Another Creepy Masterpiece and a Bell House Show by O’Death
O’Death are one of those great bands who sound like no other group on the planet – and yet, they’re one of the most widely imitated acts around. Part Nashville gothic, part oldtimey, part circus rock and part noir cabaret, like all successful bands these days they make their living on the road. And they just had their tour van stolen – with all their gear in it. They’re in the midst of crowdsourcing an emergency fund to get some new gear, an effort that’s happily been pretty successful, but what’s been especially problematic is that the kind of vintage instruments they typically play aren’t available off the shelf. In the meantime, they’re got a characteristically excellent new album, Out Of Hands We Go – streaming at Northern Spy Records – and a New York show coming up at around 11 PM on Nov 14 at the Bell House. General admission is $15 – if there’s any band that could use your support right about now, it’s these guys.
Frontman/guitarist Greg Jamie’s voice is as menacingly quavery as ever, throughout a typical mix of creepy Edward Gorey-esque tableaux and disquietingly befuddling narratives. Arthur Lee is a frequent reference, especially on All Is Light, with its delicately orchestrated Forever Changes vibe, and the off-kilter Apple Moon, with its delicious blend of steel guitar and what sounds like a mellotron. Neil Young is another, most obviously on Go & Play with Your Dead Horses – but in this case it sounds like Neil Y on some obscure but powerful mushrooms.
The slowly shuffing Herd, which opens the album, takes the point of view of someone who’d like to stray – but Jamie only implies that. That’s what makes his songs so interesting – much as some of his images can be flat-out-ghoulish, he always draws the listener in with them. Likewise, the bluesy circus rock tune Wrong Time, which might or might not be about cannibalism, swaying its way up to a hypnotic Magical Mystery Tour psych-rock pulse.
“Maybe we’ll burn this house together and drag our corpses cross the floor,” Jamie muses on Roam, the hardest-rocking track here. “Like sleeping naked in the rain – wouldn’t have bothered anyone, but would have rendered me insane,” Jamie’s narrator nonchalantly intones on the understatedly morbid, Tom Warnick-esque Wait for Fire. The longest track here, We Had a Vision, blends layers of stark strings with Gabe Darling’s banjo and Jamie’s gracefully picked minor-key acoustic guitar.
“Don’t tell me I don’t know what I saw, crushed leaves on the morning fire – I’ve stoked all I can from your desire,” Jamie casually explains in the ominously dancing waltz Heal in the Howling. The most ornate, and arguably most menacing track here is Isavelle, a murder ballad fueled by Bob Pycior’s icepick violin. The album ends with another macabre waltz, its narrator pondering what to do with his victims – it brings to mind Bobby Vacant at his most uneasy. As usual, O’Death have turned in (dug up? exhumed?) yet another great album, one of the best of 2014. And if you want the band to make more, if you know of anyone who’s got a vehicle they could borrow to finish their East Coast tour, or who might be selling a decent quality used guitar amp, bass amp or maybe a bass head or cab, put them in touch with the band.