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1) Select a file to send by clicking the 'Browse' button. You can then select photos, audio, video, documents or anything else you want to send. The maximum file size is 500 MB. Chromatics - Plaster Hounds [Full Album] Veniel Ouria; 10 videos; 13,736 views; Last updated on Aug 1, 2014; Full Album: Plaster Hounds by Chromatics Year: 2004 Genre: Indie rock, post-punk revival.

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On their second full-length, Seattle's Chromatics pare things down considerably. Once a four-piece, thenn a duo, the band ..

On their second full-length, Seattle's Chromatics pare things down considerably. Once a four-piece, then a duo, the band's current lineup consists of original vocalist/guitarist Adam Miller, new bassist/vocalist Nat Sahlstrom, and Ron Avila of Get Hustle and Holy Molar as the temporary, very capable drummer. The trio's monological chiseling awakens subtleties that went missing from the more obviously engineered post-punk tropes on last year's Chrome Rats Vs. Basement Rutz, showcasing an insistent, wonderfully slovenly atmosphere, daredevil percussion, and a keen melodic sensibility.

Of course, their arty dirge and pseudo dub has a ton of precursors. For starters, the shrapnel convolutions bring to mind The Grifters' So Happy Together (especially the silt-heavy bass) and the programmed moments taste like dingy, damaged Suicide. Likewise, the slow-motion urgency and overall compositional looseness is similar (enough) to Pussy Galore's asphyxiated garage door shouts (sans Einstürzende Neubauten foundation) and the grubby warp-speed of Royal Trux's Twin Infinitives. Plaster Hounds isn't as off-the-map as these 'classics', but it's fun, nonetheless, because it moves interestingly, and within entropy, it locates nice flourishes like high-speed electro drums over gloomy distorted bass, pitter-pat junkyard crunk dodging phased and/or slinky guitar and basslines, and wiry shakers darting beneath ringing guitar.

Certain songs feel like ciphers or pretty exercises in reoccurrence; others centered around these same tight repetitions burst into jagged melody: 'Chalk Dust (Holy Water)' is Mark E. Smith sludgecore, 'Monarch' lactates Arthur Doyle dub, and the pulsations and guitar announcements of 'Ice Hatchets' nod at Sun City Girls' Torch of the Mystics interlocutions and Pussy Galore's 'Revolution Summer'. Just as often, the niceties occur on a verbal level: The strut of 'Surrogate' has a trill hidden in its somber that can't help but remind me of Bee Thousand, and 'Garden's steady bass circled by angry guitars, makes a nice link to the last record, Dhalgren-style: 'In the garden I licked a chrome rat/ A shiny tailbone/ And a poached beak/ Amidst the debris/ I almost tripped on a prodigious mime/ Acting gestures to/ The prince of the palace/ Of divinity.'

Really, though, I'm mostly glad Gang of Four are losing grip on the minds of our musical youths. And I'm even happier that Chromatics, along with Liars, have finally discovered the Silver Apples. Plaster Hounds even includes a nicely turned, unassuming cover of 1968's 'Program'. Though it lacks the wonderfully manic intro sample and continual weaving of second-level Books-styled radio noise, thanks to Avila, the percussive spirit of Simeon and Taylor remains.

Whatever its precursors and wherever it's going, Plaster Hounds spouts muffled, often miffed rock 'n' roll with fine collagist tendencies, bringing to mind a musty the Lower East Side squat with some kid pissing on my shoe. Surpassing standard faux-broke-ass hep, this is a comfortingly collapsible record that manages more often than not to locate the correct note, feel, or rhythmic variation. And at long last, in the year 2004, Seattle plays host to a compelling new form of grunge.

Chromatics Plaster Hounds Rarity

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