Entries in the ascent of everest (39)


AOE Update: Record Release + Exciting Shows

So our fine new record is coming out officially june 1st but hopefully we'll get those beautiful LPs and CDs in the mail any moment! We've been slaving away making sure the super cool hand screen printed hand numbered hand stuftified jackets are waiting with open arms for that gorgeous waxxx. So that means if wanted to come to one of our super sweet shows coming up here soon you could probably get 1-92 copies if you so desired... of course you do.

It took them forever to confirm us and we didn't want to jinx it by starting to promote it before we got confirmed... but we have been so now... THIS MONDAY! AOE will be performing a one of a kind small ensemble set opening for the legendary Thee Silver Mt. Zion at the Mercy Lounge on May 24th! Exitement.

Also of Note, This Will Destroy You, Balmorea, and Slowest Runner East Coast Tour in July! I hate to say it but check out the website.


REVIEWS: Room 13 and Silent Ballet Band of the Week

Here's some of the first reviews of the new AOE record, they had lots of nice things to say. Plus AOE is The Silent Ballets Band of the Week... woot!

Room 13


“From This Vantage” begins with the open guitar echoes of the almost ambient ‘Trapped Behind Silence’ and immediately the album wraps you in a warm glow, but when that track morphs seamlessly into the far more bombastic opening of ‘Return To Us’ your heart skips a beat; it is very beautiful, the strings bring layers of sweeping noise and at times this track is slightly reminiscent of The Cocteau Twins ethereal grunginess. Next up is ‘Dark, Dark, My Light’ in which there is a moment that literally makes your skin prickle; more echoes, angelic vocals, throbbing beats and a sweet melody combine.

‘Safely Caged In Bone’ feels initially like a traditional folk song with the echoing strings but it is underpinned by oddly off-beat drumming almost making it sound like a looped sample which is ingenious. TAOE often upset your expectations like this; using instruments traditionally associated with folk and gentle vocals but warping them slightly and adding echoes and odd rhythms they make things far more interesting.

TAOE’s always lovely orchestral-rock tunes will break your heart if you let them; cello and violin mixed with brass and more (as well as the usual guitar/bass and drums) give them the ability to create moments of epic noise (listen to album closer ‘From This Vantage’ for an ear scorching example)as well as the intimate, gentle swirls they do so well. This album gives you the full sweep of their abilities and shows them off brilliantly, making you want to come back for more over and over again.

by Emma Gould

reposted from Room 13

Silent Ballet


Previously The Ascent of Everest stormed The Silent Ballet's gates with the infectious sounds of How Lonely Sits the City. Despite Ian Nicholls' claim that the Tennessee band was riding the coattails of such esteemed acts as Yndi Halda and A Silver Mt. Zion, The Ascent of Everest climbed all the way to the #15 spot in 2006's end of the year countdown -- no small feat for a band with little more than a year's experience under its belt. Two years later the band issued a repackaged, remastered version of its debut, and a year after a split with We All Inherit the Moon premiered a few new tracks to the world. Other than this, the band has remained relatively quiet. Besides a handful of brief US tour stints, the band has stayed out of the live circuit, and it doesn't seek to inundate its fans with a torrent of meaningless projects. Four years after AOE's debut, From This Vantage is everything the die-hard fan could have asked for.

Let's address the critics first. People wrote off AOE initially because it is a post-rock band in the Montreal canon that failed to find its own voice. Without resorting to ad hominem attacks, let me conjecture that there is a point at which one becomes exposed to so much post-rock that the spectrum of differences begins to bleed into itself and corrupt one's sense of perception. It is times like this when ridiculous claims are made: Caspian sounds like Explosions in the Sky? The Samuel Jackson Five rips off Do Make Say Think? Upcdownc mimics Mogwai? The Ascent of Everest is an A Silver Mt. Zion Clone? Such claims speak more towards the inability of the listener to discern differences than they do the bands being unable to forge something unique; invariably, every two rock bands have something in common, so if people wish to focus on the similarities, they are sure to find justification that all music is uncreative and uninspiring. But what a dull world that would be to inhabit. There's a clear separation between "influenced by" and "imitates," but sometimes it admittedly does take some brain power and effort to pick out the subtleties. Those who decried AOE's mimicry of ASMZ were way too generous to ASMZ and not nearly kind enough to AOE. In any case, From This Vantage should settle the debate once and for all.

Having not listened to AOE in a few years, I was immediately struck by how well Devin Lamp's vocals fit into the music. This is nothing new, of course, as the debut also featured spectacular vocal work by Lamp. As opposed to Efrim's vocals, which can be likened to a bastard, mutated child that is horribly grotesque but sometimes also kind of interesting, Lamp actually has a pleasant voice which we probably wouldn't mind hearing more of. Some back-up female vocals also arise on occasion, courtesy of Casey Kaufman, which is reminiscent of Gregor Samsa in theory but lacks the saccharine quality of Nikki King's voice.  AOE doesn't opt for the full male/female point/counterpoint dynamic that made 55:12 such a smashing success, but the introduction of female vocals (however brief they may be) has a profound effect on the listener.  Lamp's vocals are mixed in a way that make them seem cavernous, befitting the lyrics and mood of the album but ultimately complimenting the music's trajectory through gloomy waters to its surprisingly optimistic and hopeful conclusion. Using a technique halfway between wailing and singing and taking advantage of the cover provided by the instruments, Lamp shrouds his lyrics in a veil  of mystery which takes some concerted effort to decipher. This mystery plays well into the overall atmosphere of the album, and when finally cracked, the lyrics prove to be non-trivial.

The former reference to Gregor Samsa was not unintentional, for there are many things about From This Vantage that remind me of the Virginian's modus operandi. How Lonely Sits the City is a standard post-rock album in the sense that it has its share of "peaks and valleys." There's no shortage of guitar tremolo or lunging strings, and the climatic adventure may be just as exhilarating as the ascent of Everest itself. From This Vantage takes a more sublime approach. If How Lonely is the soundtrack from a day's worth of mountain climbing, then Vantage is here to chronicle a day spent fishing at the local lake. This work is aesthetically less like ASMZ, Yndi Halda, et al. and more like Gregor Samsa, Six Parts Seven, Tulsa Drone, and other like-minded bands who decided years ago that "slow and steady wins the race" and "less is more."

The phenomenon is due partially to a shift in composition in the band and also improved production. The album itself sounds less like a brick wall of sound when the band is trying to make a poignant, emotional statement, and the instruments are given a little more space to be expressive and also distinctive. Such an opening on the production floor allows the band itself to seek compositions that stray away from the quiet/loud formula of old and instead refocus its effort on engaging compositions that don't rely on sheer volume to amaze its audience. If How Lonely is AOE showing its rock roots, then  Vantage is proof that the musicians know a thing or two about composing music and that beauty can often be a much more powerful tool than sheer force. I know it's hard to believe, but sometimes even post-rock bands grow up and shed their noisy pasts.

Opener "Trapped Behind Static/Return to Us" is the only track that can really be charged with getting the heart racing. "Trapped Behind Static" is a short ambient intro to the piece, but it is a suitable first taste of the album as a whole, as AOE is less concerned with big dynamic shifts in Vantage and instead focuses on gradual evolution of sound and exploration of sonic space. Although hardly an "ambient" album in the traditional sense, the layout of the album often reminds me of several landmarks in the ambient field. "Trapped Behind Static" seems to be saying that even if the band is being trapped in a predetermined genre against its own will, it'll still do its darnedest to buck the trend. "Return to Us," meanwhile, starts with a gallop but never gets into a sprint. The instrumentation is tastefully directed; in particular, the strings seem to be maximizing their effectiveness by working within the composition as opposed to being placed over it. This is a general break from How Lonely, where the players functioned in typical post-rock "all or none" fashion. Here AOE demonstrates that it is rising above its peers.

Truth be told, From This Vantage is so far removed from its guitar-rock days that comparisons to guitar-based post-rock bands are inaccurate (and probably always have been). Outside of "Return to Us" it's hard to find the guitar getting much of the spotlight. In most tracks, like "From this Vantage" and "Every Fear," the guitar is delegated to the drone department. Other tracks appear to drop it all together, and the overarching emphasis is clearly on the string instruments. A quick peek at the album's credits affirms this, as there are several credited string players and those given the task of handling guitars are also juggling things like synthesizer, piano, french horn, "electronics," etc. At the end of the day, From This Vantage puts a significant amount of distance between itself and How Lonely Sits the City, and the band can now be recommended for enthusiasts of acts like Strangers Die Every Day, Anoice, and Sunwrae.

If there is one fault with Vantage, it is that the tracks contain less memorable moments than their predecessor, even if the album as a whole has greater replay value. It's for the same reason that bands like 6p7 have struggled in a singles-dominated industry, despite receiving general critical acclaim. From This Vantage may not convert a whole lot of new fans for the band, but it should definitely be appreciated by anyone who follows the post-rock scene.

by Jordan Volz

reposted from Silent Ballet


Ascent of Everest Tracking Completed

Well it was a tall bill but we just barely scraped under the razors edge and the new AOE full-length is all preped and off to CA where it will be mixed and mastered by the very capable and talented jordan andreen. It's been a grueling month and a half here at meltface studios and there were times i really didn't think we could pull it off with the limited time and no budget going on, i didn't think i was going to be able to go home for xxx-mas or enjoy life, but we pulled it off (yaah!). further, i have to say this is the best record i've ever produced, rob says this is some of his best engineering work, and we can't wait for you all to here it. once the tracks are mastered and the artwork is done we expect to set a release date, probably here in the next few weeks. The record will be released on slick CD's by shels music and beautiful 180 gram colored vinyl with hand printed sleaves in a joint venture by futurerecordings\meltface all designed by drew at monkeyinkdesign. more announcements and pictures sooooon....



AOE\WAITM Split Reviewed at Sputnik Music

everyone go post some comments and rep your set at the sputnik music site. But hell 4 outa 5 aint bad...





The Ascent of Everest/WAITM   The Ascent of Everest/WAITM Split LP

Scott Reid USER (10 Reviews)

2010-01-07 | 8 comments | 189 views
Summary: More than just something for everyone, this anti-collaboration should never work as a whole; but it does, and on a staggering scale.

4 of 4 thought this review was well written

This was a partnership always set to be a collision of worlds, with each band a different breed of post-rock. “We all inherit the moon” traditionally opt for unstructured, disoriented ambience and rely largely on the layering of lefty-righty, whirling, swooning and sweeping textures, a composition without the composition, to enchant the listener. On the other hand, “The Ascent of Everest” stick to the tried-and-tested Godspeed method of constructed crescendos, loud/quiet formula and orchestrated explosions always on cue, slowly approaching the kill with classic shock-and-awe tactics. A case of ‘Natures Wonder, meet Mr. Timetable’ is a match of potentially disastrous makings which could see two opposing styles attempt to strangle the other into submission. So while it seems a sensible move that the two bands never work on the same song (the clue is in the ridiculously long title, ‘Split’ LP), it is also somewhat disappointing that there will be no phenomenon of opposites attracting and meshing to mould a being greater than its parts. Or so it would seem.

If the opener is anything to go by, the exclusivity most likely envisaged is indeed the case. The partnership of “We all inherit the moon” with “The Ascent of Everest” hasn’t rubbed off on the former in the slightest, as they present a leisurely, heavily atmospheric spectacle as touch and feel oriented as the bands texture-based work has always been. That it reaches a point near the end where the aura gets busier is by no means an indication of… anything, really. It’s perfectly within the bands nature that this could be a completely accidental and co-incidental meander. In fact, that’s what the point of their music is. It’s gently, beautifully unrestrained and free flowing. Even basic rhythm is often deemed too constricting to music as unhindered of all restriction as this is. This is no bad move to make, as a brooding power found in the weighty ambience is propulsion enough. Not even the track titles, with their so called ‘Parts’, rein the music into any correlation within itself. The only connection between them is the goal of evocating a beautiful concept, even then usually not the same one. This isn’t anything new. A drift through vast ambient dreams, lengthy but refraining from elaboration, the fuzzy, the trembling and occasionally the crisp coated over each other, randomly intermingling, melting and juxtapositioning; the merest, slightest ordering of organic sounds. It’s what they do (and, given the scale of it, they do it with elegance), and the fact that they share this LP with a band working at the opposite end of the same field evidently hasn’t changed that. Not that there are any gimmicks to make it stand out anyway. If you like this sort of thing, then this segment of the album will genuinely intrigue you and you will appreciate the gentleness of a creature so packed and dense that it’s nearly intimidating; if you don’t, it’s boring. Simple as. Fans will enjoy, non-fans, for all of its enormity, won’t be swirled into submission. But that is only a cautionary statement that should not detract from the fact that the sensation it projects is nonetheless breathtaking and surprisingly accessible. It makes a fitting introduction to the ‘ambience’ genre.

Whilst on the whole ‘The Ascent of Everest’ do likewise to their counterparts and stick to what they know, there are several nods to their predecessors which allow the split LP, despite the musical differences of the two bands, to still come together as a whole musical concept. The use of strings by both bands back to back (whereon the final track from ‘We all inherit the moon’ they are rich, warm, even bassy, they are only slightly up-key and up-tempo when handed over to ‘The Ascent of Everest’) chauffeurs us with ease into their portion of the album rather than giving us an unceremonious plunging. What more, it puts them in their comfort zone, even if these strings are reminiscent of a very similar sound in the bands earlier work (‘We Trembled in Our Own Hearts’, among others). The undertones of eerie, indecipherable vocals are also a re-jigging of one of their old tricks. Then again, ‘The Ascent of Everest’ never have been truly innovative, their appeal lying in putting the ‘good’ back in ‘good ol’ fashioned post-rock’. They hold true to this, almost religiously following the quiet-then-build-up-then-climax formula, though with talent and vitality enough to truly resurrect it rather than turn it into another lumbering zombie-dinosaur already cluttering the genre. To put it simply, they’re a great post-rock band, and this is no exception to the rule. What’s more, it comes into its own when unifying the split. From the openers which sound like the work of their predecessors given an audible heartbeat and a sense of direction, through their theatrical crescendos, up and away until they reach the upmost zeniths of animation in sound, it is all a great continuous climaxing which is a sprawling and natural progression of the sound inaugurated by ‘We all inherit the moon’. Very different concepts with equally different goals have somehow, despite their obvious intent to avoid amalgamation, have formed between them a massive, single hyperbola worthy of the greatest of post-rock proportions, spanning (practically inadvertently) an entire album. The line between this being a protruding contradiction that disjoints the album, and an accident so ingenious that it must surely have been orchestrated, is blurred so much that neither really matter; because of how faultlessly it just works. Yes, it’s uncertain whether this was inadvertent or not in light of the motives of the rest of the album, but when this co-incidence (if it is) is such a fortunate one, why complain if it’s so marvellous?

It might come as a disappointment that neither band made an effort to emulate the work of the other, but, surprising as it may be, it’s a good thing that they didn’t. By holding steadfast to their respective strength, each individual section comes off stronger for it, both pieces of music truly notable in a congested genre. That they come together so unexpectedly and deliciously, over such a long period of time takes post-rock to a scale perhaps unprecedented, where one cycle eclipses an entire album. Sterling work in different areas for their respective fans, an awesome (in the most literal sense of the word) spectacle of intensification for the rest of us and a release as a free download to entice any newcomers should see this collaboration of polarised styles become a greater success than anyone could have anticipated.


Poster for NBN Showcase

another modern classic by monkey ink design! thanks drew!



did i mention AOE is playing newer then new material at this show and it's going to be totally sweet? probably.


VIDEO: ASCENT OF EVEREST @ 527 w\ The Whigs & Glossary

I've uploaded the entire show with the feed from the projector super imposed on top of the live video. The sound is just a stereo pair at the back of the room which really shows off what a great job the now ex-sound guy from 527 did. what a loss, they got to get that guy back. Now that i've figured out how to upload these videos more efficiently expect more here in the coming weeks. Also if anyone has videos they want me to post i'm happy to do so (if they're radtastic)


Meltface Happenings At NEXT BIG NASHVILLE 2009

so for those of you who don't know what Next Big Nashville is it's kinda like this local nashville artists festival that is slowly but surly growing into a international indie festival not unlike South by Southwest or the College Music Journal Festival... maybe someday. but we're super pumped that a number of our comrades are playing this year as well as many other ultra dope artists.

so i don't want to tell you what to do but.. here's what you should be doing at next big nashville this year:

Happy Birthday Amy : Thurs Oct 8 2009 @ 930 PM @ the 5 spot

like this but with more stops pulled out

The Ascent of Everest : Friday @ The Anchor

7:15-7:45 TBA
8-8:30 o, don piano
8:45-9:15 Paper Navy
9:30-10 Pineapple Explode
10:15-11 The Ascent of Everest
11:20-12a LYLAS


hows that for a super old picture? thanks internet!

The Protomen : saturday night at mercy lounge

this picture shows that you just don't know what to expect at the proto show.

Speaking of Protothings not to miss, meltface video destruction team will be pulling out all the stops for the most ridiculous multimedia performance to date with the protomen for their CD release show. not to be missed. SEPT 25th at the mercy lounge, and just between you and me this show WILL SELL OUT. so don't screw this up, buy your tickets now or you will miss out. Go buy this record too, it's ridiculous, epic, awesome.... and awesome. find out for yourself.



Ascent of Everest & Features Show Pictures


thanks lots to Samantha Shrader for taking fantastic pictures at the show. i'm sure we all can agree these are the finest most professional pictures of AOE to date, check her other work out at http://www.concertshots.net

or link directly to pics of AOE and the Features

still cash reward availible for a good picture of every member of AOE performing on stage in one shot



So we've done about everything in our power to make this show with the feature a huge event and maybe (fingers crossed) sell out Club 527. we got the our street team of lawless goons out about town putting up flier, we got the door price way cheap in comparison to other 527 shows, and we ever tried promoting with this newfangled internet thing. so... you might want to show up on time or you just might be listening from outside the club and that would be totally weak to be stranded in front of a club that you can't go into when all the drugs kick in and you're just sitting there babbling at the door guy ...wouldn't it?

this event is on facebook too if you're into that kinda thing


alllso... evil bebos, look what i did, and dj kidsmeal on September 3rd. This is the bebos first time playing exit\in (because playing there during next big nashville totally doesn't count) so come out and show some love and gawk at the hardcore kids kicking the shit out of each other.


yes i do believe thats a chick making out with a snake. spread the word on facebook here.


Dope Shows to Ensue

whats up normies, get your goggles on because the meltface crew is about to dump a heaping spoonful of awesome onto the state of tennessee. so tell your friends, bring your mom, and go to everyone of these shows. It does involve going to memphis but you don't anything better to do with your money so...

first off, TONIGHT. get on the bus! we're leaving in a few hours and if you call me RIGHT NOW, you can ride in the van with us smokin that bin laden with Juicy J and DJ paul while eating BBQ and drinkin foeteezz. especially if you're a lady that can twerk it.

NEXT OFF IS THE REALLY REALLY BIG SHOW. THE FREAKING WHIGS, GLOSSARY, & THE ASCENT OF EVEREST @ CLUB 527 on JULY 24th. SERIOUSLY, its times for you nashvillians to learn how the murfreesboroians do and just get of your high horse and drive to where the dope show is at. if I can't convince you maybe this gorgeous piece of hand screen printed fine art by drew binkley of monkey ink design printed at grand palace will convince you...

 PLUS ADDED BONUS TWO SHOWS FOR THE PRICE OF ONE. SHOW AFTER PARTY! at HOUSE PRIDE on memorial dr. Ft COLOSSUS on tour from Raleigh NC, LASER FLAMES, and EVIL BEBOS! METAL + CRUNK + SWEAT BOX = SEXYMETALCRUNKENAWESOMEFEST. when we played with colossus last it was a beer chugging\throwing contest at SXSW and i don't expect any less of them this time around. YOU MUST CHECK OUT THIS BAND there records, myspace, everything doesn't do there show any justice. but fine check out there myspace and talk yourself out of the best night of your life.... www.myspace.com/thecolossuswillcrushyou  

BUT DON't worry if you are to much of a pansy to stay up late with the cool kids you can still catch Evil Bebos destroying someones home in Nashville at The Bohannon House with two fantastically weird bands from Chicago THE ATLAS MOTH (who have a freaking sweet new record that's about to drop any moment now) and WHY INTERCEPT? I can't say enough about these bands or how much fun this show is going to be. This is just one more opportunity for nashvillians to proove they can cram into a house and see a show that should honestly be in a much bigger venue like the marsbar kids do.


THEN FINALLY, THURSDAY AUGUST 6. on tour from new york city, experimental doom riders BLOODY PANDA drop nukes on the END in nashville. with THE ASCENT OF EVEREST, LASER FLAMES, and ACROSS TUNDRAS. Take psychedelic drugs and go to this show, trust me, this is the one. the jammy jam. seriously check it out it's going to blow your minds.

thats all for this broadcast.