Attention-seeking toddlers? Love 'em...
Formed in LA in 2002, The Mae Shi (now) have four albums, numerous CD-R compilations, singles, E.P.s and DVD releases behind them - yet they're still relatively unknown to the music-loving populace.
Genre classification of The Mae Shi radically differs amongst critics. Some exalt their short-sharp-shocking punk anthems, others focus on their hardcore roots, others wax lyrical about their predilection for electroclash-funky-house grooves, and yet more others bang on and on about their no wave influences. However, there's one adjective that unites all these malingerers, bluffers and people who don't want to work (thanks Joe): experimental.
But even this term might even be too simplistic. The Mae Shi don't just fuse musical genres, they tear them a-fuckin'-part.
The 33-track debut 'Terrorbird' might have been as loud, crunchy and as mouthy as Jeremy Clarkson would be if he was forced to drive a Toyota Prius through a Scottish wind farm whilst eating a Fairtrade Organic ginger nut - yet to many it remains as charming and seductive as Joanna Lumley reading out the Shipping Forecast on BBC Radio 4.
Even more eclectic was 2005's 'Heartbeeps', which not only combined frenetic rock-noise-shouty-rock with (almost) glossy keyboard pop - truly an album of two halves - but also gave us the first clue that The Mae Shi might well be amongst the leaders of the experimental-rock pack and not the guys who were destined to go crashing out in floods of tears after taking a piss on the side of the street.
And so to 'Hlllyh', the new release on The Mae Shi's new label (Moshi Moshi), with a slightly revised line-up though there's been a regular rotation of members for a good few years now. And although a few sharp corners might have been slightly dulled by the responsibility, there's still much to savour.
Put simply: As with 'Heartbeeps', 'Hlllyh' is a full-force mash-up of hardcore, punk, indie, synth-pop, metal and rock...with balls...AND heart.
The sweetly seductive Spectrum ZX synth notes that open 'Pwnd' soon unleash a cacophony of crisp riffs, gloopy bass hooks, chaotic drums and gloriously vivacious vocals that overwhelm as much as they excite. And it just keeps on and on and on...
The riotously sharp 'Boys in the Attic' drips with indie-punk attitude; 'Leech and Locust' slips an air of quasi-religious menace into proceedings - which '7XX7' continues in fine style - though the "ssh-ssh-ssh" intro bizarrely evokes memories of The Cure's 'Subway Song' before segueing neatly into another sabre-and-soul-rattling strum that's as head-scratchingly preposterous as it is enthralling.
Lead track 'Run to Your Grave' is the tune most immediately accessible whilst still combining The Mae Shi's disparate, raucous influences. As infectious as MRSA at a Scottish hospital and as captivating as Beyoncé Knowles wearing...well...nothing, the relatively restrained riffs and silky low-bit electronics can be easily weathered by listeners who still hark back to the DLT-era Radio 1 playlist, whilst still satisfying the skinny-latte-skinny-jean-loving crowd of 2008.
When the monolithic 'Kingdom Come' hits (and hit it does), you'll probably be wondering where on earth the album can swerve next. But then it swerves again and this sinister, ravishing eleven-minute track wouldn't be out of place if it was played at one of those clubs that stupid people pay good money to get into, only to drink bottled water, pop pills and dance like a member of The Village People having a fit with a glostick up his arse. It's a tour-de-force to be sure - and even if you don't like dance music - in the context of the album, it just fucking works.
It's not long before The Mae Shi get back to what they do best though. 'Party Politics' is a storming rock-metal riff machine and title track 'Hlllyh' features the most ridiculous but fabulous drumming imaginable. Think Stewart Copeland on really good speed...
The delicate and sugar-sweet 'Divine Harvest' rounds off proceedings in swift but satisfying style and its simple acoustic hooks and clapped-hands work to sooth the ears back to reality...until the band go mental in the studio and start chucking stuff around. Good work.
This is The Mae Shi's first proper album release in the UK, something that is fully deserved too. This is a pro-active, boundary pushing (or should that be punishing?) band that excite, astound, beguile, terrify and impress. They may sound a bit like attention-seeking toddlers let loose in a music shop - but boy, are they worthy of that attention.