5uu’s — Hunger’s Teeth

The bent family tree of the American groups U Totem, Thinking Plague, 5uu’s and Motor Totemist Guild is maybe illustrative of the testing, steadily changing music that these four gatherings offer. In the business since the mid eighties, 5uu’s have a background marked by Zappa-impacted diversity combined with a high level of musicality. Trimmed down to a three-piece comprising of Sanjay Kumar on consoles, Dave Kerman on drums, guitars and consoles, and Bob Drake on vocals, bass, guitars, and violins, they are helped on different tracks by U Totem and Thinking Plague alums James Grigsby and Susanne Lewis, and in addition new associates Thomas DiMuzio and Michelle Bos. Hunger’s Teeth is eleven tracks with lengths from one and a half to six and a half minutes. The styles incorporate conflicting guitar/console wailing over a stone ish beat on “Circumstance Bangs,” mandolin singling out the introduction to “Geronimo,” contrapunctual piano on “Truth, Justice and the American Way,” moving bass and keys on “Lone ranger Needle,” stupor actuating gadgets on “Mangate,” lilting vocal harmonies on “Roan,” and even a barbershop quartet on “Shears.” But to depict any track in maybe a couple words does no equity. Every piece incorporates various topics, developments and styles. Dominating all through is the vocal vicinity (with Bob Drake sounding shockingly near Jon Anderson of Yes), the compositional multifaceted nature, and a feeling of vulnerability. Indeed, even in the wake of listening to 66% of a given track, you’re never certain what is going to happen next. Joining the impacts of Henry Cow, and Cow-related groups, for example, the Work and Art Bears, with Zappa’s feeling of musicality and funniness, they have made headway and made a collection that resists arrangement. My just fuss (and it is a minor one) is that Dave Kerman’s drumming is extremely essential now and again, which appears to be conflicting with whatever remains of the music, as those structures are entirely mind boggling. On a few tracks, for example, “Truth, Justice and the American Way,” and in addition “Voyager Waits for No One,” he falls back on catch bass riffing. While the guitar, console, vocal and bass lines are all that anyone could need to fill one’s ears with their interlaced, multi-track complexities, an occupied drummer would have put the completing touch on these tracks. Then again, all through the majority of the collection Kerman’s playing is first rate. 5uu’s is a test band in the musical sense, as well as sonically too. Their utilization of hardware, PC produced sounds, and the feared specimen demonstrates that these strategies are not a performer’s cop-out. My cap is set for this band, they have satisfied their potential and past. As such, this is the best 1994 discharge I’ve listened. Most astounding suggestion.

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