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The Cherkassy duo neighboring with EYEHATEGOD and CHURCH OF MISERY in the Emetic Records roster has somewhat unusual distribution of the vocal and instrumental load (singing drummers are considered a rarity, even in the sparkling acid brew of the stoner cauldron). The band builds thickset, wandering minarets of booming and taut stoner doom with their extremely heavy and massive riffs solidly planted in MOSS and WEEDEATER soil, and immensely tight guitar plunks mimicking bass and scratching the crimson lead saturated POMBAGIRA skies.


Solos? Oh come on, the bi-dimensional remnants of a listener’s consciousness trampled by the inexorable monoliths don’t need these vignettes. The listener’s reality now consists only of The Riff, this all-embracing and omnivorous, leisured and groovy nightmare of the 70s music experts who predicted the death of guitar rock at the hands of BLACK SABBATH, and The Voice pretending to be Chris Barnes here and Nick Holmes there.


These two components are imprisoned in the ponderous, firm stone walls of the dungeons of sludge movement, this huge deformed bubbling monster lacking precise definition, the monster the Canon of which is strict and non-dimensional at the same time, the monster that devours all goodies of rock and metal and vomits the digested awesomeness into the listener’s ears, - and the power and unobtrusive greatness of this monster can be perceived only gradually.

***

And the studio was without form and void, and darkness was upon the face of the drum-kit, and the spirit of Steve Austin haunted the mixing desk…


What is TODAY IS THE DAY? TITD is Steve Austin, plus a number of musicians among which you could find Bill Kelliher and Brann Dailor. TTID is also a cornerstone that was used for the foundation (in the terms of musical philosophy, not just line-up) of such pillars as MASTODON and RWAKE (potentially, LAMB OF GOD could also have made it into the list, since their debut album under the name of BURN THE PRIEST was produced by Steve). The year of 1999 was productive enough for Austin: he released an album of his own project, and produced records for the aforementioned BURN THE PRIEST and the heroes of this review.


Systematized chaos. Order in disorder. Shaken, not stirred. Upon the first listen you may call the material a pandemonium of samples, radio broadcast shreds, riffs, solos and voice, but upon further listening, the album gradually transforms into a structured sequence of elements, which could be comprised into the homunculus whole only in this manner and none other. It is a rare and fairly funny case, when the musical content of an album can be expressly and comprehensively described by comparisons to widely known records, but at the same time the album remains a “Ding an sich”, a thing-in-itself. You can take as a basis the ragged syncopated riffs later popularized by “Remission” and “Leviathan”, and drumming manner that involves extensive breaks and fills. Then you carefully add reinvented guitar ornaments of METALLICA’s instrumental monuments and spray the result with the mixture of vocal reagents coming from the most extreme fields of sludge and hardcore (since we don’t need parasites on our plant, do we?). And the last thing to do is to insert pauses in right places; the Universe doesn’t tolerate emptiness, so it is filled with radio-waves of mundanity caught in the gravitational nets.


Powerful and meaningful piece of work; a bulbus through which many of today’s cult figures had grown, and their polished edges now shine with the light reflected from «Absence Due To Projection».