March 18, 2013

silian rail
“moth and rust”
parhelion, 2010

this is homage to a band that will no longer play and produce records regularly. silian rail are eric and robin, from oakland, california, and i am fortunate and grateful to count them as both friends and peers. 
a friend of mine introduced me to them in 2009, but it wasn’t until i happened upon their first album (“and i you, to pieces” 2008) in a book store in north portland that they really grew on me. being from oakland, and having only their tours as a means of distribution back then, they told me that was probably one of the only cds left in portland. so, in mid-2010 when they came back up to portland, i went with some people to their show, and not only was it superb, but i wanted to know where they were playing on their way back through the city (after playing washington) so i could see them again. as it were, they didn’t have a second show booked for their southern passing, so my bandmate david and i ecstatically asked them if they’d like to play at his house. they took our phone numbers, and the next day told us that they’d be into it. 
from that point on, a band of mine would play almost every portland show with them, mostly to guarantee that i’d be able to see them play. 
eric told me that i was an energetic watcher when i’d see them play, but that’s actually a testament to themselves, rather than the type of onlooker i am. i’m definitely not gratuitously into every band i see, but sometimes i identify with something so much that i can’t help it. 
i chose “moth and rust” from their second record, “parhelion,” because it runs the gamut of things that they do so phenomenally well. eric actually plays guitar and drums until the 3:20, and would do this live every time (there are several youtube videos of this). but they also start the song off slowly, like it’s in mourning, almost. and not only does it pick up and get heavy, but they retain the emotion and intensity throughout many transitions.
and not only these things, but i’m also a sucker for this song. it was the first “new” song i’d heard since i gave their first record a listen, and so it’s been prescribed a very specific, heart-wrenching brand of nostalgia. 
bands come and go, but i can’t say there are many other bands i’ll so truly miss like i’ll miss silian rail. this doesn’t just apply to their tours through portland, but the promise of new compositions- and i say compositions because their third (and most recent) record, “each/other,” was swimming with strings and percussion, and showed unstoppable, promising growth.
they hold out hope of being able to write new music across the country (one of the members is moving a significant distance), so we might get to hear something in the future, which is enough for me to hold out the same hope. i can’t recommend their existing records enough. 
lastly, here’s a video excerpt of the portland house show they played, which i mentioned earlier. you can hear an early version of “the beast,” from “each/other,” which wouldn’t be released for another two years. 

much love, and best wishes to these absolutely lovely, loving people. 

http://silianrail.bandcamp.com/

http://youtu.be/5WpbapRkE6Y

February 18, 2013

breather resist
“a social worker’s nightmare”
charmer, 2004

breather resist is to young widows, what ice cream with chocolate topping is to ice cream without chocolate topping. 
i’ll take either one, but come on now. 

February 16, 2013

shipping news
“antebellum” 
one less heartless to fear, 2010

we hadn’t heard from them for a long time, long enough for a band to be considered through. but we ended up hearing them one last time, and the things they’d been through. 

February 13, 2013

upsilon acrux
“when satan ruled the ocean, jesus made my fishtank boil” excerpt
volucris avis dirae-arum, 2004

one of those “what did that what was excuse me what is happening” moments that is based in superb discipline. 
nbd.  

also, how do i get my bass to sound like a weapon, like this. 

January 27, 2013

threnody ensemble
“somewhere near denton”
timbre hollow, 2002

mostly composed, partially improvised classical music from members of:
a minor forest
pinback
spitboy
33.3
lorelei 

by far, one of the most beautiful, evoking, humbling records i’ve ever heard. 

January 5, 2013

sky corvair 
“ethyl”
unsafe at any speed, 1998

chicago kids. side project of braid, cap’n jazz, and gauge. one of the best records of any of those bands. 

December 26, 2012

zach hill & mick barr
“dark sea clouds/shaking basketweaver”
shred earthship, 2006

ah, these were the days.  

December 24, 2012

coalesce
“cowards.com”
0:12 revolution in just listening, 1998


fitting, lately.  

November 24, 2012

karp
“j is for genius”
self-titled LP, 1997

this is what i imagine it would sound like if ministry and sleep had a baby, then left it in a dark alley to die in the night, but then lo and behold it comes back several years later, and they’re like, “oh heyyy, how’ve you been?” and then out come the guns. 

November 20, 2012

as the sun sets
“your beauty is a train wreck i do concur”
“if i’ve said it once i’ve said it a thousand times, pyrotechnics, pyrotechnics, pyrotechnics” 
“remember when i didn’t say what i wanted to say”
“untitled 3”
“black on black and so much class” 
8949 (entire album), 2004 





there was a time and a place. 

November 19, 2012

the 90 day men
“jupiter and io”
(it [is] it) critical band, 2000


genuine. even still.  

November 2, 2012

PNEU
“chaours” 
split with nervous kid, 2010

every now and then, a ferociously busy, technically proficient, noodle-happy math rock band will play the same four chord riff for two and a half minutes. or at least it happened just this one time. 

October 16, 2012

oxes 
“challenger”
territory cassette, 1999(?)

a long lost unreleased oxes song, wherein they shred riffs expectedly.
but, like, more metal than normal.  

October 15, 2012

yowie
“shriners sure do cuss a lot”
damning with faint praise, 2012

i haven’t posted anything in three months, and i don’t post reviews of records, but the situation warrants it. 
some thing of note, first- 
1. yowie has only one release prior to this, and it was 8 years ago (2004).
2. little, to nothing, was heard from this band in those 8 years. a show here and there in st. louis, news that a guitarist left the band, then years more of silence, then news that the original guitarist was back in the band, and a new record was on its way, 7 years after the previous. 
3. the same guitarist has since left again, and has been successfully replaced by christopher trull. nerds will note that he’s the phenom behind “grand ulena,” and that yowie had to pull him out of retirement. there are, admittedly, only a handful of guitarists capable of playing this music alive today.
“damning with faint praise” is not much different than yowie’s original masterpiece, ”cryptooology.” this is a very good thing. it’s compositionally different in plenty of ways, yes, but there’s absolutely no doubt that this is the same exact trio of people doing what they do best. “cryptooology” taught us that these three people are capable of an almost inhuman degree of precision and creativity, and “damning…” shows us that they’re not only still on top of their game, but they’re having fun with it, and refuse to take themselves any more seriously than they should. early interviews with shawn (drums) indicated we could expect the new material to be more repetitive and dancy, which couldn’t be more correct. fans of yowie will expect a stark lack of conventional melodic progression with the occasional gyration-causing rhythm. “damning…” fills those shoes in spades.  note 3:10-3:43 in the posted song, “shriners sure do cuss a lot.” a solid 33 seconds of 7/4 groove reminiscent of james chance noise funk. ”damning…” is heavily peppered with toe-tappers like this one.
oh, and who doesn’t love an odd-time signature half time breakdown? “the eternally collapsing object” is a testament to yowie’s newfound love for rhythmic elaboration, which is one of the main differences in growth from “cryptooology.” the earlier compositions rallied around frenetic swirls and breakneck stop-start passages. “damning…” keeps these vibes, but they focus more on elongating and building on certain rhythmic phrases. essentially, the freight train stays on the tracks long enough for the bolts to strip, but not fall off. 
yowie also finds itself pulling dynamics into the fold much more frequently, utilizing harmonics in low-key passages to create a brooding feeling before the impending explosion. delicate cymbal taps are less like sparklers, and more like the wicks of dynamite being lit.  
anyone who is familiar with this band’s earlier work will be relieved to hear that yowie wasn’t a fluke, a flash in the pan, or a one trick pony. it, quite literally, took eight years of relative solitude, determination, tenacity, and extraordinary discipline to compose the five pieces on “damning with faint praise,” and it shows. 
i usually like to describe “indescribable” music in terms of a scene, no matter how absurd: 
“damning with faint praise” is like a conversation amongst a group of drunk computers in a bar, having boisterous arguments and intricate debates, exchanging detailed points for every counterpoint, never conceding the truth, because in an existential and subjective way, everyone is right in their own manner. and the more they imbibe, like a drunken-boxing jackie chan, the more ass gets kicked.
drink up.  

 

July 21, 2012

why i must be careful
[excerpt]
[live performance, 10-27-2009 at valentine’s in portland, oregon] 

this is an homage to a band that will no longer regularly perform. they are a duo of rhodes piano and drum kit, and both clap and holler and sing at times.
as far as i can tell, as someone who’s had the pleasure of seeing them 7 or 8 times, their songs are only free-form to a very small degree. each part is like a piece of a collage, and seemingly, they construct a constant 20-ish minute composition before they play. i don’t think i’ve ever heard anything close to the same construct at any time. 
this excerpt has some of my favorite constructs that they’ve done. namely, the clapping.