Like Harteis' noble wade into the complexity of emotion that accompanies a The Funeral And the Twilight listen, Prizehog have got just a couple too many dimensions happening to be dismissively pegged as "heavy," "loud," "sludge" or "weird." Prizehog are from Portland by way of San Francisco and also Santa Rosa, I think. They used to practice in some kind of ex-military bunker. Their full-length Re-unvent the Whool is chock-a-block with Simpsons references, beautiful synth, heftily bashed drums and riff after glorious riff. It takes a couple of listens to start to get what it's all about, it's got that kind of density of purpose. I think of the Residents as much as I think about the Melvins, and actually the pace is typically even a bit more Harvey Milk than even Melvins.I think this quote from Aquarius Records is pretty dead-on:
"It's hard to know what else to say, other than repeat what we've always said, Prizehog should be adored, they should be worshipped the way Harvey Milk and Boris and the Melvins are, cuz maybe at one point, Prizehog were simply kids aping their heroes, aspiring to the sludge-y genius and twisted outsider metal of those other groups, but as hard as it may be for some folks to believe, Prizehog, might have outheavied, and outweirded, and outgeniused those masters, and become masters themselves, masters of fucking alien prog-doom, long haired, psych sludge, dirge-drone, damaged art pop. Fuck yeah."
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