“Open through funeral.“
Is it possible to pioneer a genre so hard that you end up parodying it, before it’s even been born? Stoner doom metal has always been indulgently excessive and funny (even anti-trve), which makes Toadliquor’s existence all the more ridiculous. The most accessible Toadliquor record is The Hortator’s Lament compilation – and that’s ‘accessible’ in the sense that it’s on streaming services, because it couldn’t be more hostile. Lurid guitars that feedback on purpose, whilst vocals are sung from behind a gag, under a burlap sack. Epic structures that doom genres would go on to make enthralling seem accidental and ominous. It’s all sealed with a mix that is charmingly rudimentary.
Twenty five years of obscurity later, a certain momentum has built behind Toadliquor, giving them enough of a push back into action. They’ve reformed, still anonymously, and oozed out another full length record. Back in the Hole summons the cryptic charm of their old material with a revived mix, leading to some mixed results. First and foremost, it wouldn’t be Toadliqour without some tortured vocals. This time it’s as if they recorded whilst falling down a bottomless pit. They’re the most irreverent part of Back In The Hole’s tapestry, now that the rest of the production is a bit more ‘normal’.
A few tracks act enough like doom songs that you’d be able to sneak them onto more normal playlists. Opener “First Crush” and “In Gold” secure the coveted old-school-cool with their Sabbath riffs and chugs. Beyond this, we get right into the oddities. “Basement” is a curiosity, bounding between loud and quiet, where heavy bursts work to somewhat resolve a simple riff that cycles in the quiet sections. I was initially repelled by this musical idea, but as the track yawns on it develops a certain magnetism. An even simpler three note solo churns over the ending, adding some genuine satisfaction to the track. These odd songwriting choices are decidedly ‘Toadliquor‘.
An unusual streak is the addition of keyboards, effects, and other samples. Such moments can be found in the back catalogue too (particularly “Tatterdemalion”, “The Hortator’s Lament”, and even on the LP with “Fratricide: A Requiem”). On the new album, these excursions will turn out to be the most divisive part, as they continue to chase a certain ‘Casio-coolness’. The second track “Recained” is the epitome of this epitome: synths that twist and squelch in the foreground, while reconstituted vocals stumble about and saxophone buzzes around like an insect. Like an awkward Spinal Tap outtake, I couldn’t quite stomach it, but not in an entertaining way – these just feel like aimless rambles. “Open Through Funeral” is the shortest track, but finds a minute and a half for a similarly nauseating saxophone passage. On the other hand, “Entry Level Position” supercharges its ending with layer upon layer of drone, to great effect, making the most compelling moment of the record in the process.
Title track “Back in the Hole” steps bravely into melodic territory. Clean guitar brings a generously calm and tidy introduction, then – save for the vocals which are as difficult as ever – they hit us with a passage that could have been on an early Pallbearer record. It’s clear they entered the studio with seven very different ideas, and didn’t let their past define them too completely.
Back in the Hole is a positive addition to Toadliquor’s tale. It simply wouldn’t have been appropriate to make a palatable ‘modern’ doom record, or even try to recreate their old sound. Still, it’s hard to call it essential, and that’s not just because it follows their venerated debut. The shock factor is still carried by the vocals, and it’s positively weird, yet lacking an extra spark to turn it into real magic.
6/10
Back In The Hole releases through Southern Lord on the 23rd of February and can be pre-ordered here.