As if the almost crippling heaviness of 7.5 Tonnes’ debut from February last year wasn’t enough, they’ve only gone and surpassed it – massively.
Two tracks proper on here, and they represent a huge development in their music. It’s heavier, more urgent, more musical and just generally more amazing.
‘The Fear’ may come to be the best track they ever write. An absolutely crushing riff to slam in, full of hooks and a smashing, pounding heaviness that’s set off with explosive cymbals to absolutely ruin whoever is outside your headphones.
The downtuned brutality of this would be nothing if they hadn’t made a real song out of it, and boy have they. The dark plucks that come in to form the bridge are dank and well placed, ratcheting up the tension before what can only be likened to a sledgehammer of concerted guitar and drum is wrought down.
Yet this track gets even better again when in the final push, the band unleash a mechanical chug that will leave you just about searching for breath. It’s a riff so heavy it seems to steal the very air. It is collossal, absolutely collossal.
So where do you go from all that? Well, a piano solo wasnt the first thing I was expecting, but there it is. I dont know quite what to say except it’s a welcome release of aural weight.
Closer, the darkly titled ‘Botched Job’, is more moody than ‘The Fear’. Again it’s case of total, pinpoint percussive force being brought to bear over thudding guitars with something close to placement genius. The cymbals and snare are expertly dropped to give an explosive force to each phrase, always punching through the mix the ram into your consciousness.
In fact it is the drummer that is this band’s key asset. As with Will Haven, Unsane and their ilk, it’s about the right beat flooring you with the right groove and the right finisher. Like a boxer. 7.5 Tonnes have this in their sticksman.
‘Botched Job’ though also builds into something of a climactic swell, before locking right back in for that devastating hook.
It really is an incredible demo and one that you have to hear right this second. It’s also a triumph for making what is essentially sludge – not always the most welcoming of genres – accessible enough to the point that the quality here is beyond obvious.
The only let down of the whole thing is the art, which to my eye is a bit of a step back. Nothing wrong with it, but the band just set such a great style out with the gritty suburban realism of the debut. Something like that would have been far better, and will get them more notice. Just my tuppence’orth.
– Earl Grey ::: 01/12/14