I can’t quite recall how the second album from this Rhode Island post-feminist, post-rock trio, Whore Paint, came to my attention, but colour me intrigued. Ultra Sound packs eight tracks into less than 38 minutes, and with over half of these songs bestowed with non-descript, one-word titles in true noise-rock fashion, it’s hard to detect any political agenda by simply staring at the record sleeve.
“Maiden” is more akin to harsh noise than noise rock off the bat, before adopting a tortured, plodding pace somewhat akin to former RI locals The Body at their bleakest. (It’s worth noting that neither band has a bassist.) But there are no Chip King wails here—vocals are sickly soothing, and even oddly operatic at times. “Dogs” sounds percussively primal with dark, gothic vocals giving way to the kind of dreamy doom practiced by Ides of Gemini on the West Coast—although this tune has more of a post-punk feel.
“Run” is more akin to art-punk, something by Patti Smith or Lydia Lunch, perhaps, albeit with an almost Neurosian twist toward the chorus. For a band with just one guitar and drums, they sure sound massive at times. “Waste” throws some funkified, ghostly rhythms into the mix, alongside sparse passages highlighted by tribal drumming and soaring vocals before it right blows up and kills this man.
“Held” reminds me of the Melvins in its initial minimalism, what with its whispers and simple drum beat, ultimately keeping pretty much the same pace throughout. But taken as a whole, this album is a real curveball—the first post-rock album in a while that I’ve truly found interesting. Well played!
translationlossrecords.bigcartel.com/product/whore-paint-ultra-sound
