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 Reveis 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.
Comments: The only thing I know about Fuck Buttons is their song “Sweet Love For Planet Earth” consistently scares me. It’s strangely amazing and epic, because of a roaring synth that’s echoed to 20 on a scale of 1-10. If you can actually bare to listen to a song of the 9 minute, 41 second variety, I congratulate you, my friend. Because that roaring synth turns into a variety of synths and stuff before screaming voices come in. I’d call it noise rock, but this shit’s child’s play compared to the likes of Lightning Bolt, etc. “Sweet Love…” is the kind of song that you might listen to on occasion just to get an ear on the roaring echo-synth. Other than that, it doesn’t really do much. Enough rambling about a song that came out in ’08. This album takes up almost a 1/10 a gig and is nearly an hour long. I’m going to admit that I made some judgments without listening to the whole of all songs. Sorry. I bet the likes of Pitch-dork did too. K so this album is pretty good. Lots of good sound effects. If that’s what you like in music, then this shit is totally awesome. For me, I find it kind of exciting, yet anti-climatic just because of the length. I only see slight value in listening to this music on (A) long plane flights (B) long car rides (C) raves. That’s all. Hell, I’m pretty damn sure Fuck Buttons even sampled “My Girls” by Animal Collective on “Space Mountain.” Maybe. They even knocked off “Brother Sport” by naming this thang “Tarot Sport.”
Comments: This album is quite the experience on headphones! It’s weirdly catchy. That means there are some songs that you might not dig at first, but that you quickly gain respect for. You could argue that Deacon suffered from the disease of “over-doing” it while making this album. The symptom was mostly quality music being made. The Alvin and the Chipmunks cover (not really), “Baltihorse,” is strangely amazing. You know what I mean?