Positive vibes abound on this perfectly formed EP produced by the estimable Rich Huxley, whose main gig Hope And Social sits in exactly the same affective territory; clear-sighted optimism is the order of the day, and because the songs are notably lacking in trite sentiment or spurious closure the effect is genuinely uplifting. The musical engine that drives the feeling is a light but deep acoustic groove, which swings hard with an upbeat lift on even the most laid-back of the tunes. The band is locked in so tightly that it’s hard to credit how relaxed they sound, and the dynamics are shaded and weighted with real sensitivity; the mix strikes a perfect balance between separation and integration, or more to the point, it has a shedload of both, so although
This three track EP seems to be Septic Trauma’s entire recorded output. A shame, as I could happily listen to a few dozen tunes in this vein. Many heavy rock bands lay claim to terms like ‘technical’ and ‘progressive’, but few have any reason to do so. Aside from the sheer ridiculousness of using a term like ‘technical’ to describe a style of music, most of the metal thusly classified makes no more taxing technical demand on its performers than that they should play fast and stay in time, which quite honestly is something any well trained monkey with a floppy pick can manage.
Stoner rock, when it is unequivocally metal, is usually doom or sludge. Those styles seem somehow appropriate to the haze of disassociated impressions that characterise the world of the dope fiend, with their mushy layers of distortion, their often slow tempos, and their obliteration of detail in the sheer rumbling savagery of their sonic impact. Death metal is an altogether different proposition, with its focussed intensity, its brutal precision and its considerable technical demands.