One of the most memorably heavy moments on the record is on Makeshift Harmony, where you’re punching hard with this straight-forward, staccato, octave-hopping riff. There are these moments like that on In Stasis, too. Take a band like Meshuggah: there are rhythms they do that are absolutely incredible they only have one note in them.
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The note choice can be changed, but if you’ve not got a good rhythm to support that choice then it’s just notes. “I think that’s the thing that it comes down to the most. I always enjoyed stuff that’s more rhythmic than melodic. My mom had a record collection of everything from Earth Wind and Fire, to Pink Floyd, Herbie Hancock, and Stevie Wonder on my dad’s side, it was stuff like Tchaikovsky and Chopin. “When it comes to music, the end goal is, ‘Can you feel it through your bones?’ I grew up in a pretty diverse musical household. The note choice can be changed, but if you’ve not got a good rhythm to support that choice then it’s just notes Speaking with Guitar World, Browne further detailed his rhythmic drive, and what it was like to work with composer Gordon on Monuments’ most dynamic doomscape.Ĭan you get into your general philosophy towards rhythms in Monuments, where you put a bigger focus on low technique over the high lead work? Though the composer drilled damning nine-string heaviness into his highly regarded Doom soundtracks, his work through In Stasis is more synth-forward and sculptural.
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Drummer Mike Malyan returned to the fold for his first Monuments album since 2014’s The Amanuensis, and the record is the first to feature vocalist Andy Cizek, who linked up with the band in 2019.Īustralian videogame composer Mick Gordon also teamed-up with the quartet – which also features bassist Adam Swan – to add assorted production flourishes. On a molecular level, In Stasis also presents a newly evolved Monuments.