Apes
The Fugue in the Fog
[Frenchkiss; 2001]
Rating: 7.8
Gorillas are the nice ones. You can teach a gorilla to speak in sign language,
like the world-famous Koko. You can give a gorilla a kitten, and it will love
and nurture it. It will give it a cute name like "all ball" or "smoky." Apes,
on the other hand, are fucking vicious. You can sing to an ape, but it will only
fling its dung in your face, pound its chest, and masturbate furiously. You can
give an ape a kitten, but it will only beat it into a bloody, lifeless pulp, and
then consume that pulp like a tasty milkshake.
Or maybe my perception of Apes has been altered by this, the debut record from
the sneering, posturing rockers bearing the name of the oft-maligned primates.
For those of you who'd think it impossible to cock-rock without a guitar, the
Apes prove that having a chick with an organ (er...) can incline a band towards
rocking out just as much as having a dirty guy with a ponytail on "lead" guitar.
In fact, the organ works wonders for the Apes, filling out their sound to the
point where it becomes a massive, towering entity that provides perfect backing
for lead singer Paul Weil's spitting quasi-antics.
I use the term "quasi-antics" because the Apes still seem to be working out what
exactly their antics are. They like to say "The Apes" a lot. A lot of their songs
have the word "ape" in them. At live shows, they speak of "Sugar Mountain." They
wear camouflage gear, sometimes capes. Weil takes off his shirt, revealing his
fine, chiseled body. No, really, he does have a fine, chiseled body, but that
only makes the shirt-removal seem more gratuitous than that conducted by the
less chiseled Tim Harrington of Les Savy Fav.
Indeed, Les Savy Fav have some very close ties to the Apes-- they signed the band
to bassist Syd Butler's Frenchkiss label, and are thanked in the Apes' final
"thank you's" track, "Apes Salute." But musically, the Apes follow a path much
more straightforward than that of their mentors. Les Savy Fav have an amazing
knack for crafting dynamic, off-kilter punk songs; the Apes just want to rock.
And rock they do. At its heart, The Fugue in the Fog is a simple riff-rock
album. There's really not all that much in the way of vocal melody, as most of
the vocals here are practically spoken and highly distorted. So the issue really
comes down to the quality of the riffs themselves, and the songs containing
these riffs.
Unfortunately, The Fugue in the Fog doesn't succeed in its execution as
much as it does in its setup. At times, the band's sheer energy carries the songs.
And at other times, the songs are simply pretty damned good. "Blood and Light,"
the album's most engaging track is, like most of the tracks here, based around a
basic central riff. Thankfully, it varies enough to hold your interest. Quite
simply put, it's a well-crafted rock song.
The album's opener, "Black Tears," is another fine example of the Apes fully
exploring the potential of a single riff. Elsewhere on the album, however, the
band tends to rely too heavily on the same played-out pentatonic scale techniques
that have been rock staples pretty much since its inception. Led Zeppelin could
get away with it 30 years ago, but today's demanding listener expects a bit more.
As far as straight-up rock records go, though, The Fugue in the Fog is
damned good. The Apes have forged a relatively distinctive sound, and cranked
out a few seriously awesome songs. There's a ridiculous amount of potential here,
but oftentimes that potential goes unexplored. Still, the Apes are, without
question, entertaining. If they paid a little more attention to actually writing
their songs, they could be downright dangerous.
-Matt LeMay, October 10th, 2001