Bussy Kween Power Trip - Demo (Review)
Bussy Kween Power Trip
B - Vox
K - Bass
PT - Drums
"Rahm Emanuel Diss Track"
Bussy Kween Power Trip! True DIY!
Chicago DIY is its own genre. It’s a goddamn mood. But it is not exclusive; simply park your car anywhere on Milwaukee Ave north of Division, yell “Wally’s World!” out of the window, and practice your active listening skills as dozens of crusty punks chanting “Vamos! Vamos!” surround you on all sides. Enjoy stories about how poppers DO and WILL expire, how we saw Steve from Stranger Things hammer riffs far before he was hammering demogorgons, and why you never really NEED a full band; just a concept and a free DAW.
The most critical aspect of any good Chicago DIY act is progressive musicianship. Specifically, a tonal element or an attitude, rather than lightspeed guitar wanking or epic transitional work. DIY seeks new emotive responses to new problems, reaching more specifically and directly at the people in the audience. Hold them close! they will step on your effects chain…
Bussy Kween Power Trip embodies much of what I consider to be true Chicago DIY style. If we wanna pull out the dictionary, then let it be known that this EP was recorded and mixed by the band itself (Note: the album does credit Zach Bain-Selbo for “kung-fu sage guidance,” but I don’t really know what that refers to.) Most importantly though, they are uncompromising in vision. Bussy Kween expresses exactly what they set out to, without metaphorical distraction or compressed imagination. Instead; 3 doses of hella musical chops, a tablespoon of calling out shits and shittiness (looking at you, RAHM,) and SO. Much. Fuzz, BABBYYYYYYYY.
Although just a three piece, (Drums, Bass, and Vocals,) Bussy Kween’s debut Demo does not sound sparse or half-baked; each musician strives to bring interesting, complex, and forward thinking elements to the compositions. The bass, notably dripping in fuzz and octave-jumping capabilities, operates largely as if it were a rhythm guitar, employing lead lines, power chords, and dissonance, while also maintaining an aggressive drive. The drums are loosely held and jazzy, with great dynamic capabilities and momentum-warping attempts to leave pit-lurkers scratching their heads (see “Rahm Emanuel Diss Track” for some especially playful moments.) The vocals dance between a frustrated, unapologetic spoken delivery and excellent fry vocals, which fill the space and add to the heaviness. Although Bussy Kween labels themselves a “trio of softies,” they do not shy away from direct, pointed, and poetic lyricism.
If your interest is engorged at this point, I would recommend spinning the entirety of the demo (12 minutes total) rather than skipping to an individual track. “Kill A Man” lulls the listener into a comfortable swing between a dance-floor beat and an old school thrash riff, before unveiling the true ferocity of Bussy Kween. “Internet Graveyard” is a bluesy, trudging statement against putting all of your shit online, and is the most creepy, harrowing track present. “Rahm” features a more explicitly mathcore sound, with a huge breakdown section and brilliant drum expression. “Cop Garage” is a bouncy, punk track with pop sensibilities. Vocally driven, it displays B’s ability to rapidly shift between different techniques and emotions, which begins to (maybe) explain why Bussy Kween are as much a conversation, even a protest, as they are a band. Check ‘em out FOLX!!
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