Kevin Doria is, possibly, the lesser known of these two musicians, yet his work as a member of Growing is exceptional and for the uninitiated there awaits a rewarding exploration of a band who initially used drone and ambient elements before stepping into more rhythmic territory. Their 2010 album PUMPS! is a masterpiece of propulsive intensity and ingenuity. For this album, Doria steps out from his role as a musician on Efrim Menuck’s tour in support of last year’s brilliant Pissing Stars album and his influence is clear as are SING SINCK, SING sounds unlike any of the Godspeed You! Black Emperor and Silver Mt. Zion leader’s work to date.

‘Do the Police Embrace?’ opens proceedings and its swirling kaleidoscope of sounds enraptures the listener and cossets them into the murky but warm world that the duo exists within. Sweeping drones and ostinatos emerge and intertwine until a hazy feeling is well and truly established, and presides over the album as a whole, as antifascist poetry is delivered by Menuck in a plaintive, convicted yet strained manner which hints at the rhetorical nature of the question. This is the poetry of hope, but also of realism as everyone is caught in the belly of the machine, but the machine is (finally) bleeding to death. Vocal chants come and go on this first track wherein a sense of collective unity is evident, solidarity for the unrepresented and ignored, whilst Menuck delivers a rhetorical list of questions about the emotional intelligence and humanity of the police. The synth drones in the background give a sense of disorientation yet the melodies played over the top are persistent and optimistic, offering a sense of joyful but painfully human hope.

Menuck’s vocals across the album offer a sense of spirituality which turns these drone tracks into electro-hymns of contemplation and meditation, and as a result there is a very introspective feel to the album which is contemplative as opposed to suffocating. ‘Fight the Good Fight’ features at its core a beating heart of a metronomic electrical pulse which grounds the psychedelic whirling synth drones. Menuck’s voice is awash with reverb and echo which makes much of what he sings difficult to ascertain, but this is not sing-along-a-Efrim, the intent of the message is clear in its delivery which is more doleful than on the album’s opener.

In terms of reference points, much of are SING SINCK, SING can be compared to an overly intoxicated and excessively serious Flaming Lips, while ‘A Humming Void an Emptied Place’ recalls Spacemen 3’s slow burning minimalist psychedelia. Its swells of sounds, all interlaced and tightly wound around each other, produce a dizzying effect as the washes envelope you with their persistence and doggedness. All of the album’s five tracks share the same aural characteristics of minimalist and pulsating synth drone, languid vocals and swirls and ripples of mechanised undulations and the album feels like a complete body of work rather than a collection of songs.

At just five tracks long, this album can feel a little underdeveloped in places and the feeling that the songs could be longer is a nagging one. There is nothing wrong with leaving the audience wanting more, but the experience of listening to drone can be a frustrating one when attention moves too quickly from track to track. The album’s last track, ‘We Will’, is just a shade over three minutes which is nowhere near long enough for you to surrender yourself to the will of the quiet throb that drips away at the song’s centre. A moot point, perhaps, but there was a chance here for the listener to get entirely and hopelessly lost in the throbs, undulations and pulsations of the music which has not been fully carried through. Perhaps the live experience will prove more fruitful in this respect. A triumph of an album, nevertheless.