Tag: Osees live

Review: Osees – The Chapel, SF 10.2.19

This live recording from the ever-prolific, ever-bonkers Osees, finds them on the last night of a set of gigs in one of their practical backyards – The Chapel in San Francisco – just before the pandemic fully hit the United States and shut down band tours for over a year. The band had no idea that shutdown was coming, of course, but they played (like they always do) like it might be their last show for a while.

The show starts with the instant mosh pit-inducing “Static God” with John Dwyer asking for a cigarette and wondering “What’s it like beneath the rubble?” while he and his bandmates go nuts. “Jettisoned” takes off into psychedelic territory with Dwyer’s soaring solo and Tom Dolan‘s trippy synths.

A shortened (yet still over seven minutes) version of “Henchlock” follows. It’s a brilliant psych. “Together Tomorrow” is a bit of a psych-rock appetizer to the massive, calorie-laden meal of “Animated Violence.” As if that weren’t crazy enough, along comes “Gholu,” during which drummers Dan Rincon and Paul Quattrone seem to challenge each other in a contest of who can be the first to beat their kit through the floor.

“Plastic Plant” is one that the Osees don’t often play live, but it’s always great when they do. Dolan’s fat synths compliment well with Tim Hellman‘s wicked bass riffs. “C” is a funky one, with Dolan’s synths again taking on a lead role, sometimes more than Dwyer’s guitar. “Nite Expo” goes from plucky synths to rowdy guitar in a nearly neck-wrenching moment. The closer, “Encrypted Bounce,” is over fourteen minutes of wild psych mixed with garage rock mixed with chaos (translation: It’s outstanding.).

Don’t miss this if you’re a fan of Osees, or even live music in general. They’re one of the best live bands on the planet right now, and this is a great recording of their energy.

Keep your mind open.

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Review: Osees – Levitation Sessions II

Never ones to rest on their laurels, or seemingly to rest at all, Osees put together another live-streamed show, Levitation Sessions II, and wowed everyone again with a great set of deep cuts and obscure cover tunes.

The show, recorded in an empty factory that front man John Dwyer describes as like “a fight scene set from Point Blank or the John Wick trilogy,” starts with the rockin’, swingin’ fan-favorite “Tidal Wave.” It’s hard to choose which part you like best. Dwyer’s fun guitar riffs? Dan Rincon and Paul Quattrone‘s double-drumming? Tim Hellman‘s rock solid bass line? Tom Dolas‘ sneaky synths? Dolas’ synths take the forefront on the weird, wonky “Grown in a Graveyard” – a tune that keeps you guessing for its entire length. Then, once you kind of, sort of figure it out, they unleash a raucous version of “The Dream” – which might cause you to trash whatever room you’re in when you hear it, or stomp the gas pedal if you’re driving at the time…until it drifts into psychedelic bliss around the five-minute mark and give you a chance to breathe (but only for a moment). Dwyer absolutely shreds for the last two minutes of it.

“Stinking Cloud” is a jolly tune about death and heavy on synths from Dolas and Dwyer. The garage rock swing of “Enemy Destruct” is outstanding. “Poisoned Stones” sounds as gritty and grungy as you hope it will. “Spider Cider” is silly and fun (with Dolas putting his big synth rig aside to play rhythm guitar, no less). Hellman’s bass seems to hit extra heavy (without overwhelming his bandmates) on “It Killed Mom.”

Another deep cut treat is “Meat Step Lively,” which could almost fit onto an episode of Shindig with its groovy swing. “Snickersnee” is trippy bliss, which Rincon and Quattrone in perfect step as Dwyer stabs at ghosts with his guitar. “Destroyed Fortress Reappears” drifts into heavy synth psychedelia by Dolas and Dwyer and the entire rhythm section produces a hypnotizing beat.

“Web” is another great cut that builds up to a wicked beat and doesn’t let go of you. Hellman’s bass groove is outstanding on it. “Encrypted Bounce” is the longest song on the album, coming in at almost nine minutes, and it’s full of wild garage rock guitar from Dwyer and great fills from both drummers. “Beat Quest” adds heavy 1980s, and then 1970s, synths to the mix.

The encore was a set of Chrome covers: “Chromosome Damage > T.V. As Eyes,” “ST37,” “Looking for Your Door,” and “SS CYGNI.” The first is a fun, upbeat splash of driving beats and warping synths that melts into a lava lamp haze. “ST37” could almost be a Devo track with it’s goofy guitar and weird lyrics. Hellman’s bass takes on a sexy panther tone in “Looking for Your Door.” The final track is a hypnotic repetition of beats and riffs that slowly backs out of the room and drifts away.

Levitation Sessions II does a great job of making you want to see Osees live again as soon as possible. They’re starting to announce tour dates for the fall, so don’t miss out if they’re near you.

Keep your mind open.

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Review: Osees – Live at Big Sur

Because they apparently are incurable insomniacs, Osees recently performed a full live set at the Henry Miller Library in Big Sur, California. They later live-streamed the show and released it in digital format and limited edition vinyl as Live at Big Sur. It was a neat set that included a lot of material they don’t play often and an encore of cover tunes.

Starting off with the garage-punk “Rogue Planet,” the band (Tom Dolas – synths, John Dwyer – guitars and vocals, Tim Hellman – bass, Paul Quattrone – drums, and Dan Rincon – drums) shake the ground right away and get you moving in your living room, car, office, or wherever. “I Can’t Pay You to Disappear” has Dolas’ keyboards happily skipping around the front of the wild track. The double drumming on “Opposition” is so good that you can’t tell where Quattrone’s stuff ends and Rincon’s begins (which is pretty much the standard whenever they play together).

The thumping, grooving “Crushed Grass” is the first song over two minutes. Dwyer’s guitar sounds like a ticking doomsday clock and Hellman’s bass is the soothing voice keeping us from falling into oblivion. “Heavy Doctor” is another fun garage rocker. They nail it so well that Dwyer gives himself and the band a guttural cheer at the end and proclaims, “Fuck you, song.”

“Ticklish Warrior” pounds out the fuzz, nearly melting your eardrums in the process. As always, any live version of “Gholü” is bonkers and ferocious. Dolas’ synths on “Withered Hand” sound like the wind coming in from the sea at Big Sur. Dwyer’s additional synths and effects are the sounds of ghostly gulls…until the whole band kicks in with the fury of the ocean hitting sharp rocks.

Dwyer’s guitar on “Voice in the Mirror” sounds like a pissed-off praying mantis. Hellman cuts loose on “Tunnel Time,” and band runs along trying to keep up with him (which they do, by the way, much to our delight). Another fan favorite, “Gelatinous Cube,” follows and I’m sure the Henry Miller Library’s grounds would’ve been a complete mess by this point if a crowd had been there, as a mosh pit would’ve already been up to full power and this song would’ve been like a collective Red Bull shot for everyone. Hellman takes the lead again on “Poor Queen,” putting down a cool bass walk that lasts the entire song.

A personal favorite, “Lupine Ossuary,” follows. That song always shreds and this live version is no exception. Dwyer seems to be exorcising demons with his guitar and Rincon and Quattrone sound like they’re shooting down German WWII bombers over France. The main set ends with “Dead Medic” – a wild jam that lasts over ten minutes.

The encore consists of four Black Flag covers (“Nervous Breakdown,” “Wasted,” “Jealous Again,” and “Fix Me), a rare Liket Lever cover (“Levande Begravd”) that absolutely kills, and a Faust cover (“J’ai Mal Aux Dents”). They have a blast playing these tunes, and their energy and enthusiasm is infectious.

It’s a fun record and, by the way, they released another album after they released this. They’re unstoppable.

Keep your mind open.

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