Sons of Viljems are a London based duo consisting of Italian Andrea Giommi – Guitar/Vocal and Slovenian Nejc Haberman on Bass.
With regards to material they have hardly proved particularly prolific. In the course of roughly 7 or 8 years together, they've only just put out Lithospheric Melodies their debut full-length album. This follows a series of singles including; 2018's 'Touch Me Not', 2020's 'Unthinking' and 2021's 'Jelna', then we had the S/T EP, also in 2021 and finally the 2022 7” Jelena/Steaming Black Sea. That works out to about 6 or 7 songs since their formation, in that time the likes of the Melvins would have knocked out a good dozen or so releases. But bearing in mind the old adage quality more than quantity, will the album prove worth the wait?
'Lahar' features glorious viola courtesy of the talented Agathe Max (Abstract Concrete), which helps introduce the album on a Doomier ominous note. This eventually makes way for expansive Psychedelic jamming from the duo that recalls The Doors at their most tripped out on tracks such as 'The End'. Ably backed up by Tim 'Chiminyo' Doyle's drumming ( who was recently featured in The Guardian as one to watch in October 2023), this all makes for a superb start to the album. 'Liminal' is exotic sounding with cool middle-eastern touches as well as dub influenced Basslines ala Jah Wobble. The mystical Vocals and hints of Os Mutantes Tropicália make for even more of an intriguing listen. The track occupies that crossover point between Psych and Prog, managing to incorporate both without sacrificing either. Another belter. 'The Nephew of Viljems' recalls Sonic Youth what with the cool Lee Ranaldo and Thurston Moore Guitar textures ahd there is also a dreamy feel that brings to mind classic Shoegaze. Labradford and latter period Talk Talk Post-Rock experimentation make their presence known as do the band's Jazzy inclinations thanks to the exemplary Sax work of Matjaž Mlakar, the latter giving the whole affair an added Bernard Herrmann soundtrack appeal. A combination of influences that hit all of my sonic buttons.
'Lithospheric Melodies' brings to mind 1980's Adrian Belew era King Crimson, what with the sophisticated Art-Rock and Progressive Pop that is offered up. Agathe Max's dark Viola prevents the work from becoming too light and whimsical, thus making it a key component of this beautifully constructed track. The somewhat Carry On title of 'Morning Horn' aside, the African inspired tribal drumming and New Wave Guitar lines recall the Talking Heads when they were starting to stretch out and broaden their sound, making it an aural joy to behold. 'Silence' tips its hat to Ennio Morricone's work on Sergio Leone's Spaghetti Western trilogy and features muted, whispered vocals that prove an ideal accompaniment to the music produced therein. Its the kind of blissful beauty I'd expect to find on Desert Records artists such as Betty Benedeadly and Cortége. 'Pulse – Resonance' is Space-Rock intermingled with some truly tasty Dark Noir Jazz. The darkest piece by a country mile, it also proves to be the ideal way of drawing the record to a deliciously downbeat conclusion.
In answer to the question posited earlier in the review, yes, it was certainly worth the wait, especially as the band have taken their time to craft what is an absolute gem of an album. The least we can do as listeners is to give it the due attention and diligence it deserves.
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