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Review The molten cyborgian flux of the inaugural track is typical in its flouting of prescribed limits, dispelling any notion that this dynamic hullaballoo is being constructed almost entirely from drums and Theremin. Instead we hear an unlikely fusion of Cannibal Ox, The Prodigy and Lightning Bolt, prior to a sublime denouement of humpback whale choral, calling out like that plaintive marine beacon from Star Trek IV: The Voyage Home, with Rochford rolling out tom bursts on a glistening metallic seam. The aquatics continue on the second part of the Evil triptych, juxtaposing a steaming cauldron of Clangers with a disconsolate narwhal cramping up acute with a chronic case of gut ache. Best of all though is Slow, which sounds like Scandinavian ambient jazz outfit Supersilent, with Kurstin deputising for Arve Henriksen’s trumpet, showing off her jazz chops as Rochford teases reverentially at the bows and bells of his cymbals.
Ouch Evil Slow Hop is a dynamic, questing collection that’s brimming with ideas deployed with lean concision and efficiency. Outlandish notions are picked up, explored and put down again, before ever exhausting their topographic properties. There’s even time for a triumphant finale, as Hop delivers a promise on a Pekinese opera, which then dissolves into a flurry of Kurstin’s Hendrix-like salvos; a tumult hinting at the inherent scope and long-term potential of this compelling alliance.
--Spencer Grady
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