I’m Being Good - Shapeshitter

Formed in 1989, I'm Being Good has featured at various points past and present members of The Go! Team, Huggy Bear, Gum Takes Tooth, Snoozers, Drum Eyes, Sloath, Sweet Williams and Hey Colossus. The band's line-up currently consists of Andrew Clare – Guitars, Stuart O'Hare – Guitars and Tom Barnes on drums.

The trio have a string of releases to their name including 2022's New Tropes (released on the excellent Wrong Speed label), 2019's A Constellation Of Bad Ideas, 2011's Mountain Language, 2005's Family Snaps, 2001's Sub Plot, 1998's Poisonous Life, 1993'sThe Unbearable Shiteness of I'm Being Good and 1992's The Life And Times Of I'm Being Good. There's countless EP's, singles and compilations also, too numerous to list here, the band's ironic name and 'offensive' title contrasting brilliantly with the album's beautiful Caravaggio style artwork.

'Parasol' is a discordant Lo-Fi opener recalling Nirvana at their strangest on tracks like 'Gallons of Rubbing Alcohol Flow Through the Strip'. There's also nods to Beat Happening, albeit a less twee version, an interesting start. 'A Greener Shade Of Teal' continues the mellow vibes of its predecessor and despite being nearly four minutes shorter, there's plenty of Pavement's tasty Slacker Rock as well as some Captain Beefheart minus the Blues intonations. Despite this far from accessible sound, its still strangely captivating. 'Red Boy' is both unnerving and eerie and reminds one of the films of Peter Strickland particularly the frankly unsettling (yet brilliant) In Fabric. As such the omnipresent horror sensibility that's present along with the twisted Kraftwerk touches offers the listener a disturbing yet thrilling listen. So as to fully embrace the track's hair-raising full impact, it is recommended to play this one in the midnight hours. Outstanding.

'Marsupialized' ups the volume, which makes for a pleasant change with the track's 'heavier' moments recalling Prog along the lines of Lark's Tongue in Aspic King Crimson. Remember when Robert Fripp was actually focused on producing credible music as opposed to dicking around doing embarrassing covers with missus Toyah Wilcox?. 'Overton Window' is more inclined towards Math-Rock and Post-Rock, reminiscent of Don Caballero and Slint respectively. Brilliant interplay between the players provides this listener the urge to jam Saccharine Trust again (one of SST's most underrated bands). 'Appropriately Infinite Universe' has a late 80's Melvins feel, albeit had they chosen to jam with the late, great Nik Turner of Hawkwind. One of the more 'conventional' sounding numbers yet no worse off for it. Another standout.

'Splainers Gonna Splain' is by far one of the album's more challenging numbers and that's saying something for this record! A few listens are necessary so as to get a grasp as to what it is you're listening to. Its so offbeat it makes the aforementioned Slint seem like a slick Pop-Rock Mutt Lang produced band by comparison. Its good, but patience is a virtue here. 'Have I Got Noose For You', (presumably a play on the long running topical panel comedy quiz show of the same name), is early 80's Sonic Youth (Confusion is Sex era), mixed with Can. A contemporary reference point could also be Leeds' Bushpilot, very cool. The album's longest track at over six and a half minutes 'Tiny Cancer' is an instrumental and takes you on another dizzying Post-Rock/Math-Rock journey, drawing the album to a confusing if ultimately satisfying conclusion.

Shapeshitter is undeniably challenging and possibly will appeal to readers of publications such as The Wire. That said, I found myself going back to it at various points, so intrigued was I. Approach, if with a little caution.