The Bowery Presents
Gojira

WSOU Presents

Gojira

Converge

Thu, September 28, 2017

Doors: 7:00 pm / Show: 8:00 pm

Brooklyn Steel

Brooklyn, NY

$35 advance / $40 day of show

Sold Out

This event is 16 and over

Gojira
Gojira
It has always been hard to put a tag on GOJIRA, one of France’s most extreme bands the country’s musical pallet has ever known. But then again, the band has never really sought out such a tag, instead letting the music do the talking, preferring introspection and intelligence over preconceived notions and preexisting tags. Ever since the 1996 formation in town of Bayonne in the southwest of France, GOJIRA has been an ever-evolving experiment in extreme metal ultimately built upon a worldly, ever-conscious outlook with roots firmly-planted both in the hippie movement and an environmentally-conscious, new age mentality. This time, with The Way of All Flesh, GOJIRA harnesses a spiritual consciousness as well, but still culminates in a sound wholly heavy.

Originally dubbed Godzilla, after the scaly, green film star with an equally huge reputation as the newfound band’s sound, the brothers Duplantier – guitarist/vocalist Joe and drummer Mario – and fellow Frenchmen Jean Michel Labadie on bass and Christian Andreu on guitar, quickly released several demos, ultimately changing the band’s name and independently releasing the first GOJIRA album, Terra Incognita, in 2001, offering up a brief glimpse into the giant GOJIRA would eventually become through persistent hard work and years of toiling in the metal underground.

After the 2003 release of the band’s follow-up, The Link, throughout Europe and the subsequent live DVD release the next year, of the aptly-titled The Link Alive, 2005 brought the release of From Mars To Sirius, the band’s breakthrough release, garnering high praise and a North American release through Prosthetic Records in 2006. Fans of not only heavy, extreme music took notice, but so did the intellectual world, thanks to Sirius’ thoughtful and expansive inner examination of the world at hand and the consequences of humanity’s struggle to coexist without harm. The metal world was amused and amazed: much of it hadn’t yet seen an equally intelligent and pummelingly heavy release that was as expansive and open as it was dense and concise.

Following the immense praise of From Mars To Sirius and recurring trips across the Atlantic for North American touring alongside the likes of Lamb of God, Children of Bodom, and Behemoth among others, GOJIRA established its stranglehold on the extreme metal spectrum with a linguist’s touch, a lyricist’s finesse, and a crushingly heavy live show that left audiences astounded, establishing the band’s live performance as a spot-on recreation of the band’s increasingly adept and intelligent studio output.

While 2007 wrapped with GOJIRA again touring North America on the Radio Rebellion Tour alongside Behemoth to the best reaction yet, the dawn of 2008 saw a nearly 10 month wait for while the band assembled The Way of All Flesh, one of the year’s most anticipated records. This time revolving around the undeniable dilemma of a mortal demise, GOJIRA’s soundtrack to the situation seems fitting. Shifting ever-so-slightly from the eco-friendly orchestra of impending doom on From Mars To Sirius to the band’s new message of the equally uncontrollable inevitability of death, The Way of All Flesh melds the open and airy progressive passages GOJIRA has become famous for with the sonically dense sounds and bludgeoningly heavy rhythms that makes the band an equally intelligent force as it is unmatchably heavy.

Featuring a guest vocal spot on “Adoration For None” from Lamb of God’s Randy Blythe – one of GOJIRA’s most vocal supporters from their first moment making an impression in the Americas – and the now familiar Morbid Angel-isms of The Way Of All Flesh’s title track join the angular riffing more akin to Meshuggah on “Esoteric Surgery” and the epic, artful plodding of the nearly 10-minute “The Art of Dying,” showing that GOJIRA have indeed opened a new bag of tricks for The Way Of All Flesh, while not abandoning the sound that first showed a massive promise of potential on Sirius.

“It’s more inventive than From Mars To Sirius and at the same time more straight to the point,” GOJIRA frontman Joe Duplantier says of The Way of All Flesh. “The whole album is about death, death is like a step on the path of the soul. The mystery surrounding this phenomenon is just so inspiring, and death is the most common thing on earth.”

“This album is also a ‘requiem’ for our planet,” Duplantier continues. “We don't want to be negative or cynical about the fate of humanity, but the situation on Earth is growing critical, and the way humans behave is so catastrophic that we really need to express our exasperation about it. It's not fear, but anger. But we still believe that consciousness can make a difference and that we can change things as human beings.”
Converge
Converge
Every Converge album is a milestone in the heavy music community and the band's latest is the most integral album to date in a catalog that's celebrated to an almost religious degree by countless fans of punk, metal and hardcore. For the first time in years All We Love We Leave Behind is an album that contains no special guests or outside collaborators and every aspect of the music, production and aesthetics of the album was handled by Converge in order to give listeners an unfiltered glimpse into the creative vision of these Boston-based innovators.

Once again recorded and mixed by guitarist Kurt Ballou at his renowned Godcity Studios in Salem, Massachusetts, All We Love We Leave Behind is a no-frills Converge album that sees the band—which also features vocalist Jacob Bannon, bassist Nate Newton and drummer Ben Koller—eschewing fancy production techniques in order to create seventeen songs that work as a cohesive whole yet can also stand on their own. "There's no artificial distortion, triggers, or Auto-Tune on this album," Ballou explains, "it's all organic, it’s real sounds that capture the way the band performs live."

As one of the most established acts in heavy music Converge's ability to write and produce songs is now second nature, a fact that's obvious upon a cursory listen to All We Love We Leave Behind. "I think we really stepped up our game on this record. The most important thing to this band is that with every album we want to create something that excites us and moves us in some way," explains Bannon, who also crafted a 50-page book of original artwork inspired by the songs that accompanies the release. "There are a lot of subtle nuances on this record are really special to us and we definitely hit those individually on this record."

From the classic rock-inflected, guitar tapping madness of "Sadness Comes Home" to the technical acrobatics of "Aimless Arrow" and relentless assault of "Shame In The Way," All We Love We Leave Behind is an extremely varied album that has enough sonic shifts to captivate each listener's attention. "It's always been important for us to have a lot of dynamics in our music because no one wants to listen to a million miles an hour all the time," Bannon responds when asked about the melodic mid-tempo groove of a song like "Coral Blue." "I really enjoy that song, it has a lot of twists musically that aggressive songs don't usually have and that's something we take pride in."

Lyrically Bannon approached All We Love We Leave Behind by once again writing about his own personal experiences, however there's no question that this time around his vocals are more direct and decipherable than they've been in the past. "This is a personal record and all of the songs tell their own stories," Bannon explains. "Every song is rooted in real life, documenting what I have experienced over the past few years." Correspondingly the title of the album is an apology letter to everything he has had to leave behind in order to his path in art and music. Bannon explains that he feels like it's important to acknowledge these sacrifices in order to be "a self aware individual."

"All of our albums are emotional but I feel this is our most potent album to date," Bannon continues. "For me a songs like 'Predatory Glow' and ‘Empty on the Inside’ have a tone and resonance that communicates in a new way for our band," he adds, chalking up this ability to the fact that the group have become better songwriters by spending so much time on the road and in the studio perfecting their craft. "Success to me is creating something that's moving and fulfilling and I truly feel both of those things when I listen back and experience this album from start to finish."

Converge have always been the type of band that never fit into one subculture and the band credit that to the fact that since their 2001 landmark album Jane Doe they haven't had any member changes. "I think because it's been the same four people for the past five records we've been able to really get comfortable with each other and develop our own personality," Ballou explains. "I don't listen to much music outside of what we've recorded so I think we're more influenced by our own history of playing together than what's currently happening in any scene."

In other words when Ballou explains that Converge is the kind of band who have always existed between worlds, it's not just lip service. "We don't have one typical type of listener but they tend to be intelligent people who can make up their own minds about things. That works to our advantage because they're willing to go on this journey with us and follow along with whatever twists and turns we take them on," he summarizes. Ultimately All We Love We Leave Behind may not be the most straightforward musical journey you'll embark on but it's one that you'll revisit over and over again to relive prior experiences and simultaneously create new ones. It all begins now. 
Venue Information:
Brooklyn Steel
319 Frost Street
Brooklyn, NY, 11222