Rembrandt Pussyhorse
	production credits unknown
	Released on April 1986
	no chart information
	Find it at GEMM
T&GLP#8 cover [high resolution scan]

A rogue diver’s ramblings on pure oxygen at the bottom of the sea. A madman’s sermon over the police radio. Hallucinogenic madness and lurid lucidity laced with acid humor. You’ll find all of them on Rembrandt Pussyhorse. Recorded around the time of Another Man’s Sac and Cream Corn, the album features the (un)usual sonic experimentation and bizarre vocals found on those works. Standout tracks this time include “Creep in the Cellar” (reprised at the end in a pan-dementianal dub mix) and “Perry.” The Surfers’ music continues to sound like a sonic gorefest recorded in grainy Super 8, a “Night of the Living Dead” come to life in music. Of the three works, Sac is the best, because it better balances the strangeness and silliness. Pussyhorse is stranger, scarier than Sac but more satisfying than the stunted Corn. Melodies are scarce, making Pussyhorse feel like a rhythmically heavy album (see their chainsaw massacre of “American Woman”). The album is also characterized by choppy editing and low-fi effects like a violin recorded backwards (“Creep in the Cellar”), a dog growl (“Mark Say Alright”) and bubbling water (“Strangers Die Everyday”). It plays out like the soundtrack to an imaginary horror film rather than a punk album. In fact, I’m not sure the punk label even applies anymore. Punks took out their frustration on their instruments, the Surfers take it out on their tape recorder, cramming all kinds of filthy sounds into it. Rembrandt Pussyhorse is experimental even by the Surfers’ standards, like Cream Corn a spelunkering into a sewer hole of madness with traces of genius.

TRACK LISTING

1. CREEP IN THE CELLAR
2. SEA FERRING
3. AMERICAN WOMAN
4. WAITING FOR JIMMY TO KICK
5. STRANGERS DIE EVERYDAY
6. PERRY
7. WHIRLING HALL OF KNIVES
8. MARK SAYS ALRIGHT
9. IN THE CELLAR

CREDITS

No credits listed on elpee

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