Another review, and yep, another rant about those damnably prolific Swedes! How the hell do they keep on nurturing such a massive underground scene with such a comparatively small population? Is it the long winter nights that force creativity to stave off the darkness? Is it something in the water? Maybe it’s a genetic thing whereby their dark ages desire to conquer the world with long boats and axes has somehow evolved into a desire to conquer the world with guitars and amps? I just don’t know, but Alastor is the latest band from that fine land that I’ve never encountered before, and based on ‘Onwards and Downwards’ and the samples of their back catalogue that I’ve dipped into, is one I’ll be checking out in the future (their ‘Blood On Satan’s Claw’ EP is a belter incidentally).

The album starts out with the thunderous ‘The Killer In My Skull’, the bludgeoning opening riff waking up the listener and demanding attention before the altogether more laid back vocals kick in, albeit the lyrics of murder and mayhem are anything but relaxing. ‘Dead Things In Jars’, a title that surely should be from a Church of Misery LP, follows with an opening wall of feedback and the sort of down-tuned riff that was once the sole province of Electric Wizard, and indeed the low in the mix vocals and tsunami of fuzz has more than a hint of those erstwhile doom titans about it; if you want a drawn out headbanger to slowly wreck your neck to, well, this nine minute plus track is tailor made just for you. By comparison the following song is all kinds of upbeat, from the opening rockabilly drums, plinking pub piano, and bouncing rhythm, albeit with a title and lyrics to match of ‘Death Cult’, the subject matter is a complete one eighty from the delivery; yes it sounds like an Andrew WK party slammer, but the words are straight from the pen of Tatsu Mikami.

‘Nightmare Trip’ delivers a smoky slice of traditional stoner doom with all the trimmings, right down to the closing toll of church bells, whilst in counterpoint the band show of their lighter side with the acoustic and all too short instrumental piece that is ‘Pipsvängen’, an aural equivalent of a palate cleanser before what is to come, namely the massive and dense title track ‘Onwards and Downwards’. Despite being just shy of the ten-minute mark, it never outstays it welcome, being packed full of Iommian riffage, fuzzy bass, pounding drums, and pained vocals, all threaded through with a Hammond organ sound that adds an extra retro dimension. If this doesn’t give a workout to necks of the denim and patchouli tribe that it is so clearly aimed at, I don’t know what will. Oh yes I do, it’s the equally excellent, but only half as long album closer ‘Lost And Never Found’.

As is often the case, there is nothing new or ground-breaking in ‘Onwards and Downwards’, but that is not a criticism as it’s like enjoying a pint of your favourite tipple that you’ve loved for years, familiar, but damn enjoyable. Occult rock, Doom, Stoner, and Fuzz, mixed together with a clear knowledge of and respect to their musical ancestors is apparent in every moment of the album, and all played with skill and energy. Damn but I’d love to hear this live, but until then, I can only recommend this to you with gusto.

(8/10 Spenny)

https://www.facebook.com/alastordoom

https://alastordoom.bandcamp.com/album/onwards-and-downwards