If you're unfamiliar with Rosetta, punch yourself. Seriously, I'll wait. Go ahead and punch yourself if you've never heard of Rosetta. Okay now
By now, you're probably asking why you just punched yourself? Punch yourself again for thinking that! After you've finish listening to Wake/Lift, the band's sophomore release, you'll know exactly why.
Following the release of their 2005 debut, The Galilean Satellites, and split with fellow Philadelphians Balboa this year Rosetta have a lot to live up. Granted, they weren't proclaimed as "The Next Beatles" or "The Saviors Of Rock," but they definitely garnered some serious praise with their ambitious debut and stunning contribution to the split release. In spite of the watchful eye and eager ear of critics Rosetta has responded with a triumphant sophomore effort, Wake/Lift.
The album opens with the monumental "Red in Tooth and Claw," which clocks in at over twelve minutes. The song is fairly typical of the genre, a building epic that travels through various segments over the whole song, delving in and out of ambient passages and riff-heavy portions, eventually erupting in a crescendo of distorted guitar noise. Where Rosetta distinguish themselves from the Isis-wannabes - not to take away from said bands, because some of them are actually quite good - is the guitar work of Matt Weed. His little nuances on the guitar are magical and I could listen to his notes for hours on end.
The next three tracks are actually one song, "Lift," broken down into three different parts. "Lift (Part 1)" is five minutes long with Rosetta sticking to what they do best. The riffs of Weed are heavier than on the opener. The drumming of BJ McMurtie matches the music quite well, never becoming too forceful and overbearing but keeping the pace of the songs perfectly. Vocalist Mike Armine delivers his throaty yells throughout the entire number - without lyrics you have no idea what he's yelling about, hurray lyric sheets! "Lift (Part 2)" is an ambient number filled with backgound noises/effects and the cycling of guitar tones from the end of the previous part. Things roll over into "Lift (Part 3)" but with the addition of twinkly guitars and very placid basslines - supplied by Dave Grossman - for the first half. Then things get nasty - humongous riffs and Armine unleashing the most vicious of screams.
Rosetta keep on plugging away with "Wake." The song reaches beyond nine minutes of mind-numbing post-rock-meets-metal awesomeness. "Temet Nosce" is another lengthy number, running almost fifteen minutes. The song is a stark contrast to the fury that ended the previous song. The mood is ominous - slightly distorted guitars and minimal drums with humming background noise. It actually reminded me a lot of Jesu/Godflesh. Wake/Lift wraps up with "Monument." The song is again broken up into different segments, but rather that seeming to be constantly moving towards a climax, it diverges. There are the heavier portions and the softer parts. The final sequence does work out quite perfectly, the final six minutes of the thirteen-minute song rising to the ultimate end-point.
Wake/Lift is an excellent sophomore release, one that will finally bring Rosetta out from under the radar. Whether they are leaning towards the intricate post-rock, devastating with mammoth metal riffs, or bridging the gap between the two, Rosetta are at the top of their game and one of the best things to happen to music.
