Clevis are a drum and bass act. No, not that kind of drum and bass. Literally just a drummer and a bassist. One might ask how substantial such an arrangement could be, but with a few overdubs and some excellent musicianship, Clevis have made a compelling album.

What’s in a name? Well, Clevis have chosen some appropriate ones. As Wikipedia says, “A clevis pin is a type of fastener that will allow rotation of the connected parts about the axis of the pin.” Truly, I could think of no better analogy for a rhythm section. But their song craft also works in much the same way. A solidifying theme is laid down and expanded upon usually climaxing with a neck breaking riff that’s sure to satisfy the latent stoner fan in all of us.

The album title is also appropriate since this album is indeed a pastiche of not just many different kinds of bass sounds and distortion but many styles of playing as well. Sometimes the bass is gently fingered and soft tones creep along. Other times the bass is slapped into a funky gallop that a listener might attribute to Flea if asked for an immediate reference. A bowed bass even makes a few appearances on the album.

One touchstone that’s sure to pop up in listener’s minds is Tool, but the swirling tom-heavy drums and choppy prog bass riffs only make a portion of the album. Tracks like “Five Days” and “Tape and Fault Line’ are in a totally different world. Both being quite gentle and serene. Even the track “Miasma,” with the heaviest distortion, the only one that might even come close to a comparison of Om’s preeminent drum and bass mantras, sidesteps its own guttural thrashing for a bowed bass interlude.

Aside from interesting and infectious songwriting, it’s just damn cool to see artists get the most out of their instruments: various hues and textures all painted by the same brush. Fans of instrumental and heavy music alike should give this a listen.

-Michael Lutomski