Pre order the double vinyl of 10100II00101 and bundles HERE:
SCIENTIST — featuring Eric Plonka (EX founding member of yakuza) on guitar/vox with 7guitarist/vocalist Patrick Auclair (ex Taken By The Sun), drummer Justin Cape (ex Taken By The Sun), and bassist Mathew Milligan (Making Ghosts) — draw heavily from the Windy City’s long-running tradition of experimental metal. The band members themselves describe their sound as “architectural metal.” Were listeners to ponder this description alongside the band’s sound, they would imagine twisted beams, exposed glass diagonals, and post-apocalyptic concrete blocks with a decaying skyline and crimson horizon in the distance. If SCIENTIST‘s sound is architectural, it is doubtless an experimental edifice. With their second full-length, 10100II00101, the adventurousness the band displayed on their debut album has now gone thoroughly and beautifully haywire adding guest vocalists to the mix venturing away from their mostly instrumental past.
10100II00101 will be released on CD and digitally via the band’s official BandCamp page on December 11, 2015 and on double LP via Hell Comes Home Records at a later date.
"(Scientist) have created a sprawling, sludgy expansive record for fans of Remission era Mastodon and Neurosis, this album could be up there with some of sludge metals finest" -louder than war
"Storming opener “The Singularity” distils the key elements of this record into five and a half minutes. Chittering harmonics give way to the sledgehammer impact of furious, frantic riffing moving into anthemic sludge and finishing with an epic post-metal flourish. Imagine the best bits of American Heritage, Clutch and ISIS delivered with the seismic impact of Mastodon’s “Remission”. “1010II0101” is a pioneering piece of research at the cutting edge of riff technology that demands your attention"
"Scientist eschew the expected post-metal template for more of an experimental hardcore laced with sludge and faint traces of industrial. It's not a million miles from the type of stuff Southern Lord is putting out these days, but it walks a fine enough line between open sourced collaboration and "too many cooks" that it squeaked into my year end best of listjuuuuuust under the deadline"
"10100II00101, a sort of a super album with contributions in one way or another from bands such as Yakuza, Corrections House, The Atlas Moth, Taken By The Sun, Eyehategod, and a few others. Genre-wise, there is no solid way of describing it; you get a little bit of everything – kind of like a supreme pizza. A supreme Chicago-style pizza (because they’re all from Chicago). And if you’re a sane, rational person, you fucking love pizza"
- we make ovr u's V's becavse we're kvlt.
Dr. Fisting calls(scientist) “the loudest band I’ve ever heard in a club” have offered unto the world a palindromically-titled album that’s a darling of search engine optimization but a demon for memorability. Yet for all their faux-mystery, the Chicago experimental metal outfit’s output is just as enigmatic as their moniker; an effects-swamped bouquet of sludgy riffing, hoarse roars and buzzing electronics. Somewhere in between the distinctive riffing of Leviathan-era Mastodon and the melodic sensinbility of Yellow/Green Baroness, Scientist took a turn into deeper water, dredging up this sophomore effort of self-described “Architectural Metal.”...
-very much informed by Pink Floyd‘s forays into ambient music, with some Gilmour-esque noodling.
-angry metal guy
"As anthemic as it is mind boggling 10100II00101 is a brilliantly put together work that simply flows, and with that in mind the band has been able to carry me off to distant lands and embrace a bold and unique new future for the music that we love......
- No other band in the world is delivering music like this right now,....
- a crucial step forward for a genre that so often feels sterilized and held back.
-Matt Bacon from metal injection
The music on this album may polarize audiences. Some people will enjoy the crazy musical imaginings on display here. Others will find it too chaotic and strange. Those listeners willing to take a chance, however, may find something here that will not only stretch their ears, but also their enjoyment. Check out, for example, a track like "Gravity Well." It begins with a drum / noise sequence that nods to the opening of the Bauhaus classic "Bela Lugosi's Dead." From that solid opening, things enter into a more extreme sound, blending wild vocals with crazy music. Listen, too, to "Limb." It also has a memorable opening, this time a series of fascinating guitar passages that may have been improvised. I found this song very engaging. And then there's "Orbital," a very accessible song that shows off the band's ability to kick up a groove. The music on this album is uncanny, otherworldly, and strangely catchy. Scientist reminds me a little of another terrific experimental band, Orbweaver. Both create music that challenges listeners but do so intelligently. Give it a shot!
-sea of tranquility
One of the great pleasures of running a review site is when you get something unexpected sent over to write up and, going in blind, you find that it clicks. This happens all too infrequently but thankfully it was the case with the latest release from experimental Chicago based metal act, Scientist, and their new album 10100II00101. The band is comprised of guitarist, vocalist and founder Eric Plonka (Yakuza), guitarist/vocalist Patrick Auclair (Taken By The Sun), drummer Justin Cape (Taken By The Sun) and bass player Mathew Milligan (Making Ghosts) and their sound is a fantastic mix of technical, experimental and progressive metal sounds.
The Singularity kicks the album off, beginning with some ambient noise and some feedback before the band kicks in, all at once, with a polished, technical sound set off by the vocals, which contrast in interesting ways as they’re completely unhinged. There’s also some serious riffing in here too, it’s reminiscent of early Mastodon at times and in the best way possible.
From here, Siege Capture Control, an epic track at just short of ten minutes in length, opens with some mellow sounds that soon morph into feedback that grows from subtle to flat out obnoxious before the doomy sludge rolls over you. The vocals are aggressive over the slow burn musicianship, creating some weird contrast (you almost expect something more akin to crooning here and you definitely don’t get it). It builds and gets more aggressive as it progresses and it’s a pretty compelling track, one of the more unusual but appealing songs on the album. The Lighthouse takes things in a more melodic direction but not at the cost of intensity or weight, as this track barrels over your after a somewhat calmer opening assault. The drumming on this track really impresses but the vocals sort of come at you out of left field and create some interesting atmosphere. Baptistina again opens with some weird ambient noise, creating an odd atmosphere and tone off of which the band uses some samples and then over which they layer down some atrociously heavy guitar and bass work. One of, if not the, heaviest tracks on the record this is definitely one that stands out on an impressively consistent and solid record.
Luminal is one the short side of things here, clocking in at under three minutes, but it starts off with some more killer drumming and a bit of instrumental experimentation before some decidedly tortured sounding vocals move up in the mix. This is a creepy track, it’s ominous and sinister and sticks with you for that reason. It also segues perfectly into Gravity Well, which opens with some quiet, calm playing overtop of what at first sound like weird random bird noises. It shifts gears just before the three minute mark and from there heads straight on into more traditional metal territory but it’s pretty wild how the band marks those shifts in tone on this track.
Limb is one of the shortest songs on the record at two minutes and thirty five seconds. Like a lot of the other songs on the album it’s got some strange instrumental thing going on to start, and that continues throughout (there are no vocals here) and it then leads into the more intense Physician Heal Thyself. This is immediately more upbeat than that which came before, but not in the way you’d expect. The vocals go for intensity and use a bizarre range from the start, with the technical string work behind them hitting a nice tempo about forty-five seconds in. But then they go back to the opening riff, shifting back and forth as the song progresses over just short of five minutes
Orbital uses droney, ambient noise for the first two minutes to get you into a nice, comfy spot before kicking you in the face with heavy riffs and fast, albeit mathy and very precise guitar work that progresses in interesting ways until it ends, vocal free, just shy of eight minutes in length. Bloodless Breathless takes to fuzzier territory than the band has explored on any other part of this record but around two minutes in that fuzz dials down and we’re back into some pretty intense playing that comes at you fast, hard and heavy. The album finishes off with the title track, 10100II00101, a quick one at two minutes and thirty-four seconds on the clock. It’s another ambient piece with odd samples playing overtop of trippy playing and it ends the record proper on just the right note.