Cara Maluco does its best to musically chronicle the career of John Dwyer. Osees – also known as, oh never mind, we’d be here all day – has been Dwyer’s main outfit for the past two decades, and has been uncategorisable in its alarming range.

No, the ‘psychedelic act doing as much as possible’ tag is not just reserved for King Gizzard & The Lizard Wizard, as documented by Dwyer and friends’ garage punk, freak folk, krautrock, noise rock, and everything else.

I often see one of my favourite videos passed around online, of Dwyer in his late twenties, performing in 2002 with Coachwhips in San Francisco, as a police officer attempts to have a word with him. The uninhibited garage punk racket of Dwyer’s former group is reminisced on Synaptic Static; a quirkily melodic, minimalist punk rocker, sans shitgaze, with fragmented, custom-miked nasal snarls that address the lies and shams of billionaires and mainstream existence.

However, the EP’s punk is far more mechanical than the barn recordings of Dwyer’s youth, as the My Generation-esque Joro and highly-textured Joy in Oblivion relate to The Master’s Bedroom Is Worth Spending a Night In era of Osees.

The late-2010s, jam-style heavy psych Osees era is recaptured on the title track, which would’ve felt at home on Face Stabber. Free-roaming synths leave a bunch of space for snappy drum fills, and the piece maintains a succinctly heavy core despite its careful layout, whilst appearing meditative albeit succinctly heavy.

That’s a decent amount of range for a four-track EP; extensive jam-oriented psych and three very different takes on punk. Even when confined to brevity, Osees display its famously wanton approach to rock and/or roll, in a sort of ‘John Dwyer through the years’ series of snapshots.

Best tracks – Cara Maluco – Synaptic Static.

Rating – 7 out of 10