Idre.

Oklahoma City trio Idre specialize in ambient fluidity and deeply-weighted tonal crush. Their self-released, self-titled debut long-player is comprised of two extended cuts — “Factorie” (26:41) and “Witch Trial” (13:17) — that each impress with their patience, their impact and their ability to contrast the generally claustrophobic feel of post-metal with an open-spaced, salt-of-the-earth pulse. Within its first 10 minutes, “Factorie” has moved from undulating waves of riffing to vast, strumming, Across Tundras-esque roll, and never does it seem to be meandering without purpose in the noisy stages to come. It builds and collapses, and when they seem the most gone, the clean, twanging vocals return to finish out, leading to the parabolically constructed “Witch Trial,” which marries Earth-style drone and galloping drums effectively to create a decidedly Western feel while still building toward, and eventually moving through a sonically pummeling apex. Once again, vocals are sparse, but perfectly placed almost as if to remind the listener of how small a human being can be in so wide a space as the Midwest. Like that landlocked region, Idre‘s Idre is expansive and lets you see for miles. - See more at: http://theobelisk.net/obelisk/2014/07/11/the-obelisk-radio-all-them-witches-rainbows-are-free-idre-nyarlathotep-panopticon/#sthash.RAgYLTSG.dpuf - The Obelisk

Idre - S/T

It's now stupidly hot and humid here and my review space, while indoors, isn't any cooler. I've retreated indoors to write about, Idre are another new band that have recently come to my attention. They are from Oklahoma and released their debut self-titled album in May via Dust House Records. They channel the influences of Neurosis and Khanate amongst others and they have recently had the pleasure of playing alongside the always awesome Primitive Man and Pinkish Black at various gigs so far this year. Their debut features two songs spread over almost forty minutes.

Tracklist:-

1. Factorie
2. Witch Trial

Idre start with Factorie, which is a slow-building, winding post-metal piece with clean guitar reminiscent of Ennio Morricone and his Western soundtracks. It’s no surprise then that Idre are influenced by the man himself. The vocals are low and almost goth-like in delivery but again they remind you of the aforementioned Westerns. At nearly 27-minutes long, Factorie is a journey of multiple parts that ebb and flow, through guitar feedback and moments of near silence. The instrumentation is very assured and while at times the use of drone breeds repetition, the music is always interesting. The use of doom orchestration to slow things down further creates a solemn atmosphere that is only picked up when the clean guitar tones comes into view. For a song of so many intricate parts, Factorie still feels like it’s meant to be. It doesn’t sound laboured and remains varied. That being said, it’s not for people with short attention spans or under-developed imaginations!

Second track Witch Trial is half the length of Factorie and due to that, it features more urgency and initially a more accessible feel. The instrumental intro leans more toward the Western influences that Idre exhibited in their opener. Their are still gothic overtones within the vocals, but that similarity is only due to the deep-tone of Ryan Davis’s voice. Idre don’t completely escape the drone on Witch Trial either, instead using it to make the song sound more claustrophobic as it draws to a close. Idre’s performance on their debut is one that’s clearly been thought about and planned in great detail. They haven’t rushed into it and they’ve taken their time in creating something that will appeal to a large cross-section of heavy music fans, but also with the lack of extreme vocals, they’ll more than likely appeal to non-metal fans too. They would fit right in on the roster of Southern Lord or Profound Lore Records and that says a lot for the quality on offer here. - This Noise Is Ours

For a long time there, metal felt like it was on life support, relegated to the dankest of underground clubs and precious few high school loner iPods.

But then Mastodon and The Sword came, along with Baroness, The Dillinger Escape Plan, Russian Circles and ISIS.

And in the past few years, an even newer class of critical darling metal bands have emerged, ones that are pushing the form in new and vibrant directions: Pallbearer, Deafheaven, Metz, Pinkish Black — the list goes on.

Oklahoma City’s Idre doesn’t necessarily sound like any one of those bands, but they definitely share the same defiant spirit.

Idre’s dark blend is a slower, plodding take, one with the trudge of an art-house Frankenstein, not CGI flash, flare and spectacle. It’s slow-building — almost glacial — but no less effective in building to a blissful, body-swallowing crescendo of righteous heaviness.

And good lord is it heavy — like Andre the Giant deadlift heavy — captured beautifully at Oklahoma City’s Dust House Studio. There are varying degrees of post-rock, stonerdoom jams and stone-shattering punk to be found here, but they are all celebrating shades of gray and darker gray with the mastery of a monochrome Monet.

Idre might only contain two tracks, but it’s inarguably a fulllength record. Opener “Factorie” gets to roam for nearly half an hour before the comparatively brief (and awesomely titled) “Witch Trial” gets to make its appearance.

Yes, Idre feels it has about as much use for brevity as a three-ring Lisa Frank binder, but they might be right. These are two tomes of gloom and despair that feel consciously and thoughtfully crafted, as pared-down and purposeful as songs over 10 minutes long can feel.

“Witch Trail” climaxes at the eight-minute mark with a thrashing, cathartic breakdown worthy of the Hitchcockian pacing leading into it, with the foreboding processional drums halfway to that point getting their payoff. It’s the more affecting and effective of the two parts; the scarlet desert heat emanating from “Factorie” is pleasantly warm and hypnotic, but its slopes and slants lessen the heights they tease like a mirage. As a whole, however, it’s a successful pairing — the disorienting opening movement of “Factorie” jumbles the head and ear canals just enough to set up that closing act.

Idre isn’t for the faint of heart — or the impatient. It’s largely void of vocals and admirably committed to exploring every sonic nook and cranny made available, deconstructing its findings before looping back again. A few more immediate payoffs would make the long, winding ride even more worth it, though its watershed moments are powerful enough to mostly make up for it. It’s more stimulating than indulgent — despite the inevitable accusations of the latter — and by most measures, the band positions itself nicely to conquer new corners of metal from here. - Oklahoma Gazette