Ohio's Psychedelic Horseshit
(vocalist and guitarist Matt Whitehurst with
drummer Ryan Jewell)
pioneered a new form of lo-fi pop on
Magic Flowers Droned (Siltbreeze, 2007).
Nothing Is Revealed is the ultimate sloppy garage rigmarole with
massive doses of guitar distortion and primitive drumming (something like a
toddler playing the drum part of the Velvet Underground's Sister Ray)
in the glorious vein of Half Japanese and
Zoogz Rift.
The atonal guitar steals the show in the poppy Portals, a jarring
noise that takes no prisoner, occasionally augmented with an acid organ.
The tribal psychedelic Velvet Underground-ian drumbeat and even the nonchalant decadent tone of Lou Reed (White Light White Heat redux) permeate
Rather Dull under the shroud of shoegazing guitar noise.
The sarcastic New Wave Hippies satirizes their very influence, replete
with Suicide-like keyboards and
robotic singing.
Bad Vibrations is a demented nursery-school remix of the Beach Boys' epochal Good Vibrations.
Elsewhere the duo doesn't even try to craft tunes.
Mostly Crystals is a satori of dadaistic cacophony, the garage equivalent
of musique concrete.
Radar Fences Again evokes the acid folk of the
Holy Modal Rounders to a higher exponential.
Crystal Dub is the soundtrack for a hallicinogenic trip induced by
industrial-grade chemicals..
Their ultimate freakout is Mash Up, a whirlwind
of alien radio messages and electromechanical circuits
that spins out of control.
Alas, the merry pranksters failed to repeat the miracle on
The EP Shitgaze Anthems (Woodsist, 2009), that instead paid tribute
to the Ramones in Dreadlock Paranoia (before the dubby coda) Ad Infinity
and concocted an admittedly hilarious
Bob Dylan parody in Are You On Glass.
Dispensing with most of the chaos, Matt Whitehurst has to rely on his vocal and
lyrical skills, which are not exactly stellar.
Golden Oldies (Wasted Vinyl, 2009) collects rarities.
The EP Acid Tape (Fan Death, 2010) invested a bit more in
sound effects, notably in Modern Daze and in Tired Bluez (a
mini-concerto for disjointed sound effects),
and, in general, boasted a more sophisticated structure of sound, especially
in the dub-jazzy Hard As It Gets,
On the other hand, FCCA Demo is just voice and guitar, and this spartan
soliloquy works quite well.
The seven-minute Bleak Vacations finally remembers the original
Velvet Underground-ian obsession and
effortlessly lifts the project to a higher orbit.
When Psychedelic Horseshit began producing their records professionally, i.e.
on Laced (Fat Cat, 2011), they buried their songs under layers of
high-tech arrangements with mixed results.
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