UT
In Gut’s House

The U.T. formed in 1978 in New York, the capital of a new and revolutionary wave of music and attitude that aimed to completely overturn the Freak-psychedelic notions of previous years from every point of view. Jacqui Ham, Sally Young, and Nina Canal could be placed in that cult subgenre known as No-Wave, which was born and died within 3/4 years (between '78 and '82) with spokespersons who can truly be counted on one hand.
Let's mention James White with his Contortions, the Teenage Jesus&The Jerks of Lydia Lunch, M.a.r.s, Arto Lindsay with D.N.A (these were also part of the epoch-making compilation “NO New York” produced by Brian Eno), the Theoretical Girl of Maestro Glenn Branca (whom Thurston Moore should sanctify, given that at the beginning of his career he was the absolute inspirer of the young sonic guitarist's mind) and the madman Von Lmo.

No-Wave has a restless, primitive, schizophrenic, and amelodic sound based on a (most of the time Punk-Funk) terrifyingly skeletal framework. After a single in '80 and an EP in '84, they debuted with the album Convinction in 1986, which precedes by two years this In Gut’s House, where the haphazardness of their early compositions is shaped in a much more original way. No one has a precise role in the band, only Canal often finds herself behind the drums (or rather the “parts of drums”), while the others switch from guitar, bass, violin, harmonica as needed.
The album is defined by Ham's singing, an alcoholic and psychopathic Patti Smith, Canal's obsessive tribalism, and the abrasive guitar sound, the illegitimate daughters of early Cave (From Her To Eternity, The Firstborn is Dead).

Starting with Evangelist, perhaps the most catchy track both for the double-voiced melody and the spasmodic guitar riff, which fractures, however, into a more dissonant and disconnected chorus. I.D. has a disjointed and staggering structure where harmonic scales are hinted at incoherently, and which can distantly recall Sonic Youth. Swallow highlights Ham's incredible melodramatic ability, accompanied by intense and obsessive chords and staggering rhythms, while a desert atmosphere envelops Big Wing, another example of how emotional intensity can prevail over technique, tempo, musical grammar. Hotel is one of the album's peaks, a song that more clearly refers to a certain dark-wave with a well-defined bass line and a semblance of real tempo where skinned blues can also be glimpsed. Even though the entire album is based on these aforementioned formulas, it never feels repetitive or boring (there are other gems, like Homebled, their Venus in Furs, or Mosquito Botticelli, another peak of the album) always navigating known territories with a beautiful originality.

I wouldn't be surprised if artists from the nineties (Royal Trux, Pj Harvey) or our days (The Kills, Sudden Ensamble) were influenced by this, the comparison is mandatory.
Gray, smoky, primitive, possessed, essential. This is “In Gut’s House,” the absolute pinnacle of U.T.'s career.