It all started with spaceship Albatross, whose mission was to find a place somewhere in the Milky Way as an alternative planet where people could continue to live. After a long journey, the ship disappeared into a wormhole and landed on a planet full of Greek gods. This is a very concise summary of 10,000 years’ debut EP, which was released last year. Less than a year later, the full album, called II, is out now and will be released by Interstellar Smoke Records. The story of the EP continues here. For those who are interested, you can read it all on their Bandcamp page. For now, the music is most important. As they say themselves: “It’s stoner metal. Nothing more nothing less.”
Promising fact is that II was recorded at the Swedish Sunlight Studio with Tomas Skogsberg as producer. Both legendary names. Skogsberg and his studio are the founders of the buzzsaw guitar sound that made Entombed famous. Besides many Death Metal bands, Skogsberg was also responsible of albums by The Hellacopters and many other ‘dirty’ garage punk bands. One of his last achievement is 10,000 years debut album, called II. And that is clearly audible: the album sounds hard, heavy and brutal.
Crushing stonermetal from Västerås, Sweden
The first track Descent lasts only twenty-six seconds (the moment the Albatross crashes on the planet as mentioned before) and immediately sets the tone for the rest of the album: loud and blunt. The song continues in Gargantuan Forest: The planet is slowly discovered through some spherical guitar sound and after a minute and a half it kicks in. A thick heavy riff accompanied by a heavy and blunt drum sound. As soon as singer Alex Risberg opens his throat, it really starts. It sounds that he squeezes all the air out of his lungs.
Some people, and I understand why, compare his voice with Scott Kelly from Neurosis and even to Slayer’s Tom Araya. When the third song Spinosaurus starts, the pace is good. Once again, the sawing riffs are finger-licking good and Risberg rages into the microphone. This song, my favorite, has quite a few tempo changes and comes close to a punk or thrash song. And how wonderful the drumming of Espen Karlsen sounds. The riffsplosion continues in the fourth and fifth track The Mooseriders and Angel Eyes. A must for any High on Fire fan. The band in which Risberg and guitarist Erik Palm played before was called Pike. I have such a dark brown suspicion that it was named after Matt Pike, the frontman of High on Fire.
In Prehuman Walls, the tempo finally slows down a bit. It sounds like a Doom metal song, although after three minutes Risberg’s bass takes over and the tempo is cranked up again. But quickly slows down to the Doomy riff it started with. With the closing and longest track of II, Dark Side of the Earth, the story comes to an end. “We must go back from which we came” is the last we hear coming out of Risberg’s throat. The cosmic journey is over.
Back to the beginning: the album sounds awfully good, heavy, blunt and the riffs are fingerlicking good. I keep forgetting that 10,000 Years is a trio that puts up a wall of sound as if it were a band with several guitarists. Skogsberg can put another one with well-deserved kudos on his list.