Slift – ‘Ilion’ album review: a pulsating journey into the depths of time and space
THE SKINNY: Ever since Slift first asserted their power with an acclaimed KEXP performance in 2020, which spread the message of their metallic but cinematic take on space rock, they’ve been one of the most closely followed bands in Europe. Now, after a pandemic and what feels like an age, they’ve arrived with their third album, Ilion.
The new record ups the ante from the trio’s 2020 record, Ummon. Not only have they delved further into the realms of doom and psychedelia, with it undoubtedly their most extraterrestrial sonic construct, but Slift have also experimented with more electronic textures. These new aspects provide a suitable ballast to the record, which has crash-landed on Earth like an alien object seemingly flung from deep in the void.
All three members have refined their efforts on Ilion, and the constant shift of its dynamics is something that stoners, fans of heavy rock and those looking for something off the beaten track will undoubtedly appreciate. While it pulls from some evident places, it’s a unique album in that Slift fuses their respective influences into one distinctive mesh, further carving out a space for themselves in today’s increasingly congested landscape.
The constant friction between frontman Jean Fossat’s blazing vocals and guitar lines, his brother Rémi’s exceptional basslines and drummer Canek Flores’ rhythms – even in the lighter moments – is an artistic achievement. No member ever feels drowned out; all have their part to play in propping up the Ilion leviathan. Even if, despite the constant locomotion, the general vibe feels lacking in variety at points, as a whole, Ilion is another welcome chapter in the story of Slift. It opens them up to a different setting from their earlier years’ more straightforward, muscular psychedelia.
For Fans Of: The sweet leaf, denim shorts and getting mustard down your new white T-shirt while drunkenly devouring a hot dog.
A concluding comment from Tom’s mother: “I don’t believe that these young Frenchmen have ever worked a day in their lives.”
Ilion track by track:
Release Date: 19 January | Producer: Olivier Cussac | Label: Sub Pop
‘Ilion’: This thunderous title track commences with a flurry of noise before it gives way to a shimmering segment that sees Slift take their penchant for sonic cinema to another level. The trio excels with Fossat’s guttural vocals and searing guitar lines at their peak. Spacey and drenched in reverb, this twisting sonic odyssey is fittingly named after the Greek phrase for the mythical city of Troy, a crucial feature of Homer’s own sweeping epic, The Iliad. [5/5]
‘Nimh’: This is a nine-minute epic of intergalactic electricity, wherein the trio jump deeper into the doomy abyss. After an ethereal break in the final third that’s like a mysterious call from beyond, the finale is a slow, rich and dissonant din assertive enough to make anyone renounce their present setting, drop a tab of acid and wander into the mind’s eye. [4/5]
‘The Words That Have Never Been Heard’: Another explosion, Jean’s reverb-heavy vocals sound like he’s resisting being pulled into a void before the expressive bassline and rolling toms struggle to pull him from its clutches. Then, due to the jazz-influenced rhythm, the band explores their airier side again. Over 12 minutes long, it is one of the more hypnotic moments on the record. However, there aren’t many discernible differences between it and the previous tracks. [3/5]
‘Confluence’: The calm ending of the previous song segues into the brief moment of solace at the start of this one. The chiming delay effect on Fossat’s guitar is another welcome facet. It provides relief and wonder at where we may go next as it dovetails with the bubbling electronic arpeggio and atmospheric melodica. The space metal returns after this suspension, with one of Fossat’s distorted solos carrying it to its close. [3/5]
‘Weavers’ Weft’: Nearly ten minutes of shifting dynamics and moods, the almost Gregorian vocal style is a compelling creative change. The Fossat brothers’ pipes and instruments dovetail across this composition to full effect. It’s another doom-laden exercise that has us eagerly awaiting the next turn. In the middle section, Jean displays how exactly a wah pedal should be used. [3.5/5]
‘Uruk’: Perhaps the most arcane feature of Ilion, the darkness is palpable. At the start, Rémi takes the vocal reigns, with his harmonies wrapped in delay and reverb, instilling his higher pitch with a greater sense of enigma. Boasting a repeated, trebly riff from Jean initially, this establishes enough of an appetite for the ensuing louder moments. Perfect for a supernatural Dario Argento movie. [3/5]
‘The Story That Has Never Been Told’: A psychedelic masterpiece, Slift blends their mix of dark and light textures seamlessly. It might be another extensive moment that’s not so distinct from other songs on Ilion, but the way it holds your attention for the full 12 minutes, thanks to the interplay of the expressive guitars, vocals, and astute production, is a triumph. The climax is the most impressive moment on the record. [4.5/5]
‘Enter The Loop’: An electronic and experimental closer, drawing on flecks of industrial, it seems to point to the future of Slift, which might be more mechanised, fitting for our present cultural juncture. [3/5]
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