With a previous split release titled “Days Of Sorrow” and an opening track named “And Thus It Ends...”, PYLON’s roots are firmly planted in Doom Metal. The fuzz boxes and tube screamers used on “Th’ Eternal Wedding Band” replicate a guitar tone similar to those on any early BLACK SABBATH release; however, the drums are crystal clear and recorded with the clarity that only digital technologies can render. The combination of these elements makes for an interesting listen despite some of the release's weaker points.
The strong suit of “Th' Eternal Wedding Band” rests in lyrical themes. With the exception of “Checkmate 64” (which is merely a collage of chess terminology) the poetic elements of each track blend grim subjects with false promise and bewildered hope. “Anaconda” takes listeners through the banishment of man from Eden and encourages the listener to “Taste the sugar now.” “To My Brethren” targets a misguided global conscience that concentrates on oppression and hunger while sarcastic subjects die ill and alone. The prize of the album lies in “A Walk Through Wonderland,” where a mother’s children suffer drug addiction, starvation, cancer, and disease as she pursues a marriage with Death. The band pays lyrical and musical homage to its main influences BLACK SABBATH and ST. VITUS throughout the recording, but what makes the release noteworthy is its lyrics. What prevents listeners from paying attention are the vocals themselves.
“Th’ Eternal Wedding Band” involves three vocal approaches: a singer, a shrieker, and a growler. The shrieks and growls only appear in a few tracks and add just enough diversity to engage listeners during dull the moments, but the litmus test for most dedicated listeners rests in Matt Brand’s inflections and tone. Brand’s vocals are not out of tune, and he does not lack a distinguished style. His efforts, however, seem forced and unnatural. Humor and conviction appear in abundance on this release, and the vocals do little to establish trust or unscramble any mixed signals. The message doesn’t fall short by any means, but the overall presentation does little to reel in reluctant ears.
Musically PYLON rely too heavily on their primary influences. Iommi guitar riffs, funerary keyboards, and simplistic drum work plague the songs and demonstrate little desire to do much other than recreate and pay tribute. The band thoroughly adheres to Doom Metal themes, but I do not foresee any future releases from the artists that will break the 8/10 barrier. Songs “Cannibal Coronal Mass Ejection” and “2026” provide nice instrumental efforts, but the lead work proves inconsequential and adds little value or depth to each track. A few spacey guitar tones and pinched harmonics highlight the release, but nothing separates it from superior works created by the band’s primary influences.
(Online April 3, 2007)