Many years later, I there was another girl. I liked her very much and we had a longer, more fruitful and stable relationship. Though she wasn’t as funny or sharp or easy on the eyes as her predecessor. Maybe it didn’t matter, because we had fun for a couple of years. But now that’s over and I’m listening to Doom Metal. I treated her better though, at least I hope so.
I’m going off on a tangent here, but I can’t talk about Surtr without talking about Reverend Bizarre and I can’t talk about the famous Finns without at least mentioning my growing relationship to the music we all cherish. There is an analogue between my carnal conquests and these two bands and it might help explain why I enjoy Pulvis et Umbra as much as I do, although it’s an album that, while not really great, is merely good enough.
Listening and enjoying Doom vehemently takes a certain amount of maturity. One should have lived a couple of years (or smoked and equivalent in bowls) before really getting the introspective tones, that many bands of this genre produce. Shure, I discovered Candlemass and Saint Vitus early in my metallic career, but it took me years to really appreciate, what this genre can do. Reverend Bizarre were a band that should have paved the way for me to really dive into the dark recesses of the slow sound, but they came along way too early. Shure, Doom over the World was an instant classic in my ears, but those long, plodding monsters that so many critics seemed to celebrate, just wouldn’t work with me. Eventually, Doom came into my musical focus, but by then, it was too late: The Reverend had left the building. I was saddened and threw myself on their body of work which served as a starting point for a prolonged journey that is still going strong.
Surtr owe a lot to the most revered Reverend. They play in the same, classical, Black Sabbathian with a touch of epic parking lot as RB did. The young, french trio even seasons its songs with a touch of Funeral Doom. Rise Again opens with a plodding melody and introduces us to the somewhat comforting baritone of guitarist Jeff Maurer. His delivery is mostly expressing and befitting the sombre mood of the record but sometimes seems a little flat, especially in later songs. He sticks with this sound most of the time, although he does punctuate the proceedings with the occasional scream and growl. Right away, the clarity of the whole production is apparent. The kick is a bit too voluminous for my taste and demands decent boxes or headphones not to overdrive, but overall it works in the record’s favour insomuch as it manages to add to the slightly ethereal mood. Anyway, Rise Again picks up during the first half and delivers a nice, bangable riff. There’s some organ somewhere in the background for good measure. Off to a good start.
Three Winters of War kicks off with a slow marching rhythm and some crows calling, your typical battlefield atmosphere basically. The song chugs along pretty nicely and manages to change things up with a slightly uptempo chorus before everything gets a little too monotonous. Régis Beck’s drumming punctuates nicely while Julien Kuhn’s base carries the whole shebang with a controlled grumble. I especially like how every instrument is located in the mix. Nobody needs to feel left out.
Sonic Doom is a bit of a stumbling block. It seems to come from a different place, has a different color than its two predecessors and I must say, I don’t like it as much. It’s a song I usually skip when listening to this record. The Call and Rebellion continue the slight slump in the middle of this album. Rebellion is by far the best of these three with it’s nicely chugging verse. But the chorus is a bit forgettable.
But Surtr can do evil to, as I am the Cross handily proves. This song is more Funeral Doom than previous pieces: Slower, darker and with some nice death growls. The screams sound way too forced though. There’s some nice chants, supported by some churchlike organ play. The chorus always demands slow movement of the head in the affirmative. Also, evil laugh. I like.
And with that we are nearly done already. But the last one, Fred Kano’s Army, is a doozy! This was actually the hook that drew me to the album. I’d love to tell you more, but my time here is almost over. I have to gather my things now and get out into the cold. A long walk through frozen fields awaits me, the fog licking my hair and creeping up my nostrils until the start to freeze shut. Wish me luck and hopefully, I’ll be able to tell you, why this last song is so damn awesome that it elevates the whole album…
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Damn, it’s cold outside. Anyway, where were we? Oh yeah, Fred Karno and his army. Turns out, the dude was a comedian during the end of the 19th century and the term was applied to recruits of the British forces, raised during The Great War. Yeah, I don’t get it either. Anyway, the song made me pay close attention with its striking resemblance to Philip Glass’ electronica masterpiece Koyaanisqatsi. Of course it’s not exactly the same but the way the chorus is sung combined with the way the riffs are played immediately summoned slow motion footage of the Challenger take off in front of my eyes. Had somebody finally fulfilled my desire for a Doom cover of this wondrously bleak melody? Alas, no. The band, upon questioned, denied any and all knowledge of the creepiest electro-song of them all. A shame, really, but until somebody finally does it, Fred Karno’s Army will be the closest I’ll ever get. This thing crushes.
In conclusion: Of course, they cannot hold a dripping, black candle to their progenitor, but then again, who can? Their songs are shorter and more to the point. Some of them hit hard and some of them miss the target slightly. Also, the material has a tendency to blend together if one does not pay attention. A couple of additional hooks would not be amiss next time around. Surtr are a good band with good sensibilities but they are not entirely there yet. But go ahead, check them out, they are doing quite well for themselves.
Words: Stefan
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