Tulip Frenzy

By my count, Thee Oh Sees have released eight albums since 2010, not including greatest hits and rarities.  Even with John Dwyer backed by different incarnations of the band, what Thee Oh Sees’ albums have all had in common is a balance between joyous, thrashing punk rock that transports you to a crowded club heaving with spilled beer and dance sweat and these quieter songs, sometimes instrumentals, that make you go, “Well, that’s pretty.”  On A Weird Exits, the twin strains are in perfect equipoise, the jams offset by much more carefully plotted compositions.  And it makes us realize that it is time to take John Dwyer seriously.

Sure, albums like Floating Coffin and Putrifiers II have loomed large on Tulip Frenzy’s Top 10 Lists over the past half-decade, and you really haven’t lived ’til you’ve seen Thee Oh Sees play live, but with A Weird Exits, it’s time to tell the world: living amongst us, right now, is a deity capable of miracles.  “Plastic Plant” may be a perfect exemplar of Dwyer’s rock’n’roll genius, the double-drum set up calmly rolling along as he sings in a quiet falsetto, before his guitar just crushes it, the ebb and flow between the delicate passages and nuclear war the greatest formula since Black Francis was doing something like this with the Pixies all those years ago.  It’s easy to understand a song like this, or “Dead Man’s Gun,” or the frantic”Gelatinous Cube” were all created for the stage, with Dwyer carving out space to sing sweetly between tsunamis of sound.  So far so good, no need to plea the point that Thee Oh Sees are probably the most exciting live band playing these days.  This is settled fact, stare decicis, things every skateboarder in San Francisco is taught in 4th grade.

But there’s an entirely different side to Thee Oh Sees, and it goes way beyond what Dwyer does with his offbeat guitar tunings, his strange scales, his chirps and rave ups.  On “Jammed Entrance,” the way the double drums begin while the double-tracked guitar noodles along before the instrumental gets going, it’s jazz, man; this is something Miles Davis would have sampled, and not the other way around.

Which leads us to the two songs that end the album, bluesy, gorgeous compositions, a reminder of that other side of Dwyer. “Crawl Out From The Fall Out” has a minor-key undertow and — as some of his coolest songs have in the past — utilizes a Kronos Quartetesque strings arrangement, and it makes you sit up and listen, even though it’s a quiet song, not a trademark garage-psych groove.  Beautiful, beautiful music.  And then rather than follow it up with a rocker, the closer, “The Axis,” sounds like Stevie Winwood jamming with Procol Harem.  Well.  In just a 30-minute snippet of time, such a short interlude in your life, John Dwyer has taken us from the most exciting garage rock of the epoch to deep, moving contemplation.  The guy has it all, including originality.  A Weird Exits, its title rendered ambiguous by the extra “s”, is not only the best Oh Sees album since Floating Coffin, it should be that album that makes audiences of all stripes sit up and notice.

It’s time to take John Dwyer seriously.

This entry was posted on August 13, 2016 at 2:03 pm and is filed under Uncategorized with tags "A Weird Exits", John Dwyer, Thee Oh Sees. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.