Artist: The Heavy Crawls
Release:The Heavy Crawls
From: Kiev, Ukraine
Genres: Rock, Stoner, Blues
Summary: Jack of all trades, Master of Reality
This band is new to me, though a quick glance at their bandcamp reveals that they’ve got several releases under their belts already, though remain relatively unknown.
The bluesy doom rock style is great in its accessibility; it appeals to lovers of blues, rock and metal, and this album does it just right. Any fans of Graveyard or Kadavar will dig this, it’s got a similar retro sound and feel
No slow intro to start the album off, it gets started straight away with opener “No Longer Mine”; its title hinting at the general theme of these album, love and loss, so…. Blues? The second track has a more White Stripes feel, slightly softer, (croony almost) vocals, before a brief synth organ blast hits out of nowhere, working the old school feel in the same way that Salem’s Pot do.
“I Had to Get Away” hits you with that bouncy feel you get from an Uncle Acid and the Deadbeats track, with a killer classic style solo to close it out. A softer, slow love song follows this, ditching the distortion for a twangier guitar sound until the closing solo, complimented by the slow, repetitive upbeat shell of the earlier part of the song.
The bounce bounces back for the sixth track “Too Much Rock ‘n’ Roll”, and funk and cowbell open up and punctuate the riffing in “Friday, 13th”, with another synth organ interlude in the middle; another of the gentler tracks that intersperse this album. The next track (“Girl From America”) starts slow and seems to be the album’s ballad, then hits with ANOTHER killer solo out of nowhere, then blends seamlessly back to slow and soulful to close it out.
“Backseat Blues” is aptly named; this could easily be a blues rock classic on first listen, it particularly relies on the delay soaked blues vibrato riffing that feel right at home here. “Burns Me From Inside” is the tenth and final track on this album, and at 8 minutes 14 seconds, is twice as long as any other track. It features a plodding bassline and regular drumming throughout the entire song, with vocal passages, soloing and psychedelic guitarwork filling in the blanks; it may be a little long, but it still manages to keep things interesting.
A lot of the tracks utilise a different aspect of the mesh of genres herein, without making the album seem fractured; like different pieces of a whole. This works well, far better than forcing the tropes into each and every song would have. This makes a great album, and the band does several things very well.