Broadcasting from Brooklyn, NY, to all the known points in the universe, is PAS.
Originally a solo project begun by Robert Pepper in 1995, the project remained a one man band until 2004, when Robert met Jon "Vomit" Worthley at a Genesis P. Orridge lecture. In 2007, Robert met and subsequently started dating Amber Brien; together these two people have helped Robert to fill out and stabilize the group.
The current line-up is divided this way:
Robert Pepper - Keyboards, percussion, loops, various analog
Amber Brien - Drums, Percussion, Bass, Electronics
Jon "Vomit" Worthley - Guitar, Effects, Electronics, various analog
Amber is also trained in Taiko, the Japanese drum art.
Taking their name from a religious pamphlet, PAS (post abortion stress) is a group out to create music according to their particular artistic vision, which is one of aberrant beauty and abstraction; their name refers metaphorically to those who have been aborted by society, those whose point of view doesn't fit in the constraints of "normal" society.
This viewpoint fuels their creativity. Since their inception the band has been interested in making music from the fringes of perception, creating soundscapes that aren't defined by any particular conventions or viewpoints; the aesthetic underpinnings are defined by the notion that music can be whatever is perceived by the ear. It's a conception fueled by a love of life and art and a desire for honest artistic self-expression.
The compositions themselves are more akin to soundscapes than "songs" in the traditional sense.
There are no clearly defined melodies, no structural landmarks that give you any sense of traditional anchor. This is not music making with any sense of or desire for commercial viability, but sonic sculptures in the mode of pure art.
During my usual round of questions that always forms a necessary part of the act of creation for me in this medium, I was given to understand that painters and writers are a huge influence on the band. This bit of information was highly revelatory for me, as the music this band makes has a very visual quality to it. Terms like "sound collage" spring to mind almost effortlessly.
I would go so far as to say that this love of visual media is the main thing informing this particular musical experience. Listening to these ethereal, shifting compositions leaves me feeling like I was journeying through an alien landscape, taking in the shape of the land, the types of flora and fauna; at the same time searching for the inhabitants, but never finding another person, only knowing of their existence through bits of information, voices carried on the wind, and sounds of "civilized" existence.
The sense of being alone imparted by the music is not a criticism. On the contrary, as mentioned above, it is an essential element in the overall design. "Old Mirrors New," the tenth track from the album "The Lyre Speaketh," is a perfect example of this. The track doesn't begin in the traditional sense so much as cohere from nothing, the sounds of the piece gradually building until we find ourselves immersed in an ethereal soundworld.
As the piece unfolds, we hear some type of intoning counterpointed against wooden flutes, as if we are listening to the enactment of some solemn mystic rite. The accompaniment for this track has the quality of a hammer or a shovel, digging at very hard ground. This has the tendency of heightening the sense of ritual engagement that the intoning voices seems to impress on our consciousness.
The space in between these two elements is filled in with a very atmospheric type of sound, high pitched and quiet, more an intimation of atmosphere than anything else. This element has the effect of heightening the hallucinatory element of the piece, as if we are experiencing this scene under the influence of something intoxicating, or perceiving in a trancelike state.
For another example of the bands approach to music, let us turn to the title track on the album.
The effect of this piece has a more unsettling quality to it. Part of it has to do with the bassline, a ponderous, low-brass timbred affair that sounds like a whole tone scale, or at the least part of one, re-iterated at intervals with a quiet relentlessness. This is played against a repetitive figure on what sounds like a Koto, which in turn is played against a vague screaming sound. The overall effect is stunning in itself, evoking some alien landscape of foreign dimensions.
All this from a three piece. The amount of layered sound they manage to produce gives the impression of a much larger ensemble, but this is just indicative of their talent, and the focus they bring to bear on their vision. They are one of the most engaging groups I have encountered in some time, due to the idiosyncratic nature of their philosophical view of music and the way in which they realize this philosophy by their output.
In keeping with their deep interest in visual media, there are several videos available on their MySpace page.
As of this writing the band has four albums available. They are “Intro to Jesus”, “The Lyre Speaketh”, “Antarctic Tribe”, and “We Have Discovered Your Mother’s Body.” All of these are available at www.cdbaby.com or iTunes and various internet dealers.
Check 'em out at:
www.myspace.com/postabortionstress
Wednesday, July 22, 2009
Monday, July 20, 2009
RingBearer
RingBearer are a slab of sonic concrete. Hailing from Iowa, these guys come on like a weapon.
With a name that relates to Jesus Christ and the halo of thorns he was forced to wear, you can rest assured that this group is determined to make some waves.
I have not spent a lot of time in the Midwest. I am an eastcoast boy, born and bred. However, I cannot fail to notice that that region of the country has spawned a lot of brutally heavy bands.
In the case of Ringbearer, I can fill in the pieces to that puzzle to a certain degree. According to information I was given by Maxxwell, their guitarist, the band lives in a town of 9,000 with 48 churches and they have, for all intents and purposes been blacklisted from the town. So, that could definitely have something to do with them sounding the way they do.
The thing that impresses me the most about this four piece is their approach to rhythm. In general, aside from timbre, I think that this is the biggest innovation in musical thinking in the underground in general.
Let's look at the first song on the MySpace player, "Church Burner." Right out of the gate, and you're getting bludgeoned by some forceful sonic rage. If you listen to the rhythm of the guitar part, and the way it divides against the drum beat, it turns out to be a grouping of irregular rhythmic phrases comprised of the same riffs.
What's interesting about this is the fact that the guitar part is dividing against blastbeat style drumming. The thing that makes blastbeat so intriguing (and so effective) is that there is no real metre in that style, no stress of strong and weak beats. It becomes a constant rhtyhmic wash with no profile; this is why it supports ultra-heavy musical styles so well.
Anyway, why this is so fascinating to me is that the end result is just ferocious, really nasty and biting. And that's a compliment. It is the sonic equivalent of a severe beating. The phrasing of the guitar part emphasizes certain partials of the blastbeat in such a way that it stays with the tempo and manages to lock in, without actually defining a specific time signature in any way.
When the drummer and bassist fall out and the guitar comes in with the first rhythmically constant, metrically stressed riff, the effect of the former is heightened. All in all, this song is a small masterpiece, taking into account the way the ideas unfold and the way it builds to the end. It's a highly dramatic, "perfect" piece of facemelting thrash. By the time the last chord is played and the song fades out on cymbals and feedback, the tension has become unbearable.
In many ways, this group reminds me of the "great" bands in the grind/death undergound of my high school days; however, this isn't some trip down memory lane in search of the past, just a comparison.
This group is definitely alive in the here and now, as evidenced by the foregoing description. The things these guys are getting up to in terms of song structure weren't even conceivable in the mid-nineties. I simply mean to say that there is something about the overall spirit and sheer sonic weight of this band that is a bit of a throwback. Aesthetically, this band is its own thing entirely, and express themselves in thoroughly contemporary terms.
Playing together since the first week of November, 2008, this band has gelled quickly. From what I have gathered on their MySpace page, they have shows at their own loft apartment, a place called the Wolf Hanger. I can only assume that has helped them to grow so quickly. It's also obvious that they love what they do.
The band has a release out entitled "Cult," and some great merchandise. They are working on a slew of new releases and will make things available as quickly as possible. All of it is available at their MySpace page. Fans of brilliant heavy music need to get behind these guys in a big way. Their desire is to make as many great records as possible and tour the world. Let's all get together and help them achieve that goal.
Check em out at:
www.myspace.com/ringbearer1
With a name that relates to Jesus Christ and the halo of thorns he was forced to wear, you can rest assured that this group is determined to make some waves.
I have not spent a lot of time in the Midwest. I am an eastcoast boy, born and bred. However, I cannot fail to notice that that region of the country has spawned a lot of brutally heavy bands.
In the case of Ringbearer, I can fill in the pieces to that puzzle to a certain degree. According to information I was given by Maxxwell, their guitarist, the band lives in a town of 9,000 with 48 churches and they have, for all intents and purposes been blacklisted from the town. So, that could definitely have something to do with them sounding the way they do.
The thing that impresses me the most about this four piece is their approach to rhythm. In general, aside from timbre, I think that this is the biggest innovation in musical thinking in the underground in general.
Let's look at the first song on the MySpace player, "Church Burner." Right out of the gate, and you're getting bludgeoned by some forceful sonic rage. If you listen to the rhythm of the guitar part, and the way it divides against the drum beat, it turns out to be a grouping of irregular rhythmic phrases comprised of the same riffs.
What's interesting about this is the fact that the guitar part is dividing against blastbeat style drumming. The thing that makes blastbeat so intriguing (and so effective) is that there is no real metre in that style, no stress of strong and weak beats. It becomes a constant rhtyhmic wash with no profile; this is why it supports ultra-heavy musical styles so well.
Anyway, why this is so fascinating to me is that the end result is just ferocious, really nasty and biting. And that's a compliment. It is the sonic equivalent of a severe beating. The phrasing of the guitar part emphasizes certain partials of the blastbeat in such a way that it stays with the tempo and manages to lock in, without actually defining a specific time signature in any way.
When the drummer and bassist fall out and the guitar comes in with the first rhythmically constant, metrically stressed riff, the effect of the former is heightened. All in all, this song is a small masterpiece, taking into account the way the ideas unfold and the way it builds to the end. It's a highly dramatic, "perfect" piece of facemelting thrash. By the time the last chord is played and the song fades out on cymbals and feedback, the tension has become unbearable.
In many ways, this group reminds me of the "great" bands in the grind/death undergound of my high school days; however, this isn't some trip down memory lane in search of the past, just a comparison.
This group is definitely alive in the here and now, as evidenced by the foregoing description. The things these guys are getting up to in terms of song structure weren't even conceivable in the mid-nineties. I simply mean to say that there is something about the overall spirit and sheer sonic weight of this band that is a bit of a throwback. Aesthetically, this band is its own thing entirely, and express themselves in thoroughly contemporary terms.
Playing together since the first week of November, 2008, this band has gelled quickly. From what I have gathered on their MySpace page, they have shows at their own loft apartment, a place called the Wolf Hanger. I can only assume that has helped them to grow so quickly. It's also obvious that they love what they do.
The band has a release out entitled "Cult," and some great merchandise. They are working on a slew of new releases and will make things available as quickly as possible. All of it is available at their MySpace page. Fans of brilliant heavy music need to get behind these guys in a big way. Their desire is to make as many great records as possible and tour the world. Let's all get together and help them achieve that goal.
Check em out at:
www.myspace.com/ringbearer1
Saturday, July 18, 2009
Feeding The Foxes
Feeding the Foxes is a band from the land of Andre 3000 and Big Boi.
Active as a musical entity for a little over two years now, this band is a unit of very hardworking individuals; look at the roster of bands that they've played with in such a short period of time, and also at the way that they nail the complex material they write.
The group's sound is quite interesting. These guys are definitely hipped to the developments that have rippled through the postmetal underground in the last few years, including rhythmic deconstruction, odd time signatures, irregular phrase groupings, abrupt shifts, and a mix of testures, from clean toned to highly distorted.
Their guitarist Colin is a jazz guitar major, and he's put his hours and hours of shedding altered modes to great use here. The phrasing is wild. I hear something of sixties free jazz in there; the rhythmic quality of his phrasing is at times akin to Coltrane's "sheets of sound" approach that critic Ira Gitler picked up on in the fifties.
His rappour with the drummer (Matt) has that same quality. Listen to "Interstellar Space" by Coltrane or even "Bells" by Albert Ayler and you'll get the idea. While there is generally more of an emphasis on "straight" timing, there is also a lot of phrasing going on in the drumming that mirrors and reacts to Colin's phrasing.
A perfect example of this is the live Vimeo clip of "Scott Stapp the Man, not Scott Stapp the band." At certain points during that song, the drummer is imitating Colin's phrasing, almost exactly. On a side note, there are two vocalists on stage during that performance, but only one is listed in the lineup.
This band is one of the more rhythmically adventurous outfits I have heard in a while. There is something akin to the Locust's "loose-but-tight" approach to phrasing, but given Colin's whole approach comprising a huge dose of linear thinking in the form of lightning fast scalar and arpeggio material, this lends a sprawling, open-ended quality to the forms.
A perfect example is what might be termed the "B" section of "EraseCreateReplace," a song with a very long title. After blasting out of the gate with some intensive power chord/ scalar riffs backed up by an onslaught of loose, scattershot drumming, the band dies away, and Chaz the vocalist starts intoning about pollution in a low voice. Then the band kicks in. When the guitar resumes, Colin's solution to move matters along is very interesting.
The first thing we hear is a blazingly fast scalar run, sounding something like 32nd note quintuplets, executed flawlessly. The resulting triangular shape of the phrase broadens the whole section of the song, the ascending and descending contour imparting a sense of temporal expansion.
This phrase lurches directly into the next short section, which is a bit of less distinct connecting passagework, play with deadon rhythmic accuracy. Unless I am completely mistaken, the rhythmic profile of the ostinato-like guitar part of the section after that is an extension of the connecting passage, smoothed out and given a more streamlined profile, so as to serve as a more stable accompaniment. It's sort of like Paganini, but on drugs.
One thing I was given to understand is that the bassist on the recordings is not Dave, the bass player listed as being in the band. What is interesting is that I was told that he is a lefty and plays six-string. Even more interesting is the fact that he plays what Colin plays, "but with more rhythm." So, to me that means that the rhythmic concept of this band has taken even greater strides forward.
Musically, the band wants to make "honest music for a long time to come", and we should all show our support in this respect. The band doesn't have any albums out, but they do have a demo and are featured on a compilation. Both can be downloaded for free at their MySpace page. And, for those interested, they have a few shows coming up in the Georgia area. If you like it loud and progressive, you'll want to check these guys out.
Check 'em out at:
www.myspace.com/feedingthefoxes
Active as a musical entity for a little over two years now, this band is a unit of very hardworking individuals; look at the roster of bands that they've played with in such a short period of time, and also at the way that they nail the complex material they write.
The group's sound is quite interesting. These guys are definitely hipped to the developments that have rippled through the postmetal underground in the last few years, including rhythmic deconstruction, odd time signatures, irregular phrase groupings, abrupt shifts, and a mix of testures, from clean toned to highly distorted.
Their guitarist Colin is a jazz guitar major, and he's put his hours and hours of shedding altered modes to great use here. The phrasing is wild. I hear something of sixties free jazz in there; the rhythmic quality of his phrasing is at times akin to Coltrane's "sheets of sound" approach that critic Ira Gitler picked up on in the fifties.
His rappour with the drummer (Matt) has that same quality. Listen to "Interstellar Space" by Coltrane or even "Bells" by Albert Ayler and you'll get the idea. While there is generally more of an emphasis on "straight" timing, there is also a lot of phrasing going on in the drumming that mirrors and reacts to Colin's phrasing.
A perfect example of this is the live Vimeo clip of "Scott Stapp the Man, not Scott Stapp the band." At certain points during that song, the drummer is imitating Colin's phrasing, almost exactly. On a side note, there are two vocalists on stage during that performance, but only one is listed in the lineup.
This band is one of the more rhythmically adventurous outfits I have heard in a while. There is something akin to the Locust's "loose-but-tight" approach to phrasing, but given Colin's whole approach comprising a huge dose of linear thinking in the form of lightning fast scalar and arpeggio material, this lends a sprawling, open-ended quality to the forms.
A perfect example is what might be termed the "B" section of "EraseCreateReplace," a song with a very long title. After blasting out of the gate with some intensive power chord/ scalar riffs backed up by an onslaught of loose, scattershot drumming, the band dies away, and Chaz the vocalist starts intoning about pollution in a low voice. Then the band kicks in. When the guitar resumes, Colin's solution to move matters along is very interesting.
The first thing we hear is a blazingly fast scalar run, sounding something like 32nd note quintuplets, executed flawlessly. The resulting triangular shape of the phrase broadens the whole section of the song, the ascending and descending contour imparting a sense of temporal expansion.
This phrase lurches directly into the next short section, which is a bit of less distinct connecting passagework, play with deadon rhythmic accuracy. Unless I am completely mistaken, the rhythmic profile of the ostinato-like guitar part of the section after that is an extension of the connecting passage, smoothed out and given a more streamlined profile, so as to serve as a more stable accompaniment. It's sort of like Paganini, but on drugs.
One thing I was given to understand is that the bassist on the recordings is not Dave, the bass player listed as being in the band. What is interesting is that I was told that he is a lefty and plays six-string. Even more interesting is the fact that he plays what Colin plays, "but with more rhythm." So, to me that means that the rhythmic concept of this band has taken even greater strides forward.
Musically, the band wants to make "honest music for a long time to come", and we should all show our support in this respect. The band doesn't have any albums out, but they do have a demo and are featured on a compilation. Both can be downloaded for free at their MySpace page. And, for those interested, they have a few shows coming up in the Georgia area. If you like it loud and progressive, you'll want to check these guys out.
Check 'em out at:
www.myspace.com/feedingthefoxes
Tuesday, July 14, 2009
Melted Cassettes
Hailing from Arizona, a state famous for wide open spaces and novels by Bentley Little, comes a punishing experience in 24 bit aural suffocation. This is Melted Cassettes.
Forming in 2005, the group is a two piece collaboration between David Turner (vox and effects) and Mike Warden (keyboards). Mike is a graduate of the Conservatory of Recording Arts and Sciences. He joined the band in 2007.
This band is uncompromising in its rage. There is nothing mainstream about any of their music. The intention is intensive sonic experimentalism. To call the sound processed is an understatement, as the sheer complexity of the tone colors and their almost tactile quality is astounding, even in today's timbral mad aural marketplace.
Their influences include Wolf Eyes, Big Black and other "non-weak shit"; I hear tinges of Ministry and Atari Teenage Riot in there as well. On the nonmusical front, the band lists "noises,horror films,depression,psychiatry," as being influences on the thinking of the members.
The inventiveness they display within the confines of their chosen mode of expression is indicative of their desire to engage in some serious experimentation.
"Razed from the Bottle" is a perfect example of their approach to music making. While the structure develops from a midtempo keyboard/sequencer hook, the piece flows from phrase to phrase with a high sense of liquidity; this produces a cumulative effect of impending collapse. It's one of my two favorites on the player.
A similiar experience occurs on "Sounds from Hell vol.1"; the song sputters to life on a rhythmic idea that gets spun out into this infectious three note main hook.
The simplicity of the hook is the key to its success; it's so straightforward that the musical edifice built around it is able to effectively burst through with intense amounts of energy. The approach on this song is more straightforward than on "Razed"; the overall effect is one of showcasing the "hook" and developing it in such a way that the abrupt ending comes as a real surprise.
At the other end of this particular aesthetic spectrum there is "Ataak Pak", with it's midtempo vocal effects in the rhythm section producing a sense of mechanized rage. The way that the rhythm of the lyrics is synchronized with the rhythm section is really intriguing.
In answering my usual round of questions, I was told that the band manages to realize this sound live. David's explanation of this is as follows:
"We build a wall of Pa's and random speakers that pump out the beats and bass tone sequences.loud as we can get it.Mike plays a midi keyboard with patches we build in reason and pure data.I have a zoom vocal processor that produces "demon" vocals run thru the venues PA.We have a rigged stack for guitar amplification that is part ampeg and part peavey drum machine amp.we are working on gettin' some tweeters."
In this light, I am psyched for any fans of experimental/noise/electronic avant gardeanism who reside in the Arizona area, because I can assure you that the live show this band puts on is intense, chaotic, and a hell of a lot of fun. Listen to their music and read the fans comments, and you'll be convinced as well.
The band has an e.p. out now, ("MySpace: A Place For Fiends" e.p.), and has a split with cheezface coming out in August. This will contain tracks from their upcoming full length L.P. "The "Real" Sounds From Hell." Their music is available on Liberal Squid Records (www.myspace.com/liberalsquid ), Lovetorture Records (www.myspace.com/lovetroturerecords), Sunwarped records (www.myspace.com/sunwarpedrecords), and Seattle based UF records (www.ufrecords.com)
Check out the band at:
www.myspace.com/sportslazer
Forming in 2005, the group is a two piece collaboration between David Turner (vox and effects) and Mike Warden (keyboards). Mike is a graduate of the Conservatory of Recording Arts and Sciences. He joined the band in 2007.
This band is uncompromising in its rage. There is nothing mainstream about any of their music. The intention is intensive sonic experimentalism. To call the sound processed is an understatement, as the sheer complexity of the tone colors and their almost tactile quality is astounding, even in today's timbral mad aural marketplace.
Their influences include Wolf Eyes, Big Black and other "non-weak shit"; I hear tinges of Ministry and Atari Teenage Riot in there as well. On the nonmusical front, the band lists "noises,horror films,depression,psychiatry," as being influences on the thinking of the members.
The inventiveness they display within the confines of their chosen mode of expression is indicative of their desire to engage in some serious experimentation.
"Razed from the Bottle" is a perfect example of their approach to music making. While the structure develops from a midtempo keyboard/sequencer hook, the piece flows from phrase to phrase with a high sense of liquidity; this produces a cumulative effect of impending collapse. It's one of my two favorites on the player.
A similiar experience occurs on "Sounds from Hell vol.1"; the song sputters to life on a rhythmic idea that gets spun out into this infectious three note main hook.
The simplicity of the hook is the key to its success; it's so straightforward that the musical edifice built around it is able to effectively burst through with intense amounts of energy. The approach on this song is more straightforward than on "Razed"; the overall effect is one of showcasing the "hook" and developing it in such a way that the abrupt ending comes as a real surprise.
At the other end of this particular aesthetic spectrum there is "Ataak Pak", with it's midtempo vocal effects in the rhythm section producing a sense of mechanized rage. The way that the rhythm of the lyrics is synchronized with the rhythm section is really intriguing.
In answering my usual round of questions, I was told that the band manages to realize this sound live. David's explanation of this is as follows:
"We build a wall of Pa's and random speakers that pump out the beats and bass tone sequences.loud as we can get it.Mike plays a midi keyboard with patches we build in reason and pure data.I have a zoom vocal processor that produces "demon" vocals run thru the venues PA.We have a rigged stack for guitar amplification that is part ampeg and part peavey drum machine amp.we are working on gettin' some tweeters."
In this light, I am psyched for any fans of experimental/noise/electronic avant gardeanism who reside in the Arizona area, because I can assure you that the live show this band puts on is intense, chaotic, and a hell of a lot of fun. Listen to their music and read the fans comments, and you'll be convinced as well.
The band has an e.p. out now, ("MySpace: A Place For Fiends" e.p.), and has a split with cheezface coming out in August. This will contain tracks from their upcoming full length L.P. "The "Real" Sounds From Hell." Their music is available on Liberal Squid Records (www.myspace.com/liberalsquid ), Lovetorture Records (www.myspace.com/lovetroturerecords), Sunwarped records (www.myspace.com/sunwarpedrecords), and Seattle based UF records (www.ufrecords.com)
Check out the band at:
www.myspace.com/sportslazer
Sunday, June 14, 2009
From Alalu through Abgal to the Aural unconscious
Michael Petty is a musician from Texas whose musical vision has lead him to produce some highly inventive sounds.
For those of you familiar with my blog, you may recall that I published a review of his work known as "Alalu," and perhaps this writing interested you enough that you went to Myspace and gave the player a spin. If not, I hope that you do.
Upon completion of the first review, Petty decided to mail me his recordings, and that inspired me to write another review.
Functioning in a very heady strain of ambient electronic music, his music is constructed along lines far different from traditional norms.
While Petty's music might not be everyone's cup of tea, there is something to be respected about someone who follows a particular viewpoint in the pursuit of their art. He loves this type of sound, and sticks to his vision.
This music is imbued with a sense of higher structure due to the narrative element, which is the underlying storyline that accompanies the recordings; it also serves as the genesis of the conception.
The story is one of extraterrestrials, warfare, the discovery of Earth and the creation of humanity. It's pretty wild, and worth your attention, if only to get a glimpse into Petty's fertile imagination.
The most interesting thing about the entire output is the way in which he molds the sound to suit the narrative flow of the storyline. If you know what you're listening to, in relation to the unfolding tale, you can experience the music on a different level.
Of all the albums in the series, my personal favorite is "E-A (.IV)," concerning the discovery of the earth.
As is Petty's M.O., the album release is different from the songs on MySpace; from what I can tell, the songs on Myspace are shorter and edited differently. The source material for each track seems to be the same.
I have always found that the real magic of this style is in its use of rhythm, which might be the biggest innovation revealed by this style. Here, there are no drum loops or samples. Rhythmic continuity is developed through repetition and contrast, and a very linear sense of sonic progression. Sometimes, rhythmic pulse is developed through a keyboard loop, like the middle of track 11 on Zumul. Sometimes, the rhythm results from the overall result of the layering of parts. At any rate, the rhythmic sense is entirely fluid, and in relation to the contemporary view, quite subtle.
Check out track five on the E-A player, "Tiamat." This one piece of music might possibly be my personal favorite on any of the albums. After a short introduction, these slow, ethereal chords cut through the ambient, murky drone, implying something profound, and possibly a bit "ancient," in a Lovecraftian sense. As the track unfolds, the rhythmically broad harmonies reveal themselves to be intrinsic to the structure, as their development and transformation carries the piece along. The slow drone of the harmonies mixes with the atmosphere of the rest of the arrangement like some sort of spectral vapor mixing in outer space. It's quite beautiful, and strangely moving.
The second track on the player, "Creation Chamber," is a case for variety in oneness. The track is built from a minimum of elements. The end result, like Tiamat, is something old and mysterious, containing the hint of some vast intelligence. There is also the hint of new beginnings. I suspect that the album version is much longer, as things seem to just be heating up when the player kicks over to the new track.
All in all, I find that the music Petty makes grows with time. The more you listen, the richer the rewards. There is so much going on in the music, so much densely layered information, that it is engaging as an activity unto itelf.
And that to me, is one of the hallmarks of a truly great musical experience.
Check him out at:
www.myspace.com/alalui
www.myspace.com/zumul
www.myspace.com/galzuiii
www.myspace.com/easounds
www.myspace.com/abgalv
www.myspace.com/theauralunconscious
For those of you familiar with my blog, you may recall that I published a review of his work known as "Alalu," and perhaps this writing interested you enough that you went to Myspace and gave the player a spin. If not, I hope that you do.
Upon completion of the first review, Petty decided to mail me his recordings, and that inspired me to write another review.
Functioning in a very heady strain of ambient electronic music, his music is constructed along lines far different from traditional norms.
While Petty's music might not be everyone's cup of tea, there is something to be respected about someone who follows a particular viewpoint in the pursuit of their art. He loves this type of sound, and sticks to his vision.
This music is imbued with a sense of higher structure due to the narrative element, which is the underlying storyline that accompanies the recordings; it also serves as the genesis of the conception.
The story is one of extraterrestrials, warfare, the discovery of Earth and the creation of humanity. It's pretty wild, and worth your attention, if only to get a glimpse into Petty's fertile imagination.
The most interesting thing about the entire output is the way in which he molds the sound to suit the narrative flow of the storyline. If you know what you're listening to, in relation to the unfolding tale, you can experience the music on a different level.
Of all the albums in the series, my personal favorite is "E-A (.IV)," concerning the discovery of the earth.
As is Petty's M.O., the album release is different from the songs on MySpace; from what I can tell, the songs on Myspace are shorter and edited differently. The source material for each track seems to be the same.
I have always found that the real magic of this style is in its use of rhythm, which might be the biggest innovation revealed by this style. Here, there are no drum loops or samples. Rhythmic continuity is developed through repetition and contrast, and a very linear sense of sonic progression. Sometimes, rhythmic pulse is developed through a keyboard loop, like the middle of track 11 on Zumul. Sometimes, the rhythm results from the overall result of the layering of parts. At any rate, the rhythmic sense is entirely fluid, and in relation to the contemporary view, quite subtle.
Check out track five on the E-A player, "Tiamat." This one piece of music might possibly be my personal favorite on any of the albums. After a short introduction, these slow, ethereal chords cut through the ambient, murky drone, implying something profound, and possibly a bit "ancient," in a Lovecraftian sense. As the track unfolds, the rhythmically broad harmonies reveal themselves to be intrinsic to the structure, as their development and transformation carries the piece along. The slow drone of the harmonies mixes with the atmosphere of the rest of the arrangement like some sort of spectral vapor mixing in outer space. It's quite beautiful, and strangely moving.
The second track on the player, "Creation Chamber," is a case for variety in oneness. The track is built from a minimum of elements. The end result, like Tiamat, is something old and mysterious, containing the hint of some vast intelligence. There is also the hint of new beginnings. I suspect that the album version is much longer, as things seem to just be heating up when the player kicks over to the new track.
All in all, I find that the music Petty makes grows with time. The more you listen, the richer the rewards. There is so much going on in the music, so much densely layered information, that it is engaging as an activity unto itelf.
And that to me, is one of the hallmarks of a truly great musical experience.
Check him out at:
www.myspace.com/alalui
www.myspace.com/zumul
www.myspace.com/galzuiii
www.myspace.com/easounds
www.myspace.com/abgalv
www.myspace.com/theauralunconscious
Monday, May 25, 2009
Michael Mcdaeth
Every so often in my life a musician makes their presence known to me, and my perception of the world is irrevocably altered. This happened with Franz Liszt, LeadBelly, John Coltrane, Smog, and Arab on Radar, to name a few. Now, I have to add Michael McDaeth to that list.
Hailing from Seattle Washington might hinder some with its mystique, but quite frankly, he sounds like nothing I've ever heard.
You will find Michael's music in two guises, first and foremost solo with an acoustic guitar and harmonica as Michael McDaeth, and then as the front man of a three piece known as Weeds Peterson.
This man is inspired. In response to one of my questions regarding the amount(if any) of musical training he has, he told me that "it would probably be more accurate for me to answer that it was always there. As soon as I could move my fingers on the fret board, I was off and writing songs. It was just there waiting for me - an easy natural thing."
Aside form his prolific output as a songwriter, is the fact of his four websites, each chock full of variegated types of visual media. I would press anyone interested to check out his videos, as the types of mixed media presentations are as individual as the songs, and truly complement the music. The video for "Take a Ride With Charles Bukowski" is real disturbing, and underscores the latent ferocity of the song.
In certain respects, I hear an older type of thinking going on in the music he makes, especially in his solo material. To me, this comprises his most personal output. He excels at very repetitive rhythmic motions, strumming patterns that accent in unexpected ways and has great instincts for welding his accompaniments to the melodic line. There is also attention to detail in the inner voices of his guitar parts, relating to the way the voicings move and his choice of chord progressions.
What strikes you immediately is the sheer force of his music. He reminds me of a dysfunctional LeadBelly, in the sense that they both use the same setup and produce phenomenal amounts of volume and energy. The difference is one of temperament. Michael's music strikes me as a journey of deconstruction, a probing of emotional possibility; an antisocial plea for some kind of connection.
The first track on his Myspace player, "Everybody's Fault," illustrates this point nicely. From the way he attacks his guitar at the beginning of the song, you get the idea that he is venting from an argument that just ended. This is the other side of the expressive aspect of his guitar playing, which consists in an extra-musical style of attacks and an inexpressible something that makes the acoustic guitar become so percussive and violent in his hands.
From what I could surmise on the basis of a couple of weeks of immersion in this man's musical world, his myspace player is well planned out. The collection of tracks there give a terrific overview of his extensive output, highlighting tracks from most of his albums.
In certain respects, my favorite song, among many, is Shimeleski Funtime. The construction of the ostinato-like main riff, with its ascending bassline that just keeps collecting energy, always induces the desire to jump through a window in me. The way he resolves the upward motion of that riff by moving to a higher fret and descending with the same rhythm, repeating this a few times and then puncuating the whole first part with a simultaneous guitar/harmonica hit where the rhythm just dies for a second, is brilliant in its simplicity.
The whole song, all two minutes of it, sums up everything that I am learning to love about Michael's vision: an organic approach to form that is dictated by the needs of the song, where the shape of the emotional life molds the song into something that breathes with its own life, something alive, communicating its own internal existence with elegant simplicity.
Check him out at these places:
www.myspace.com/michaelmcdaeth
www.mcdaeth.com
www.theblankalbum.com
www.shineinreverse.com
www.weedspeterson.com
www.myspace.com/weedspeterson
Hailing from Seattle Washington might hinder some with its mystique, but quite frankly, he sounds like nothing I've ever heard.
You will find Michael's music in two guises, first and foremost solo with an acoustic guitar and harmonica as Michael McDaeth, and then as the front man of a three piece known as Weeds Peterson.
This man is inspired. In response to one of my questions regarding the amount(if any) of musical training he has, he told me that "it would probably be more accurate for me to answer that it was always there. As soon as I could move my fingers on the fret board, I was off and writing songs. It was just there waiting for me - an easy natural thing."
Aside form his prolific output as a songwriter, is the fact of his four websites, each chock full of variegated types of visual media. I would press anyone interested to check out his videos, as the types of mixed media presentations are as individual as the songs, and truly complement the music. The video for "Take a Ride With Charles Bukowski" is real disturbing, and underscores the latent ferocity of the song.
In certain respects, I hear an older type of thinking going on in the music he makes, especially in his solo material. To me, this comprises his most personal output. He excels at very repetitive rhythmic motions, strumming patterns that accent in unexpected ways and has great instincts for welding his accompaniments to the melodic line. There is also attention to detail in the inner voices of his guitar parts, relating to the way the voicings move and his choice of chord progressions.
What strikes you immediately is the sheer force of his music. He reminds me of a dysfunctional LeadBelly, in the sense that they both use the same setup and produce phenomenal amounts of volume and energy. The difference is one of temperament. Michael's music strikes me as a journey of deconstruction, a probing of emotional possibility; an antisocial plea for some kind of connection.
The first track on his Myspace player, "Everybody's Fault," illustrates this point nicely. From the way he attacks his guitar at the beginning of the song, you get the idea that he is venting from an argument that just ended. This is the other side of the expressive aspect of his guitar playing, which consists in an extra-musical style of attacks and an inexpressible something that makes the acoustic guitar become so percussive and violent in his hands.
From what I could surmise on the basis of a couple of weeks of immersion in this man's musical world, his myspace player is well planned out. The collection of tracks there give a terrific overview of his extensive output, highlighting tracks from most of his albums.
In certain respects, my favorite song, among many, is Shimeleski Funtime. The construction of the ostinato-like main riff, with its ascending bassline that just keeps collecting energy, always induces the desire to jump through a window in me. The way he resolves the upward motion of that riff by moving to a higher fret and descending with the same rhythm, repeating this a few times and then puncuating the whole first part with a simultaneous guitar/harmonica hit where the rhythm just dies for a second, is brilliant in its simplicity.
The whole song, all two minutes of it, sums up everything that I am learning to love about Michael's vision: an organic approach to form that is dictated by the needs of the song, where the shape of the emotional life molds the song into something that breathes with its own life, something alive, communicating its own internal existence with elegant simplicity.
Check him out at these places:
www.myspace.com/michaelmcdaeth
www.mcdaeth.com
www.theblankalbum.com
www.shineinreverse.com
www.weedspeterson.com
www.myspace.com/weedspeterson
Wednesday, May 13, 2009
Infinite Darkness Quartet...
Now we turn the spotlight on a powerhouse of modern jazz emanations, Providence's very own Infinite Darkness Quartet. Playing together for roughly four years, the group turns out collective improvisation on their own compositions and are committed to the idea of pushing the art of jazz ahead.
The group is comprised of Alex Chapman on drums, Tom Casale on upright bass, Tony Cabral on keyboard, and Mike Bernier on guitar. Everyone is from Rhode Island except Tony, who is from the Boston area. So, this group is comprised of homegrown New England boys.
These gentlemen are all at the top of their game. Both their knowledge of the idiom and their eclectic tastes are on display in full form in each track. As we are dealing with a group of jazzers schooled in the late twentieth century, the influence of rock and pop on their collective sensibility is at times quite apparent, and lends a refreshing character to the music.
As far as I know, they are all in their late twenties to early thirties, which enhances the sense of dedication they bring to the group. Their maturity and sensitivity to the demands of high end improvisation becomes apparent as each track unfolds. The way they react to one another and the tone set by each soloist is richly imbued by the flavor of whichever song is floating through the air. The tunes come to life, and you realize that you are in the presence of something truly profound.
In some ways, to me at least, the group is something of a throwback. Their elastic sense of time and Alex's timekeeping aesthetic calls to mind Miles' "second" big group, the one with Tony Williams and Wayne Shorter. However, the similarity extends only so far, as these guys have carved out their own niche.
Tom Casale, the upright bass player, is the primary composer. His imagination is wideranging, as is evidenced by his arrangements of the Beatles' Michelle (here reharmonized as "Mitchell") and Alexander Borodin's "Gliding Dance of the Maidens" (here reharmonized as "Polovitzian Invasion"), both on the unreleased first album. From Liverpool to Russia, and these are the arrangements.
His originals breathe with a life all their own. As I said before, there is a definite element of rock and roll in the music these men make, and in Tom's hands it is another tool for expression. His use of vamps in the writing and his phrasing in relation to Alex's drumming have a strong sense of backbeat. On the "Needle and the Damage Done," the contrasting rhythmic styles between the repitition of the main melody and the subsequent break into the "swing" section is compelling. In the first part, tension mounts on tension like a rubber band and builds, as the ostinato-like comping is built from a couple of chords, and the arc of the melody somehow emphasizes the potentiality of the energy. When the vamp finally spills over into the next section, enough momentum has collected that the band literally explodes forward.
Also of particular note is their interest in expanding the tradition of playing standards. Like the Bad Plus, they are adept at taking contemporary rock and pop tunes and retooling them into compelling vehicles for spontaneity. On the unreleased first album they rework "Heart Shaped Box" into something else entirely, and Mike really lays into the chord changes with a fury. Check his tone on that track, and his seeming use of delay. The end result fuses traditions and goes somewhere else entirely.
To really get at what they are doing in this vein, check out their arrangement of "Knives Out" by Radiohead. It is surreal, absolutely their own invention.
What is interesting is how much they aren't like The Bad Plus at all, possessing a more dirty groove and a more pronounced backbeat in contrast to Ethan Iversons' post-Lisztian, chromatic scale, polyrhythmic freakout. IDQ, to me at least, sounds more prog rock to TBP's late Romantic deconstruction.
So, anyone interested in immersing themselves in a soundworld created by four highly masterful musicians reveling in each others association and in love with making the music they want should get behind this group in a big way. It just might change your life.
check em out at www.myspace.com/theinfinitedarknessquartet
and at www.idquartet.com
The group is comprised of Alex Chapman on drums, Tom Casale on upright bass, Tony Cabral on keyboard, and Mike Bernier on guitar. Everyone is from Rhode Island except Tony, who is from the Boston area. So, this group is comprised of homegrown New England boys.
These gentlemen are all at the top of their game. Both their knowledge of the idiom and their eclectic tastes are on display in full form in each track. As we are dealing with a group of jazzers schooled in the late twentieth century, the influence of rock and pop on their collective sensibility is at times quite apparent, and lends a refreshing character to the music.
As far as I know, they are all in their late twenties to early thirties, which enhances the sense of dedication they bring to the group. Their maturity and sensitivity to the demands of high end improvisation becomes apparent as each track unfolds. The way they react to one another and the tone set by each soloist is richly imbued by the flavor of whichever song is floating through the air. The tunes come to life, and you realize that you are in the presence of something truly profound.
In some ways, to me at least, the group is something of a throwback. Their elastic sense of time and Alex's timekeeping aesthetic calls to mind Miles' "second" big group, the one with Tony Williams and Wayne Shorter. However, the similarity extends only so far, as these guys have carved out their own niche.
Tom Casale, the upright bass player, is the primary composer. His imagination is wideranging, as is evidenced by his arrangements of the Beatles' Michelle (here reharmonized as "Mitchell") and Alexander Borodin's "Gliding Dance of the Maidens" (here reharmonized as "Polovitzian Invasion"), both on the unreleased first album. From Liverpool to Russia, and these are the arrangements.
His originals breathe with a life all their own. As I said before, there is a definite element of rock and roll in the music these men make, and in Tom's hands it is another tool for expression. His use of vamps in the writing and his phrasing in relation to Alex's drumming have a strong sense of backbeat. On the "Needle and the Damage Done," the contrasting rhythmic styles between the repitition of the main melody and the subsequent break into the "swing" section is compelling. In the first part, tension mounts on tension like a rubber band and builds, as the ostinato-like comping is built from a couple of chords, and the arc of the melody somehow emphasizes the potentiality of the energy. When the vamp finally spills over into the next section, enough momentum has collected that the band literally explodes forward.
Also of particular note is their interest in expanding the tradition of playing standards. Like the Bad Plus, they are adept at taking contemporary rock and pop tunes and retooling them into compelling vehicles for spontaneity. On the unreleased first album they rework "Heart Shaped Box" into something else entirely, and Mike really lays into the chord changes with a fury. Check his tone on that track, and his seeming use of delay. The end result fuses traditions and goes somewhere else entirely.
To really get at what they are doing in this vein, check out their arrangement of "Knives Out" by Radiohead. It is surreal, absolutely their own invention.
What is interesting is how much they aren't like The Bad Plus at all, possessing a more dirty groove and a more pronounced backbeat in contrast to Ethan Iversons' post-Lisztian, chromatic scale, polyrhythmic freakout. IDQ, to me at least, sounds more prog rock to TBP's late Romantic deconstruction.
So, anyone interested in immersing themselves in a soundworld created by four highly masterful musicians reveling in each others association and in love with making the music they want should get behind this group in a big way. It just might change your life.
check em out at www.myspace.com/theinfinitedarknessquartet
and at www.idquartet.com
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