If Thee Oh Sees were a dorm room, it would be half-a-foot deep in paper plates stained with pizza grease and have a kitchen sink so bloated with the foul and crusted silverware of meals long past that it belches at you when you pass by. It also would likely reek of some unmentionable mixture of urine, unclean dogs and neglected laundry. And we may need to toss in a few condom wrappers thrown to the floor, walls yellowing with stains of bong smoke, and perhaps a stash of happy mushrooms hidden somewhere under the bunk.
Welcome, my friends, to the music of Thee Oh Sees.
This rioting pack of garage-psych brats hails from San Francisco, and they’re hell-bent on simultaneously resurrecting and razing the cultural stomping ground once lorded over by acts like The Sonics, The Electric Prunes, The Count Five and The Trashmen. The ‘60s script these kids read from is one they’ve studied hard and know by rote, even down to their propensity for cutting a new record every eight minutes or so (six LPs in the past three years alone, and a record in Warm Slime which they claim to have recorded in a single day).
The Kinks released three new albums in 1965 alone, and The Rolling Stones, not to be out done, released four new albums of their own that year as young bands scrambled to stuff the insatiable maws of slave-drivers back at the ranch of one big label or another. Thee Oh Sees don’t even have a distributor, no less a big-label slave-driver, but their Wikipedia discography reveals an extended rap sheet of LPs, EPs, 7-inch releases and the revolving door of labels they’ve thrown them to.
To top it all off, John Dwyer, the epicenter of this calamity who seems only to have gathered a band around him as an afterthought, has paraded through seven prior bands before arriving at the one he’s with. And even then he can’t seem to settle on a name.
“From the OCS to the OhSees to Thee Oh Sees, John Dwyer . . . has molted band names like some rare endangered bird determined to shake off pursuers,” Jayson Greene of Pitchfork remarks.
No wonder their video for “Meat Step Lively” from 2009’s Help seems to serve the sole purpose of inducing an epileptic seizure.
But in Warm Slime Thee Oh Sees have the record The Black Keys and White Stripes thought they’d been making all these years but were never unhinged enough to deliver. The record is an unrelenting siege of distortion, reverb and rage filtered through the sieve of the long-gone garage gods they worship in song. “I Was Denied” is a glorious romp that laces Sir Douglas Quintet’s “She’s About a Mover” with a few tabs of acid and sends it on its exceedingly merry way. The turbulent “Castiatic Tackle” amps up The Cramps’ “Goo Goo Muck” to a decipel even those godfathers of psychobilly didn’t know they had in them. And the title track clocks in at nearly 14 minutes of blistering abandon that will leave you panting for more.
These guys’ fingers may be dirty with the dust of your grandma’s vinyl collection, but with records like Help and Dog Poison in 2009 and now Warm Slime this past May, they leave absolutely no doubt whatsoever that this most certainly is not your grandma’s rock ‘n roll.