Review & Full Album Premiere: Sorcia, Sorcia

sorcia sorcia

[Click play above to stream Sorcia’s self-titled debut in full. Album is out this Friday, March 13.]

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To be sure, the three-part turns of “Nowhere But Up,” which goes from its quieter lumbering verses to a louder part and then chugs into a faster chorus, are clear delineations that mark Sorcia as a first album, at least so far as one imagines them as being lines so clearly drawn here that will inevitably blur in the band’s future work, but but the clarity with which Sorcia present their material, both early on in “In the Head” and “Nowhere But Up” and in the also-circa-five-minutes-long “Coffin Nails” and “Sunburn” that follow on side A, as well as the longer stretches of side B’s nine-minute “Stars Collide,” and the two seven-minute cuts that follow, “Stoned Believer” and “Repression,” which continue to flesh out the gritty-but-not-totally-raw atmosphere of the proceedings as a whole. Even the stark A/B divide, with four tracks on the first and three on the second, feels purposeful on the part of the band.

And yes, that’s a strength. Perhaps more subtle than Brasch‘s bass tone in terms of what comes across when one puts on the digital version of the album and lets it run through, but one that will carry through multiple formats of an eventual physical release — LP, tape, even CD; certainly the¬†Mike Hawkins cover art works for all of them. But from the Electric Wizard-esque opening riff of “In the Head” onward, the signaling being done across¬†Sorcia‘s¬†Sorcia is of a vision of sludge rock that neither wants to be trapped by the confines of genre nor completely separate from them.

The lead cut swings through its guttural hook en route to its eventual slowdown/speed-up finish and shift into “Nowhere But Up,” which brings in Brasch¬†on vocals in the shouty, chugging chorus — somewhere between a shuffle, a chug, and being punched in the face — and there is a sense of flow to the proceedings, but the brashness of the faster parts speaks to some influence from earlier, not-afraid-to-be-called-stoner¬†High on Fire, and as the subsequent “Coffin Nails” makes the album’s first of two mentions of a blood red sky with a second to follow later in “Stars Collide,” it also finds¬†De Atley and¬†Brasch coming together more fluidly on vocals.

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A call and response verse led off by the bassist singing met by the guitarist’s shouts would seem like a direct portend of things to come as regards further developing the dynamic and sense of arrangement¬†Sorcia already bring to this first offering. The¬†Goatsnake-ian figure that caps “Coffin Nails” serves as reminder that it and “Nowhere But Up” were both included on¬†Sorcia‘s 2019 demo and so might have been earlier compositions, but to put a narrative to the album that places the first four tracks as being written first and the last three longer, more complex pieces later feels too convenient, even with a record as up front about its purposes as¬†Sorcia is. It is, however, the kind of thing one might ask the band in an interview.

Whenever it was put together, “Sunburn” is both the centerpiece and a plod-laden highlight, holding to a mid-tempo push for most of its duration but picking up near the end and giving something of a streamlined impression with¬†De Atley at the fore on vocals. The fact that¬†Sorcia are so willing to change up their approach vocally speaks not only to multiple contributions to songwriting, but only more potential, and as “Stars Collide” offers a surprising bit of drift and¬†Brasch takes her turn invoking the blood red sky lyrically, the emergent thud seems to hit even harder for the quiet spaciousness that it offsets.

They shift smoothly back and forth and find a roll to lock in as “Stars Collide” moves into its second half and opens to its solo, and a final slowdown brings back the crashing central riff delivered with a stage-style energy that resonates into the speedy beginning of the penultimate “Stoned Believer,” brazen in its speed with¬†De Atley‘s throaty vocal grit moving into a cleaner approach effectively in mid-verse. A quieter stretch in the middle-third brings about an echoing guitar solo with¬†Marcey driving a return to the full thrust in the last 90 seconds or so of the song and still finding room to shift back into the slower part before they’re done.

It’s a choice bit of songwriting that answers a question or two about room for complexity amid¬†Sorcia‘s sludge, much like the track before it, and with a direct lead into the finale of “Repression,” the album finds its fluidity at just the right time, with “Repression” shoving toward an inevitable big finish that comes and is not overblown but gets the point across enough to justify rounding out with rumbling feedback. As it will no doubt be the first impression the band makes on a number of listeners, Sorcia functions very much as a first album should. It brings forward the basic foundations upon which the three-piece set about their aesthetic construction, and it showcases the potential for progression and several of the sonic avenues they might pursue going forward.

Prospective aspects aside, the meld of influences they play toward, whether native to their own Pacific Northwestern home or not, can already heard being consciously brought into their own context via craft, performance and the nascent De Atley/Brasch vocal dynamic. Being concrete-slab heavy doesn’t hurt either, and Sorcia most definitely is that.

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