Brooklyn Band Eidetic Seeing play a smartly tuneful, unpredictable, defiantly original mix of noise-rock, third-generation post-Sabbath stoner metal and postrock, veering from a focused Mogwai attack to sunbaked, fuzztone Kyuss riffage, to uneasy interludes that echo Goo-era Sonic Youth. Their new second album, Against Nature, is angry and dirty, haphazard but intricate, packed with catchy hooks and abrasive noise. Tempos shift and unwind as guitarist Sean Forlenza and bassist Danilo Randjic-Coleman plunge from restless jangle to a roar over the artful and richly dynamic, even understated drumming of Paul Feitzinger. His individualistic, coloristic groove is one of this band’s most instantly distinguishing features, with a heavy, echoing snare sound in contrast to his nimble attack on the kick drum and intricate cymbal work. The whole album is streaming at their Bandcamp page.
Dial up the opening instrumental, A Snake Whose Years Are Long and name that riff: it’s something iconic from the 80s or 90s. The band quickly takes it from there to an uneasily jangling, slashing pulse, then shifts into a fuzztone rumble, then back and forth with shrieking SY-ish guitar and up-and-down dynamics. Like the rest of the tracks here, it’s a long one, but because it’s so unpredictable it never loses your interest. White Flight morphs from atmospherics to a bolero beat to an undulating stoner groove with all kinds of tempo and timbre shifts, from early 70s bluesmetal to squalling noiserock.
The sarcastically titled Froleuse works the tension between fuzztone riff-rock and lingering, apprehensive, 80s-tinged lo-fi sonics, acidic chords, endless metric trickery and finally a screamed, anguished hardcore outro. Ashplant Blues is sort of their Electric Funeral, a ten-minute epic that begins as a macabre, chromatically-charged dirge that once again gets abrasively noisy, then morphs into janglerock, then leaps around before falling away into atmospherics. The longest and final track is K2, which seems to be an account of murder high above the treeline. Again, it opens as a dirge, the most anthemic thing here. The way Feitzinger keeps the menacing groove going even as the guitar and bass fuzz out and recede toward the horizon is one of the album’s high points. There’s so much more going on in these songs; this is just the Cliff Note version. This is one of the most consistently original and interesting albums of 2013. You can catch Eidetic Seeing (the band name means photographic memory) on January 23 at Grand Victory in Williamsburg.