Agents of Oblivion

Agents Of Oblivion was one of two post- Acid Bath bands (the other being Goatwhore), here featuring vocalist Dax Riggs and guitarist Mike Sanchez. For the most part, this self-titled album is far removed from the sludgy doom that is often characteristic of New Orleans metal (and which Acid Bath was famous for) -- instead, this is largely a melancholy, somewhat bluesy hard rock affair, with several songs being ballads led by Chuck Pitre's fine piano work. There are occasional heavier moments (such as "Paroled In '54"), but in retrospect this album sounds comes across more like a requiem, or tribute, to Audie Pitre (Acid Bath bassist whose tragic death eventually signalled the end of that band) than a standalone album from a new band. Though quite different than what might be expected, it's a heartfelt album worth hearing. The band didn't last long, as at least some of the members moved on to other projects soon after the album's release, most notably Deadboy And The ElephantMen.



"It's OK to change," reckons Agents of Oblivion guitarist Mike Sanchez.

"Don't be afraid to change, it won't kill you."



It didn't kill Sanchez, nor partner-in-crime Dax Riggs, when they put together

Agents last year from the remnants of notorious Bayou noise terrorists Acid Bath. And Agents of Oblivion is a 180-degree sonic and psychological turn from Acid Bath, a band that - with its turbulent, unsettling death rock, John Wayne Gacy and Jack (Dr. Death) Kevorkian-painted album covers, chemical experimentati on and brawl-inspiring live show -instilled as much terror as awe.



In their short time together, the Houma, La.-based Agents have crafted a surreal, multifaceted, often surprisingly subtle sound and delivered it in an absorbing, self-titled debut album on Rotten Records. While big guitar riffs still abound with Agents, courtesy of Sanchez and Riggs, they are tempered by the relaxed pacing of drummer Jeff McCarty and played with an easy-going, Southern rock spirit on "Endsmouth," "Slaveriot" or "Ash of the Mind" that are big on melody and soul. And lots of acoustic guitaring and a dash of the traditional Cajun melange of country and blues here and there help provide a mellow balance.



Though still undeniably powerful, this is music that captivates instead of

bludgeons, an album you can immerse yourself in and wrap your head around without worrying about it being beaten in.



"A lot of people work really hard and they don't want to come home to loud music that you can't even masturbate to," Sanchez says. "We want to play music that someone can come home to and drink a beer or smoke a big ole blunt and relax and enjoy, music you can make love to your wife to if you want to." Thus, Agents of Oblivion offer a taste of honky-tonk blues on "The Song That Crawls," the sparse, acoustic-guitar-and-piano backed "Wither" where Riggs' passionate vocals bring chills, and the loopy psychedelia of T Rex's "Cosmic Dancer." "Big Black Backward" concludes the album with a freaky blend of country twang, crashing riffs, electronic splashes and sampled dialog of potty-mouthed kids killing a "queer rabbit" that you probably won't want to have sex to.



Ironically, perhaps the most imposing moment on the Agents' debut comes with a rousing, electrified take on one of Acid Bath's rare beautiful moments, the haunting acoustic number "Dead Girl." It's the biggest curveball in an album full of breaking pitches.



"Water that moves is drinkable, water that doesn't stagnates and stinks. We

like to keep moving," Sanchez maintains. "Music is supposed to take you somewhere. That's how we all like to feel and how we all like to play. If you like to feel that way, you'll like what we do."



The tragic 1997 death of bassist Audie Pitre - killed with his parents in a car

accident caused by a drunk driver who's now doing some serious prison time -



effectively brought an end to Acid Bath. Agents of Oblivion fell together in

the aftermath, with Riggs, Sanchez and Acid Bath drum dynamo Jimmy Kyle jamming around with other area musicians.



"There's not a god dam thing to do around here, I don't even have cable,"

Sanchez shrugs. "So you might as well pick something up and play with it, other than your dick." Among those musicians was well-traveled keyboardist Chuck Pitre, (no relation to Audie) who honed his chops as a boy under the guidance of his Pentacostal minister/piano teacher mom. A damn fine chef who runs a fish market, Pitre nevertheless signed on.



The rhythm section took a bit longer to take shape. Kyle moved on and another drummer came and just as quickly left. But in the best

one-guy-knows-another-who-knows-another tradition, McCarty - who'd played with Pitre at jam nights at a local bar - was invited to jam with Agents.

"It was pretty electrifying," Sanchez enthuses. McCarty knew bassist Alex

Bergeron from an old band they'd played with, and Bergeron was called down to play. He clicked and with that the line-up was set and the band was up and

running. Agents of Oblivion have played a few well-received gigs around

Louisiana and hope to tour in the new year, after the debut is released.

While admitting that starting fresh with a new name and radically altered

sound present a formidable challenge to the band, Sanchez says Agents of

Oblivion are up to the task and confident about their music. "We hope it

changes the world.



- rottenrecords.com



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