REVIEW: Slomatics lead a cosmic journey with 'Strontium Fields'

Northern Irish trio Slomatics returned with their first full-length since 2019 last month with the excellent Strontium Fields. Strontium is a highly reactive earth metal, named after a village in the Scottish highlands. Slomatics, conversely, are a highly regarded metal band, presumably named partly because of the crushingly slow music they put out. I spoke to the three of them at Desertfest London earlier this year, and with a wry smile, they did hint at a few surprises over the then-unannounced new album.

I'm a relatively new convert to the Slomatics camp. I'd known the name for years, but only after catching them at Desertfest Antwerp last year did I start to listen to them myself. I was completely transfixed by the Conan-style guitar heaviness, the expressive singing with shades of Candlemass in the delivery, the elegant spaciness, and the fact there were three of them with a drummer on lead vocals, flanked by two guitarists. I've seen them a few times since and that sense of wonder I got from the first time always comes back. They're a lot richer in melody than some of the other doom bands on the sludgier end of the spectrum, in both the riffs and the vocals, and it can bring an unexpected sense of euphoria to their live performances. This album isn't an exception to the rule.

Slomatics - Telemachus My Son (live at Desertfest Antwerp 2022)

The first track, Wooden Satellites, delivers their classic, titanically heavy sound that sets the tone for the cosmic journey ahead. It's got a noticeably epic feel that creates a very strong sense of atmosphere early on in the album. There's a very cool doomy chord sequence midway through that adds to the serious power that this song offers. As the album unfolds, I, Neanderthal picks up the pace with an upbeat, driving rhythm, complemented by sci-fi effects woven into the chords. With Slomatics well known for much slower heaviness, it certainly feels fresh to have a faster number given as the album's lead single - though the slower grooves they mix in are also absolute gold. Get used to hearing this one live in the future.

Time Capture changes the feel again. A beautifully delicate psychedelic track, it's soft and relaxing on the ear, with more spacey effects and tribal drumming patterns that leave you pondering the mysteries of the universe. This style really is a good fit for Marty's soulful vocals, in fine form on this track. The psychedelic tones ultimately lure you into a false sense of security before the opening suckerpunch riff of Like A Kind Of Minotaur, easily a standout track. Taking Slomatics' signature sound, it promises to be a future fan favourite and live staple. Dripping with face-contorting groove and room for the sci-fi effects to breathe, I really see it as Slomatics doing what they do best. I find it hard to dispute that these are two of the best on the record.

Voidians maintains a softer atmosphere while still carrying a sense of graceful filthiness, showcasing the band's diverse range in a single track. It's a great example of the careful structuring of the album. Starting with gentle yet desolate verses, before alternating into the heaviness of a black hole, the record avoids feeling repetitive as the tone is constantly changed from one song to the next while still maintaining the inimitable Slomatics feel. Zodiac Arts Lab is then a serious left turn, presenting a delicate major key ballad that displays the dimensions and depths of Marty's vocals. David and Chris accompany him well, with understated but tasteful guitar performances. It wouldn't feel out of place on a 90s alt rock record, yet on this particular album, which really brings Slomatics' calmer tendencies to the forefront, it doesn't feel out of place either.

ARCS returns to more familiar space/doom territory after a cool psychedelic intro, grounding the listener in a comforting sonic landscape. It's bleak and desolate in a way that reminds me of Alice in Chains during their heavy self-titled era. Again, I didn't necessarily see this coming, but it seems to make sense on this album. The journey ends with Dark Futures, which offers a blend of soft, desolate, and trippy elements amidst the familiar psychedelic doom. The chord changes and the way that the song continues to evolve is particularly interesting here. It brings the listener back to planet Earth with weight as well as tenderness, closing off the album in a satisfying way.

Strontium Fields sends its listener on an introspective, immersive journey through the great unknown. The album is really quite meditative and calming at points, thanks to the spacey layers, before bearing down on you with some serious force. It balances familiarity and innovation nicely, leaving a lasting impression with its stylistic blends and emotional depth. At no point does it feel boring, at no point would your attention drift off.

Maybe I'm going soft, but some of the most memorable moments are across the more delicate, quiet songs. It's not to say that the likes of Minotaur or Wooden Satellites lack anything, but Zodiac Arts Lab and Time Capture really are so well-executed. You know to expect heaviness from Slomatics, but you wouldn't take either of the above for granted. Slomatics aren't a band to rest on their laurels, though.

Let them take you on a trip.

MN