Not exactly the most prolific band in the Universe, space metal ensemble
UFOmammut waited all of four years between their first two albums, 2000's impressive
Godlike Snake and 2004's sonic atershed,
Snailking. Then, with the exception of the bite-seized
Lucifer Songs EP in 2005 and a collaboration with
Lento in 2007, they left earthlings waiting yet another four years for their third album proper,
Idolum, to arrive -- like a faithful comet returning, right on schedule, to the inner solar system after its long and mysterious orbit out to the Oort Cloud. And despite this long absence,
UFOmammut's sound also remains largely unchanged and surprise-free, since
Idolum continues to meld doom, stoner rock, metal, acid, and space rock into a distinctive crush of thrumming guitar sludge, atmospheric passages, and predominantly raw, distorted screams. Hypnotic opener "Stigma," for starters, provides a typically escalating opening sequence, while the more dynamic "Stardog," though punchier and almost grunge-like in nature, also treads familiar ground; leaving it to the ensuing "Hellectric," in turn, to pump up the space rock ambience tenfold and explore some new textures along its wafting, weaving voyage through the ether, and foreshadowing somewhat more uncharted musical dimensions yet to come. These include the album's emotional highlight, "Ammonia," where
UFOmammut fess up to their
Pink Floyd influences with the help of haunting female vocals à la "The Great Gig in the Sky" (performed by
Rose Kemp); the rhythmically insistent "Nero," which, with its multiple moods and bouts of chiaroscuro, borders on the post-rock universe populated by
Isis,
Cult of Luna, et al; and, the comparatively concise mega-blast of "Destroyer." All that's missing, then, is the album's mandatory closing monolith, "Void," which, in line with past examples, lasts a veritable eternity at nearly 30 minutes, but also produces multiple points of interest along its long space odyssey, including its eerie,
Kraftwerk-ian intro, protracted fidgeting with alien frequencies halfway through, and quite expected, but still devastatingly effective concluding catharsis. All in all, the above balances enough familiarity and inventiveness to satisfy acknowledged
UFOmammut believers, while both converting and generally wowing the newbies in the audience. It is therefore safe to proclaim the security of
UFOmammut's lofty standing alongside similarly visionary leviathans such as
Electric Wizard and
Opeth, for possessing one of the most recognizable and individualistic sonic imprints in underground heavy metal.