Consuming the Tangible

Another year, another batch of releases from John Dwyer under various names and organizations. But he’s most known for the garage/psych/kitchen rock juggernaut Osees, a killer band who changes styles almost as often as they do band names. But the latest name seems to have stuck, being in place for six years. The style, for better or worse, has also stayed largely the same: a mix of harsh bursts of punk that after a while all roll into each other, making Abomination Revealed At Last an album I gave one or two listens before shrugging it aside. Maybe it’s the times, but coming back to it I can still see my issues, but I also see many little things that bring the songs to life in a way I ignored, to my detriment.

After the slight synth detour of 2023’s Intercepted Message Dwyer & Co. went back to the harsh noise punk that had soured me on A Foul Form. Sorcs 80 was a bit of an improvement, but by releasing a live version of the album a few months later that sounded exactly the same, I felt burned out. There was some stirring with the 80s punk pop collaboration with David Barbarossa of Adam and the Ants called Chime Oblivion. It was fine, set apart by Dwyer stepping away from vocals in favor of H.L. Nelly. But like I said: first single “FIGHT SIMULATOR” wore it out, sounding like more of the same.

But I would occasionally come back to it, especially after getting the break I really wanted: Live at the Broad Museum is a fantastic live document, the band taking on these extended jams that bring krautrock, space rock, and skronky jazz together in a way that reminded me of Dwyer’s Bent Arcana project. The woozy baseline that opens “SNEAKER” is a lot of fun, and “ASHES 2” is hilarious and loose in a 70s way I’ve rarely heard the band do…well, do for about 10 seconds before the vicious hardcore come through. There’s also a little Mustaine in his voice, always a fun thing for me.

This could entirely be a case of me just getting used to it, and being forgiving of one of my favorite bands of the last 10 years. Honestly, I have a hard time distinguishing between “GOD’S GUTS” and “PROTECTION,” and yeah, this one-note attack album after album is still a little tiring. But Dwyer always manages to pull some gold out on these things, and Abomination Revealed at Last doesn’t seemed phoned in as much as on comfortable cruise control.

Which is a weird to admire in your punk, but…it’s 2025. I’ll take what I can get.