It is, perhaps, not unreasonable that so-called ‘super groups’ carry expectations with them, or at least pre-conceived notions of what they may sound like, but it always seemed to me that if you are reviewing a piece of music it should be reviewed in isolation from those expectations as far as is possible in order to represent that music accurately to the listener. With that in mind let us dispense with who is in Shrinebuilder (for that is startlingly well documented elsewhere) and concentrate on what Shrinebuilder is actually like.
Opening with a tidal surge of drumming, ‘solar benediction’ carries with it the hypnotic element of seventies psychedelic music filtered through the ultra-heavy, bass-led grooves of contemporary stoner and avante-rock. Melding riffs that could smash a planet to a powerfully evocative sense of melody, Shrinebuilder veer between densely claustrophobic metal and the wide open spaces of bands such as Isis and Tool with a deft ease that must surely arouse envy in observers. Throughout its nine minutes, ‘Solar benediction’ showcases a powerful set of dynamics and influences at work with shimmering guitar solos rising out of the dense haze of distortion only to succumb to the brutal central riff once more in the slowed-down finale.
‘Pyramid of the moon’ is a tar-thick sludge that suddenly changes mood on the listener, offering a laid-back guitar riff and melodic, if down-beat, vocal on the verse. As with the first track it is the little details that really come into their own, particularly on repeated listens – the spidery guitar over the second verse, the vocal harmonies that deepen indefinitely on closer inspection, the harmonised riffs and interesting use of effects all add to what is a spectacular noise. ‘Blind for all to see’ opens on a hefty bass groove, taking its time rather than bludgeoning the listener from the off, a rare restraint that slowly dissolves as layers of guitars build over the track, which is half Nick Cave, half latter-day Swans with its doom-laden vocal and sun-dappled instrumental passages.
At just shy of six minutes ‘the architect’ is the album’s shortest track, a faster, leaner track built on a shuddering stoner riff and vocals that trip in the direction of Black Sabbath, but the star of the show here is the drumming – imaginative, thunderously heavy and dripping with charisma, it’s an awesome performance from a master in his field. ‘Science of anger’ closes the album with an almighty bang, all slithering guitars and ominous groove, it is the perfect end to an album that crams more invention and style into its short runtime than it has any right to.
Untethered from its creator’s mighty history, Shrinebuilder is a monumental achievement, a heavy, creative, pounding masterpiece that will appeal to fans of heavy rock across the spectrum. Considered in light of their own illustrious past it fares little worse, as it draws on all four participants to deliver their very best performances and the sense of adventure that emanates form every glorious minute of this record shows that compromise was never on the cards. This is a genuinely exciting meeting of minds and colossal talent.
Vinyl Edition Notes
While this release is recommended in any format, the true way to experience Shrinebuilder in all its glory is on vinyl. For your money (and it costs an entirely reasonable £12.00 from the Southern shop) you get two 180g discs in a gatefold sleeve mastered at 45 rpm in order to give the best sound quality possible. Disc 1 is a deep red while disc 2 is a marbled purple with a snake etched onto the (unused) third side. You also get a download code so those of you with a penchant for music on the move via mp3 players don’t miss out. A must for collectors, if you have a turntable this is the way to go.
