A cornucopia of tribal drone, dustbins hurled through windows/flashes of sunlight on water/torch song/ burning tyres/ lounge madness, which will keep you guessing from start to finish, and to these ears contains the playful spirit of Kevin Ayers’ early albums.
These "songs" are basically mini-epic art projects. STB can connect with a few minutes' worth of vocals in a Black Heart Procession manner, and then, zoom, they're gone - off on a journey to Cygnus B or somewhere, in kosmische musik regalia. On "The Fully Green Giant Cannot Be Killed," a 9 minute exploration of metronomic rhythms and starship bleeps and blips, STB seem to be laying down an epic tale about... something.
Sounds like a journey to the center of a 4- or at most 8-track...“Weener Has Sailed to Sea” begins this CD-R with a creeping, droning dirge, while “Gusset Bastard Grip” is comparatively spry. Bonky percussion gives way to glittery-sounding guitar and Bryan-Ferry-style crooning that gets progressively more unhinged as the song goes on. “The Fully Grown Giant Otter Cannot Be Killed” gets back inside outer space, as an extended, repeated guitar figure lays down for a proggy keyboard-led break which itself is overwhelmed by noise, only to be replaced by a propulsive riff freakout. This isn’t seeking to crush me or swarm me as some psych freakout noise is; there’s a progression in mind here. “Mwynder” is more a concept noise piece based on 2001: A Space Odyssey until about halfway through, when a rubbery bass line begins chasing its tail, egging on the suddenly aggro, un-Karoli-like guitars. “One Point Six Eight” is part of the same whirl, with some downshifts to medium intensity before flaming out. Strap the Button is on to something in its exploration of less typical psych/Kraut currents, in much the same way that, say, Donkey was a few years ago. Here’s to more then.