Old Time Relijun
Uterus And Fire

First and foremost, blues. The kind that comes from the guts, that is dirt and enlightenment, religion and lust, strength and despair. Being its medium, the club that carves words and music into the rock to experience and perceive it, can also mean belonging to a different America than today's, a pure/puritan America yet a backdrop of enormous moral contradictions.

However, it means being a visionary soul, in the case of Arrington de Dionyso, an artist who fuses and mixes with the strength of the primitive, apocalyptic apparitions, sacred and profane, almost an esoteric ritual stripped of its sacredness. 'Uterus and Fire' is the second album of the band led by ours, and it sees the crucial entry into the lineup of Phil Elvrum, a brilliant drummer already discovered with the Microphones some time ago.
The album starts like a landslide, boulders crashing down on us, the power of nature that is impossible not to admire, Archeoapteryx Claw is a thick wooden stick pounding the rock, rhythm that grows and needs it, staggering guitar riffs and there it is, the increasingly goat-like, increasingly animalistic voice, a gigantic beast with a heavy tread. Phil is perfect here, away with all the techniques and refinements, space for a drum set with acoustic but distorted sounds, fuller than ever, redundant at times, where the timpani screams like the crash that screams like never before to invoke a God.

Then there's Broken Water, oriental flavors, lazy and sleepy brass, metallic regurgitations with an inspired Arrington: he declaims, exclaims, incredible son of the cataleptic "Deep in the Woods" by the Birthday Party, six minutes and a bit more that cover us in ash. The blues returns (it never really left), fingers touch the six-string instrument, and just when you get used to it, an enormous bass drum with a lift-off ride sweeps everything away, again the fat beast grabs us by the throat (Burning Head). An alarm, a kind of alert, then the beast gets angry, the fury of nature that pauses to catch its breath only to gain more strength, and finally settles down, rubs against the ground, raises a mountain of debris before leaving and disappearing from view (Casino).
Stop everything, here comes the first anthem of Old Time Relijun, Dagger!!!! Not much to say, take whatever you have in your hands and twist it, scream until you can and then continue with a broken voice, gaze at the sky and dance, writhe, exalt yourself because this is one of the most "pure" tracks of the late millennium, away with any barriers or filters, it hits you straight in the stomach and never leaves… but my dear ones, you'll need more energy, the dance has just begun, there's a Giant Boat that takes your natural disarticulated movements to the extreme and a Hot Even where Arrington's sax snake shoots off like a crazy animal, becomes a goat, a ram, mounts everything, oozes sex and instinct, drools and doesn't stop.

I AM IN JAIL, I AM IN JAIL we're all in jail, separated from our family, robbing banks, stealing anything and still shouting, shouting (perhaps the highest point of the album), preaching our sins and despairing to madness and closing our eyes… … ..
A menacing figure lurks in our minds (it’s the spectacular double bass riff of Artman on Johnny Appleseed), we're too tired and dazed to understand what it is, to define its contours, as everything then starts to melt, to liquefy on our hands (thanks to Aaron, truly absolute here). The jew's harp mocks us (Khomuz) but we don't pay much attention to it, because we immediately turn our eyes, De Dionyso with an acoustic guitar in hand?!?!?!?! Maybe sweet sounds ?? Maybe melodies ?? No way, single chord struck like a bongo, sarcastic grin toward the devil and off to mock him, declaiming as if you were mad at an ordinary child (Office Building).

The closure arrives, Telephone Call, always on the verge of a hysterical falsetto that enters the ears like fingernails on a chalkboard… … . Fortunately, the other two below provide a counterpoint, a pompous bass and the usual “wide” drum set that softens everything allowing us finally to catch our breath and breathe.

“The songs of Uterus and Fire are premonitions of the eclipse of the Age of Pisces. They tell of a man seeking his soul in a world of shadows. The entire album is like a mythical journey through the underworld, where we save a drowning mermaid on a sinking ship, where we tell the storm of mad love, the imprisonment and separation of your beloved, and where finally there is the sacrifice of blood and lust that creates a human being, the birth.”

Being Animals, Being Humans.