…earthmen on a fabulous, peril-journey into outer space: SLOMATICS – ‘Estron’

Cataclysmic in scope and tumultuous in execution, Slomatics are about to drop their fourth full-length, ‘Estron’, the follow-up to their stellar 2012 down-tuned masterpiece, ‘A Hocht’. In terms of sheer mass and amplitude, Slomatics inhabit and reign over a kingdom all their own—a kingdom subjected to whirlwinds of swirling noise, destructive upheaval of seismic reverberations, and a percussive storm at the hands of a howling tyrant from within the eye of the storm. ‘Estron’ is a worthy heir to the throne that was won and occupied by ‘A Hocht’ (review HERE).

This time around the Belfast three-piece has incrementally reigned in some of their atmospheric aural experiments—particularly the instrumentals—in favor of a more straight-forward, bludgeoning sonic assault resulting in a completely immersive and hypnotic listening experience. The album opens with the feint sound of a whirling wind blowing over a desolate alien landscape before beginning its battering with “Troglorite”. The album’s first track is a monolithic slab of interstellar doom—the military field music of an alien invasion.

“Tunnel Dragger”, one of the strongest tracks of the album, features the band’s signature rumbling guitar tone and is, at times, reminiscent of ‘A Hocht’s’ “Flame On”. Though there are moments where the riffs sound a bit similar, “Tunnel Dragger” distinguishes itself with its compelling, cacophonic vocal melodies and a spacey lull of percussion and extraterrestrial noise. Killer, spaced-out weirdness grows in intensity after the tune finally roars back to life.

Coming from the Conan school of inner core-dwelling guitar tone is the album’s excellently titled fourth track, “Lost Punisher”. Truly a lumbering, brutish beast of a track producing some of Slomatics’ most earth-quaking, low-end rumbles. Not only do the riffs issue forth as if they were entombed in the center of the Earth, but so do the slightly muffled and distorted vocals.

Hearkening back to the atmospheric elements of ‘A Hocht’ are the closing tracks of “Red Dawn” and “The Carpenter”. “Red Dawn” is a dread-inducing instrumental of piano and interplanetary interference that builds up to, and ultimately morphs into, “The Carpenter”. The ominous build-up turns into a sludgy crawl for one of the band’s longest tracks to date. “The Carpenter” is a heavy, slow-moving tune with the planetary mass of a derelict satellite floating through space.

Slomatics have once again delivered and, based on the strengths of ‘Conan Vs. Slomatics’, ‘A Hocht’, and ‘The Future Past’ single (review HERE), expectations were through the roof. The seven tracks of ‘Estron’ are interconnected and bleed into each other for what could be, essentially, a near forty minute trip through the outermost reaches of the galaxy. The band has continued to push their sound and their extremes while managing to remain as heavy, if not heavier, than most of their down-tuned contemporaries. While it would be difficult to claim that ‘Estron’ is in any way superior to the masterpiece that was ‘A Hocht”, it easy to say that it is just as good. Out soon on Head Of Crom Records. 'Estron’ is essential listening…

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…1.21 gigawatts and counting: SLOMATICS – ‘The Future Past’

Belfast’s sonorous, low-end channeling three-piece, Slomatics, have peered into the days of yore for their aptly titled two song EP, ‘The Future Past’. The trio has taken a track from their debut full-length, ‘Flooding the Weir’, and ventured back even further to mine material from their former band, The Naut, in order to rework and re-record these two tracks and in the process signal the “…closing of one chapter and the beginning of the next for the band”. “Running Battle” and “Son of Ampbreaker” have been filtered through the flux capacitor and brought up to the present, earth-shaking sound of the band’s excellent third full-length, ‘A Hocht’, which was arguably one of the most heavy and unique releases of 2012.

The difference between the initial version of “Running Battle” and the updated, mark II incarnation is visceral. While the Slomatics of ‘Flooding the Weir’ and ‘Kalceanna’ were undoubtedly heavy, the band has systematically upped the amplitude and dropped the frequencies over a series of splits leading up to last year’s ‘A Hocht’. To the uninitiated ear of the band’s earlier work, the original recording of “Running Battle”, absurdly, sounds thin when compared to the shock-wave rumble of the new incarnation found on ‘The Future Past’. The addition of kettle drum and oscillating radio-wave frequencies that have effused through the interstellar medium give the track an otherworldly roar that was simply absent on the original cut. “Son of Ampbreaker” seemingly interrupts “Running Battle” before it’s even finished. The track starts off slow by stumbling along through feedback and staggered, heavy riffing before gaining a lumbering, mid-tempo momentum. Both of these reworked tracks could easily have fit in amongst the down-tuned, thunderous psychedelia of ‘A Hocht’.

If ‘The Future Past’ marks the end of an era for Slomatics and heralds new things to come it will be interesting to see where they go from here. With each subsequent release the band has become heavier while experimenting with sound and atmospherics. While it looks like ‘The Future Past’ will only see a digital release, the collection acts as an extension or complementary piece to ‘A Hocht’.

Words: Steve Miller
(Originally published at Temple of Perdition)

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Slomatics – ‘A Hocht’

The sheer weight and magnitude of Slomatics’ third full-length, ‘A Hocht’, easily crushes and surpasses the band’s previous works by increasing not only the overall heaviness of their sound, but also by including and exploring darker textures and atmospherics. Tony Roberts’ “Flaming Octopus” album cover encapsulates the unadulterated visceral offensive launched by the Belfast trio—it’s a massive, fiery slab of impending doom that is awash in moments of beauty and calm. Without the presence of a bass player, the low-end thrum created by guitarists David and Chris and singer/drummer Marty is nothing short of amazing. Slomatics are able to plunder the depths of suffocatingly heavy music without sacrificing catchiness or momentum.

“Inner Space”, the ominous introduction to ‘A Hocht’, is an exercise in ambient intensity. A depth-charged, low-end rumble is accompanied with washes of feedback that ultimately concludes with a cymbal roll crescendo that ebbs into nothingness. Like a down-tuned air raid siren, “Flame On” pierces the silence with a thunderous roar. This second track is the accompaniment to martial law as Marty’s bellows have a dictatorially quality that rises authoritatively above the din. “Flame On” simply crushes. “Beyond Acid Canyon” slows things down to a doom crawl with sluggish, heavy riffs and the tolling of a bell. Over the next six minutes Slomatics manage to exert the equivalent pressure of being submerged 18,000 ft. below the surface of the ocean with only a brief respite as “Beyond Acid Canyon” momentarily drifts through more dreamy, tranquil waters. “Return to Kraken” amps things up with a tumultuous, driving riff that sounds as if David and Chris have exchanged their guitars for a couple of impossibly distorted basses. The song is a continuous wave of distorted fury until it breaks down into a slower section layered with memorable leads.

The glorious “Tramontane” ushers forward the second half of the album with an anticipatory slow burn. The mood is established through intense, sporadic drumming, and steady, sloth-like riffing which is glazed over with a mesmerizing hum before erupting into an all-out assault of doomed-out proportions. At just over seven minutes in length “Tramontane” is the longest track on ‘A Hocht’ and not a single second is wasted or unnecessary. The oppressive, sludge-suffused doom of “Tramontane” ultimately yields to the delicate placidity of “Blackwood” which offers the listener a haven of ambient textures and alluring, siren-like vocals before Slomatics resume their mission of crafting megalithic tunes of the utmost density. The instrumental “Theme From Remora” relies almost exclusively on repetition for its entrancing effect which is accented through both the drumming and background noise. Finally, all good things must come to an end and the appropriately titled “Outer Space” bookends the album by combining the ambience and repetition found on the previous two tracks into an eerie amalgamation of desperate noise.

Every release from Slomatics is worth checking out, but they have made tremendous strides since their last full-length release, 2007’s ‘Kalceanna’, strides which were intimated on their 2011 split with Conan. The band has crafted one of the heaviest and most memorable releases of the year, but they have also managed to imbue ‘A Hocht’ with moments of serenity and beauty—a feat not easily accomplished. One of the year’s best.

Words: Steve Miller
(Originally published at Temple of Perdition)

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