Review SHIT THE COW “Injuries”

For several weeks now, the rock seismograph has been picking up vibrations from Rissna, Sweden. Could the band with the rather unusual name Shit The Cow be working on a new album or EP? As it turns out, yes. Their next release, Injuries, is now on the horizon.

For anyone who hasn’t come across the band yet, here’s the short version. Shit The Cow started out in 2012 as a two-man project and gradually evolved into a full-fledged band, regularly releasing EPs along with a handful of full-length records. Independence has always been part of the band’s DNA, with the members handling their own releases. That freedom allows Shit The Cow to keep adding new ingredients to their sound without losing sight of their roots in stoner and garage rock.

The opener, “Fuzzbinder,” makes one thing clear right away: the fuzz pedal is going to get plenty of exercise. The song settles into a solid groove with an almost hypnotic pulse, pulling the listener deeper into the record. “Out of My Hands” takes a more laid-back approach without changing the band’s musical direction. Then comes “Once Upon a Time in San Diego,” which creates a slightly melancholic mood without ever turning gloomy. The chorus is where a graceful melody steps forward and gives the track its own character.

Predictability has never been Shit The Cow’s strong suit, and that’s part of the appeal. Take “Horse,” for example. Rumbling guitars open the track before giving way to Alexandra Lindqvist’s vocals, which briefly take on an almost Kate Bush-like quality. That doesn’t last long, though. The fuzz soon takes over again and drives the song forward.

“My Last Life” keeps things loose and lively, with punk influences right at the center. Then “Open Casket” takes over and heads straight for the finish line. There aren’t a dozen different layers competing for attention here. Instead, it works as a straight-up shot of energy.

The album still has two more standout moments in “Bright Side” and “Lost Ark.” The latter deserves special mention for its almost arrogantly cool groove. It closes a record that sounds unmistakably like Shit The Cow — strange in all the right places and impossible to mistake for anyone else.

Compared with its predecessor, Injuries is more direct. The saxophone and new-wave touches are nowhere to be found this time around. Instead, the band looks back toward its earlier days without simply retracing old steps. Injuries is deliberately uncomfortable at times and follows just one basic rule: make music in the moment and capture that moment as it happens.

Five musicians following their instincts and letting creativity take the wheel — no formulas, no compromises. If authenticity has a sound, Shit The Cow are a pretty good example of it.

Independent at its best.