Broozer is a self-described ‘tough technical modern sludge’ act from Melbourne. Formed back in 2010, it seems that they have spent the last three years practising and perfecting the seven songs that would make up this, their debut release. What the significance of the date 12.04.12 is, I am not quite sure. Based on the stylish, embossed digipack cover art, perhaps some ancient apocalyptic Mayan prophecy was forecast for this day? Or perhaps it marks the process of this first recording in some way? Maybe it just seemed like a cool date… Whatever the case, it’s obviously better to delve into the content of the band’s sludgy concoctions than to bang on about an aspect I simply don’t know the answer to. So here goes.
‘Feeder’ kicks off the album, with an immediate blast of singer Retch Bile’s shouty, aggro vocals and a basic dirty riff. While not massively down-tuned there is still a very grotty vibe to the music – even when some groove with pinch harmonics barges in. A definite sense of variation reigns, with subtle touches peppered throughout the opening three minutes, including some nice percussion and even a brief guitar/bass interlude. At first glance then it seems to encompass influences as diverse as Clutch and Pantera. Once track number two, ‘Sanctuary’, emerges though, with its deafening feedback, there is a very definite sense of certain New Orleans bands as a slow, doomy riff sets the pace. The music and lyrics to this one are repetitive, with that constant, miserable line of ‘I can’t afford you so I just slip away’ boring a hole in your head. Perhaps unsurprisingly, we get treated to some off kilter punk and more abrasive groove mid-way through before returning back to the doom. Come track three and some of Broozer’s more unconventional and perhaps progressive tendencies make themselves felt, with all manner of busy drum and guitar arrangements.
By the midpoint of the album, ‘Vomisa’, it’s pretty fair to say that all you need to know about this band’s approach has been encompassed. The wretched start of this track incorporates an unexpected bluesy solo, which adds an extra sense of the jam room, before careening off into a latter-day Metallica riff. The highlight of this one for me would have to be the mellow part in which the soothing bass work really sticks out. As the album continues, the dexterity of the musicians is proved beyond doubt, with plenty of tight drumming and string manipulation. In terms of isolated instances which stick out, well, there’s the dysfunctional end part of ‘Coma’ in which random splurges of bass pop out, and the cool stop-start section of ‘Bird in a Cage’. For the main, it’s still built around a mix of slowed down groove and occasional accelerations. Closing track, ‘Bulac’, has a bit of Primus’ eccentricity after its heavily percussive start and even reminds me a little of Mastodon in flashes of the guitar work. The closer’s ultimate back and forth approach again has that feel of many hours spent in the rehearsal room.
You can tell that Broozer are locked in and feeling every note as it flows through them. It’s also possible to imagine what a punch they pack live, but overall I find the disparate nature of their brew on ‘12.04.12’ a touch too much. While it would be harsh to say that the impact of their style(s) diminishes as the album progresses, I can’t escape the sense that at times it does feel like the musicians are enjoying themselves more than I am. That said, this kind of music (sludgy-progressive-rock-metal?) is not my typical listening preference, and of all the tracks here it was the most linear, ‘Sanctuary’, which really appealed to my musically conservative senses. Overall then, it’s an enjoyable enough listen that definitely escapes pigeon-holing, but one which hasn’t exactly lit up my world. Guess it all depends on what you’re looking for…
(7/10 Jamie)
Leave a Reply