#black pus

[lzyixi]

put up some Brian Chippendale art in my garage ⚡

http://brianchippendale.storenvy.com

[larvalung]

[wicked-west]

[camera-worker]

Brian Chippendale / Black Pus, 2013 #03-0235-16

[wicked-west]

[aholefilledwithtwigs]

Shout it all out

I love covers that sound nothing like the original

[protean-forms]

Black Pus-“Blood Will Run”

[dustedmagazine]

Black Pus — Terrestrial Seethings (Thrill Jockey)

Black Pus slips a current of joy into coruscated noise blasts, puncturing onslaughts of disintegrating synth tones with trebly dances of sticks on toms. What ought to be harsh and offputting is whipped full of air; there’s plenty of negative space in these rusted wire sculptures of sound. “We like to move/We like to ping pong,” howls Brian Chippendale through a busted mic in the opening track, “Ping Pong,” and indeed, the early cuts are infused with ecstatic motion.

You get the same contact euphoria from Chippendale’s other project, Lightning Bolt, and if you like one and you’ll undoubtedly enjoy the other. These tracks buzz and zing and fly in all directions, as dopplering groans of synthesizer meet antic explosions of drumming. At the end of percussion-heavy “Gothic Socks,” Chippendale pounds relentlessly on the full kit, hitting kick drum, toms and cymbal fast and simultaneously, in a jumping-up-and-down frenzy.

The cuts get heavier as you go. “Terrestrial Heathens” vibrates with a deep subliminal buzz, a high synth doing back flips off it. A sing-song melody pushes up through the dissonance, only to be obliterated by the crash and clatter of a drum kit falling off the roof. Chippendale howls and chitters like a wild animal, snarling into a noise-addled mic about the futility and repetitiveness of, well, everything. “I’m at the market/Shopping forever/I’m at the restaurant/Eating forever/I’m in the trenches/Fighting 4 eva/I’m in the club yeah/Dancing 4 eva,” he yowls, and it all sounds like punishment.  

And yet, you can’t deny the adrenaline charge of “Hungry Animal” which kicks and rears and spasms atop thick bass-y surges of synthesizer, or the way that “Keyboard and the drums and the fucked up microphone,” turn “Gothic Socks”’ annihilating assault into a kind of celebration. “Wide Asleep” blasts big bars of synth onto the fours with an unstoppable optimism.  Black Pus builds radiating rainbows out of ugly, abrasive sounds; I’m not sure how he does it, but he does.

Jennifer Kelly