Chances are good that you may have come across Lightning Bolt at some point in their thirty-year history if you like noisy or experimental rock, but you may not be as familiar with the solo work drummer/vocalist Brian Chippendale has done under the name Black Pus. Chippendale has regularly put out material as Black Pus since 2005 and while some material has explored some similar territory to Lightning Bolt the approach has generally been more freeform. Sometimes this meant you’d be in for an almost entirely unstructured burst of noise, but in the case of this year’s Terrestrial Seethings the results are somewhere between those earlier unstructured experiments and more recent output. The eight tracks have still come from improvised sessions and emphasize repeating loops and rhythms with layers that build over the course of each one, but things get noticeably looser during the second half. It doesn’t fully stick the landing with every idea, but for those that like the rawer energy and unpredictable nature of Chippendale’s other work Terrestrial Seethings is worth checking out.
Where Lightning Bolt has emphasized speed and an almost dizzying level of precision in their whirlwind of ever-changing rhythms and riffs, those coming into Black Pus fresh will immediately notice the project’s unique qualities. Opener “Ping Pong” feels appropriately named, as it unfolds at a slower pace where the ebb and flow of the electronics along with the pounding drums make it feel like the listener is the ping pong ball and you’re being batted back and forth by the rhythms. The rawer sound channels some of the experimental rock Chippendale is known for, but it also feels like a lot of drum ‘n bass and other electronic genres have been melded into the pulsating noise and beats. The way the layers build on most of the songs on the first half keep a bit more structure, but there’s a looseness and things may suddenly move from a moodier, almost catchy electronic passage into bursts of static and feedback. In many ways Terrestrial Seethings comes across as a free-flowing stream of consciousness, especially once you get to “Mark My Word” and “Terrestrial Heathens” where the track lengths get longer and the structures break down even more. The best way to describe these are as bursts of ear-piercing bass and electronic noise, but fused with periods of respite and all-out jam session type drum solos that pummel the listener. “Gothic Socks” also does this but in a shorter burst, delivering drumming towards the end that almost sounds like Chippendale is playing with construction equipment. Sometimes the vibe is a bit psychedelic while other times it’s purely abrasive, and that may make Black Pus an acquired taste even for those used to some of Lightning Bolt’s madness. Admittedly the longer numbers do feel slightly overstretched and when they got too unstructured my interest did wane a bit, but there were moments in between that got me re-invested.
The layers of noise and drum patterns are just one piece of the puzzle when it comes to both Black Pus and Lightning Bolt, as Chippendale’s vocal work also plays a large role in giving the material a more experimental and abrasive tone. This continues to be true throughout Terrestrial Seethings, as only a minute or so after pressing play you’re greeted with much sharper and raw singing/shouting. What’s interesting about the performance on this album is it often comes through in a similar looped and improvised fashion as the instrumentation, as the vocals seem to flow outwards in unconventional ways. “Gothic Socks” is a highlight in this regard, as it places the emphasis entirely on Chippendale’s screaming and allows it to completely overpower the rest of the layers for a few minutes. It’s a lot to take in, but if you liked the more frantic and unhinged vocals that Lightning Bolt had at points, Black Pus will be just as appealing.
On his latest album as Black Pus, Chippendale has given us a series of experiments that blur the line between experimental rock, straight-up noise, and electronic genres like dub and drum ‘n bass. It’s noticeably abrasive and free-flowing, and while some of the longer tracks do become a bit grating and didn’t fully hit the mark for me, the material still resonates overall and has drawn me back to experience its chaotic and unexpected approach. It also seems like a good entry point for those that may know Lightning Bolt but not be familiar with this other side of Chippendale’s musical output. Terrestrial Seethings is available from Thrill Jockey Records.
-Review by Chris Dahlberg