ninehertz

After an excellent debut album – Cataclysm – and electric live performances turned many a head, Troy the Band were in a fantastic position heading towards their follow up release. However, for whatever reason, difficulties arose – losing their singer in the process, such a focal point with their distinct delivery. With songs written but no replacement lined up, they must have been in a quandary as to what to do.

Their decision was to record with guest vocalists from the UK doom underground, an exciting list of contributions no doubt, including Ana-Maria Terr Bordei of Codex Serafini, who since has been confirmed as permanent successor in the role. This multi-guest approach is rare but not totally new, with there being clear benefits and pitfalls. Whilst you get variety song to song you never will with the same cast of actors, album cohesion can be compromised.

Accordingly, (des) took me a while to warm to. Thankfully, as they had money in the bank from their previous endeavours, I stuck with it and it eventual clicks and its strengths begin to shine through. It still takes a few songs, but their progressive, expansive doom – like a darker Elder at times – is still a common trait running through from before.

By the time Denial comes round, my doubts and fears have been forgotten. The vocals of Soozi Chameleone, once of Dead Witches, soar wonderfully above the pounding doom riffs. On The Moment, Believe in Nothing’s Caine Hemingway delivers a distinctive deviation, offering a harsh line above the lush guitars, creating this wonderful contrast, not only between the vocals and instruments but from song to song.

Memory Glowing features Peter Holland of Elephant Tree and Kay Elizabeth of Black Orchids, a song which exists in a peaceful state, although with thoughts drifting to Holland’s band you wonder if this is another side-effect of the guest approach. Best of all is the penultimate Adoration of Ill Luck, where Ana-Maria Terr Bordei brings their incredibly distinctive voice to take Troy the Band to a different dimension.

Which is, of course, incredibly positive for the future. And for now? It took me a while, but (des) eventually works, the differentiation between vocals perhaps highlighting rather than detracting from the band’s range and skill, through a fine set of songs and command of their progressive doom sound.