|Label:||Heavy Psych Sounds|
A few days ago I dealt with Finnish band Owler, today I travel some hundreds of kilometers towards the West and I end up in Malmö, a little city in Sweden that witnessed both Ibrahimović and Throneless births. I hope I don't disappoint anyone if I say here we're leaving the former behind in order to take care of the latter ones.
The obscure eponymous record by the Swedish trio saw the light last October and it's their debut in the doom/sludge world. Between their influences we can find Yob and our compatriots Ufomammut, and this already anticipated a blow even before playing the album. Four tracks all over eight-minute lenght. I have to say that, even though I'm a huge fan of this slow and granitic sound wall that hits you right in the face, hurting and pleasing at the same time, its listening without any distraction doesn't always come easy (a part from, of course, during live shows). I often feel it is necessary to do something else in the meantime. This time, anyway, the kind of doom these Swedes chose is strong, indeed, but not rude and/or not complex: this emerges already from the first track, "Masters Of Nothing", whose only glitch is maybe the slightly dissonant voice, even though this is probably made on purpose and for this reason I just let it go. Voice disappears anyway through all the central part of the song, letting the drums sing and the guitars go from heavy riffs to stonerish reverbs. Sudden changes in the groove, nice drum job and headbanging also in the following "Cavedrones", and by the time we reach "Thinning The Herd" we start to believe we got it all, just in time for the final track "Reaching For The Dead" to prove us wrong: nice fuzzy arpeggio in the intro and, more in general, quite a melodic pattern in comparison to what we have listened to so far, both vocally and instrumentally. Maybe the best and most articulate song in "Throneless".
Definitely a noticeable debut that will prick up the genre's fans' ears and that forces me again to state that, when well composed and played, four tracks are not enough. We want more.