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Music: Immolation
Immolation is an American death metal band. Characterized by their instantly recognizable blend of creepy dissonant chords and pinch harmonics, mind-bogglingly complex drum patterns, and the trademark roar of Ross Dolan, they have worked their way into being one of the biggest names in death metal.

Formed in Yonkers, New York in 1986 under the name of Rigor Mortis by Andrew Sakowicz (vocals, bass), and Dave Wilkinson (drums), the early installment of the band released a few demos before changing their name to Immolation in 1988. The initial lineup of this new iteration was Ross Dolan (vocals, bass), Robert "Bob" Vigna and Tom Wilkinson (guitars), and Neal Boback (drums); after a pair of demos, Boback left the following year and was replaced by Craig Smilowski, creating the lineup that would go on to release Dawn of Possession in 1991 to rave reviews and a great deal of attention. For various reasons (primarily their unceremonious ejection from Roadrunner), however, five years came and went with no real progress beyond a demo compilation until a deal was inked with Metal Blade Records that resulted in the release of Here in After in 1996, though Smilowski was ejected sometime around then as well due to his habit of crashing on Vigna's couch for weeks at a time without paying rent, and Alex Hernandez was soon hired as his replacement. Failures for Gods followed in 1999, along with Close to a World Below in 2000. Wilkinson left the following year and was quickly replaced by Bill Taylor of Angelcorpse and Acheron fame, and with that, the Unholy Cult lineup was born. Hernandez, in turn, left the following year and was replaced by Steve Shalaty, with a live DVD soon following and Harnessing Ruin coming out in 2005. Things have stayed quite solid since then, with a steady array of quality albums and tours having taken place, and it seems clear that things will stay that way for the foreseeable future.

Discography:

  • Demo (1988)
  • Immolation (1989) - demo
  • Dawn of Possession (1991)
  • Promo (1994) - demo
  • Stepping on Angels... Before Dawn (1995) - comp containing every Rigor Mortis and Immolation demo
  • Here in After (1996)
  • Failures for Gods (1999)
  • Close to a World Below (2000)
  • Unholy Cult (2002)
  • Bringing Down the World (2004) - live DVD
  • Harnessing Ruin (2005)
  • Hope and Horror (2007) - EP
  • Shadows in the Light (2007)
  • Majesty and Decay (2010)
  • Providence (2011) - digital-only EP sponsored by Scion A/V
  • Kingdom of Conspiracy (2013)

This band contains examples of the following tropes:
  • Badass Driver: Ross Dolan works as a truck driver for his day job and once managed to bail Nile out when their own bus driver ran off mid-tour, as his CDL class also allowed him to drive buses.
  • Badass Beard: Bob Vigna sports one that, when combined with the Bald of Awesome, makes him look like either Ming the Merciless or Anton LaVey.
  • Bald of Awesome: Bob Vigna
  • Big Applesauce: Not from NYC, but they've played enough shows there to more or less be accepted as part of the city's metal scene. Also, there's Dolan's frequently-joked-about Noo Yawk accent.
  • Early Installment Weirdness: Dawn was a pretty straightforward death metal album that contained hints of what they would later become, but was decidedly closer in sound to most of the Florida acts at that time.
  • Epic Rocking: The title tracks off Close to a World Below and Unholy Cult both top eight minutes. "At Morning's Twilight", off Harnessing Ruin, clocks in at 7:47.
  • Large Ham: Bob Vigna is a rare nonverbal example thanks to his onstage "attack the guitar" antics.
  • Lead Bassist: Ross Dolan, types B and C.
  • Long Runner Line Up: Their current lineup reached type 2 status in 2013.
  • Loudness War: Every release since they first hooked up with producer Paul Orofino in 1999 has been bad for this, even by death metal standards. Special shout out to Kingdom of Conspiracy, where Orofino apparently decided he just had to out-do Erik Rutan - practically every track is pegged at DR3, and the listeners who aren't praising this new "triumph" in wall of sound techniques are blasting the production for rendering the bass inaudible, turning the drums to plastic and overcooking the guitars to the point of drowning out the rest of the band.
  • Metal Scream: Dolan's roar is a type 1-2 hybrid. Think of a crossover between Phil Anselmo's and Mikael Akerfeldt's harsh vocals.
  • Mohs Scale of Rock and Metal Hardness: A solid 10 their entire career, though Dawn occasionally dipped into a soft 10.
  • New Sound Album: Several.
    • Here in After played down the Floridian influences of the debut and bumped up the weird dissonant harmonies and complex polyrhythms to create their Signature Style.
    • Providence took influence from some of the more modern bands and increased the amount of fast blasting portions.
  • The Pete Best: Neal Boback.
  • Rapunzel Hair: Ross Dolan is known for his waist-length hair.
  • Religion Rant Song: Their general lyrical focus, though in a more mature manner than is typically seen in the genre. They also began to focus on world issues as well, realizing that the world, not just religion, was messed up.
  • Signature Style: Odd-timed dissonant harmonic riffs, wailing solos that rely on a twisted interpretation of the blues scale, extraordinarily complex polyrhythmic drum patterns that frequently follow the guitars (an oddity anywhere, let alone in metal), and Dolan's mid-ranged roar.
  • Special Guest: Incantation's John McEntee filled in on rhythm guitar for a tour in between Thomas Wilkinson's departure and Bill Taylor's hiring. According to this anecdote from Karl Sanders, McEntee spent most of the tour in wrist braces because the band's guitar style caused him immense amounts of pain.
  • Technical Death Metal: Debatably so; their arrangements are certainly incredibly complex and demanding, but they carry less of an "aiming to be technical" vibe and more of a "this is how I write" vibe.
  • Technician Versus Performer: This occurs between Shalaty (technician) and Vigna (performer); while Vigna is an extremely technical player, he's also self-taught and has no knowledge of musical theory, while Shalaty has taken numerous lessons from a wide variety of individuals over the years and is quite knowledgeable in theory. Vigna also writes the basic drum patterns and then gives Shalaty some room to make edits; given the difference in backgrounds, this has apparently been an occasional source of frustration for Shalaty when the trained side of him gets annoyed at Vigna for doing something the "wrong" way before he remembers that Vigna has a plan and knows what he's doing.
  • The Thing That Would Not Leave: Smilowski's tendency to pull this with Vigna was part of what got him ejected, with his frequent failure to show up to rehearsal (in spite of the fact that he was apparently unemployed and had nothing to do other than sit around Vigna's house and play drums) being the other reason. In spite of this, however, Dolan stressed that they didn't really have anything against him as a person and that he just happened to be a really shitty bandmate.
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