On one of my many trips to the local music store, I found a
large bin labeled “CDs – 2 for $1,” a bargain I could not pass up. Whilst trudging
through the piles of compilation records and overprinted hit CDs, I ended up
selecting 6 unfamiliar albums to take home with me, chosen on the merits of the
band name alone. One of those choices, a self-titled LP by a band named Possum
Dixon (a moniker whose origin ranges from an old car[1]
to a wanted criminal[2])
has since become one of my favorite listens.
With their eponymous debut LP, Possum Dixon offers a very
unique sound. Each song has its own character, ranging from rock n’ roll riffs
to thrashing punk beats, all presented in an exclusive and explosive style. This
uniqueness is given a violent voice in the many moments of absolute chaos
peppering the record, where Rob Zabrecky rakes his bass strings or Rob
O’Sullivan smashes his keys to pieces. While such noise is normally considered
abominable in the music world, Possum Dixon presents mischievous
moments of art juxtaposed against the more tame and musician-approved
structures of the songs. Such use of chaos and craziness serve to strengthen
the impression of their tight musicianship as well as to give a taste of the
mania of their live shows.
A great example of chaos and composition coming together in
harmony is the song “In Buildings.” The gentle intro of synth and drums belies
the building urgency that Zabrecky relates through his voice. While the band
holds a generally steady feel throughout the song, both the vocals and the keys
begin to spiral out of control, as Rob O’Sullivan punctuates every beautiful
note with a dissonant punch to the keyboard. The song crescendoes as Zabrecky
pines for “fifteen minutes on a couch” with the girl who makes him shake.
Tension builds until the song collapses finally into a dissonant bass chord,
but the beauty and catchiness of the melody and groove are never overshadowed
by the underlying bedlam.
While “In Buildings” exemplifies the good side of insanity
in music, at times, this chaotic feel, shooting for the title of “art,” falls
far short into the massive valley of “noise.” “Nerves,” the opening track of
the album, seems to collapse into an inferno as it nears its end, while “John
Struck Lucy” is built on the faulty foundation of an audibly-displeasing piano
line. However, the charisma of the songs that Possum Dixon presents is
something that cannot be ignored. The lyrics of the album are simple yet graceful,
and always tinged with absurdity. Zabrecky’s writing style is overtly sexual in
many places, a theme that greatly connects with the urgent insistency of the
music. But just as often, we are presented with pure poetry. In the song “John
Struck Lucy,” the speaker takes a methodical and extremely understated approach
to the subject of abusive relationships, while in “Elevators,” the speaker personifies
this form of transportation as a woman.
The construction of the music on the record is just as controlled,
stressing catchy and danceable rhythms. The energetic and pleasing vocal
melodies of tunes like “We’re All Happy” or “Watch the Girl Destroy Me” (which
peaked at No. 9 on the Modern Rock
Tracks Chart[3]) almost guarantee audience
participation while complementing the distinct and rocking livelihood the band
lays claim to. Zabrecky’s basslines range from gentle walks to pounding beats,
all of course punctuated with absolute recklessness, while Celso Chavez’s
guitar riffs reminisce of a multitude of styles, including ska and blues; but
all the while, the band’s dynamic sound refuses to be lumped into any one
genre, though critics and fans certainly might try.[4]
The band’s compositions present equal parts beauty and insanity, making it
apparent that even behind the madness there is a method at work in the music of
Possum Dixon.
Through their debut, Possum Dixon created a catalog of music
that is wholly unique to them. They often deny us many of the common courtesies
of a resolving note or a maintenance of rhythm, and barrage our ears with audio
hissy fits on their instruments. Yet, their songs uphold such a level of
honesty and exuberance that I cannot think of a better 50 cent purchase. One
thing is for sure as this record spins: there is never any confusion as to who you
are listening to.
Tunes to Check Out:
1) In Buildings
2) Watch the Girl Destroy Me
3) Elevators
Tunes to Check Out:
1) In Buildings
2) Watch the Girl Destroy Me
3) Elevators
