This year is turning out to be a beast in terms of releases we were either unaware were coming and those we were initially unsure of that turned out to be bangers. Matador’s upcoming new LP falls in the latter half of that statement as we weren’t initially sold when lead track “The House Always Wins” was released in early January. But we’re big enough to admit when we’re wrong… and boy were we once the full album came our way about a month later and completely owned us so much that we’d go so far as to say that we’re pretty sure that Above, Below, And So is going to wind up on our year ender as of this minute if that tells you anything.
But back to that initial lead off single reaction because, as it turns out (Which we’ve said often), context is everything! The second “The House Always Wins” explodes into existence with its’ ingrained fuzzed out fervor and this burgeoning sense of epicness, it’s game on with Matador’s latest opus that continues to grow, expand, and exhilarate. Even when you think the song settles into what it’s supposed to be, listeners will end up being transported to some other amazing aural atmosphere conjured by James Kirk (Vocals/Guitar), Scott Stronach (Drums) and Mark Ainsworth (Bass). You know how Kyuss at their most grandiose (Read: Sky Valley) had all these movements/overarching themes? That’s this song alone. And it’s only the beginning.
“Glitter Skin” has moments that reminded us of Oceansize with the way Kirk’s voice is subtle and serene as shimmering guitar lines play counterpoint to the low end gnarliness being wrought upon your earholes (In a good way, of course) from Stronach and Ainsworth. Then there’s “The Flood” which, if you aren’t sold yet on Above, Below and So, is the one that really seals the deal on how great an album this is as an all out Riff ready Groove monster puts the do it to it.”O Suna” is a short, sweet(ish) soundscape/mood enhancer kind of thing which paves the way into “A Virus” which is BIG. And we’re not just talking about being the longest track on here but more that when it digs in, Matador manages to summon Tool mixed with High On Fire before veering off into some Isis or Palms-like (And yes, we know the Palms/Isis connection already) sonic explorations.
We’d say that Matador saved the best for last with “Hooks” but that’d be a tall order when all of Above, Below and So is just, ahem, so freaking good! Still, the UK trio manage to up the sonic ante once more on this shreddy and spacious good time that, similar to “The Flood”, is just unrelenting. Ainsworth’s Bass and Stronach’s Drums never stop moving, creating a constant vibrant hum while Kirk croons and cries with guitar work that’s consistently on the attack. And can we talk about the breakdown here? Well, is it really a breakdown if it’s barely 2 minutes into a 7 minute and change track? Let’s say “pit stop”? “Interlude”?? “Detour”, perhaps??? Whatever you wanna call it, that one we just talked up causes a shift and never stops venturing to new sonic locales. And we’re here for all of it.
Above, Below and So releases on February 27th through Church Road Records with pre-order/pre-save options available now by heading here. For more from Matador, hit the interwebs and the band socials by clicking here or here.