Thuum—Through Smoke, Comes Fire EP (2018) PREVIEW

Thuum—Through Smoke, Comes Fire EP (2018)

Thuum—Through Smoke, Comes Fire EP (2018)

Details

Self-released. Release date Monday 19 February 2018

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Band

  • Bear—Guitars and vocals
  • Andy—Guitar
  • Luke—Bass
  • Joe—Drums

Tracks

  1. Intro (instrumental)
  2. Worthless
  3. Hafgufa
  4. Through smoke, comes fire

Review

Hailing from Bournemouth, at the south end of the island, crawls Thuum with their debut EP Through Smoke, Comes Fire and it is colossal. This is already promising to be the heaviest release of 2018.

Black and white photo of the band standing in front of a stage

Thuum—They’re heavier than they look

Thuum are firmly lodged in the doom, sludge, southern-groove genre and they own it. Within four tracks Thuum manage to say more and generate more excitement than many bands with two or three times as many tracks.

Intro (instrumental)” (track 1) opens gradually, a fade up from silence. A quiet drone and a primitive-sounding chant, overplayed by a bell-like, heavily-reverbed guitar punching out a melody. And then the granite-crushing power of the track truly unleashes. It is slow and grinding but damn is it heavy and beautiful.

Worthless” (track 2) is a powerhouse of southern-infused sludge metal. Slowly meandering, bass-heavy riffs and sorrowful guitar solos provide a perfect background to Bear’s growling vocals. If you’re a fan of Down and Corrosion of Conformity you will not be disappointed. They’re like a fusion of Down and Mastodon—Mastodown, if you will.

Hafgufa” (track 3) begins with a blast of drums. then the pace is quickened for a song that winds itself around a simple, bouncing riff, that starts and stops, but never stops its unrelenting pace and heaviness. The song is cut in two with another lamenting guitar solo. “Can you hear me shouting out his name?” Bear yells—it’s reminiscent of Mastodon’s Troy Sanders. It may be the shortest song on the EP but it sure as hell packs a punch.

Through smoke, comes fire” (track 4). The title track. Another drums opening, which feels like a gentle nod of the head to Bonham’s drum sound in Led Zeppelin’s “When The Levee Breaks”. A ponderous, bass-heavy riff builds and layers for a minute until it breaks down into an ascending, walking riff. This is truly majestic. A fusion of influences, progressive and doom, always heavy but never indulgent or aggressive. Then vocals, both growling and howling. It reminded me a lot of Mastodon’s album Leviathan. The tracks meanders through a melodic, harmonic progression to a gentle conclusion.

Conclusion

Wow! This is a near-perfect debut EP. I truly hope Thuum get the attention they deserve. This is precision crafted doom/sludge metal from the deep south (of England). I want to hear more. If through smoke, comes fire, I want to see what truly happens when the fire takes hold. Definitely a band to take notice of and follow over the next few years.

Now, if you’ll excuse me. I’m going to give this 24 minutes 39 seconds offering another spin.

Review score: 98%

Disclaimer

Stampede Press UK contacted me a few weeks back, inviting me to preview this EP.

I have no connections to either Stampede Press UK or Thuum. I’m not being paid to review this. But I did get a free digital copy of the album to review—which is pretty cool.

Many thanks to Rob from Stampede Press UK, and Thuum.

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Annihilator—One to Kill (official lyric video)

Canada’s Annihilator was among one of the first thrash band I got into back in the 1980s. I loved their first two albums, Alice in Hell (1989) and Never, Neverland (1990).

I’m delighted to see that their 16th album For The Demented (2017) will be released early next month, on Friday 3 November.

I kind of lost touch with Annihilator with 1994’s King of the Kill. This track certainly makes me want to check them out again and dig a little deeper into their now not inconsiderable back catalogue.

Martin Eric Ain (1967–2017) RIP

I felt so sad today learning of the untimely and sudden death yesterday of Martin Eric Ain, the former bassist of Celtic Frost and Hellhammer. He was only 50 years old, and reportedly died of a heart attack.

Celtic Frost were arguably the first metal band that I really got into as a teenager. Every time I visited a record store I would always, always look for something from Celtic Frost. In part to try to find something rare (I never did), but in part to determine the quality of the store: if they had any Celtic Frost albums then I judged it to be a good store.

Twenty-two years after getting into them, I finally got to see Celtic Frost play live in Glasgow in 2007, they were co-headlining with Kreator. It was a year before they split up again. That was one of the most memorable concerts that I’ve been to. It was an event.

I feel honoured to have seen Ain play live, to have seen Celtic Frost play live.

There was clearly a complex relationship between Tom G Warrior and Martin Eric Ain through the years. A push-pull relationship. Something that came up again recently in a post on Thomas Gabriel Fischer’s blog, “Mammon’s inexorable temptation” where he lamented what Ain was doing with Celtic Frost’s heritage, selling off old kit on a Facebook page.

I was sad when Celtic Frost ended. Monotheist was a brutal album. It was very different from their 80s albums—it was more raw, darker, more nihilistic. And it didn’t feature their famous sounds-like-a-vacuum-cleaner guitar tone. I was hoping for more new music.

No new music ever came from the Fischer/Ain partnership, although I have loved what Thomas Gabriel Fischer went on to create with Triptykon.

Rest in peace Martin.