ALBUM REVIEW: PSYCHEDELIC PORN CRUMPETS – HIGH VISCERAL (PART TWO)

High Visceral (Part One) was one of my favorite releases that I listened to last year, and I was surprised and happy to see that not only were they crafting a Part Two, but that it was already done. This was released just last week, and sees the band picking up pretty much where they left off. These Aussies can play, dang it, and the riffs, melodies, and songs on this record are at least as good (if not better) than Part One as a whole.

Once again, the record sounds fantastic. Every instrument is sitting in its own place and everything has plenty of room to breathe. The guitars cut through with ease, never muddied under the copious amounts of fuzz they employ at times, and the vocals soar over the whole thing. The rhythm section shines with a mid-heavy groove that easily gets me moving and nodding my head. I also appreciate how the art on this release keeps with the same theme as Part One. It’s a great attention to detail.

The band definitely does not hide their progressive leanings, but they also pack in plenty of hooks and “dumb” good times to make it all fun. I would love to see these dudes live some time, as I bet this stuff is mind-blowing in the flesh. Check it out! – Jason

Nek – The record starts off with a brisk proggy-surf onslaught that shifts into classically inspired guitar harmonies interleaved with a driving desert rock boogie vibe. This tune covers a ton of ground and I’m digging it. Tons of melody, rhythmic shifts, stops, and half-time accents really make this tune pop. Thumbs way up on this rocker. Bad ass.

Gurzle – A raunchy rock and roll riff gets this track going before shifting into a winding riff that reminds me of Core and immediately gets me grooving hard in my seat. When the verse lands, the guitars drop out and begin adding accents, letting the vocals, drums, and bass breathe before the chorus brings back that original bit of nastiness. This tune rocks with plenty of sonic details, and the tempo slowdown into a dreary QOTSA meets Ornette Coleman sax break is killer. The saxophone sounds rad in this context. This tune is making me think of the Postman Syndrome mixed with a killer stoner band.

First Light In The Garden At Chipping – Bleeding out of the ripping finale of the prior track, the hollowed out guitar chords accompanying the forlorn vocal set a somber mood, but then the lush guitar harmonies are back. I’m really digging the busy guitar picking that accents parts of this otherwise mellow tune. Beautiful. The orchestra ending is a great touch, the cellos/violin grinding out.

Ergophobia – Check out the nasty riff that starts this tune. Bad ass boogie, dudes and dudettes. Man, I’m banging my head and digging it, but then they half-time and slam on another killer riff and I’m dead. Rocker. Thumbs way up on this track, it’s a beast. The title refers to a fear of work or employment and the lyrics wonderfully convey this.

Move – After the raging rock and roll bombast of the last track, this one comes across much more progressive with a looping guitar melody and buttery bass line driving this spaced-out number. Instead of wrecking my neck, they’ve eased up with lots of atmospherics on this song. It’s cool and I appreciate the variety. My toes are tapping, but I’m not in love with this tune as much as the prior tracks.

Buzz – Light jangly guitars and a warbling vocal open this track and it’s got a British garage-rock vibe to it, until the song goes full tilt electric and they are jamming hard. I’m banging my head and scrunching up my face as I stomp my heel. About a minute in, the song takes on a driving beat and its full speed ahead. The chorus lifts the tune nicely, and then there’s a great surf-inflected guitar solo to boot, plus a great turn-around in the song structure. Nice. Thumbs way up, again. Get down! Rad.

Coffee – We’re back to a proggy groover with a slick, jazzy vibe to it. Tracks like this help to show off the band’s range, but I admit I prefer when they focus more on skanky riffs that make me nod my head incessantly. This is a pretty track, no doubt, but I find I’m waiting for it to explode into a massive fuzz riff. It never does. Dang. The synthesizer gets some time to shine on this track, so that’s nice.

Dependant On Mary – Here we go with a dirty boogie and a fun vocal melody, dripping with that great Aussie accent… and this one does have a nice blast of thick, wooly fuzz guitars! Nice. This track is insanely catchy, a boogie hung on a blue progression that’s surely been done before but is delightful nonetheless. I’m pumping my proverbial fist through the fuzzy chorus. The bridge takes the song back into outer-space with a Pink Floyd vibe and I’m into it. The tempo increase out of the bridge is nice as they barrel back towards earth and the land of head banging in a final chorus reprise.

It’s Not Safe To Leave The House – Thanks to some slide guitar, this track has a dusty, western vibe to it. It’s cool, and laid back, plodding along with a swirling feel to it. The vocal melody is catchy and dreamy, washing over me as I slowly nod in agreement. Cool.

November – More jazzy chords means more proggy slickness, and it’s definitely slick. This is cool song, but maybe a little more reserved than I hoped for in the closing track. It does ebb and flow nicely, swelling at times and emptying out at others. The cellos and guitar leading through the bridge reminds me of Blue album Weezer, as the snare gets more insistent until the band comes back in on the main chord progression, riding the groove through to the end.