Hailing from the same scene as Slint (both musically and geographically), Rodan has been prone to a number of comparisons to them. (Both Rusty and Spiderland share similarities, but they are not the same.)
Rusty (named after their engineer, Bob "Rusty" Weston) is an album that really gets under your skin and just doesn't get out. Of course I could say the same for a number of albums, but this one is just . . . different.
Starting out with the atmospheric introduction Bible Silver Corner, Rodan melts into your head and puts you in an unshakable trance, and just as it ends it cuts violently into one of the most abrasive songs on the album, Shiner.
This kind of contrast is apparent throughout the album.
Another thing about it is that it's crafted uniquely when compared to most other albums: its strongest track, The Everyday World of Bodies, is in the middle of the album. While many albums would put their strongest track either at the very beginning or the very end, Rodan chose to place it at the middle. In my opinion, this track in particular showcases the entire album, albeit in miniature.
Listening to Bodies is like witnessing a terrible scene but not being able to understand it in its entirety and not being able to look away no matter how hard you try—it's as harrowing as it is engaging. One moment it's talking about a storm and a train, and the next it whispers "you don't have to move . . . everything's undone . . . Jesus, you don't have to move . . . I'll get a towel . . . everything changes".
Surprisingly enough, it doesn't end there.
Tara Jane O'Neil (bass/vocals) adds her own take in Jungle Jim. Whispering/shouting things like a manic-depressive having a bad dream. The musical jumps in this song are phenomenal—it's almost dreamlike. And after experiencing a slow fading into Gauge, it only further solidifies the nightmarish quality of the album.
Gauge is brooding and takes a bit to start up before going in slow circles with vocal turns from all of the vocalists (I think?), dealing with subjects like addiction and the obvious struggle/denial that comes with it. Ending with the final quote "I thought it would never end", it only builds up tension to the final track Tooth-Fairy Retribution Manifesto.
Many people compare Tooth-Fairy to Slint's Good Morning, Captain, but I personally don't see the connection. Tooth-Fairy is unintelligible without a lyric sheet, and even if that was intentional, I don't think it adds to the allure of the song. Regardless, it is still a great ending for the album.
So what's the verdict?
If you want to get technical, Rusty is without a doubt one of the best albums I've heard when it comes to musicianship—everything is top notch. From dynamics and vocal intensity, to overall timing and beautiful use of harmonics, Rodan (as well as Mr. Rusty Weston himself) without a doubt knew what they were doing. Kevin Coultas's drumming is particularly noteworthy in Bodies.
In fact, Rusty's one weakness in my eyes is the lyrical content. While fragmentary lyrics are nothing new (read: Nirvana, Maximillian Colby), when it comes to Rusty, a lot of the meaning has to be interpreted from the listener directly (which some could understandably argue as a plus).
Overall Rusty is a must-have for anyone interested in Indie rock, Math rock, the Louisville scene, or any kind of Punk rock derivative.
9/10
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