Ostrich von Nipple – ‘Quantifies Absurdity’ is a journey that is a journey of infectious mentalism. The album starts with the intimate, loud and almost rock opera-ish ‘Shhhh (I’m Naked). On a guitar bed of epic bizarreness an atmosphere of sewer systems is announcing the word for the world police and oversized food chains; America. The music goes into a funky drunkaholic groove underlining that ‘America is the land for the strange’ as if it’s a poster attracting weirdoes from abroad to get their asses over to the land of the free. It sounds not the slightest dangerous, but truly inviting to undress yourself and join this club of weirdoes and happy freaks.
The album doesn’t settle down when ‘The Angry Arm’ reaches out to pull your ears right back in. A rhythmic yet shimmery odd substance of music secretly brings something that with drastic re-listen sessions would be possible to sing along as if it’s your own life-song. Don’t think the muppets, but think a tripped out bunch of fabulously alternative sounding Feebles. There is a tremendous amount of musicology hidden behind the oddness; impressing just as much as it inspires to let your inner natter run out and play air guitar in the moon light.
‘To Stalling For Time’ kicks in the energy button for some insane, (really insane? How surprising!) Episode of chicken-ska! Think a lot of pocking, excessive polka dancing, intimate middle parts for a shared kiss among one of the cocks; and groundbreaking electric guitar solos over rolling wobble baselines. It’s here that the dance-ability of the listener and Ostrich von Nipple gets ultimately tested; and successfully succeeds to win the main price! The end is like a marathon of polonaise chickens holding each tails, lifting each leg up as if they are wearing flippers & having an excellent time!
The album goes so quick, not because the tunes are short; but because they are heavily entertaining. Before you’ll know it you are listening to a pirate-clown-fart-folk-song named ‘Clowns Run Away’. It has the impression on me that it is song by someone dressed in a furry monster costume with a single eye; it’s all tongue in the cheek material, seriously gets listeners grabbing for some liquid named whiskey. Oh the good oll’ whiskey and this tune go so well together; almost like yin and yang! ‘Wandering in Shadows’ takes the surprised listeners on a journey of all kinds of shadows and their inhabitants, some are funny, some are having a bad breath, some are playful and others just wander around like the listener does. It’s like wandering in your own mirror and finally seeing yourself. (or in this case; hearing yourself ‘seeing’)
A serious beginning begins at the track named ‘Killing the Koala’ (a subject that is of course a tremendously serious subject) After the buildup of intentional atmospheric tensions, the ‘kill the koala’ session actually lightens up with a flexible rhythm for the koala to attempt its slow escape on. Or perhaps the killers will get distracted by a silly ‘kill the koala dance’ and forget all about the koala? A strange song of togetherness is the one named ‘Precious Things’, here the freaks come out and play their favorite instruments, they sing and dance together, go acid-jazzy like a Bella Lugosi on speed! It’s the tune to bite your teeth in, rip it out of your speakers and play it over and over again. This is the invitation for math-rock, the invitation to the asylum, and the invitation to cabaret from the bottom of a hellishly fun sounding pit! Take what you can and make the most out of it..
The absolutely out of real life Jehovah witness inspired tune ‘Door to Door’ takes us all the way inside the head while they go from door to door. You can hear what they hear while they walk, and hear what they hear when they try to put their shoes between half opened doors. It’s deliriously delicious; and strangely will probably turn non Jehovah witnesses into Jehovah witness wannabes! ‘So Do We’ goes on a spiritual journey, full of hare Krishna-ish feelings; warm, happy, together and a redefined insane vibe of brilliant weirdo love. It’s the ‘Halleluiah’ moment on the album; making you want to praise the weirdest almighty and sticking your paws into the great big sky of nothingness. It’s absolutely an enlightening moment on this wonderful album, a moment in which all music comes and falls in place. The stuff to feel deeply enhanced with!
A great party starts when the mad martians have arrived at the beach, and Ostrich von Nipple is there to complement it with the perfect party anthem music. The sounds gets funky, all over the place, baselines, epic hand drums, hanging chords on a keyboard, cartoon vibes, organic organ epic-ness; it’s an energetic waltz of a potpourri of whatever-is-available; and it’s a lot of fun! ‘Left him on the ground’ gives a spin to the socially awkwardness of the weirdoes that have been roaming around on this record. This might be their more creepy side that steps into the spotlight, showing off all their colorful greyish colors like a flamingo on Prozac. Precious listening material!
Upright Jerker is the last tune on this album full of imaginary friends, freaks and exhibits. It’s here that I feel like it’s time to say goodbye to the one eye-monster, the garden gnome, the jazzy things that have come out of the closet to deliver this intensive album of fun, adventure and general oddness. Don’t think that this is just a circus side-show, Ostrich von Nipple is clearly an act highly (extremely high!) armed with quality music skills. Madonna, Katy Perry and Cher fans might not exactly team up to hear it, but in another perfect dimension; they really should! I couldn’t find a place for preview / streaming this magnificent Residential album, but you might google it yourself and come across links like this one to the official label who just (very freshly) released it; and get one of those limited precious copies! From: https://yeahiknowitsucks.wordpress.com/2015/05/11/ostrich-von-nipple-qualifies-absurdity/
