Woe to those who dismissed Sweden's
Dozer
as distant, perhaps unimportant satellites to the mostly U.S.-centric, late-'90s
stoner
rock
solar system, for here they are: five years beyond that scene's generally accepted heyday, and ten into their career -- and still they orbit, only now exerting the gravitational pull of a major heavenly body upon the smaller bands that lie scattered across the vast
asteroid belt. Can you dig? In the event you can't, and prefer less colorful descriptive methods, suffice to say that
's fourth album,
Through the Eyes of Heathens
, cements the band's gradual transition from perceived followers to acknowledged leaders of this perennially beloved subgenre of underground
hard rock
. In fact, the ten tracks making up
almost serve as a "state of the genre" address, boasting a broad cross section of historic
hallmarks. Take infectiously stripped-down tunes like
"Drawing Dead,"
"Born a Legend,"
and
"The Roof, the River, the Revolver,"
for instance -- all of them so timeless they simultaneously fit in with the mid-2000s crop of post-
heavy
blues-rock
bands (
Halfway to Gone
Alabama Thunderpussy
, etc.), and those Harley-on-the-highway, heavy groove-
anthems laid down by
's original contemporaries,
Clutch
Fu Manchu
. The apocalyptic
"Until Man Exists No More"
(featuring guest vocals from
Mastodon
's
Troy Sanders
) and the light-and-shade extremes of
"Days of Future Past"
dredge up massive
Black Sabbath
power chords from
's sister subgenre,
doom
, and the epic
"Big Sky Theory"
delves in neighboring
psychedelic
space rock
tendencies, while
"From Fire Fell"
"Omega Glory"
span the sonic evolution from
Kyuss
' pounding quasi-
thrash
to
Queens of the Stone Age
's driving riff-o-rama and quirky falsettos. There's even a total curve ball in
"Man of Fire,"
where jabbing guitars and
grungey
vocal tones temporarily have the band sounding like
Pearl Jam
-- weird! In the end, if there's anything truly dating -- or at least geographically specific -- on this album, it's
's obvious disinterest in any of the
Southern rock
overtones so prevalent among mid-2000s
retro rock
combos, but they're never really missed here. Rather,
offers top-of-the-line
at a time when it's sorely needed to revitalize the style. ~ Eduardo Rivadavia