Sorcs 80

If you parted ways with John Dwyer's mutant outfit sometime around the time they evolved from Thee Oh Sees to Osees, you might SORCS 80 for the work of a different band. All the sampling of technology's impoverishment and distortion, SORCS 80 thrashes and pulses without the aid of a guitar, the product of Dwyer's decision to ditch six strings for electronics. Dwyer specializes in these kinds of sharp turns: He sheds styles faster than he changes band names, fusing prog and punk without thinking about whether his monster can survive. As militant as it may be, SORCS 80 represents a settlement for the Osees—a place where his broken punk Foul form and his aggressive synth-pop Spy message knit.

Taking inspiration from its edgy post-punk pulse Spy messageDwyer decided to create SORCS 80 using samplers, approaching electronics with the finesse of a caveman. Along with Osees keyboardist Tom Dollas, he hotwired four-track demos through Roland SPD-SX samplers, which the pair then activated with drums. Neither musician plays their signature instrument: Their work comes through samplers in shards glued together by bassist Tim Hellman and embellished by saxophonists CansFis Foote and Brad Caulkins.

These saxophones are meant to evoke the iconic soul of Dexys Midnight Runners, another main inspiration for Dwyer here. If you squint, it's possible to make out its echoes Looking for the Young Soul Rebels in “Earthling,” where he's carried away by growling horns as he blows from his gut like Kevin Rowland. Soul isn't the only style that saxophones stir up: On “Drug City,” the sax conjures up the ghost of James Chance, landing squarely between no wave and new wave. What a thrill SORCS 80 it's that it feels vaguely rootless—some sounds are familiar, but the form isn't.

That's not to say that Dwyer has cranked out hooks or melodies like he did his guitar. SORCS 80 contains some of his sharpest recent songs – the tunes happen to be transformed by the Osees' performance. “Termination Officer” pushes its glowing chorus through a digital destroyer. “Cochon d'Argent” overflows with slogans and hyperkinetic beats. At times, the thick electronic fog lifts: “Lear's Ears” has enough air in its beats to suggest funk, a trick repeated on “Also the Gorilla…”, which combines the album's most agile groove with one of his catchiest songs.

However, hooks or even individual songs aren't the point. SORCS 80 it's a fascinating listen. Hearing the Osees wrestle with their gear, forcing the instruments—and themselves—to behave in ways they're not used to is a visceral experience. Fooling around with samplers as if they were drums, the band sound like they're bursting out of the cave and into the modern world.