Totimoshi

Even more bliss-driven than last year's Mysterioso?, Totimoshi's new record is reflective of the band's recent road haul, which probably would have made for good reality TV — with the bandmates' Halloween-mask-fetishism, semibabe bass player, and creative raps they must have devised to explain to hicks that no one in...

By Eric W. Saeger

October 26, 2006

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Even more bliss-driven than last year's Mysterioso?, Totimoshi's new record is reflective of the band's recent road haul, which probably would have made for good reality TV — with the bandmates' Halloween-mask-fetishism, semibabe bass player, and creative raps they must have devised to explain to hicks that no one in the band is Asian. The thousand-yard-stare Marshall riff of "Ladrón in Virgo" could only have popped into guitarist Antonio Aguilar's head during a torturously long van ride; like much of the album, it's a Sabbath-lover's Happy Meal that mollusks along Saint Vitus-like for three minutes before grabbing High On Fire's throttle, Aguilar's voice ripped to shreds and reveling in it. The songs are deconstructionist without getting too CMJ about it, but when they do power-chug, the Radiohead juice things just sort of twitch a little without keeling over, suggesting the Melvins in a what-the-fuck mood straight from the biker bar. — Eric W. Saeger

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