Troy The Band - The Blissful Unknown (EP Review)

Troy The Band - 'The Blissful Unknown' EP Review

I don’t consider myself a real music reviewer exactly, and it is a bit of a give away when I do take the the time to write reviews because I only ever do this for music that I care about. Plus, I’m not sure that too many people even read long-form reviews these days except the bands themselves, but I still think that reviews are important somehow in pushing real bands forward, and as a way of supporting this underground scene.

In this case, I actually feel a duty (in a good way) to get something out for this new, debut EP from London’s ‘Troy The Band’ because of how they recently arrived on the scene, and how we played our own small part in their early story.

This band formed during one of the lockdowns of 2021 and as such it is still a very new and fresh thing. As we ourselves at CW were still properly getting things up and running again Sean Durbin (bass) got in touch with us at just the right time with a pretty rough demo of this EP in late 2021/early 2022 and we had some early text exchanges online. Even at that early stage I heard something special in the demo and consequently I gave them a main support slot at CWL VI as a bit of a punt, not really knowing how that would work out and hoping that they would ‘do the business’ live (I usually like to have seen a band play live elsewhere first before booking them, not least on quite a big bill). Play they did, and it was a very special night one way or another, with great performances from all of the bands, and an exceptional debut performance from TTB - this only their second ever live performance, as I recall. The demo songs not only worked in the live context, they took on a life and energy of their own that surprised everyone (including the band, from what I saw that night). It was like a bomb of riffs being set off, and it was only the sheer quality, energy and experience of headliners Trevor’s Head that prevented them being upstaged that night, much to their credit. I don’t know how their very first show went, but it felt like our Civil War show was the night they really ‘arrived’ on the scene.

So, now at long last we have the new studio release of ‘The Blissful Unknown’, released last weekend, and recorded by experienced producer Wayne Adams over at Bear Bites Horse in Haggerston, himself well-known on the heavy/hardcore circuit from Death Pedals and other recent projects. All of the original demo tracks are present and have really benefitted from the ‘studio’ treatment but crucially, they have been able to capture the urgency and energy of their live delivery.

The EP opens with ‘I Wage A War’ (3:23) - a fitting, punchy opener which displays almost all of what they do best. The track comes straight out of the blocks with TTB’s ‘signature’ crushing bass and guitar, insistent drumming and intriguing, gravel-voiced melodies laden with dark and foreboding lyrics. The chorus is a monster with the drums riding the bell at just the right time and lifting this whole thing up to just the right level. ‘I was not born just to die’. Amen brother. That line has always struck a chord with me since I first heard it. The bridge/breakdown section opening up around 2:00 brings yet another level of fuzz and shows a surprising level of complexity and musicality for ‘heavy/stoner'‘ music (often wrongly written off by people outside the scene as being simplistic) and while I won’t go on too much about it, the bass is absolutely first class and really leads from the front in this band, in a pretty unusual way. The vocals sit nicely in the pocket but aren’t lost (could arguably do with a bit more guitar?) and Craig Newman’s subtly doubled/reverbed delivery somehow reminds me of Jane’s Addiction or something, and they fit this band perfectly. The vocals are relatively uncomplicated, but they are delivered with real anguish and conviction throughout this EP. Great opener.

Track 2 ‘Less Than Nothing’ (8.24) opens with a swirling pool of bass fuzz, then the track’s main riff drops set against the primal, minimalist drums of Dan England, who like all top drummers knows instinctively what is needed (and throughout). There are definite elements of stoner doom , with an underlying bleakness running throughout the music (although I really enjoy the trip). The new version of this track has some cool psychedelic/atmospheric overdubs and sonic layers that add good depth. The lead guitar of Sean Burn gets a first proper chance to shine in the extended ‘intro’ to this song and he does a great job of building tension and showing what he can do, with excellent guitar tone and amp break up. Beautifully psychedelic. After 3:30 the tension is released and the song begins in earnest, with the vocals making a real statement, dropping lyrics of existential doubt and questioning. The guitars and drums are crushing in the chorus and it all works so well. You can’t help but submit to the grooves and riffs. They just crush and dominate, with the vocals just wailing in stubborn defiance. ‘I was not meant for this world’ rings true yet again. Ooooh man - the change up at 6 minutes. Oooft! Takes me back to the live show all over again. So tasteful.

‘Michael’ (6:53) I can immediately recall as a track from the simple but catchy riff. Channelling some slower, steady Sabbath vibes. The verse begins subtly but builds back into that repeating riff that doesn’t rush itself, but breathes and swells. Fuzz-laden guitars with octave effects lead into a solo section, but return into that bone-crunching riff. Gigantic hung chords. Then a new exposed breakdown. Really introspective. Still not rushing. Just vibing with the groove. The band will not let you escape from the groove. You will accept it and be glad. The vocals emerge again with good effect and the song builds to a swirling peak, with one last taste of that original monster riff.

‘The Blissful Unknown’ (7.37) brings in some more shoegazey/hardcore vibes which to my ear to recall a bit of Failure at their heaviest. The cycling-distortion and guitar feedback at the outset is a joy to hear, at least to a tone pervert like me. Then that crushing bass emerges from the depth again just to let you know that it’s there, like a giant circling shark in the gloomy water. Sean Burn’s psychedelic guitar palette is superb on this track (tons of subtle effects, maybe a rotary?) and thanks to him the track drips and flashes with trippy stoner vibes. Possibly a ‘passing note’ included there on the bass (?), but it still works!? Damn. I recall from being in the studio at Bear Bites Horse that Wayne likes things to be as organic and natural as possible, not too ‘produced’ or polished, and he encourages studio ‘takes’ to be fluent and honest as played wherever possible. it works beautifully. Around 4:30 these guys drop a new riff section, maybe the biggest one yet. It’s a great riff line, with guitar and bass working the entire fretboard up and down. The vocals soar above it all while the guitars and drums drive on and on and on. No relenting. No remorse. No let up. This is the stuff that raises buildings to the ground. I remember seeing this live and joking to my mate that Sean Durbin’s fingers were going to start to combust, it’s that busy, but not gratuitous. But then! SPACE. They allow you some air. ‘Save your tears’. Then back again. That grinding riff. As I mentioned before, it’s bleak but so enjoyable. And then, the EP is done.

It must be said here that Wayne Adams has done a great job in bringing the best out of this band on this EP and deserves plaudits, although the raw material is so well put together that I bet he thoroughly enjoyed the process. As I mentioned in a recent Insta post, this is genuinely one of the best EPs I can remember hearing in a very long time, to the extent that you start thinking back to AIC’s Jar of Flies even. At times it is magnificent and I don’t ever tire of hearing it at all (although I would love for them to upload the lyrics to Bandcamp so that I can read them).

Sure, the EP makes me want to find a dark corner and drink and smoke myself into oblivion, but that’s what all good music does right. Right?

D. Kirk 13/04/2022

To but ‘The Blissful Unknown’ visit: The Blissful Unknown | Troy The Band (bandcamp.com)