Whores of Tijuana Take it to the Streets on Psycholongevity
In a spirit more akin to elitist cult Norwegian black metal, Orange County, California, rockers Whores of Tijuana claim a lineage that goes back to 1992, but didn’t actually put out their first album, a self-titled, until 2005. The five-year-later follow-up, Psycholongevity (B@1 Records), was also produced by Scott Reeder and falls in line with modern stoner genre self-awareness in displaying a range of heavier influences from noise to biker rock and even some moody elements of grunge creepiness. The nine-track Psycholongevity finds the trio kicking through 39 minutes with a confidence and ease that, though it’s not really highlighted in the overall feel of the record, is actually showing off a variety of sounds and styles. The more I listen to Whores of Tijuana, the more I hear in their songs.
What starts off quietly in the opening soft guitar lines of “Conspiracy of Achilles,” six-stringer/vocalist Jason McGrath taking on desert tonality as someone who’s obviously spent a little time with Kyuss’ Welcome to Sky Valley might be tempted to do, soon morphs into aggressive ‘90s-style Helmet vibes. Bassist Sean Williams and Trent Ramseyer propel the song forward (really shining later on the quirkier “Robot Headdresses”) by backing and thickening the metallic riffs. All three members contribute vocals – some more than others – but right from the beginning of Psycholongevity, it’s apparent that Whores of Tijuana are making heavy rock for heavy rock fans. They don’t ask much of their listeners in terms of throwing curveballs or really challenging accessibility, and with the three-minute burst of Orange Goblin-y goodness that is “Toecut” or the memorable chorus of “Ultimo Hombre” – two tracks that occur back to back and still don’t equal the 6:30 of the opener – I have no trouble accepting either the flow or the scope of the album. Hey man, if you don’t like this kind of heaviness, chances are you don’t stumble on a band like Whores of Tijuana to start with. Knowing what you’re getting is part of the deal.
“Racer X” brings back some of the “Toecut” Orange Goblin brashness, particularly in the vocals, and though Ramseyer’s drum sound is less than ideal throughout, the thickness of tone in McGrath’s playing does a lot of the work in driving the Psycholongevity point home. It’s the fuzz that the opening of “Conspiracy of Achilles” might lead you to think is coming, but something altogether crunchier, meatier and meaner. The light strumming of “Pig Country” (which might be named for the mood it creates) gives some respite, but on the moody, post-grunge album highlight “The Shank” – a stellar groove from Williams here as well – McGrath doesn’t shy away from leading the way in either the heavy or softer parts of the songs. I get a Nirvana feel here, like Nevermind grown up, but I think it’s some association I’m reading into it rather than anything on the part of the band, whose increased show of melodicism and graceful build-into-payoff come on as most welcome surprises.
Anyone taken the horseback epic doom storytelling of Black Pyramid’s self-titled might find a smile enticed by “Onsiya Kel,” which despite not being so outrageously different from the rest of Psycholongevity nonetheless moves in this direction, led by Williams bass and with some killer layering and solo work from McGrath. More here than anywhere else, Williams’ playing reminds of Al Cisneros, but I’m going to go as far as to compare Whores of Tijuana with Sleep, which seems like it would be a lazy move as all the two really have in common is distortion and following the riff (which, if you haven’t noticed, a lot of other bands do as well). Rather, the diversity shown in the late-occurring angularity of “Robot Headdresses” does more to paint McGrath, Williams and Ramseyer in an individual light than it does to bring on comparisons to their genre forebears. Likewise for the rambling rockabilly snare of closer “Blue Ball Blues,” which offers one last two-minute burst of surprise before Psycholongevity meets its end.
Listening through Whores of Tijuana’s latest, I feel like there are many bands who would offer these sonic turns on their album and pat themselves on the back for it in the process, but Psycholongevity has none of that. Reeder’s production gives the three-piece a natural sound that, though it could be argued it doesn’t go far enough in highlighting the diversity in their songwriting, certainly doesn’t overplay its (or the band’s collective) hand either. There’s less of a focus here on creating an atmosphere than on executing well-written songs, but for its several high points, Psycholongevity has plenty to offer the discerning heads who might find it in the morass of its crowded genre. I wouldn’t say it’s 18 years in the making, but Whores of Tijuana have obviously put the time since their first record to some good use.
Tags: B@1, California, Whores of Tijuana
