Friday Full-Length: Gozu, Locust Season
Posted in Bootleg Theater on May 29th, 2020 by JJ Koczan
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The album turns 10 years old this summer and the vocal arrangements still stand out. As Sherman‘s leads cut through riffs piled higher than the Blue Mountains and Spillberg propels the band forward in a kind of tension of tempo that marks Locust Season not just as an early release, but one fueled by multiple impulses, Gaffney pulls out falsetto backing vocals behind his lead vocal lines, acting as a chorus for himself, and through “Meth Cowboy,” “Mr. Riddle” and “Regal Beagle” and onward into album highlights “Kam Fong as Chin Ho” and “Jan-Michael Vincent,” his voice remains a standout factor, as creatively arranged as it is sure in its performance. Brimming with swagger that was earned as they went, Gozu‘s songs tore through most of Locust Season‘s 41-minute runtime, brazen in their heavy-rock genre rulebreaking when they wanted to be but still making an impression on the basic level of their riffs and groove, taking what might’ve served as the total aesthetic of another band starting out and instead using it as a foundation to launch their own identity. This was staggering at the time, but it might be even more impressive in hindsight because of how the band’s sound has developed in the years since.
Bottom line? Sherman and Gaffney — the two remaining founding members of the band — knew what they wanted Gozu to be. The band had 
issued a self-titled demo in 2008 — it’s on Bandcamp; good luck finding a CD, even in Boston; I never managed to — that featured “Meth Cowboy” and “Rise Up,” which follows “Jamaican Luau” on side B of Locust Season, but even there the roots of what Gozu would become are plain to hear and the band’s purpose feels set. Certainly there’s been progression in their craft — they’ve grown more patient in their slower parts, and as their lineup solidified with bassist Joe Grotto handling low end and Warhorse‘s Mike Hubbard taking over for Spillberg and the four-piece gained more stage experience together, they naturally became a more dynamic unit. But you can hear that potential in the songs on Locust Season. “Meth Cowboy” and the penultimate “Meat Charger” and “Jan-Michael Vincent” have featured in live sets for years, and revisiting their studio versions, the band’s comfort level with them is readily apparent. “Rise Up” might be the most forgettable track on the album, but it serves its place momentum-wise on side B in terms of the album’s overarching flow, and as closer “Alone” takes hold with swirls of guitar solos over a slower-rolling tempo, Gozu present their interpretation of the classic heavy rock trope of sticking the longest, most drawn-out song at the end.
That’s something they’d push even further on 2013’s The Fury of a Patient Man (review here and here), which would be their final outing through Small Stone, but the malleable rhythm and encompassing melody of “Alone” remains striking, with Gaffney‘s high-register singing far back in the mix behind and adrenaline kick of drums and steady guitar push. The song finishes well enough ahead of its seven-minute runtime (on the CD version) to allow for the hidden track “Tomorrow” from Annie being sung by someone’s kid, I’m not sure whose. It’s quite a journey from “Meth Cowboy” to “I love, tomorrow/You’re only a day away,” but so it goes. One more example of Gozu doing whatever the hell they wanted to and getting away with it because there was no one to really stop them except themselves.
The Fury of a Patient Man was an absolute monster of a follow-up to this record. It showed the potential they demonstrated in Locust Season was no fluke and that their identity, while recognizable in the material, was not so rigid as to be unable to progress as it moved forward from one release to the next. Their wont for gag song titles aside, it was clear Gozu were a sonic force to be reckoned with, and as they moved through 2016’s Revival (review here) and 2018’s Equilibrium (review here) — tracking both LPs with producer Dean Baltulonis at Wild Arctic Studio in Portsmouth, New Hampshire, they honed an ever-sharper take that was both more aggressive and more spacious when it wanted to be, the latter album adding breadth to the overriding shove of its predecessor. One way or the other, asses continued to be kicked.
A split with Hubbard was somewhat unexpected when it occurred, but Gozu aligned with Patrick Queenan of Sundrifter in July 2019 and proceeded to tour Europe last Fall. They’re reportedly writing new material, though of course like everyone else, their plans have been hindered by the gutshot-to-productivity that is 2020. All the better then to revisit their debut 10 years after the fact and remember how absolutely blindsiding it was the first time around. Who the hell were these guys? Turns out they were Gozu.
As always, I hope you enjoy.
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I don’t know how much of this I have in me. There’s stuff scheduled for next week, whatever. A Pale Divine track premiere. That’s something to look forward to. Maybe a Temple Fang stream? We’ll see.
New Gimme show today, 5PM. http://gimmeradio.com
Same as ever.
The rioters are right. I hope no one gets sick while rioting. For future reference, this was the week the President of the United States threatened to shoot black people.
Great and safe, your weekend, I hope.
