This is a spin off of our "Where to Start" series! In this feature we provide an overview on the obscure and relatively known acts with less than five albums. In other words, in this guide we go through a band's discography album by album, telling you our thoughts on each record as well as giving insight into the band themselves and why we recommend them for your listening pleasure. This month: The Plot to Blow Up the Eiffel Tower.
“In a world where various music genres graze, polished to perfection like the fat, overfaced monstrosities that they are; basking in ignorance and occupying too many frequencies while saying very little, The Plot to Blow Up the Eiffel Tower took you on a desperately-needed journey through a safari of pure cathartic chaos.” In concurrence with this introduction, the scenery of the early 2000s laid out by Body Hound bassist Joseph Thorpe, this San Diego quintet were indeed a jolting sensation. Formed in 2001, by vocalist/saxophonist Brandon Welchez, bassist Dan Maier (replaced in 2003 by the late Willy Graves), guitarist Charles Rowell and drummer Brian Hill, this group concocted a fusion of jazz improvisation with hardcore punk and noise rock ferocity. They were known for their unorthodox live shows and a spontaneous musicality.
For roughly six years they left an exhilarating imprint, which included a small discography of varying quality. Admittedly, over a decade later since their demise in 2006, they have become a cult like entity. Although their members have continued in other musical endeavours, including Crocodiles, Some Girls and The Soft Pack, none of them have come close to causing the “lightning in a bottle” effect that The Plot created.
“They had that San Diego magic coursing uncontrollably through their veins,” adds Thorpe, “the seemless fusion of punk with whatever-the-fuck-else, the rampant homoeroticism, the unstoppable sass. The world needed music like this, and that’s why, eleven years later, their output is still essential for anyone who wants their listening choices to grab them by the genitals and lead them to a better place.”
‘Dissertation, Honey’
Between their two albums, ‘Dissertation, Honey’ is without question the only record worth owning by the San Diego quintet. The sheer willingness of the band to never lose steam during this record’s twenty five minute runtime is simply jaw dropping to behold in one’s ears. There is a calculative precision to how the band blends their eclectic mix of styles, including jazz, punk, hardcore, soul and noise. As soon as Dan Maier’s bass reels you in with it’s twitching pulsing tone on ‘Sometimes I Wish I’d Lost a Leg’, you end up nervously craving the flow that The Plot emits.
Structurally speaking, the band’s shifting dynamics are a marvel to behold on this LP. For instance, ‘One Stab Deserves Another’ features loose and fast shotgun wounding drums at the start before contorting rhythms and noises provided by saxophone, bass and guitar take hold. This impenetrable flow continues throughout, the transformative groove to turbulent ferocity on ‘For Marcus’ being another particular highlight of this. Of course, all of this wouldn’t be complete without Brandon Welchez’s agitated demeanour. Such a display of irreverent sass provides an added kick to the already cacophonic unpredictability on tracks like ‘Johnny, You’re All Grown Up’.
Yet, through all the chaos The Plot do know when to provide space to breathe. The laid back jazzy vibes on ‘Funeral Procession’ and ‘It’s in His Kiss’ are a welcome change of pace. Furthermore, such interludes keep you ready with an eerie lingering aura before the next sporadic round ensues. This allows the band to balance out their skills without overindulgence. The spoken verse sessions by poet Kailani Amerson at the start and the end, ‘Exhibitionism’ and ‘Monotonous’, are a further testament to this. They establish the album’s lyrical themes of political misdeeds and disillusioned culture. The former laying them out, whilst the latter reflects upon them. All in all, whilst the chaos rallies your thoughts, the subdued calm ponders over them. This strategy is what makes ‘Dissertation, Honey’ an interestingly strong record of it’s kind.
‘Love in the Fascist Brothel’
On their second and final album, The Plot decided to scale back on the punk and jazz, thus amplifying their noise and post punk influences. A key sign of this are the refined productions values. Yet, what may seem like a strength is actually the crippling ingredient to the overall record. Granted, the San Diego quintet’s delivery is still blisteringly on point and tight on fast frenetic hitters like ‘Rattbus Uber Alles’ and ‘Lawnmower Love’. However, the muddy aesthetics soften their blows leading to a forgettable experience.
On the other hand though, the band’s ambition to experiment is admirable. ‘Love in the Sex Prison’ is a good example of their intent to go for subdued mid tempo structures. Then there are the moments they go all in on the weirdness such as ‘Drake the Fake’ with it’s squealing horns, off kilter guitars and popping bass. But then there’s that annoying tap at the window again. The buzzing insect that won’t go away, preventing a potentially great song from achieving it’s impact. The production values, yet again, fail to maintain a cohesive well intentioned album from being delivered. With this in consideration, and despite the underlying ambition, ‘Love in the Fascist Brothel’ is a somewhat disappointing final product by a great band.
The overall legacy of The Plot to Blow Up the Eiffel Tower was indeed a short but low profile one. This San Diego quintet created a racket with their off kilter jazz hardcore fusion across two albums and a five year run. Although their second effort was a mixed result of sorts, the first LP, ‘Dissertation, Honey’, defined them as a must hear effort to the enthusiastic music fan. All in all, they’re a tenacious, often forgotten artefact who require all your attention.