Project Grimm - Huge Beings
(Camera Lucida)
Posthumous, archival releases are a curious lot, seeing as how they document a project that has ceased to exist. Newcomers will be frustrated to fall in love with a band that will not release any more material; yet completists and fans will rejoice at one last grasp for glory from a favorite band. Huge Beings, the second release from Houston's Project Grimm satisfies both sides of this dilemma: fans will enjoy the return of John Cramer and friends, while newbies may be prompted to seek out their Lying Down debut (1996, Worship Guitars). In either case, this release from the Australian label Camera Obscura's side-imprint is a welcome document of the direction the Grimms were headed when they imploded over Cramer's "complete disdain over the idiocy of rock/club culture."
Recorded over an 18-month period between 1997 and 2000, the set (originally intended as their official sophomore release) is surprisingly cohesive and successfully avoids the pitfalls of a hastily assembled collection of outtakes, alternate takes and embryonic rehearsals—the usual culprits of a project recorded over such a lengthy period. Highlights include the melodic, big beat of the catchy "No Touch To Lose," the gritty, hard-driving snarl of "Melville" and the aching yearning of the slow, bluesy dirge, "Seven Long Years." At times there's a hint of Nirvana in the air ("Fish King"), and I was reminded favorably of Crazy Horse on more than one occasion, although Cramer's strained attempts to reach beyond his limited vocal range are a bit unsettling on the angst-riddled "Frankly Dan" (which otherwise compares quite favorably with label-mates The Green Pajamas), "When Systems Break Down," wherein the band takes its name to heart, and the aforementioned "Seven Long Years."
Elsewhere, Cramer's low-key solo and Rick Costello's rolling drumline open the wistful "Don't Really Mind," the track that will probably appeal to most listeners, while the melancholic closer, "Durian" is again bolstered by a subdued solo and forcefully propelled drumming. In sum, a fitting end to a much-loved and sorely missed band. So act fast before this limited edition of 500, like the band itself, are long gone.
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