The One Eyed Oracle delivers tough tunes for a hard time | TorontoMoon.ca 200602Tu | Online/On Air Shows for Tuesday, June 02, 2022

‘Really Small Town’ Boris Buhot, album art

It’s undeniably a tough time for North American civilization right now as for the past week U.S. race riots have further exacerbated an already tense and depressing situation engendered by the COVID-19 pandemic.  So, despite a somewhat widespread “Music Industry Blackout” (in support of those protesting racism/discrimination) being advocated to take place today by many no doubt well-meaning artists, a listen to the tough, often stark tunes of Really Small Town, the new album from Boris (One Eyed Oracle) Buhot, definitely feels apropos to me.

This is not easy listening music.  In fact the nine tunes of this technically exquisite artsy-Grunge-Rock album don’t so much engage your ears as they brawl with them, and with your mind, to unforgettable effect.  Even in its lighter moments the songs always seem to carry a sinister undercurrent, as if any happiness or brightness can only be the signal that a new disaster or crushing blow is imminent.

Although some earlier reviewers have described the tracks as danceable, given its topical nature and mood I think this album might be better suited for marching than prancing. [There are links to the various tracks on the music page of Buhot’s website so you can judge for yourself.]

Boris Buhot as One Eyed Oracle -WEBSITE

The title track is appropriately cynical, both lyrically and musically.  The music here has a kind of spaghetti western meets Reggae (buffalo soldier?) feel and appropriately features a duet between Buhot and guest vocalist David “Kalask” Dawkins from Jamaica.  The singers describe how in one small burg “the banker is the repo man,” “the toilet is the drinking well,” “the judge he owns the county jail” and “the citizens have become the deer, trapped by the light, enslaved by fear” among other horrors all-too familiar to the residents of many one-horse burgs, especially in the southern U.S.

Buhot says the work is the culmination of seven years of labours and that is perhaps reflected in the musical complexity contained here.  He played most of the instruments here himself, as he is wont to do (as I described in an article about him seven years ago) but was aided by engineers Jeff McCulloch and Matt O’Rourke.  There’s also some sweet musical contributions from accordionist/guitarist Ed Michael Roth (on “Cast Away”), Frank Zochodne on organ, Gannon Hamilton on mandolin and violin, McCulloch on keys,  and several others.

Indeed the album represents a fuller, more complete expression of Buhot’s art, which perhaps could be foreseen in an earlier solo release, United Truce, which prompted me, in an article about his adoption of the One Eyed Oracle moniker in 2018, to describe him as “a formidable tunesmith whose lyrics, like his somewhat heavy-mooded musical delivery, is direct, visceral and resonant. 

“Alternating between the Grunge Folk vibe and what you might call “Stark Rock”, his songs punch through any film of complacency that might be obscuring your vision, presenting boldly and plainly the plight of the modern human.”

All of that remains true but maybe even more so on the new album, aimed at “stirring an unsuspecting public, one that’s strung up by class and form, to the greater aspect of our parts hidden beneath the waves of our unconscious mind” but arising, he says, from a place of love, as expressed in his motto: “Love doesn’t just make the world go ‘round, it holds it together … You have no idea what you will find until you look within.”

With a cacophony of guitars and drums nearly assaulting your senses at times and furiously frenzied guitar solos in particular, the songs’ lyrics, while their intent is always made clear by Buhot’s haunting, tortured vocals, are not always that easily decipherable.  But fortunately, while they don’t appear on the album dustjacket, you can find them in full on a section of Buhot’s website and it’s definitely worth reading along to some of these viscerally passionate songs.

Although there are a precious few softer moments on the disc (the lovely “She’s Everything” written for his spiritual guru, the late Rev. Doreen Baud and moments in “I’ll See You” and “Cast Away”) the unrelenting theme is of a wretched soul lashing out.

That sensibility is captured in the all-too-too timely “Black Days,” which seems to be about the sources of inner city rage; the cynical, despairing “Broken Trail of Lies” replete with “double standards where all the monsters roam;” and “Break Free,” where “I run around in circles trapped inside” a seeming hall of distorting mirrors in a funhouse without the fun.

This relentlessly combative album seems to me to be particularly relevant today given how the U.S. is currently being consumed by the worst civil unrest that country has seen since 1968.

Like in 1968, it appears that an underbelly of barely suppressed rage that has smouldered for generations was lit into explosive violence by a combination of increasing pressure meeting one spark.

In ’68, as I still vividly recall, it was the war in Viet Nam that provided the divisive pressure and the spark was the assassination of Martin Luther King Jr., which led to days of rioting and destruction in 125 U.S. cities.

In 2020 the pandemic has built the powder keg into a cauldron ready for yet another spark, this time the murder by police of a black man, George Floyd, in Minneapolis a week ago that has so far given rise to daily protests and riots in upwards of 75 American communities, that we know of.

We may feel lucky living north of the 49th parallel that, despite the clear suppression of people of colour for generations here as well, we have been spared a similar inferno of violent outrage —at least so far.  But as Really Small Town perhaps makes clear, there are no free passes from the consequences of social distortion —and no days off in the struggle to make the world a more humane place, which music, even when it is aggressively angry and challenging, is equipped to do better than anything I can think of.

-By Gary 17, TorontoMoon.ca
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