I'm biased. I already like a single with a xerox sleeve that has an insert of a hungry man frozen dinner box for the liner notes (also copied). To me it says that they aren't fucking around, they didn't have the money for tri-pressings or gatefold sleeves but were compelled to get this out however it made sense. I respect the simplicity and thrift. The noise of this five track single from Messrs out of Columbus, OH is completely the opposite. They borrowed that reel to reel from Times New Viking and gave it back a rattled smoking messr.
A-Side's "Fur Trapper" opens to the hum and feedback already in progress and a guitar that plows into high register squealing to cut through the massive layers of hiss. The drums are backed into a corner, and the vocal is bent over yelling into a stereo during the breaks in an oscillating pitch. They don't worry too much about what the guitar should sound like and just let it be the ugly brut that it's been all along. "Hog Maul" blasts fast riffs right into the 4track and those drums are still struggling to stay above water only because this is Mayyors level sludge. It's almost shocking how much noise they can manage to conjure up with synth sounding ringtone guitars. Deliberately mysterious I feel totally offbase in any description of this chaos. "Dirt" has some truly deranged vocals on this one, actually starting to get frightening with this unhinged character that can be heard over these shifting plates of distortions, carving out a melody - or rhythm at least. A pure mess of serious noise that manages to drop out all at once.
B-Side's "After" opens on a cruddy underwater bass or severely damaged guitars played out of a muffled speaker leading the way for this percussion to climb into this shit whirlpool. Cleared by a sudden crystal melody from another layer of guitars, they don't have to record as blown out as possible or follow a formula. I'm also starting to think there is a drum machine involved this is too regular. They rely on the ways guitar tones work over each other, their crazy blend of distortions that sound so wrong and so right. Solo's flying just as the vocals start and again this guy is trapped in the back of this room with no chance of being metaphorically heard and I think he's screaming for help which is even creepier. Regular and rigid with crazy restraint compared to the a-side except for these vocals and the falling apart guitar which eventually opens up after their breakdown, the riffs getting thicker and louder....an epic three minute song for these guys.
"Safehouse" returns to speed hardcore with the crunch of a microphone that can't even get close to the size of this sound. All it can do is cram it into a solid wave and cut off everything above a cymbal because there's no space for anything else. Extra points for a long feedback outtro.
Get this from Savage Quality Records.
No sample of this one on the usual streaming sources, but check out their 'Tape' below:
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