Album Review: Belzebong - The End Is High
Reviewed by Sam Jones
Amidst the flurry of stoner/doom bands stepping forth in the last twenty years, one has often been in my mind and, through good grace, Belzebong finally return with their first studio album in eight years. Formed in 2008 out of Kielce, Poland, Belzebong committed to something their contemporaries may have considered yet never followed through with: they removed the vocal aspect entirely. In a subgenre where the riff is king and fans listen in to experience the aesthetic and atmosphere more than anything else, I understand why Belzebong took such a route. With records like Sonic Scapes & Weedy Grooves, Greenferno and Light The Darkness, Belzebong have established themselves a strong repertoire in stoner/doom metal. Returning to a record label, now with Heavy Psych Sounds Records, the band are poised to unleash album four with a February 20th date in mind. After nearly a decade it’s great to return to Belzebong’s weed-laden world and to discern what these instrumental pieces can deliver.
While Belzebong strongly align with the stoner side of metal, I appreciate how they inject other elements into their soundscape. The guitar tone is fuzzy as one would naturally expect from such a band yet its far from domineering and doesn’t conflict with the drums or bass to grab your attention. It rests just below that ridge where their sound could war with the rest of the band and as a result, their sound feels tightly controlled and manoeuvred to where Belzebong require their songwriting to be. Given the total absence of vocals the guitar work assumes higher command of the band’s direction, and since they haven’t thrown their riffs into overdrive it enables us to follow them with pinpoint accuracy. When Belzebong do break out into freeform playing the tone rises, assuming a more grandiose, near cosmic vibe that provides a nice break from the stoner metal aesthetic most will presume is king herein.
That’s one reason why I think many enjoy and return to Belzebong as they allow the audience to become fully invested into the instrumental journey thereupon taken. Though not a word is uttered you’ll feel as if you’ve been thrown unto a quest thats had a stark beginning, development and conclusion with each track ventured into. Each track possesses its own atmosphere as if constructing soundscapes accompanying the next great bong hit, giving soundtrack to the kaleidoscopic visions one could experience after a heavy trip. This is where Belzebong’s allure emanates; its practically atmospheric stoner metal as we don’t get told about what’s occurring, rather we feel it. In doing so the audience gets more enjoyment because they’re having to delve head first into the sound rather than have the experience dictated to them.
But I think the mix works well for The End Is High as whilst their guitar tone is deliciously crunchy and occupies a strong position amidst the band, their drums can be heard at every moment, and should a listener wish to listen more keenly to the drumming they could certainly do so; the riffs don’t interfere with the drumming because the songwriting has managed to fuse the two distinct aspects together, aspects that often conflict in contemporary stoner metal when all focus is derived towards guitars solely. What's more is the bass thrown into the record as drum strikes come off with taut resonance, there’s nothing tinny going on here. The bass drums may not hit with the most violent presence yet it doesn’t need to; the purpose behind the drumming here is to carry you, the listener, across this psychotropic plain as upon a magic carpet whilst the riffs do their magic on you. The calm fervour they’re struck with too is hypnotic as one experiences the gradual rate drum strikes come at you by. The drums aren’t out for blood but you’ll find yourself under their spell, willingly.
In fact this goes for the whole record. As one pushes on you’ll find yourself remarking how The End Is High doesn’t attempt to rush you through any track. Granted there are just four on record and thus they want to make the most of every second, but when most here are upwards of eight to ten minutes apiece its striking how on board, and quickly so, you’ll be knowing the faster pace is utterly forsaken here. This is a record by a band that knows the magic in not rushing, yet not bringing things to a crawl, just let the music play and play it loud. It never demands any specific level of attention, it merely lets you explore their sound in whatever regard you so choose because they understand you’ve come to the right place, knowing what Belzebong offer. There's a particularly old school vibe to Belzebong which is likely another factor why many gravitate to them. This is a record where you can just get thoroughly lost within their soundscapes, swaying your head to and fro, eyes closed, simply basking in the haze they’ve created. In some sentimental manner this record is akin to a good friend; you may not see it for a while, you won’t know you’ll need them, but its a mighty fine feeling when you and your friend share that blessed time together. The End Is High is just a good time.
In conclusion, The End Is High is not only a great, fun experience to be had, but is proof that when stoner metal is written well it can easily go toe-to-toe with its more destructive subgenre kin. At thrity-five minutes long I think its excellently paced and is long enough, by the record’s end, for us to feel wholly satisfied with what’s been received. If anything the band could have thrown an additional ten minutes, an extra track, into the mix and I'd say the album wouldn’t suffer one morsel. With no vocals to work with the band’s emphasis has to go towards songwriting and its what focus on writing that really lets Belzebong shine, for the audience therefore clings to the instrumentation from start to finish. Myself personally I didn’t have any favourite track for the total record could be viewed as the experience following, as aforementioned, a strong hit of the bong, and this music is the result. The End Is High is simply a great time and having not visited Belzebong in a hot minute, its a needed reminder why I fell in love with their left-field approach to stoner metal initially. Its one hell of a trip, so to speak.
