by Maynor Castillo
A gaggle of Swedish blokes sprinkled with American traditional tattoos—Viagra Boys—reunite to do what they know best. Their satirical take on rock n’ roll evoking images of mechanized scooters with two American flags flapping in the wind. With Viagr Aboys, the band emanates much of the same ironic composition, eclectic instrumentation, and frenetic energy they’re known for. In the midst of a supposed sincerity epidemic, the chronically online nature of this record attempts to toe the line between entirely insincere and unapologetically sincere.
Viagr Aboys is the first we’ve heard from the band since 2022’s Cave World. If Cave World was Viagra Boys’ alpha bro alt-right record, then this record is their sad gooner beta-boy release. There is a whole lot of the same presented in slightly new ways such as frontman Sebastian Murphy’s cool rhythmic cadence, unserious demeanor, and a foundational-yet-grimey bass guitar steering each song into the next. It seems as though Viagra Boys have mastered this specific flavor of chaotic post-punk/indie rock to the point of sounding like a tongue-in-cheek caricature of themselves, at times to great effect but simultaneously to their own detriment.
Starting off with “Man Made of Meat,” Murphy’s belching at the front end of the song comes off as particularly on the nose and rather unpleasant to listen to. Despite that, the track remains among the upper echelons of Viagra Boys bangers with its presentation of the abject consequences of American capitalism. Murphy sings about hot dog water and flappy giblets on Onlyfans while wishing for free bare-necessities in an anthemic package that is just a smidge more tame in terms of instrumentation and freakiness compared to the next track on the record. “The Bog Body” is objectively more disgusting and similarly catchy with its references to a pickled corpse discovered in ice and its wacked-out demeanor.
“Uno II,” a spaced out track sung from the point of view of a dog, amounts to a high point in the LP. Its sparseness, double meaning, and absurdness embody Viagra Boys at their finest. As the record continues, it becomes apparent that beer, cigarettes, and questionable shrimp can only sustain an album for so long. “Pyramid of Health” and “Dirty Boyz,” while entertaining enough, don't bring all that much substance to the table. The grungy/sleazy Devo schtick begins to feel a bit tired or repetitive.
Viagr Aboys shines when it retains the band’s identity while deviating from the expected. Its most effective moments sprinkle in depression with absurdity, and sincerity with cheekiness. “Medicine for Horses” might be the greatest example of this. The music and vocal delivery suggest depression while Murphy’s lyrics complicate those feelings with unseriousness like playing down your own depression so as to not be a buzz-kill. This song injects the record with a bit of forward momentum.
“Waterboy,” “Store Policy,” and “You N33d Me” capitalize on this momentum with some straightforward Viagra Boys swagger before “Best in Show Pt. IV”—the third installment of the “Best in Show” universe. The song emphasizes pomp/circumstance and freeform over all else. The album’s closing track “River King” is a soft piano ballad which tenderly closes the Viagr Aboys. Murphy's voice crackles over bass clarinet which is somehow the most fitting choice of instrument for the song.
On their latest, Viagra Boys attempt to remain congruent with their established identity while exploring new territory. The crisp production style and frenzied instrumental approach to Viagr Aboys allows its epileptic tendencies to remain constant through its highs and lows. Despite its tendency to slow down towards the middle, the record contains some all-timers in the Viagra Boys catalogue.