Today’s Halloween installment is the Plaster Cramp’s debut album – streaming at Bandcamp – which came out back in 2016. The band’s cynical surrealism looks back to the downtown postpunk scene of the early 80s, with occasional tinges of psychedelia and latin music. They like sprawling Velvets vamps with jagged guitar spilling over the edges; the darkness in the songs’ lyrics is allusive, and it draws you in. They’re playing Alphaville on Oct 30 at 10 PM; cover is $11.
The album opens with The Ghost of Great Jones. Aside from a little Daniel Ash-style string-torturing from guitarist/frontman John Frazier, there isn’t anything particularly dark about this slinky, Talking Heads-ish one-chord jam.
In the Stacks is a throwback to the Velvets’ first album, complete with the hammering piano, just a hair out of tune. Dracula is a phony bossa tune that coalesces out of atonal weirdness, multitracked vocals half-buried in the mix.
A dancing bassline propels Pinball Safari, a latin-flavored funk tune. The group go back to vintage Velvets stomp for Change It, “While the moon above weeps above the drying poplar trees,”Frazier speaks, calmly. “Do you like what you see?”
The group mash up Talking Heads and the Velvets in Impatient Knives, then bring the lights down with the album’s best and most implicitly grisly song, Apartment 23. It sounds like a more fleet-footed Botanica:
His car sat on the wrong side of the streeet
The phone just rang and rang in apartment 23
Nobody expects to discover anything
He had hidden himself
An ordinary man, no next of kin
No one to notice…
Lost in a city of pinstripes and grey suits
How they go together holy jesus
Cherry Dark is the Plaster Cramp’s What Goes On, a catchy, tastily twisted 4 AM Lower East Side scenario. The guardedly optimistic Fingers Crossed sounds like the Velvets playing New Order: the anachronism is actually very funny. The album closes with the starry nocturne Downstream, a dead ringer for vintage Brian Jonestown Massacre. The group have been playing more frequently over the last few months, a good sign, even if very few of the venues they’ve been at do anything to promote the bands who play there.