Omar Rodriguez-Lopez - Blind Worms Pious Swine - Albums - Reviews - Soundblab

Omar Rodriguez-Lopez - Blind Worms Pious Swine

by Nathan Fidler Rating:6 Release Date:2016-08-13

And so we move onto the third of the twelve solo releases due in Omar Rodriguez-Lopez's project: Blind Worms Pious Swine. So far the project has yielded little more than unused bits and pieces, put together to give the illusion of albums. If you’ve already lost interest in this lengthy, dense project then few could blame you.

The most interesting thing about this release is that it features Omar’s first ever cover, ‘Lights’ an Ellie Goulding song. It’s pretty interesting take on the song, featuring peripheral, warped guitar and hushed vocals. The benefits of this cover is that it has a thought-out melody and chorus - something often forgotten in the experimental, ambient prog produced by Omar.

Whether that cover has a bearing on how the rest of the tracks are perceived is hard to say, but it does feel much easier on the palette. ‘Savage Letters’ features, a bold piano backbone, telling the tale of a woman seemingly ruined. This track mixes the experimental sounds you’d associate with Omar with a blood-soaked, traditional format.

Opening track ‘Vanishing Tide’ bottles up energy, flirting with math-rock but not daring to go all the way. There is also a rare, discernable solo, albeit a brief one. That’s the story of this album; so far it’s the most accessible - despite the four closing tracks making up a long, fairly dull instrumental set - and yet it still doesn’t go quite all the way to making an interesting whole.

‘Atlantis Is Rising’ benefits from Omar’s friend and Bosnian Rainbows bandmate Teri Gender Bender joining in on vocals, adding another dimension to what is a fairly indecipherable story of Atlantis. Steady synth and an almost dark 80s pop on ‘Black Mass’ also adds another feather to Omar’s strange cap.

A slightly more hopeful review then, so perhaps Omar is simply saving the best until last in this series. There is bound to be enough for fans to gnaw on, but if we’re looking at this objectively as an album in it’s own rights, it still falls short of being something you’ll revisit much. Follow the line, maybe it will curve upwards slowly.

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