Record review: Ego - 'DON'T'

By Gene Wagendorf III 

Multi-instrumentalists Dan Rico, Fumo Stromboli and Majik Aeon have been making music together in various groups for what feels like forever. The trio made up the core of the spastic punk band Snacks, while Rico and Aeon also did time as two thirds of excellent pop rock outfit Close Hits. Musical ideas born of those projects continued to develop in the boy's most recent incarnation, as psych/punk group Ego. A pair of excellent cassette releases on Maximum Pelt have paved the way for the band's debut full-length, DON'T.

The album starts in grand fashion with the gargantuan, psychedelic jam that is "Another Friday Night." A whirlpool of percussion and feedback slowly builds momentum, stomping behind Aeon's twisting vocals until the whole thing explodes into a fierce rocker that sets the tone for the rest of the record. Following that are a pair of hypnotically energetic punk tunes, "And Now I'm Feeling Low" and "Slit." The former, sung by Aeon, sounds a little bit like the Buzzcocks got piss drunk and played a show in your basement, while the latter is a rolling pop punk romp that features Rico on vocals.

Majik Aeon takes the reigns again on "Heavy Heavy," a chugging acoustic number that unravels into a beautiful lysergic fit. Aeon's warm drawl sounds full against the taut guitar, and the song rolls on a while before tangling itself up. The string arrangements and sparse melody give the breakdown a bit of a Velvet Underground feel at first, but then a second level of giddiness explodes into a Beatles White Album playfulness. That isn't to compare Ego to either of those legends just yet. It's just a testament to the fact that this trio has done their homework.

A couple more rowdy rock songs lead up to the summery joyride that is "Now I Don't Wanna Know." Aeon lobs his lyrics across what may be the record's most solid hook (no small feat), setting the stage for a series of magnetic guitar solos that range from molten to dreamy. The tempo stumbles smartly near the end, as if the song had exhausted itself partying and crumpled to a satisfying slumber.  That cool peace is intruded on by "Cynical," a snaking, Animal Collective-esque acoustic tune. The choppy strings and vocals are damn near jarring, and a stark contrast to the glammmy sweetness of "Weird Chick at the Dustbowl."

DON'T ends on a high note with "Reprise" and "Automaton." The two tracks next to each other are an interesting couplet, showcasing just how dynamic a band Massive Ego is. That Stromboli, Aeon and Rico are all more than capable on multiple instruments makes it fun to imagine who played what on the instrumental "Reprise." Another lesson learned from their '60s rock predecessors, the song is a lush little ditty that calls back to Aeon's vocal melody on the album's opening track. It's the comedown from the trip that started when the needle dropped, and it's a glorious one. The song seamlessly segues into "Automaton," whose soft drift is like a tropical lullaby. The percussion here is some of the best on the record, at different times booming, subdued, splashy and deadly precise. It makes an ideal playground for some sizzling and wandering guitar work and a nimble little bass line. It's all three Egoists firing on all cylinders; a song that changes pace, style and genre effortlessly, a song that starts by coaxing you to daydream and ends in a beachfront dance party.

'DON'T' is out now on Maximum Pelt Records and available for purchase on vinyl, cassette and digital download here. You can see Ego celebrate the release of 'DON'T' tonight, Thursday, April 3 at The Owl (10pm, FREE, 21+) with label-mates House Sounds. Check out "Now I Don't Wanna Know" below.




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Show review: Quintron and Miss Pussycat at Empty Bottle, 5/12

By Andrew Hertzberg

The story of Quintron and Miss Pussycat runs deep. Far deeper than I knew going into the Empty Bottle Saturday night. The NOLA couple formerly called Chicago home – an extensive profile of their history was chronicled in the Reader a decade ago. The two have cultivated a following over the years and are always looking for and creating something bizarre and left-of-center. Quintron blares on his distorted Hammond keyboard with a natural Southern swagger, accompanied by his patented Drum Buddy. Miss Pussycat handles backing vocals, and oh yeah, did I mention she put on a puppet show to begin the set? The story of a grizzly bear that travels through outer space to defeat a vampire is a perilous one, but it must be told.

As for Quintron’s candle-lit set, it was much more energetic and amplified than I imagined after hearing recordings. My ears were ringing before the show was even over. Listening to last year’s Sucre du Sauvage (which was recorded in a 2010 New Orleans Museum of Art exhibit) isn’t by any means a tranquil experience, but Quintron gets intense live. Seated at a keyboard behind the grill of Lincoln, equipped with a crash cymbal and hi-hat, and the aforementioned self-designed drum machine, Quintron belts out his campy, R&B tinged “Swamp-Tech” that wouldn’t be out of place soundtracking a B horror film. Miss Pussycat helped out on vocals, sometimes with high-pitched yelps, sometimes more subdued and melodic, but ever so consistent with the maracas. I couldn’t help but think at times what a great collab this duo could make with the Fiery Furnaces. Can someone set that up please?