There's a question I've been grappling with since the start of this retrospective series, something I've been putting off answering until the time came. And it's this: can you talk about A Weird Exits without also constantly talking about An Odd Entrances? In some sense this retrospective series is about examining each Oh Sees release in a sort of contradictory manner. What I mean is, I try to consider them on their own merits but also as part of the greater discography. With these twin releases, though, the waters become ever more muddied. I mean, An Odd Entrances is its own thing yet it's also leftovers that didn't work with the Weird Exits songs...yet it's not long enough to be a full album...yet it can reasonably be judged on that basis because it feels like a complete, intended experience and not like a leftovers collection. It's complicated, is what I'm saying. For whatever it's worth, I am going to try to judge the two releases on their own strengths and weaknesses and not get sidetracked by comparing 'Jammed Exit' to 'Jammed Entrance' or the two parts of 'Unwrap The Fiend.' There's enough to cover with A Weird Exits as it is, so I'll probably save most of that for the retrospective of An Odd Entrances since I won't have as much background info to go over.
Released on August 12th, 2016, A Weird Exits is the first studio album to feature the foursome lineup with two drummers. Now, sure, Oh Sees did have two drummers on Carrion Crawler/The Dream and on a smattering of other songs over the years, but they never stuck with it as they have since 2015. A Weird Exits (hereafter simply Weird) and An Odd Entrances (hereafter simply Odd) are culled from the same batch of recordings. According to an interview with drummer Ryan Moutinho (http://www.thereprise.org/features/2017/2/22/thee-oh-sees-ryan-moutinho), it was a marathon three or four day session, after which John Dwyer finished/mixed the rest on his own. The music is more collaborative in spirit than Mutilator Defeated At Last because the band had been touring consistently for more than a year and they were jamming and coming up with song ideas on the road. Anyway, while I'm pleased that the last few releases have had no confusion when it comes to release dates and if they're an EP or not, we do have two topics to hash out before we proceed. First, what is the excuse for the lack of consistency of the title of 'Crawl Out From The Fall Out'?! It's listed as 'Crawl Out Into The Fall Out' on the vinyl record and on Wikipedia/Discogs but the Oh Sees Bandcamp and Spotify pages have it as 'Crawl Out From The Fall Out.' Now, you might be saying, it's a minor detail, who cares? Well, crawling out into something is rather different from crawling out from something. The next time you're near a burning building tell me which you'd rather be doing, if given the choice between the two. The second and more important issue: the liner notes mention something about an organ line lifted from an album which in turn lifted it from Jimi Hendrix. I did my usual diligent research and figured out it's 'The Axis.' The organ line on it is either a sample or a recreation of part of a track by Solo Organ. The part in question comes around the 8:00 mark of the second track from this album: https://soloorgan.bandcamp.com/album/atom-heart-and-beyond-the-infinite The artist's real name is Douglas Katelus though this is incorrectly spelled as Doug Catelis on the sleeve, because nobody cares about the details except me, I guess. Again, you may be saying, minor detail, who cares? Well, when it comes to crediting people for the work they did, it isn't a minor detail because it can lead to issues with songwriting credits and royalty payments. Johnathan Dryer, err I mean John Dwyer should be ashamed.
Whew OK, now that I got all of that out of my system...
Weird continues the trend started by Mutilator Defeated At Last, putting even more emphasis on psych/prog/metal and further scaling back the garage rock. Make no mistake, Weird is still heavy at times and knows when it's time to rock but the overall atmosphere is not as frenetic and manic. Compare 'I Was Denied' from Warm Slime to 'Ticklish Warrior' to get an idea of what I mean. Now, I rarely mention Oh Sees lyrics because they're usually just window dressing and are often hard to make out without looking them up online. I want to briefly touch on them for this retrospective because it was around this time in the band's discography that (lyrically) marked the start of John Dwyer's further descent into conceptual scifi/fantasy worldbuilding/story telling. It's interesting that this album has two instrumentals, thereby putting more emphasis on the words when they do appear. Anyway, 'Dead Man's Gun' and 'Unwrap The Fiend Pt. 2' are filled with stuff about nuclear war and surviving in the post-apocalypse and all kinds of crazy shit, to put it bluntly. Suddenly the video for Face Stabber track 'Poisoned Stones' seems less like it's meant to be a joke—perhaps, like the Gizzverse, Oh Sees have their own universe? Ehhhh no, let's not go there.
Some people truly love Weird and Odd and consider them a peak. They aren't quite up there for me though I do understand. Smote Reverser really set them into a slightly different direction that not everyone is down with. Though I don't outright love Weird or Odd, there is a lot to enjoy. Superficially speaking, the way the two releases play off each other with the album titles is really clever, and I think the always underrated Robert Beatty nailed it with his art for the covers. It's undeniable that Weird has some classic tracks that are live set staples, such as the meaty 'Plastic Plant' with its drum breakdown near the end, and the throttling 'Gelatinous Cube', which has one of the coolest introductions of any Oh Sees song. In fact while I'm piling up the praise, can we all take the time and appreciate Tim Hellman? He's the unsung hero of Oh Sees history—I've said before that I do love Petey Dammit! but having a dedicated bassist does wonders for the modern-era sound. I love the warm/round tone of Hellman's bass, and as a musician he has that indefinable ability to be both rock solid and groovy as hell. If you don't have access to speakers or headphones with decent bass response, you're missing out on a lot. Similarly I want to praise John Dwyer's guitar sound and playing style on Weird and Odd. I've been a big fan of psychedelic delay/echo/reverb effects since first hearing the trumpet wails during the opening of Miles Davis's 'Bitches Brew', and I think Dwyer really started to give me the goodness during the modern-era of Oh Sees. Every time I hear the beginning tune-up/jam part of 'You Will Find It Here' my third eye opens and I can see for miles. But that's on Odd and we're not talking about that yet!
The flaw of Weird that brings it down in my estimation is that it ends with 'The Axis.' I don't like anything about this song. Dwyer's vocals are so affected and hokey that they're distracting. It's a terrible choice for closing track not simply because it's bad but also that it doesn't fit in with the tone of the rest of the record. It feels like an inside joke that got out of hand, an anti-love song/breakup song with lame lyrics. It ends up being further ruined by Dwyer's redlined guitar and irritating noise. It smacks of listening to too many Dave Fridmann produced albums from the mid 2000s, all blown out and clipping and distorted and ruining what would otherwise be good albums. For example, listen to Some Loud Thunder by Clap Your Hands Say Yeah! and The Woods by Sleater-Kinney. I loved the latter at the time but it hasn't held up for me, production-wise. It's the classic issue of subtraction by addition: does this production style add anything to make the songs better? I'd argue it's a distracting gimmick that only works for some specific records (Embryonic by the Flaming Lips is an example of when it works well). Anyhow, I'm all for experiments but 'The Axis' is a failure and I have no idea what Oh Sees were going for.
Let's not end on a negative, though. 'The Axis' aside, Weird is a solid entry in the Oh Sees discography. To me it's the sort of album in a band's history that is above average and certain fans will end up adoring it yet when measured against everything else it just isn't as exceptional and cohesive as the top tier. Weird is a B but it's a solid B, and there's no shame in that.
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