Band of Susans albums

Led by guitarist and singer Robert Poss, Band of Susans existed at an odd point the underground rock scene of the late 80’s / early 90s. They took from several experimental composers of the time like Glenn Branca and Rhys Chatman, but like contemporary MBV or Sonic youth they believed in adding distorted guitars to rock music and making songs that were in many ways very catchy. Unlike those bands, they had even more distorted guitars as a constant army of three distorted guitars was the constant in their approach to being a noise band, while many songs could be pop hits in an alternate universe (“ Hard Light, “It’s Locked Away “) a lot of them are songs that drone and lose focus purposefully and still back an emotional impact (“Guitar Trio”) a cover they make their own from Chatman, “Hope Against Hope”, “Sin Embargo”). Yes, on their first EP in 19897 they had three members names Susan (though only Susan  lasted the entire run and also serves as a vocalist as the band matured). They are an unheralded band by too many, even those who consider themselves up on good music that exists below the surface, the band was always above all true to themselves and their vision of many guitars overwhelming you.

Band Members:

Robert Poss (guitar, vocals), Ron Spitzer (drums), Susan Stenger (bass, vocals), Susan Lyall (guitar, 1986-88), Susan Tallman (guitar, 1986-88), Alva Rogers (vocals, 1986-88), Karen Haglof (guitar, 1988-90), Page Hamilton (guitar, 1988-89), Anne Husick (guitar, 1990-95), Mark Lonergan (guitar, 1990-95)

Best album:

Hope Against Hope

1988

Hope Against Hope -  93%

The first album by the band is a joyous celebration of noise, and one of the more interesting attempts at coming distortion and melody on record in the late 1980s. "All the Wrong Reasons " attempt a ballad, but keeps the distortion and slows it down which totally works. The opener "Not Even Close” and follow up "Learning to Sin" are subtle songs to open a record with, but on repeat listens they grow on you. "No God" is one of their signature blaring instrumentals and a good one that highlights the virtuosic capabilities. "You Were an Optimist" and should not be overlooked either, another upbeat distortion of power, and the noise trickles of “Elliot Abrahms in Hell”. There isn’t a bad song on the whole record really.

I have always wondered if a lot of this was how they wanted it to sound or just odd production choice via money constraints, but lead songwriter Robert Poss also produces so I tend to think the former. " I the Jury" and is an excellent punk infused song with distortion behind it, more Sonic Youth than say The Cure. “Ready to Bend” to bend does this too and is prob the best song here, moniker matched by closing title track. Another overlooked landmark record, paving way for much of the noise loving bands of the next decade but also showing how to combine with catchy songs. Same for “Hope Against Hope”, their manifesto and mantra that those in their earshot can no repeat ad nauseum.

Best Songs: Ready to Bend, Throne of Blood, I the Jury, Hope Against Hope

1989

Love Agenda - 91%

This album shows the band being more refined, their 3 guitars feedbacking and distorting all over each other at times like tin the glorious opener “Pursuit of Happiness” which sounds (lyrically influenced by Sonic youth’s “Tuff Gnarl”) or heavy metal solos of “Which Dream Came True”. But with these new guitar players (Page Hamilton who began Helmet after he left this band) comes some real nice blending of distortion and blending. They probably where one of the inventors if not mainly the unheralded perfectos of this “noise pop” that would become so popular in the next decade, just look at a song like “It’s Locked Away” and how much its jumps out of the speakers with its cascading guitar drones and superb drum work. “Birthmark” basically invented the British wave of psychedelic rock, bands like Slowdive and Catherine Wheel would follow, and with female singer Susan Stenger taking hold it give a much needed diversity for the proceedings. “Hard Light” is even better with a poppy melody trapped my noisy guitars which makes them worthy contemporaries of My Bloody Valentine or Pixies.

            There are several mainly instrumental works as with 3 guitars in the band there is always plenty to listen to, “Sin Embargo” is the best one while Thorn In My Side” lacks a little and is probably the only bummer track. Underrated tunes making this an album on the par with the debut include “Because of You” which sound as bit more primitive and “Tourniquet” which is a good tune even though it might blend in with the others. It is a little heady and intellectual, but very accessible, kind of like someone explaining through the universal language of music a new debut of a painting. The album is a masterpiece overall, less angular than the debut but still a consistent and amazing theorem on how there are new avenues in rock n roll. Worlds collide on this album like no other, showing another way to bring distortion to the forefront combining with the melody.

Best Songs: it's locked away, hard light, Pursuit of happiness

1991

The Word and the Flesh - 88%

Despite the trend of the time toward a hard kind of music in the early 90s, the bands 3rd album is merely a continuation of their quest for noise and melody together. The production seems slightly more update this time around, but never too slick. “Ice Age” has a perfect sound for its title, being covered in waves of guitar distortion while also singing a memorable tune. “Now is Now” is more supercharged pop, ascending chords and repetition being the key. Underneath “Estranger” Susan sings an anguished ballad, one that really haunts. Its sort of Husker Duish in its repeating, but here is something new to it too.

Overall, its another very consistent record, “Silver Lining” and “Sermon On Competition” being other highlights of noise rock fury. Slight falters on “Bitter and Twisted” being a boring instrument al compared to the past, and “Bad Timing” being slightly forgettable and “Tilt” being a bit long for what it has to say.

Sometimes they really try something new- “Trouble Flowers” is almost floating, the drums and rhythm are barely heard or holding it together, the cover and remake of their mentor Rhys Chatman on the closer “Guitar Trio” shows a path from the 80s avant garde scene erupting into more rock music oriented. As pounding and punishing as the eleven minutes is, it’s never boring at all.

Released the same year as so many other great albums filled of noise and melody – even though this band had been doing this for years – we have an album that points a different direction than My Bloody Valentine’s Loveless (overwhelming) or Slowdive’s Just For A Day (psychedelic and calming) as BOS approach things form a classic rock angle though they are still pioneering a new kind of music. Best example of this, the spiraling solos of “Plot Twist” which shines a light for a different kind of rock in the age of hair metal. For certain, it’s much more intelligent and endearing.

Best Songs: Plot Twist, Silver Lining, Estranged Labor, Ice Age