Boogie Monster

by Daniel Jackson

Boogieing is fun, but sometimes you just want to get pummeled. That’s what the pulverizing Vancouver-based avant-garde noise duo Boogie Monster is here for. Harnessing the manic schizophrenic energy of Lightning Bolt and channeling it through the melodic corpse of At The Drive-In, the pair of guitarist Ben Fussel and drummer Tony Dallas has been redefining "boogie" across Canada, transforming clubs, bars, and house parties into dens of skuzzy, sweaty chaos. Of course, what sounds like chaos has a perverse logic lurking behind it. Most songs begin with a brutal guitar assault accompanied by a barrage of cymbal-heavy thwacking, but then the stabbing metal riffs morph into slabs of fuzz-soaked stoner rock, each blast of noise dismembering itself into a thousand sticky pieces then trying to reform in new, deformed ways. Listening to Boogie Monster is like watching a troll rearrange his organs with a rusty spoon, but, you know, way more fun.

Guitarist Ben Fussel and drummer Tony Dallas are a match made in noise-heaven. "Another band he tried out for recommended him, saying he broke all his sticks during his audition and I was like, 'sold!'" Fussel tells CMJ via e-mail. "I laughed out loud during his actual audition because it was so nuts and it's been true love ever since." On songs like "Lost In Bollywood" Dallas uncorks a torrent of explosive, constantly shifting drum patterns while Fussel does his best to keep up. However, all the exhilarating racket in the world can't hide their musical skill and their obvious affinity for modern prog-zealots the Mars Volta and Battles-esque math-rock. The band's MySpace page has a post stating that the band is currently looking for a vocalist and after releasing the album they'll continue the hunt. "The main thing is finding someone who wants to rock-out super hard, like Cedric [Bixler-Zavala] did in At the Drive-In's last few years," writes Fussel. "Super intense and unhinged, yet super graceful."

For now the band is preparing to put out their debut album and planning a West coast tour. Fussel says fans can expect, "A lot of riffs and stage banter stolen from other bands." One thing's for sure: all other boogie monsters should look out. "There is another Boogie Monster which plays party funk and a DJ Boogie Monster," writes Fussel. "So its inevitable that one day we'll all do battle in the arena of rock and decide once and for all who will take the brunt of the Boogie puns." My money's on these guys. - CMJ

Needs More Ram just dropped a new LP from Boogie Monster. Nothing I like more than commanding drums and the beat the leads off this single from the album is undeniable. To - Death Bomb Arc

Calling all head bangers and noise rock lovers; the Boogie Monster is real, frantic and loud. At least in Vancouver. Woven in between the searing guitar riffs, floor-thumping bass, dynamo drum explosions and lack of vocals (instrumental only band), there are tiny hints of classical music that jump out as if from behind corners and trees as the song plows forward through your mind and body. From the first few seconds of “Lost in Bollywood,” Boogie Monster comes at you with an all-out blitz and barrage of metal, rock and experimental sounds that are heavily charged, aggressive and immensely noisy – great stuff; let it rip. We also are including, “Castle In The Clouds,” a more tamed outburst, and like all of the band’s songs, completely instrumental.

Like bands such as The White Stripes, The Raveonettes and Japandroids, this Canadian duo consists of just a guitarist, Ben Fussel, and drummer, Tony Dallas (of the SSRI’s, Supercassete and “at least five other bands”). The duo tear out tornado riffs inspired by many disparate artists (At The Drive In, Rage Against The Machine, Lightning Bolt) and many different styles (from “metalic bhangra” to “proggy celtic jigs”). - Indie Rock Cafe

What seems to make the best of noisy, aggressive duos-- Lightning Bolt, The Pope, Mikaela's Fiend, etc.-- is a grand magnitude that the quantity of musicians couldn't manage to limit. Adorned with pedals and stomp boxes galore, the interplay amongst these bands remained natural while sounds that wouldn't even resemble their instruments were conjured. Vancouver, CA's Boogie Monster qualify to be another addition to that grouping as evidenced by their debut full-length Zechimechi.

Driven by guitar and drums, Ben Fussel and Tony Dallas smite listeners with a colorful cornucopia of sonic abuse-- as if the cover didn't serve as enough evidence. Much of the damage on Zechimechi is guided by a monumental fidelity of grating treble and violent bass. As the presence of a single would imply, the most content moment is "Castle In The Clouds", a punk-informed jamboree with a majestic refrain recalling "2 Morro Morro Land". Boogie Monster blitzkrieg along the infectious groove of "Kabutops" in a turbulent stampede, while their conscious reservations are characterized in the thick of the 8-minute closer "Shapeshifters".

In the span of a perfect 33 minutes, Boogie Monster strike gold in a trove of exotic amplifier worship and breakneck rhythmic patterns. The duo transitions from one barrage to another with virtuosity and technique during which their keen sense of songwriting enhances each compositional phase. Much like devouring a bowl of cereal far exceeding its serving size, Zechimechi is prone to overwhelm. My sweet tooth senses this as a triumph, though, that illustrates Boogie Monster's vigorous spirit.
- Olive Music

BOOGIE MONSTER is a two-piece band out of Vancouver, and they are noisy as hell and danceable too. Their new record “Zechimechi” is out now from Needs More R.A.M. When one thinks of noisy danceable two-piece bands one inevitably thinks of LIGHTNING BOLT, and I doubt these guys would deny heavy influence from the Brians of the Bolt. Being a wholly instrumental album, it doesn’t lack lyricism in both the drums and guitar, bombastic kick drum and floor tom tribal rhythms out in the forefront as much as the crunchy squealing guitar riffs.

The record starts out with tons of weird energy, “Majora” (SUN CITY GIRLS reference? I don’t know maybe I just listen to SUN CITY GIRLS too much) starts with guitars and synths playing circus music and turns into a triumphant anthem that weirdos would eat up for days. Then it just goes right ahead and tumbles over itself right into yet another wild anthem that I could totally see a room of crusty kids throwing themselves into each other for because they just can’t help it. The album doesn’t let up either. It continues to pummel with “Bullfrog” and then totally melts and freaks out with the wonderfully titled “Transmissions Burst Through Sticky Lungs.” Even at their most free, they don’t seem to lose an inherent need for rhythm. This shit is unrelenting. “Kabutops” is like Boris speeding down the sewer on some teenage mutant ninja turtle like hovercraft.

Do yourself a favor and listen to their tracks on the Needs More R.A.M bandcamp page; and if you wanna listen to it over and over and over, give them 5 bucks and download the high quality FLAC copy. BOOGIE MONSTER may be playing a Nashville venue in June, so keep yr ears peeled!

- Theatre Intangible

Firsty, I need to apologise to you, Needs More Ram and Boogie Monster for not putting up this review earlier. I just had to sit on this album for a little while and enjoy the privilige of having a promo copy of one of the best albums I’ve heard since Cleric’s “Regressions” (I love Cleric). The album opens and immediately their self proclaimed love of Lightning Bolt shines through but rather than a lazy, slavish attempt to copy the supreme masters of noise metal, it appears that Boogie Monster have studied them, learned their ways and then taken off in their own direction.

The first jaw dropping moment on the album is “Bullfrog” which is just pure riff heaven that suddenly drops into a little skuzzy blues-y skiffle before going off and exploding like a huge malfunctioning firework. I have been hammering this tune all week and I’m not ashamed to admit it gives me full on goosebump action (check out the latest Behind Closed Doors for the full length track).“Transmissions Burst Through Sticky Lungs” is a sheet of white noise and psyched out drum and guitar doodles reminiscent of the first Lightning Bolt album in its pure noise saturation levels, but it cleanses ones mind in preparation for the joyous drum led assault of “Kabutops” and “Trapped In Bollywood”.

Good albums should transport you to a little bubble of alternate reality for a while, and this does that in spades. It is almost like discovering a brand new Lightning Bolt album from the period between “Ride The Skies” and “Wonderful Rainbow” that somehow disappeared but has now re-emerged, and I really cant recommend it enough.

I also have to spare a mention for the label behind the band which looks like a truly fascinating place to explore and I intend to do that.

Buy it from http://www.needsmoreram.com - Right Where You Are Sitting Now

Here’s a triple stacker cake-slice of noisy noise-rock for needy ears. Boogie Monster’s a duo out of Vancouver that makes Viking noise of the kind used for pillaging small towns. Vikings take note: you’ll want Zechimechi blasting from your vessel’s speakers when you take shore. Villagers: familiarize yourself with Zechimechi. When you hear it ripping up the air, you are about to be pillaged. That’s what this music is about.

Honestly, this album is too much fun. Multi-colored bursts of skyward-bound noise-rock shrapnel, the kind that’d bring a dragon crashing flat to the ground. Makes one want to suit up in bull horns, grow a beard (even the ladies) and set sail with a pack of Norsemen. One things for sure, Boogie Monster knows well how to stir up a happy menace. And with Zechimechi, I'm very happy indeed. - Forest Gospel

2 Boogie Monster – Zechimechi (Needs More Ram)

Silly name but a great debut from Canada, only it isn’t some emo indie rock or power pop. The band takes elements from Lightning Bolt and Explosions In They Sky that collide in a glorious smash-up. Check out my full review, stream the album, and buy it.

Full list:
http://www.bigtakeover.com/top-ten/David-Musto-110424

Zechimechi Review:

As a self-professed “noise rock duo”, you think that you would know exactly what to expect from Vancouver’s Boogie Monster. Most people would just think, based on that description, that they were Canada’s answer to Lightning Bolt, and yes, they would be right to do so. But whereas Lightning Bolt’s sound is purposefully muffled, Boogie Monster’s guitarist Ben Fussel uses bright riffing to cut through the murk (not unlike Explosions In The Sky). There is plenty of exuberance but drummer Tony Dallas never overdoes it. As a result, Zechimechi is a varied record with very well-composed tunes for being under the noise rock banner. “Castles In The Clouds,” is maybe the most LB-like track but it is hopeful and less erratic. Strangely, it also makes me think of Braveheart. Despite not liking that movie, the song is stellar. “Transmissions Burst Through Sticky Lungs,” does indeed sound like something plotting its escape, only to be pounded back into submission with a loud imperial-style march. I did yield to its awesomeness. The album closes with two more excellent tracks as “Lost In Bollywood,” certainly does recall a feeling of uncomfortableness in unfamiliar terrain, and “Shapeshifters,” itself shifts from post-rock to noise, not unlike that of a human to a werewolf. Zechimechi packs a megaton of sounds, both loud and pleasing, and offers you something more with every listen. Needs More Ram Records is still in its infancy but they have already collected several very eclectic bands around the ‘Couv and Boogie Monster is the latest and best.

http://www.bigtakeover.com/recordings/boogie-monster-zechimechi-needs-more-ram - The Big Takeover

Sunday I drove around and visited some record stores and spent way too much money as usual (I broke down and bought the Daniel Johnston early tapes box just because I could), but the only show I went to was an all-day noise festival that happened at the University of Texas House Of Commons, which basically was just a big dorm house in a residential zone. There were a few bands playing outside, much to the dismay of the neighbors who called the cops a few times, but the show managed to continue inside as scheduled. When I got there a Vancouver duo called Boogie Monster were in the backyard playing an incredible set of Lightning Bolt-esque noise-rock with just a drum set, bass guitar and a ton of amps. They were mostly instrumental, except when the drummer grabbed a mic for a cover of M.I.A.’s “Born Free,” which actually worked perfectly. The whole set was really energetic and fun and I’m digging the CD I bought from them afterwards, on a label called Needs More RAM.

http://www.foxydigitalis.com/foxyd/?p=8839


Zechimechi Review 8/10

As I posted about in my SXSW article, I saw this band at a noise festival in Austin; as soon as I walked into the backyard, they were already playing at full steam. It’s just two guys making a well-orchestrated racket on guitar and drums and a stack of amps, and they completely rocked out righteously. My first instinct was to compare them to Lightning Bolt, but listening to the CD I got from them, there’s definitely a much more varied range of tones on display here. Everything’s fast, furious, and energetic, but it seems like there’s more going on here than trying to make your ears bleed; I’m not even sure I’d call this “noise-rock,” if anyone actually uses that term anyway. But even though I wouldn’t call this prog or math-rock or anything like that either, there’s still some interesting things going on here structurally, some slightly jazzy changeups and breakdowns, a few danceable bits, plenty of dubby echo, and “Lost In Bollywood” lives up to its title. The whole disc just sounds more colorful than you’d expect from a noisy instrumental guitar/drums duo, and it’s also just really fun.

The band was selling a CDr version of this album on tour, but a full CD/LP release should be coming out on Needs More Ram any minute now.
http://www.foxydigitalis.com/foxyd/?p=9212 - Foxy Digitalis

Since he was 18, guitarist Ben Fussel has been crafting a sound. It wasn’t until he found drummer Tony Dallas four years later that his ideas materialized in the shape of Boogie Monster. Fussel spent a good chunk of his afternoon off in Sacramento searching for the endangered species, the pay phone, to talk about their upcoming debut release, their inaugural tour and the Vancouver scene.

They had arrived in Sacramento the previous day, looking for a place to crash and were referred to the Den, a house that used to put on shows. “We were in the basement (and) we heard this crazy jam upstairs. I left the rest of the guys and actually ran upstairs.” Fussel laughs. “All our jaws were open watching (Buff Clout) play.”

Surprisingly, this is Fussel’s first tour. Dallas, on the other hand, has been back and forth across Canada and down into the States and over to Europe. Scheduling an interview was challenging because he had returned from touring with one of six bands he currently plays in two days before Boogie Monster hit the road. “I’m just a fan of music,” admits Dallas. “I love all different styles of music and contributing to different projects fulfills my life.” They’ve been playing lots of underground shows on the road, “like physically underground, in basements and stuff,” explains Fussel. In addition to bars, they’ve played community centres, art bars and houses.

Fussel began playing as Boogie Monster with Owen Lewis in 2007. Following their first show, Lewis left Vancouver for school and Fussel played with Tom Whalen before auditioning Dallas. The SSRIs had been auditioning drummers and Dallas had memorized an entire SSRIs set, even including an improvised drum solo that broke all his sticks. He was a perfect fit for Boogie Monster.

“The band itself is, ironically, everything we're not,” explains Dallas. “Logically, one would assume music to be a reflection of that person, but Ben and I are pretty calm, down-to-earth people who make loud aggressive music.” They would probably be dead if they lived as aggressively as they play.

Set to drop via Needs More Ram (David Mattatall, Zoo Shop) mid-January, their debut LP, Zechimechi, has been a long time coming. They initially approached producer Matthew Rogers at Neighbourhood Studios in North Vancouver in January 2009. Rogers had previously recorded Raking Bombs’ You are the resliazjiax, unlike 01100110, one of Fussel’s favourite local releases.

Recording was delayed when Dallas was offered a spot playing drums in Hot Tub Time Machine. They recorded 12 songs in two days in August and had three days of mixing and overdubbing in December. “I decided there were some tweaks near the beginning and end of the record I wanted to make, but it had become clear that Matt wouldn’t have enough time to finish the record,” recalls Fussel, so Rogers referred them to David Badiuk (Falcon Music Network). What began as a few tweaks became an extensive remix and remaster of the record. “I remember listening to it back in March, and thinking it was good. Listening to it now, I’m like, ‘What was I thinking?’” laughs Fussel. “I can't say enough good things about David. He pushed the final mix and master much farther than I expected and was so accommodating to my endless requests.”

Named after Japanese band Zechimechi, who stayed a few months in Vancouver in 2008 and at whose Hoko’s show Dallas and Fussel met, the record is a dedication to Shogo and Taro’s all-around awesomeness. That show marked the beginning of Boogie Monster and tapped into that feeling of excitement and possibility of pure performance and unbridled enthusiasm. “I felt something had shifted after that show. It's still one of the best concerts I've been to,” recalls Fussel.

The leadoff single, “Castle in the Clouds,” is a galloping Celtic-inspired pop offering that perfectly blends Boogie Monster’s strengths of simple and catchy music underneath layers of noise. Fussel’s infectious riffs and Dallas’ energetic, spazzy drums lift your spirits before descending into a wall of noise. “When I wrote that song, I worried that it was too simple, but that was the first song that Tony was really stoked on and Jesse (Turpin, Twee Death), who’s been an invaluable support to the band, said that it was the song that would get people most hyped live.”

The band has auditioned singers to join the group, and while they haven’t found the right addition yet, Fussel was hoping to gain clarity from this record in terms of what he’s looking for. “I feel like we’re at a point where we work as an instrumental band, but if we found the right vocalist, it would definitely be the next step.” Fussel experimented with creating the vocals he’s looking for on Zechimechi, using chattery, delayed guitar effects on “Majora” and “Bullfrog.”

Dallas names the fifth on the album, “Kabutops,” as his favourite. “It’s kickass and I named it after the Pokemon of the same name. If you use your imagination, the song's about a kab - Beatroute

Ladies and gentlemen, children of all ages! You’ve read legends of the Big Foot, you’ve seen pictures of the Loch Ness monster, but have you ever heard the carnal howl of the Boogie Monster? Come this way one and all, step inside Zechimechi and succumb to the infamous beast with its furry coat and gnashing teeth. Watch as the Boogie Monster takes a pile of instruments and throws them into a blender, gleefully switching the speeds from pulse, to grind, to crush—somehow blending everything into a thick melody.

Hold on as the Boogie Monster flies through 11 tracks like a Kansas whirlwind, sucking up everyone in its path and taking them to a beyond place (and they said tornados don’t happen in Vancouver). Go ahead and try not to get lost in the infectious cacophony of Zechimechi, a mirrored maze of buzzing guitars, looping melodies and blasting beats. It is the soundtrack to a chaotic circus where Dr. Frankenstein is the ring master and Willy Wonka is the organ grinder.

Dance monkeys dance! The Boogie Monster is big and scary and loud and hilarious. The Boogie Monster is the life of the party! (Whew, 200 words about Boogie Monster without an obvious reference to Lightning Bolt!—err—oops).

by Mark PaulHus - Discorder

The year’s best gig:

“I’d give that up to Boogie Monster, when they played [a show called] Good Burger in late January [January 22]. They played in some fashion shop [Tammy’s] and they killed it. The crowd actually ripped a huge metal chandelier out of the roof and ripped the light fixtures off the walls.” - Georgia Straight

"Boogie Monster got the evening started. The first time I caught them, at the last Shindig, I wasn't super stoked, though that was mostly due to the fact that Ben's guitar was really hard to hear, especially over Tony's drumming, which made it difficult to form any sort of real opinion at all. This time around, that definitely wasn't a problem, and the guitar fittingly matched the ferocity of the drums. Good stuff."

Quinn Omori

From Blown Speakers
http://itcameoutmagical.blogspot.com/2009/03/shape-shifters.html



- From Blown Speakers

The Vancouver thrash-noise duo closed the night at Bamboo to a small but loving audience, who thrashed around with them and called for an encore when the band wrapped up their set. This hardworking duo never fails to please and we’re excited that they’ve got an album in the works. Keep an eye out for that in the future. - Discorder

"I walked in with friends looking for cheap beer and fake jazz and what I found was Boogie Monster peeling the skin off the world. Colour me blown the fuck away. Amazing."

Graeme Berglund, Executive Director of The Cheaper Show

http://www.thecheapershow.com - Graeme Berglund

Boogie Monster inevitably draw comparisons to Lightning Bolt since they're a two-piece and because the drumming is so thunderously loud. But while Ben Fussell's guitar playing features plenty of heavy riffing, he also delivers the kind of delay-soaked licks that bring post-rockers like Mono and Godspeed You! Black Emperor to mind. - Chart Attack - Chart Attack

With a CD in the works over November and due out in December followed by a West Coast tour, as well as a good string of appearances in town and at festivals such as Music Waste and Pop Montreal, it seems that Boogie Monster is hitting its stride with audiences. Even if they don’t know what to make of the music they still find themselves appreciating it.
“My ultimate goal is to tap into a free-spirited immediacy, taking simple riffs and adding as much density as possible so that it sounds like a freight train that’s about to derail but never fully loses control.” Fussell said. “It’s an aesthetic I like and strive for. I never intend for the band’s music to be confrontational or aggressive. Like hearing Lightning Bolt or Melt Banana’s Cell Scape records for the first time and thinking they were kick-ass, amped up rock records. They’re fun for me to listen to. That’s all I’ve wanted Boogie Monster to be: a fun, amped up rock band.”

By Nathaniel Bryce

Full interview available here:
http://discorder.ca/discorder-magazine/index.php/2009/10/31/boogie-monster/#more-1091 - Discorder Magazine

Boogie Monster, with its hyper-frenzied freak out noise jazz from another planet, impressed the crowd and set the stage for a blistering performance from electro pop-punks Gang Violence, who sounded fantastic and gave it their all.

Full review here:
http://discorder.ca/discorder-magazine/index.php/2009/11/02/never-on-a-sunday-part-one/#more-1152 - Discorder

Boogie Monster gives you two things: one charismatic guitar player and an even crazier drummer. The pair, currently seeking a vocalist, began their set louder, heavier, and faster than I think anyone expected. Before the second song, the duo had blown a fuse, both figuratively and literally. The lights went out and though we knew what had actually happened, we sat there thinking, “what the fuck just hit us?” While friends rectified the situation, Tony left most of his artillery behind him, taking his two drumsticks along as he walked into the crowd and nailed the wood planks on the roof. He rejuvenated the lost crowd, drawing their claps and cheers. Boogie Monster The power came back, and so did Boogie Monster, amped and ready once again to take charge. Ben’s fast, thrashy guitar playing provided both lead and rhythm duties, carried in a very low tone filing the void of what might normally require other guitars, and specifically, bass. The chaotic drumming was equally sonic and visual. Tony’s arms and legs flailed at breakneck speeds, looking almost as if he was stuck in a virtual reality video game, slicing his way out of a jungle while running for his life. Though abrupt endings were heard at points, it was the only thing that drew away from an otherwise extremely tight, spot-on thrash assault.

full review available here:
http://www.westcoastweasel.com
- West Coast Weasel