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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Thee Oh Sees
Title | A Weird Exits
Genre | Psychedelic Rock Format | Album
Source | CDDA Time | 39:30
Label | Castle Face Store | 2016
Catalog | CF-080 Rip | 2016
Bitrate | 268 kbps Size | 78.90 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Dead Man's Gun 3:28
02. Ticklish Warrior 3:06
03. Jammed Entrance 5:21
04. Plastic Plant 5:40
05. Gelatinous Cube 3:27
06. Unwrap The Fiend Pt. 2 4:27
07. Crawl Out Into The Fall Out 7:50
08. The Axis 6:11
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
One of the cornerstone bands of the post-millennium garage/psych
resurgence, Thee Oh Sees represent a purposefully chaotic fusion of guitar
and synth noise, strong and elemental melodies, and addled but focused
attacks. Thee Oh Sees were founded by guitarist John Dwyer; originally from
Providence, Rhode Island, after relocating to California in the late 90s,
Dwyer became active on the San Francisco indie scene, working with several
bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and
Swords & Sandals, among others. Dwyer formed OCS (which is an acronym for
Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was
on any given day) initially as a vehicle for the experimental instrumentals
he was producing in his home studio. In time, OCS morphed into an actual
band, and worked under the usual flurry of names, most notably as the Oh
Sees or the Ohsees, and eventually as Thee Oh Sees, featuring Dwyer on
guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit
(sometimes listed as Petey Dammit!) on bass, and Mike Shoun on drums.
Hot on the heels of a live album that captured them in all their sweaty
glory, thee ever-prolific Oh Sees returned in mid-2016 with their 16th
album, "Weird Exits". As on 2015's "Mutilator Defeated" at Last, the band's
leader/guitarist John Dwyer's incredibly powerful and blown-out guitar
sound and ragged howl of a voice lead the way, with bassist Tim Hellman and
dual drummers Ryan Moutinho and Dan Rincon from the group's live
incarnation chasing valiantly behind in his wake. Dwyer's guitar sound
throughout the album is massive, sure to thrill lovers of tones that melt
faces and peel paint. Whether paired with galloping rhythms, like on the
opening "Dead Man's Gun", tied to battering midtempo sludge fests, like on
the merciless "Ticklish Warrior" or holding on for dear life as the band
shoots out of gravity on their way to a collision course with the sun on
"Gelatinous Cube", his sound and playing are inspirational.
He truly holds nothing back on the guitar-heavy tracks that make up most of
the album and show the band playing with the same amount of laser-sharp
focus and dynamic tension that they did on Mutilator. That's about half the
album, the rest is something a little different. Using the dual drummers to
their fullest, Dwyer takes the opportunity to stretch out and jam. The
synth-twiddling, elongated, Krautrock-leaning "Jammed Entrance" and the
slow rolling "Unwrap the Fiend, Pt. 2" have some nice subtle playing,
complementary drum fills, and almost restrained guitar playing. The two
tracks that end the album go even further away from the noise blasts that
kick things off.
"Crawl Out From The Fall Out" features droning cellos, spooky synths,
shards of outer space guitar, and a tempo best suited for staring dazedly
into the middle distance as candles burn down to a pool of hot wax. Add in
Dwyer's menacing near-whispered vocals and it's a slow burn psych jam
worthy of lasting the almost-eight-minutes it takes for it to fully unwind.
"The Axis" charts a similar course, but relies more on churchy organs, adds
in vocals by former Oh Sees member Brigid Dawson, and ends in a
tape-shredding display of guitar insanity that sounds like Dwyer's using
the amp Neil Young broke on "Like A Hurricane", then breaking it even more
definitively.
It's an impressive feat of guitar destruction and caps off another
brilliant Oh Sees album in fine style. With "Mutilator", and now this
album, the band is firing on all cylinders and then some, making
psych-prog-metal-punk jams for the ages.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘