Dopelord-Weedpecker-Major Kong-Spaceslug - 4 Way Split
ARTIST........: Dopelord-Weedpecker-Major Kong-Spaceslug
TITLE.........: 4 Way Split
LABEL.........: n/a
URL...........:
GENRE.........: Hard Rock
QUALITY:......: 270 kbps avg/ 44100Hz / Joint Stereo
RIP DATE......: 2019-09-11
RELEASE DATE..: 2019-02-01
Tracklist:
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01. Dopelord - Toledo 7:09
02. Weedpecker - Rise Above 5:29
03. Major Kong - The Mechanism 6:12
04. Spaceslug - Ahtmosphere 6:54
Total 25:44
Release Notes:
They come from Lublin, from Wroclaw, and from Warsaw, and they bring riffs in
bulk, but whatÆs even more striking about the four-way split from Polish
heavyweights Dopelord, Weedpecker, Major Kong and Spaceslug ù in that order ù is
the level of diversity between the bands and just how much of their own
personality each one brings to the proceedings. These are four of PolandÆs best,
to be sure, but by no means representative of the entire underground in the
country ù that is, theyÆre not PolandÆs only four heavy bands, nor do they
represent the entire stylistic swath of their compatriots (Sunnata and Belzebong
walk by and wave) ù but in terms of groups whoÆve emerged over the past
five-plus years in order to make an impact on the wider European sphere, theyÆre
a suitable representation, and with an exclusive cut from each act involved, the
self-released CD and LP makes an all the more fitting sampler of what PolandÆs
long underrated scene has to offer. ItÆs telling that 4-Way Split is a DIY
release, and itÆs also telling that, having come out in February, most of the LP
editions and CDs are mostly if not entirely sold out.
The underlying message would seem to be that Polish heavy deserves a broader
look it hasnÆt yet gotten, and the audio from each of these bands lives up to
that narrative. They each have their own measure of accomplishments and have
developed an identity of their own, whether that comes in the form of Dopelordæs
tonal largesse or the grunge-infused melodic wash of Spaceslug, and as this
release demonstrates, the bands arenÆt so much united by a singular approach ù
they donÆt all sound the same ù as they are by the fact that each one has
embarked on finding its own place in terms of sound. Some of this can be related
to geographic spread, with Lublin, which is home to Major Kong in the west,
while Spaceslugæs native Wroclaw is further east and Warsaw, from whence come
Dopelord and Weedpecker is a bit further north on the eastern side of the
country. But the diversity of influence would seem to speak more to a general
creative will than the fact that these acts simply represent different scenes
within the country.
Even just Dopelord and Spaceslug, in opening and closing the release and both
representing the capital, have markedly different approaches. ItÆs the formerÆs
ôToledoö that provides the seven-minute leadoff/longest track (immediate
points), and Dopelord, whoÆve kicked around since the 2012 release of their
debut, Magick Rites (discussed here), show that they, almost in parallel to a
band like Monolord have managed to carve an identity for themselves out of a
core Electric Wizard influence. There is perhaps a bit of subtle commentary as a
sample tops the initial bassline saying, ôA city of the deadà the living deadö
as ôToledoö gets started, but while what ensues may be informed by zombie
horror, its procession is nonetheless emblematic of the bandÆs reaching toward
an international aesthetic, taking something from outside and making it their
own. This is essentially the story of how any ôsceneö organically develops, and
as PolandÆs scene has over the course of this decade, like Greece or even
Australia, Dopelord have helped pave the way for others to follow.
dopelord weedpecker major kong spaceslug vinyl
One might say the same for Weedpecker, who by now have become a progressive
enough group that some part of them probably wishes they had a different
moniker. 2018Æs III (discussed here) was their label debut for Stickman Records,
and their ôRise Aboveö inclusion on 4-Way Split would seem even to push past
that offeringÆs gorgeous melodic wash. Still holding to the weighted tones of
their early work, they too would seem to have found their niche in terms of
style, and at just five and a half minutes, ôRise Aboveö conveys that
achievement with telling efficiency. ItÆs at least a minute shorter than
anything they had on III, so it might be indicative of some tightening of their
craft in the future, or it could just be a one-off. Either way, the flow
Weedpecker hone in that relatively brief time is essential to understanding
where they come from as a unit and what they bring to this release and Polish
heavy as a whole, so mission well accomplished.
Side B leads off with the instrumentalist Major Kong, who bring forth the 6:11
ôThe Mechanismö and tap into a core modus of riffing that would seem to know no
borders. Theirs might be the least nuanced of the four cuts here, but even for
the lack of vocals there are backing swirls deep amid low end and other bits of
sonic detailing, bass runs, etc., to dig into, and they demonstrate that if
youÆve got groove, youÆve got everything. Some of Major Kongæs work in the past
has tended toward a burlier plod ù the trioÆs last LP was 2017Æs Brace for
Impact ù but ôThe Mechanism,ö while still out to leave a bruise or two, doesnÆt
want for melody. It is a clear-headed take on instrumental heavy rock that is
pulled off with a live-feeling energy and finds the band able to portray a sense
of structure even without the use of traditional verses and choruses. No doubt
it should, as Major Kong have been at it for the better part of a decade, but
the firmness of their purpose is refreshing and shows yet another side of Polish
heavy.
Speaking of, IÆm not sure another Polish band have come along in this decade
whoÆve been able to make a mark as quickly as Spaceslug. The three-piece have
worked quickly to issue three full-lengths since 2016 ù 2018Æs Eye the Tide
(review here) was among the yearÆs essential releases ù and the 4-Way Split
capstone ôAhtmosphereö underscores their ongoing creative growth, with laid back
push into a tonal and melodic wash that, even as the central line becomes, ôThe
atmosphere is gone,ö indeed wants nothing for ambience. A solo takes hold in the
last minute to bring the track toward its drawn-out conclusion ù things fall
apart, or maybe just roll to a stop ù and ôAhtmosphereö rings out to 6:53 to
bookend with Dopelordæs ôToledoö and further highlight the sense of identity so
crucial in what these bands are doing.
Each one has their root influences, and each one has done the work necessary to
push past them and discover who they really are as a band. ThatÆs not
necessarily a process with a solid ending ù who they are will inevitably
continue to change ù but this split feels like a declarative moment on the part
of some of PolandÆs strongest acts, telling those who care enough to hear them
that their home country deserves consideration as a significant contributor to
the greater European underground. They make the case well, and loud.