On Disney's new remake of Three Men and a Baby, Hair Police star as the unwitting adoptees of a child that was left on their doorstep. The gang's first sleepless night with the child is full of knee-slapping moments of wild antics. The gang decides to compose a few lullabies to ease the restless infant into a deep rest. Some wacky hi-jinx ensue when Mike Connelly scares the living shit out of the kid with his ferocious raptor-call vocals. The soundtrack to the movie is captured on Drawn Dead, a tame four-track collection of untitled compositions.
Track one wheels along with the tinker tanker of a early 1940s field recording of a steam engine, until snake charmer effects lift it to a grinding apex. The track never quite takes off into screaming fuzz, leaving the listener to get cozy in a gray nest of soft static. Track 2's laser guided malodies [sic] flicker and buzz with a standard rumbling static drone that is penetrated by a drill sound every so often. The last two tracks wade in a similar sea of fuzz drone, but they have an undertow that will drag the listener into the shark-feeding pool. Both tracks feature a razor-edged hyper wire that bears its head at the appropriate time as to make the track more of a beating than a murder.
One-hundred years from now, Drawn Dead will be looked at as an exercise in subtlety rather than a cornerstone album. Judging from the excellent follow up album Constantly Terrified, which is a combination of the style exemplified here and the sharp-toothed horror spazzo bonfire featured on Obedience Cuts, it is just what the band needed to move forward.
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