2013.07.28. *Drugstore, Beograd* Thee Oh Sees (SAD), Repetitor, ┼ Chresus Jist ┼

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Nedelja, 28. jul @ KC Drugstore (bašta) | 20:00

 

 

Priča o Thee Oh Sees nastaje na pepelu bendova Coachwhips i Pink and Brown u San Fransisku, Kalifornija. Zajedničko ime za oba benda je John Dwyer, ultraproduktivni pevač i gitarista čiji se mnogobrojni projekti kreću od brutalnog noise-rocka (Coachwhips, The Hospitals, Pink and Brown) do eskperimentalnog electro-folk-popa (Zeigenbock Kopf / OCS / The Ohsees / Thee Oh Sees). Kraj 90-ih i prvu polovinu novog veka obeležavaju uglavnom Dwyerovi solo radovi u vidu eskperimentalnih psihodeličnih minijatura snimanih u kućnim uslovima, u lo-fi tehnici.

Do 2006. godine Coachwhips, Pink and Brown i Zeigenbock Kopf prestaju sa radom. Prava stvar tek počinje: bilo je potrebno nekoliko albuma, nominalnih (OCS / The Ohsees) i personalnih promena kako bi se talenat izbrusio, bend etablirao i dobio današnji oblik. Thee Oh Sees je mesto u kome su svi kreativni impulsi Johna Dwyera sklopljeni u jedan (rečima Mark E. Smitha) “buntovnički jukebox”: psihodelična lutanja The 13th Floor Elevators, garažni zvuk Nuggets kompilacija, teški Black Sabbath rifovi, motorika krautrocka 70-ih. Način na koji kombinuju disonantnu buku i zarazne retro-pop / surf-rock melodije svedoči o umetničkom senzibilitetu Johna Dwyera: svoj talenat stavlja u službu velikih RNR ploča, a ne komercijalnog uspeha.

The Cool Death of Island Raiders (Narnack, 2006) je briljantan lo-fi pop album i verovatno prvo remek-delo u Thee Oh Sees kanonu. Prateći DVD predstavlja band u minimalističkim scenama potpuno primerenim ogoljenom pop zvuku albuma.

The Master’s Bedroom Is Worth Spending a Night In (Tomlab, 2008) započinje niz koji i dan-danas traje: nema godine bez makar jednog rock’n'roll čuda iz Dwyerovog rukava. Miks najboljeg zvuka garažnog rocka 60-ih, krautrock podloga, new wavea, punk energije, surf rocka i psihodelije svih dekada i sve to na jednom albumu, ponekad i u jednoj pesmi. Postava benda formirana te godine je aktuelna i danas, a imajući u vidu tempo kojim je Dwyer menjao saradnike tokom godina, to dosta govori o kvalitetu njegove današnje ekipe: Brigid Dawson (klavijature / vokal), Petey Dammit (bas) i Mike Shoun (bubnjevi).

 

 

Help iz 2009. godine donosi novi sveži miks garažnog rocka i psihodeličnog popa i početak saradnje sa legendarnom izdavačkom kućom In the Red, za koju narednih godina izdaju Warm Slime (2010), Castlemania (2011), Carrion Crawler/The Dream (2011) i Putrifiers II (2012). Svaki od ovih albuma donosi nešto novo u katalogu benda. Fama o bendu raste sa svakim novim izdanjem, a pogotovo, sa svakim novim nastupom koji posetioce ostavlja bez daha. Bend koristi brojne žive nastupe za uvežbavanje novih pesama, što im omogućuje da u studiju živu energiju koncerta brzo pretoče u novo izdanje. “Većinu pesama do te mere uvežbamo pre ulaska u studio da nam treba samo dva dana da ih sve uživo snimimo. Preostala dva dana koristimo da dopišemo neke stvari na licu mesta i da se dobro zabavimo”, pojašnjava spontani proces snimanja albuma basista Petey Dammit.

Sa svakim novim albumom, zvuk postaje sve rafiniraniji, a da band pritom ništa ne gubi na energiji: i dalje su tu bile velvetovske pop melodije, psihodelične klavijature, Dwyerova prepoznatljiva podvriskivanja i tribalni ritmovi – motorik podloge za rifove, to moćno oružje Thee Oh Sees.

U aprilu ove godine objavljen je album Floating Coffin (In the Red) koji donosi neke nove trikove i jedan je od najboljih ne samo u njihovom katalogu, već i u kompletnoj ovogodišnjoj underground muzičkoj produkciji. Bend i dalje uspeva da “mutira na fascinantne načine” (Jennifer Kelly, Dusted Magazine).

 

 

Tokom decenije i po rada, Dwyerova radna etika je na najvišem nivou. Samo sa raznim inkarnacijama Thee Oh Sees snimio je 14 albuma, nebrojeno singlova, EP-jeva i split izdanja. DIY (“Uradi sam”) duh oličen u načinu i tehnici snimanja i prezentovanja muzike širi se i na izdavaštvo, pa Dwyer i prijatelji 2007. godine osnivaju Castle Face Records, nezavisni label koji u narednih nekoliko godina pomaže da do izdanja dođu lokalni saborci kao što su SF wunderkind Ty Segall, The Mallard, The Fresh & Onlys, Warm Soda, Bare Wires, Blasted Canyons.

Koncert Thee Oh Sees je posebna priča: to jednostavno morate da doživete ukoliko vam je stalo do opipljivo žive energije i saznanja kako zapravo zvuči bend zategnut do tačke pucanja: nijedan nesavršen rif, nijedan suvišni ton, nijedan pogrešan ritam; retko koje gitare će vas tako poderati, retko koji bubnjevi će vas tako razdrmati. Ti nastupi su svojevrsni vremeplov kroz najbolje stvari koje gitarska muzika nudi od svog nastanka. Ne morate ni da poznajete opus Thee Oh Sees da bi osetili kako vas uživo rastavlja divlja nesputana energija banda na vrhuncu svoje snage. Postoji opasnost da će vam nakon živog iskustva, njihovi albumi – koliko god bili snimani bez studijskih intervencija – možda ipak zvučati nedoraslo koncertnom rave-up uraganu kakav su Dwyer i društvo.

 

 

Nije slučajno da se prilikom opisivanja muzike Thee Oh Sees kao veliki broj referentnih tačaka pominju bendovi i stilovi iz šezdesetih godina prošlog veka. Mnoge od ideala tih vremena su preuzeli: nesputana kreativna sloboda, život na putu i ideal da se žicom i palicom može stvoriti energija koja će povezati ljude koji veruju u RNR san. Osim što poseduje nemerljivi svirački talenat, John Dwyer je veliki muzički fan, kolekcionar ploča i vlasnik nezavisne izdavačke kuće. Ljudi koji su ga upoznali kažu da je sa njim moguće satima pričati o muzici i da malo ko sa toliko strasti govori o omiljenim muzičarima i pločama. Kada krajem jula visoko podigne svoju gitaru i sa svojim drugarima preokrene baštu beogradskog kluba Drugstore, shvatićemo koliko smo bili srećni zbog prilike da ugostimo takav bend.

Beogradski koncert je zakazan za nedelju, 28. jul u bašti kluba KC Drugstore (Bulevar Vojvode Bojovića 4). Pretrodaja @ Pinball Wizard Records (TC EUTROCENTAR, Makedonska 30, local br. 15): od 2. do 13. jula – 1000 dinara, od 15. do 27. jula 1300 dinara i na ulazu u KC Drugstore – 1500 dinara.

Gosti na koncertu su Repetitor i ┼ Chresus Jist ┼.

 

Official

TOS @ Faceook

TOS @ Wikipedia

TOS @ AllMusic

TOS @ last.fm

TOS @ In The Red Records

Castle Face Records

Repetitor @ bandcamp

Repetitor @ Facebook

Repetitor @ last.fm

chresus jist @ bandcamp

 

YouTube:

http://www.youtube.com/watch?v=1zFFwnDyz7k

 

http://www.youtube.com/watch?v=O7JVVcaVxNE

 

 

Poster:

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http://www.youtube.com/watch?v=XjwORI8DhYo

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kompilacija:

http://www.mediafire.com/?t95dkbrma67al6d

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nabavljena karta.

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http://www.youtube.com/watch?v=dLSyfSJ00VQ

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http://www.uncut.co.uk/blog/wild-mercury-sound/lou-barlow-thee-oh-sees-set-my-brain-on-fire

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http://www.youtube.com/watch?v=z1bHddYhtDw

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Karte još sutra od 12 do 19 i u subotu od 11 do 16 @ Pinball Wizard po promo ceni - 1000 din. Od ponedeljka, 15. jula pa do subote, 27. jula - 1300. U nedelju, 28 jula na ulazu u KC Drugstore - 1500.

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Bend je jedan od aktuelnijih na toj Americkoj garaz, lo-fi sceni. I poseduju taj neki stari duh rokenrola sa njihovom energijom, koju ne bi trebali da propustite. TOS dolaze u najboljoj mogucoj formi, i ovo ce biti jedan od onih koncerata o kojima ce se pricati u buducnosti.

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flajer:

 

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http://www.youtube.com/watch?v=UZ2qgWGDkIU

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http://www.youtube.com/watch?v=CPDYcA9kG1k

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thee oh sees tidal wave @ breaking bad:

 

http://www.youtube.com/watch?v=ThOP2S9VF5Q

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Imagine what might happen if you created a mashup of the Cramps' Songs the Lord Taught Us and the Dream Syndicate's The Days of Wine and Roses. OK, now imagine that the vocal tracks have been stripped off the results and instead you have thee Headcoatees, Southern Culture on the Skids and the Mamas & the Papas fighting for aural dominance over the top. Got the picture? Well, it's hard to say if what you'd get would sound much like The Master's Bedroom Is Worth Spending a Night In, the debut album from John Dwyer's latest project Thee Oh Sees, but at the very least, the two records would sound compatible when played back to back. Packed with dense layers of echoing guitars and crashing drums, The Master's Bedroom certainly sounds like the product of some glorious period in consciousness expansion. However, in this case Dwyer and his partners Brigid Dawson, Petey Dammit, and Mike Shoun have at least offered up a trip that you can dance to, full of bountiful hooks and insistent rhythms to go along with the corridors of guitar, and while this is a "sound" band rather than a "song" band, the melodies are pretty pleasing when they manage to bob to the surface, even as they're paired with lyrical conceits like "Graveyard Drug Party," "Adult Acid," and "You Will See This Dog Before You Die." Thee Oh Sees make the psychedelic experience sound both menacing and like good fun on The Master's Bedroom Is Worth Spending a Night In, and if you need something appropriately decadent and dance-friendly for your next haunted house party, put this one at the top of your play list.

http://www.allmusic.com/album/the-masters-bedroom-is-worth-spending-a-night-in-mw0000783380

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"Tight" isn't a word that fits comfortably when describing Thee Oh Sees, but on Help, the second full-length effort from John Dwyer's garage psych marauders, the band has certainly learned to find order amidst chaos in a manner that eluded them on their 2008 debut The Master's Bedroom Is Worth Spending a Night In. The basic approach on Help isn't particularly different than on Thee Oh Sees' first effort -- the guitars are thick, ringing, and dripping with reverb and distortion, the rhythm section pounds away in a simple but relentless fashion, the massed vocals approximate vintage California-style harmonies in the midst of a trip on dirty acid, and the songs take traditional garage rock changes and bend them a wee bit as the production runs them through just enough low-budget studio trickery until they resemble a paisley nightmare oozing out of your speakers. Still, while most of the tunes on Help sound as purposefully messed up as ever, they're just a bit tidier and more straightforward here, and the stronger framework makes a positive difference. Similarly, the performances sound more unified and less chaotic here, as if everyone is following the same vision that lurks over the horizon for a change, and the ferocity of Dwyer's guitar is potent, locking into the crash-boom-bang of the bass and drums with impressive force. And while full-on assaults on reality like "Enemy Destruct" and "Soda St. #1" are the order of the day on Help, there's enough of a pop lilt in "Go Meet the Seed" and "Can You See?" to confirm these folks saw some real nice colors while making this album and have a variety of tricks in their repertoire to express them. You might not trust Thee Oh Sees to give you a ride home after a gig, but if you're looking for a seriously buzzy rave-up, Help certainly delivers the goods.

http://www.allmusic.com/album/help-mw0000816176

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For a band that sound as if they subsist on a steady diet of cheap hallucinogens, Thee Oh Sees are an admirably ambitious bunch; Warm Slime is the fourth album in three years from John Dwyer and his roving band of psychedelic marauders, and if the liner notes are to be believed, they committed this album to tape in a single day in 2009. The semi-finished product lacks a certain amount in the way of precision and polish, but Thee Oh Sees were clearly together enough to make this stuff stick once the tape began to roll. The title track clocks in at 13-and-a-half minutes, and though Dwyer could have given himself plenty of room for fractured guitar bashing, instead he allows the song's insistent pulse to take over, and the throbbing groove carries it along with hypnotic effect even when the melody drifts off into the ether. The other six songs clock in at more traditional pop-single length, though with Dwyer and Petey Dammit's layers of thick, ringing guitar tone, Michael Wayne Shoun's furious drumming, and Brigid Dawson's low-tech keyboards this band can pack as much freak power into three minutes as other acts can summon in 30. And while "Warm Slime" gives Thee Oh Sees a chance to stretch their legs and explore their aural cosmos, the other selections reveal that they can write simple but indelibly catchy tunes when the mood strikes them, and the notion must have occurred to someone the day they cut this disc. Like the title suggests, Warm Slime is gooey but curiously inviting stuff, and sinking into it might not be the safest way to pass the time, but it's a genuinely pleasurable experience.

 

http://www.allmusic.com/album/warm-slime-mw0001974302

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One of the hallmarks of Thee Oh Sees body of work is that every recording they've made sounds as if it was created while the musicians were under the influence of a variety of hallucinogens, so it tells listeners practically nothing to say that the group's seventh album, Castlemania, sounds pretty trippy. However, while the average Oh Sees album is a heavy exercise in psychedelic murk, Castlemania sounds surprisingly light and pop-oriented, if only by this band's standards. Tunes like "Pleasure Blimps," "I Need a Seed," and "Spider Cider" recall classic mid-'60s pop tunes in their slightly bent melodicism, at least before John Dwyer and his bandmates start draping layers of atonal soloing and Mellotron figures over them. Even the more full-blown psych numbers here, such as "Stinking Cloud," "A Wall, A Century 2," and the title track, are more approachable than most of Thee Oh Sees' previous work, if only because most of them are admirably concise, with only five of these 16 songs running over three minutes. In the liner notes, Dwyer mentions this album was the last recorded in the band's old work space, which he describes as "very near and dear to my heart," and Castlemania does sound like the product of several happily productive days in this band's life; this album sounds less sinister and more playful than the bulk of their previous output, and if a lot of this is still going to seem chaotic and off-putting to anyone not flying a similar freak flag, it's an easier way in to Thee Oh Sees' curious musical world than any of their albums to date. (The album also closes with three covers that confirm that these folks can conjure this sound even when less chemically adventurous people are writing the material.)

 

http://www.allmusic.com/album/castlemania-mw000213512

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Since first emerging in the musical underground in the late ‘90s, Thee Oh Sees brainchild John Dwyer has never been satisfied to rest on his considerable creative laurels, jumping from project to project (starting with noise rock duo Pink & Brown and aside from Thee Oh Sees probably best known for distortion-laden garage revivalists Coachwhips). But now offering Thee Oh Sees’ eighth full-length in five years, Carrion Crawler/The Dream -- just five months past the release of its predecessor, Castlemania -- Dwyer seems to have hit a sweet spot, slowly evolving the band rather than abandoning it. The two-albums-in-one-year approach served the band well in 2009, as they offered both the shambling, acoustic-focused Dog Poison and chaos-in-control Help that year, and whether by design or coincidence, a similar trajectory emerged in 2011. Castlemania was the poppiest and most melodic we’d heard Thee Oh Sees yet, but Carrion Crawler/The Dream completely flips the script, capturing the range, energy, and freedom of their notoriously raging live performances in a way none of their previous records have. Recorded in June around the time of Castlemania’s release, this could be attributed to the addition of Lars Finberg (the Intelligence), who joined the band on tour as second drummer and makes his recorded debut on this release. And while Castlemania begged speakers to bubble over with eccentric effervescence, the assault of driving double-drum rhythms and scuzzy bass riffs on freakouts “Contraption/Soul Desert” and semi-eponymous “The Dream” threaten to blow them clean out. Putting some hands back on the controls, the looser “Robber Barons” works like a stomp-stoner hybrid, tripping and crunching its way through a murky groove, while instrumental “Chem-Farmer” mostly stays in the pocket of a Kraut-y drone, making room for Brigid Dawson’s stormy keyboard flourishes and Dwyer’s fiery guitar exclamations. For sounds more familiar to the band’s past works, the off-the-rails bounce of “Crushed Glass” and graveyard dirge of “Crack in Your Eye” recall Help’s “Meat Step Lively” and The Master’s Bedroom Is Worth Spending a Night In’s “Maria Stacks,” respectively. Hearing so many different sounds on Carrion Crawler/The Dream, it comes as no surprise that it was originally intended to be released as two EPs, but thanks to the band’s versatility the real surprise is how cohesively the songs work as one record. Diehards and newbies alike will revel in its weird, wild well-roundedness.

 

http://www.allmusic....ep-mw0002215608

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In 2011, genre-shattering rockers Thee Oh Sees put a fractured spin on pop with Castlemania, returning later in the year with the wild experimentation of Carrion Crawler/The Dream EP. A year later, Putrifiers II lands somewhere in between, combining those aesthetics while bounding forward with new ideas and influences. Produced by Chris Woodhouse, who's been at the band's side since 2008's The Master's Bedroom Is Worth Spending a Night In, Putrifiers II is as warm as Thee Oh Sees have ever sounded -- a particularly stark contrast to the raw, live mood of Carrion Crawler/The Dream EP -- which reflects the sense of restraint (by their standards, anyway) and maturity that permeates the record even in its heaviest moments. On that heavier side, the title track and album centerpiece (for John Dwyer devotees, it's almost a sequel to the song "Putrifiers" from his mid-aughts distortion-drenched band Yikes) bounces back and forth between hippy-dippy vocals and corrosive guitar chugging, giving way to a synth/noise jam session outro, while the crunchy, motorik "Lupine Dominus" whizzes with Syd Barrett-esque freakiness and Suicide-style paranoia. But Putrifiers II really shines with the tracks that show John Dwyer's increasingly melodic ear and the many forms it takes, making the connection from Nuggets-y strut to Motown rhythm ("Flood's New Light") and laid-back fuzz-pop to AM gold ("Hang a Picture"), as well as conjuring halcyon Byrds-meets-Kinks vibes ("Goodnight Baby") and idyllic symphonies in miniature ("Wicked Park"). On the more experimental side, the droning raga-like "So Nice" gives the feel of Thee Oh Sees' spin on "Venus in Furs" and "Tomorrow Never Knows," and "Will We Be Scared?" has the eerie, nostalgic swoon of Scott Walker and Dirty Beaches. With so many contrasting ideas mingling on one album, Putrifiers II suffers in terms of overall cohesiveness, but longtime fans will feel rewarded in hearing the band simultaneously honing what it does best and pushing its boundaries. Incidentally, for this reason it's also a great introduction for newer listeners. After 15 years and over a dozen albums, Putrifiers II is part snapshot and part look into the crystal ball, showing Dwyer and company's ever-changing approach to songwriting and musicianship, and further cementing Thee Oh Sees' status as one of the most liberated, vital bands in indie rock.

 

http://www.allmusic.com/album/putrifiers-ii-mw0002394258

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The ever prolific John Dwyer isn't the kind of guy to let the grass grow between his toes and his band Thee Oh Sees release albums the way they used to -- one a year with singles in between. The 2013 entry in their extensive catalog, Floating Coffin, is a weird one. Not because it is experimental, psychedelic, or full of lo-fi wildness; any one of those things would be par for the course. What makes this record weird is that there isn't really anything weird about it. From beginning to end it's a hard-rocking, heavy album with heavy drums, heavy guitars, and a knockout punch that not many of their songs have had before. It's still based in basic garage punk mania and Dwyer's voice is still a yelpy, electric thing (though a much calmer here), but there's a solid, no-nonsense approach to the album that is as successful as it is shocking. Once you get past how simple the sound is, and how clean and clear everything is, you can let the songs sink in. Dwyer has written a batch of songs that aren't immediately hooky in the way past efforts have been, but the power and control of writing fits that of the music perfectly. Whether rocking out hard as nails on tracks like "Tunnel Time" and "I Come from the Mountain," slowing it down to a metallic creep on "Strawberries 1+2," or letting the song unspool slowly like on the Wipers-y "No Spell," there's a clarity to the music that is impressively immediate. A couple songs might even sound good on a movie soundtrack, like the Brigid Dawson-sung rave-up "Maze Fancier," and that's not something one could have said about much of their previous work, as good as it was. Only the closing outer space doo wop of "Minotaur" breaks the spell a bit, but by then the heaviness has sunk in fully and a little break is just right. It may just be another one-shot experiment for Thee Oh Sees, and their next album might be a dubpunk concept album, but Floating Coffin will stand as a successful foray into the world of straight-ahead, heavy-rocking, non-weird alternative indie rock.

 

http://www.allmusic.com/album/floating-coffin-mw0002489094

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http://www.blic.rs/Kultura/Vesti/395224/Bend-Thee-Oh-Sees-28-jula-u-Dragstoru-Divlja-energija-banda-na-vrhuncu-svoje-snage