After twenty albums released over two decades, it’s hard to believe any band would still have the same fervor it began with, but John Dwyer and Thee Oh Sees are not just any band. Things have to change after a while, though; after being the defining factor in modern psychedelia the last couple years, Dwyer’s project is moving the genre into the next decade. Adorning their original moniker OCS (still pronounced ‘Oh Sees’), and a softer approach to the music, the group has released its twentieth studio album (and second this year) on Castle Face Records, Memory of a Cut off Head. The LP also marks the return of former keyboardist/vocalist Brigid Dawson whose work with Thee Oh Sees is just as noteworthy as leading member, Dwyer.
Trading in their kraut rock influences for baroque pop and English folk, OCS brings their other-worldly lyricism into a new realm perhaps unknown by more recent fans. For those unaware, the group originally began by making softer music; a way for Dwyer to experiment separate from his other band at the time, The Coachwhips. So while a more relaxed atmosphere is nothing new for OCS, the methodology for creating a soft landscape that fits in with preceding albums is.
Over ten tracks, the group takes advantage of multi tracking in a way they’ve rarely done before by focusing on acoustic guitars, harpsichords, and string sections. Dual vocals by both Dwyer and Dawson are heavily featured on about eighty percent of the album; a detail fans will be happy to hear as it was a distinguishing element for the band before Brigid’s departure in 2013-ish. Rhythmically, the OCS has slowed down on Memory of a Cut off Head too; nixing the second drummer and allowing the remaining percussionist to utilize different fills and even some work with brushes.
Courtesy of Castle Face.
As far as key tracks this writer personally likes them all, but I suppose a few do stand out. The first one listeners will notice on Memory of a Cut off Head is the title track that opens the record. Memory of a Cut off Head sleepily introduces itself with the aforementioned string section joined by an almost steel guitar-sounding lead-in (more proof of the alt. country movement on the horizon). The dreamy lyricism on the song, and the rest of the album, allows OCS to stay rooted in their past work while sonically doing something fresh.
The next track fans will appreciate on Memory of a Cut off Head is the fourth, The Baron Sleeps and Dreams. The track works in two parts; the first, a sweeping string arrangement that quickly moves into the second half where Dwyer creates a creepy atmosphere with noisy feedback and synthesizers. A good way to split the entire album up into two portions because of the songs placement in the middle.
Courtesy of Pitchfork.
The last song to take note of on Memory of a Cut off Head is towards the end, Time Tuner. Honestly, if the listener didn’t know it was on an OCS record, they would think I was lying when I said it was. Vocally led by Dawson, the song uses no guitars, drums, or bass but the string section droning nonchalantly in the background and the synthesizer acting as rhythm section. Brigid Dawson angelically sings softly over the hypnotic six-minute song in a way that’s reminiscent of mediation chants.
There isn’t a cleverer way close this week’s review other than to say Memory of a Cut off Head is easily one of the best albums this year. A biased opinion, because I’ve enjoyed Dwyer’s work for years now, but that doesn’t matter. The record also earns itself notoriety because of the acoustic guitars reintroduction to psychedelia; a similar strategy used by Ty Segall this year on his self-titled release back in February. As stated above, OCS has been a cornerstone of underground music since the mid 00’s and Memory of a Cut off Head only cements them more in that position. Here’s to another promising twenty years and twenty albums from one of this generation’s better groups.
Click here to listen to the title track from Memory of a Cut off Head.
– By Mike Metcalf
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