Though it was made by John Dwyer mostly alone, Drop is one of Thee Oh Sees most vital records. He relies on guests to flesh out the sound rather than a tight rocking band but you could never tell. Effervescent garage rock that absolutely kills live and if that's not enough for you then you gotta love a record that was made in a banana ripening warehouse.
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Hi. Below is some information regarding the new Oh Sees album - listen up.
‘Drop’ is a John Dwyer Oh Sees record, as with previous non-band outings like ‘Castlevania’ and such, yet it also sounds like a complete band outing which is reassuring. Sadly there’s no Brigid, no Petey (Dammit!) and no Mike which is a little disconcerting (“wha’ happened”) but all is not lost kids as this time 'round we've got Chris Woodhouse (chief dail twister for the Sees) blazing the drums, Greer McGettrick (of the outstanding and sadly disbanded The Mallard) on backing vocals plus Casafis (Fuzz/Mikal Cronin axe-shredder) and Mikal Cronin (of being Mikal Cronin and shredding with Casafis in Ty Segall's band fame) making appearances on saxophone (?). The differences are evident and dwyer takes full advantage of the personnel change producing something familiar but NOT cosy. The dynamic has changed but the songs get stronger. The man is clearly familiar with his strain and not at all shy with it, making adjustments to PH balance and light exposure to invigorate his crop.
So, (SECOND WARNING) this record features saxophone. Oddly, it’s not all that bad. For example there's ‘Encrypted Bounce’ which embraces Canisms with joyous glee - sax shining bright. Opener ‘Penetrating Eye’ beats Fuzz at their own game and may be this generations ‘Smells Like Teen Spirit’. I’m not joking. First time I heard it I went apeshit. If I was still a kid I’d may have smashed my face in with joy on first listen. On ‘Savage Victory’ Dwyer makes impressive use of the mellotron with vibes emanating from every looping piece of tape, each vocal harmony is softer and sweeter than the last. ‘The King’s Nose’ and ‘The Lens’ are testament to OH growth, the palette expanding beyond creative rationality.
I could go on doting over the rest of the tracks but I’ll leave it there for now (got a wall of boxes shadowing me...RSD ain't so cool right now), just rest assured that all is well at camp OH and there’s no need to fret. Dwyer appears to be at his creative peak and moving to a different city ain’t gonna stop the momentum.
8/10 Ben 22nd February 2016
I love this band, although I am quite late to the party having started with their 2015 release The Mutilator Defeated. This album is only very slightly second to that but has the same crushing guitars, a rhythm section reminiscent of West Germany in the early 70s and soft, distant vocals. They are loose in all the right places, allowing you can lose yourself in every tune. In fact, I think I will again this afternoon. Nice one
10/10 Jordan.W 14th May 2014
Despite being an avid Garage and Psyche Rock fan since forever I was only recently appreciating the genius of John Dwyer & Co. enough to commit to buying an album (Floating Coffin) partly because I found the long winded grooving slightly tedious (what a fool right?), THEN! The Drop... dropped! The album starts off almost where Dwyer's solo album 'Hubba Bubba' left off, with an eerie nightmare inducing arpeggiating synth only for one of this years most colossal riffs to explode through the damaged bugs shell, spattering its slime all over the place to remind us Thee Oh Sees still exist and are ready to vaporise any nay sayers beliefs! The rest of the album is quite the same, whilst varied in sound, it's definitely more of a pop record compared to past ventures oozing all kinds of riffs and melodies, filtered through a fuzzy kaleidoscope... yeah. Something Tim Presley (White Fence) would be proud of, especially since 'Put Some Reverb On My Brother' was inspired by the man himself as declared in the albums notes. 'Camera' is one of my faves from the album partly because it sounds like some kind of ode to Ty Segall whom I was surprised to find didn't play on it! However Ty's good buddy Mikal Cronin was there with enough Sax appeal to blast some brass over at least half the album, which is a nice surprise! Rock needs more Sax! Maybe. This trip of an album ends on the hypnotic and mellow(tron) Beatles-esque (Seriously, it sounds like he went back in time to visit 'Sgt Peppers Lonely Hearts Club Band' and wrote it with them) 'The Lens', which makes you want a Mellotron more you wish the song was longer... which is a lot!
8/10 le trou74 10th May 2014
what a good surprise!not the original line up but it sounds so fuzzyyyyyyyyyyyyyyyyyyyyy. i like it very much and enjoy a lot of people, to do the same.......
9/10 coffin dodger 17th April 2014
For the dodger, there are some basic essentials that rock music should demonstrate to be great: down-tuned guitar; top axe antics in the strange noise department; bass and bass drum that move giant blocks of air and punch you in the chest; and noise; and even more noise. On 'Drop' John Dwyer is credited with guitars, vocals, bass, synth, percussion, mellotron, noise. That's a wrap, then. 'Penetrating Eye' - the album opener - has the best opening to have graced my ears for a long, long time... the rest lives well up the opener's promise without ever getting too 'samey'. If you like rock, especially of the experimental, roads less travelled, variety this album will make your week, possibly your year. Chuffing sublime stuff.
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