The Georgian doom-rock quartet Fall Gruc revealed the song Papa on the 24th.
Fall Gruc – photo by Jako Photography
Papa innocuously slips out of the speakers prior to gathering itself up in to a brooding presence which casts lengthy shadows through the room during its just under five minutes duration as the electronica, guitars, percussion and vocal slowly huddle in to ever more gloomy presence which cloaks the listener in a dark cloud of oppressive melancholia.
Fall Gruc and I first exchanged email back in November of last year, which sadly have never coalesced in to cohesion of timing and I am delighted to finally be able to feature a quartet with much to add to the world of music.
Lurking around in my email in-box for a while has been their debut EP Crisis Actors (available on bandcamp).
Most certainly not a release to approach unless you are able to access a full playback system as the resonating bass set against sweeping glittery guitars which are the key characteristic of the roughly twenty minutes, five tracks of Crisis Actors surround the audience. Appropriately to the band name, the quartet prowl around the perimeter of the room – with flashing claws slashing through the speakers to the furthest reaches as opportunity strikes.
My selection of the release is the looming predatory sonics of the penultimate number – Sioux City which encircles the listener in oppressive and depressive cloaking.
The Marital a doom-rock band from Long Beach, California, in the USA is the quintet of Kevin Martin (Vocals / Guitar / Piano), Henry Hollaway (Bass), Nick Diamantides (Drums), Dan Hernandez (Synth / Keys) and Eddie Espinoza (Guitar).
Still evolving their sounds with the addition of players The Marital have a melancholic resonance to the material that threads its way into the marrow as a baritone vocal features –
spearheading the charge like a standard bearer, to which a percussion fires like a machine gun attack on the wings as the bass thrusts through centre ground and guitars add the pall of armament. Subtle synths and keys give the smoke cover for the foreboding presence that rumbles into the ears with the force of a charging cavalcade.
This is so far from mental images of California and it easy to imagine The Marital rumble out of Dresden in the ’80s with the boiling magma of the oppressed which cloaks the listener in menacing gloom, as the music forebodingly marches across the room in serried ranks of stanchion laying.
Whilst no extant material is available to share of the full five piece, the concepts lay within their LP Bold Show which is available on bandcamp.
Noel And The Pandas from Riccione in Italy is the doom-rock quintet of Noel (Vocals), Nicola Rosti (Lead Guitar), Dominic Sambucco (Guitar), Matt Straveden (Keyboards) and Filippo Parmeggiani (Drums / Sampling).
Noel And The Pandas
A richness of palette sweeps across the room in layers of swirling smoke as Noel And The Pandas deliver an under-current of sadness which captivates the mind. The quintet combine all the elements to provide the listener with emotionally riven textures of morose rock and it is served with the care and attention to detail of a Michelin three star restaurant.
Whilst the under-belly is that of introspective tumult, the audience is not left reaching for razor-blades, rather a single malt with which to conjugate the evolving compositions that evoke of thoughtful and regretful moments. Noel And The Pandas have strong song-writing skills and musical ability, but what raises this well above the pond is their sublime structures which gives the resulting out-put a symphonic feel with sounds emanating from every angle that coalesce in the ear with an intense deep resonance.
SubRosa from Salt Lake City from the USA is the doom-rock quintet of Rebecca Vernon (Guitar / Vocals), Sarah Pendleton (Violin / Vocals), Kim Pack (Violin / Vocals), Levi Hanna (Bass) and Andy Patterson (Drums).
Shimmering out of the speakers, the strings are the highlight of SubRosa, as the enthralling sounds waft about the room in a stream of vastitude. Lengthy tracks – many running up towards the quarter of an hour mark do not leave the listener in a glaze of glassy eye. Underscoring the compositions are fevered brows of excoriating expositions.
SubRosa is able to extrapolate aromas which drift around the room in lugubrious apothecary and the audience in drawn into the spacious conjectures. Of particular delight is: The violin; (uncredited) Pianoforte and; Wind instruments, which as regular readers know I have a hankering to hear, provides many of the tracks with a ghostly tincture. There is a contemplative resonance to the sounds that gently wrap themselves into the consciousness of the listener as the quintet deliver their rumbling textures which score the mind as percussion and vocal add the finesse to the orchestration.
With their last release appearing back in 2013, I look forward to hearing more new material in the near future.