ninehertz

I shamefully forgot about Organ for a very specific, daft reason – having loved and reviewed their debut album Tetro from 2015 and listened to it regularly on my iPod, my memory of them became lost in the pyres of that listening medium’s demise. This return was therefore doubly exciting – not only new music to devour, but also as a reminder to belatedly catch up on their back catalogue.

Immobilism highlights why they made such an impression, having lost none of their individuality. They have a base template which has a close relationship to post-metal – you can hear it on the first song in the manner of its patient build. But from there, they tend to diverge from the script. The following Confessor is a great example, where mysterious movements and shadowy doom sound like a sci-fi soundtrack, alien and mystical vibrations that could be of Arrakis. The guitars begin to shimmer, part Oranssi Pazuzu-end black metal, part bizarre doom-drone, existing like a swarm of mutates bees.

Occasionally the experimentation can be a little frustrating, a little aimless, but more often it is totally engaging. Dogma is another such highlight, progressing patiently towards a repeating riff, drone but bulkier, an alignment with their compatriots in Ufomammut perhaps to be drawn. It becomes densely doom yet delivers a psychedelic effect upon the listener.

Even in the moments where the album frustrates, it is done so in the bold aim of experimentalism, to not follow well trodden paths, and as such is completely understandable and does not impact upon your enjoyment. At its peaks it is a thrilling ride. It’s been more than 8 years since their last release, 11 since that debut, and Immobilism proves it is great to have them back.