Joe Preston's résumé reads like the tracklisting for the ultimate sludge metal compilation. In the early 90s, he was a member of drone metal pioneers Earth, a band he left to join the Melvins. In more recent times he's recorded with Sunn 0))), collaborated with ex-members of Karp in the Whip, and toured with High on Fire. Thrones is his solo project in the truest sense of the term: For most recordings, Preston is the only performer. Day Late, Dollar Short collects 19 rare tracks stretching from 1994 through 2001; many of these songs originally appeared on 7"'s and comps, while several have never been released.
With few exceptions, the tracks on Day Late, Dollar Short fall into two categories. Behind door number one is the bulk of the material, and it's like the sonic equivalent of watching a building collapse in slow motion. The bass is down-tuned and distorted almost beyond comprehension, the slow, disjointed beat is provided by a drum machine, and Preston's vocals are mumbled, warped, and warbled. Door number two hides the even more bizarre: vaudeville-esque organ drones with show-tune like vocal melodies, warped piano tinkerings, and Theremin-inspired, sci-fi guitar lines.
The album's opener, 1994's "The Suckling", is a solid introduction. The bass stretches from note to note, shifting constantly but rarely locating a melody. Conversely, "Senex", also from 1994, is built almost entirely around two rapidly repeating bass notes. There is no chorus, and the mumbled vocals are indecipherable. But to focus only on elements such as melody, chorus, verse, tune, and beat is to miss the point entirely; like many of Preston's projects, Thrones pursue sonic texture rather than a catchy hook. The challenging nature of the music is that the texture is almost entirely bass guitar. Even when the tempo increases, the emphasis remains on pummeling bass lines and acid-trip vocals. Unfortunately, therein lies the problem. Relying so heavily on one instrument means these songs often lack individuality. The tempo might change, but by the end of the disc it's hard to avoid feeling like you've listened to the same song five or six times.
The non-bass-centric tracks come across as mostly throwaways. It's difficult to imagine anyone getting excited and cranking the volume up on "Silvery Colorado", a traditional tune once recorded by the Carter Family. Needless to say, the version here isn't exactly traditional. And although the gloomy "Epicus Doomicus Bumpitus" works as some sort of funeral march from the church of the damned, its follow up, "Piano Handjob", sounds, well, about like its title. But these tracks and others break up the monotony of bass-on-bass love, giving the listener a brief respite from having his ears violated.
The few tracks that break the mold are the collection's shining moments. Three covers stand out-- Ultravox's "Young Savage", Blue Öyster Cult's "Black Blade", and the Who's "A Quick One, While He's Away". "Young Savage" is a driving post-punk anthem, complete with live percussion provided by Spinanes and Built to Spill drummer Scott Plouf. "Black Blade" is a faithful rendition of the original, with the closest thing to singing this album can claim. Most interesting, however, is "A Quick One", which the liner notes explain was recorded for what was meant to be a split 7" with Fast Forward, Sinking Body, and the Catholic Church, where each band recorded a section of the song. Beginning with vocal harmonies courtesy of a little pitch shifting, then continuing with a synth lead and robotic vocals, the section covered by Thrones is a fun departure from the doom and gloom found elsewhere on the disc.
