Denude - A Murmuration of Capitalist Bees

Remember Wayne's World and the scene where Alice Cooper gives a long, somewhat dry description of the origins of Milwaukee's name? Well rest assure you won't be getting anything like that here. Instead you'll be getting a review of the debut album from Math-Rockers Denude who hail from said city, with serious lyrical themes that confront “the anxieties of contemporary life with its capitalism, environmental threats, wars, economics, and existentialism”.

The roots of the band can be traced to the early 2000s and comprise of veterans from the Chicago and aforementioned Milwaukee underground scenes. A trio, the band are comprised of James David (Murder in the Red Barn, Fuiguirnet) – Guitar/Vocals, Jesse Schomisch (Fuiguirnet) – Bass and Matthew Parrish (Piglet, Dr Manhattan) on Drums. Aside from the three singles taken from Murmuration of Capitalist Bees no other recordings from the band are to be found, meaning that this is really a brand spanking new project and one I'm excited at the prospect of digging into right now.

'Oh Friend Entropy' recalls the sardonic, socio-political spirit of bands such as McCarthy while musically Oxbow most certainly comes to the fore, especially the Vocal stylings of leader Eugene S Robinson. Math-Rock and Noise-Rock are good descriptors but I was curiously reminded of the darkness that underlay Pink Floyd tracks such as 'Lucifer Sam'. An excellent start. 'Animal Tracks' has a progressive, pastoral feel that reminds one of latter day Opeth but with a little more dirt underneath the fingernails. Unlike a lot of prog which I find to be aloof and unengaging, there's a heart and soul present that suggests a direction the Minutemen might have have taken had D Boon not been taken away from us so prematurely. Superb. '12th Battle On The Isonzo' has definite Shellac vibes, especially on albums such as Excellent Italian Greyhound, the shouted Vocals of the late, great Steve Albini as well as the uncompromisingly complex yet rewarding music exploits contained within.

Ypre' has some really gorgeous textures, the type fIREHOSE were finally starting to develop prior to their mid 90's split. There's also a Gothic undertone present but one which never threatens to fully envelop the track, meanwhile, 'Phalanx' is described by Bassist Jesse Schomisch as “Denude at our most punk...noisy and dissonant” and boy is that the case here. Not only Punk in terms of its short running time (it is the shortest track on the album) but also Jesus Lizard style Noise-Rock aka abrasive, snotty and absolutely essential. 'A Flying V' is for the most part an instrumental that results in an intoxicating brand of Slint-esque Post-Rock, back when that genre was still employing creativity and inventiveness and before it evolved into all-out musical tedium, as Mogwai's soundtrack to Douglas Gordon's pretentious and pointless documentary Zidane: A 21st Century Portrait can testify to. 'Single File Marching Orders' feels a little heavier, with nods to Voivod evident. It certainly feels faster and invigorating, showing a band capable of turning up the heat when needed. 'All Fours' at over five minutes is the album's longest piece and its most emotive. There's an omnipresent sense of yearning with the music combining 90's Post-Hardcore with Jazzy improvisation, fans (like myself) of Engine Kid and Drive Like Jehu take note. A beautifully delicate conclusion to the album.

Despite the initial off-putting and ponderous title, the music here thankfully proves to be anything but. Denude have delivered an album in equal parts challenging and engrossing with stunning performances and excellent songwriting throughout. A well worthy investment of both your time and money.