Style: Progressive Stoner / Sludge (clean vocals)
Review by: Dan
Country: UK
Release date: 04 June, 2021
Expectations can be a real bitch, especially for a band without equal. Boss Keloid‘s 2018 opus Melted on the Inch scratched an itch I didn’t know I had for a heavy, groovy album with all clean vocals (to those who know my taste well: gasp!), so I was stoked when they announced the followup. I still don’t know if Family The Smiling Thrush has met my expectations for it, but it’s a solid offering nonetheless.
I’ll start with the good: Boss Keloid plays an unparalleled brand of progressive, rhythmically interesting rock that feels like it should be classified as stoner metal, or sludge, but is honestly wholly unclassifiable. Lengthy, complex compositions, swaggering grooves, dense layers, big dynamics, and absolutely top notch vocals are all put together in a stunningly unconventional yet accessible package, instantly recognizable in a crowded field of their peers. There’s always something new to pick out of the excellent mix, and the band’s note choices refuse to adhere to overplayed pentatonics. One could say they almost pick up where Mastodon left off, when they switched over from epic prog into catchier, more direct songs, but with a much more grounded, sludgy maturity. Besides that, I’m really not sure who to compare them to. They’re more melodic prog rock than The Atlas Moth, and without the harsh vocals, though they share some of their compositional density and stoner groove.
The guitar playing is precise and eloquent, rhythmic and interesting, with a decent balance between fat, fuzzed out, synthy stoner tones and dialed back dynamics. The two guitarists complement each other well, frequently playing psychedelic, interwoven lines rather than standard lead/rhythm arrangements. They play razor sharp, often angular, punchy riffs with intricate layering. The bass growls along beneath, frequently striking out into its own melodies or rhythms, adding welcome complexity. The drums are never overly showy, but also never stale, playing engaging grooves while at the same time playing games with time – downbeats aren’t always predictable, which for me personally, makes this listen dramatically more enjoyable. There are occasional layers of trippy effects and synths, never overshadowing the main focus of the songs, but adding a superb richness to everything that helps cement Boss Keloid as the best of their ambiguous genre. One of my favorite examples is the effect that blurs a vocal melody into a guitar melody in the chorus of “Hats The Mandrill” chorus.
The band wins more points for their songwriting – combining both refined maturity and unpredictable left turns into a delightful journey that takes many, many repeated listens to fully absorb, while still being immediately accessible and enjoyable. It’s not challenging unless you’d like it to be, in which case there’s a huge amount to unpack. Their lyrical themes are uplifting and hopeful, with atypical melodies and massive delivery. It’s hard to call out any singular aspect of these phenomenally well-balanced compositions for being the standout, but honestly if I had to choose, I’d bestow the honor on the vocal performance. The vocals are delivered with tangible passion and massive dynamic range, nearly reaching harshness at times, crooning at others. This is all the more impressive noting that vocalist Alex Hurst also does double duty on guitar. Their live videos are incredible, and a testament to his inspiring skill and versatility!
Now, I can’t shower this album with endless praise without a few nitpicks. As I said at the beginning, expectations are a bitch. Maybe a bitch and a half. Simply put, I like Melted on the Inch better. Maybe it’s heavier, maybe it’s got better songwriting, maybe I just happened to connect with it first. I’m honestly struggling to articulate my feelings on it. I can call out lead single “Gentle Clovis” in particular as disappointing, if not almost grating, in the conventionality of the vocals. The simple rhyme scheme seems to counteract everything I love about the unpredictability of the rest of the album’s vocals, and feels like it falls way flat. The songs also don’t seem to have quite as much dynamic direction. They go places, but not in quite as big a way or with as much momentum. I think they’re a bit less catchy, too.
These are, however, minor nitpicks on an otherwise strong record. I’ll likely always be partial to Family The Smiling Thrush‘s predecessor, but it’s undeniable that Boss Keloid have crafted a superbly unique and rewarding sound, and are a band I won’t tire of anytime soon. I’ll be dying to catch them live if they ever come stateside after this whole pandemic thing ends, that’s for damn sure.
Recommended tracks: Orang of Noyn, Hats the Mandrill, Smiling Thrush
Recommended for fans of: Mastodon, Ohhms, The Atlas Moth, interesting proggy stoner sludge
Final verdict: 7/10
Related links: Bandcamp | Spotify | Facebook | Instagram | Metal-Archives page
Label: Ripple Music – Bandcamp | Website | Facebook
Boss Keloid is:
– Alex Hurst (vocals, guitar)
– Paul Swarbrick (guitar)
– Liam Pendlebury-Green (bass)
– Ste Arands (drums)
– Matthew Milne (keyboards)
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