ALBUM REVIEW: Path of Might - "Hallowed Gate Style"

By: Mark Ambrose

Album Type: Full Length

Date Released: 07/11/ 2017

Label: Encapsulated Records

With “Hallowed Gate Style”, Path of Might adds some melody and grace to the punishing might of their debut, but more importantly cements the trio as an act who, in time, could equal or even eclipse their diverse influences.

“Hallowed Gate Style” CD//DD track listing

1. Hallowed Gate Style

2. Locust Fugue

3. Infernal Orchards

4. House of Rain

5. Mega Magicka

6. Tea and Oranges

7. Locust Storm

8. Chapels to the West

The Review:

               

Path of Might’s 2015 self-titled debut drew a lot of comparisons to other sludge masters: Mastodon, Neurosis, and Baroness, to name a few.  Like these modern legends, Path of Might infuses sludge with prog flourish, and adds some Appalachian folk for good measure.  If that tidy half hour of power was just a taste, “Hallowed Gate Style” is a veritable smorgasbord of sludge.  Over the course of eight tracks, guitarist Spencer Medley, bassist Derek Rife, and drummer Adam Lucz pay homage to their forebears in metal and prog alike, while crafting a cinematic journey through time and space that invokes images of Kurosawa and Leone, by way of Timothy Leary and Aldous Huxley.

               

First and foremost, Path of Might are a highly skilled power trio, who lock into steady grooves without feeling stiff or mechanical.  There’s considerable production, with some distinct separation between guitar tracks for a nice, well rounded listen overall, but the organic tempo shifts and ineffable chemistry shines on the loose, jammy “Infernal Orchards”, or the swaggering, retro “Tea and Oranges”.  Spencer’s vocals push past the guttural barks of their self-titled album to move into melodies that are sometimes reminiscent of Pink Floyd, or, conversely, a younger Matt Pike.  While the lyrics are often subsumed by the heavy reverb or “chants field recorded in caves” qualities, it still works considering the hallucinogenic dynamics of Path of Might’s overall aesthetic.

               

The prog sludge infusions really cement the record as a serious step forward.  Even the interludes of “Locust Fugue” and “Locust Storm” incorporate American folk and vaguely “far eastern” qualities, even if they’re just cinematic flourishes.  The acoustic bridge of the title track, in particular, qualifies as its own little mystical journey.  For each of the progressive elements, there are lots of passages where the men of Path of Might reveal their classic rock hearts: “Infernal Orchards” feels like Nazareth, if they went full stoner metal, while the finale of “Mega Magicka” has a definite Thin Lizzy vibe.  The utterly savage “House of Rain” is the most indebted to Mastodon, with its rapid hammer-on, pull-off guitar riffing… but damn, Spencer manages to rip it up just as effectively as Brent Hinds & co.

For all the references to other artists, however, Path of Might is more than pastiche.  With their first album, they showed considerable instrumental prowess and fierce delivery.  In slightly more than two years, they’ve incorporated diverse elements without losing a bit of aggression, and battle hardened their sludge alchemy.  With “Hallowed Gate Style”, Path of Might adds some melody and grace to the punishing might of their debut, but more importantly cements the trio as an act who, in time, could equal or even eclipse their diverse influences.

“Hallowed Gate Style” is available here and physical copies here

Band info: bandcamp || facebook

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Pale Mare (Toronto, Ontario)

By: Mark Tremblay

Album Type: EP

Date Released: 10/11/2017

Label: Medusa Crush Recordings

For those of you who long for the days of “Blessed Black Wings” era High on Fire, this record is the perfect trip down memory-lane.  If you dig thick and dirty riffs, you’ll dig Pale Mare.

“Pale Mare EP” CS//DD track listing:

1). Descolada

2). Carthage

3). Hoplite

The Review:

Toronto’s Pale Mare has finally released their long awaited self-titled EP. After making a name for themselves locally opening for acts such as Windhand and Weedeater, Pale Mare have unleashed their well-honed brand of sludge metal. For those of you who long for the days of “Blessed Black Wings” era High on Fire, this record is the perfect trip down memory-lane.

The EP comes out of the gate swinging with “Descolada”; a song built upon a heavy riff that would make Matt Pike smile. Where Pale Mare break from the pack, however, is this jazz break they’ve fused into the middle of the song. The clean shimmering guitar chords and wah-tinged bass give them a nuisance and balance not often found in riff-driven music.

 “Carthage” is a straight out banger that page homage to early Baroness EP’s “First” and “Second” while adding their own twists. Luke Roberts’ drum fills on this track are particularly jaw-dropping. Given the fact that he is also the guitarist and main creative force behind Ayahuasca, it begs the question “Is there anything Luke Roberts can’t do?”.

The albums closer “Hoplite” is continuation of all these elements mashed together in one riff-crammed magnum opus. Pale Mare is a throwback to the hey-day of the Savannah sludge metal of the early 2000s, only with a twist. If you dig thick and dirty riffs, you’ll dig Pale Mare.

“Pale Mare EP” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Somnuri - "Somnuri"

By Ralka F. Skjerseth

Album Type: Full Length

Date Released: 10/11 2017

Label: Magnetic Eye Records

This self-titled debut is an impressive debut, possessing a musical style that is extensive, manifesting decibels of subliminally-composed heavy fuzz and thrashing resonances inspired by a myriad of names such as Mastodon, High on Fire, and Baroness

“Somnuri” DD//LP track Listing:

01. Kaizen

02. Inhabitant

03. Same Skies

04. Slow Burn

05. Opaque

06. Welcome The Stranger

07. Pulling Teeth

08. Through The Dead

The Review:

Up-and-coming stoner/sludge/doom metal/progressive trio from Brooklyn, Somnuri, consisting of members of Blackout, Hull, and Family, they are formidably manifesting decibels of subliminally-composed heavy fuzz and thrashing resonances inspired by a myriad of names such as Mastodon, High on Fire, and Baroness. There definitely is diverse elements that can be found in their style— be it a convergence of black metal, sludge, math rock, progressive post-metal, you name it. As a result, they successfully manage to present a profound variety of paces, rhythms, and vocal ranges. They are the kind of band that would not hesitate to solicit influences from an extensive range of references in order to evolve as their own kind of authenticity. I personally don’t think that they suit only one single mundane classification of genre; they branch out in the most proficient way ever possible. They have done an awesome job of presenting how their elements can be ethereal but also belligerent at the same time-- their style is like a conundrum. It’s interesting to find trails of black metal-inspired growls in a sludge content that can be found in some tracks, as well.

The first track, “Kaizen”, is an atmospheric tune that appears to be strong on stoner elements and features a slow-paced outro which contrasts to the fast and upbeat beginning of the song. Hereafter, there comes “Inhabitant” with a blistering nuance and black metal-inspired funereal distortion. The next track “Same Skies” is in a more rapid pace than the previous two tracks, intensified by its chaotic drumbeats, and it mainly contains sonorous growls. “Slow Burn” is a droning, fuzzed-out track with prepossessing riffs and a well-crafted combination between growls and clean vocals. “Opaque” happens to be a short track that comes off as tranquil and clandestine. “Welcome the Stranger” has some circle pit-inducing malignant vibes that would trigger you to stage-dive and mosh. Next off we have “Pulling Teeth” and its convoluting riffs of the damned. The last track “Through the Dead” is a rhythmic, ethereal take on stoner that closes the album as the longest track.

This self-titled debut is an impressive debut, possessing a musical style that is extensive and not chained to one certain sphere only. It has a lot of scenes and roots implemented in its content, and it’s such a good start for them.

“Somnuri” is available here

Band info: bandcamp || facebook

TRACK PREMIERE: Anglo French progressive sludge duo Lark deliver "Too far gone"

“Lark” an informal noun/verb used in the English language refers to an activity regarded as foolish or a waste of time, enjoying oneself by behaving in a playful or mischievous way or something done for fun, especially something mischievous or daring;  an amusing adventure or escape.  Whilst I cannot discern the true meaning of the word in reference to the band name of today’s guests (Lark is also small ground-dwelling songbird), despite what the name suggests, this progressive sludge duo are set to deliver a seriously weighty debut EP, indeed this is serious shit, where dealing with. 

Featuring former members of Bright Curse, their debut self-titled EP is recommended for those who like (Early) Mastodon, Baroness, Opeth, Katatonia.  With the nucleus of the band, formed by two French brothers (Zach and Raph), living in France and England respectively, the two rapidly found ways around the distance between them and started their first creative collaboration at the beginning of 2017.  The result of that their shared a vision is an EP that combines a massive and textured sound with bucket load of groove and that all important sledgehammer riff.

So, with D Day for the release set for Halloween 2017, you can check out an exclusive new track “Too Far Gone” below.  A foolish waste of time, this not.  Press play now, it’ll be a “Lark”

Band info: facebook

ALBUM REVIEW: Forming The Void - "Relic"

By: David Jupp

Album Type: Full Length

Date Released: 17/03/2017

Label: Argonauta Records (CD) |

Lonestar Records (LP)

In a genre creaking under the weight of its own familiarity Forming the Void have built something exceptional that stands apart. ‘Relic’ is a record that will long outlast its creators and live on, forming the foundations, of future sludge-monuments.

“Relic” CD//DD//LP track listing:

1.After Earth

2.The Endless Road

3.Bialozar

4.Relic

5.The Witch

6.Plumes

7.Unto the Smoke

8.Kashmir

The Review:

There must be a point during the writing process for a record, when a band realise they have stumbled across something special. Whether mid jam at rehearsal or in the isolation of a low-lit lounge, when these threads of brilliance choose to offer themselves a bands collective heart must surely quicken. It is then just the small matter of following each thread home to its cohesive whole. Taken in its entirety, Louisiana four-piece Forming the Void’s second album ‘Relic’ evokes a wealth of these ‘imagine being there when they wrote that’ moments.

The seven songs and one cover that make up album number two form a tapestry of contemporary influences that include Baroness, Tool and Soundgarden. But oddly, ‘Relic’ still seems an apt name. A relic is defined as an object that survives from an earlier time, and Forming the Void’s sophomore effort is certainly imbibed with an ancient and timeless quality. This is especially notable in its slower more atmospheric interludes, but there is also an ever-present driving yell to its heavier passages that conjures images of tribal charge.

The record opens with ‘After Earth’ and immediately implements the aforementioned approach. Setting forth with a shamanic and droned exchange between galloped toms and minimal guitar-flutter, this summoning soon bears blackened fruit as a huge wave of sludge crashes in on your already craned audio-neck. Similarly, to Vokonis’ recent standout ‘The Sunken Djinn’ this mass of tone requires an impressive vocal and James Marshall’s layered war-yell doesn’t disappoint. In fact, the heft of the vocals on ‘Relic’ consistently add girth to the records overall spine. The lyrics evoke equally epic themes with Marshall calling across the years. ‘Roam, beside the dead. Time unwinding.’

A large swathe of ‘Relic’ draws on paths well-trodden but each time a dejected sigh might flicker in your throat the band find an extra few percent, be it through delivery or craft. Track two ‘Endless Road’ extracts this differentiation via Marshall’s vocal. The riffs are solid but the combination of Luke Baker’s undertow bass and Marshall’s bellow transform the ordinary into the special.

Next up trudging Miami stalwarts Torche rear their heads. ‘Bialozar’ wouldn’t be out of place on ‘Neanderthal’ with its fusion of vocal harmony and Thomas Colley’s skull-fuck snare. Again though, instead of massaging another band’s sound Forming the Void take a potion to the vein and inject something extra. This time round, the lyrics that supplement the battle cry provide the albums stand out moment. ‘Wings spread, over the mountain.’ I challenge any connoisseur of heavy music not to contort their face at this point. It’s just outrageously good.

Title track ‘Relic’ is up next and its initial two minutes offer the first whiff of a stall in momentum. Luckily just as the blueprint begins to feel a tad familiar the band cast war-paint all over it with a four-minute, Tool inspired grind.

‘The Witch’ follows and immediately picks up the pace with the Louisiana quartets admiration for Baroness raging into view. The song is a perfect example of the application of craft. There is nothing particularly new about the execution but somehow the charging whole erases all memory of its dull set of parts.

Track six ‘Plumes’ offers the records only real misfire. There is perhaps an element of taste at play here though. ‘Plumes’ would fit perfectly on Torche’s latest record ‘Restarter.’ For me that record missed the mark. There is something about a tempo that is neither slow enough for a half-time bang, or fast enough for horns that just doesn’t grab me.

Fortunately, penultimate offering ‘Unto the Smoke’ restores maximum worthy with an 8-minute testament to everything that makes melodic sludge so good. The driving crash and yell make a welcome return as do their symbiotic and shamanistic lulls.

‘Relic’s curtain falls in a slightly bizarre manner. By covering one of Led Zeppelin’s most iconic songs I can’t help but feel that Forming the Void succeed in breaking a spell they’ve toiled so hard to conjure. It’s a decent cover but it just feels out of place on a record with such a pronounced identity and narrative. It plays like a well-executed after-thought that is perhaps better left for the live stage.

Ill-judged covers aside, with ‘Relic’ Forming the Void have taken a familiar set of materials and carved something fresh. One of the beautiful things about music is that it’s timeless, it’s forever. In a genre creaking under the weight of its own familiarity Forming the Void have built something exceptional that stands apart. ‘Relic’ is a record that will long outlast its creators and live on, forming the foundations, of future sludge-monuments.

“Relic” is available here

Band info: Facebook || Bandcamp

ALBUM REVIEW: Olde - "Temple"

By: Mark Tremblay

Album Type: Full Length

Date Released: 11/08/2017

Label: STB Records |

Medusa Crush Recordings

Olde’s “Temple” is doom metal done the way it should be. It is well-crafted, forward-thinking, and a contender for one of the best records of the year.

“Temple” CD//CS//DD//LP track listing:

1). Subterfuge

2). Now I See You

3). The Ghost Narrative

4). Temple

5). Centrifugal Disaster

6). Maelstrom

7). Castaway

The Review

Olde can be best defined as “Efficient Doom Metal”; creating atmospheric and riff-centric music without wasting time. Olde’s “Temple” showcases their most refined music to date; there is not another doom band that understands how to write great riffs, without them overstaying their welcome. Olde runs the gamut of everything the genre offers; from Kyuss-y blues, to darker and more punishing in bands like Yob.

The album starts with two quick stoner metal tracks; “Subterfuge”, and “Now I See You”; hypnotic riffs by riff-master Greg Dawson. Ryan Aubin’s familiar groove oriented drum style is particularly highlighted on these tracks, showing why he is the best drummer in the genre. The album takes a darker turn with more plodding dirge’s in “The Ghost Narrative” and “Temple”. Not only do they create a necessary balance in the records pace, but also show off some of the best lead guitar work on the record. The guitar solo on “The Ghost Narrative” is particularly brain melting.

The album concludes with their best track “Castaway” a very Baroness infused track filled with huge open chords, and interplay between major and minor keys. This song also flexes their atmospheric muscles; utilizing faint guitar feedback and other sound clips in a much more advanced manner to their previous release. This song concludes the album on an interesting footnote of what is to come for Olde.

Olde’s “Temple” is doom metal done the way it should be. It is well-crafted, forward-thinking, and a contender for one of the best records of the year.

Band info: bandcamp || facebook

VIDEO PREMIERE: Howling Giant deliver a brand new cosmic crusher with "The Pioneer"

Howling Giant, a progressive metal band that upped their Bostonian roots and moved out to the weird cosmos of the American South that is Nashville. No twangy guitars here and don’t even begin to think that Howling Giant are “whisky soaked” or “bluesy.” Howling Giant has a sound that is as clear and crisp as it is raw and spacey. They dive deep into the well of progressive rock as well as take off for joy rides into space. They mix these trips with a healthy dose of youthful humor and beer drinking, coming out on the other end sounding like the bastard child of Elder and Red Fang.

Their cleverly titled EP, and second release to date “Black Hole Space Wizard: Part 1,” released in August last year, was the start of a three part series and judging by songs such as “Dirtmouth,” that we premiered the video of here, Howling Giant has the discipline to take their time fleshing out riffs without losing sight of the song, their energy and passion is felt throughout, which is the glue that held that EP together. Less than a year later and Howling Giant are back and August 25, 2017 will see the release of Part 2 of their “Black Hole Space Wizard” trilogy.

So if you are one of the many that wishes Mastodon had continued in the cosmic, crushing progressive manner of “Crack The Skye” and “Blood Mountain”, and if you’re a fan of Elder, Red Fang, Melvins, Baroness, Rush then Howling Giant is your dream band! Today we’re very excited to debut a brand new new track from their forthcoming release “Black Hole Space Wizard: Part 2”, you can check out “The Pioneer” below.

Band info: Big Cartel || Bandcamp || Facebook || Youtube || Last.FM || Instagram

ALBUM REVIEW: Pyreship - "The Liars Bend Low"

By: Charlie Butler

Album Type: Full Length

Date Released: 28/05/2017

Label: Black Bow Records

The Houston quartet deal in a captivating brand of complex sludge with a perfect balance of melody and grit. “The Liars Bend Low” is a debut brimming with potential for a glowing future. 

“The Liars Bend Low” DD//LP track listing:

1). Gravity

2). Machine Men

3). When Leaves Turn to Blood

4). Die-Sect

5). …Are We Dead Yet?

The Review:

Pyreship are set to make a big impression on the heavy landscape with their smouldering debut LP “The Liars Bend Low”. The Houston quartet deal in a captivating brand of complex sludge with a perfect balance of melody and grit.

“Gravity” opens the show in grand fashion, a seven minute epic that takes the highlights of Baroness’ “Red” and mixes in the essence of Alice In Chains and Soundgarden to great effect. Vocals are used sparingly on “Machine Man” to make room for samples of Charlie Chaplin’s speech from “The Great Dictator”. The stirring words sit well within the build and release dynamics of the track and are sadly as relevant to the sorry state of the world now as they were in 1940.

As “The Liars Bend Low” progresses the music grows darker and heavier culminating in the awesome “Die-Sect”. An eerie sample from Twin Peaks sets the scene for a brooding intro that recalls the subdued power of Kowloon Walled City. The sparse clean guitar lines soon give way to crushing riffs that still maintain the haunting grandeur of the quieter passages. 

Although there are obvious influences to Pyreship’s sound, the band inject enough of their own personality and imbue these songs with a hefty emotional weight that makes them stand out from the crowd. “The Liars Bend Low” is a debut brimming with potential for a glowing future. 

“The Liars Bend Low” is available digitally here and on vinyl here

Band info: facebook

FFO: Kowloon Walled City, Baroness, ISIS (the band), Alice In Chains

TRACK PREMIERE: "Conscious Disease" by Philadelphia avant-garde sludge shamans GOD ROOT

Dante Torrieri (C)

Former Sadgiqacea vocalist/drummer Fred Grabosky brings us his new project God Root and following on from their 4 track EP last year, the band are back with their forthcoming release “Salt and Rot” set to hit the streets on CD and digital download on 11 July. 

As with Sadgiqacea, these Philadelphia avant-garde sludge shamans accentuate the heavy parts with quiet moments to create their own brand of primitive and tribalistic sludge, with  doomed cinematic soundscapes.  Each element is added very carefully as to not over saturate the compistional structure of the record, with songs often building tension until you are served with a crushing finale.  

For a band still in its infancy, imagine 'Eye Of Every Storm' era Neurosis with John Dyer Baizley circa 'Red Album' on vocals and you'd be halfway to close to what this record delivers and today we are pleased to be able present a new track in the form of “Conscious Disease”. You can stream it below and check out what vocalist Fred Grabosky (drummer/vocalist) had to say about it. Preorders are available here  and digitally here

"We are quite pleased with how this track came together. It's the most vulnerable and personal piece we've put out thus far. We created 3 personas and the song acts as sort of a dialogue between them. It's essentially the push and pull of oppressive forces, human frailty and self reliance. In some capacity, everyone can relate to this battle of control and weakness. Much like the rest of the album, we poured a lot of our personal pains and strife into this as a release and hope it can do the same for the listener. 

I think of a "conscious disease" as this sort of infectious and destructive thought pattern. It floats among us and attaches to us like a virus to a blood cell. We all know it's there, but we have the power to produce the antibodies to fight it off, or it can consume us whole."

God Rot Live Rituals

8/03 Brooklyn, NY
8/04 Providence, RI
8/05 Kingston, NY
8/06 Syracuse, NY
8/07 Ithaca, NY
8/08 Rochester, NY
8/09 Buffalo, NY
8/10 Cleveland, OH
8/11 Detroit, MI
8/12 Kalamazoo, MI
8/13 Milwaukee, WI
8/14 Chicago, IL
8/15 Indianapolis, IN
8/16 Lexington, KY
8/17 Pittsburgh, PA
8/18 Washington, DC
8/19 Philadelphia, PA 

All dates with SUNROT

Band info: bandcamp || facebook

ALBUM REVIEW: Elder - "Reflections of a Floating World"

By: David Jupp

Album Type: Full Length

Date Released: 02/06/2017

Label: Stickman Records |

Armageddon Shop

‘Reflections of a Floating World’ is both a glance back and a stride forward. The direct nature of some of the riffs and the weight of their execution sit it comfortably between ‘Spires Burn/Release’ and ‘Lore.’ The expansion of ambition and variety in musical approach however, keep Elder’s eyes firmly fixed on the horizon

 

“Reflections of a Floating World” CD//CS//DD//LP track listing:

1. Sanctuary
2. The Falling Veil
3. Staving Off Truth
4. Blind
5. Sonntag
6. Thousand Hands 

The Review:

The release of a new record from one of your favourite bands can be a bittersweet affair. The journey home from the record shop is one of both trepidation and anticipation. ‘Oh God, what if it’s shit? But hang on, what if it’s better – surely it can’t be better?’ Not that a record should only be framed in the context of its predecessors but with an LP as good as ‘Lore’ the possibility of something superior incurs such fantasies with ease.
 
When it comes to Elder and their fourth long-player ‘Reflections of a Floating World’ the answer to these questions is a simple yet complex one. Is it shit? Absolutely not! Is it better than ‘Lore’? Now that requires some discussion...
 
Having followed Elder from their outstanding coming-of-age effort ‘Dead Roots Stirring’ (2011), through follow-up EP ‘Spires Burn/Release’ (2012) and then on to 2015’s list-topping masterpiece ‘Lore,’ Elder’s ascension to the peak of the heavy underground is completely justified. They are a band I have watched progress and grow over the last six years and their post-debut trilogy of records would all fight for a place in my desert-island record bag.
 
‘Reflections of a Floating World’ sees an expansion to the formula that has served them so well. Having pushed about as far as a power-trio can on ‘Lore,’ the addition of second guitarist/keyboard player Mike Risberg is an exciting one. Not only can Nick DiSalvo ditch the loop pedal hopscotch but for a band built on the interweaving of melody, a second thread in the loom can only be a good thing.
 
Album four sets flight with ‘Sanctuary,’ a cut that has been around since the early touring for ‘Lore.’ Its proximity in creation to the last record can be felt in both melody and structure and it serves as a superb ‘previously on Elder’ recap. Thankfully the constituent parts that make Elder such an exciting prospect are all still here; Gargantuan riffs, emotive melodic leads and stop-start atmospheric interludes.  More importantly, just as on ‘Lore’ the band's ability to whittle, refine and expand these parts is too. The opening down tuned notes of ‘Sanctuary’ gives a huge nod to fan-favourite ‘Gemini’ and within seconds the trademark time-signature origami is deployed.
 
For a band that revels in songs that outlast ten minutes, an ability to carve act and movement into each journey is vital. As ‘Sanctuary’ approaches the halfway mark and climbs to its apex, Elder deliver one of the best melodic runs they have ever written. But before you can grasp hold, and with typical poise, they abandon it for a quieter interlude that folds in on itself for over five minutes, eventually erupting into an explosion of everything that makes Elder great.
 
Similarly to Russian Circles, Elder have mastered the art of holding a riff to the light for just enough time to take it in, before whipping it away and replacing it with something different. Whilst early listens of the record can prove frustrating as you try and grasp each pattern, subsequent listens bring you ever closer to the familiarity that opens up the narrative.
 
Track two ‘The Falling Veil’ is an intricate exercise in this very process and across its eleven-minute zoetrope of ideas not once is the groove and binding thread lost. DiSalvo scatters riffs into view with his traditional dexterity but before they can land the wheel is spun and new ideas click into place. Jack Donavon’s bass and Matt Couto’s drums supply a base to this kaleidoscope, one that also twists and turns against the flow, always keeping things interesting.
 
‘Staving off Truth’ is up next and follows a similar blueprint. DiSalvo’s vocals take a more prominent role this time delivering a decent vocal melody. The riffs however are not quite up to the standard of previous tracks and the song hints at a large payoff that never quite emerges.
 
‘Blind’ sees the first glimpse of the expansion in sound a fourth member offers. Distorted drums and tremolo guitar flicker in the distance before a vintage Elder riff slams into earshot. A galloped tee-up follows before falling away into an organ backed vocal refrain. DiSalvo’s vocal suits this treatment and as the pulsing keys dissolve, a bludgeoning half time riff pierces the swell. The band’s ability to fuse ideas together with arpeggio enables them to shape a collection of moments into a cohesive whole. It is perhaps this glue that was absent on ‘Staving off Truth.’ 
 
Similarly to ‘Sanctuary’ the halfway mark provides an exceptional guitar-lead zenith. The production on ‘Reflections of a Floating World’ follows on from ‘Lore’ but the variety of tones has been expanded, and here a more traditional stoner-fuzz punctures the storm. ‘Blind’ consists of a truly impressive array of ideas that fly by with surprising cohesion. The production allows each musician room to breathe in the mix and the last two minutes are all Donavan’s. His overdriven bass tows the song home under a typically intricate run of melody.
 
‘Sonntag’ follows next and delivers the album’s only misfire. Whilst relatively short in the context of the record, eight minutes is far too long to dedicate to an instrumental that doesn’t really go anywhere. It is perhaps an idea that was fun to play and meant to serve as a palette cleanser for the album closer to come. Sadly, for me it unnecessarily saps the momentum from the record and becomes Elder’s first notable mistake.
 
Luckily the record finishes on a high. The audacious riff-Tetris returns and just as on ‘Lore,’ subtle strings are deployed to add another touch of epic to an already strong album. As the song rages to a close, the now staple guitar melodies flash and crack in the squall and the record comes to an outstanding close.

Elder have carved out their place at the helm of the underground with a unique sound crafted over time and through force of will. This unique identity is so pronounced in relation to the rest of the stoner canon that they run the risk of becoming our scene’s Radiohead. Whilst it is exciting to have such a talented band flying the flag it is important to be measured and genuine in our support.

‘Reflections of a Floating World’ is both a glance back and a stride forward. The direct nature of some of the riffs and the weight of their execution sit it comfortably between ‘Spires Burn/Release’ and ‘Lore.’ The expansion of ambition and variety in musical approach however, keep Elder’s eyes firmly fixed on the horizon. The welcome addition of a second guitar and keys also widens the lense through which to view their musical landscape. Not all of the angles succeed, but where the record undoubtedly blooms is in the refinement of the band’s ability to assemble their jigsaw of ideas. Whilst I’m not sure the finished piece surpasses that of ‘Lore’ it is a worthy addition to their discography and bodes well for an exciting continuation of their journey.
 
 “Reflections of a Floating World” is available here

FFO: Sleep, Pallbearer, Samsara Blues Experiment, Baroness

Band info: bandcamp || facebook