Review: “Science Man II” by Science Man
John Toohill’s Science Man is giving Buffalo’s music scene a taste of nostalgia with his ode to hardcore punk and eccentric performance art. Considering modern punk is mostly underground nowadays and largely replaced in the mainstream by pop-punk, most projects of the genre are self-produced. These low-maintenance, independent projects are often more personal and intentional, given the ability to bend convention and produce a unique atmosphere for each track. While Science Man might benefit from a professional sound engineer, the raw sound of distorted guitar and unmixed vocals lends itself to a “live” quality that’s emblematic of the genre. In this way, Science Man is a return to form for punk music.
“Science Man II” is the band’s sophomore LP, officially released Nov. 6, 2020. The album is a continuation of the hardcore, industrial sound that was introduced on the self-titled debut LP. Staying true to the genre, Science Man keeps the track list concise at 10 short tracks. Free of interludes and filler, the LP is barebones. The simplicity of the style allows each track to showcase some tastefully eerie guitar riffs, some of which echo the stylings of heavy and alternative metal guitarists.
The track “Give the Ghost to Me” begins with an almost alternative chord progression that sounds like it could be a Tosin Abasi riff. It almost has a flavor of ska, then transitions into a more traditionally punk “chugging” guitar pattern. The drums are versatile, working both to keep the time and add to the track’s metallic, industrial ambience. A good example of this “white noise” effect can be heard in the intro and outro of the track “Into the Rift,” as a snare rattling occupies space behind rhythmic stabs from the guitar and bass.
The genius of the album’s instrumentation is in the technique. On the surface, the instruments used to construct the album are fairly vanilla. Guitar, drums, bass, and vocals are standard in most genres, but the technique is what makes the instruments sound so live and so sinister. A combination of distortion, compression and clever string maneuvering delivers haunting sounds made for the stage. The track “Crawling Out” begins with an example of these eerie sounds, as a series of distorted ghost notes combine to create a high-pitched sequence of metallic squeaks. Along with the intense rattling of the snare, the intro guitar section sets the stage for a hectic and unsettling chorus.
Speaking of unsettling, the music video for the “Crawling Out” is a compilation of artistic, gonzo imagery and absurdist performance art. A human mouth plays the centerpiece to a glimmering sheet of foil, followed by a hypnotic spiraling transition. Toohill appears sporadically, playing various instruments in a leather outfit. The effects contribute to a claustrophobic feeling, which is in line with the track’s title and chorus. The line between practical and digital effects is blurred, and the disorienting jump cuts create a sort of disturbing slideshow set to a grungy punk anthem. The video matches the style of the song perfectly and emphasizes the strange variations on the genre that make Science Man such a unique part of Buffalo’s sound.
In terms of lyrics and vocals, Toohill utilizes a few different techniques to add variety to the album. Most of the album is sung on the median between belting and screaming, but on tracks like “Hit the Switch,” the vocals are more progressive. Starting with powerful and strained belting, the vocals are given some flavor with absurd baritone accents. The chorus is almost whispered, in stark contrast to the second verse, which is more scream-forward.
The one defining characteristic of the album’s vocal performances is passion. Each line is delivered with pain, irony, malice, and angst among other powerful emotions. These emotions embody the rebellious hardcore punk genre and imbue the record with a level of authenticity that’s missing from surviving punk bands. This authenticity is why any one of these songs could be placed behind any 90s-era skateboard parts with minimal friction.
The only derivation from the album’s theme comes in the form of an instrumental entitled “Keeper of the Wyrm.” This track begins with a short, gentle pattern of steel drums that slowly evolves into a groovy, percussive instrumental with the same grit as the rest of the album. Twangy guitar, metallic rimshots, and cavernous kicks create the atmosphere of a bad acid trip as the instrumental fades into the final song. Although this doesn’t sound like a traditional punk beat, it serves a transitional and thematic purpose while also providing some of the most rhythmically sound moments of the LP.
Science Man is a return to form for the hardcore/industrial punk genre, as well as a step forward into modern performance art. White noise, screeching strings, and blistering screams have never sounded more palatable — and the resulting album is a testament to how much amazing art can spawn in the confines of a garage. Although resources are limited when you release projects independently, Toohill’s creativity was anything but. His eccentricity bleeds through each track and performance. The sounds are unique and have, unexpectedly, become earworms in my day-to-day life.
The new LP is both an homage to punk legends of the past and a solid advancement of the genre. After listening to the latest LP, it’s easy to see why the Buffalo area has been raving about Science Man.
