Look at that art: so reminiscent of Ahab, isn’t it?
Both bands have used the sea as a muse for their heavy doom.
And both have managed to add the same kind of colour as their artwork into that toss and turn.
After a building brace of tracks, ‘Adrift’ is where this one really takes off. Its melancholy is built around a lovely guitar harmony on the main verse that’s thoroughly English doom in its feel.
I like how they take their time about things. ‘The Storm’ takes the rattler off the snare for a nice battening thump that brings to mind Isis as that clean guitar swells moodily over it. It’s a really good interlude piece, as these things go.
There’s a touch of Mastodon in ‘Drown The Day’ (again that nautical lineage) though it’s one of the more stock, riff and groove oriented doom metal tracks here.
‘From Below’ takes a while to build into its main boom, but it’s good when it gets there.
A great, dark clean guitar tone – crystal clear but full of low end – opens ‘Curse The Sea’ before its heaviness leans in, and it too is a weighty number.
So it’s good.
I’d say though that no other track on here, despite their obvious competence, equals the standout ‘Adrfit’ – and they set themselves a hugely high standard there. It’s hard to say in truth that any of the others equal it at all.
And its largely up to the musicians to summon any emotional impact: the vocals, which have an impressive roar, are even so just a bit dispassionate.
In all, it’s an impressive and assured slab of doom metal that harks frequently to the Doom greats of both the English and American scenes with dashes of more modern modes (Isis, Mastodon).
It just lacks at this point a certain X factor to make it really stand out, to add that final spritz of true class.
2.9 / 5 – Earl Grey ::: 31/10/17