It’s good to hear that some folks who are doing the whole "drone metal" thing are remembering where the roots of the sound are, as opposed to simply trying to ape the "big names" of the scene. This relatively new Greek band definitely wears their influence on their sleeves, creating this homage to the Church of Black Sabbath and the holy scripture of Earth’s 2.
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Usually I’d imagine something coming out on the Hanson label to be a bit more obtuse and rough than what is presented on this album. Instead of leaning to the noiser end of the spectrum, the two side-long tracks here instead define themselves via classic analog synth drone that is so thick and sustained that it almost becomes tangible, yet never mundane.
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Fluorescent Grey's second full-length creates beat-driven collages out of electronics and found sounds. Each of the nine tracks has a distinct theme and methodology. Yet despite the variety of styles found here, I still found this album to be missing something vital.
Aaron Martin uses a mind-boggling number of instruments and objects both exotic and traditional on his latest album of introspective instrumentals. Because of the vast array of tools at his disposal, no two tracks sound alike. What unites them is the fact that almost every song is made of delicate, airy passages that refuse to be grounded.