The Weegs

The Million Sounds of Black

The Weegs' second full-length sounds like the celebratory funk party the zombies might throw in your basement after they've eaten your family and set your dining room on fire. This Oakland foursome operates in what it refers to as “crypto-sarcastic anonymity,” donning the exploded-mutant costumes fashionable at local noise shows. Full-body stockings apparently don't impede the sinister jams on display in The Million Sounds of Black, a skronk-splattered, funhouse-synthed, feedback-squalid tour of Devo's particular circle of hell. The sparsely vocaled “Daphid” is maybe the theme song to a 1950s movie about a pack of meth-dealing werewolves: a schlocky keyboard riff propels the song through a thorny post-punk bramblefield, with some random human howls-at-the-moon thrown up. Next is “Sixty-Five MPH,” a terse little ballet for gutter-punk robots, featuring a catchy, clobbering synth line and live wires of feedback. Things get a little unhinged on “Hot Dog Stand” and “Transmission Futile,” as the distorted guitar and muscularly threatening vocals take over and lead the keyboards into a raging Gothic frenzy. The whole evil carnival gets shot into space for the 46-minute noise-damaged closing title track, an atmospheric experiment that's by turns haunting, blippy, and raucous. All in all, Million Sounds is good jams for bad boys and girls.

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