Last year Mr Bobuck put out a album radically different covers of Resident’s songs entitled Bobuck Plays The Residents, and it’s fair to say it was one of my surprise  highlights of 2016. The thing that made it work, was how he completely re-thought both the mood, sonic structure, and often genres of the tracks. So he managed to create these strange cross-breeds that seemed semi familiar, yet also alien- been both wonderfully odd, highly creative, and pretty damn great. And god damn he’s done it again with Nineteen-Sixty- Seven.

In all the CD takes in thirteen covers, with a fairly short total running time  of just over forty minutes. The album opens with "Lucy In The Sky With Diamonds", which must be one of the most familiar of The Beatles psychedelic hits, and of course it has been covered more than a few times over the years. His version begins by slurring & mudding the pace of the track, with dramatic & shadowy piano darts,  spiral & unwell organ textures, and these really muffled & creepy vocals intoning the infamous lyrics. And just when you think you have the track pinned, he suddenly feeds in a bright dance beat, stretching synth texture, and a strutting guitar motive. Absolute bonkers, but absolute genius!.

The Mamas & Papas "Californian Dreaming", is taken from it's original bright strum along 'n' harmonizing state, & converted in an  unwell & paranoid stew. Opening with blend of spiral & distorted  guitar chugs & noise hits, then moving into a sparse blend of gloom guitar picks, dark  darting & morbid techno synth. All topped with that weary & wavering male voice awkward wailing out 'Californian dreaming'- sounding all the world like serial killer planning his next stalking ground.

Simon & Garfunkel’s "The Sound Of Silence", is switched to a mix of slurred synth hits, circling ambience, moody guitar harmonics,  chirping crickets, and later pared back beats.  So it adds up sounding so painfully lost & troubled.

And The Doors epic "The End" tops of the album off, and is reduced down from it’s original epic length to just shy of two minutes. This offers a mixture  of creepy-yet tight synth weaves, run down techno pluses, and loose treads of float weedy male voices mumbling “This is The End”. A most fitting end  to this most strange & often unsettling covers record.

With Nineteen-Sixty-Seven Mr Bobuck seems to be almost complete step away from the big shadow of his former project, to create his own distinctive & unwell blend of sonic oddness. So don’t see this as just another covers record, as it’s way more creative & unsettling than that. As I said early he gone & done it again….this will be appearing in my best of 2017, be certain of that!