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Liking The Georgian Skull is like having friends who are hairy cavemen donning loincloths. Sooner or later, you know they are just going to beat you up and maybe hack you into little chunks and eat you for barbecue. But wait a minute, get ankle deep into Mother Armageddon, Healing Apocalypse and notice that doom bands are not supposed to cram these many arrangements like ever. So how could these rude troglodytes be as intelligent as to memorize these many notes? Cause man, they are. “Hearts Burning” is maybe the technical masturbatory equivalent of a doom band. You can sense that this quartet has laid down their brutish demeanor quite clearly, but they have also taken the time to assemble a sectioned song. It starts quick, the band sprint like they are in pursuit of a buffalo or something, but then it twists and turns, falls into a groove, crams more notes, the vocals growl and growl, and then deliver a flat lyrical line. This to me sounds like someone who has listened to a lot of Clutch and is offering their own take on doom-bified groove stoner. Or something like that. Halfway through the record is “Intermission”, one of those meddling pseudo psychedelic/clean stringed tunes that’s impossible to deliver live by any other means than a recording. Yeah, it’s there and it’s a break. It’s no wonder that vocalist/guitarist Alexander Petrovich is nicknamed The Yeti. In the ‘wah-heavy’ “Hunting the Ghost” the man sounds like the bastard child between Phil Anselmo (Down era) and Glen Danzig, so can you think of a better nickname? On occasions, The Yeti also sounds like the vocalist from Finland’s Xysma Janitor Mustasch, on their album Lotto of course. Once they were past their grindcore phase. The last minute of the tune in question is sweet payback; distortion, slow and dragged pace, a rudimentary band playing rudimentary music, channeling its spirit through guitars and heart beating rhythms. “Doom Lord Pusher” is a punishment to anyone who ever liked melodies. What I like about The Georgian Skull is that they know how to spice it up. Sure their sound is thick and belongs to the stoner subgenre more than any other, but their sound has its own identity and it’s already mature. The grooves are there, the heaviness is long lasting, the roughness and crudity of the sound makes them more metal than they may be but is also quite bluesy. So at this point my only question is, has this received a proper US release? MySpace
1:07 PM
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