Matthew Graboski
Stephen Sroka
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They are spawned from the depths of our humanity, a
presence wholly of its own accord, and untethered by the whims of their
former selves. Their rock is of a force free to speak for its self and
will not be heard in the quiet of their awareness.
A continuing influx of creativity and girth of spirt. "El Sledge (+)" has taken the form of an oncoming stampede ripe with harrowing echos brimming with the unbridled certainty of pure rock force. "Every time I hear this rock my insides explode and out jump the nether reaches of my ego" - anonymous. Formed in 2008, "El Sledge (+)" has evolved from the previous incarnation known as 'El Sledge", which featured just Graboski on vocals and guitar/vox/effects. Now the ensemble features long time collaborator and friend Steve Sroka on drums. "He rocks....he just fucking rocks!". El Sledge (+) has tripped into far reaching pastures with their latest material, a conceptual piece of sorts, the music spans the gap between what is expected and what is unorthodox for Graboski as a writer/maestro. Snappy minute long pieces that take the listener on a 10 minute journey in a fraction of the time, and of course a work that spans nearly 20 minutes. Sroka's writing prowess is only accentuated by his sheer cunning and daring approach to the kit and is perhaps the sole inspiration for the uncanny power of the duo.
They are "El Sledge (+)"
and this is the rock force.
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El Sledge (+) - Blending Church and State since 2008!!!!
El Sledge (+) is the combination of Stephen Sroka on drums, and Matthew Graboski on guitar/vocals/keys. Their music is the aural sound explosion of rage and beauty, turning in on itself as it races through time and space. The duo has comprised a conceptual duality through their music and has elected to release this music is a interesting manner:
1. Fletcher's Last Night
A live recording of the bands first seven songs. This was selected to be the first audio release by the band for a few specific reasons. First, the performance appropriately captured the essence of the songs. All the grit and grim that swells into the inferno was perfect in its place, and the over all conception the music was speaking true. The performance was captured on a Alesis Protrack 16-bit Remote recorder for Ipod at a venue called "Fletcher's" in Baltimore, MD. The excellent sound engineering of Mike Kane gave the band an awesome live balance and commanded the room to resonate with clarity. During a phone conversation between the performers a few days after the show, they decided to release this as their first physical representation.
The duality comes into play here: The rough and raw recording represents the band in a early stage, and through the progressing song writing and recording techniques, the band wishes to take the listener on a journey of growth with them. This is the first piece. Subject matter on this recording involves disgruntled citizenship, anger, and internal revolt while remaining a existing member of society.
2. Delilah's Grace
A song recorded for a Baltimore compilation called "The Baltimore Initiative 2010". This song is considered by the band to be the second piece of the now evolving trilogy of duality. The concepts are as follows with the piece:
a) A studio performance of the band live, but not without some tampering in the post recording. Vocals were done live, then recorded in isolation along with many other harmony tracks. Sroka's drums are live and without contamination. Guitars were added to give a more 3D environment and induce rock force.
b) Subject matter leans more towards spiritual nature on this track. It is attempt of the band to bridge between the social/political fire of the first album and the now acknowledged spiritual abandonment of the masses. A much favored tactic of Graboski's songwriting is put into use on this cut, giving you some 1st person perspective of a higher power at the end of the track. Preparing for an Apocalypse.
3. DOOM
The third and final piece of the band's vision. The nature of this album is based on the Apocalypse as understood in a metaphysical arena. Our minds that all the while were thought to be our own, are without that lasting truth to bind them into the infinite. The band is helping to move us toward the "Eschaton", the final event. Musically the band will take a different approach here. Instead of the short quick numbers of the past, the band will employ a few sprawling epics to help get the points into view.
As for the duality here, it comes full circle, with the band recoding in studio, multi tracking, over dubbing, and more instrumentation.
This should provide sufficient information for those seeking the thought process of the band. To all the reviews who are puzzled by the first album, I pray this gives a little insight as the why we chose this plan of action. We ask you to be patient while we prepare the final record, and as always, thank you for giving us your time and thoughts on the music. To all the fans, get ready for a primal scream.
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| album: Fletcher's Last Night
released: 2010
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Tracks taken from their debute performance at Fletcher's.
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"El Sledge (+), a local rock outfit that manages both mess and math ..."
- Michael Byrne (Baltimore City Paper)
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El Sledge (+) have released this live album that goes by the name of Fletcher’s Last Night which is definitely not for people of easy disposition. This band is a duo that consists of Stephen Sroka (drums) and Matthew Graboski (guitar and voice).
Here’s a history lesson for you, after Matt Graboski released an album called Drag Of The Mask, Martini Henry was formed and then abandoned after having recorded two albums, Airaid and End Of The Beginning. El Sledge was then formed, which featured just Matthew Graboski. From here El Sledge (+) was born when Matthew Graboski added Stephen Sroka to the line up. This is a blend of music that is not afraid to sonically challenge the listener, a dalliance with the sonically heavier end of the musical spectrum, experimental and alternative.
Pig Vomit, the opening track, well what can I say is an aural assault, with its bass heavy guitar effects and pounding drums featuring some very interesting time signatures. One of the first things I noticed on this track is the lack of vocal finesse, what I mean by that its short shouty screamy assaults, although they are only short and not often, they really do reinforce the song title. Musically the track is very strong, but is definitely not ear candy, as you can imagine. There is plenty of nice guitar work featured though, obviously supplied by effect pedals / backing tapes, rhythmic in places and mellow, supported by the very dynamic and versatile drum talents of Sroka.
Apokalupsis is next up and mellows the whole situation down somewhat; opening with Sroka’s repeating drum pattern and Graboski’s mellow guitar rhythm having a really nice lead section. The vocals are effect, heavy, all echo and distant. Once the song has found its feet, it just builds to a powerful crescendo, proving that these two guys can function in a very tight capacity encompassing power and passion.
Treowth is the shortest track on the album, not that there are any long twenty plus minute epics presented here, a meagre fifty six seconds of pure and adulterated rhythmic mayhem, featuring some really tidy drum and guitar work.
Wretched Anchor proves that there is more to the duo than just trying to power your way through a set of songs. Graboski’s vocals are very melodic and quite a surprise, a trick that he could maybe have exploited a bit more, as again this is only another short piece, which segues into Hunger For Power, which does see Graboski capitalise on his vocal dynamics producing a very nice piece indeed. Its passionate, emotional and his pleading vocal dynamic range is impressive, which is held together by the tightness of the two.
So with a track called Disembowel, I can only prepare myself for another assault in the form of Pig Vomit, but to my pleasant surprise, this is not the case. By the time the band have hit their stride, they have really found their feet. Baptism Of Fire is the atmospheric and somewhat a show stopper of a song, brings this unique and quite impressive album to a close. As a track it is a culmination of all that has been played before it, bringing it altogether in perfect harmony, well for this duo's version of harmony, which throughout pleases the appreciative audience attending, no end.
This really is an album that will appeal to the fans of acts such as Flipper, Mr Bungle, Fantomas, all things Mike Patton related, The Melvins and fans of the heavier more abstract approach to musical interludes - and Jeff Buckley. I really like what El Sludge (+) have created here, although it is not an immediate album by any stretch of the imagination, but once you have worked your way through the sonic soundscapes presented, you will be surprised at what a little gem this is. To others this is just going to be an abhorrent cacophony of noise, condemned to the annals of obscurity. Obviously the choice is now yours? You know my opinion.
Conclusion: 6 out of 10
- John O'Boyle (Dutch Progressive Rock Page)
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El Sledge (+) is the duo of Stephen Sroka (drums) and Mathew Graboski (guitar, vocals). The project formed in 2008 and was previously known as El Sledge as it only consisted as Graboski. The album was recorded live on November 27, 2009 and is a short one at just over twenty minutes but during that time the band certainly is able to get their point across. This album rocks with intensity and after listening to Fletcher's Last Night I was reminded why I like to go to clubs in the first place – to hear live music. There is a raw intensity here that is sure to get your attention and with song titles like "Pig Vomit", "Disembowel" and "Wretched Anchor" you just know this will not be easy to digest. As to be expected with limited equipment, the recording quality is not the greatest but that makes the listening experience all the more real.
The music played by El Sledge (+) is a little difficult to pin down. Heavy alternative/indie rock would be my best guess which is an area I am not completely familiar with. The band lists many influences on their MySpace Page including Fantomas and Jeff Buckley which seem to be a good starting point when describing this music. Sroka pummels his drum kit senseless as Graboski screams and wails through the microphone and squelching guitar chords hit you in the face. This band is anything but subtle but they do throw in some atmospheric sections to ease the brutality and Groboski actually has a pretty good voice when he tones down the screams.
This is a pretty interesting offering from El Sledge (+) showing the band has quite the potential to produce some quality stuff. With a little more refinement I would be interested in hearing what they come up with on a studio release. In the meantime, get ready to rock with Fletcher's Last Night.
-Jon Neudorf (Sea of Tranquility)
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If there's one thing I don't like reviewing, it's live music on recording. It's never easy to gauge anything with this kind of stuff. However, with song titles like "Pig Vomit" and "Disembowel", I figured this could get interesting. And it is. I mean, "Pig Vomit" tells you to ram it up your a$$.
Pretty sure I've never heard someone say that in a song before. Track 3, "Treoworth", is a short little ditty that consists of about 3 lines. Short and sweet. Ya gotta love that. This is yet another example of music that is out of my realm for sure but I don't hate it. And like I said, with live recorded music, it's never easy to tell what the songs really sound like. Track 5, "Hunger For Power", isn't all screaming and you can understand every word that vocalist Matthew Grabowski is singing. El Sledge is only two guys, Grabowski on vocals and guitar, and Stephen Sroka on drums. I appreciate stuff like this. Not everyone can pull this kind of stuff off. I actually have a favorite, track 7, "Baptism of Fire". You can hear Grabowski's heart in this track.
-Christie Gerber (Shockwave Magazine)
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