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VINYL WEEK: Flood, Oak

Five years after making their debut on MeteorCity with the cave-riffed 2009 first album, Native (review here), San Francisco stoner plod trio Flood reemerge with Oak, their second long-player. Released by Volcom as a 12″ platter with green-swirl vinyl, it’s the second time the label and band have worked together behind a 2010 split with Wildildlife that included the track “The Gate to the Temple of the Ocean King.” That track doesn’t appear on Native or either of Oak‘s two sides, but as the six included tracks show, it’s not exactly like Flood are short on riffs. Some of their methods are consistent on Oak — as with the first album, they earn immediate points by opening hereSide A. with the longest track, “Perihelion,” though it’s worth noting that at just under 11 minutes, it’s still considerably trimmed down from “Aphelion”‘s 18:29. The two titles relating to orbital positions of planets in relation to the stars around which they’re revolving — perihelion is the closest point, aphelion the farthest — the two seem to be in direct conversation with each other, the newer track answering the lumbering thud of the older one with its own stomp and rumble, vocals echoing over slower riffing that picks up after about halfway through, if momentarily, to remind that somewhere along the line, Flood picked up a Fu Manchu influence.

The two-part “Holy Astro Shaman” follows on side A, and side B continues the heavy roll with “Beryllus” (also the longest song on its side at 8:14), “Baphomet Sermon” and “Lake Nyos,” proffering distortion largesse, echoing shouts and resonating percussive march in a post-Mastodon stoner metal with deep-running Sabbath/Sleep elements. The recording on Oak is rawer than was Native — the newer LP tracked by Bart Thurber at House of Faith Studio in Oakland — but in a way that sounds probably closer to Flood‘s live show and that brings out an extra edge from the material. In any case, the sound remains clear enough for the three-piece of guitarist Fozzy, bassist/vocalist Eli and drummer Fink to get their weighty message through. Side B.Periodic tempo shifts, as those in “Perihelion” and “Holy Astro Shaman Pt. II,” go a long way in changing up the feel. Longer than it might at first seem, even, since so much of what Flood does is consistent in its push and focus on tone, riffs, groove, but the two-part “Holy Astro Shaman” enacts a solid build across its span and, paying off that build about halfway into its second part, uses the remainder to explore a drum-led jam that fades out to cap side A.

Side B starts “Beryllus” with feedback and more consume-the-room riffing, a long Dopesmoker-style drum build opening not to riotous explosive heaviness, but to more jamming exploration prior to the first verse. Flood don’t sound like a patient band, but they are, albeit in a subtle way.  Throaty vocals shouting from deep in the mix, the guitar and bass work well together across the Side B opener, which gives way to the familiar chugging of “Baphomet Sermon,” which breaks in the middle with some highlight bass work from Eli, but otherwise sticks mostly to its central riff, leaving some atmospheric vocals to do the work of distinguishing it in the first half while arriving at a verse only later on, when the rollout is more established. Closer “Lake Nyos,” which takes its name from a body of water in Cameroon on top of a volcano that, in 1986, emitted a cloud of carbon dioxide responsible for the deaths of 1,700 people, starts with an appropriate sense of foreboding, the bass and drums setting a doomed ambienceFLOOD-OAK-BACK-COVER to be joined soon enough by the guitar, a siren in the background signaling the transition into the next stage of the build that will run a line throughout its seven minute runtime, Eli‘s vocals cave-shouting from under the guitar and bass while Fink‘s fills shift between slow-moving measures, leading to a gradual disintegration. The guitar and bass chug out, the drums thud, and Flood‘s Oak caps its final movement with a couple last hits and a quick shot of feedback.

Working greatly in the band’s favor is their utter lack of pretense. Flood did not take five years to put out their second record because they were trying to conquer the world or write a progressive masterpiece. They got around to it when they got around to it. That wouldn’t work for everyone, but it suits them and what they do, keeping their approach relatively simple while adding flourish in moments of experimentation without losing track of the heaviness they’re looking to convey. Dudes riffing out. I don’t know what it was that took them so long to get the album together, but Oak shows — like a second debut, almost — that Flood‘s worship continues to provide a fix for those who might need one. It’s the kind of heavy that makes squares show their corners.

Flood, Oak (2014)

Flood on Thee Facebooks

Volcom Entertainment on Bandcamp

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One Response to “VINYL WEEK: Flood, Oak

  1. whoshotthefrog says:

    Here is my comment.

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