Massachusetts-based Disappearer returns with their long-awaited second release. The Clearing marks the band's first full-length effort, which follows up the band's 2006's self-titled EP release (which is actually the group's 2004 demo reworked). So it has been, in a way, five years since we've gotten fresh material from Disappearer. For the super-fans, I am aware of last year's Steven Brodsky recorded Winter Sessions recording which first showcased the band's advancement from an instrumental group.
Anyways
The Clearing leads off with "A Skull Full of Bats." The four minutes that comprise this piece of music are quite stellar; you get a nice driving rock action mingling with a slight metal aggression in the guitars of Thomas Moses. It's like equal parts Isis, Mastodon, and Quicksand, which may sound like an odd paring... but it works. Hints of melody are also suggested throughout the song, though never too obviously to distract from the straightforward approach the song takes. The vocal contribution of bassist Jebb Riley is a great accompaniment to the sound of Disappearer; shouted yells with a slight coarseness match the intensity of the music. Speaking of intensity, the drum work of Matt Spearin is perhaps the standout aspect of the opening cut to The Clearing. He provides a solid base to the majority of the song, but also works in some cool drum fills, build-ups, and climaxes. Disappearer chug along in similar direction with "Dissolve" as there is really no break between the two songs, thus the two become one giant jam. I did especially enjoy the riffing in the mid-section of "Dissolve."
Disappearer ultimately maintain a mixture of what many consider post-metal on The Clearing. However, I feel the band definitely leans in a more metal direction that the bulk of their peers do these days. There is a lot less meandering and more rock in their songwriting, particularly the guitars of Moses. "Villainous Moon" recalls a mixture of My Bloody Valentine and Neurosis. "Glassland" prominently features the bassplaying of Riley throughout the majority of the near seven-minute composition. This song definitely rates as one of my favorites on the album; I also get a slight Tool vibe in the guitars. "Nine Hearts" and "Vein Harvest" are a return to the more aggressive metal approach of the band thanks to sludgy riffs and a heavily hit drum kit.
Interspersed throughout The Clearing are a few instrumentals: "Etched," "Obsidian," and "Vein Harvest." These works allow the band to really showcase their talents, particularly the guitars of Moses. Riley and Spearin are not to be outdone though; the rhythm section provides the perfect base for each and every song on the album, which thus allows the group to weave in and out of different segments within the compositions.
The title-track concludes the album with Disappearer's most unique construction to date. The song begins with acoustic guitar (played by Riley here), handclaps, and a tambourine. Slowly the drums, bass, and plugged in guitars are added to the equation, resulting in quite a masterful conclusion to The Clearing.
The production on The Clearing blows that of their previous output out of the water. The bottom-end of the bass of Riley and the drumming gives the music a much-needed oomph. Meanwhile, the guitars are given an equal mix of crisp crunch and cleanness when needed to complete the recording. A well-deserved nod goes to Kurt Ballou for his work here.
The fifty-plus minutes that make up The Clearing are amongst the best that I've heard thus far in 2009. The time between releases has allowed Disappearer to hone their craft and resulted in a fantastic full-length. I can't imagine anyone that enjoys artists of this particular style not enjoying The Clearing. One of the top releases of the year thus far, potentially overall too.
