Why? It’s a good question but not one I often ask in the context of an album; the why should be obvious. Because it’s what they were moved to do, musically speaking regardless of whether I like it, dislike it or any point in between. But with Onkos I did indeed ask that, which I haven’t done since the first Angizia album in 1997 (which if you’ve never heard it is mostly piano, a little cello, and black metal vocals to neo-classical music which depending on your mood has a strange and undeniable charm or sounds like ‘Putting On The Ritz’ from Young Frankenstein).

So Onkos. This project was formed by one Robert Woods-LaDue who even from the opening moments of ‘Awaken To The Sunset’ is clearly a highly skilled musician. The touch on the acoustic guitar here is beyond deft. The fluidity and the use of unexpected, out of kilter notes here and there, the ebb and flow of the composition is truly excellent. Six minutes of guitar work and then into… ‘Furoncles Bitumineuax’. This is horns and pipes and then some growled vocals over a repetitive acoustic chord with, well some curious instrumental choices which are either out of key or counterpoint to said guitar (sorry, not aa musician, just an experienced listener). The melodies played by some of the brass has a lilting gait that weirdly reminds me of many of the soundtracks to some Oliver Postgate series like where Noggin The Nog goes for a long trek over those impossible bell shaped hills and through dark caves, before plunging headlong into a melange of avant-garde jazz noodling with abrasive vocal sounds.

If nothing else it’s curious.

‘Laktro’ is more tribal, almost Vodun in rhythm with lazy laid back jazz brass and the harsh vocals almost spoken word. ‘LuxLac’ carries on in this way but more focused on late night jazz club style brass with incongruous drumming. In fact ‘incongruous’ is a word that keeps stepping back to the forefront of my mind. Every moment of this album seems to have three or four strands to it and they only seem to coincide accidentally. I mean they do but soon veer off once more. ‘LuxLac’ almost ends in a frantic soundtrack to some sixties secret agent series chase scene or closing titles, or Cowboy Beebop with growling (note none of this is a bad thing, especially the Cowboy Beebop comparison. Or even Noggin The Nog).

‘The Lamiae’ goes to sleepy Clanger soundtrack places before perking up with a charming little lively woodwind and brass workout.

Yeah, it’s all a bit nuts. Or wonderful. Or random. I tried with the lyrics provided too (always nice) but frankly they are as delirious and hallucinogenic as the music (I have no idea what ‘the toeskin tickling the tonic’ is but it sounds both fun and horrible) and so left me none the wiser.

But also by this point I asked that question: “Why?”

Specifically, having vaguely grasped the jazz-improv noodlings and insistent rhythmic approach of the drum regardless of the path the music wanders along, I was wondering what part the growled vocals have here? Why use them as opposed to say spoken lyrics? Are they representing something? The latter may well be but as the rest is so abstract and gibbering the reason is something I was not capable of divining. But I suspect I’m not really meant to. Gaga or dada art? Who knows.

So, to sum up. My hovercraft was indeed full of eels by the end of this. If the idea of acoustic guitar based workouts with avant-noise, tribal rhythms and cool improv jazz and the odd bit of growled vocalisms which I presume merits the ‘metal’ influence tag for over an hour sounds like fun give yourself a treat. Now I have to say, if it seems like I hated this; I didn’t hate it at all. First off the musicianship is at times totally mesmerising. This is not a gent hiding lack of talent behind difficult music. Also the album genuinely has an unusual, almost whimsical charm to it. OK the lyrics made me frown and smile in amusement and scratch my head in confusion, but that in itself is a good thing. The album made me consider it carefully. OK my mentioning of Oliver Postgate and the Cowboy Beebop soundtracks of Yoko Kano may seem silly to some but to me that is such a memorable and affectionate comparison I couldn’t deny it. At the right time, the right mood, this album will make you ponder on random insanity or even make you smile as the sun comes out.

That is pretty darn successful in my book even if I’m still non-plussed by the vocal choices.

Ah, go on give it a go. Just for a change. You never know what you might find here.

See you space cowboy….

(8/10 probably, or maybe √2 Gizmo)

https://www.facebook.com/onkosband

https://i-voidhangerrecords.bandcamp.com/album/vascular-labyrinth