ALBUM REVIEW: Disco Doom
In hearing the first two tracks off of Trux Reverb you might think that Jimmy Page's demo tapes had time traveled to the future in order to rediscover the glorious rebirth of guitar distortion. The six song album by Swiss musicians Gabriele De Mario and Anita Rufer builds upon thick walls of experimental maneuvering and is a strangely paced trek for the band.
For this outing Disco Doom tapped producer Jim Roth (Built To Spill) to capture the bands shift towards a more droning, bottom heavy record than the band's 2008, Dream Electric. As much as the bands previous sound relied upon a bass heavy rhythm section and swells of processed guitars, Trux Reverb is something darker and more exploratory for the band. You won't find lush Moog synths in dreamy pop arrangements on this album, instead they went with a dense sludgy rock sound for the guitars and effects. Some of De Mario's riffing can sound like anything from fuzz addled lighting bolts, “Them!” or phasing that makes his pulls sound like sweeping Tie-Fighters on “Star Drone.”
The track “Sands Inn” a sweeping acoustic guitar jaunt, is the only resemblance to the bands previous methods of song writing; vocals are scant throughout. The band's main focus is to dissect and reinvent the heaviness of their sound by being one part shoegaze, three parts electrified grunge. The minimalistic and thought provoking closing track “Port Land” clocks in at over fifteen minutes, though it's sparse instrumentation and suspenseful timing may become trying of your patience.
If the pair of De Mario and Rufer were attempting to write a concept album, than it’s a safe bet that Trux Reverb was the result of mixing hallucinogens and listening to the "Altered States" soundtrack. (Static Cult Label)