Oh Sees
Smote Reverser

THE REVIEW

I know, it seems impossible, but here we are again writing about yet another album from John Dwyer's Oh Sees. Just over a year after the last "Orc," which was already less than a year away from the predecessor duo that marked, it can now safely be said, a turning point for the band, certified by the change of the monicker from Thee Oh Sees to simply Oh Sees. With the reorganization of the lineup from 2015 onwards, the all-out, somewhat noise, somewhat psychotic assault that characterized the band until "Drop" has given way to a less harsh and more psychedelic sound, and at the same time, the very structure of the songs has started to dissolve, taking directions once unthinkable.

How does "Smote Reverser" stand in relation to past productions? From the cover, and from listening to "Overthrown", released as the first single at the beginning of summer, we would have said that Dwyer had ended up in a crushing '80s thrash metal trip, but as usual, he likes to play games. Oh yes, because apart from this track, the rest of "Smote Reverser" travels on complex structures approached in a psychedelic manner, and partly (hold on tight!) almost "progressive".

Don't get me wrong, nor give too much weight to the many online reviews that summarily label the album as "progressive." There is objectively a 14-minute track, but it would be hard to define it as prog, apart from the duration. "Anthemic Aggressor" is a trip of cosmic synths and amphetamine rhythm that would make the blood boil of any connoisseur of instrumental skill. If in form it recalls prog, musically we are at the antithesis in terms of approach.

Even this last effort, although not completely successful, contains at least a good half of the songs are stunning, like the psych tribalism of "Sentient Oona", the organ and acid guitar chasing each other on "Enrique El Cobrador", and an example of proto-progressive like "C". And then there are great guitar riffs that stick in your head like never before ("Abysmal Urn", the almost funk of "Nail House Needle Boys").

If you want a blend of what's been described so far, dive into "Last Peace": a soft start, between post-rock and psychedelia, which halfway through accelerates for a controlled assault between bass grooves, acid guitar, and warm organ inserts.

Another bullseye? Almost, but for the past three years, quality finally rhymes with quantity at Dwyer's home, and we're pleased about it.