Recently Worcester, MA based riff-dealers SET sent me a copy of their ‘Valley Of The Stone’ LP and ‘Modern Slavery/Northern Front’ demo CDr. Holy shit this band is fucking heavy. A perfect molotov cocktail of doom, sludge and elements of NWOBHM… this band is only going to get better with time too… the new demo kicks some unprecedented amount of ass. Be sure to pick up this LP to hear where it all starts. For those PATAC diehards, you may recognize their new vocalist Dave Shay from FAST DEATH on the newer recordings.
I’ve snagged this excellent review from JJ Koczan from THE OBELISK.
“Massachusetts-based metallers SET reside somewhere between the seemingly disparate sides vibes of thrash, stoner and doom, but from the bombastic groove of opener “Dicing with Death,” which launches their Valley of the Stone 2013 debut LP, self-released digitally and on vinyl, they’re immediately difficult to place in one or the other. Granted, the Worcester four-piece can’t play in two speeds at the same time, so it winds up being tradeoffs between fast and slow, extreme and nodding, but still, what’s most successful about the two-sided eight-track release is how much it seems to pull its elements together as a cohesive whole, cuts like the aforementioned “Dicing with Death,” or side A’s closer “The Eagle” pushing forward with breakneck weight and speed while “Magnum Opus” plods a smokier course and “Wolves behind the Sheep” works to bring the various sides to bear in one of Valley of the Stone‘s most engrossing rolls.
As a standout with a particularly killer hook, “Wolves behind the Sheep” serves to represent the stylistic breadth of the band well, blasting one second and swinging hard the next. I’ve had the advantage at this point of seeing SET play live three times now (reviews here, here and here), and seeing the fluidity drummer Tim brings to his tempo changes on stage only affirms what comes across on Valley of the Stone in that he does well in holding these songs together. That’s true throughout the album, as bassist/vocalist Andy, guitarist/backing vocalist Jeff and guitarist/vocalist Dan run off in one direction or another, telling stories of souls lost and various horrors inflicted on the unsuspecting, as much Slayer and S.O.D. as Sleep and Trouble. Their identity as they present it here is what gets carved out of the influences, something as threatening atmospherically as it is outwardly aggressive, “The Eagle” rounding out side A with its brashest vibe yet, dense low end underscoring a barrage of riffs and crash that drives through a metallic apex and into a finale of dizzying turns.
It’s fucking heavy, and I don’t think SET would have it any other way. The plot thickens on side B, though, with the creepy lead guitar on the title-track giving way to a full-on grindout followed by noise rock rumble-and-shout, the band’s command unwavering as they nod at Crowbar‘s sludge en route to the next round of swinging pummel and the Dopefight-style stoner punk of “Apophis,” catchy but less nuanced than “Valley of the Stone” or “Children of the Doomed,” which serves as the apex of the album, Jeff and Dan coming together to add a rush of lead lines to the hook. Since, like “Wolves behind the Sheep,” it’s the penultimate cut on its side, there’s an element of symmetry at work in Valley of the Stone‘s structure as well, but the more satisfying thing is the actual song, which hits the blend of extremity and groove just right and shows what SET are able to do at their best. The closer, “Sacred Moon Cult” is rightly saved for last and is probably the only track that wouldn’t be a comedown after “Children of the Doomed,” but its chorus feels like it’s taking a shortcut to righteousness, as opposed to the frenetic rawness of “Children of the Doomed,” which punches through a wall rather than going around it.
Maybe at that point it’s splitting hairs, but either way, by then SET have shown their ability to cull something individual out of familiar elements, and there’s nothing more one could reasonably ask of their debut than that, though in that regard it’s worth pointing out that the vinyl version of Valley of the Stone, with its two-sided liner and dead-on black-and-white artwork makes for no less accomplishment of presentation. Some bands figure it out late, some bands figure it out early. SET would seem to be in the latter category if the debut is anything to go by, and with a sound so varied, they still have plenty to work from in terms of creative progress without much fear of stagnating anytime soon.”