Zorch moves you. This conclusion is reinforced after
revisiting the band. Comprised of a vocalizing drummer named Sam and a
keyboardist wielding a formidable rig named Zac, this Texas duo produces music
that embraces a very interesting esthetic, wedding trippy, funk hued jams with
layered vocals and experimental electronics.
They have been
coalescing since 2007, after the two members had met in college. They worked
out material for a gig, layed off for a while, and then got back into it,
resulting in the 2009 demo. This is available for streaming on their website.
I was introduced
to the music of this band back in August of last year, when they played at
Local 121. In some ways, it wasn’t the most ideal setting for this group, due
to the sometimes-muddy acoustics. Still, they were impressive, unfolding their
richly textured music with authority.
Their sound has
an uplifting quality to it, while being highly original and experimental. They
know how to build a groove and overlay various keyboard textures to produce a
constantly evolving tapestry of sound.
The amount of
textured sound they manage to produce is massive for a two piece, not in a
heavy metal kind of way, but more in an orchestral sense. The small arsenal of
equipment utilized by Zac enables him to create a fairly varied amount of
texture; this, coupled with the solid drumming of Sam, registers a net effect
of engaging and experimental groove music. Layered on top of all of this, the
often wordless vocalizing of Sam creates a pronounced otherworldly effect.
Consider a track
like Morris the Loris. On top of Sam’s solid groove, Zac constructs a richly
varied sonic structure; the opening major key groove and its subsequent
development, moving forward at a fairly brisk tempo, present music that is
overtly positive without being contrived. The song itself is spun out of a few
ideas that seem to all center around the notion of a big, fat groove. The
melody that Sam hums has a very major key feel to it as well; the fact that there
are almost no words influences the psychedelic quality of it.
For a really solid example of their
ability to groove with serious feel, check out ‘Gimme that Axe’. After the
intro, the song settles into a bit of phrasing based around a keyboard riff
that sounds like a guitar. The whole first part of the song sounds like a
synthetic version of rock and roll. All of a sudden, the riff oscillates back
on itself in a pool of coalescing rhythm. As this subsides, a sample begins,
and this leads into the second part of the song, which features Sam’s drumming.
The contrast between the sections is highly distinct, and highlights the bands
ability to weld disparate elements into a unified whole.