Pain Olympics

If the aim of Pain Olympics was to leave the listener wanting more, then its gold medals all around. Although the 29-minute runtime is bursting with brilliance, the breakneck speed of the record approaches escape velocity only to abruptly hit the brakes. It can be a little disorienting at times, as the tracks pinball from one another with minimal space to catch their breath, even managing to forge a newer cosmic side to their sound in the process. It feels like a truer opening statement from the band, as their debut was really just two EPs melded together, and fully demonstrates their capabilities, especially their updated version of Bastard Basket, which eschews the scratchy nature of its initial iteration for a weightier sound. Despite its erratic nature, Pain Olympics does manage to find cohesion in chaos; the band may have Zach Choys vocals and propulsive percussion front and center, but the cast of larger than life members -- including the irresistible magnetism of Mohammed Ali Sharar -- that surround him conjure something far greater, an odd unity of sound and visuals that would otherwise fall apart if too many egos were at play; no-one else in 2020 exemplifies art-punk as much as Crack Cloud. They waste no time in defying expectations, as opener Post Truth begins with the kind of solid groove and sound collages that have become staples to their style, only to morph into some kind of sci-fi space choir complete with soaring backing vocals, making it more expansive than anything theyve previously released. There are tracks which adhere to straightforward post-punk, such as the pensive Somethings Gotta Give, the imposing bass of Favour Your Fortune, or the driving force of Tunnel Vision, but theyre spread between a number of left-turns. The linchpin of the album, The Next Fix, is truly inspired, full of feel-good energy and super-effective sax. It is so refreshing to hear post-punk in this vein, and it really sets the group apart from their peers, as it summons feelings of sadness, comfort, and togetherness while remaining catchy and propulsive. Similarly, Ouster Stew comes out of the blue, with bright angular melodies that draw comparisons to early Talking Heads and an extended drum solo that shouldnt work as well as it does. Far from letting an immunity to surprise build up, the closing track Angel Dust closes the proceedings on a cinematic note; entirely free of percussion, it relies on epic, sweeping strings that seem to channel their inner Arcade Fire. The band are nothing if not exceptional at creating a mythos; by promoting inclusiveness and affirmation to aspirational degrees, they demonstrate that by working together, they can create beauty from chaos. ~ Liam Martin