If you’re a fan of Fat White Family, you’ll be familiar with their filthy, rough-around-the-edges vibe that makes you feel as if you need a shower after listening. Craig Louis Higgins Jr. aka Mutado Pintado, makes songs in a similar vein to this almost punk approach to creating music. This does not come as a surprise, seeing as he has another project with Saul of Fat White Family (Warmduscher).

However, to pigeon-hole the music on this album would be entirely unfair. In fact it’s very hard to categorise, but it does have a definite sound to it overall. This is perhaps down to the chaotic production and hypnotic grooves present throughout. Lyrically, Pintado certainly has something to say, even if it is sometimes hard to concentrate on over the messy instrumentation and production. ‘Carbon Copies’ and ‘King of The Worker Bees’ are particular lyrical highlights, where Pintado seems to take a sarcastic and entertaining stab at organisational and consumerist culture. ‘The Tick’ is another sludgy, weirdly summery highlight, that hawks back to ’90s slacker rock, such as Pavement.

Nonetheless there are smatterings of influence from different genres throughout the album, and it collectively adds up to something unnerving, that demands more listens. Take Pintado’s vocal delivery – something which veers from strained crooning to Lee Ranaldo-esque spoken word. Not to mention some of the surprise turns the album takes such as the ’80s keyboard beats of ‘Disco Lullaby’ (perhaps an influence rubbed off from recording and touring with acid house duo Paranoid London).

This album as a whole is a charmingly dissonant and inaccessible collection of different ideas, which is witty in a twisted way.

336 W 17th St is out now via Peasant Vitality.

Josh Day-Jones