The Uh… – Doucheland Uber Alles (C55, S.P.I.N.)

Doucheland Uber Alles

Strange is probably a good word to use to describe the sound on Doucheland Uber Alles. It’s sort of all over the place, with a few tracks here and there working as rhythmic lead-ins to the longer, more harsh noise-oriented tracks that make up the majority of the C55. It’s probably also not a release that will appeal to all people, because it lacks a clarity of theme or a solid compositional structure.

The tape starts with “Brenda Triskaidekaphobia”, featuring a looping digital-sounding noise with a child’s voice speaking overtop of it. Think of it more like an introduction to the abrasive “Bum Farto”, which at its length and sheer immensity is naturally the focal point of Side A. It’s one of those free-form noise pieces, where The Uh… give themselves free reign to explore all territories of the sonic arrangement that they begin with. Blown-out sound mixes with harsh feedback; additional “instrumentation” is added to the foreground in varying degrees, making for a consistently moving piece of sound. Then “I Shot Hal Mcgee” brings another new method to The Uh…’s arsenal – guitar, both sonically brutalized and also normalized. The result is one of two excellent cuts on this tape, the other being a similar but moodier piece on Side B titled “The Tragic Kingdom”.

Doucheland Uber Alles rarely deploys only harsh electronics, though. “Green Paint” and “Everything Is…” on Side A are less noisy and more like interludes, with “Everything Is…” featuring a little folk ditty actually sung and strummed. The same of “Esoteric Innuendo” and “White Paints” on Side B: the former is mostly radio static, the latter an outro with a looping song that reminds of where the tape begins. “Ft. Myers” is apparently a live performance of the group in the titular city; it certainly sounds like one, because it spans the gamut of the sound with a very loose composition that tends to meander.

It’s certainly not a tape for everyone, and even those that do enjoy might only make it through the sonic onslaught once before they put it away awhile for another time. There are some good noise tracks on this release, but they’re sandwiched in between tracks that act more like throwaways. At 55 minutes, this release could have used some cuts and lessened to a more listenable half hour.

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