The noisy Mr. Olivieri has quite a backstory, hailing from such outfits as the widely hailed Kyuss, Queens of the Stone Age, and The Dwarves, the last wherein he went by the moniker of 'Rex Everything'. Wikipedia tells us The Uncontrollable is an acoustic duo, but if you believe that, I have a bridge in New York to sell ya. This is psychedelic post-punk with a bite, a good deal of rage, and more than a little versatility in hard and metal rokk, even, gasp!, semi-progressive trad a la Sandy Bull and James Blackshaw (Leave Me Alone). Damned, though, if I can tell if the base unit is indeed a duo, a one-man horse, a group effort, or whatever the hell. The liner notes weren't exactly written by Shakespeare or Edward Deming. However, one thing we do know is that Olivieri manages to attract a constellation of guests: Phil Campbell (Motorhead), Dean Ween (Ween / Moistboyz), Dwarves mates Marc Diamond and Blag Dahlia, Mike Pygmie (Mondo Generator / You Know Who), Lightning Woodcock (Sun Trash), and Bruno Fevery (Vista Chino)…oh and that Rex Everything guy as well. Yeah, Nick's a bit mischievous, and I suspect the imprecision of the liner is meant to set things off balance purposely…ya think? Nawwwwww, them punkerz, they wouldn't do that!
The Void improbably crosses Bathing at Baxter's era Jefferson Airplane with Blue Cheer, a bit of Jon Spencer, and some damned 70s English band I can't quite call to mind, Olivieri wailing and growling like the mescaline just went bad, and he's suddenly seeing what a shithole Earth really is, not too happy at the cognition. Death Leads the Way Hawkwinds things up a bit, Dave Brocky repeating guitar lines dominating, spaciness lowering from skies and stars. Almost every inch of Leave Me Alone is raw and seething but curiously peppered with artfulness, as most all old school punk wasn't, and even a number of progressive leanings. Well, Hawkwind has always been a buncha prog-locked acid hedz 'n space cases, and da punk boyz were inspired just as much by Black Sabbath and a bevy of other 70s stoners and English school lads as American yobs and cut-ups, so that's not all that unusual really. I mean, I hear a good deal of Killing Joke in Olivieri, some Amon Amarth, and God only knows who else in the CD. Like everything else, punk is changing, as it most definitely should (I mean, Jesus, with Crass and a shiteload of others as mastheads, wouldn't transmogification be a necessity?) but notably more slowly than flanking genres…and that's probably a good thing.
Edited by: David N. Pyles
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