Hearing the seismic sludge emanating from instrumental trio Giza, it makes perfect sense that the band would hail from Seattle, sharing their point of origin with drone progenitors, Earth. Having said that, Giza doesn’t stray too far from Earth’s more recent lonely guitar-driven dirges, though with their album, Future Ruins, there is an attempt to craft something more sonically charged and distorted though equally meditative. Producer Matt Bayles, whose past credits include Mastodon and Isis, recorded Future Ruins, an adept hand skilled enough to carry out the band’s declarative volume as well as their moments of slow, contemplative motion.

Beginning with a ponderous ten-minute wanderer dubbed, “Séance,” from a genre perspective Future Ruins meets the criteria of any post-metal or post-rock outfit: the generation of instrumental environs supplemented by melody, periods of loud and quiet and whatever enables its listener to slip into a daze. One could almost consider the album a medley of sorts, (or maybe even a suite), its transitions from track to track barely noticeable next to the shifts Giza employs within its longer offerings like the aforementioned “Séance” or “Hour of the Bullfight.”

“Wake & Drag” is a strong, doom-enriched standout and the aptly titled “Interlude” nicely sets up “Hour of the Bullfight,” whose epic and dramatic disposition is fully realized before the more aggressive “Roaming Hordes” builds off of Goatsnake’s more southern-fried stoner metal excursions. The album’s closer, “Great Leader,” sticks mostly to the plot, some Iommi string bending coupled with a state of solemnity.

Though Giza demonstrate through Future Ruins a solid compatibility with other metal bands of the stoner/sludge/doom variety, it’s difficult to consider them apart from what’s come before. Their personality doesn’t really come through and there isn’t much opportunity for the band to distinguish itself, or craft an identity. In terms of ability, I won’t challenge them, but I do think that it wouldn’t hurt if they decided to color outside the lines a little bit.