Oh Sees Retrospective #14: Carrion Crawler/The Dream

I've never been a Christmas kind of person. It's been my least favorite holiday for a long time, and it seems to always be a melancholy time of year. 2019's holiday season has so far been especially difficult because I'm on my own, living at a friend's place in Columbus. He's vacationing abroad with his girlfriend until after the new year, and my wife and I are in the middle of one of those awkward “we're not speaking” kind of arguments. This is all the cherry on top to what will go down as, no hyperbole, one of the worst years I've ever had. So while a lot of people seem to love the end-of-year seasonal traditions, like looking back on the past year by ranking movies and music in top ten lists, I just want this fucking year to be over. Given all of this, my preferred form of looking back is to revisit some of my all time favorite things and to not think about anything that happened in 2019. Sure, I just saw Knives Out in the theater (a fantastic film, by the way) but I've also been rewatching, say, Pulp Fiction and the best episodes of Trailer Park Boys.


As for music, you ask? Well, aside from mainlining Microcastle by Deerhunter and First Come, First Served by Dr. Doooom aka Kool Keith, I also can't stop listening to Carrion Crawler/The Dream. And no, it's not just because I'm writing this retrospective. Much as it may be a foregone conclusion that I love this album, we'll at least try to see if anything bahs my humbugs when I once again put down my fandom banner and put on my critical lenses.


Let's ignore the fact that the back of the record sleeve says this is an EP: Carrion Crawler/The Dream is the third and final full length release from Oh Sees in 2011, arriving on November 8^th. If anyone has a concrete answer as to why the back sleeve says EP, I'd love to know. I would speculate, based on interviews and comments from the band, it was because originally this was going to be an EP based around 'The Dream.' When they wrote 'Carrion Crawler' (and perhaps one or two more tracks) they decided to put it all out together. Recorded and mixed by stalwart Oh Sees collaborator Chris Woodhouse, the album was finished in only five days and done entirely live as a full band in the studio. This approach paid off like a hacked slot machine for Frog Eyes on the similarly bombastic and long-song-heavy Paul's Tomb (A Triumph). Whereas the key to that album was adding a second guitarist, Carrion Crawler/The Dream takes full flight by adding Lars Finberg as the second drummer. It doesn't hurt that Oh Sees also delivered one of their most cohesive batch of songs yet, with a special emphasis on krautrock rhythms and song structures.


Look, we all know that this record is a classic in the Oh Sees canon. Most fans I've encountered seem to adore it and keep it permanently in their top five. We also all know that 'The Dream' is one of their towering achievements; it's been a fixture in live shows for years now and it's still their most popular song on Spotify. What we all might not know, or perhaps remember, is how many other fantastic songs come alongside 'The Dream.' Nobody ever seems to talk about 'Robber Barons', with its patient pace and wall of sound guitars. Also undeservedly forgotten, 'Chem-Farmer' has an absolute unit of a bassline that will rattle your skull if you crank it on a good set of speakers or headphones. Speaking of skulls, I would totally buy this record just for the cover art alone. I mean, wouldn't you? Yeah you would; I knew I liked you.


Special commendation must be given to 'Carrion Crawler' as one of the most perfect album openers in the history of Oh Sees album openers. It careens down the road with an addictive descending guitar riff that nods so heavily toward Pink Floyd's 'Interstellar Overdrive' it risks headbutting the piper at the gates of dawn, if you catch my drift. It makes me embarrassed because I didn't make the connection until they started using part of 'Interstellar' as a soundcheck/introduction to some live shows in the last year or two. Now, if I did have any nitpick with Carrion Crawler/The Dream, it's that 'Opposition' (or 'Opposition (With Maracas)', if you have the vinyl record) and 'Wrong Idea' are slight little trifles that seem underwritten by comparison to the rest of the songs...although...


...Although I do think they're purposefully positioned to mitigate the time and reality warping effects of 'The Dream.' I suppose this means I have to unpick that nit, then.


So, there you have it. A foregone conclusion about how great this album is...um, well foregone. No surprises, eh? Well, you know something? The holidays aren't always about surprises, wrapped gifts that tantalize with their mystery contents. Just as people still watch the marathon of A Christmas Story year after year, sometimes you want something familiar—indeed, something that familiarity has worn away the flaws of. You may not think this is a perfect record though I'd be willing to bet all the reindeer in Norway that you'd be hard pressed to name another Oh Sees album that is both a great entry point for newcomers and a hardcore fan favorite. But I digress. Happy holidays, and always remember: the dream, it seems, is peeking into real life.


[Unimportant footnote: I'm still not sure what part of Can's 'Soul Desert' is contained in 'Contraption/Soul Desert', even after listening to the original song and also the demo of 'Contraption' on Singles Collection Vol. 1 & 2. I think maybe it's just some lyrics or a riff or chord....?]

Oh Sees Retrospective #13: Castlemania

Now that we're deep into the discography of Oh Sees, it's got me thinking about what it is about certain bands that inspires such loyalty from fans. To put it another way, do people keep following Oh Sees and exploring their earlier releases because of a consistent quality? Is it because they continue to surprise us by trying new things, adding new members, changing their name, and/or taking stylistic left turns seemingly on a whim? Is it because John Dwyer is such a good looking fellow? I suspect the reason (or reasons) differs for every fan. When it comes to Castlemania, though, I've noticed that lovers and haters alike have the same reasoning for their feelings toward it: it's different.


Following up the release of Singles Collection Vol. 1 & 2 by only a couple months, Castlemania arrived in this world on May 10, 2011. Like Dog Poison, it was mostly recorded by Dwyer at home, with significant contributions from usual collaborator Brigid Dawson as well as then-fresh faced new boy Ty Segall. Unlike Dog Poison, Castlemania feels like a fully realized, finished project. You get the sense that he had these songs and ideas sitting around, and they wouldn't work with a full psych/garage rock arrangement, so he took another crack at doing them like he would have in the early days. This means more acoustic guitars, sure, but it also means a more expansive palette of sounds and instruments than on the OCS records. Moreover, when the album does rock, on 'Corrupted Coffin' and 'A Wall, A Century 2', it's hardly Help leftovers; rather, it's a skronky noise fest and a menacing, suffocating stomper, respectively.


While it doesn't sound so different from other Oh Sees projects that you'll be reaching for the sleeve to confirm the artist name, it can be said that Castlemania largely exists in its own sound world. Few Oh Sees albums are better served by a listen on headphones. In fact, between its grim lyrical content and insular atmosphere, I recommend enjoying it on headphones at 1 in the morning after everyone else has gone to bed while you're still awake taking bong hits and beer sips and thinking about life and death. In terms of the mix of poppy songwriting and the eerie/dark 60s psychedelia permeating out of the grooves, Castlemania brings to mind Olivia Tremor Control and their affiliates in the Elephant 6 collective. I mean, couldn't you see it showing up on shelves in 1999 next to Her Wallpaper Reverie and Black Foliage: Animation Music Volume 1?


What strikes me the most about this album is how long it took me to appreciate it. Back in 2011 when I discovered Oh Sees, I wrote a short, dismissive review of Castlemania, which is so poorly done I won't bother linking or quoting it. When I think back to my views at the time, and my taste in music, a better way to explain my initial negative opinion is that I was more inclined to expect things from records instead of letting them tell me their tale. I was such a huge instant fan of Help and Carrion Crawler/The Dream that it's all I expected or wanted from Oh Sees. When Castlemania turned out to be more like Olivia Tremor Control and less like Ty Segall, I couldn't even begin to hear it for what it was.


It's only with the last eight years of growth, further musical experiences, and especially doing this retrospective that I've come around to Castlemania. I defy anyone to not want to sing along to 'I Need Seed.' It's infectious and fun, contrasting with the chaotic intensity and clangor of the title track. I love the structure of this record, the way it balances its variety of tones and styles while still making for a coherent journey. In particular I love how 'The Horse Was Lost' seemingly closes out the album, with its distant saxophone moans and flute-like organ, before a minute of silence leads into the three covers that actually close the album. It's as if you just watched an intimate performance in someone's living room and now they're doing a few covers as an encore, with two of them sung by guests/friends. Sure, the very last song on Castlemania is a weirdly dour affair that sounds like Nico's The Marble Index, but I'm going to let that nitpick slide because I happen to love that album and being different is part of what makes Castlemania great. One criticism that does still hold for this record it's that you really have to be OK with Dwyer's affected vocals from this era. He purposefully sounds more bratty, nasally, and croaky than his natural voice, and if you find that kind of thing hard to overlook, this won't be a tolerable listen for long.


Since it's sandwiched in the 2011 releases between a sexy double album compilation and an adored fan favorite, and also since it's so different from their other records, Castlemania is easy to overlook and to skip over. I know many fans are eager to get to Carrion Crawler/The Dream. Sure, it's an almost universally beloved album; it's high on the list of recommendations for new fans and often makes top five placings in rankings of personal favorites of the devoted. Of course I'm excited to get to it. But give Castlemania its due first. Absolutely give this one another chance if it hasn't clicked with you before. It eventually did for me, and while it's never going to be one of my favorites, at least now I'm able to see it as the excellent and unique gem that others have been digging for years.

Oh Sees Retrospective #12: Singles Collection Vol. 1 & 2

Compilations, whether they be greatest hits packages, outtakes and rarities, or singles collections, are tricky things to approach critically. After all, do you judge them as a whole? On a song-by-song basis? In the case of greatest hits, it’s not necessarily something the band chose to do, and even if they are involved, it’s largely done for commercial rather than artistic reasons. As for outtakes, rarities, and singles compilations, they’re rarely given the same care and organized thought that goes into proper full-length releases. By their nature, they come from a limited pool of material, often with jarring stylistic or production differences, coming from different years in a band’s career. While Oh Sees’ Singles Collection Vol. 1 & 2 does its best to be a coherent listen, its most fundamental issue is actually none of the above. It purports to contain all the singles and EPs the band had released up to 2011, and careless reviews such as AllMusic’s accept this tale. In all fairness, it’s not so much a lie as an omission of the whole truth.

2011 is up there with the most prolific years in Oh Sees history: even setting aside this double album compilation, you’ve got two other full length albums to tackle, chew on, and digest. Amongst fans, this middle period of the band is overwhelmingly the favorite era, and the two albums released in 2011—Castlemania and Carrion Crawler/The Dream—regularly show up on lists and Internet posts of fan rankings. Obviously, I’ll get to those eventually, but I couldn’t go any further with this retrospective without noting what an embarrassment of riches this year was. Anyway!

Released on March 8, 2011, Singles Collection Vol. 1 & 2 (hereafter referred to as Singles for simplicity) does indeed include a metric fuckton of hard to find Oh Sees material. Collectors and completionists will still want to track down all the original releases, in particular the recently reissued Grave Blockers EP, because they are not all contained in full on this compilation. For the rest of us, there’s still a lot to take in even if it’s not the whole non-album Oh Sees story. Just trying to research the releases that the tracks on Singles came from, to say nothing of following the chronology of the tracks, made my eyes cross. Sadly, my vinyl copy of this release is back in America, so I don’t have the full info inside its glorious sleeves. I apologize for not supplying my usual level of detail on this front, but happily I am moving back to the States in a matter of weeks and I should have my records out of storage soon after. I hope.

This being a release intended for hardcore fans and not some kind of A Young Person’s Guide To King Crimson-esque introductory release to let the curious get a taste, I won’t bother telling you get your hands on this ASAP. You either have it already or you are getting around to it soon. With that out of the way, let’s hold Singles up to a critical eye and see what I can shake out.

Is every track on here a winner? No. I’ve never been a huge fan of demos in general, so ‘Catiastic Tackle - Demo’ is wasted on me, and ‘Contraption - Demo’ provides no useful hints to where it starts and ends when paired with its eventual ‘Soul Desert’ twin on Carrion Crawler/The Dream. ‘Kingsmeat’, meanwhile, feels like an overlong and undercooked scrap on the cutting room floor of Help, containing a vocal so distorted and unintelligible it sounds like it was recorded through a bullhorn from a quarter mile away.

Does Singles suffer from pacing/tracklisting order issues which cause it not to flow very well? Yes. The stretch from ‘Hey Buddy’ to ‘Grave Blockers’ has songs I do love, such as the underrated folk chestnut ‘I Agree’, yet it’s still too many slow and low energy songs in a row; more than once, I’ve fallen asleep to side B of the record. No, I’m not exaggerating for comedic effect.

Most importantly, are there some kick ass Oh Sees tracks on here? Fuck yeah. They definitely outweigh the bad ones. The cover of Ty Segall’s ‘The Drag’ is a reverent tipping of the hat to a then-up-and-coming garage rocker. ‘Carol Anne’ opens the compilation with a roar, followed by John Dwyer delighting us with a line about falling off his skateboard and turning his nipples into a belt(?) at the start of the next song. And then there’s ‘Bloody Water’, one of Oh Sees’ most infectious songs, with especially excellent backup vocals from Brigid Dawson.

In the context of their discography, Singles serves as a clearing of the plates, a chance for everyone to catch up before the next leg of the voyage of the S.S. Oh Sees. Fans of the early to middle period of the band looking for more will be well served by stopping in this port. Before he would sail with his crew into the more krautrock influenced second half of their middle period, John Dwyer would first strip the band down to himself and Brigid, producing the wonderfully weird Castlemania, an album even more varied and unfocused than Singles. I mean that in a good way. What else can you say about an Oh Sees album that has more in common with Olivia Tremor Control than it does Can and The Necessary Evils? Ah, but I’m getting ahead of myself.

Oh Sees- Face Stabber

Robert Pollard, legendarily prolific solo artist and leader of Guided By Voices, adheres to the idea that what his music is made up of is the four P’s: pop, prog, punk, and psychedelic. Though the new Oh Sees album, Face Stabber, isn’t made up of just these four constituent parts, it does bring to mind how perfectly they, too, have synthesized these seemingly contradictory styles. Sure, it made perfect sense when circa 2009 Oh Sees, known then as Thee Oh Sees, started to add krautrock to their witches brew of garage rock, psychedelia, psych-folk, and noise. But can punk and prog really coexist, even flourish? With Face Stabber, they’ve answered in the affirmative and simultaneously added ambient, jam, jazz, and even a bit of funk to their ingredients list. Somehow, it all holds together. Somehow, despite being a double album, it never overstays its welcome. Somehow, it works just as well listened to in one sitting on headphones as it does in the car, or my personal favorite, on the stereo at home, with breaks to get up and flip the record over, perhaps also giving you a chance to go crack open another beer or take a couple bong rips.

Yeah, it’s that kind of album. It’s a stoner nerd album made by and for stoner nerds. In fact, there’s a few other good ways to summarize Face Stabber:

1) It’s the best album of 1978 that was lost to time and finally released in 2019

2) Mathematically, it can be formulated as (Bitches Brew + Space Ritual + Soon Over Babaluma + Raw Power + Larks’ Tongues In Aspic + Hot Rats) / the best songs/moments on Smote Reverser

3) It retroactively makes Smote Reverser, while still a great record, feel like a trial run. I thought it was the start of the new era, but no, Face Stabber is the true new beginning. To use another band as example, I’m sure you’d say you like Sister by Sonic Youth, but do you listen to it or the follow-up Daydream Nation more often? Did Sister or Daydream signal a new direction for the band?

4) If it were a self-titled album, no one would bat an eye. There’s a certain implication to a band doing a self-titled album so many years into their career, and if you know what I’m talking about, you understand how it works in this case.

Anyway, you may have gotten the impression from other reviews, and from my formula above, that Face Stabber is a “whole is lesser than the sum of its influences” situation. I always come away from each new Parquet Courts album feeling this way; you can always play spot-the-influences with their songs, and everything about their sound and discography feels a little too self-aware and manufactured. So let me make it clear that Face Stabber is wholly an Oh Sees record and a “whole is greater than the sum of its parts” situation, instead. It has some of their heaviest songs ever and some of their jammiest/jazziest songs ever, too. Most of the songs have surprisingly catchy melodies and/or hooks in them for what feels like the first time ever. If you’ve always wondered why you don’t find yourself humming Oh Sees songs as often as other bands…this is exactly why. This is what the pop part of the 4 P’s brings to bands like Guided By Voices and Oh Sees. They’ll never write songs that are huge commercial hits, played in malls and sports arenas, but they do have some catchy, hooky songs, even at their weirdest.

And to be sure, Face Stabber gets weird. It makes me think of the episode of It’s Always Sunny In Philadelphia, ‘The Gang Gives Frank An Intervention’, wherein Frank says something like “I don’t know how many years I got left, so I’m gonna get real weird with it.” I mean, you can totally picture John Dwyer drinking wine out of a can while saying the “where is that cup of tea?” bit on album closer ‘Henchlock.’ Other weirdness abounds, from the odd squeak toy opening of ‘The Daily Heavy’, to the perfect videogame title screen song that isn’t from a videogame (the proggy organ opening of ‘Scutum & Scorpius’), to the “I’m a nerd and I’m owning it” vibe Oh Sees have been showcasing for a few albums now, what with all the 70s prog rock, Dungeons & Dragons, and PC/console RPG aesthetics in their album covers, song/album titles, and music videos. I mean, come on: they hired a Magic: The Gathering card artist to do the Smote Reverser cover, and Face Stabber’s cover is an edit of a piece by legendary fantasy artist Frank Frazetta.

I suspect that, much like its predecessor, Face Stabber will be a love it or hate it release. I don’t understand why, because it’s flat-out better than Smote Reverser and has something for every kind of Oh Sees fan…well, except for the psych-folk holdouts. Anyway, it has it all: short/fast/loud songs (‘Heartworm’ could easily pass for a Coachwhips song), songs good for skating/surfing to (‘S.S. Luker’s Mom’), hypnotic, propulsive kraut-garage jams (‘The Daily Heavy’ is a modern version of ‘I Come From The Mountain’), cool ass guitar and keyboard noises/effects, Dwyer’s weird vocal tics and yelps, etc. To this we also add some new delights, like the ambient ‘Captain Loosely’, increasingly prevalent use of saxophones (Dwyer and guest Brad Caulkins both play saxophones on the album!), and Phish-esque organ/keyboard playing (seriously, the proggy organ intro to ‘Scutum & Scorpius’ is straight out of their playbook, like the intro to ‘You Enjoy Myself’).

That’s a lot to unpack and digest, because there is a lot to unpack and digest on Face Stabber. What holds it together and makes it work, justifying its double album runtime in the process, is the pacing and the wealth of ideas. Face Stabber has the best song order of any Oh Sees album in the modern era. It changes styles and gives you breathers at just the right times—the title track busts through two or three songs worth of riffs before it collapses into a field (recording), while ‘Captain Loosely’ functions as a rest stop after three songs in a row of high energy barnstormers, leting your heartrate come down just enough to match the pulse of the following epic jam ‘Henchlock.’

I’ve written before about how Oh Sees’ long songs don’t always have enough ideas or excellent solos/group improvisation to justify their lengths. ‘Anthemic Aggressor’ is the biggest culprit, too spastic and unfocused, and the soloing on it is unremarkable. John Dwyer’s guitar solos served their purpose on older albums but they don’t stand up to any comparisons of similar bands, past and present. It often feels like he’s doing a solo because it’s expected, not because he has anything interesting to play. It’s noodling, plain and simple. You see this pejorative term, “noodling”, used a lot in jazz and jam band reviews to refer to boring, lifeless solos or gratuitous improvisations. ‘Anthemic Aggressor’ sounds like noodling, ‘Henchlock’ and ‘Scutum & Scorpius’ do not. Dwyer has gotten much better as a soloist and band leader, otherwise we’d just have another Smote Reverser on our hands. I could see Phish covering ‘Scutum & Scorpius’, and when the percussion breakdowns on ‘The Experimenter’ happen, I can’t help but think of Fela Kuti or the better versions of the ‘Drums’ section of Grateful Dead shows. There’s far more development and dynamics to Oh Sees long jams now, and their live sets are continuing to showcase this side of the band.

I would encourage everyone to give this album a listen on headphones and focus on each instrument in separation. Much like how the dual drummer set-up and rhythm section on Bitches Brew serves as the solid earthy groove foundation for the soloists to fly off of into volcanos, oceanic depths, and even outer space, the two drummers and bassist of Oh Sees lay down a similar locked-in groove bedrock, by turns playing off the soloists and each other. On headphones you can really pick out the two drummers and see how often they’re in sync or doing slightly different fills and accents. Sure, previous Oh Sees lineups also featured talented musicians, but there’s no arguing that this current incarnation has the best in terms of technical skill and musical ideas. I loved Brigid Dawson on keyboards yet compared to how much Tomas Dolas has brought to Oh Sees in only two albums, it’s no contest. I mean, who is better in terms of pure musicianship: Ron “Pigpen” McKernan or Keith Godchaux? I rest my case.

So, is Face Stabber the band’s masterpiece, as some have suggested? Only time can truly give us the answer, although…well, hell, I’ll say this much: Face Stabber absolutely is the band’s most mature and focused record. This doesn’t mean it’s polished or boring or pop-orientated. Far from it. What it does mean is that you can listen to the album over and over, and it never gets dull or repetitive. I don’t skip any of the songs, even the long ones. It’s also the perfect album to listen to while watching a visualizer in iTunes or VLC or what have you. But I digress. Ultimately, it comes down to this: if you didn’t like Smote Reverser, you may like Face Stabber slightly more, but you still won’t like it. If you liked Smote Reverser, or even loved it, you’ll like/love Face Stabber even more. It may not end up being your favorite Oh Sees album, though it is their most consistent and consistently excellent album. While Face Stabber is also the culmination of several albums of progress and ideas, that doesn’t mean it replaces or nullifies the greatness of those previous albums. So, yes, you can view it as a culmination, but I prefer to view it as the true beginning of the new Oh Sees era. To use the band’s own words, Face Stabber is an odd entrancing, not a weird exiting.

Oh Sees Retrospective #11: Warm Slime

Is it possible to love something and to simultaneously see the flaws it possesses? I realize this seems like a pretty open and shut case. Plenty of people love so-bad-they’re-good movies or even talk about “hate watching” a TV show. But I think this idea becomes a little more interesting and open ended when you narrow it down a bit. To explain what I’m getting at: people love movies like The Room or Troll 2 not in spite of their incompetence, but because of it. You don’t see anyone talking about the Star Wars prequels as so-bad-they’re-good movies; rather, you see some people dissecting their flaws, even if they admit they get some enjoyment out of the movies. And I am one of those people. I see many problems with the prequels. They possess creative decisions and stories/characters that by turns infuriate me, baffle me, trouble me, and make me imagine how I would fix them. However, I don’t love the prequels and I also don’t hate them. What I do is to ignore the flaws so that I can enjoy them for what they are, for the things in them that are enjoyable.

I was talking to my wife recently about all these ideas and it made me realize, you also can love something while not even needing to ignore its flaws. I unironically love the old Godzilla movies, because I know what they are, and therefore to what standard I should hold them. Compared to other movies, they’re cheesy and have special effects that aged horribly and stupid plots and lame and/or irritating characters. But they’re awesome, in and of themselves. With all of this in mind, I have to come out and say it: I love ‘Warm Slime’ but it’s got problems. The album as a whole I love, sure—that title track though…well, we’ll get to that in a bit. Let’s set the stage, first. Could you help me carry these mic stands and cases of beer?

Warm Slime was released on May 11^th, 2010, coming more than a full year after its sonic predecessor, Help. Sure, they put out Dog Poison in the interim but that’s a different animal entirely (pun intended). On a side note, Warm Slime isn’t that much longer than Dog Poison yet it does feel like a completed, satisfying LP. Just wanted to be clear about that after my savaging of Dog Poison for its brevity (among other things). Anyway, I’d encourage everyone to go check out Warm Slime’s Wikipedia page, in particular the interviews/articles listed in the References section at the bottom. There’s a lot of fascinating background information about the recording of this album, from the nitty gritty of how they recorded it to the general vibe of the recording session. The TL, DR version is that the band consciously wanted to capture the energy and force of their live shows, so they rented out a club, day drank beer, and busted the whole thing out in one marathon 12 hour session. No overdubs. They recruited Mike Donovan of Sic Alps to play guitar, and recording engineer Chris Woodhouse banged a tambourine sometimes. They recorded the title track last so that they were drunk enough and warmed up enough to give it what it needed. Their intention with ‘Warm Slime’ was to do their own version of classic long songs they grew up hearing, such as ‘When The Music’s Over’ by the Doors, or more crucially, ‘Yoo Doo Right’ by Can.

Speaking of Can…

While for the most part Warm Slime continues their well-oiled garage rock/psychedelic concoction, it’s the turning point where their krautrock influence became much more overt. You wouldn’t have fan favorite tracks like ‘The Dream’ or ‘I Come From The Mountain’ without ‘Warm Slime.’ Just as I’m starting to feel like Smote Reverser was the dress rehearsal for Face Stabber, ‘Warm Slime’ is a first attempt at doing what we have come to expect from Oh Sees albums. Unfortunately, it also overshadows the rest of the songs on its album. Sure, we all know and love ‘I Was Denied’, but does anybody really remember ‘Everything Went Black’, or think it’s any kind of improvement or progression from Help? I’m not even implying that the second side of the album is bad or weak. They’re fine songs, great songs, even. The “I’m Dracula’s sister!” bit from the opening of ‘MT Work’ is one of my favorite moments on any Oh Sees record. It’s just that the shorter songs on side two pale in comparison to tracks on previous Oh Sees albums, and tracks that are yet to come. Most of all, though, they aren’t as interesting or memorable as the title track. And oh buddy, that title track!

OK. Listen. I said earlier that I love ‘Warm Slime’ but that it’s got problems. Let me begin by saying I love long songs as much as anyone. I’ll use less popular examples, because we all know and love the songs Dwyer referenced as inspirations for ‘Warm Slime.’ At least I hope so; if you have never gotten high and listened to ‘Yoo Doo Right’, you haven’t been living your best life. Anyway, my favorite Frog Eyes song is ‘Bushels’, which is nine minutes long; my favorite album by them is Paul’s Tomb: A Triumph, which has only one track less than three minutes long, and four that are longer than six minutes. I love the Grateful Dead and Phish, known for long jams that frequently go on for 10, 20, in one case 50+ minutes! So it’s not that ‘Warm Slime’ is long, that isn’t its flaw. I love the song yet I’ve come to finally understand why it is I think it’s got problems: it doesn’t have enough ideas or progression to justify its length. But surely, you may be saying, other long Oh Sees songs, are also static and do the same thing for minutes on end? To that I’d respond, do they really? Go back and pay attention, you’ll see that there’s more development, meaningful solos, and a sense of progression, even if it is just from point A to point B.

Often long Oh Sees songs are described as hypnotic, whereas I would describe ‘Warm Slime’ as repetitive and intend that as a pejorative. Sure, they start out in full flight and then around the two minute mark they shift gears from garage rock rancor into a krautrock trance. Sure, they get quiet halfway through the song and build it back up. But again, listen closely to the musical development that’s going on. Petey Dammit plays the same bass note, over and over, and it’s not hypnotic, it’s monotonous. Quite literally, it is a monotone. Doing this with a non-tuned instrument, like, say, a drum works fine. But when it’s a bass, or keyboard, or guitar, or I dunno, a harp, it eventually gets boring and tedious. If you’ve always wondered why ‘The Dream’ is such an amazing song, and why perhaps you, also, like it more than ‘Warm Slime’, this is why. Even setting aside that ‘The Dream’ is shorter, there’s more notes and ideas going on there. The bass line is the anchor of everything; the guitars dance in and out of phase with it, by turns supporting its propulsion with staccato chords and spraying rhythmically detached noise and solo lines over the top of it, like fireworks into the night sky. The bassline in ‘The Dream’ has more notes, has more variance in volume and how much it olds your attention over the course of the song. It’s a heartbeat, and you don’t always notice your own heartbeat, do you? But you know what you do notice, every time, and can’t ignore, and what the ‘Warm Slime’ bassline has begun to make me think of? Something that maybe at first you try to but eventually you can’t ignore, and it gets old fast? Pencils down, any guesses? It makes me think of someone running a vacuum cleaner.

Now, here’s what is so weird for me about writing all of this. I still love ‘Warm Slime.’ I still would consider it, if perhaps not one of the best Oh Sees songs, one of the most essential. How do I reconcile this? Well, it’s like I said at the beginning of this retrospective: you can love something while not needing to ignore its flaws. I fully acknowledge the flaws of ‘Warm Slime’, but when I listen to it, I don’t need to ignore the bassline, or its overall relative lack of development and ideas. To use a non-musical example, I know that MacGruber is a comedy with flaws. But I unashamedly love it, and in order to love it, I don’t need to ignore them. Whenever ‘Warm Slime’ begins, I get a rush of energy and excitement. Fuck yeah, I think to myself, let’s do this! There are precious few things in my life right now that give me this feeling. I don’t want to bring my personal life into this, I’m just trying to demonstrate, ‘Warm Slime’ is a kickass song. Like me, it’s got flaws. But I know that my wife loves me, not despite my flaws, not because of them, but because she loves me, full stop. She doesn’t need to ignore my flaws to think I’m a kickass person. If a song can make me feel like ‘Warm Slime’ does, and I can make my wife feel like how ‘Warm Slime’ makes me feel, who needs to dwell on flaws? We should talk about them, and hope they get better (spoiler alert: they do, Carrion Crawler/The Dream is amazing), but they don’t always, inherently, spoil things. That’s a good place to be in.

So, yeah. Warm Slime is great.

Oh Sees Retrospective #10: Dog Poison

What do you expect when you see something labelled as a full LP, and not an EP or single? Is it only about the length? Is it about how many songs there are? Is it about artistic intent? Let’s consider one of the most famous short albums in history, Slayer’s towering masterpiece, Reign In Blood. At a svelte 28 minutes, it’s significantly shorter than the average LP, which I usually think of as being around 45-60 minutes in length. To me, usually, I think of sub-half hour releases as being EPs. But that’s not really an accurate metric, the more I think about it. Reign In Blood is short, but it doesn’t feel short. It’s a wholly satisfying experience—adding more songs would dull its skull shattering power, and removing any songs to make it an EP would have similar detrimental effects. Why, then, is it that I feel like Dog Poison doesn’t qualify as a true LP? It can’t be because it’s short, because as we’ve established, that isn’t a fair criterion.

Let’s touch on a few other points and maybe we’ll figure it out along the way. Released mere months after Help, Dog Poison came out on September 28^th, 2009. I’ve long assumed it was an EP of rough demos based on its production style and length, but it’s very clearly described as a finished LP online. Similar to Help, it’s not on the Oh Sees Bandcamp page and I couldn’t find any information about who plays on it. Wikipedia seems to suggest it was recorded solely by John Dwyer, though given how much flute is on the album this clearly isn’t true. Strangely, the Castle Face website says that Dog Poison came out “after Warm Slime” which also, clearly, isn’t true. You’d think Dwyer’s personal record label would get that kind of easy detail right but then again, they have a lot of good drugs in California. If anybody can contact him and get me hired as his discography guardian, I’d appreciate it. I don’t mind working weekends and I bother to do even the smallest research!

Every Oh Sees album seems to have its defenders and fans, though with Dog Poison I’ve gotten the impression it has the least amount of them all, with the exception of the earliest OCS records. I also get the impression it’s a divisive release, though unlike the similarly divisive Smote Reverser, I haven’t seen anyone say they outright love it or it’s in their top five favorite Oh Sees records. I’ve never really liked Dog Poison; even when I was considering its quality based on my assumption that it was an EP of rough demos/unfinished songs, I still didn’t like it. In fact, it’s the only Oh Sees album I ever bought on vinyl and traded it back in to the local record store. Shocking, no? I simply don’t have a collector’s mentality in the same way some people do. If I don’t like an album, no matter how rare or expensive it is, I trade it in and let someone else enjoy it. Pay it forward, and all that.

OK, so where does that leave us regarding Dog Poison’s status as a non-LP, but-no-really-it-is-a-LP-you-guys? Time to break it down. It’s short and it feels short. Just as I think the two bonus tracks on most releases of Master’s Bedroom make it feel overlong and weaken the listening experience, there isn’t enough of Dog Poison for it to satisfy. What little music there is comes off as things Dwyer threw together in an afternoon when he was bored at home. The lo-fi production style does the songs no favors, muting and muddling the sound such that even when listened to on headphones I can’t tell if it’s Dwyer or Brigid Dawson doing the back-up vocals. It further reinforces the notion that the entire album is slapdash and rough around the edges, but not in the pleasing way that Castlemania is more lo-fi and rough than other Oh Sees releases. I’ve never been the biggest fan of Castlemania but it has something to it that I uncover and enjoy more each time I have revisit it. It’s the one I’m most looking forward to doing a retrospective post on, whereas Dog Poison is something I’m looking forward to being done with. It’s like a birthday party that is somehow boring and depressing when you were expecting fun and entertaining.

Anyway, with far fewer songs than Castlemania, Dog Poison’s weak tracks stand out more starkly, and the production does no favors. The songwriting quality is poorer than it has been since the days of OCS—speaking of, I find Dog Poison to be a regression to the infantile pseudo-folk of those early releases. Other than the use of flute, which is a fun novelty, the music and instrumental playing are frankly kind of boring. Just when he was doing new and interesting things with electric guitars, Dwyer goes back to the acoustic and has seemingly forgotten how to play anything compelling on it other than it being used for rhythmic chording and time keeping. I almost like ‘It’s Nearly Over’ and then that blown out acoustic guitar punches through with no riff or hook or melody to it. All the instruments seem to bleed into each other and get in each other’s way—‘The Fizz’ could be a fantastic garage rock track, if it didn’t sound like it was recorded by the Mr. Mike Voice Changer/Tape Recorder from Toy Story….that was a quarter mile way…that was also soggy from someone spilling their Guinness on it. I’m exaggerating to make a point, of course. I need to make clear, lo-fi production is fantastic when it’s used effectively and sympathetically—you can’t be a Guided By Voices or Daniel Johnston fan if you can’t embrace tape hiss, warping, and amateurish mixing/mastering. We know Dwyer has access to better equipment so Dog Poison’s production is a deliberate choice. A baffling choice that doesn’t work, but a deliberate choice nonetheless.

If it sounds like I hate Dog Poison, it’s only because I hold Oh Sees albums to such a high standard. Even the releases that I don’t like as much as others have something unique and/or endearing about them. So, no, I don’t hate Dog Poison. It’s just…inessential and kind of pointless to listen to it anymore. Oh Sees have 20+ albums to their name(s), to say nothing of all the EPs (which Dog Poison should have been!) and singles. Why waste your time with this dull, dreary, poorly recorded mess?

Alternate/Hot Take/Spinal-Tap-Reference-Review: Dog Poison? More like Dog Shit!

Oh Sees Retrospective #9: Help

“Always different, always the same.” These words from legendary British radio host/DJ John Peel perfectly encapsulate what the band The Fall is all about. You could always tell straight off the bat when listening to a new album that it was The Fall even if it sounded like other things, too. Their style changed over the years yet it was at its core still The Fall. Always different, always the same; this same dictum holds true about Oh Sees. As I write this retrospective, we’re about a week away from the release of Face Stabber, an album which continues to expand the sonic universe of Oh Sees while still sounding like Oh Sees. There’s something unmistakable about their music, despite the varying style, approach to music making, and ever shifting lineup (though The Fall certainly has Oh Sees beat for frequency of lineup changes!). Help is firmly placed in what I consider the garage rock era of Oh Sees, but there’s also sprinkles of psychedelia, noise, and krautrock on the sundae, so to speak.

This is all a long way of saying that while Help may not sound all that different from its predecessor, it does prove that there’s still a lot of juice left in the garage rock orange. Released on April 28^th, 2009, the follow-up to The Master’s Bedroom Is Worth Spending A Night In seems to get lost in the shuffle of the increasingly prolific Oh Sees discography. Despite doing my usual research the only background information I can find on Help is its release date and where it was recorded (The Hangar in San Francisco). For starters, the album isn’t on the Oh Sees Bandcamp page which is odd. It must be an issue of licensing or digital download/streaming rights. Speaking of licensing, the listing on the In The Red Records website is bafflingly misleading. It has a quote from John Dwyer which, given the context of the rest of the blurb, is him talking about the difference between Castlemania and Help. In actuality the quote is from him comparing Carrion Crawler/The Dream to Castlemania! It’s worth noting the In The Red Records webpage about Carrion Crawler/The Dream gives its title as Carrion Crawler, no forward flash or “The Dream” in sight. Do they care, like, at all? Are they in some kind of legal dispute with John Dwyer and they’re having a laugh? Are they purposefully misleading people as some kind of petty revenge?

But I digress. There’s no information anywhere on Help’s personnel though I assume it’s the same lineup from Master’s Bedroom. I swear at least some of the tracks have two drummers—am I crazy? Anyway, while I do see some fans touting Help as their favorite, it doesn’t get as much adoration as other universally beloved Oh Sees classics like Carrion Crawler/The Dream, Mutilator Defeated At Last, and Floating Coffin. Sure, there’s a guy on the cover of Singles Collection Volume 1 & 2 with its art drawn on his chest but I’ve always assumed this was a reference to the cover of Sonic Youth’s Washing Machine with its similarly meta photo.

On a side note, you might assume from my Reddit profile pic that Help is my favorite. I do really love it—we’ll get to that—but it’s not my favorite. I use it because it’s my favorite Oh Sees album cover. Well, for the past year or so anyway. Favorite Oh Sees album cover or album title is just as hard to pick as my favorite Oh Sees album and seems to continually change.

Oh, you want to know what my current favorite Oh Sees album title is? Floating Coffin. It makes me think of the save rooms from Castlevania: Symphony Of The Night. OK, OK, let’s get back on track.

Help was the first Oh Sees music I ever heard and it will always hold a special place in my heart. I’ll never forget walking into a room at my then-current job back in 2011 and hearing ‘Destroyed Fortress Reappears’ blaring from a coworker’s computer. A few months before I had overheard a different coworker playing MM..Food by MF DOOM, which helped cultivate a love for hip hop, so it was a pretty awesome job from time to time. Anyway, I try to avoid profanity in writing unless it’s called for so understand that there’s only one way I can truly describe my reaction: it blew my fucking mind. It was one of coolest sounding things I’d ever heard, akin to the first time hearing Miles Davis’s space echo trumpet wails during the intro of Bitches Brew’s title track. The guitar and organ riff that powers ‘Destroyed Fortress Reappears’ feels like it belongs in a horror movie or a videogame. Or perhaps a horror videogame titled ‘Castlemania.’ But I digress.

What makes Help such a fantastic album, and a solid contender for “objective” best Oh Sees album, is that it takes what Master’s Bedroom established and simultaneously expands on it and finesses it. I never skip any tracks when listening to Help; it’s perfectly paced and every song, and the record as a whole, is just as long as it needs to be. Hypnotic jams like ‘Destroyed Fortress Reappears’ and ‘Go Meet The Seed’ zoom down the road alongside shorter, get-in-get-out tracks like the song fragment ‘The Turn Around’ and underrated rave-up ‘Rainbow.’ Help has a warm lo-to-mid-fi production style that allows you to hear the separation between the instruments and vocals without being too clean and digital sounding. And of course John Dwyer’s vocal tics and distorted reverb-and-echo drenched guitar is in full flight here. Help is such a solid, enjoyable listen than I often play it over and over in a loop, like I do with the first two Pixies records (and their flawless debut EP Come On Pilgrim. Seriously, go listen to it if you haven’t heard it before). It’s the sort of album in a band’s discography where I fully understand if it isn’t your personal favorite yet I can’t imagine any fan not loving it. Hyperbole or not, you cannot like Oh Sees and not like Help. Interesting, then, that mere months after its release they followed it up with Dog Poison, one of their most divisive and regressive releases. But we’ll get to that next time.

Oh Sees Retrospective #8: Thee Hounds Of Foggy Notion

It’s a common experience in music to listen to something that you just don’t get. Maybe it’s an album you’ll eventually like, maybe it’s a style of music that isn’t your cup of tea, maybe you just weren’t in the right mood that day. Expectations, too, can play a part. In my early days of being an Oh Sees fan, I hadn’t memorized their discography yet, and would often stumble on their releases not knowing exactly what I was getting into. Spotting Thee Hounds Of Foggy Notion in a record store in Ann Arbor in the Fall of 2013, I remember thinking, “weird, they have a live album that comes with a DVD, why didn’t anyone tell me?” Funnily enough, I was actually on a first date that day. It didn’t end up going anywhere but my love affair with this album had only just begun, in a quite literal sense. You see, at first, I didn’t really like it.

Take a deep breath, I’ll get there by the end of the story!

Let’s detour briefly and talk about the hard facts. Thee Hounds Of Foggy Notion was released on August 22^nd, 2008 (or the 25^th, if you believe Wikipedia). Due to the vagaries of music release schedules and DVD production, it came out after The Master’s Bedroom Is Worth Spending A Night In despite being recorded before it. With the classic freak-folk lineup including Patrick Mullins on drums, Thee Hounds features songs from the band’s releases up to this point, a few originals, as well as nascent versions of ‘Block Of Ice’ and ‘Ghost In The Trees’ that would be reworked for Master’s Bedroom. I’d be remiss if I didn’t mention the DVD included with this album. Not only does it feature the band performing the songs in various locations around San Francisco, but it has segments between songs of the band goofing off, telling stories, and doing party tricks. I believe the whole thing is on YouTube for those who haven’t seen it. It’s essential viewing, equally intimate and electrifying, and a glorious window into the otherworldly being that is John Dwyer.

I’ll dispense with any more formalities and come out and say it: Thee Hounds is one of my favorite albums, ever. I love everything about it, from the production style to the improved versions of past songs to the album cover to the look and feel of the DVD performances and between song segments. Sometimes when I do the dishes I put on this album and I get so caught up air guitaring along to ‘We Are Free’ and singing along to the songs that I forget I was even doing dishes. So, you’re probably still wondering: why didn’t I like it at first? Mostly it was down to expectations. I had no clue about the earlier era of this band, and the vast difference between something like ‘If I Had A Reason’ and latter day classics like ‘The Dream’ left me confused. Was this some kind of stripped down, MTV Unplugged style live album? Sure ‘Golden Phones’ is pretty as hell, and ‘Dreadful Heart’ is spellbinding. But…but I want to hear ten minute versions of ‘I Come From The Mountain’ and ‘Destroyed Fortress Reappears’! I want to mosh along to it alone in my apartment, spilling beer on the floor and falling over my couch! I suppose the other reason it didn’t click with me at first is that I was going through a serious “I want music to be as crazy as possible!” phase, mainlining Miles Davis live albums from the early to mid ‘70s, getting into No Wave and industrial music, obsessing over shoegazer and noise pop, and continuing to make my own crappy, amateurish experimental music with as many layers, samples, and effects as I could get my hands on. But I digress. I love this album now, all is right with the world.

I get the sense that Thee Hounds is a more or less universally beloved Oh Sees album. Maybe I’m not telling you anything you don’t already know when I say it’s a perfect live artifact of this era of the band. The only complaint I have is that ‘Highland Wife’s Lament’ doesn’t quite belong. I think it’s an interesting experiment though I usually skip over it. I dunno, it seems more like something I’d expect on a Blackout Beach record. Anyway, as I said earlier, I love the reworkings of earlier songs, and comparing the slower versions of ‘Block Of Ice’ and ‘Ghost In The Trees’ to the Master’s Bedroom versions is interesting, particularly because they sound like a halfway point between the freak-folk and garage rock eras. Still, Thee Hounds is a very special album to me regardless of its rarity, style, and place in the band’s history. It’s the best starting point for getting into the earlier freak-folk era of Oh Sees and the DVD is an essential piece of understanding Oh Sees and the world of John Dwyer.

Oh Sees Retrospective #7: The Master's Bedroom Is Worth Spending A Night In

When you talk to people about modern garage rock, they’ll usually be thinking of the garage rock revival of the early ‘00s. The White Stripes, The Hives, The Strokes, and The Black Keys gave mainstream rock fans an alternative to the post-grunge arena rock of Creed and Nickelback and the angry white boy rock-rap of Limp Bizkit and Linkin Park. While I do genuinely love those “The” garage rock bands, it’s the garage rock that began to emerge in the mid ‘00s that I really adore. There’s something so raw and unhinged and (for lack of a better term) American about Jay Reatard, Vivian Girls, Ty Segall, and Oh Sees. For whatever reason, bands outside the U.S. always sound to me like their energy and passion are artificial; their attempts to sound lo-fi a conscious affectation rather than because of lack of access to proper recording gear or because this music doesn’t feel right without some tape static and sludge.

Oh Sees were never a pure garage rock band, but that’s what makes them so exciting. That’s also what sets them apart from their contemporaries and forefathers. Look at what The Strokes have done over the years in terms of their overall sound. It hasn’t really progressed; they haven’t tried anything outside their comfort zone. Ty Segall, meanwhile, may have done some weirder stuff in his career, but he isn’t releasing twenty minute jams or playing with two drummers or recording a cover of ‘Burning Spear’ by Sonic Youth.

All of this began with the April 8th, 2008 release of The Master’s Bedroom Is Worth Spending A Night In. What I think of as the true Oh Sees arrived fully formed, for a few reasons. For one, they officially changed their name to Thee Oh Sees, which is somewhat symbolic of how the group had also evolved into a rock band for the first time. For another thing, the arrival of new drummer Mike Shoun seems to be the true catalyst for the beginning of Oh Sees’ rock era. As John Dwyer said in a October 2007 interview: “…[H]e has more of a Keith Moon vibe...he definitely brought it up to a more party thing.” (Interview can be found here: http://www.dustedmagazine.com/features/660) True, a few tracks were recorded in New York with a different drummer, but Shoun’s work slots in nicely with the new sonic direction. There’s even a preview of the modern Oh Sees’ two drummer foundation when he’s joined on the aptly named ‘Two Drummers Disappear’ by longtime producer/collaborator Chris Woodhouse.

I have to admit right now that, with one caveat, Master’s Bedroom is a perfect start to the garage rock phase. The overall sound and production is beautiful lo-fi goodness, finishing Dwyer’s journey into electric guitar underground badass. Indeed, one of the first things that drew me to this band was that I simply thought they sounded cool as hell. I’m a sucker for noisy/distorted guitars and reverb/echo/delay effects; the opening noise delay loop of ‘Block Of Ice’ always gets me pumped. Some of the hallmarks of Dwyer’s vocal yelps, yells, and other tics (like leaving in him counting 1, 2, 3, 4 to start songs and other studio chatter) start here, too. Sludgier tracks like ‘Grease’ and ‘Maria Stacks’ keep the blood flowing but also allow you to catch your breath.

So, about that caveat that I mentioned? I’ve always thought Master’s Bedroom is a few songs too long. At 46 minutes, it isn’t any longer than most of their other albums, sure, but it feels long. I think the album is well paced and none of the songs are bad or should have been shuffled around, so what is it? I used to think I felt this way because ‘You Will See This Dog Before You Die’ seemed the logical conclusion of the record, and the minute or so of silence at the end of it felt weird and off-putting, especially when ‘Quadrospazzed’ starts out of nowhere, seemingly mid-song. Meanwhile, album ending song ‘Koka Kola Jingle’ is a strange throwback to the freak folk style of previous albums. Doing research for this retrospective, as it turns out, would not only vindicate my opinion but make it somewhat objectively true. This is because most versions of Master’s Bedroom actually are too long. ‘Quadrospazzed’ and ‘Koka Kola Jingle’ were bonus tracks tacked onto the album’s non-vinyl releases. I do think their inclusion weakens the album though your mileage may vary. On a side note, I far prefer the 45 RPM single version of ‘Quadrospazzed.’ Dubbed ‘Quadrospazzed ‘09’, it’s the first long song in Oh Sees history. Clocking in at just over ten minutes long, it’s almost like a proto-‘Warm Slime’, and it really needs to be re-released on a compilation along with other rare Oh Sees tracks not on the singles collections.

Master’s Bedroom began a streak of yearly albums and other releases that continues, unabated, to the present day. Oh Sees may not always have released masterpieces each year, but they’re all at the very least solid and interesting. Those newer fans wishing to sample the garage rock era would do well to start here, since it’ll establish what this era was all about before you move on to the albums that refined and experimented with this sound. I should note that, because I’m doing these retrospectives by chronological release order, we will be making a brief detour with the live freak folk album Thee Hounds Of Foggy Notion (recorded in 2007 but released after Master’s Bedroom in 2008) before we continue on the garage rock trail.

Oh Sees Retrospective #6: Sucks Blood

2007 was a watershed year for music and videogames. Go back and look at a list of releases in either medium and you’ll find some of the most beloved and influential titles of the modern era. 2007 felt so jam packed with excellent albums that it inspired me to start my music blog at the beginning of 2008. More than any other year I experienced during the time I was keeping up with new releases, 2007 felt like a tidal wave of variety and excellence. I’m still discovering albums from 2007 that I missed out on the first time around. I don’t know if I would have enjoyed Sucks Blood as much back then, but today it’s another addition to the list of great-to-exceptional albums from that year.

Somewhat lost in the shuffle of a stellar year for music, Oh Sees released Sucks Blood on March 20^th (or May 15^th, according to Wikipedia). Confusingly, the album cover continues using The Oh Sees as the group’s name, though the inside cover lists them as their soon-to-be-semi-permanent moniker, Thee Oh Sees. I guess we’re still going through a transition, something borne out by the music. In addition, Dwyer and the group were going through a couple other changes. 2007 was the year that Dwyer’s Castle Face Records was founded (indeed, it was started to release Sucks Blood). More importantly, the album features the debut of Petey Dammit as bassist and second guitarist. If I recall correctly, he often played the role of bassist by running a typical electric guitar through pedals and/or a bass amp to get a fatter, lower sound, possibly using a lower tuning as well. Sleater-Kinney’s two guitarists use similar techniques, and as with Dammit’s work with Oh Sees, it’s an effect I really love as it gives a rock band a more unique sound.

Despite its fearsome title, Sucks Blood is actually a very mellow and sluggish record, and in some ways it serves as a more focused, better produced version of The Cool Death Of Island Raiders. Sucks Blood starts off with the red herring of ‘It Killed Mom’, a loud rocker that points to the future before the album immediately pulls back into the freak folk style that had defined the Oh Sees project. At least this time the production isn’t as overstuffed and distant/muffled sounding as Cool Death. Also crucial is that the songwriting is consistently excellent—‘Golden Phones’ and ‘Iceberg’ being some obvious career highlights, featuring Brigid Dawson’s lovely backup vocals. I’m not crazy about the odd choice of church bells used in the background of ‘Iceberg’ but I will give them credit for using the singing saw way less often. When it does make an appearance on the aforementioned ‘Golden Phones’, it actually blends in well and adds to the slow, dreamy feel of the track. Finally, as with the previous record, I dig the use of the two untitled drone tracks to lend some variety to the proceedings. Actually, the second drone track is worth noting because it’s the closest Oh Sees ever got to ambient music. It’s a field recording of outdoor wind and bird sounds, providing an appropriately languid and mellow end to the album.

Sucks Blood is a great record, a hidden gem in the band’s vast discography as well as the flood of other great 2007 releases. It serves as a satisfying capstone to the first phase of the band’s life, the last time they couldn’t be classified as a rock band. While I am very excited to get to the garage rock era of Oh Sees, I really want to take the time to say how much I’ve enjoyed exploring the freak folk era. It’s a different side of this band and Dwyer’s work in general, and it’s given me a different appreciation for them that I didn’t have before. Anyway, next time on the retrospective: get ready to crank the volume and enter the mosh pit.

Oh Sees Retrospective #5: The Cool Death Of Island Raiders

For the first few years of his career, alt-country/indie folk artist Bonnie “Prince” Billy changed the name of his group with every release. In an interview with The Boston Phoenix in 2003, he explained his motivation: “Well, I guess the idea is that when you have a name of a group or an artist, then you expect that the next record, if it has the same name, should be the same group of people playing on it. And I just thought we were making a different kind of record each time, with different people, and different themes, and different sounds. So I thought it was important to call it something different so that people would be aware of the differences.” Dwyer seems to have similar motivations with changing the name of his Oh Sees project over the years. He even explained that he revived the OCS name for the Memory Of A Cut Off Head album because he now sees OCS and Oh Sees as two different bands.

But I’m getting ahead of myself. Despite the 5 on its album cover, The Cool Death Of Island Raiders is not the fifth OCS album. Rather, it sported the name The Ohsees upon its release on June 13th, 2006 (or March 7^th, according to Wikipedia). Adding Brigid Dawson as a third member to the evolving Oh Sees group, Cool Death may on the surface sound like a logical progression of the preceding OCS albums. After all, it’s also a freak folk album with some experimental elements mixed in.

However, it’s the things that do set Cool Death apart from the past that make it one of the most unique and frustrating albums in John Dwyer’s discography. The two drone compositions work very well with the flow of the songs and feel more naturally implemented and interesting than past excursions into noise. I especially love the way the second drone emerges from the clamor at the end of ‘We Are Free.’ The biggest negative for me is the overall sound and feel of these tracks. Bizarrely recruiting David Sitek of TV On The Radio as producer, this record has none of the crisp yet not overly polished style I associate him with. Rather it’s a cluttered, chaotic mess, with songs like ‘Broken Stems’ and ‘You Oughta Go Home’ in particular having too many unnecessary layers of sound. Why they used the distracting singing saw so often I’ll never know. Listening to the versions of songs from Cool Death on the stripped down Thee Hounds Of Foggy Notion reveals the buried gems that were there all along.

Positive additions come in the backing vocals of Dawson and the change from acoustic to electric guitar. I’ve never really found Dawson all that essential to sound of this band, since her vocals often blend too much with Dwyer or get lost in the high throttle sound of Oh Sees in full flight. Heresy, I know—but even I can’t deny how much she brings to Cool Death, and maybe as I move forward from here I’ll appreciate her more. With the guitar change, we have the most seemingly inconsequential and historically significant addition to the sound. ‘The Guilded Cunt’ is a strong opening track for a band with no shortage of these, the delay effect on Dwyer’s guitar soon to become a signature staple. When they return to acoustics on ‘Losers In The Sun’, it can’t help but seem like a backstep. It doesn’t help that this track is also one of the worst in Oh Sees history, with its apathetic mess of overly repetitive strums, bumbling drums, and pointless bird sounds.

Two steps forward, one step back: Cool Death is one of those transitional albums in a band’s career that certain fans may love but everyone else will find unsatisfyingly interesting. Animal Collective’s Here Comes The Indian and Miles Davis’s Miles In The Sky-era records are good analogues. To be perfectly honest, I couldn’t stand this record when I gave it one and only one listen a few years ago. I was expecting something much closer to the modern Oh Sees sound and I recall thinking, “what a pointless mess.” Revisiting it has improved my opinion, although only to the level of “a mess, but not a pointless one.”

Oh Sees Retrospective #4: OCS 4: Get Stoved

As the music industry transitioned from vinyl records and cassette tapes to CDs as the dominant format, a curious phenomenon began to happen. As CDs could hold around 80 minutes of music, record companies began to think that they needed to fill up all that space. Did they think consumers equated volume with value? Did they think people wanted 50ish minutes of music chosen by the artist followed by mostly superfluous, DVD bonus feature-esque remixes/outtakes/demos/live versions? I’m speculating as to their motives but it’s hard to look back and miss that average album lengths began to spike in the 90s. After all, some “double albums” from the 60s fit onto one CD, while “double albums” from this era absolutely had to fit on two CDs. Luckily we’ve seen the reversal of this trend, with more modern albums like The Flaming Lips’ Embryonic released as a double album for pacing and artistic reasons instead of because they’re too long to fit onto one CD.

This brings me to OCS 4: Get Stoved. Recorded at the same time as Songs About Death & Dying Vol. 3 and initially released with it as a two CD set, both albums are hardly above a half hour in length. They could easily fit onto one CD, so one must assume they were separated for good reason. If you listen to both of them back-to-back, though, you’d be forgiven for not knowing where one ends and the other begins. Is John Dwyer just being arbitrary and trying to make you think you’re getting a great deal?

Listening to them in isolation makes a huge difference. True, the distinctions may not be as clear cut as they are between, say, Castlemania and Smote Reverser, but I do understand why they’re given their own space to exist. Songs About Death & Dying Vol. 3 is overall more somber in tone, with darker subject matter. There’s more rough edges to brush up against. Meanwhile, OCS4: Get Stoved feels more calm and reflective, lacking any bursts of noise or experimental elements that made earlier albums bittersweet. It’s also the most consistent album so far—yes, the third album has greater peaks but it’s not as enjoyable all the way through. Overall I’d characterize album four as shambolic and druggy, tracks like ‘Crime On My Mind’ and ‘Tower & The Wall’ stumbling down the sidewalk stoned on a sunny California day. On a side note, I tried figuring out what “stoved” means, and between normal dictionaries and Urban Dictionary it has some interesting usages. My personal favorite is “being so stoned you feel sober.”

Released in the Summer of 2005, OCS 4: Get Stoved represents the end of the OCS name (until it was revived in 2017, but that’s a tale for another time!). This same year, John Dwyer’s main musical project, The Coachwhips, also came to an end. Perhaps to signal his new full-time dedication, OCS transformed into a series of sound alike name variants. And while the next album, The Cool Death Of Island Raiders, wasn’t a huge departure from what had come before, it’s still worth noting that Get Stoved is the last recorded as a duo primarily featuring acoustic guitars. Island Raiders may have a 5 on its cover but it’s definitely not the logical fifth album progression that this suggests.

After four albums that fully explored and finessed the OCS sound, it was time to go somewhere new. It was time for Brigid Dawson to join. It was time to sound like a full band. It was time to use electric guitars and delay pedals. It was time for OCS to evolve into Thee Oh Sees.