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San Francisco-based Oxbow, fronted by nightmarish wailing ocalist Eugene
Robinson (reminiscent of David Yow in Scratch Acid),
concocted an insane free-form collage of atonal instruments (notably Niko Wenner's guitar), vocal rants, noise, punk energy, heavy-metal loudness, truculent
stories and sheer nonsense on
Fuckfest (Pathological, 1991), a short collection of six songs
(Curse, 30 Miles, The Valley, Bull's Eye, Yoke, Hunger) and especially
King of the Jews (CFY, 1992), with the lengthy Woe and
The Balls In The Great Meat Grinder Collection, a glorious duet with
Lydia Lunch.
The first two LPs were combined on The Balls In The Great Meat Grinder Collection (Pathological, 1992).
This heavy blend of early Birthday Party and
Lubricated Goat and
Captain Beefheart led to the demented
hyper-acid punk-rock of
Let Me Be a Woman (Brinkman, 1994), featuring
ROVA Saxophone Quartet's saxophonist Jon Raskin
(Sunday,
Gal,
The Virgin Bride,
1000,
Me and The Moon,
The Stabbing Hand),
and especially
Serenade in Red (SST, 1996), with the eleven-minute
3 O'Clock and several cases of psycho-blues
(Over , Lucky , The Last Good Time , Babydoll).
After a long hiatus, the band returned with the sub-bluesy
An Evil Heat (Neurot, 2002),
including a 32-minute coda Glimmer Shine that is quintessential musique concrete for distorted guitar and moribund groove, and a handful of harrowing
psychic cataclysms
(The Snake and the Stick,
Stallkicker,
S Bar X, with Jarboe).
Love That's Last (Hydra Head, 2006) collected unreleased tracks and
preceded the band's return with The Narcotic Story (Hydra Head, 2007),
another hellish excursion into a wildly deteriorated form of blues music
and into Eugene Robinson's harrowing stream of consciousness, with
post-rock dynamics, strings, piano.
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