Review & Track Premiere: Slomatics, Futurians: Live at Roadburn

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[Click play above to stream the premiere of ‘Tramontane’ from Slomatics’ Futurians: Live at Roadburn. Album is out next month on Burning World/Roadburn Records with preorders posted here.]

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Those two cuts also represent the divide between the latest body cosmology dissertation distinguished in kashmir saivism check my site research papers buy essay help vancouver Slomatics studio LP, last year’s stellar¬† Future Echo Returns¬†(review here), and their¬†2005 debut,¬†Flooding the Weir, and though the last several years especially have brought them to prominence in greater underground consciousness thanks in part to a 2011 split with Conan (review here) and the aforementioned Davis‘ work promoting them through his¬†Black Bow Records¬†imprint, citing (correctly) their influence on his work, etc., the set as a whole basks in the fullness of¬†Slomatics‘ discography, with material from¬†2014‚Äôs¬†Estron¬†(review here) like “And Yet it Moves,” “Return to Kraken” and “Tramontane” from 2012’s preceding¬†A Hocht, “Ulysses My Father” from the late-2014 split with¬†Holly Hunt, and “Running Battle,” also taken from the debut.

It’s a lot of ground to cover and not a lot of time to do it, but Slomatics, who’ve been proffering tonal demolition since 2004, are well up to the task. Still, given that¬†Future Echo Returns,¬†Estron and¬†A Hocht comprise a thematic and narrative trilogy — the storyline of which is still unclear, though we know that with “Supernothing” and “Into the Eternal” capping the latest record, the main character seems to at least be resigned to death if not actually dead — it’s something of a surprise they’d dip back to¬†Flooding the Weir or the split at all, though one can hardly argue with the flow they set up across the eight tracks of¬†Futurians: Live at Roadburn. It is a total clich√© to say of heavy two-guitar bands without bass that they’re missing nothing for low end — and frankly, kind of a shitty thing to say about bassists in general, who add to the dynamic of a group even when the tonal space can be otherwise filled via effects or various methods of amplification, running guitars through bass heads, and so on — but with just¬†Majury and¬†Couzens as the string section,¬†Slomatics‘ material is united regardless of its source by the unbridled weight of their distortion.

slomatics at roadburn photo jj koczan

I said in watching them at the time that they were the heaviest band I’d heard so far over the weekend. They would turn out to be the heaviest band — period — that I’d see at¬†Roadburn this year, and that comes through in the massive roll of “Electric Breath” and the gallop of “Return to Kraken” alike, and as it did on¬†Estron, “And Yet it Moves” lives up to its title — perhaps even more with the energy of the live delivery behind it. Indeed, one of the greatest assets that emerges from the band across¬†Futurians: Live at Roadburn is that energy, and while my hearing it in the recording of “Tramontane” and “Supernothing” and “Ulysses My Father” may be due in part to having stood in front of the stage as it was happening, the vitality of their execution and how simply glad¬†Slomatics were to be there comes through just the same and I believe is palpable whether a given listener saw them or not. Textual evidence? Go back to¬†Harvey engaging the crowd in “Electric Breath,” or as they close out the set with “March of the 1,000 Volt Ghost.” The trio seem no less thrilled to be onstage than the cheering crowd is to have them.

And in kind with the bludgeoning, crushing tonality they bring to bear in the material — recorded in the¬†Roadburnian tradition by Astrosoniq drummer¬†Marcel van de Vondervoort and his team — it’s that spirit of joy that most pervades the release. There have been plenty of¬†Live at Roadburn albums over the years, which is a credit in no small part to¬†van de Vondervoort, and while some simply offer a glimpse of a professionally captured stop on a tour, or a curated setlist, whatever it might have been for a given band in a given year,¬†with¬†Slomatics, it was the show itself and the obvious extra effort put into the set that made it something special.

In other words, playing¬†Roadburn¬†clearly¬†meant something to¬†Harvey,¬†Couzens and¬†Majury, and accordingly, it meant more to the audience to see it as well. I can’t speak for everyone who was there and I wouldn’t try to, but I know that for me,¬†Slomatics hit on a particular vibe and sense of communion that in my experience only the very best of¬†fully-bought-in¬†Roadburn¬†performances are able to hone. Thus it seems only more fitting that it should be preserved not only so that those who were there can have it for nostalgic purposes and the band can keep the momentum of their growth going post-Future Echo Returns, but in order to document a singular level of expression as a template for others to hopefully follow in years and fests to come.

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