What Studio 52 Says: OroborO sounds like nothing we’ve ever heard, or maybe everything we’ve ever heard all at once. Quite honestly, we’re not even sure what genre to call it, but experimental rock seems to be a decent failsafe. One thing is for sure, they play with raw emotion, explosive energy, and fucking passion.
Bassist Spencer Gusha hems everything together seamlessly, and while this is the typical role for a bass player in any genre, in OroborO’s music it’s executed in a way that differs from the vast majority. Wanderous bass lines play along with the vocal melodies while staying locked in with the rhythms being pounded out by Jordan Frick, yet it never sounds like overplaying. The amount of ground Gusha covers on his four string is what allows guitarist Nate Kellogg to run wild making sounds, and this layer of atmospheric noise is a huge component to the chemical makeup of OroborO’s personality.
That being said, the main vein of freakdom is undeniably singer Emily Carter, who has found a way to put the same frenzied emotion exhibited in OroborO’s live shows on their recordings. Their studio records are more hype than a lot of bands live shows these days, soaring vocals and strange lyrics make the listener uneasy, stressed, and manic; but you were already, so don’t you find this familiarity comforting? Listening to OroborO’s records has us thinking only one thing: What planet did these four come from and why did they choose to bestow their sounds upon us earthlings?
These are questions that can only be answered by storming Area 51, or by attending their show in Jamaica Plain tomorrow night with Fred Cracklin, Freaking, and Queen Crony. You’ve got to message the event page for the address, so you’re going to want to go figure that out.