OPossums

Formed during the summer of 2018, Opossums is the brainchild of Patrick Jordan (Vocals, Guitar). The band was created to put a new spin on Jordan’s previously released lo-fi home 4-track recordings. To do so, Mississippi transplants Jesse Mansfield (Bass, Production) and Liv Hernandez (Drums) were recruited to give the songs a more immediate “live” feel. To date, they have released two mini albums of punchy, concise “garage pop” songs and one full length LP on Memphis- based label Black & Wyatt Records collecting their favorite cuts from the two. The long history of Memphis power pop, punk rock, and garage rock is a pronounced influence on their music, as well as British Invasion, 60’s psych nuggets, and breakneck English punk rock. They cut to the chase by plugging straight in, recording live to tape at home, minimizing overdubs, and keeping songs relatively unembellished.

BITE

The Opossums’ new album "Bite" is a progression of sorts from their early material. While the core instrumentation and arrangements are kept in place, the songs also include more conscious production sweeteners. Recording was done in bits and pieces during the pandemic, with no immediate expectations of being able to perform the material live. As a result, the songs on "Bite" lean heavier on the "studio" feel. Opossums plan to expand membership to more faithfully reproduce the new material and start exploring new directions in the studio.

Opossums live at B-Side in Memphis

reviews FoR S/T DEBUT VINYL RECORD

The eponymous album from the Opossums is another hearty (and classique-rooted) rock affair, though the scoop here is that the band began as the lo-fi home recording project of vocalist-guitarist Patrick Jordan, with this early period hypothetically in the neighborhood of Lost Weekend. Having recruited bassist Jesse Mansfield and drummer Liv Hernandez to give his songs a live-band boost, they cut a pair of cassette EPs.

Black and Wyatt’s LP compiles a dozen cuts from those tapes (leaving off five). Opossums unwinds without a weak cut as visions of Robert Pollard and Teenage Fanclub swirl around in my head. There are also a few spots, like “Left in the Ground” especially, that remind me of Beserkely Records-style power-pop (but not Jon Richman), and that’s just dandy. - The Vinyl District | READ

Opossums are medium-sized omnivorous North American marsupials, too often maligned because, well, they're ugly. Frequently seen scurrying across the road or under front porches, the small mammals are best known for "playing possum," or feigning death when threatened. Opossums is also the moniker of a three-piece band of Memphis-based musicians who specialize in catchy rock-and-roll songs, and they're set to release their first full-length album later this month.

Opossums' self-titled debut is being released by Black and Wyatt Records on glorious vinyl (and digital streaming and download), with a release show at B-Side on Friday, July 26th. Dennis Black and Robert Wyatt, pediatricians who met at Le Bonheur Children's Hospital and bonded over a mutual love of music, head the label, which specializes in plumbing the depths of the Memphis underground scene. - Memphis Flyer | READ

Looking for some speedy punk? You’ve come to the right place … and then some. Like early Green Day, Opossums combine a fierce sonic attack with a clear and deep understanding of pop song convention. With nothing more than guitar, bass and drum kit, this trio tears through ten tunes with amusing titles like “Rhyme and Punishment.” But they’re not all about simple punk: the band adds a layer of arena-rock sheen on “Love Machine” sounding like glam rock of the early ’70s crossed with Teenage Fanclub. And they swagger like Faces or Thin Lizzy on “Left in the Ground.” - Musoscribe | READ

I had the pleasure of seeing these guys at Gonerfest a few weeks back and really enjoyed their set. The trio, led by guitarist/vocalist Patrick Jordan (and rounded out by drummer Liv Hernandez and bassist Jesse Mansfield) have a tough yet melodic sound that was instantly likable, but not always easy to pin down (a good thing). “Got One” is a punchy rock tune with a goods hook while “Left in the Ground” slows it down and gussies it up, if just a bit. Elsewhere “Sharp Cheddar” was a nice mid-tempo cut while “The Truth’ added a little bit of a snotty sneer to the proceedings. All in all a real good and I think Patrick Jordan needs to keep writing songs (even if it means not bathing, eating or going to work). Haley Mitchell did the cool cover art and looking at the size of the bass player, I’m guessing these guys always get paid (and if the Titans need a fill-in tight end then Jesse Mansfield is your guy). Oh and when I looked inside the record for a D/L card instead I found a few Magic the Gathering cards tossed in. These guys sure know how to mess with a guy. - Daggerzine | READ

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