BUŇUEL: MANSUETUDE
Italian artcore combo, starring Oxbow's Eugene Robinson release their third LP.
BUŇUEL: MANSUETUDE
SKiN GRAFT/OVERDRIVE RECORDS
2024
I realise, of course, that there’s barely anything more “uncool” in Noise Rock circles than admitting a nonchalance to the chaotic endeavours of Oxbow; they’re an integral part of the core syllabus.
Nevertheless, my confession remains. Colour me square. They never really moved me; I missed what everyone else seemed to hear. I had them boxed up in the same rarely-dusted-down compartment I tend to store Patton-related projects: file under try-hard weirdness. Clearly clever, influential to some, but only with a fringe benefit or two to me. Unfair, perhaps, but honest. And rarely, if ever, played again once archived away.
So when they split up earlier this year, I didn’t particularly care. I was disappointed that veteran stalwarts of experimentation were gone, in principle - the more that dare, the more that win - but personally?
I didn’t give much of a fuck at all.
I never really wanted to see Eugene in his pants anyway.
Equally, until Oxbow split, despite hearing the name, I’d never followed up and listened to the output of Buňuel.
They’re a “supergroup” comprising of Eugene from Oxbow and three Italian musicians from Italian bands I’d never heard of. Not overly enticing when there’s such a wonderful dearth of other sonic distractions cluttering my personal soundscape on a daily basis.
Oh Fool, I.
And then, in August, after casually skimming a pre-release announcement for Mansuetude, their new LP, I whimsically checked out teaser track, Drug Burn.
Lions and tigers and bears, oh my.
It was the clarity, density and blunt power of the recording that snapped my head round first. The drums sound incredible. The bass has a hideous growl that’s as solid as the percussion’s punch. Just as clear, just as powerful. The textures that are brought by the guitar and post-production effects add to the precise intent of the writing. Nothing stands still for long enough to be faintly predictable.
And Eugene sounded interesting.
And the riffs… oh my.
And then I realised that SKiN GRAFT were teaming up with Milan’s Overdrive Records for the release, which meant acceptable shipping prices compared to the usual trans-Atlantic fiscal buggery.
And then I saw that Overdrive were releasing a beautiful triclolour three-sided double LP edition with an etched side four that didn’t break the bank.
And then I realised, with glee, that I was in.
And now it’s here, and I need to tell you that Drug Burn is just the beginning. The thirteen tracks move from the aforementioned punching and precise noise rock, across distorted jazz and proto-sludging pulpit preaching perfection on a regular basis and often within single songs.
But, unlike Oxbow - or innumerable other bands who are identified by their eclecticism - it’s never, ever, arduous. It never requires training.
No previous experience necessary.
And therein lies their magic. They have somehow mastered the art of pushing your ears into places they have never been before, enabling the real joy to come from the pleasure you immediately gain from that. There is often, necessarily, a learning curve associated with venturing into a new galaxy of challenging sound - but Buňuel frame their experimentation in such good writing that your brain is tricked into acceptance straight away, wonderfully skipping the first three steps of climatisation and getting straight to the vim and vigour of a veteran listener in a single bound.
Just like the educated ape that you are.
Listen to High. Speed. Chase.
It’s apparently conventional.
But listen again. Is it really?
It’s mighty.
A mighty racket.
A clever mighty racket.
There’s nothing random or lazy about its noise.
It’s been rigorously scored.
And that’s how the entire album feels. No songs sound familiar, similar or cliché. But it doesn’t feel scattershot or fickle, like it could do with so many different styles, tones and timings being so integral to its essence.
Quite the opposite - the album is solid as hell. Consistent in its intelligence, writing and intent.
It has real purpose.
I’m already investigating the back catalogue.
I need more. Is this what I missed about Oxbow?
Do I need to go back and dig deeper; ride the curve?
Maybe.
For now, though, Buňuel are doing more than enough of a good job. They don’t need to rely on their past accolades and achievements. Their experience comes across clearly enough in their playing, writing and recording; a confident cool that effortlessly delivers classy riffmeistery time and time again.
I earnestly suggest you listen to Mansuetude ASAFP. It’s a contender for ‘24.
Ave, Fanatic!
cheers!