Pruned down to their most elemental shapes and bloomed into hi-fi tunefulness via steadily ramping efforts the trajectory presented by the last few records from Belfast, Northern Ireland-based psychedelic sludge/doom metal trio SLOMATICS continues to redefine their previously ever-wandering soul unto greater immediacy on this eighth full-length album. Though this means that what ‘Atomicult‘ offers is largely iteration upon sounds and ideals introduced on their previous record there is something to be said for a troupe in this style aiming for efficiency, a more immediate resonance crafted beyond the usual milquetoast collection of trope-bound riffing. Though the end result doesn’t entirely suit my own tastes it does impress with a few undeniably ear-worming pieces and another successful pass at their always richly outsized production values.

Slomatics have been around since 2004 having put a couple of mostly instrumental fuzzed sludge/doom metal albums soon after, shuffling the line-up slightly and carrying on with the same trio and a tuneful, slow-wandering psychedelic doom sound since 2011 or so. The album that defines the band per my own experience is their fourth (‘Estron‘ (2014) but you can catch a more detailed look at their past discography in my review of their seventh LP (‘Strontium Fields‘, 2023) an album which was itself a departure into increasingly accessible, vocally driven “sludge rock” pieces and some keyboard/synth floated departures. This latest record continues down said path as they once again reign it in toward increasingly succinct distillate.

There’d been no quest for a more accessible stoner/doom metal sound on my part back in 2023 and as much is still true today, so, the main reason to revisit Slomatics‘ work and valuate ‘Atomicult‘ is to confirm whether or not the trios gig is still my kind of thing at all. The slow lumbering psychedelic doom of opener “Obey Capricorn” and its Floor-esque sludge-pop verses contain the basic signature of the group as the skin for a short and modestly anthemic starting point, a relatively quick introduction and within the bounds of the buzzing hi-fi sounds they’ve long sported. While it is a welcome return I’d say “Phantom Castle Warning”, which follows right after, immediately improves upon similar cadence and a slightly more active set of riffs as they gear up their first hit of vintage synth melded atmosphere. This general ramping of traits continues through the first three tracks available with “Auto-Skull” and its synth guided chorus alongside speedier grooves feels like an early plateau for the full listen.

If we called it a day there we’d have gotten a representative sample of what’d worked best on ‘Strontium Fields‘ via even more condensed down to pure songs. ‘Atomicult‘ doesn’t necessarily dodge that thread entirely but takes a short detour to alt-rock territory with the short indie-grunge ballad “Relics” (re: “Zodiac Arts Lab”?) and probably the least interesting, out of place piece on the record beyond interlude “Summer Skeletons”. From that point Slomatics lean into synth leadership (“Physical Witching”) and ghostly doomed plod (“Chrome Sisters”) regaining some spectacle and interest with fresh sounds and similarly shaped songcraft. The deeper we go the weirder things get but… not that weird after all as a nigh Cathedral-esque doom metal thread braces Side B and secures this album as (again) an easy sequel to what ‘Strontium Fields‘ introduced a few years back.

While I think it is great that Slomatics have returned to refine this even more personalized and approachable sound my fandom remains specific to the sound cultivated between 2014-2019 in terms of their discography and as such an immersive sojourn is traded in here for quick and tuneful pieces which manage little lasting impact in my case. On that note I do think they’ve once again done well to tweak their production values to a glossier but depth-ridden render which is yet impressive for is sheer sonic values and stands well within the bounds of their greater signature tonality. A now compounded change in the shape of things finds me exiting their realm sated enough by past releases while still admiring the choice to continue honing of their craft as they’d see fit. A moderately high recommendation.

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