Whenever people swear to me that an album is essential and an excellent work I'm always a little suspicious as I can't help but find my expectations work very much along the lines of this picture, and so I tentatively stepped towards this little bundle of furry joy with fangs and a tie. A band rather than a laptop and a pinhole mic getting blown into, Sissy Spacek is a collaborative project featuring John Wiese. Reminiscent of Masonna's instrumental rhythmic work like on Frequency L.S.D., this album actually pushes my buttons. It has some very eh moments but it has two things really going for it. First of all, it's incredibly memorable. Both catchy and diverse (and actually having fucking dynamics) you find yourself remembering many moments from it after only the first listen, and considering that's seventy untitled tracks each on average around thirty seconds long, that's saying something. Per my little mention of dynamics, you'll often get two layers of smooth, loud noise in either channel only for the left channel to give way to a bee-under-a-sink fuzz which for me resulted in what I can only describe as pure, unadulterated musical ejaculation, as well as some good rhythm-based harsh noise balancing structure with chaos in a comfortable way. The odd moment of silence splits sections apart and gives you time to reflect and the sparse but appropriate elements of glitch and repetitive vocals (TRYING TO FORGET) just keep you interested in what should for all it is sound like a bunch of demos or studio rejects thrown together, but it works and that's certainly not easily done considering albums like Swans' Soundtracks For The Blind. Not that they're comparable. The other thing that sets this apart is the fact the tracks are untitled and so high in number. Each time you listen you can in theory shuffle it a different way. Because the album listens like a single session you get the option to switch around after a few listens just 1-78 and this really opens it up to a potentially new experience. Not that it doesn't have faults. There are the incoherent wankery-esqe style sections which so plague harsh noise in places and the feedbacky stuff that I'd expect to hear from a Pulse Demon B-side is pretty damn awful; specifically tracks 6-10, which are just plain boring, though the later Masami-worship is a little more tolerable. But then it balances out with the next minute or two of great material. It feels padded out in a necessary way: it'd be too short if it had the filler tracks taken out but at the same time some of the filler is just C-grade mehterial. This is not something to turn your nose up at, but it suffers because of the aforementioned jazz simply knocking it up to around 25 minutes.