Electric Valley Records – 24th June 2022
Christopher Nosnibor
In my recent review of the new album from St Michael front, I commented on German humour – in a positive way, I should add. So it was with a certain relief that I noted that BongBongBeerWizards hail from Dortmund. Don’t get me wrong, it’s a shit name for a band irrespective of where they’re from. I genuinely thought that Doom/Drone/Sludge Metal had run its course in terms of daft names and gone over the border some time ago, and that Mammoth Weed Wizard Bastard (now MWWB, presumably because they realised the name was daft rather than that they believed it was an obstacle to commercial success) had had the final word in name-generator style absurdity. And they ought to have. But then these buggers turn up with an even stupider name. But at least we can reasonably assume they know it’s a fucking stupid name and are pissing themselves over it.
BBBW may well be hampering their potential audience reach – I’ll admit, I did think twice about bothering to listen – but that would have very much been my loss, because Amprire is an instant classic as a storming example of the genre. With just three tracks and a running time of almost fifty minutes, it’s Sunn O))), it’s Earth, it’s Sleep and it’s Bong in a tectonic collision – more of a slow melt than anything likely to cause earthquakes and mudslides. That said, there are tempo changes galore on the twenty-three minute ‘Choirs & Masses’, a megalithic beast that’s got the lot: heavily reverbed vocals and choral ceremonials that echo from cavernous depths of despair while the guitars churn and growl all around, thick with dripping distortion. At times it’s a raging thrust of riffery, at others it’s a gut-churning crawl, or an ominous organ note that hovers indefinitely, and there are many changes to hold the attention over its epic duration.
‘Unison’ raises an even denser, thicker guitar-driven tempest that’s so thick and sludgy it’s suffocating, and when the vocals are absent, churns into full-on Sunn O))) territory with the gnarly guitar obliteration.
It’s hard to really say that there’s a real arc or progression on an album like this: it may be more of a case of will or projection, but I suppose whether it’s real or an illusion, the end result is the same from a listening perspective, and the perception is that things become more focused and ultimately heavier and denser over the duration of the album. And as an album, Ampire is a beast: epic, ambitious, and for the most part, the changes are well-timed if not always smooth – some of the transitions feel a little bit like stopping one riff and starting another – but it hangs together overall, and it maintains and even increases the weight right to the crushing end. Overall, it’s an admirably solid album. Still an awful band name, though.
AA
Aural Aggravation 