Digital noise isn't as popular as the analog kind. Why is this? Hardcore is more popular now than ever, as well as weirdo labels like Load and Skin Graft. Arab on Radar, Pink & Brown, and the Flying Luttenbachers get namedropped and crowds of human beings nod their heads in recognition. And Lightning Bolt, the American standard bearers of impenetrable distortion rock, are fucking huge -- uh, relatively speaking. We love to see crazy dudes and chicks mount the stage and spazz out to relentless drumming and the sheets of violent noise that pour from the amps. So what do we do when a large-haired young man like Frank Musarra mounts the stage with a laptop and a microphone and attempts to shake down the thunder? Well, if you're among the faces rocked at HoD live gigs around the nation (and, recently, Japan), you play along. Musarra has a lot to live up to with the chaos he presents on Music for Drunk Driving, and he goes about it with props, costume changes, and a lot of rolling around on the ground. The screaming does a necessary something for the music -- it adds emotion, which no amount of digitally-produced layers could provide. But don't ask me to name the emotion, as neither the artwork nor the track titles provide an in to Musarra's psyche. The cuts bleed into one another and go simultaneously everywhere and nowhere. I'm tired of talking about this record. It's not for everyone, but if you're with me this far, it might just be for you.
1. Deux Deux Brown
2. Hey Baby
3. In the Bay
4. Positive
5. Whining
6. Where in Rome
7. Travellite
8. Hot Jello
9. Toyz
10. Thank Me!
11. Cut Off
12. Posrad
13. Yes or No
14. JHVJV
15. Air Guitar
16. I Ceratssyyyu
17. Lorenzo 333
18. Mr Oh No!
19. Puppetz
20. Whispehr
21. Villence
22. Bleedout
23. Sleepover
24. Bicycle Patrol Go!
More about: Hearts of Darknesses
