Maximum Overdrive Brzowski goes Gothic with Maryshelley BY SAM PFEIFLE
	MARYSHELLEYOVERDRIVE Released by Brzowski | with Agent8, DJ Shortrock, K-the-I???, the Tules, jdwalker, and A-Frame + Mike Clouds | SPACE, Portland | Oct 21 | 207.828.5600

Mary Shelley: Patron saint of hip hop. It was she, of course, who created Frankenstein’s monster of disparate parts assembled by Dr. Frankenstein in a laboratory, and it is hip hop that, even in this day of the studio-created radio hit, best musically embodies her dark vision. In hindsight, it’s a wonder the comparison isn’t made more often (though popster Spencer Albee once called himself Frankenstein for similar reasons).

Local MC Brzowski (he comes and goes, but he’s local enough for now) has embraced this Gothic aesthetic for which Shelley is the poster child and run with it, allowing it to color his whole persona. He even labels himself "New England Gothic," which is kind of refreshing. On his debut full-length, Maryshelleyoverdrive (he combined with Nomar Slevik on the Raygunomics disc, but he’s pretty solo here), it’s on full display. First, uh, the title — not just Gothic, but Gothic to the next level. Second, the cover art, all bloody and disturbing. Third, the music — most importantly — which embraces Gothic’s historical definition: not classical.

This is underground, sure, and recognizably so, but it inhabits a hip-hop dark arena that few enter. Usually, if hip hop’s going to be dark, it stays slow and plodding, eerie and minor. But Brzowski ups the ante, kicking in his promised overdrive on nearly every track, pushing the BPMs, exchanging pathos for mania (much of the credit, too, goes to producer Agent8, who’s never predictable). Seriously, check the verses on "Settling for Less." It just doesn’t get much faster than that — I could transcribe some of the lyrics for you, as he does enunciate fairly well, but it would take me days of pausing and typing. Then he contrasts this pacing with a chorus sung sweetly: "Just once laid to rest/ I’m settling down, I’m settling for less."

There is a Mary Shelley, it seems, of his affections. And those affections seem at least partially unrequited. Is she an artistic muse he can’t quite corral or just a girl, like those that have inspired so much great music?

The title track offers some answers. It opens with a record skipping backward — introducing a look backward — reminding me of (what did Ross Perot call it in 1992?) a giant sucking sound. When the synths enter more upbeat than you’d think, the surprise only lasts for about 30 seconds before things descend into the moribund. "She don’t know how I feel staying in a state with now friends/ She just knows she makes my hair stand at attention/ She just knows that I love her/ even with my teeth clenching." Things started out cheery and then maybe didn’t work out. But, he adds, "If you ever get there, I’m here."

There’s the worry, though, that some of this really wonderful sentiment could get lost amongst the 73 minutes of music, comprising 17 tracks. I’ve said it before, but sometimes less is more. This disc has been in the works for a long time, and I wonder if at some point Brzowski should have just let go of it. It’s crammed to the gills with material, nearly all of it solid, but some tracks blend together. His delivery, aggressive and fast-paced, isn’t universally similar, but especially as the disc lacks melody it can seem repetitive at times.

Don’t get me wrong, though, the disc isn’t monotonous. Brzowski can really turn a phrase ("I’ll look deep in your eyes and ask you to have my abortion") and is a gifted MC, plus, he gets some great help, especially from K-the-I???. His riff in "The Movement" is a little bit like Busta Rhymes coming into "Scenario": "I’m hella pissed/ I miss holding hands with the double helix adrenaline rush." If you’re not familiar with the Boston rapper, consider this his coming-out party. What a voice.

Also, there’s the ultra-Gothic "Longday," in that it’s about as far from hip hop as a hip-hopper’s going to get. The building back harmony is pure rock and roll — so is the all-stop — and then the bridge seems to almost mock drunken hair metal. The lyrics here will keep this tune on repeat for hours if you don’t watch out.

Songs like this make Maryshelleyoverdrive — release number seven on the Milled Pavement label — border on the really special. Remember, though, what happened to Frankenstein’s monster in the end: He destroyed himself. Decide for yourself what happens here.

Sam Pfeifle can be reached at sam@phx.com