within it both everything and nothing. Isis is in full command this time out and as an album, In the Absence of Truth is as solidly explosive and as adventuresome as Panopticon, but their elemental control over the music is greater, therefore creating a more even production. Aaron Turner’s vocals still etch an unclean line between half-sung and guttural roar. The lyrics are oblique and the voice is back in the mix of that nearly unrestrained savage wail of guitars, basses, drums, and keyboards. The pace is deliberately slow and circular on all cuts. Produced and engineered (again) by Matt Bayles, the sonic attack may be measured, but it is also pregnant with beauty and ferocity, with a guitar sound that is singular in the world of heavy metal and underground rock. While the opener “Wrists of Kings” is fraught with thundering tom toms, a shimmering Hammond organ, and counterpoint guitars and basses, it’s rhythm is the key to its melodic frame. Turner’s singing is in plain voice, but it’s modal, another instrument to denote the passing of changes in the music’s forms from taut, tense moments to sparse, open ones, though it’s suffocating nonetheless. The sharp contrast is found in the very next cut, “Not in Rivers, But in Drops,” which once more kicks off with those huge drums while traces of Vini Reilly from the Durutti Column enter the center of the mix and form an idea that the melody of the track just moves off from. Its gets very loud, beautifully articulated, yet reverb-drenched vocals and Jeff Caxide’s bass rumble to signify something else is afoot. A brief instrumental interlude ends in raucous, brash calamitous heavy metal that uses single frames from King Crimson’s “Lark’s Tongues in Aspic.” The entire album could be summed up in these two tracks, gorgeously wracked though they are with violence and brutal sensuality. But it goes from here; there’s all this movement, where concentric circles (“In Root and Thorn,” “Firdous E Bareen”) are drawn and shattered to oblivion with a vengeance (“Dulcinea,” “Holy Tears,” and the closer, “Garden of Light”). It’s this last track that gives an aural view of the big nothing inside the light (void) that is comprehensively full and empty, that is so relentlessly pursued on In the Absence of Truth. But it’s viewed not with a trained scholar’s eye, or with critical distance, but with heavy metal’s damaged eardrums on some crazy quest to unseat everything and anything in its path by reaching inside the ache of beauty and turning it inside and showing us what it really looks like, and what it took to get there. Isis has a sound that can be copied, imitated even, but not equaled. This is simply because the patience and discipline it takes to create a sonic world and then destroy it makes no sense to most. Isis have been onto something from the very beginning and got to the edge of the abyss with Oceanic. Panopticon took an oppressive yet wonderfully curious view of its surroundings. In the Absence of Truth takes them into its dark heart squalling, whispering, crawling, drunkenly falling into its center, punching, screaming, and kicking until there is nothing left but silence. This is rock in the 21st century, anything less is cowardice. – Thom Jurek

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