Archive for Aaron Turner

The Visionaries: Journey to the Center of Aaron Turner

Posted in Interviews, The Visionaries with tags , , , , , , , , on 12/10/2025 by Kurt Orzeck

If an ultra-prolific music maker writes and plays songs in the woods, do they really exist if no one can hear them? Not if they release the music in the form of records, one supposes. But it is kinda the case these days with Aaron Turner, the former frontman for Isis; member of Sumac, Old Man Gloom and Mammifer; collaborator of Pharaoh Overlord; father; illustrator; swimmer; and deep thinker. Join Treble for a journey into the mind of one of the most fascinating and prolific underground artists of the last 25 years.

Erosion’s ‘Invasive Species’: Two Cent Review

Posted in Album Reviews, Reviews with tags , , , , on 11/09/2025 by Kurt Orzeck

Not a second is wasted on this essential entry into the collection of every fan of heavy music who doesn’t like Disturbed and Korn. With that notion in mind, it’s no surprise that one of the most persnickety-yet-always-correct individuals in this sludgy underworld, Aaron Turner, gave Erosion his sign of approval by putting out Maximum Suffering seven years ago. Invasive Species comes courtesy of Canadian underground grindcore label Mechanized Apparatus Revolt, and boy did they luck out scoring this release. Get it here and thank us later — if your head hasn’t exploded by the time you’re done listening to it. Here’s my full Post-Trash review.

From the Vault Exclusive: Pelican Details Each Track on Guest-Filled ‘What We All Come to Need’

Posted in Exclusives, Interviews with tags , , , , , on 10/24/2025 by Kurt Orzeck

[This article was originally published in 2009 on IndiePit.]

Pelican’s friends are cooler than yours.

The instru-metalists have been in good company throughout their career. Out of the gate, they signed to Aaron Turner‘s Hydra Head label, which the Chicagoans called home till they recently hopped over to Greg Anderson’s similar-minded doom factory, Southern Lord.

Justin Broadrick (Jesu, Godflesh) has remixed some of their slabs, and also mixed the sound for their live CD/DVD set, After the Ceiling Cracked, a few years back.

Pelican have also been remixed by Prefuse 73; collaborated with Earth’s Dylan Carlson on their Ephemeral EP, which dropped on Southern Lord in June; joined forces with Mono, Scissorfight, These Arms Are Snakes, Young Widows, Playing Enemy and the Austerity Program for split EPs; and toured with too many bands to count: High on Fire, Russian Circles, Torche and beyond.

In other words, they get lonely all by themselves. So would you, if you spent most of your time speechlessly venturing into the far-reaches of epic riffage.

Maybe taking a tip from their Windy City neighbor Kanye – or, more likely, from classic-rock bands of yore – Pelican are now ready to let some of their amigos (beyond Carlson) play along with them, featured-guest style.

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From the Vault: Isis’ Aaron Turner Called Revolver’s Golden Gods Awards ‘Demeaning,’ ‘Ridiculous’

Posted in Interviews with tags , , , , , , , , , on 10/17/2025 by Kurt Orzeck

[This article was originally published on Indiepit on June 18, 2009.]

Methodical. Serious. Fulfilling.

Those are three words that aptly describe Isis, one of the best things to happen to prog-metal since Maynard James Keenan first shook hands with Adam Jones in 1989. The band’s carefully calibrated, efficient – read: not a single note gone to waste – songwriting and live presentation have, over the course of their dozen-year history, graduated Isis to untouchable status. It’s gotten to the point where fans talk about Isis’ music as if it were a religion: each album an obligatory mass, each song a sermon that feeds both the mind and soul.

Coming off a string of their biggest concerts to date – and with their new album, Wavering Radiant, still sitting pretty on Pitchfork’s “Best New Music” lineup (it’s been months) – the sludge-slingers are at the top of their game. And best of all, as they’ve proven with each subsequent release, they just might find a way to top themselves the next time around too.

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Exclusive News: SUMAC and Moor Mother Plotting Second Collaborative LP

Posted in Exclusives, Interviews, News with tags , , , on 09/26/2025 by Kurt Orzeck

SUMAC and Moor Mother, whose collaborative record The Film is one of the most universally acclaimed metal releases of the year, are already planning a follow-up effort, SUMAC frontman Aaron Turner confirmed to The Bad Penny on Thursday.

In response to The Bad Penny noting the widespread positive reaction that SUMAC and Moor Mother received for The Film, Turner replied: “I was very pleased that it got such a warm reception. It felt like a very challenging record. I was confident in what we produced but had no expectation in terms of how it was going to be received. We’re definitely talking with her about more shows upcoming in the near future, and then a little further down the road, to make another record together. I hope that happens.”

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‘As Bad as It Is Right Now, It Can Get Worse’: Austerity Program on ‘Bible Songs,’ Optimism and Surrender

Posted in Interviews with tags , , on 05/05/2025 by Kurt Orzeck

Read my very rare Treble interview with the fast-talking Justin Foley, who is one-half of noise-rock duo The Austerity Program, and works full-time as a union organizer as well.

Isis’ Aaron Turner In ’02: Oceanic Is ‘The Best Material We’ve Ever Written’

Posted in Interviews with tags , , , , , , , , , , , , , , , on 01/08/2010 by Kurt Orzeck

Last week saw the publish of a post drawing possible connections between what many consider to be Isis’ ultimate masterpiece, Oceanic, and one of the most important novels to come out of the 20th century, Arthur Koestler’s “Darkness at Noon.” Keeping the Oceanic momentum going, here’s an interview I conducted with the band in October 2002, just weeks after the album came out. Continue reading

Isis’ Oceanic: Mystery Revealed?

Posted in Essays, Features, What You Readin' For? with tags , on 01/01/2010 by Kurt Orzeck

Almost eight years after Isis pulled back the curtain on what stands as their strongest release to date, Oceanic, debate over its lyrical content lingers like an ebbed wave on the shore. Continue reading