When you think of British Post-Metal, Bossk are almost certainly one the first bands that spring to mind. A truly remarkable outfit that undoubtedly take influence from the likes of Isis, while they also often groove musically in the style of many of the great Stoner bands of the nineties. Named after an alien from Star Wars – The Empire Strikes Back, the Kent-based collective have been plugging away since 2005, when early EPs and a strong reputation as a live band saw them tour with the likes of Cult Of Luna, The Ocean, Baroness and Devil Sold His Soul. While their studio output really came into its own with the release of their fine debut LP Audio Noir in 2016, before following this up with the equally as classy Migration in 2021.
.4 (Death Wish Inc.) finds Bossk in a reflective mood, a celebration of their career to date as they compile a collection of rare tracks, reworks and remixes. Something for fans of the band, and anyone who appreciates quality experimental ‘Post’ music to savour, while Bossk write and work on their third LP. The record is largely instrumental and meanders in more of a Post-Rock style, with the heavy use of synths complimenting the guitars throughout. There is one ‘heavy’ track tucked away in the middle of the release, “Events Occur In Real Time”, featuring the rasping vocals of their now-departed original singer Sam Marsh. The song clocks in at thirteen minutes long, and is a thoroughly epic Post-Metal workout, which begins slowly and builds to a fairly tempestuous middle section, before returning full circle and closing out with a melodic trumpet-led outro. Originally written in 2008 and having only been available as a previous rare live recording, this new studio version acts as a fitting farewell for the singer.
Prior to this musical centerpiece, the record opens with Pijn’s reworking of “Kobe” and an orchestral intro where prominent strings and soft guitar leads combine to create a Middle Eastern flavour, and a melodic yet sombre tone. “Truth II” is a reworking of an old Bossk classic, where a rolling bass groove dictates the rhythm of the composition, and where soft synth pads weave mysteriously with ethereal female vocals. This version of the song journeys and takes on a trance-like quality, where a bubbling synthetic bass creates a thoroughly laid-back vibe.
“Albert” is short and sweet where a deep rumbling bass is met with breakbeats and swirling guitars/synths in very much a NIN kind of style, while the 2006 Reuben Gotto remix of “I” also very much channels Downward Spiral-era NIN, with its clattering Industrial sounds. Maybeshewill remix “The Reverie” in the style of a beautiful film score with classical piano and strings, while Crown Lands rework the same song into an epic composition which blends Sci-Fi soundscapes, organs, indigenous percussion and shimmering guitars, throughout an intriguingly arranged progressive journey of Post-Rock goodness.
The record then plays out with the dreamlike quality of “181 To Beulah” where a soft guitar initially strums over a single-note synth drone, creating pure tranquillity. Overall .4 provides a thoroughly calming experience; it is a beautifully crafted collection of songs which eloquently flow as one. An amalgamation of cinematic style soundscapes, which all combine to provide a unique experiment in sound. And is one for kicking back with a nice glass of wine when the mood takes.
Buy the album here:
https://bosskband.bandcamp.com/music
8 / 10
ABSTRAKT_SOUL