No matter your preferred aphorism about the cyclical nature of tastes and trends, they’re all mostly true – most of the time. Not only isn’t there very much new under the sun, but time is also a flat circle.
Since genre revivals appear every generation or so, we should make peace with that fact. As in, I firmly believe that the banjo a la Sufjan Stevens will probably make a fresh appearance in indie rock before my daughter graduates from high school in 2033.
So, when a band decides to revisit sounds from the past but does so with an industrial-strength blender, I sit up and take notice. It’s one thing for a bunch of musicians to say, “I like these albums and ideas, and I want to make music in that style.” It’s something entirely different for them to say, “These are these inspirations, but I want to make them my own and on my terms.” Not only does it take a considerable amount of chutzpah to intentionally set yourself against the contemporary current, but you do so at the risk of marginalizing your art from the get-go.
This is the milieu into which Oozelles have launched their self-titled debut full-length on ORG Music. Comprised of six veterans of the indie music world, the group harnesses aspects of ‘90s alternative rock, ‘50s surf rock, ‘80s new wave, and ‘70s art-rock into an almost coherent whole. Depending upon the track, you might hear the influence of Jane’s Addiction, The Clash, CAN, Scritti Politti, and more. The effect is quite delirious and kinda intoxicating.
The bleating tenor vocals of Dante White Aliano completely hold my attention. It’s impossible not to imagine him prowling the stage and peering into the souls of the assembled crowd as he sings. Depending upon the track, you can hear soaring organ, trilling flute, soul revue horns, surf rock guitar licks, and tremolo-soaked synth arpeggios. However, it’s the loose-yet-crisp drumming of David Orlando and funky, flowing bass lines of Wagensomer that serve as the connective tissue for these songs.
Remember my use of the adverb “almost?” While it’s intentional, I don’t mean it to be too critical. I find the overall ramshackle nature of this project to be delightful and endearing. I just don’t think the pieces always fit.
The grounding from the rhythm section is essential as there are occasionally too many musical irons in the fire. Do I like bands that actively blend and blur genres? Absolutely, but I also prefer the edges to be sanded down a bit more and for the textures to be smoother. For every rambunctious rocker like “Why Do You Eat People?,” “Can’t Get Out,” and “Cry Blood,” there’s a wonky clunker like “Hideous Thing,” “News Theme,” or “Arson Dolphin.”
To be clear, I want to credit Oozelles from embracing post-genre indie rock. I want more artists to fall headlong into their influences and then emerge with album that basically says, “Fuck it – we’re gonna do what we want, no matter what’s supposedly ‘popular’ right now.” This blissfully left-of-center collection of songs is a fantastic example of borrowing without stealing, of openly acknowledging the art you like and then doing your own thing.
Besides, it’s 2020, and, thanks to technology, we have the entirety of human creativity throughout recorded history at our fingertips. So, just because we’ve heard a certain sound, chord progression, or arrangement before doesn’t mean you have to succumb to stale interpretations. More bands should embrace the power to pursue true artistic freedom with verve and passion like Oozelles. Despite my misgivings about how their ideas are woven together, this album is definitely greater than the sum of its parts, and I give all the credit to the sextet’s unbridled ambition. Give me more musical fusion, not less!