Ut – Griller

Out

This is the final release in the UT back catalogue re-issue campaign and finds them arriving at perhaps their most fully realised iteration.

A good number of the tracks here feature Charlie D on drums, leaving the opportunity for the trio to lend further texture to the already dense and at times claustrophobic sound. Interestingly though, installing Steve Albini in the engineer’s chair removed just a touch of the rough-edged unpredictability of the earlier productions.

They are still the same group, but with a touch more focus. You still have the impression of the three of them against the establishment, backs in a triangle facing all comers; but with Charlie and Albini, there is just a little more acceptability.

The beauty of the band, though, will always be in the density of the sound and the variety of song writing styles and vocal deliveries. On the original release, there were four of Sally Young‘s, five of Jacqui Ham‘s and two of Nina Canal‘s; but here, three extra songs have been added and the track listing tinkered with slightly. Thankfully, it doesn’t affect the overall feel of the album, and generously, the three extras include one each from the trio.

The intensity is still there right from opener, Sally’s and Jacqui’s “Safe Burning”, but there seems to be more cohesion. There are vocal harmonies here and just a bit less of an edge. The inclusion of input from others does lend a progressive feel, but it is still sharp, with the vocals biting and scratching to be released. Charlie’s drums on Jacqui’s “How It Goes” are bludgeoning, while on Sally’s “Canker” they are more measured, with the voice balancing on a highwire as she yells “Your trojan horse coming straight at me!” There is something about that line that and the threatening delivery that makes you want to guard your back, just in case they turn the tables and come for you.

Jacqui and Sally take the lion’s share of the vocals, and of the two, Jacqui’s is more flighty somehow. You can see that Kat Bjelland of Babes In Toyland must have been seriously taking notes; but when the slicing guitar of “Rummy” rushes her, the voice is swept up in the swirling rhythm. Sally’s voice and her songs, meanwhile, tend to have a greater sense of momentum and the four-piece line-up gives her an opportunity to play violin on a couple of tracks. Its stop-start mania causes vertigo on Jacqui’s “Posse Necks”, while on Nina’s “Dr No”, a creepy haunted campfire vibe is created, with Nina’s voice coming on like a Stateside Siouxsie Sioux, luring you to the desert’s edge.

Where Nina sings and plays bass, the sound is subterranean. “Sharktown”, which wasn’t on the original album, is a great addition, Charlie’s drums like crushing metal and the guitar like molten fuzz. Her voice is freer and more rambling, and the way she repeatedly yells “While on the other side!” has the greatest sense of urgency. In fact, it is rather fascinating to listen to the differing ways that each of the three tackles guitar, bass and drums, and there just seems to be so many more permutations than with a normal group, the songs changing shape and structure to accommodate these separate impulses.

This switchback song style and greater sense of musical freedom shows that there is no treading over old ground, but Griller is a natural progression, perhaps taking the sound to its logical conclusion. The addition of the three extras is appreciated, but there is something about the original running order that was ideal.

Nevertheless, this is absolutely essential, just like the other Ut re-releases. Having only produced three studio albums and a couple of EPs, every record is worth treasuring and now they are all available again. There is no excuse not to pick them all up.

-Mr Olivetti-