Well, now for something completely different! Before this release, I didn't know anything about the Massachusetts based Eight Foot Manchild. But someone in the band sent me the promo for this album, their fifth EP "Do Spirits Return?" and described it as “doombrass” so I figured why the hell not give it a chance? I love doom and, believe it or not, I was in concert/marching band during my middle and high school years (I played trombone).
Of course, I sucked so much ass that I gargled my own balls. However, this band does….whatever the opposite of gargling balls is.
Although sax certainly isn't a stranger to doom (or metal, in general), I can't say I know a lot of bands that also incorporate trombone and tuba into the mix. At the very least, I never would have imagined all these instruments would be in a doom metal band. And a damn good one at that.
The foundation of the band itself is straight up doom: heavy riffs, expressive vocals, and a powerful foundation. The atmosphere isn't depressing or sad (this isn't funeral doom) but it's certainly dark, laced with moody evilness among horrific tales.
But this isn't doom AND brass. Much like the band stated, this is doombrass! One style couldn't not exist without the other–take away either the doom or the brass and the songs are only half of their ultimate potential. No, this is a TRUE mixture. This is a symbiotic relationship between sounds that shouldn't work together but do.
The production is great. It's just misty enough to provide the hazy fog of unseen horror lurking within. And it's just vibrant enough to capture every instrument. Trust me, every detail across these five songs deserves to be heard.
Since it's only five songs with about 20 minutes runtime, I will say a little about each one. But I feel my words can't really do something like this justice. Head on over the bandcamp link at the end and jam out. That's the best way to experience this new, unique sound.
The song is “Monsters Reign” and, like any good first song, it sets the stage for the rest of the album. If you like this song, it’s a safe bet you’ll enjoy the other four songs. If not….well, there is zero chance you won’t like it as long as you keep an open mind. It’s just too damn clever, catchy, engaging, and entertaining. Of course, those descriptions apply to the EP as a whole as well.
Despite the inclusion of brass, they don’t feel shoehorned into the songs. Likewise, the doom elements don’t seem to be added for the hell of it. Every instrument has its place. I think it’s really awesome the tuba acts as the bass—it’s magnificent and supplies a low end as heavy as any bass guitar.
The vocals are fun—clean with boundless energy but just rough enough when needed. Near the end, the entire band grooves and bangs it out. I never thought I would say that about any brass instrument but here we are.
“Tanas Root,” is an immediate song that settles into a big groove early on. The vocal cadence is huge but matched by the instruments, which feel like doom falling down a rabbit hole, smacking the ground, bursting apart, and reforming into a new beast altogether.
The sax is an instrument I normally can’t stand—definitely my most hated instrument of all time. But it sounds great on this song, and the album too of course. That’s a testament to the band to take something I hate and make it put a smile on my face.
“Circle of Salt,” is a short but MASSIVE song. The beginning seems fathomless and sinister—if someone asked me to give them an example of what this band sounds like, I’d probably choose this song.
The (sort of) title track, “Spirits Return,” is another prime example of what this band is capable of and it seems like a companion piece of “Circle of Salt,” which makes sense because that song leads right into this one. The vocals are occult and ancient—definite horror vibes here! The drums hit hard, perfectly accenting the groove of the vocals. I love the ending part, with the liminal spaces hanging between the thump of the tuba and chanting vocals.
The final song, “The Good Death,” is a trip to the other side you’ll want to take several times. The brass instruments are theatrical and bombastic, driving their own rhythm to push the song into a powerful vocal performance. The tempo increases just after the halfway mark—whimsical yet deadly!
Eight Foot Manchild is a band that I never thought I would hear playing music that I never thought would exist. The best thing is, it’s more than just novelty—this is some seriously great music…doom, brass, or otherwise. Doom metal needs this, even if it may not be ready for it. I hope they put out a full-length soon, ready or not here they come!
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