I hadn’t heard of the band Gloson before, but that’s all right, because it seems to be a pretty young act from Sweden, consisting of Mikael (g), Christian (g, v, d), Kristoffer (b, bv) and Anders (g, v). They are now debuting with Yearwalker, which they initially did release independently and digitally in 2014. Then they did decide to work together with Art Of Propaganda and Catatonic State in order to have this material released on vinyl as well.
Yearwalker consists of four lengthy pieces (in between six and ten minutes, the four of them clocking more than half an hour). Opening song Årsgång starts with an integer guitar melody that immediately draws my attention, and when a fine drum pattern joins (after about half a minute), I am sure: this might be something interesting. Somewhat later some heavier guitar lines drop in, and the basic essence of this band becomes clear. Damn, might be that kind of Sludge that characterises labels like our own ConSouling Sounds, so imagine my arousal…
Actually, this band brings nothing that totally renews the scene, but they focus on the purity of monumental Post-Metal / Doom / Sludge, including a macabre and sinister atmosphere, powerful and bleak grunts, and quite some energy (read: heaviness) – the latter without being brutal, for Gloson rather focus on integrity and atmosphere than blackened violence. The riffing is very melodious, with repetitive and very slow, down-tuned but epic rhythms, quite some variety (like the injection of semi-acoustic intermezzos), refined details and a grandiose production. Quite nice is the equilibrium in between the nihilistic and primal approach at the one hand, and the several layers that actually appear and reappear, each time when you take a new listen.
In general Gloson act in between the known borders of the Doom / Sludge scene, yet at the same time with a certain experimentalism akin to My Dying Bride or Opeth (note: this is a comparison to the creative side of these bands; it’s not that Gloson sound like those bands, all right). A fine detail is that each single composition differs from any other, with the one being more sludgy (Sirens), more Post Rock oriented (The End – Aftermath), more Stoner’ish, more metalized (Årsgång) etc…