Hailing from Austin, Texas, Bring Me The Head Of Orion offers a musical experience as large as the state itself. This music contains a sprawling, open-ended quality that confounds expectations by being simultaneously evolutionary and completely static. The formal architecture is built on simple, clear cut melodic ideas and a minimalist type repetition that moves from idea to idea with a refreshing clarity. Depending on your point of view, you might consider the sonic result to accompany the beginning of the world or its end. As or myself, I relate more to it as a soundtrack to the eschaton, and frankly would be worried as to what type of world would produce these sounds from its point of origin.
This musical unit is one man. According to information I was made privy to, this project started in September of this year, after a run in a string of bands. Feeling the need for unfettered self-expression, Orion was born. The gentleman in question is driven by a type of mysanthropy which expresses itself in the music, a "deep-seeded" disgust for humanity in general.
The music itself is entirely instrumental, devoid of lyrics. There is a curious "symphonic" quality that runs through each of the songs, a sort of digital post-tonal "orchestration". The pacing of the songs is quite gradual, each unfolding within the confines of its sonic space with a quiet self-confidence, requiring the respective listener to actually listen to the music itself. What novel thinking, that music should be listened to.
Godflesh and Sunn O))) were listed among the influences called upon in the production of this work, and we can see the connection. The riff work itself calls to mind Streetcleaner at times, and the pacing of the songs definitely drives home the Godflesh association. Where Orion differs from Godflesh specifically is in its orchestral quality, and the fact that the architecture has a "sectional" feel at times, with each idea in a particular song being self-contained while giving impetus to the next. As I stated before, evolutionary yet static.
An example of this is track two of the demo, named "contagion Rite". The song begins with a distorted, ambient, lower register tonal wash that is accompanied by a repetitive figure of keyboard squelches. This gives way to a two part interplay between keyboard and bass with a highly minimalist drum beat, which eventually coheres into a more consistent beat driving the bass line. Eventually, after some melodic and rhythmic development in this section, everything dissolves into guitar and keyboard drones, which then coalesce into a more "metal" type feel. This last eventually dissolves into cadential keyboard figures, and the whole thing ends. Mind you, this whole process, which has been so imperfectly explained, expands for over eight minutes, and unfolds in that mood of slow and deliberate self-confidence described above. Your undivided attention is definitely required.
Overall, there is an intersting balancing of textures and solid architecture. At times it feels like a more somber version of the Residents, especially in the choice of keyboard timbres. Albeit, a version of the Residents in which all the playfullness has been exchanged for sober ruminations on life and death.
One of our personal favorite aspects of this man's vision is in the use of drums. There is an elemental, "on the beat" quality that suits these proceedings perfectly.
One might even go so far to say that the "primitivistic" quality of the drum beats forms the entire backbone for each of the songs. A more overt style of drumming
would interfere with the proceedings. This should make for some interesting discussions amongst the Gabriel Serbian fans in the world. We know it did for us, as we are big fans of The Locust. At times the drums fall out completely, which induces feelings of severe entropy. When the drums come back, so does the sense of forward motion.
check em out at: www.myspace.com/bringmetheheadoforion
Saturday, November 22, 2008
Monday, November 3, 2008
These Modern Times
In the spirit of the times comes These Modern Times, a group composed of Swedes and Yanks. Hailing from Sweden and The United States simultaneoulsy might be a geographical impossibility, but now thanks to the advent of such technologies as Skype, international communication has a decidedly local flavor.
This is the deeper purport of the name. The world wide web has made this band, a sort of sonic cyborg in which technology has fused with human beings to allow information to flow across oceans, cultures, and lives.
First conceived in the winter of 2007-08, after a chance meeting between Carly and Ola in a jazz cafe located in the beautiful nothingness of Second Life, the core of the group is composed of three Swedish men and one American woman. And yes, the men are all beautiful in that roguish model way so naturally peculiar to Swedish men that would probably attract me as well if I were a woman or a gay man. Carly is pretty hot as well.
Lead singer and guitarist "Lars" has a nicely rounded vocal tone that gently underscores the quiet beauty of the proceedings. Overall the songs are nicely written, with each part unfolding logically into the next. I sense the possibility of a bright future.
The one area where some necessity of improvement is perceived is within the ensemble. Not being physically present with one another seems to obscure the rappour at times, and the downbeats do not always line up completely. Ultimately, however, these "feel" to be nothing more than growing pains exhibited by a group of obviously talented musicians learning to collaberate in a new and cutting edge environment.
Apart from the core of the group there are three other auxiliary members listed as "talented friends and inspirations". Their presence nicely enhances the group by providing more "orchestral color" of the type utilized by bands like Belle and Sebastian, with whom they seem to share certain aesthetic sympathies. This will definitely appeal to fans of Tigermilk, etc.
As of this writing, the Myspace page has a player containing six songs. Two of the songs so far posted deserve, in our opinion, especial mention. The first, La Vague, is an experimental work composed for what sounds like two basses in different registers playing melodic figurations underneath Isabelle, who is reciting something in French against sounds of the ocean lapping against the shore. All in all, it creates a very delicate and introspective atmosphere. And no, we are not even remotely fluent in French.
The second "standout" track is the last on the player, "Ysabel". In our opinion, this is the strongest and most clearly defined of the set. It is a song of lost loves, a lament for what may have been. Ah, the sweet sorrow of a woman's love.
The layering of guitar parts, bass and Lars voice with Carly on backing vocals is poignant and haunting. The song itself is nicely streamlined and moves towards its own destiny with a clearly defined internal logic.
As of the present moment this band has no other form aside from its incarnation online. It would be very nice to see this collaboration come to true fruition. However, this would more than likely require Carly to go to Sweden, as EVERYONE else is Swedish. Did we mention that already?
In short, while definitely needing some more time to mature and cohere, this "e-band" has great potential. As they grow and become even more tightly defined in terms of their collective vision and voice, they will acquire more and more interested people.
Check 'em out at: www.myspace.com/thesemoderntimesmusic
This is the deeper purport of the name. The world wide web has made this band, a sort of sonic cyborg in which technology has fused with human beings to allow information to flow across oceans, cultures, and lives.
First conceived in the winter of 2007-08, after a chance meeting between Carly and Ola in a jazz cafe located in the beautiful nothingness of Second Life, the core of the group is composed of three Swedish men and one American woman. And yes, the men are all beautiful in that roguish model way so naturally peculiar to Swedish men that would probably attract me as well if I were a woman or a gay man. Carly is pretty hot as well.
Lead singer and guitarist "Lars" has a nicely rounded vocal tone that gently underscores the quiet beauty of the proceedings. Overall the songs are nicely written, with each part unfolding logically into the next. I sense the possibility of a bright future.
The one area where some necessity of improvement is perceived is within the ensemble. Not being physically present with one another seems to obscure the rappour at times, and the downbeats do not always line up completely. Ultimately, however, these "feel" to be nothing more than growing pains exhibited by a group of obviously talented musicians learning to collaberate in a new and cutting edge environment.
Apart from the core of the group there are three other auxiliary members listed as "talented friends and inspirations". Their presence nicely enhances the group by providing more "orchestral color" of the type utilized by bands like Belle and Sebastian, with whom they seem to share certain aesthetic sympathies. This will definitely appeal to fans of Tigermilk, etc.
As of this writing, the Myspace page has a player containing six songs. Two of the songs so far posted deserve, in our opinion, especial mention. The first, La Vague, is an experimental work composed for what sounds like two basses in different registers playing melodic figurations underneath Isabelle, who is reciting something in French against sounds of the ocean lapping against the shore. All in all, it creates a very delicate and introspective atmosphere. And no, we are not even remotely fluent in French.
The second "standout" track is the last on the player, "Ysabel". In our opinion, this is the strongest and most clearly defined of the set. It is a song of lost loves, a lament for what may have been. Ah, the sweet sorrow of a woman's love.
The layering of guitar parts, bass and Lars voice with Carly on backing vocals is poignant and haunting. The song itself is nicely streamlined and moves towards its own destiny with a clearly defined internal logic.
As of the present moment this band has no other form aside from its incarnation online. It would be very nice to see this collaboration come to true fruition. However, this would more than likely require Carly to go to Sweden, as EVERYONE else is Swedish. Did we mention that already?
In short, while definitely needing some more time to mature and cohere, this "e-band" has great potential. As they grow and become even more tightly defined in terms of their collective vision and voice, they will acquire more and more interested people.
Check 'em out at: www.myspace.com/thesemoderntimesmusic
Wednesday, October 29, 2008
Recumbents
When one thinks of the state of Colorado, many images come to mind. Skiing, rock climbing, and any other type of nature type activities. One also thinks of film festivals and Robert Redford. One, however, does not think of abrasive, noisy, punk influenced underground rock. Even Jello Biafra had to move to San Francisco to get the Dead Kennedys going.
Well, things have obviously changed. Meet Recumbents. Their name is defined in the dictionary as: 1. lying down; reclining; leaning; 2:inactive; idle 3 :Zoology,Botany. noting a part that leans or reposes upon its surface of origin-adjective 4:a recumbent person, animal, or plant etc.-noun.
When looking at the various definitions for this word, one repeatedly encounters the idea of "non-uprightness", a sort of debilitated type of existence, inertia, etc...
This is a perfect example of a bands' name suiting the sonic image they project. There is a sense of alienation, unease and futility. In an email exchange prior to this attempt at exposition, the Swedish group Brainbombs was listed as an influence. This is felt to be only partially accurate. There is the similiarity of riff mono-mania at work here, of driving the same guitar part into your brain. But whereas the Brainbombs are infamous for their highly x-rated and down right nasty lyrical exhibitions backed by a feeling of drug induced schizophrenia, the Recumbents appear more suicidal. This is not a put down but more an attempt at poetic interpretation.
Their musical exhortations are definitely American. There is a certain understanding American bands seem to have. Think of the MC5, think of Iggy and the Stooges, Mars, DNA, etc....This is not to say that other countries do not produce good rock bands. This is obviously not so. But other countries have their own types and ways of rocking out. What is being presented here is the "American" rock flavor.
Recumbents are a two piece gender combination. To quote from The Holy Dedd Foxx: "I play guitar... sing the dude parts... She (Kitty Genovese) plays drums (which you mostly can't hear...) makes some noise, and sings the girl parts. Live, she sometimes also plays a crappy casio keyboard and some back up guitar." Also according to The Foxx, the fact that the other half of the band is a woman is "pretty damned exciting."
In short, they rock. For a two piece they accomplish a lot, even in the limited environment of a 3-song myspace demo. There was, reportedly, an actual hard release that was felt to be out of line with the bands "studio intentions" and so quickly ignored by the band. The player has been active since last October.
They excel at stomach-churning riffs, especially the Harshest Buzz, with its unwinding spring quality, and endless seasickness, entropy and self-loathing. We actually felt somewhat nauseous for a moment and conveyed this info to the band, which induced much mirthfulness and merry-making into the proceedings. Oh, how we laughed.
Check 'em out at www.myspace.com/recumbents
Well, things have obviously changed. Meet Recumbents. Their name is defined in the dictionary as: 1. lying down; reclining; leaning; 2:inactive; idle 3 :Zoology,Botany. noting a part that leans or reposes upon its surface of origin-adjective 4:a recumbent person, animal, or plant etc.-noun.
When looking at the various definitions for this word, one repeatedly encounters the idea of "non-uprightness", a sort of debilitated type of existence, inertia, etc...
This is a perfect example of a bands' name suiting the sonic image they project. There is a sense of alienation, unease and futility. In an email exchange prior to this attempt at exposition, the Swedish group Brainbombs was listed as an influence. This is felt to be only partially accurate. There is the similiarity of riff mono-mania at work here, of driving the same guitar part into your brain. But whereas the Brainbombs are infamous for their highly x-rated and down right nasty lyrical exhibitions backed by a feeling of drug induced schizophrenia, the Recumbents appear more suicidal. This is not a put down but more an attempt at poetic interpretation.
Their musical exhortations are definitely American. There is a certain understanding American bands seem to have. Think of the MC5, think of Iggy and the Stooges, Mars, DNA, etc....This is not to say that other countries do not produce good rock bands. This is obviously not so. But other countries have their own types and ways of rocking out. What is being presented here is the "American" rock flavor.
Recumbents are a two piece gender combination. To quote from The Holy Dedd Foxx: "I play guitar... sing the dude parts... She (Kitty Genovese) plays drums (which you mostly can't hear...) makes some noise, and sings the girl parts. Live, she sometimes also plays a crappy casio keyboard and some back up guitar." Also according to The Foxx, the fact that the other half of the band is a woman is "pretty damned exciting."
In short, they rock. For a two piece they accomplish a lot, even in the limited environment of a 3-song myspace demo. There was, reportedly, an actual hard release that was felt to be out of line with the bands "studio intentions" and so quickly ignored by the band. The player has been active since last October.
They excel at stomach-churning riffs, especially the Harshest Buzz, with its unwinding spring quality, and endless seasickness, entropy and self-loathing. We actually felt somewhat nauseous for a moment and conveyed this info to the band, which induced much mirthfulness and merry-making into the proceedings. Oh, how we laughed.
Check 'em out at www.myspace.com/recumbents
Tuesday, October 21, 2008
part two: on arab on radar
It is in Arab On Radar's sound that the real interest lies. Discordant and very trebly, repetitive with no real melody in the vocals, just a high pitched, jerky speaking/yelling style. But yet it is somehow the most impressive sounding thing ever.
There is real benefit to be had from repeated exposure to this music. The entire recorded output for the band is somewhere in the vicinity of two hours, and a dvd was recently released on the three.one.g label.( This label is also responsible for recently re-releasing two albums of Arab's own music as well as music by the Chinese Stars, a later group comprised partly from members of Arab. This band is currently quite active in Providence and elsewhere.) There are four discs of Arab's music in total. The names for these are "The Stolen Singles"(3.1.g.), "Queen Hygiene 2/Rough Day at The Orifice"(3.1.g), "Soak The Saddle"(Skin Graft), and "Yahweh Or The Highway"(Skin Graft).
The above discography is chronological in an historical sense. That is to say that two albums are re-issued and one cd is not even an album in the proper sense of the term, but literally a collection of all the bands individual singles, like 7 inches and whatnot. This disc is of course "The Stolen Singles."
From the outset one is hit by a sense of the unexpected. The music is forceful and thoroughly unique. Hypnotically repetitive and timbrally jarring, the music presents a "rock-n-roll" experience unlike any other, sounding more like the accompaniment to a nervous breakdown than traditional rock music. Each guitar locks in with the other, each playing specific repetitive patterns that counterpoint the other. These figurations bear little resemblance to the root-fifth-octave power chords that so completely dominate most rock styles. Instead we are confronted with
angular, repetitive lines of a highly fractured rhythmic quality. At times these lines take on a quite hypnotic aspect. This last especially calls to mind the last track on Soak The Saddle, with its broadly concieved, quasi-glissando that climbs and falls gradually, breathing like a giant bellows. This broad, arcing line is offset by a higher pitched faster line that repetitively snakes back on itself. The oblique and subtle rhythmic interplay between these two parts develops a specific rhythmic matrix that is fulfilled by the drum part, which accents the two lines in such a way that at first appears to be contrary to all logic but after repeated exposure reveals itself to be the perfect logical extension of the guitaristic proceedings. The subtle intricacies of rhythmic interplay between the two guitars is highly intriguing. Very clear repititions contain subtle shifts that seem to demarcate sectional changes, endings and the like.
This band existed in a state of artistic innovation. This music is not for those with narrowly defined sensibilities, as a broad concept of the POSSIBILITY of music and an ability to let go of preconceived notions, no matter how thoroughly grounded they may be in perceived academic erudition and acceptability is absolutely necessary. To maintain such an attitude in the face of ones learning requires the necessity of acknowledging the facts of history, and these facts dictate that in almost all cases theory has followed, not lead, practice. Today's movement begets tomorrows reflection.
Go to Arab on Radar's myspace page:
www.myspace.com/arabonradar
There is real benefit to be had from repeated exposure to this music. The entire recorded output for the band is somewhere in the vicinity of two hours, and a dvd was recently released on the three.one.g label.( This label is also responsible for recently re-releasing two albums of Arab's own music as well as music by the Chinese Stars, a later group comprised partly from members of Arab. This band is currently quite active in Providence and elsewhere.) There are four discs of Arab's music in total. The names for these are "The Stolen Singles"(3.1.g.), "Queen Hygiene 2/Rough Day at The Orifice"(3.1.g), "Soak The Saddle"(Skin Graft), and "Yahweh Or The Highway"(Skin Graft).
The above discography is chronological in an historical sense. That is to say that two albums are re-issued and one cd is not even an album in the proper sense of the term, but literally a collection of all the bands individual singles, like 7 inches and whatnot. This disc is of course "The Stolen Singles."
From the outset one is hit by a sense of the unexpected. The music is forceful and thoroughly unique. Hypnotically repetitive and timbrally jarring, the music presents a "rock-n-roll" experience unlike any other, sounding more like the accompaniment to a nervous breakdown than traditional rock music. Each guitar locks in with the other, each playing specific repetitive patterns that counterpoint the other. These figurations bear little resemblance to the root-fifth-octave power chords that so completely dominate most rock styles. Instead we are confronted with
angular, repetitive lines of a highly fractured rhythmic quality. At times these lines take on a quite hypnotic aspect. This last especially calls to mind the last track on Soak The Saddle, with its broadly concieved, quasi-glissando that climbs and falls gradually, breathing like a giant bellows. This broad, arcing line is offset by a higher pitched faster line that repetitively snakes back on itself. The oblique and subtle rhythmic interplay between these two parts develops a specific rhythmic matrix that is fulfilled by the drum part, which accents the two lines in such a way that at first appears to be contrary to all logic but after repeated exposure reveals itself to be the perfect logical extension of the guitaristic proceedings. The subtle intricacies of rhythmic interplay between the two guitars is highly intriguing. Very clear repititions contain subtle shifts that seem to demarcate sectional changes, endings and the like.
This band existed in a state of artistic innovation. This music is not for those with narrowly defined sensibilities, as a broad concept of the POSSIBILITY of music and an ability to let go of preconceived notions, no matter how thoroughly grounded they may be in perceived academic erudition and acceptability is absolutely necessary. To maintain such an attitude in the face of ones learning requires the necessity of acknowledging the facts of history, and these facts dictate that in almost all cases theory has followed, not lead, practice. Today's movement begets tomorrows reflection.
Go to Arab on Radar's myspace page:
www.myspace.com/arabonradar
Wednesday, September 24, 2008
Part One: On Providence and noise rock
So this is my first blog, first "e-communication." I'm not sure about protocol or methods of procedure, but I figured that just putting fingers to keyboard would be a good place to start.
First, a bit about myself. I am a 32 year old father who's abiding passion in life is music in its many forms and facets. I am a New Englander by birth and a musician by combination of whatever factors imbue ones life with any sense of interest.
In terms of geography, my home base of choice would have to be Providence, Rhode Island. This is primarily due to the fact of the music scene and the type of music it produces.
For the uninitiated, let me explain a little about the "biggest Little." Rhode Islands' size is, in terms of community and transportation, its biggest advantage. Musicians who come here to perform at the Living Room or AS220, to name a couple of venues, are often seduced by the sense of support and intimacy that permeates the arts community. This, coupled with the unabashedly liberal demeanor of RISD and Brown University serves to produce a D.I.Y./indie scene that is insular and fairly self sustaining.
For the sake of disclosure and to imbue the current proceedings with a bit of transparency, let it be known that the current typist is not a key player in this scene. We have actually missed out on a lot of goings on over the last few years due to the fact that our own trajectory through this life has led us out of the state, during a period of time that was crucial in relation to the current aural unfoldings. That said, it must also be understood that we have had some inkling of an idea due to the fact that we were around when things started heating up and do possess an unabashed enthusiasm for the quality and type of sounds produced in this particular environment.
And what is the nature of this sound? Well, "THE MUSIC SCENE", in sum total, in the context of R.I., comprises most of the styles and forms known to man. Classical, country, rockabilly, jazz, bluegrass, blues, hardcore, hip-hop, metal, thrash, deathmetal, grindcore, etc... all seem to have some place in this state. What is being touched upon in this current word-lumping is a type of "post-punk" sonic assault that is particular to Providence: NOISE ROCK.
From what I have been given to understand, the noise scene is in decline. The geographical center of this scene, located somewhere near/within the west end of town, was rocked by a series of loft closings sevral years back and currently exists in a somewhat hush-hush state, requiring some doing on the part of an interested person to uncover venue locations and the like. Addresses for show listings are generally posted as "you know where", "ask for directions", etc... leaving one to assume an attitude of elitism in relation to those involved.
Actually, this is not so. This secrecy is due to one thing: fear of scrutiny from the outside world, which leads to police harrassment and ultimately the shutting down of show venues. So, the end result is that a wonderfully rich scene of left of center types operates in a type of void, driven by the desire to simply survive.
And what of the music itself? In a nutshell, this style/aesthetic is fairly varied in and of itself. We are, however, of the opinion that one band stands above all others as defining the essence and nature of this aural experience: ARAB ON RADAR.
Exactly who is this group? Well, the band itself had two distinct line-ups, the first being a traditional five-piece arrangement of drums, bass, two guitars and vocals, the second line-up sans bass.
Aurally, one enters a new sound-world. When the music starts playing, ones sensibilities are consistently and constantly assaulted. Incessantly. Without pause.
There were and continue to be many great bands in Providence performing in the style known as "NOISE." Pink and Brown, Vincebus Eruptum, Olneyville Sound System, Daughters, White Mice, Tinsel Teeth, Tiny hawks, Made IN Mexico, Chinese Stars, Athletic Automaton... to name but a few. But Arab On radar are still the greatest.
Go to Arab on Radar's myspace page:
www.myspace.com/arabonradar
First, a bit about myself. I am a 32 year old father who's abiding passion in life is music in its many forms and facets. I am a New Englander by birth and a musician by combination of whatever factors imbue ones life with any sense of interest.
In terms of geography, my home base of choice would have to be Providence, Rhode Island. This is primarily due to the fact of the music scene and the type of music it produces.
For the uninitiated, let me explain a little about the "biggest Little." Rhode Islands' size is, in terms of community and transportation, its biggest advantage. Musicians who come here to perform at the Living Room or AS220, to name a couple of venues, are often seduced by the sense of support and intimacy that permeates the arts community. This, coupled with the unabashedly liberal demeanor of RISD and Brown University serves to produce a D.I.Y./indie scene that is insular and fairly self sustaining.
For the sake of disclosure and to imbue the current proceedings with a bit of transparency, let it be known that the current typist is not a key player in this scene. We have actually missed out on a lot of goings on over the last few years due to the fact that our own trajectory through this life has led us out of the state, during a period of time that was crucial in relation to the current aural unfoldings. That said, it must also be understood that we have had some inkling of an idea due to the fact that we were around when things started heating up and do possess an unabashed enthusiasm for the quality and type of sounds produced in this particular environment.
And what is the nature of this sound? Well, "THE MUSIC SCENE", in sum total, in the context of R.I., comprises most of the styles and forms known to man. Classical, country, rockabilly, jazz, bluegrass, blues, hardcore, hip-hop, metal, thrash, deathmetal, grindcore, etc... all seem to have some place in this state. What is being touched upon in this current word-lumping is a type of "post-punk" sonic assault that is particular to Providence: NOISE ROCK.
From what I have been given to understand, the noise scene is in decline. The geographical center of this scene, located somewhere near/within the west end of town, was rocked by a series of loft closings sevral years back and currently exists in a somewhat hush-hush state, requiring some doing on the part of an interested person to uncover venue locations and the like. Addresses for show listings are generally posted as "you know where", "ask for directions", etc... leaving one to assume an attitude of elitism in relation to those involved.
Actually, this is not so. This secrecy is due to one thing: fear of scrutiny from the outside world, which leads to police harrassment and ultimately the shutting down of show venues. So, the end result is that a wonderfully rich scene of left of center types operates in a type of void, driven by the desire to simply survive.
And what of the music itself? In a nutshell, this style/aesthetic is fairly varied in and of itself. We are, however, of the opinion that one band stands above all others as defining the essence and nature of this aural experience: ARAB ON RADAR.
Exactly who is this group? Well, the band itself had two distinct line-ups, the first being a traditional five-piece arrangement of drums, bass, two guitars and vocals, the second line-up sans bass.
Aurally, one enters a new sound-world. When the music starts playing, ones sensibilities are consistently and constantly assaulted. Incessantly. Without pause.
There were and continue to be many great bands in Providence performing in the style known as "NOISE." Pink and Brown, Vincebus Eruptum, Olneyville Sound System, Daughters, White Mice, Tinsel Teeth, Tiny hawks, Made IN Mexico, Chinese Stars, Athletic Automaton... to name but a few. But Arab On radar are still the greatest.
Go to Arab on Radar's myspace page:
www.myspace.com/arabonradar
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