Wussy : Cincinnati Ohio
For a band whose seeds were first planted in 2001 then dropped its debut record a few years later in 2005, it sure does feel like Wussy has been toiling around the underground rock scene a lot longer than that (that perception could be due to the moderate success co-leader Chuck Cleaver enjoyed in his pre-Wussy major label band Ass Ponys in the 1990s). Despite its somewhat shorter lifespan and lower profile in comparison to other indie veteran household names, the Cincinnati, Ohio indie rock outfit—co-led by the dynamic singer, songwriter and guitarist duo of Cleaver and Lisa Walker—have proven more than worthy of every accolade and word of praise they’ve collected over the years. Wussy have been mentioned in the same conversation as celebrated acts such as Yo La Tengo and Wilco as well as their Ohio brethren The Breeders and Guided by Voices, and are a longtime favorite of “The Dean of Rock Critics,” Robert Christgau. All rightfully justified. In fact, the argument can be made that Wussy has amassed a discography that is certainly on par with that of those aforementioned titans—if not better in some cases.
Over their arc, Cleaver and Walker have delivered the goods with hook-laden tunesmithery that fuse a rustic Midwestern twang with an atmospheric shimmer that could be levitating and soul-crushing, often at the same time. Wussy are masterful at crafting some of the most sublime verse/chorus arena-made sing-along anthems and heartbreaking ballads that could have you hoisting your lighter or sending you into a downward spiral in equal measure. However soaring or somber the vibe is, Wussy never lose sight of the art of the infectious melody. They have enough gems to pluck from their catalog to fill a “greatest hits” comp. From “Teenage Wasteland” (which is not “Baba O’Riley,” to be clear), “Asteroids,” “Dropping Houses,” “Pulverized,” “She’s Killed Hundreds,” “Funeral Dress,” “One Per Customer” to “Waiting Room,” the should-have-been-hits keep coming as Cleaver and Walker alternate on songs, collaborate on some and always dreamily harmonize.
Cincinnati Ohio, Wussy’s eighth album and first in six years, not only stacks up to their best work like Strawberry (2011) and Forever Sounds (2016) but it clinches their place alongside the indie elite. Sadly, it also arrives on a bittersweet note: it’s their first album since the passing of Cleaver’s Ass Ponys bandmate and Wussy original member, pedal steel guitarist John Erhardt, in 2020. The tragic loss of their longtime friend and bandmate hovers over the songs that make up Cincinnati Ohio like a ghost (he also appears on two songs). It’s ostensibly Wussy’s own introspective, dark and low-key statement, a la Big Star’s Third/Sisters Lovers, All Shook Down by the Replacements or Yo La Tengo’s And Then Nothing Turned Itself Inside-Out.
Wussy’s propensity for balancing melancholic wordplay with a bright and richly layered psychedelic sheen has been their hallmark and on Cincinnati Ohio they forge ahead with that blueprint but slow down the pace to an emotionally draining mid-tempo crawl. As co-leaders, Cleaver and Walker make for perfect complements, further strengthened by bassist Mark Messerly, drummer Joe Klug and pedal steel guitarist Travis Talbert. Trading songs each have penned, the two–Cleaver in his laid-back drawl and Walker in her angelic voice–wage a friendly battle of who can write a more depressing song with the most infectious guitar hook. Call it a draw. Cleaver’s “Sure as the Sun,” “Please Kill Me” and “The Ghosts Keep Me Alive” are all surefire downers but tunes you’ll be humming them long after they’re done. Same goes for Walker’s gut-wrenching contributions. The hushed Americana-meets-shoegaze beauty of “Desperation AM” and “Days & Hours” (featuring Erhardt on pedal steel) and the propulsive “The Great Divide” will all rip the heart out of your chest. Cincinnati Ohio is one of those classic late-night records, a beautiful downer of a record that’s quintessentially Wussy.
Label: Shake It!
Year: 2024
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