According to the band's Facebook page, Black Pus was formed in 2005 as what was essentially a joke band. When members of the Hilarious Attic art collective started making a list of Black" bands, Brian Chippendale, co-founder of experimental noise rock duo, Lightning Bolt, decided he wanted in on the fun. Armed with his super-pimped out drum kit, which includes an oscillator connected to the kick, an assortment of effects pedals, an in-mouth-microphone, and his patented assortment of serial killer masks, Black Pus was born. However, much like Robert Louis Stephenson's famed novella, The Strange Case of Dr Jekyll and Mr Hyde, Chippendale became enamoured with his darkside; the allure of complete creative control, and the ability to "clone himself" with studio wizardry (unlike Lightning Bolt's notorious distaste for recording in the studio). What started off as a curious joke became very real.

Two official releases and a series of self-released recordings later, we arrive at Black Pus' latest effort, All My Relations, which is as deliciously demented and as hard to ignore as ever. This point is perhaps demonstrated best by the album's opening track, 'Marauder'. Chippendale hurtles towards with you with his thunderous, hundred-armed drumming, chainsaw-like bass notes, twisted house of horrors screams, and schizophrenic time changes. It's the perfect the soundtrack to race down a highway at 200km/h to. Every track is vicious, confrontational, and unrelenting that after a certain amount of time, tenderise your pent up feelings of anger, causing them to ooze out of you. Ruthless aggression is something we've come to expect from Chippendale, but the main difference with All My Relations is that a substantial portion of the songs contain the glint of a poppier lightness smattered throughout. There are moments where Chippendale uses his often-dazzling power, to create monsters that lurk in the darkest corners of the realm of fun as opposed to the realms of fury and fear. The pop-punk-tinged '1000 Years' skips along cheekily before stepping on landmines of rumbling bass, being propelled between bass bombs with euphoric abandon. The bizarre nonsensical chant of 'Hear No Evil' resembles someone singing a demented nursery rhyme through a snarky smile. You could describe it as playfully evil. 'Nowhere To Run' has a demented salsa/jazz-like groove that repeatedly trips over itself. It somehow manages to charm you while completely unsettling you. These moments, the album at its transcendental peak, will place a big, shit-eating grin on your face as you delight in the madness of it all.

However, there is a glaring observation that needs to be made here. No matter how avant-garde or side stream someone thinks he or she is, and how righteous they are about it, it would be incredibly arrogant to proceed with this review as if everyone should understand and appreciate "noise" music. If you accept the general dictionary definition of "noise" as any "loud, unexpected, unpleasant and unwanted" sound, then the thought of constructing whole songs out of it is not an attractive one. All My Relations is not pop music with a bit of reverb; it's experimental rock that inhabits the part of the spectrum that's closer to free jazz and thrash metal i.e. where asymmetry and volatility run rife. So while it's all well and good to intellectually appreciate the concept behind any album or genre, if you're not at all willing to let down your defences even an iota, then you best not even bother with this.

All My Relations will confound you beyond belief like a big bully smashing your rubix cube to pieces when you're one block away from solving it. You'll either cry in frustration and contempt, laugh out of shock or just be left stunned. Regardless of how you feel, when the said-bully is as gleefully destructive as Black Pus is, who are you to try and stop him?