WEIRDO has been a musical term of endearment in Boston for decades but anyone attending shows, especially in our underground spaces, these days knows there are some real out there performers. Transcending rock ‘n roll motifs, deconstructing deconstruction itself, this stuff just about affords itself no description. Your average music writer will look for existing references and fuck I’ve been guilty of it myself… we all trying to comprehend and make sense of things, forgive me here. But here I present you with two fresh albums, from two names you might recognize, via shared line-ups, collaborations, friendships, etc, etc, etc: BIRTHING HIPS and FAT SHUGGY.
BIRTHING HIPS recently released their debut full-length NO SORRY. Nine tracks, nine instantly familiar numbers. In the best combo that I have seen, they combine what the ?????????????????? with noisy/dying guitar attacks, hardcore punk and children’s music. There are sour bubblegum moments and jazz beyond free moments. These triumphant contrasts, jeeze. Unreal.
Not every music community has a Fat Shuggy. The entrail princess. I’ve seen Shuggy in quite a few incarnations probably dating back to one year ago. There is no performer that I have seen in that time that challenges the audience as much as Shuggy. Or dismembers them. Confusion and shock. But in the end, this is a musician that just does. With a variety of unorthodox instruments and voices and sometimes alone. It is not nicey nice. It is graphic, rated R. Experiments of noise and the spoken word. Revada Casah Enoy Reve is not something that anyone could have conjured up except for Shuggy, working in its own universe. Its own sound collage. I’m sure Shug could repeat these improvisations note for note, if Shug wanted to.