A Good Start
Chrome Over Brass’ eponymous debut is an instrumental metal record. Bands like Baroness are an obvious touchstone and the opener “Elephants Never Forget” is reminiscent of a track off of Baroness’ Red Album. However, the track doesn’t have the guttural emotiveness of John Baizley’s voice. The guitars on the record are not as meticulously orchestrated as Baroness either. It may be unfair to compare a band’s first record to an established legend of a genre, but it’s worth noting because in the absence of the vocals, dynamics, and musicianship is a bit of a distraction. You are more aware of the absence of these elements at times than you are paying attention to the positives.
It’s a relief to hear an instrumental record that is not simply shoegaze or post-rock aimed at Pitchfork’s avid readership of hipster wallflowers and college radio alumni. Chrome Over Brass root their instrumental tracks in sludge metal, but tracks like “Crush on the Derbyshire” also hint at some classic NYHC and maybe even some d-beat in the record collection. “Fighting With Tooth and Nailgun” has an inventive re-invention of the classic Sabbath groove-metal riffage. They remove the swing rather than fall back into it and it propels the song in an interesting direction which shows off Alex Garcia-Rivera’s ample drum skills. Given his skills as a drummer, we should perhaps excuse the absence of Baizley-esque mutations of sludge/stoner metal guitar parts. This is a one-man band after all. Presumably, doing it all himself was a choice, however. Whether out of necessity or for aesthetic reasons, it does pose a limitation. The absence of vocals and instrumental divigations may leave some listeners grasping for something to lock into it. The rhythmic inventiveness of the record may be one potential hook, but Garcia-Rivera comes back to the well of Sabbath-inspired sludge and hardcore that it may prove tiring.
Still, Chrome Over Brass is a promising debut and closer “One Night in St. Regis” definitely displays the potential for this project to grow. It’s the most impressive performance and it combines the elements prevalent throughout the record in interesting and effective ways. Traveling competently through sludge, hardcore and even hints of a Mike Patton backing track (think Dillinger Escape Plan’s Irony is a Dead Scene EP with Patton, but less insane – or early Fantomas but less avant-garde). If Garcia-Rivera can hone in on this sort of sound and maybe find an even better guitarist to work with (he’s no slouch, but the playing is a bit one-dimensional), there’s plenty to look forward to from this instrumental project. Even if you often found yourself wishing and waiting for John Baizley to start ripping into a vocal, there’s room to grow and the foundations of a workable project here.
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