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Mythology
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Mythology
Current price: $20.99
Barnes and Noble
Mythology
Current price: $20.99
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Philly group
the Writhing Squares
sharpen their claws and dig into a gnarlier reading of their galactic clatter on their fourth album
Mythology
. In their earlier days, the band was a duo of
Kevin Nickles
and
Daniel Provenzano
, working with a limited toolkit of saxophone, bass, and raw electronics that melted together into murky grooves and noisy space rock freakouts. As the project went on, however, they expanded their range. The 2021 double album
Chart for the Solution
looked at their sound from all angles and fidelity, going from under-produced basement jams to fully orchestrated cosmic rockers with live drums, a relatively newer element for
the Squares
at that point. Drummer
John Schoemaker
appeared on the final song of that album, but became a more regular presence throughout
, adding a human feel to the band's extraterrestrial punk that drum machines simply didn't offer. Songs like opening tune "Barbarians" and the relentlessly chugging "The Damned Thing" make the most of
Schoemaker
's powerful drumming, smashing out heavy bass riffs and abrasive, scene-stealing sax blasts to beats not too far removed from
the Melvins
or
Jesus Lizard
.
The Writhing Squares
' formula up to this point was some strange amalgamation of
Stooges
swagger and
Hawkwind
astronautics, with plenty of noise experimentalism dirtying the mix. These fundamentals are still in place throughout
, but the songs rock harder, scream louder, and writhe in an agony more profound. Uptempo "LEM" is filthy, chaotic punk that ends with dual sax soloing, while the fuzz- and phaser-bathed "Eternity" is on par with
Chrome
in terms of apocalyptic urgency. Even with a more rock-geared approach, the band still gets into the same kind of outer reaches experimentation that they have on previous releases. Free-form sax instrumental "Ferrell" (a tribute to free jazz legend
Pharoah Sanders
) is a dance between horn and delay effects, and "Chromatophage" is an amusical bombardment of squishy synthesizers, computer drum patterns, and acidic noise.
is as ungrounded and intense as
have ever sounded, which is saying something for a band so prone to dissonance. It's a new chapter in their sound, one that's more grimier and more dangerous without completely losing the deep space mysticism of what came before it. ~ Fred Thomas
the Writhing Squares
sharpen their claws and dig into a gnarlier reading of their galactic clatter on their fourth album
Mythology
. In their earlier days, the band was a duo of
Kevin Nickles
and
Daniel Provenzano
, working with a limited toolkit of saxophone, bass, and raw electronics that melted together into murky grooves and noisy space rock freakouts. As the project went on, however, they expanded their range. The 2021 double album
Chart for the Solution
looked at their sound from all angles and fidelity, going from under-produced basement jams to fully orchestrated cosmic rockers with live drums, a relatively newer element for
the Squares
at that point. Drummer
John Schoemaker
appeared on the final song of that album, but became a more regular presence throughout
, adding a human feel to the band's extraterrestrial punk that drum machines simply didn't offer. Songs like opening tune "Barbarians" and the relentlessly chugging "The Damned Thing" make the most of
Schoemaker
's powerful drumming, smashing out heavy bass riffs and abrasive, scene-stealing sax blasts to beats not too far removed from
the Melvins
or
Jesus Lizard
.
The Writhing Squares
' formula up to this point was some strange amalgamation of
Stooges
swagger and
Hawkwind
astronautics, with plenty of noise experimentalism dirtying the mix. These fundamentals are still in place throughout
, but the songs rock harder, scream louder, and writhe in an agony more profound. Uptempo "LEM" is filthy, chaotic punk that ends with dual sax soloing, while the fuzz- and phaser-bathed "Eternity" is on par with
Chrome
in terms of apocalyptic urgency. Even with a more rock-geared approach, the band still gets into the same kind of outer reaches experimentation that they have on previous releases. Free-form sax instrumental "Ferrell" (a tribute to free jazz legend
Pharoah Sanders
) is a dance between horn and delay effects, and "Chromatophage" is an amusical bombardment of squishy synthesizers, computer drum patterns, and acidic noise.
is as ungrounded and intense as
have ever sounded, which is saying something for a band so prone to dissonance. It's a new chapter in their sound, one that's more grimier and more dangerous without completely losing the deep space mysticism of what came before it. ~ Fred Thomas
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