First off, here’s the deal. I see a group who call themselves FU*K MONSTER and I’m going “what is this?” The album is called FU*K MONSTER Battles the Universe & Rescues Aphrodite from the Throngs of Heresy and then I’m thinking “holy crap, what is this?” When I discover the man behind the name, I then think “wait a minute, what is this?” Do I pronounce this as “FUCK MONSTER” and if so, why censor it as FU*K because when censored, it still reveals FUK. I’m listening to the music, and I’m thinking “this is very nice, so is this a suggestive way of saying that this is a FUNK MONSTER, with the N censored in a silly way so that it will reveal the funk?” There is a brief interlude where a female voice reveals that this is indeed FUCK MONSTER and I’m going “okay, what the fuck? FUCK MONSTER it is.”
Teddy Presberg has made some mighty fine music over the years, crossing a number of genres and perceived boundaries that have made me anticipate anything he releases. However, I was not aware Presberg had anything to do with FU*K MONSTER until I started reading more into the project. FU*K MONSTER could have been some experimental trippiness I may or may not have loved, but there had to be a reason for the moniker. I don’t know what it is yet but I was ready to listen to it anyway, knowing Presberg was involved. Even if it was called FUNK MONSTER, the first batch of songs sound like the type of funk George Clinton and friends would have played from 1969 to 1972, the primal psychedelic funk that also showed a richness for Detroit garage and acid rock, and it’s gritty too. As the album moves along, things chance a bit and I’m hearing electronic influences. Eventually we get into something that sounds a bit like jazzy reggae but wait… is it a step into Nigeria with a bit of Fela Kuti-flavored Afrobeat? I think it may be exactly that. The consistency here is the energy and the musicianship, the musical vibe may change throughout but it’s solid from start to finish and I found myself wanting to hear FU*K MONSTER in a live setting. Or whatever way Presberg wants to present himself as. His guitar work, as always, is sharp and I like how he feels comfortable with playing a bit of everything, with a need to expand his outlook and output. The name may be a means to catch the eye of potential listeners who are flooded with an overwhelming wealth of music, but this one is worth stopping for.