Flesh Wounds' Abrasions, Abscesses, and Amputations | Record Review | Indy Week
Pin It

Flesh Wounds' Abrasions, Abscesses, and Amputations 

On Abrasions, Abscesses, and Amputations, the cassette debut from rough-and-tumble trio Flesh Wounds, "All of the Time" seems out of place. With vivid production, a hook that just won't quit and bass that expertly bolsters the manic energy of the guitar and drums, it's the album's only fully formed appendage, a near-perfect single surrounded by eight songs that sound like promising demos.

This debut happened quickly, after all: Flesh Wounds formed about a year ago from the bartending camaraderie of Montgomery Morris and Laura King. Morris plays bass in the likewise livewire Last Year's Men, while King used to drum in The Moaners, a moody band that pumped up the desert rock of bands such as Giant Sand. Dan Kinney of the "acousticore" triumvirate The Future Kings of Nowhere joins on second guitar. Despite their collective experience in other acts, Flesh Wounds' work isn't overly seasoned. Morris, for instance, plays guitar, an instrument he barely knew when the band started. He compensates by assaulting his instrument, tearing through simplistic garage rock riffs as Kinney adds angular counterpoints. King keeps their energy from tearing the trio apart.

But in the months since their inception, the Wounds have become a potent live band with a razor-sharp approach. AAA serves as a fascinating document in that evolution. Songs like "All of the Time" operate within the revved-up rhythm and blues style of The Oblivians—not surprising as that band's Greg Cartwright is producing the second album from Last Year's Men. "Smokin' Crack With My Friend Jeff" is as addictive as you'd think, rocketing along on burly punk riffs that recall the Stooges. "Your Ghost" hews toward grunge with its searing, strung-out theme; Morris takes the bait, offering his best approximation of Kurt Cobain's mumble-to-howl mode.

While "All of the Time" hits all of Flesh Wounds' highs at once, the rest of AAA is every bit as intriguing. It offers not only an insight into the creation of one of the area's most riveting rock attacks but the promise of what's bound to come.

Label: All Day

This article appeared in print with the headline "Fresh efforts."


Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Record Review

Twitter Activity

Most Recent Comments

Love it! All the songs are beautiful!

by Jon Champion on Record Review: The Return of The Veldt, The Shocking Fuzz of Your Electric Fur: The Drake Equation, Is Great (Record Review)

This release will be available Friday December 4th here:


Thanks! …

by Scott Phillips on Review: The electronic excellence of GNØER's Tethers Down (Record Review)

You should have let Currin write this. One of the best singers on earth and these were your observations? sounds …

by Remo on Record review: Jeanne Jolly's A Place to Run (Record Review)


Most Read

© 2016 Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation