Canada is barren, yet also lengthy, with epic cities hovering near the American border. “Take a journey north that keeps on going, rather than simulate,” says the over-brain to the under-brain. This is my clue here. That’s what I’m hearing from Ottawa-based doom art rockers, Longhouse. This is their jam and they’re not compromising. And it feels raw and it feels good. The band’s second full-length, II: Vanishing (even the title rules), makes a case for one of the most epic doom records of the year.
Opener “Hunter’s Moon” is wide and pulls at your attention span, knowing precisely where to tug and release. It’s psychedelic and natural, raw and plentiful: a beautiful way to start an album. “Vanishing” gets all death metal and riff heavy, with rounded curves and full-bodied textures. Guitarist Marc Casey is a vision: a complete feeler for completion. He knows how to fill an angle, and his taste is really clean.
“Blood and Stone” is immersive, star laden overtop the shadows and chugging demon calls. It never bores, aware of its boundaries, making sure to compensate for tradition. Longhouse doesn’t always do whatever they want. The band is traditional in a traditional sense. But where they stretch the format is where they truly soar. The solos on “Blood and Stone” are classic birth-metal. Meaning, these are the sounds of inspiration. The stuff that is real and never gets old (think the first heavy metal tape you ever dreamed with).
Five tracks make up II: Vanishing, a record that capitalizes on its construction, a thing of invention and want. Longhouse want to feel the music, they want to be part of the trip north, the ascension into the past and the future. There’s a lot of doom and there’s a lot of original action going on with this trio. Certainly pick this up for a cruise to the wastelands, or through downtown even, the colors are so rich. Best of all, you can get this on cassette. Fucking right Longhouse, you know what’s up!