Rustorm - Gravity

Angry Metal Guy 60

I feel like I’ve seen an uptick in bands formed from people who played music several decades ago and only recently returned to it. One explanation could be empty nest syndrome: dropping out of music to raise a kid, pick up an old hobby once they’ve moved out. Midlife crises are a popular scapegoat as well, but sometimes it’s just the natural waxing and waning of interests as life takes us hither and tither. Rustorm is two Brits, Jules McBride (bass) and Rob Lewis (everything else),¹ who were last seen around the turn of the century with short-lived alternative metal band Pulkas. A couple years ago they pulled the spiderwebs off their old gear, bought a couple of new pedals, and got to writing. Gravity is their second outing, but is Rustorm still rusty or does it take us by storm?

Before you get the wrong idea, these guys haven’t picked up where Pulkas left off playing alt metal. Instead, Rustorm peddles an atmospheric brand of doom-laden sludge, employing hypnotic rhythms, layered synths, and purposeful repetition. The riffs are simplistic, intending not to dazzle or hook but to impart overwhelming weight with their crushing gravel-filled textures. McBride does the other half of that job, with a thick, thrumming bass that’s given plenty of room to add more heft. With a couple of instrumental tracks (“Low-down” and “Suspension of Gravity”) and a few higher energy bangers in the back half (“Drown it out” and “Seven Sacrifice”), the 38 minute package is a well-rounded set of songs that may not shock the world, but absolutely appeals.

Snowcrash (single) by RUSTORM

Gravity is nonetheless still quite rough around the edges. Lewis’ vocal style consists of a bark from the throat with limited range. It’s the most technically challenged item on the bill, often coming across as harsh speaking rather than singing. But Rustorm does use the vocals in a more percussive rather than melodic manner, which mitigates the damage a tad. Rustorm suffers from a few other issues besides the vocals, but they are predictable and not very serious. A focus on texture and atmosphere at the expense of more involved riffs or hooks often means songs can get a little repetitive as they go on, and the compositions can feel somewhat risk-averse.

But Rustorm hits more than it misses. “Snowcrash” is the first and highest peak, its synths setting a sinister tone akin to old school horror movies that gels well with the bleak lyrical content. The back half sketches in a darker shade overall and is better for it. “Drown it Out” takes on shades of New York hardcore and is poised to cause some teeth to be left on the floor of the mosh pit, and “Seven Sacrifice” has a nasty and gnarly chorus that contrasts nicely with the atmospheric verses. Considering Gravity was self-produced, the production is quite solid as well. Though the vocals tend to be high in the mix and the synths sound a bit too stock, the guitars and bass have a very nice, crunchy texture that supports the band’s heavy sound. The mastering is slightly dense, but only to the point of feeling oppressive, not sounding like shit.

Rustorm is a passion project, that much is clear, and Gravity a labor of love. The gents won’t be shocking the world or headlining festivals anytime soon; they don’t have the polish yet, nor the level of songwriting. The music can be overly simplistic in structure, the vocals too one-note. But there is a lot of charm to Gravity, a commitment to a vision that shines past the little flaws. It comes through in the ominous atmosphere, the crushing low-tuned riffs, and the deliberate pacing. It makes me wanna turn the volume up, put on my nasty face, bob my head on the beat, and grunt about snowcrashes and sacrifices. What’s a better mark of success than that?

Rating: 3.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Self-released
Websites: rustorm.bandcamp.com | rustorm.net | facebook.com/RustormMusic
Releases Worldwide: March 7th, 2025

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