ninehertz

Ian. As a band name. Not a solo artist, a band. Ian. Aren’t there bands also from London called John and Michael? Or am I just making that up? I try and look this up to at least reassure myself I’m not losing it, but names as band names are not easy to find on the internet so I gave up quickly. Is there a capital conspiracy the rest of us aren’t party to at play here?

(Also, while I’m faux griping, grammar checker is shouting at me for every time I write something along the lines of “Ian are”.)

Anyway… Ian are making something of a bluster, from out of nowhere there’s a lot of fuss about them online, and a home on Human Worth speaks volumes alone as to their quality. I don’t even read the promo pack, so as to listen with no preconceptions as to the musical style.

It’s quickly clear that there’s a lot going on here, all impressive and coherently formed. Manuel kicks things off with some oomph in its impassioned hardcore and touch of post-metal, turning to a post-rock meets drone quiet middle bolstered by strings before a turbulent heavier end. First impressions are that this is ambitious. The moody and minimal Building Pyramids is a little Earth like before it crashes into loudness, vocals beseeching in the controlled chaos.

The album keeps going, keeps evolving. By the end of middle track Fennel I’ve fully come to realise how good this album is, particularly in the cohesive variances between and within tracks. Here that’s evident through the contrasts between big, doomy blasts launching from the speakers and the light shining through in its ending. The cello plays a central function, claiming ground whether set against desolate drones or rumbling doom. There’s a healthy wedge of post-metal in and abouts too – on Selma manifesting in a very specific Isis manner.

My favourite is left to the end despite it being the least direct. Not Erotic / Cop Film’s cello and light touch entry setting early morning vibes and lending gravitas – the lovely “summer songs and winter riffs” line on their bandcamp page apt. The light and dark are played off against each other expertly, particularly as the guitars arrive in force to scatter the peace that had settled. The cello restores calm, but the heavy return this time brings in all the elements, providing a form of post-metal that is uniquely emotionally charged.

Alright then, so yeah, I get it, these are good alright. And you can call yourself whatever you like, easy search engine amenability be damned, if you create something as complete and rounded as this on your first go. But it’s more than that too – it is a formidable and at times majestic record.