[Click play above to hear ‘Mirrored Parabola Theory’ from Green Meteor’s Consumed by a Dying Sun. Album out April 21 on Argonauta Records.]
From the abiding buzzsaw fuzz that permeates the five included tracks to the samples at the beginning of “Acute Emerald Elevation” and “Sleepless Lunar Dawn” to the comic book cover art that adorns the front cover to the density of groove as they roll out reefer riff after reefer riff, the intention behind Green Meteor‘s Consumed by a Dying Sun seems to be to tap into the raw roots of ’90s-style stoner rock. Fortunately, the Philadelphia four-piece bring a few crucial lessons of modernity with them along this trip through neo-retroism. I don’t recall even early Acid King being this blown-out, for example, and the tonal devouring here from first-names-only guitarists Amy and Leta (the latter also vocals) and the bass of Algar that’s shoved forward by Tony‘s drums does not forget to chew. It has teeth. And bite.
That proved to be the case last year when the band unveiled “Acute Emerald Elevation” (posted here) as a lead-in teaser prior to signing with Argonauta Records for the actual album release, and the same song does well on Consumed by a Dying Sun to let the listener know that while indeed they might be blasting off into space, it’s gonna be a bumpy ride getting there. The key to understanding the record’s utterly-manageable 32-minute run is realizing that Green Meteor are using the roughness of sound to their advantage, giving their aesthetic a garage-derived feel so that the Hawkwind-via-Monster Magnet thrust of the intro to the closing title-track seems as well to be playing off an Uncle Acid mindset in a manner that almost foreshadows the noise-soaked roller apex before the punkier last push of the record as a whole.
All of this happens quickly, but with immersion, and because Green Meteor are so tonally-centered — even Leta‘s voice seems to have been swallowed by the instruments surrounding — Consumed by a Dying Sun is able to work through its material while deceptively changing pace and the intentions of a given song. It is Green Meteor‘s first album, and it sounds like a first album in how the band seems to be working through the process of figuring out where they want to take their material and where they want their material to take them, but as that unfolds, they demonstrate a clear penchant for melding hooks and an underlying focus on songwriting that, while buried like the vocals, remains a present, consistent theme from “Acute Emerald Elevation” onward. Another manner in which Green Meteor prove loyal to the ’90s roots of stoner rock? It’s three minutes into the six-minute opener before the first verse starts.
It would seem to be as close to an eponymous cut as the band is willing to come, rounding out with repetitions of “green meteor” from Leta, who pushes her voice in a manner reminiscent of Stars that Move, and leading to “Sleepless Lunar Dawn” which is the longest track at 9:37 and a mid-paced swing that roughs up and blisses out Sleep-style grooving en route to a snare-mania from Tony that chills for its middle third before resuming in a kind of back-and-forth between languid flow and energetic uptick — intermittent thrusters; it happens — as it aligns planets for the more massively-riffed arrival of centerpiece “In the Shadow of Saturn.” It’s shorter at just over seven minutes, but “In the Shadow of Saturn” brims with addled purpose, and where “Sleepless Lunar Dawn” seems to grow impatient in its back half, here the foursome largely stick to the slow-oozing molasses from whence they begin. There’s a bit of kick here and there, but the primary focus is nod and that suits Green Meteor well at the beginning of what would likely be an LP’s side B.
“In the Shadow of Saturn” caps with radar ping that leads, on rhythm, into the uptempo start of “Mirrored Parabola Theory.” It’s the shortest inclusion at 3:34, and some of that might be due to pace alone, but as Leta finds her way into a memorable stretch ranting about a tilting hourglass — strange things are afoot, but science is happening — toward the end of the track, it’s also the most direct emphasis Green Meteor put on songwriting throughout Consumed by a Dying Sun, and it proves essential between the hypnotic gravitational field of “In the Shadow of Saturn” and the finale’s more blistering cosmic pulsations. Like a radar signal from space to let you know someone’s out there? Maybe. Might be a stretch. There’s telemetry from the probe that needs more analysis, but it’s important to consider that with “Mirrored Parabola Theory,” Green Meteor give clear notice to their listener that their purview includes more traditional structures as well as the kind of all-go explosiveness with which they choose to end “Consumed by a Dying Sun.”
In hindsight, they let you know it’s coming at the start of the track, but by the time it comes around again just past four minutes in, the molten midsection of the closer — a touch of Electric Wizard, more Acid King, more Sleep, lots of noise; no complaints — has melted consciousness away to the point where it’s legitimately an unexpected turn. That’s to the band’s advantage, certainly. They end on a final verse at full speed and an almost surprising amount of human presence amidst the onslaught, and wind up underscoring the primary are-my-speakers-blown wash of Consumed by a Dying Sun with the feeling that our species and the untamed vacuum can in fact coexist in their work. I won’t speculate on how Green Meteor might develop from here or the shifts they could make in aesthetic or which impulses will ultimately win out as they move forward, but Consumed by a Dying Sun deftly asserts honesty in its rawness and is all the more refreshing for that. As far as launch points go, theirs provides a suitable blast.