The Hussy: Weed seizure (2012)

Mientras que no está ocupado con su sello Kind Turkey Records, Bobby Hussy se dedica al Punk-Pop al frente de su proyecto: The Hussy (una manera lúcida de utilizar tu propio apellido).
The Hussy es un dúo formado por Bobby y Heather Hussy, a la manera White Stripes, con ese aura de misterio acerca de la verdadera relación entre ambos. The Hussy realizan un Punk-Pop enérgico, con influencias claras: Ty Segall, The Oblivians, Jay Reatard, Jeff the Brotherhood, Thee Oh Sees... Van ya por el segundo álbum, este Weed seizure (2012), un disco que no da tregua prácticamente entre corte y corte. La intensidad sonora y guitarrera es total, y la influencia del directo, como no puede ser menos, es absoluta: para llenar un escenario con una guitarra y una batería hay que tener una energía desbordante y desde luego una capacidad innata para la distorsión y para el ruido. The Hussy desde luego la tienen, y sus catorce temas desde luego dan buena fe de ello. Aunque no penséis que todo es actitud proto-punk en el disco: su comienzo, Undefined, es, por ejemplo, un bonito corte de Psych-Rock con un riff de guitarra espectacular. Lo mismo ocurre en temas como FUDj, Bad speed, Stab me… donde la lisergia se adueña del ambiente, haciendo de este Weed seizure un disco muy variado y decididamente entretenido que se pasa delante de tus oídos como un torbellino.

The Hussy – Weed seizure (2012)

“When he’s not running Kind Turkey Records, Bobby Hussy makes noisy garage rock as one half of The Hussy, a duo hailing from, in the band’s words, “the politically charged cheese rectum that is Madison, Wis.” (We always kind of liked Madison, and we’ve never seen any politically charged cheese there.)
Anyway, The Hussy has been busy. Although it’s been less than a year since the duo, also featuring Heather, released “Cement Tomb Mind Control,” the Hussy is back with two 7-inch records on Italian label Boozy, and a new LP, “Weed Seizure!” on Tic Tac Totally.
It’s a chaotic gut-punch of a record from the get-go: opener “Undefined” starts with a jangling riff that’s quickly obscured by fuzzed-over guitar punctuated with shrieks reminiscent of attacking a piece of sheet metal with a power saw. (Plus, there’s a video!)
It’s like a woozy fever dream, but catchier. By contrast, free song “Stab Me” (grab it below) seems measured, though the vocal harmonies are just menacing enough to hint at the anarchy just below the gristly guitars on the surface” (listendamnit.com)

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The Hussy: Cement Tomb Mind Control (2011)

The Hussy es la última sensación del Garage-Rock venida desde Wisconsin. The Hussy son Bobby y Heather Pussy y desconozco si son hermanos o no. Están avalados por Kind Turkey Records (garantía de calidad en Pop-Punk) y por Slow Fizz Records, para quien han grabado este álbum de debut. The Hussy son un dúo incendiario que tan sólo con la fórmula guitarra-batería (ecuación muy repetida desde los tiempos de White Stripes) facturan un sonido realmente brutal, enérgico y altamente vitaminado, más cercanos a los Jon Spencer Blues Explosion que al dúo de Jack White. The Hussy no tienen reparo en subir al máximo el volumen del overdrive para empaquetar una serie de temas son de estructura garajista clásica, aunque lo que realmente engancha y estimula son sus actuaciones en vivo, y no por casualidad la banda tiene un calendario de lo más apretado durante este comienzo de verano.

The Hussy – Cement tomb mind control (2011)

“One of the first things you’ll notice about Cement Tomb Mind Control is how short it is. All of 21 minutes long, the new full-length from Madison’s The Hussy hurries to the finish line. But even at a blinding speed, it’s more than enough time for the album to stick to the brain.
A big reason for the album’s brevity is The Hussy’s quick-witted take on songwriting. Cement Tomb catalogs a series of fast jolts and lightning-bolt production through bursts of activity. In each of the 13 tracks, the duo jumps into the middle of a riff, ransacks it for a few good ideas, and then leaves it alone before anything can go awry. The songs’ meager lengths can be seen as something like self-imposed time limits, because The Hussy’s members’ overzealous attitudes cut both ways—they have a lot they want to cover, but you get the sense they’d spend all day digging through any one sound if given the opportunity.
They must have done all of that legwork beforehand, though, because Cement Tomb is highly informed by a vast array of garage rock styles while staying committed to The Hussy’s urgent and enthusiastic approach. They coast from the brash “I’m Me” to the surf-minded “Sexi Ladi” and the desert-sized scope of “Demon Claus” without sounding trite or out of place. They tie together the sing-song “Pavement” and the motor-heavy “Lymes (New Turk)” with a healthy string of reckless abandon. The wide range of Cement Tomb would be problematic if The Hussy wasn’t too carefree to notice.
It also helps that the two can really play their instruments. Bobby Hussy’s towering guitar lifts Cement Tomb through air and space, while Heather Sawyer’s steam-engine drumming grounds the two on a cohesive path, no matter how meandering it gets.
Despite the torrid pace, Cement Tomb never feels rushed. It bolts everything together with an overbearing sense of playfulness, and if The Hussy wrote a really great garage rock record, then the band is the last to know. But Cement Tomb really is an impressive collection of choice rock ’n’ roll nuggets. It flashes both a wild ambition and a hyperactive means of tackling it, and it needs to be played over and over again—not just because it ends too soon, but because it hardly ever needs to end at all” (avclub.com)

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