Orator

I stumbled across this album on bandcamp and went into it without knowing what to expect. It knocked me square on my ass repeated times. The best genre tag I can put on Orator is Technical Blackened Death Metal: impossibly ridiculous, over-the-top drumming to support a duo of interweaving guitars that do their best to create a dense ambience to take you on a journey to the darkest corners of Ancient Greece. Blackened minor arpeggios over gravity blasts lead into Nile-esque harmonized palm-muted melodies and head-banging chug grooves, providing lots of variety to keep your attention focused on the intricacies of each section. It’s a lot to process, but Kallipolis as a whole is a very rewarding experience. – Mosh Hoff - Toilet Ov Hell

Artist: Orator
Album: Kallipolis
Label: Self Release
Genre: Death Metal
Release Date: July 6, 2018
5.0/5.0

There is something to be said about concept albums. Usually that style is hit or miss. The artist has to tell a story or give their own interpretation of a story. Seattle’s Orator did just that on their debut album ‘Kallipolis‘ and they killed it.

The concept for the album is based off of one of Plato‘s writings Republic, which is a philosophy and political theory piece. It was written in 380 AD and still stands the test of time. So for a group to pick one of the hardest books to discuss, and somehow turn into an album is absolutely insane.

From the very beginning of the album you can tell that you are in for a treat. The opening track “Kallipolis” is an instrumental song that really helps set the tone for the album with its somewhat dramatic sound. It feels like you are hearing the words of the book through the instruments.

Following that is the song “Emperor (Disposable Youth)”. The blistering fast guitar riffs and pummeling double bass will blow you away. The vocals of Isaac McCormick sound so visceral and raw. In the song you can really hear the sounds of the their influences. About half way through the song the beat slows down and it sounds like a slamming part that Suffocation would play.

With a different sound to each song, this is a very well done and well written album. The story they are interpreting through their music is felt in a way that not many others would be able to pull off. Kallipolis is available for streaming and purchase on their Band Camp page as well as their Facebook page. It is also available on Spotify, Apple Music and Google Play. No matter what format you use, I highly suggest checking this album out.

Orator is:
Isaac McCormick – Lead Vocals/Guitar/Bass
Matt Stecz – Lead Guitar
Marco Pitruzzella – Session Drummer - Yesterdaze News

Album of the week 7/25/2018 - The Pain Fucktory

The US group Death Metal Epic, Orator , has just released his first album Kallipolis in digital format. It is discovered in full streaming below. This concept album is inspired by the book The Republic of Plato but also by groups like Behemoth , The Black Dahlia Murder , Fleshgod Apocalypse , Cattle Decapitation , Suffocation , Nile , Soreption or Anaal Nathrakh .

The Republic is one of Plato's dialogues focusing on justice in the individual and in the city. Plato criticizes democracy in its degeneration into demagogy and tyranny because of the attraction exercised by the prestige of power. This is Plato's best-known and most famous work because of, among other things, the model of community life exhibited and the theory of forms that Plato exposes and defends. - Scholomance Webzine

- - Brutal Full Albums - Youtube

Featured alongside Supreme Carnage, 妖神楽 - Ayakasi Kagura -, AcoD, Lucis Absentia, Illusionary Funeral, Behemoth & Psycroptic
https://www.facebook.com/NewDeathmetalTracks/photos/a.234109323811558/309061802982976/?type=3&theater - New Death Metal Tracks

A veritable force unleashed from Seattle, Orator capture all of the filth and ferocity of technical, blackened-death metal we have all come to know and love over the years, yet add their own brand of amphetamine-fueled hatred and violence to remain fresh and relevant. I’m of the staunch mindset that death metal is indeed better now than it has ever been in the past, with strong scene emerging worldwide, and Orator certainly help reinforce this opinion.
Right of the gate (a brief and calm intro for the title track “Kallipolis” before all hell breaks loose) these maniacs skullfuck us with pounding drums and blazing fast molten guitars that pummel us poor souls with an unrelenting fury that never lets up. Other highlights that showcase the whirlwind of violence with much aplomb include “Elder (Waltz to Decay),” “Mentor (An Assertation of Dominion),” and “Perceiver (The Jaws of Recompense)”. The vocals also provide and raspy, devastating side dish to the devastating atmosphere. It has to be mention that “Kallipolis” is inspired by Plato’s Republic.

I found myself really liking to album for its straightforward assault and no shills whatsoever. Orator is a band to keep under radar, as “Kallipolis” shows tremendous amount of potential that is yet to be used on the upcoming releases. - Rocking Charts

Orator are technical death metal unit from Seattle who recently launched “Kallipolis” — an album inspired by Plato’s work “The Republic.” Singer and guitarist Isaac McCormick and lead guitarist Matt Stecz spoke for Rocking Charts about this ambitious effort, local scene, influences, and more.

Hey guys. How are you doing?

Isaac: Doing well, hope the same for you too.

Matt: Excellent, thank you for asking.

You have recently launched your debut full-length album entitled “Kallipolis.” How do you feel about the release?

Matt: We’re proud of it, we wanted to come out swinging and feel like we achieved that. We were kind of torn between calling the thing an EP versus a full-length; we went into the process very aware that it would be a learning experience, and wanted to commit an appropriate amount of resources as a result. And of course later you always hear things you know you could improve or tweak a little, but that’s just how it goes.

Isaac: I’m very thrilled with how it manifested. I remember sitting down for preliminary-brainstorming with Matt thinking “how the fuck are we going to accomplish this, maybe I’m being too ambitious.” It was very fulfilling to almost watch it grow from little more than “idea-vomit” into the finished product, and though there will always be sections one would want to restructure or rewrite post completion, I believe we succeeded to the fullest of our capacity at the time and gleaned priceless lessons in the process that we’ll surely apply in the future.

How much of a challenge was it to work on the album?

Isaac: We live about two hours apart and I work full time; Matt is a full time student and works part time. Though ideas can be bounced digitally we work best in person explaining ideas and teaching or learning parts, so it was very difficult for us to clear time for each other. Much of the grunt work was done when he had to juggle schooling finals! On top of that, all of the music was written without a drummer’s perspective, so in hindsight there are some transitions that seem miserably blatant to me in that respect. Seattle seems to have a lack of capable drummers, though we aren’t exactly asking that one joins us for a walk in the park either! The individual we were working with had the potential but neither the ambition nor professionalism that we needed, so rather than grind away wasting my time with someone that refused to commit their all I chose to commit that time to writing the best music possible, but I wonder what would’ve been had we had a competent drummer.

Matt: Writing the music was mostly fine, we were without a drummer for much of the time that Kallipolis was being written though. Probably the biggest single challenge was actually going into the studio, Marco had already done his drums so that was no issue, but we did all the other instruments and vocals in about twenty hours total as our budget couldn’t allow for more. Isaac, having to do his vocals last, had about four to six hours max to record all of his vocals; the studio attendant couldn’t believe it. But the time crunch was just more incentive to nail that final product down.

What other artists similar to your genre that are coming from Seattle are you friends with?

Isaac: Voidthrone has been very good to us, so has Gallows Hymn from up North in Bellingham. Our current drummer’s other project, The Devlis Of Loudon, are good friends of ours as well.

Matt: Voidthrone are cool dudes, they just had a release feature on No Clean Singing a couple months ago, Thou Shall Kill, Born Without Blood.

What is your opinion about the current metal scene?

Matt: I see people complaining about all kinds of things in the scene online all the time. Musicians in metal (and most other genres for that matter) are having to work harder than ever to make it, but for fans? There has never been a better time to be a metalhead. New bands are forming all the time, current bands are putting out great releases literally all the time. And you can just pull it up on Bandcamp or Youtube and listen for free with almost no strings attached. It’s never been better to be into metal.

Isaac: I think the metal scene is at a very if not one of the most pivotal moments thus far in that whether the scene thrives or dwindles is entirely dictated by the fans more so than ever before. It’s never been more difficult to be an emerging recording artist, and yet it’s never been easier to release music to as many people as possible, and should an upcoming artist release an excellent album they’ll never get the recognition or momentum they need if the fans choose to listen to the same established classics and refuse to explore beyond that. It’s rather infuriating listening to people complain that there’s no good new metal, as those are the same individuals who would sooner listen to those same established or even disbanded groups, buying multiple copies of the same album because it’s a different edition or some nonsense, than explore to find at least one upcoming band. Furthermore, bands carve their mark through gigs and touring, and I’ll hear mother fuckers complain about dropping 20 bucks on a show twice a month when theyll gladly piss away more on garbage food or garbage alcohol at bars. Though the scene might feel oversaturated, especially with bands that are merely going through the motions, it has never been easier for excellent music to find it’s way to willing ears, and it’s never been more important that fans discover artists they love and support them to the fullest of their capability.

Can you tell me something about your influences?

Matt: I came up on the Swedish melo-death style riffing: anything from At the Gates, Darkest Hour to Unearth. Behemoth – Demigod was a landmark album for me, Anaal Nathrakh – In the Constellation of the Black Widow, Nile, Vader.

Isaac: It’s funny, I tend to cite albums rather than bands, as I don’t think there’s a band where I feel like I connect with their full discography. Fleshgod Apocalypse would probably be the closest, that or Inquisition. Behemoth – Evangelion was a landmark album for me, I very much connected with Cattle Decapitation’s- The Anthropocene Extinction, Anaal Nathrakh – Desideratum, The Black Dahlia Murder Nocturnal/Decorate/Ritual/Everblack, and I’ll cherry pick through Suffocation just to name a few. I’m also very influenced by Classical greats like Beethoven, Tchaikovsky, Prokofiev, and Chopin.

What are you listening to these days?

Matt: Vredehammer is a band I discovered recently that I’m enjoying a lot, a nice mix of melody and atmosphere with death metal and a splash of the thrash. Both Infuriate and Engulf released music with Everlasting Spew Records recently and are absolutely killer. Man Must Die, Sulphur Aeon, Hour of Penance, Lost Soul; kinda shuffling around through all these guys at the moment.

Isaac: Aside from the Classical greats and my influential main stays… I cannot stop listening to Shrines of Paralysis by Ulcerate. Inquisition- Bloodshed Across the Empyrean Altar (etc) Also Time I by Wintersun, Illuminance by Virvum, Winter’s Gate by Insomnium. The Shape of Color by Intervals and V by Scale the Summit are always a pleasure to revisit. Solstafir’s last two albums are phenomenal. I also enjoy If These Trees Could Talk often. Also, Yes’ Close to the Edge and Tales from Topographic Oceans. Its become apparent that much of what I’ve been listening to is been very compositionally driven primarily, and churning out riffs the secondary. I’ve also grown very fond of a Japanese jazz pianist, Ryo Fukui.

Your 5 favourite records of all time?

Matt:
Hidden Hands of a Sadist Nation-Darkest Hour
Thirteenth Step-A Perfect Circle
Adveniens-Hideous Divinity
Dark Tranquillity-Character
Thy Art Is Murder-Hate

Isaac:
What an impossibly difficult question….
Metallica – Master of Puppets (sue me)
Behemoth – Evangelion
Fleshgod Apocalypse – Agony
If These Trees Could Talk – Red Forest
Inquisition- Ominous Doctrines From the Perpetual Macrocosm.

Can you tell me a little bit more about the gear you used to record “Kallipolis”?

Matt: I used my live rig to record my guitar parts on Kallipolis. An ESP LTD with Seymore Duncan Distortion pickups, run straight into a Line 6 IV HD 150 head, through a Blackstar 4×12 cabinet. No pedals or anything, simplicity and efficiency are the ideas here.

Isaac: Nothing complicated by any means. My guitar was the Esp LTD Jeff Hanneman Signature with Semour Duncan Black Winter Pickups, my head was the Line 6 Spider Valve HD 100 through the corresponding Line 6 4×12 cab with Celestion Vintage 30s. For bass I used a Warwick RockBass Corvette and we just preamped and ran it directly in.

Besides the release of the album, are there any other plans for the future?

Matt: In the short term, continue playing shows locally and low-key start working on the next release. Long-term, we will be hitting the road and touring. There’s a lot of factors to consider, but it’s safe to say that touring is inevitable.

Isaac: Play as many shows as we can without spreading ourselves too thin or oversaturating ourselves. The goal is to tour, and once we start, to never stop, though we don’t see that materializing until the next album unless we get lucky. We currently don’t have management representation, and can’t afford to just throw ourselves out there taking the first opportunity that comes our way; we have to make sure our time and resources are spent wisely, effectively, and efficiently. I have already begun brain storming at Matt for the next release, and though I’ve needed to take a few months since Kallipolis to recuperate (much to my dislike), I’m chomping at the bit to begin the writing process again. As with before I am already asking myself “how the fuck are we going to pull this off? Am I being too ambitious??” But now we have Kallipolis to remind ourselves that we are capable, we have a full crew to work with, and I can’t wait to watch the “idea vomit” grow and manifest itself.

Any words for the potential new fans?

Matt: We have just barely begun. You can find Kallipolis in the ‘Health Foods’ section of the metal aisle; it’s raw, minimally processed, made locally, and thus ideal for moshing, circle pits, and even headbangs.

Isaac: We’re here to write metal that we ourselves would want to hear from an upcoming band. We serve the music first and our egos last. We know what it’s like to hear an album, and connect with it in almost a psudeo-spritual manner. Music is the hand that lifts you up when life tears you down. It is the friend that is always there for you, understands you in ways that no other seems to; True satisfaction is knowing that we’ve written something worth listening to for years to come that will engrain itself in another’s soul, not something that we can flaunt like a merit badge for a few weeks as the flavor of the month then have it fade from memory. We’re here to grow as musicians and artists, not find what works, habituate, and rehash it until we fade away from irrelevance. We wish everyone to know we understand and value the time and attention spans necessary for people to give in order to listen to and digest music, and we assure you we’ve only just begun. - Rocking Charts

Technical death metal has become quite a huge underground scene with new bands being formed and new albums being released seemingly every day. It’s a pleasure to see some of those bands find their own style within the confines of the genre and try new things.

Orator from Seattle, Washington, who name bands such as Behemoth, The Black Dahlia Murder, Fleshgod Apocalypse, Cattle Decapitation, Suffocation, Nile, Soreption and Anaal Nathrakh as their influences, are such a band. With their debut album they prove themselves as a force to be reckoned with. Kallipolis is an exciting and surprisingly unique sounding album. The technical riffs and brutal drums common for the genre are combined with a blackened atmosphere and a refreshingly organic approach to songwriting that make Orator stand out from most modern tech death bands.

Today we are pleased to present the brand new lyric video for the album’s third track “Elder (Waltz To Decay)” to you. Check it out below and make sure to listen to the whole album at Orator’s Bandcamp page and pick up one of the limited edition CDs afterwards. This is an album no death metal devotee should overlook this year.

When asked for comment. the band responded with lyrics from the song:

We who shaped this world in fear-driven negligence humbly assert our claim to all we could ever want free of consequence.

What concern is needed for the state of the world left behind from those who’s time is already through? - Indy Metal Vault

Seattle-based technical death metal unit ORATOR has launched a lyric video for the song “Elder (Waltz To Decay),” which can be seen below. The song is taken from the band’s recently released album Kallipolis, inspired by Plato’s work “The Republic.”

The band commented: “What concern is needed for the state of the world left behind, from those whose time is already through.”

In “Republic,” Plato, from the perspective of his teacher and friend Socrates, describes his ideal society Kallipolis; Kalli meaning “ideal/perfect” and Polis meaning “city/state.”

As the Kallipolis would be the only realm where those who truly loved truth, wisdom, and knowledge above all else would be recognized and revered, these potential rulers would rule only out of recognized necessity, knowing that if they were to leave leadership of their city-state to any common individual they would be dooming everyone to a leader susceptible to the animalistic impulses of humanity.

ORATOR creates death metal for fans of old and modern school alike. Influenced by the likes such Behemoth, The Black Dahlia Murder, Fleshgod Apocalypse, Nile and Suffocation, on Kallipolis the group delivers Emperor-inspired chord progressions with a mix of frenzied riffing. - Metal Addicts

Seattle-based technical death metal unit Orator has launched a lyric video for the song “Elder (Waltz To Decay)”.

The song is taken from the band’s recently released album Kallipolis, inspired by Plato’s work “The Republic.”

The band commented: “What concern is needed for the state of the world left behind, from those whose time is already through.”

In “Republic,” Plato, from the perspective of his teacher and friend Socrates, describes his ideal society Kallipolis; Kalli meaning “ideal/perfect” and Polis meaning “city/state.”

As the Kallipolis would be the only realm where those who truly loved truth, wisdom, and knowledge above all else would be recognized and revered, these potential rulers would rule only out of recognized necessity, knowing that if they were to leave leadership of their city-state to any common individual they would be dooming everyone to a leader susceptible to the animalistic impulses of humanity.

Orator creates death metal for fans of old and modern school alike. Influenced by the likes such Behemoth, The Black Dahlia Murder, Fleshgod Apocalypse, Nile and Suffocation, on Kallipolis the group delivers Emperor-inspired chord progressions with a mix of frenzied riffing. - Sjeverna Strava Zine

Technical death metal act from Seattle, Orator launched their debut album ‘Kallipolis’ in July, inspired by Plato’s ‘Republic.’ Guitarist and singer Isaac McCormick talks with Prog Sphere about the record’s grand concept, influences, and more.

Define the mission of Orator.

Isaac: We’re here to write metal that we ourselves would want to hear from an upcoming band. We serve the music first and our egos last. We know what it’s like to hear an album and to connect with it in almost a psudeo-spritual manner. Music is the hand that lifts you up when life tears you down. It is the friend that is always there for you, understands you in ways that no other seems to; True satisfaction is knowing that we’ve written something worth listening to for years to come that will engrain itself in another’s soul, not something that we can flaunt like a merit badge for a few weeks as the flavor of the month then have it fade from memory. We’re here to grow as musicians and artists, not find what works, habituate, and rehash it until we fade away from irrelevance. We wish everyone to know we understand and value the time and attention spans necessary for people to give in order to listen to and digest music, and we assure you we’ve only just begun.

Tell me about the creative process that informed your recent album Kallipolis and the themes it captures.

I had just written a rough lyrical sketch I titled Disposable Youth when one of my friends put a copy of Plato’s Republic in my hands; I hadn’t read anything for a year or so, something I’m displeased with to this day, and once I started reading I devoured the book, taking every opportunity I could to read even if I was just standing in line waiting to order food. Once I finished the book I was revisiting the lyrical sketch, refining and building upon it, and the bulk of Emperor practically flowed from my brain through my pen as if I was merely observing the idea create itself. The rest of the concept was the same, that is, it practically created itself. Maybe that is redundant to hear, but the ancient Greeks believed that the muses were responsible for all creative successes; poets, musicians, playwrites, etc. would appeal to them before every creative endeavor in hopes that they might bless them with a masterpiece. Writing the music was the most difficult part as I refused to write anything that couldn’t or wouldn’t separate us from the general run of the mill.

Thematically, the titles/topics of the songs descend from the most powerful in a society to the least. The lyrics speak in advocacy of personal responsibility, as well as reason and resonablity. They also condemn the will to power and greed, as well as those that would embrace and pursue such. Plato states very clearly that no society will be free from its ills until the citizens of such free themselves from their selfishly superficial desires and tendencies, their lowest of natures. The album is titled Kallipolis, Kalli meaning ideal and polis meaning city-state or society, as a jest to the world we live in, where many would have us believe we live in the best society possible, and yet that couldn’t be further from the case.

What is the message you are trying to give with Kallipolis?

There are things vastly more important than yourself. So much is as it is because, short of self preservation, so many opt for complacency or ignorance rather than confronting that which plagues us head on. People would sooner stroke their egos than spend a minute, an hour, a day to try and improve even one less fortunate person’s existence. There is much that must be done, true, and one is no more than one human, but change always starts with what’s closest to ones reality and moves outward from there.

How did you document the music while it was being formulated?

Lyrics were always pen to paper, and I worked through at least 5, probably closer to 10 drafts for each track.

Musically I used my D.A.W (digital audio workstation) to record ideas as I worked them out, and then puzzle pieced them together as I heard things in my head. As with the lyrics I went through about 10 drafts for each track, usually starting with a foundational idea in the first and second and building on it with each following draft. Once I recognized I had the bulk of the song figured out I’d add lyrics and that would always help me finish the song.

Is the dynamic flow of the pieces carefully architected?

Definitely to a degree, though not as much as it will be with our next effort. I refused to have each track feel the exact same as it would dilute the impact of each individual track. If one is to pay attention, one will notice references in Perceiver to the songs that came before it, which also ties into the conceptual them, though that is the only instance of such.

Describe the approach to recording the album.

Marco had already recorded and sent us his drum parts, and we prepared all parts via demos before entering the studio. There was nothing that wasn’t already written when we entered, as we knew well ahead of time that our budget was extremely limited and could not afford to waste precious time on that which wasn’t written; in the end we could only afford a maximum of 20 hours, though I think it was actually 18. Thus it was necessary for us to have all parts practiced to a meticulous degree, and we spent many hours over many weeks prior to the studio practicing until our fingers bled.

How long was Kallipolis in the making?

From the time when I first knew exactly what the concept was to the final note being recorded in the studio, it took us about a year and a half. I spent a lot of time writing just lyrics, which were mostly finished by the time I realized I had a lot of preparation to do as a musician before confronting the lofty goals I had set for Kallipolis. I do not feel like I will have to do as much preliminary work for the next effort, though there is still some that is necessary for me to grow as a musician in preparation for the even loftier goals I have set for what’s next.

Which bands or artists influenced your work on the release?

My influential mainstays for certain, Behemoth – Evangelion, Cattle Decapitation – The Anthropocene Extinction, Fleshgod Apocalypse – Agony; I went and learned the entirety of Master of Puppets by Metallica as part of the preparation process and am sure that had an influence on the release. I also attended many a Seattle Symphony performance and found those very conducive to working through creative blocks or refining many an idea. A scale run in the “Perceiver” solo was directly influenced by Paganini. In that same line of thought, the composers I listen to most, Tchaikovsky, Beethoven, Chopin, and Prokofiev, greatly influenced how I approached song writing and song structure. It helped me transform ideas from a cycling of riffs into what I feel are compositions.

What is your view on technology in music?

I think it is entirely necessary at this point; how else are artists supposed to record music other than in analog, which is still a form of technology? I feel the question is asking if artists rely too much on technology when creating, to which I would say yes. It is often obvious to me when artists copy paste parts in studio rather than record them live. This I feel is cutting corners, and unless made necessary due to budget limitations, is just lazy. However, technology also enables many an emerging artist to create, release, and reach vastly larger audiences with their music in ways that were never possible before, and the gear necessary to do so is only becoming more and more affordable. Someone with internet connection in the furthest reaches of fucking Antartica could look up and listen to Kallipolis! Though technology is a double edged sword and has enabled the oversaturation of all music scenes/communities, as it is easier for one who is merely going through the motions to put something together, promote and release it, I’m certain matters will sort themselves out, and it is a necessary “evil” in order to create the circumstances necessary for those that write music “deserving” of being heard to reach as many people as possible.

Do you see your music as serving a purpose beyond music?

I certainly intend for it to and hope that it does! I advocated for taking better care of our environment and earth in general before listening to Cattle Decapitation‘s The Anthropocene Extinction, but after hearing that monster of a release, reading the lyrics, and realizing just how truely abhorrent our tendencies towards waste and pollution are I went from casual environmentalist to almost militant environmentalist. I would hope that everyone would read the lyrics I’ve written, and if even one person changes their mindset for the better because if it then that will be a success for me. As much as I might like to, I find it nearly impossible to write lyrics that aren’t about the present state of the world, as to make music is to invite an audience, and I feel to invite an audience and not direct attention to that which I feel ails us most is to direct attention away from such. There are many others that speak of the ills of society, just as there are many that don’t, and so my hopes is that when listening to our music people also feel compelled to think about their world and wether or not it is acceptable, or if they have just accepted what they’re told to accept.

What are your plans for the future?

Our main goal is to tour, and once we begin, save for regular health and sanity maintenance, never stop. Shorter term, we will have a lyric video releasing soon, if not released already, we are putting together a music video, and we have begun brainstorming for our next release hopefully to be out by the end of next year, budget and time constraints permitting. Personally, we intend to spend as much time as possible working to grow and evolve as musicians so that we can create the best music possible. - Prog Sphere