A bizarre, demented wonderland

The opening track “Bird Finger” gives listeners an idea of what the album has in store for as what appears to be a trumpet blares in an asynchronous tone. The next track, “Irving Fine Goes to Louisville,” provides a breath of fresh air after the first track. The bass in the track is pleasant as moaning vocals, a lo-fi drum beat and static provide a comforting feel.

The next two tracks, “Miles Davis’ Willy Nelson” and “Mime Om,” pose opposite aesthetics on the album as the former is like the opener and the latter is like “Irving Fine Goes to Louisville.” A final standout on the record is the seventh track entitled “Win Een Kind.” The song has guitar strums that feel pleasant to the ears in comparison to the rest of the album.

Crackpot Whorehead is a bizarre album. It feels like one giant cluster of harsh sounds and ear-piercing vocals that are virtually indescribable. It is all over the place. Crafting a “messy” album requires a certain level of cohesion, each track being anchored to one another so that they do not get too scattered and stray far from the path. Whether that be having similar track titles or having the songs flow into one another. Dunn with Rutmanis foregoes this on the record. The vocals, in particular, can make someone not familiar with the genre feel uncomfortable and possibly prevent them from enjoying the album. Perhaps it was also a poor choice to place the most outlandish and experimental song on the album as the opener. Songs like “Bird Finger” need to be built up to or they can catch listeners off guard.

Crackpot Whorehead is an unorthodox album that a listener would put on if they were so bored with other music that they needed something completely new. It is not an easy listen by any means and will likely turn off average and new listeners alike who prefer easy music to listen to.