Juxtaposition of styles is rapidly becoming the norm for modern heavy music. It’s really rare that a functioning or successful band can claim to be any one genre, and most would choose not to. This split release from doom band Undersmile and their acoustic alter-ego Coma Wall encapsulates this quite well even though the division into two distinct bands seems a bit unnecessary in light of the similar moods and vibes between the two projects.
Wood and Wire” starts of with three Coma Wall songs. The opening track ‘Summer’ sets the tone for all three songs with doom inflected acoustics and plucky banjo. It manages to sound rich and full despite the lack of the distorted electrics and thundering drums that most heavy bands rely upon. The combination of rattly guitars and languid vocals are incredibly successful in setting up the mood for not only the Coma Wall tracks but also the Undersmile (more on these in a moment) songs as well. There is enough space and texture to the musical composition to really let the understated vocal harmonies shine and the patience demonstrated in the structure is particularly impressive. The second and third Coma Wall songs follow suit and continue to deliver on the doom/folk/americana/drone promise of the first track without much variation. There is some truly excellent arrangement and sounds on these first three songs. ‘Cutter’s Choice’ is the standout track on this record. It is a bleak and gorgeous piece with just enough hopefulness buried in the chorus to make the gloomier sections even more powerful.
The second half of Wood and Wire is reserved for the heavier side of things. The songs plod along at a familiar doom/sludge sub 100 bpm tempo. The change from the acoustic driven first half into the wall of guitars is pretty jarring at first. By the time the previously established lethargic female vocals enter the music it becomes apparent that this is the same band in an altogether different medium. Album closer ‘Hives’ is the standout for the Undersmile portion of the record. Opening with some disgustingly dissonant chords and vocal harmonies before dropping into a spacious and torpid groove. The space in the music once again lets the dire vocals shine before crawling into a wall of distortion and a climax so slow and ominous the most devoted of doom fans will have a hard time complaining.
While there album is mostly successful there are a few small things that keep it from being perfect. The production on the Coma Wall side is warm and full while the Undersmile side seems quieter and less rich. This is easily overcome though when listening at the considerable volume that the music demands. The only criticism that I can honestly level at the record stems from confusion. I’m not sure why they feel the need to separate into to two distinct bands. The two sides are similar enough in sentiment and mood that the separation seems a bit forced. If the doom and folk styles could be combined into one genre bending monster Coma Wall and/or Undersmile would really be onto something special. As it stands this is still a quality release that is worth any fan of the slower side of metals time.
