Another day, another Learning Curve release, this time courtesy of Minneapolis trio Scrunchies, aka Laura Larson – Guitar/Vocals (formerly of Kitten Forever/Baby Guts), Danielle Cusack – Drums/Vocals (formerly of Bruise Violet) and Jeremy Warden on Bass (formerly of Double Grave).
Colossal, Scrunchies latest, follows 2022's Feral Coast, the 'No Home Planet' single and Boo/Sway split with Strobobean from 2020, and 2018's Stunner full-length debut. The album was recorded by the late, great Steve Albini (Big Black/Shellac, producer of legendary albums by PJ Harvey, Nirvana, Pixies, Jesus Lizard etc) at his Electrical Audio studio in Chicago. Steve was no dummy with regards to who he chose to work with and given this and the aforementioned Learning Curve's involvement, my reviewing this was rendered a no-brainer.
'Brute' is Killdozer-esque darkly sarcastic abrasive Noise-Rock (think Little Baby Buntin') imbued with a Punky Riot Grrrl sprit ala Sleater Kinney. A kick in the bollocks and a superb opener. 'Realistic Effect' has a 90's Indie-Rock sensibility, a time when being a band from that genre didn't mean hipsters in tight jeans and trendy haircuts bashing out third rate Wire and Gang of Four style numbers. The point being the music here doesn't appear like its trying to be cool, it simply is. Reference points includes Swedes Light Screamer and sadly overlooked Grungers Hammerbox. 'High Pile' is absolutely excellent and its of no great surprise it was selected as a single, fondly reminding this late Gen X'er of Fugazi's angular Post-Hardcore attack, while 'The Empire' recalls the glory days of The Gits and their tragically departed frontwoman Mia Zapata (RIP), in short, thrillingly uptempo melodic Punk Rock with soulful expressive Vocals.
'Ride' has a Le Tigre vibe with its pulsating grooves and “don't fuck with me” Vocals (think 'Deceptacon'). Its interesting I should see the comparison seeing as I've never been a fan of that band or the Dance-Punk/Electro-Clash sub-genre, but its to the band's credit that I was on board on this occasion. 'Load' takes the album in a slower almost mournful Country route albeit in a Morricone/Leone vein before exploding into the kind of raucous Punk-Blues of bands such as Mule, spectacular and a favourite. 'Carry On' will please fans of Grungy Garage-Punks Mudhoney, the main riff bearing slight similarities to 'Touch Me I'm Sick', yet managing to remain totally original and rocking like a motherfucker. 'Decoder' again tips its hat to the kind of Math-Rock and Post-Hardcore I was fully immersed in around the late 90's/early 2000's; Brainiac, Shudder to Think etc, thus rendering it a nostalgic delight to my 45 year old self. 'Cherry Vally Cemetery' captures the gloomy Post-Punk of The Wipers from around the time of Youth of America (the title track especially) to superb effect, meanwhile 'Pressure Shift' the shortest track on the album, is one of its faster sounding and reminiscent of the gloriously sleazy Hardcore Punk of the Lunachicks.
Maybe its the way my brain works but 'Generator' had definite Nirvana intonations about it, especially the more deliberately anti-commercial In Utero (which Albini produced, coincidence...who knows) while'Within An Inch' has a blissfully fuzz-laden Stoner Rock feel that has the listener thinking a Punkier Kyuss. 'Wild Geranium' lyrically taps into Riot Grrrl with a Crass spoken word delivery accompanied by an Enablers Post-Rock musical backdrop, affording for an experimental and intriguing conclusion to the album.
Minneapolis has a rich musical history thanks to artists such as The Replacements, Husker Du, Cows, Janitor Joe, and thanks to wonderful new album Colossal Scrunchies can firmly and proudly stake their claim to being part of that very heritage.
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