For the unaware, Shrinebuilder is the new doom “supergroup” made up of legends: Scott “Wino” Weinrich of St. Vitus/The Obsessed, Scott Kelly of Neurosis, Dale Crover of the Melvins and Al Cisernos of Sleep/Om. When listening to Shrinebuilder, it is interesting to see how all these pieces fit together. Much like the four natural elements, each member is a part of a greater whole. Wino is air. His ethereal guitar and vocals add space and lightness to the music. Kelly is the earth. His guitar and vocals are rough and gritty, yet monolithic and majestic. Crover is burning fire. His drums are the beating heart at the center of the band, and he brings blood and life to the project. Finally, Cisernos is the water. His fluid, playful bass parts take a number of winding, natural curves throughout the album, and his bass binds the other instruments together.

The advance CD contains four of the five songs that will be on the final version of the album. Solar Benediction is almost nine minutes long. The first three minutes rotate Wino’s wah-pedal mastery and Kelly’s angular heaviness. Wino’s voice sounds like a dirty angel on furlough from heaven, and Kelly counters with raging, oppressive thickness. For the next two minutes, the song slows to a crawl. Kelly growls and howls over a molasses version of the song’s main riff. Crover’s steady beat and unexpected drum fills keep the section from weighing down. At the five-minute mark, the song blooms like a flower, and the results are breathtaking. The section starts with a soft guitar lead. The drums come in, a slinky bass part is added and the second guitar just echoes behind. The airy interlude lasts a full three minutes. But then, the final 45 seconds of the song peel paint with a crippling reprise of the main riff.

Pyramid of the Moon is seven and a half minutes long, and it is a slower track. It begins with a groovy riff that would have fit on any Spirit Caravan album. Next is a subdued section with strummed guitar and spoken vocals by Kelly. The opening riff comes back in, and the band solidifies. The song comes back down to strummed guitar and spoken vocals again. Another throwback riff kicks in at the 3:30 minute mark, and some melodious ‘aaahhhhsss’ are soon sung over the top. There’s a wah-soaked solo that leads directly into a drone section. Crover almost cracks his crash symbol as the band kicks into full-on Sleep worship. Chanted vocals, possibly from Cisernos, ride the repetitive riff to finish out the song.

Blind for All to See is a seether that shines the spotlight on Cisernos creepy crawly bass playing. Crover’s drums compliment the busy bass part with a somewhat bouncy beat. For the most part, the guitars are subdued and vocals are kept low. This is an odd song that doesn’t really contain the crescendos or heavy riffing you’d expect from the group.

The Architect is the shortest song at only six minutes long. The song features more of Wino’s 70s flavored riffs and vocals. In fact, Wino handles the vocals solo until Kelly joins in for a chorus-type section at the three-minute mark. Over all, this is a more traditional rock song that reminds me of Spirit Caravan. The ending is interesting though. After an extended guitar solo, the song ends with a one-minute bass solo/outro. Cisernos gallops on the frets like a free form, funk-influenced Steve Harris.

After months of waiting, it is nice that Shrinebuilder’s music can finally speak for itself. These four songs pretty much sound like what you would expect from a band of this pedigree. Yet there are enough interesting twists and diversions thrown in to keep the album interesting. It’s a little premature to give this album of a CLASSIC rating…especially considering I haven’t heard every song. But if you are a fan of this genre, this album is definitely a “must buy.”