In the same year that they've changed their name from Thee Oh Sees to simply Oh Sees, timed to the release of their last album, Orc, John Dwyer's outfit have decided to confound expectations and change their name again (this time to OCS) and drop yet another record. Memory Of A Cut Off Head, out Friday on Castle Face Records, is also the group's best recent release and a contender for one of 2017's best American indie records.
Opening with the Jimmy Webb-isms of the title cut, and leading into the stately chamber pop of "The Remote Viewer", a spin of the record reveals a change in direction to go along with the name change. Less fuzzy garage rock and more like leftovers from a Left Banke session, the best numbers on Memory Of A Cut Off Head are superb examples of the strengths of Dwyer as a composer and front-man. Stuff like the spacious "On And On Corridor" recalls Broadcast a bit, Brigid Dawon's vocals bringing to mind those of the late Trish Keenan in spots here, while the more languid "The Fool" approaches a Nico-like starkness that is at odds with earlier Thee Oh Sees records. Maybe it was a good idea for Dwyer to change the band's name? Elsewhere, the complicated "Time Tuner" faintly echoes the Cale compositions from one of the first 2 Velvet Underground records, while the elegant closer, "Lift A Finger", somehow manages to channel early Stereolab and recent Clientele offerings with an ornate precision.
Memory Of A Cut Off Head is, in some ways, shockingly different from earlier Thee Oh Sees records, given its focus on a very specific kind of pop-craft. That said, it's still discernibly a John Dwyer affair, equal parts backwards glances to Sixties archetypes and forward looks into a kind of visionary future indie-rock.
[Photo: John Dwyer]