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Black Tusk Verb the Noun on Relapse Debut

As I do with most records that come my way bearing some measure of hype – because, as I’ve been told, I’m a prick and once someone else decides they like something I have to not like it – I put off reviewing Taste the Sin, the sophomore full-length outing and Relapse Records debut of the trio Black Tusk. Culled from the metallically fertile fields of Georgia which have already given rise to Kylesa, Baroness and a little band called Mastodon, Black Tusk maintain strong sonic connections to the definition of progressive whereby trapeze riffs and tempo changes meet with heady drum fills, but set themselves apart when it comes to attitude. A song like Taste the Sin opener “Embrace the Madness” has no obvious connections to classic literature. In fact, if you pay attention to the words, it’s kind of dumb, and I think that’s what Black Tusk are going for.

It works to some degree, but even taking the attitude shift into consideration, Black Tusk, who formed in 2005 and issued their first album, Passage Through Purgatory, on Hyperrealist in 2008, aren’t really bringing in anything we haven’t already heard, despite skillfully incorporating thrashing elements from the likes of High on Fire. That said, it’s easy to see why many listeners would latch onto them as a candidate for the vaulted “Next Big Thing” in underground metal. Baroness won’t have an album out this year, and Black Tusk fill that void nicely, constructed as they are of familiar parts with just enough individuality behind them to stamp out any bitchy critic-types who might say, “They sound just like whoever.” Basically, Taste the Sin is thinky-thinky sub-prog stoner metal you don’t actually have to think all that hard about. The riffs of guitarist/vocalist Andrew, while too busy to be memorable in the Sabbathian sense, do what they’re supposed to do, and a song like “Way of Horse and Bow” has more than enough edge to get by.

So good for Black Tusk. As their promo photos show them hitching a ride to hell à la Ozzy from the Ozzfest ’97 poster or standing between the fires of two backyard charcoal grills, it’s obvious they don’t take themselves too seriously. If they’re going to enjoy the ride, why shouldn’t we? I genuinely enjoyed Taste the Sin tracks like the groovier “Unleash the Wrath” and the the multi-chapter sweep of “Redline,” “Takeoff,” “The Ride” and “The Crash.” I don’t think Black Tusk are going to single-handedly save rock and roll in 2010 (I also don’t think it needs saving), but after actually sitting with the album for a while, I don’t think it’s the band claiming they’re trying, but rather the outside hyperbole of the metal press that’s built up the anticipation around what’s actually an okay but not mind-blowing release, maybe hoping to get in on the ground floor of a safe bet for success, maybe not. I don’t know and I don’t really care. For my money, Black Tusk is decent, but I doubt they’ll show up on any year-end list and although I’ll allow that I might change my mind after seeing them live, I don’t see myself coming back to Taste the Sin for many repeat listens beyond those which will get me through this review. I think I’m just too old.

But though his kit sounds sampled, drummer/vocalist James supplies some interesting fills and bassist/vocalist Athon has no problem keeping up or setting the foundation for Andrew’s riffage. With all but one of their songs between two and a half and four minutes long, Black Tusk are working within a formula that’s proven and proving again to be effective. I don’t know how many other bands are going to crop up with essentially this sound and try and play it off as just a coincidence of locale or influence, but for the members of Black Tusk, it seems to have done the trick so far. I’m not going to rag on them because they’re good at what they do and because I just don’t have the energy. If post-Mastodon metal is your thing, this is probably the one “new” band you need to hear in 2010. If you’re a traditionalist who likes your doom slow, your stoner rock from the desert and your songs with no more than four parts maximum, you can probably keep walking. Taste the Sin is a passable listen at high volume, though I’d be even more interested to check in a couple albums down the road when perhaps Black Tusk have settled more into their sound. But that’s me, and I’m a prick, so take it for what it’s worth.

Black Tusk on MySpace

Relapse Records

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