The Red Krayola - Hazel (Album Review)


 The Red Krayola - Hazel

(1996)


My copy: 1996 press by Drag City.


The Red Krayola is one of the longest running avant-garde rock projects, beginning as the child of Mayo Thompson back in the mid 60s. Produced in the 90s, Hazel was part of a tide of Red Krayola releases that were just slightly more accessible while maintaining trademark absurdist experimental elements. 

“I’m So Blase” is easily one of their most accessible and catchy tunes, with Thompson’s brand of macabre vocal charisma carrying the melody alongside a piercing synth lead. Hazel features very interesting mixing, with the core sound of the record being rather quiet, likely allowing for more shock when loud distorted elements break through the often clean, simple sounding guitar tones. There isn’t a lack of psychedelic influence however, with many tracks featuring affected guitar and odd electronic sputtering. 

Tracks like “Duck & Cover,” “Decaf The Planet,” and especially “Larking” are set to ominous and unsettling progressions and vocals, with disturbed lyrics that often combine twisted poetry with themes of drug use. Songs will often falter from the sinister avant-garde stylings into smooth, cool outros with some tracks featuring female vocals that get gentler as the song progresses. “Duke Of Newcastle” is an almost out of place reggae influenced track that puts the spotlight on Thompson’s awkward and usually out of key singing.

Slight funk influence bubbles to the surface with the rising keys on the choruses of “Jimmy Two Bad,” yet another song to preach the dangers of drug use. “Falls” is the most introspective track, with lamenting guitar chords that transition between various tones, eventually adding a banjo near the end. “We Feel Fine” features vocal harmonies and an electronic drum beat to mix things up. Some of the dark electronic pathworks are awe-inspiring such as the ambient eldritch mutterings of “5123881” that sway in the background behind creepy guitar compositions. 

Another accessible tune is found in “Another Song, Another Satan” which is probably the most composed and straightforward song on the whole record and sees Thompson taking on jangle-pop.  “Boogie” turns into a blues riff that’s hardly noticeable over the array of odd noises and samples that drone on for too long. “Father Abraham” is almost comedic with its robot voice and conversational lyrics that again touch on drug use. “Serenade” ends the album on a soft note, with delayed overlapping vocals and harmonies for guitar and piano. 

Hazel is a challenging and strange listen, but one that is rewarding for its unique sense of personality. Hazel also features many collaborations, most notably with David Grubbs and Jim O’Rourke of Gastr Del Sol and many other avant-garde productions. Mayo Thompson has a flair for sneaking charm into otherwise dissonant and off-putting pieces. There is no doubt fluff across Hazel but buried beneath the surface is the work of a deeply experienced and intelligent songwriter who is fucking with music in a very specific way. 

Despite only having one pressing, this album still goes for rather cheap online.


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