By: Aidan Clucas
Endless Floods | facebook | bandcamp |
Released on February 7, 2016 via Breathe Plastic Records
The three piece doom outfit, Endless Floods, hailing from Bordeaux, France, have produced a raw piece of work in their self-titled album. Two of these members earning their stripes with the band Monarch!. Consisting of only four songs, of varying length, the album offers a vast and haunting soundscape on which the instruments perform. While it offers intrigue, it is arguably let down by its lack of creation and the huge swathes of space seem like they could have been filled with something more substantial. Within this genre of music a lot of imagination from the listener is expected however.
Each song has a prefix of a Roman numeral running I to IV, and opens with ‘I – Setting Fire to the Shelter’. The introduction is a slow gradual introduction of the instruments, which serves almost like an overture. The vocals are introduced, and maintained throughout, with their violent and harsh grit, mostly inaudible, but of course that’s fine. At the three minute mark the pace slows too much, but at the seven minute mark the huge vibrating bass during an audible ‘descent’ is fantastic. The second track, ‘II – Carpathes’, opens dirtier than its predecessor, but is too similar to it, its running motif is refreshing, however.
The third track, ‘III – Floods’, is the album’s epic clocking in at almost quarter of an hour. But as previously stated it needed to make better use of this epic canvas. Despite this its slow build-up does still work to its benefit. The gentler chords is a brief and welcome mood change at the 4 minute mark, and the jump to heavier guitars during the 7th minute is notoriously mean; it takes a little while for proper guitar riffs, but they definitely add to the song. The final track is astoundingly shorter in comparison and immediately shows the instruments all working together tightly in unison without the semi-improvised nature of the previous compositions. It may be out of place, but the change in direction serves the album well and is a fitting ending.
Endless Floods need to make better use of its surroundings, and whilst emptiness (as near to it) can be used, it needs to be used properly, with proper moderation. The raw, sharp, sound of the album definitely makes it feel more natural than other contemporaries, and for that, their realism is to be applauded. As a whole the album is not satisfying and instead of appreciate the emotional and intellectual depth of brutal and expansive music, it instead leaves one with an appreciation for the work, but demanding an extra level of flair.