Tooth | Record Review | Indy Week
Pin It

Tooth 

Animality
(Churchkey Records)

Listen!

If you cannot see the music player below, download the free Flash Player.

Read our article about Tooth

click to enlarge 12.5musfeat2_toothepcover.jpg

Animality, the debut EP from Durham quintet Tooth, begins a lot like a chubby pop-metal record: "Moderate Monster" lurches with two thick chords tacked with bright, wobbly bends. The tease ends after 30 seconds, though, when the whole production stops on a dime—courtesy of a vintage "The Four Horsemen" figure—to show Tooth's true, rangy colors. What follows is throttled thrash bounce, strapped with an unequivocal sludge gurgle that'd make fellow Dixie metallurgists Eyehategod proud. In those few minutes, Tooth manages a wildly rewarding hodgepodge of heavy influences, running the gamut from anything-core to ultra-crust.

Still, as impressively diverse as the band's palate on Animality may be, its strongest suit is the consistency of its low-slung and low-strung guitars. Front to back, the record's got the detuned depth its panoramic girth deserves. In a year filled with Deep South pot-metal from Wilmington's Weedeater and psych-heaviness from Savannah bands like Kylesa and Baroness, this record holds its own, boasting a lot of quality in 20 minutes.

Tooth keeps things moving in those minutes, as with "Monster." As soon as it seems Tooth has located the basement, its chug digs a bit deeper for a couple of Codeine-injected Saint Vitus moments. Dismantling ideas and clearcutting a sound to make room for a strong, sturdy, half-time crawl is a recurring theme for Animality: "The Stallion" re-casts the same riffage several times, each more gnarled and syrupy than the last, while album-closer "Ants" practically melts out of existence at its mid-point. Sure, it's not the strongest farewell (that'd be the churning "Dogs of the Fight," with its curdled black metal shrieks and busy guitar figures), but "Ants" caps off a four-song teaser EP that screams big things for Tooth and Triangle (and regional) metal at large.

Comments

Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Record Review



Twitter Activity

Comments

I'm all in on this album. Love the sound, love Amelia's soaring vocals. She brings a humanizing element to electronic …

by aburtch on Record Review: Sylvan Esso Refines its Slick Synth Pop Formula on What Now (Record Review)

This record is "All Over the Place". I mean that in the best way possible.

by hubbble on Record Review: Trust Trandle's Comfortable Instrumental Hip-Hop (Record Review)

Most Read

Most Recent Comments

I'm all in on this album. Love the sound, love Amelia's soaring vocals. She brings a humanizing element to electronic …

by aburtch on Record Review: Sylvan Esso Refines its Slick Synth Pop Formula on What Now (Record Review)

This record is "All Over the Place". I mean that in the best way possible.

by hubbble on Record Review: Trust Trandle's Comfortable Instrumental Hip-Hop (Record Review)

Love it! All the songs are beautiful!

by Jon Champion on Record Review: The Return of The Veldt, The Shocking Fuzz of Your Electric Fur: The Drake Equation, Is Great (Record Review)

© 2017 Indy Week • 320 E. Chapel Hill St., Suite 200, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation