Out of all the genre-fusion-based subgenres that are popping up these days, some bands still manage to surprise me. From recent discoveries of scat-djent to blackened hardcore, I find relief in that there are paths still yet to be taken. As for Drug Honkey, their style of industrial doom feels equally as innovative. Admittedly, Godflesh toyed with such an idea decades ago, but the experimentation is pushed even a step further.
While their multiple previous releases are definite representations of the group's ability to mesh psychedelia and industrial instrumentation at a doom metal pace, Cloak of Skies has a real professional feel to it as if their rich past has culminated up to this point. Although I believe this LP is where Drug Honkey is peaking in musical quality, I'm not convinced this Chicago-based quartet has reached the height they deserve in terms of exposure. In hopes of pushing any curious readers up to speed, the project was begun by frontman Paul Gillis (Honkey Head) and drummer Adam Smith (BH Honkey) with guitarist Gabe Grosso (Hobbs) and bassist Ian Brown (Brown Honkey) joining later on. Their self-titled debut was released in 2002 and have since put out three other full-length records.
Merely mentioning their debut LP came out fifteen years ago creates quite a precedent as one may assume the band's energetic aptitude would decline, however Cloak of Skies definitely feels like a fresh new band ready to conquer. Opener track "Pool of Failure" shows such ferocity compacted neatly within the limits of the subgenre. "Sickening Wasteoid" continues the murky tempo as the abrasiveness excels on "Outlet of Hatred" while combatting a rhythmic vocal delivery. In this extremely layered form of music, it can be easy to get lost in all the commotion, but Paul Gillis surprisingly reveals a melody that one can latch onto. The album's longest piece, "The Oblivion of an Opiate Nod," is a slow burning atmosphere indicative of a bad trip.
Bruce Lamont, known for his work in Yakuza and Corrections House, appears on the self-titled track showing off his saxophone skills. And honestly, I'm quite surprised the saxophone hasn't made a larger appearance in the overall metal community. The prog scene is quite fond of the instrument, but considering it even works incredibly well in an industrial/doom scenario, it must be capable almost anywhere heavy. Lastly, the album finishes off with a remix of the opening track by Godflesh's Justin K. Broadrick. Normally, I'm one to argue that remixes are an awkward addition to a record being dragged along for the ride, but when a legend like JBK works his magic, the only real result is industrial bliss.
As enjoyable as this LP was, I have a gut feeling that Drug Honkey can balance their weird factor with the crunchy melodic grooves even more meticulously in further releases to truly hook the listener. Regardless, many of these tracks evoked an urge to be surrounded in a crowded, smelly venue where the volume is cranked to the extent of full immersion. When imagining the styles of industrial, doom, and psychedelic in a blender, one wouldn't imagine such a compelling result, yet the unorthodox fusion that is delivered is overwhelming in the most delightful way.
Score: 8/10
[youtube]https://www.youtube.com/watch?v=dmhtF8Fn5lQ[/youtube]
