What’s new on WUOG? Strangest collab of the year, Helium/Autoclave/Wild Flag’s Mary Timony’s newest band and a buncha Canadian garage punks!
Scott Walker + Sunn O))) – Soused
In a somewhat surprising collab, Walker and the Southern Lord drone metal act have teamed up for a collaboration that isn’t as much surprising as it is surprisingly polished and cohesive. Much of the album is Walker crooning dark, poetic lyrics over ominous drones, but expanded instrumentation, great conceptual ideas and Walker’s potent, unforgettable baritone keep the listener engaged on a record which had potential to be a slog. Lots of Walker-isms both lyrically and instrumentally (whips!), while O’Malley and crew show why they make the best ominous guitar sounds since Earth decided to be a post-rock band. If you’re a fan of either act on their own, Soused will delight you and make you desire the full-length follow-ups to Monoliths and Dimensions and Bisch Bosch.
–Andy Tabeling
Ex-Hex – Rips
Get your riot girl on and party like it’s the mid-90s because Mary Timony is back with some delicious tunes to enjoy while you remember the days of Helium and Sleater-Kinney. While this new record doesn’t cover a whole lot of new territory, the songs here are beautifully written and produced rock gems and should please anyone who likes any of the bands that contributed members to Wild Flag. Rips is full of clever guitar pop with plenty of catchy riffs and moments to make you jump.
–Andy Tabeling
Single Mothers – Negative Qualties
Negative Qualities is exactly what you’d expect: a collection of ferociously delivered songs that attack the flaws in society, peers, and band members alike. Single Mothers sound incredibly raw and gritty, which works perfectly with their attention grabbing lyrics and vocal deliveries. Despite the negative qualities that are highlighted by their brutally honest lyrics, Single Mothers embrace their imperfections and flaws. On “Womb” Drew Thomson states, “I’m a hypocrite an I’m okay with it. I’m so self aware that it’s crippling”, further backing their unrestrained lyricism. Later, in “Blood Pressure”, Thomson yells “I am who I am, and I’m not just gonna change” followed by an aggressive bass line and screaming guitars that blend with squealing feedback. “Money”, the album’s closer and an overall highlight features catchy guitar melodies and a more traditional indie-rock approach, which serves as a great “last stand” to end the overly energetic group of songs that it follows.
–Ben Houston