Post-Mr Bungle’s dissolution in the early 2000s, Clinton “Bär” McKinnon relocated to Melbourne, Australia with stacks of material he’d written originally for the Eureka, California eccentrics. Thereafter, the formation of Umlaut followed, and a line-up that currently reads as the aforementioned McKinnon – Tenor Sax/Flute/ Clarinet/Keyboards/Guitar/Lead Vocals, Angus Leslie – Guitar/Backing Vocals/Keyboards, Bassist Shane Lieber, and recent addition Danny Heifetz (ex-Bungle) on Drums.
Prior to Désolé (French for sorry), there was 2009’s debut full-length Umlaut, 2014’s To Your Poverty Quietly Go, and the Arunachala and Kintsugi EPs (Easter and Halloween themed respectively). If the involvement of former Bungles has you salivating in anticipation then the record being put out by Overdrive Records (Buñuel, DUNN with LORDS AND LADY KEVIN, Ennio Morricone, Thelonious Monk) should have you chomping at the bit.
“The Tarnished Legacy” with its wash of 80’s sounding keyboards, soulful Mike Patton-esque Vocals, and offbeat experimental Pop charms will leave anyone with a love of Bungle’s superb 1999 release California beaming from ear to ear. If only Pop sounded this classy these days. “Happy Now” recalls Scritti Politti’s late 70’s to early 80’s Post-Punk/Sophisti-Pop injected with heavy doses of Urge Overkill (“Positive Bleeding” especially). It’s so damn catchy, yet there are enough moments of oddity through the use of Saxophone blasts to prevent it from becoming too cozy, a standout. “Cold Sore” is imbued with a Progressive, classical strain, though thankfully one far removed from the bloated Prog of ELP. There’s some slick sax along the way and Fusion-style Guitar heroics ala John McLaughlin. On paper, this might sound like an aural nightmare, but it is, in fact,, an expertly crafted slice of magnificence.
“Bite Your Tongue” comes across like a twisted version of Beach Boys Surf-Pop, but with far less wide-eyed wonder and a healthy dose of cynicism instead, immensely satisfying. “Every Time” is one part Jethro Tull, cue the use of Ian Anderson-style flute while traces of Mr Bungle’s S/T album also ring through, thanks to the occasional creepy circus sound. Furthermore, Redd Kross’ obsessions with kitschy 70’s Pop culture and Glam-infused Power-Pop pull everything together into something absolutely timeless. “Grumpy Library” harkens back again to the 60’s and The Beach Boys, parts reminiscent of “Good Vibrations” as well as the French Yé-yé movement via the twee outpourings of Françoise Hardy. The weirdness is reigned in slightly to bring listeners nearly three and a half minutes of unadulterated Pop joy. By contrast, “Vinnie” is Hard Rock perfection with riffs that rival the best that early 70’s Proto-Metal acts Bang, Sir Lord Baltimore had to offer, so you’ll therefore be undoubtedly banging your head along to this monster of a track.
“Bumblebee Shoes” features an insistent soul-driven Drum beat that recalls The Spencer David Group’s cover of “Keep On Running” but tempered with lashings of Grover Washington Jr Smooth Jazz. “STFU” has a retro 50’s film noir feel both through the use of Earth-style drones as well as Faith No More at their most downbeat on tracks such as “Last Cup of Sorrow” and “Caralho Voador”. “My Government Is Never Wrong” is essentially two minutes of stream of consciousness Wesley Willis, Beefheartian nonsense; a strange if somewhat fitting, conclusion to the album.
Désolé will appeal to fans of McKinnon’s former band Mr Bungle as well as those with a disposition towards the avant-garde. Except for the raucous “Vinnie”, this is mostly a Pop affair, albeit one infused with the spirit of artists such as 10cc and Sparks. A bonkers yet wondrous piece of work.
Buy the album here:
https://umlautbarmckinnon.bandcamp.com/album/desol
8 / 10
REZA MILLS
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