The Daily Guru

Sunday, May 20, 2012

May 20: Daily Guru, "The Playlist #04: Patrick Dennis"

Today on The Playlist, the great Patrick Dennis from Wirepony and Truckee Brothers stops by to give his most recent music recommendations.

May 20: Explosions In The Sky, "First Breath After Coma"

Artist: Explosions In The Sky
Song: "First Breath After Coma"
Album: The Earth Is Not A Cold Dead Place
Year: 2003

Though many may try and argue against the idea, when one looks at the music scene that dominated much of the 2000’s musical mainstream, it is impossible to deny the fact that it was largely filled with overly artificial, uninspiring artists. Perhaps due to new recording technologies that made “legitimate” talent a secondary concern; or perhaps due to the fact that the music industry was clearly far more concerned with “sellable” artists than talented ones, these years represent some of the darkest in the entire history of music. Yet it is often during periods such as this where some of the most stunning and outright original sounds can be birthed, and this was certainly the case when one looked into the “underground” music scenes across the globe. Taking advantage of the accessibility provided by the internet, as well as being able to press their own music onto CD-R’s, few groups brought a more exiting or original sound that the Texas-based quartet, Explosions In The Sky. As an instrumental-based group finding themselves somewhere between avant-jazz and hard rock, Explosions In The Sky quickly made themselves known for breathtaking live performances, the quartet compose brilliant musical narratives on their studio releases, pushing their instruments into never before explored territory. It is due to their lack of lyrics, and outright stunning instrumental creations that make them completely unlike any other band in recent history, and having released four fantastic records over the past decade, their magnificent 2003 release, The Earth Is Not A Cold Dead Place, stands as their finest work thus far. Though the record is perfect from end to end, it is the albums' opening track, "First Breath After Coma," that captures the perfection of the band in every way.

Across each of the bands’ releases, the music of Explosions In The Sky is rarely anything less than a fantastic, completely captivating sonic journey, with each song leading perfectly into the next. Using only their basic instruments, and occasionally a sound effect here and there, the sonic landscape that the band creates on each song and album redefines what can be done within the rock and roll paradigm. Though many may have pre-conceived notions about “instrumental rock,” there is an edge and tone running throughout this entire record that can easily win over even the most staunch of critics. It is the fact that there is so much energy and emotion running throughout each track, and even without lyrics, the song titles give the album a clear concept, and the music fits the titles without question. On The Earth Is Not A Cold Dead Place, the concept seems to be one of love, longing, and loss, and these themes can be felt in the way that each musician plays his instrument. The talent of the four musicians is so outstanding that this idea comes across clearly without a word being spoken, and guitarist Munaf Rayani has also been quoted saying that the album was the bands, "attempt at love songs." On both ends of the album, the guitar work manages to come across as powerful, yet undeniably heartbreaking simultaneously. It is this ability to transcend words that makes the music of Explosions In The Sky so awe-inspiring, and makes each of their albums a refreshing shock to the system with each and every listening.

The core of the music of Explosions In The Sky revolves around the guitar pairing of Mark Smith and Munaf Rayani, and whether it is a lulling, melancholy progression, or a series of forceful, crushing chords, the duo are able to create some of the most intense and “lyrical” compositions in all of music history. All across this album, their sound does nothing short of creating lyrics through their phenomenal playing, and this in itself is a testament to their exceptional level of talent. Furthermore, the ways in which the guitar work translates into moods and words throughout all of "First Breath After Coma" is nothing short of spectacular, and it is the main reason why this song becomes so uniquely mesmerizing. Drummer Chris Hrasky is equally as brilliant, easily able to work the kit in soft, subtle ways as masterfully as he can knock out a full on, rock and roll breakdown. Bassist Michael James holds his own with the band, providing the extra punch that makes the sound of the band far more enthralling and full to the point that it becomes pure sonic beauty. It is the way that the sound starts off in a more mellow, almost unassuming manner that becomes so enjoyable. As the song progresses, the tension builds to an almost overwhelming level, and it is the manner with which the band crashes through in the middle section, letting the tension not only release, but create entirely new waves and moods that makes this such an impressive musical work to experience.

While there were a handful of bands in the early part of the 2000’s that seemed to have no interest in going anywhere near the mainstream sound, most of these bands were simply staying in the “standard” rock format. Yet there were a few groups that decided to attempt and make their name as an instrumental rock band, and this sort of approach and configuration had not been heard in decades. It is the overall impact of the music of groups like Explosions In The Sky that prove that in many cases, not only are words unnecessary, but they can often get in the way of the overall mood of a song. With this in mind, for well over a decade, Explosions In The Sky have been completely rewriting the books on what is possible within music, and they stand as one of the most impressive and original bands of their generation. Composing astonishingly beautiful and complex musical masterpieces, the group truly makes music unlike anything ever seen or heard. Forming dense musical soundscapes, the quartet masterfully paints vivid pictures with their music, conveying as much emotion and feeling as any "traditional" rock band. Transitioning from mellow, simple guitar work to swift waves of crushing percussion and chords, every song the band plays is truly a musical experience. Each of the four albums that Explosions In The Sky have released are well worth owning, but their 2003 release, The Earth Is Not A Cold Dead Place stands above the others and is undoubtedly their musical masterpiece thus far in their career, and the albums' opening song, "First Breath After Coma," is without question the ideal summary of the bands' talents.

Saturday, May 19, 2012

May 19: Camper Van Beethoven, "Telephone Free Landslide Victory"

Artist: Camper Van Beethoven
Album: Telephone Free Landslide Victory
Year: 1985
Label: Cooking Vinyl

Though it often makes it easier to describe the sound of a particular band, there is no arguing the fact that genre classifications are completely arbitrary, and in many cases they are rather meaningless. This idea is perhaps easiest seen in the fact that there are a number of bands playing a particular sound far before it is given the more popular genre title, and yet these early bands are often placed into a different category. While this has occurred a number of times over the course of music history, it has rarely been more obvious than in the case of the handful of bands in the 1980's that bridged the gap between punk rock, folk rock, and "garage" rock. In more modern times, the sound these bands created would certainly be called "alternative" or "indie" rock, and yet in their own time period, it was so unique that it was often not given any classification at all. Bringing one of the most unique sounds in all of music history, and laying the groundwork for what would become the "alt rock boom" of the early 1990's, there are few groups that better display this reality than Camper Van Beethoven, and there are few records of the entire decade more impressive than their 1985 masterpiece, Telephone Free Landslide Victory. Filled with a massive array of sonic approaches and influences, the record still easily holds its own to this day, and there is simply no other album in history that can measure up to this work of absolute musical genius.

Only a few notes into the album, the unique and almost defiant nature of Camper Van Beethoven becomes apparent, as the band seamlessly fuses together the core of folk music with the angst and spirit of the punk rock sound. Though other bands had experimented with stripping down the punk sound, none did so in a similar manner, and one can easily hear the wide range of influence that this track had on later bands. It is the way that the grouped guitars ring across the track that makes the song so distinctive, as they seem a bit rough and edgy, and this is where one can hear the punk influence. Many might argue that the tone of the guitar sounds unfinished or perhaps even "off" at certain points on the record, and yet it is this same element that stands as the albums' most enduring musical aspect, as there is an energy within the guitars that is unlike any other recording. It is also the fact that there are multiple guitars at work that make songs like the iconic "Take The Skinheads Bowling" so unique, and their sound is perfectly complimented by bassist Victor Krummenacher. Within the bassline, the songs gain a fantastic sense of movement, as one can feel the tracks sliding back and forth, and yet this is also what keeps any of the bands' songs from becoming labeled as punk, furthering its distinctive nature. Drummer Anthony Guess rounds out the band, and it is his fast paced, almost nervous sounds that serves as the ideal finishing touch to these tracks, and once heard, it is impossible to forget the musical performances and amazing hooks found throughout the album.

Yet while the musical arrangements all across Telephone Free Landslide Victory are superb, there is no question that the spirit and soul of both the sound and band reside within the vocal performance of David Lowery. Furthermore, it is Lowery's vocals that cement the bands' place within the punk aesthetic, and yet on many levels, the singing and lyrics are more "artsy" than what one expects from the punk genre. However, Lowery's seemingly detached, almost nonsensical performances are truly fantastic, and it becomes almost, if not more iconic than the music over which he sings. Moving between speaking and almost uncontrollable shouting, there is simply no parallel for the style of David Lowery's singing, and on many levels, it is these performances that would become the blueprint for every "alternative" singer that would emerge half a decade later. It is this unique swagger that manages to make the often extremely strange lyrics somehow work, and due to the way with which he presented them, countless people assumed there was some "deeper" message within the words of many of the songs. However, when one steps back and inspects the lyrics to a song like "Take The Skinheads Bowling," they are completely random, and though the chorus is beyond catchy, the verses themselves are as dadaist as one can find anywhere within the history of music. Yet the fact that they are so unforgettable serves as proof to the power of a great vocal delivery, and it is the reason that David Lowery stands so far apart from his peers.

There is no question that Telephone Free Landslide Victory stands as one of the most iconic albums of the entire decade, and few can recall a time when the record did not exist. However, while this is all true, the fact of the matter is that the album never even came close to charting on any sales records. Though the most memorable track became a staple of college and independent radio during the 1980's, this did not lead to greater success for the band; and in this way, Camper Van Beethoven stand as one of the most unique acts in all of music history. Yet the reason why the album became such an "underground" success is completely clear, as few other recordings in history are as outright irresistible and unforgettable as one can experience in every aspect of Telephone Free Landslide Victory. The trio of guitars are nothing short of perfect, and it is largely the attitude behind this sound that defines the bands' music. Rarely has their been a record based around a largely acoustic instrumentation that has as much attitude as one finds here, and this is much the reason that Camper Van Beethoven was able to appeal to such a wide range of music fans. This seemingly limitless appeal can be seen in the fact that in the time since the album was first released, the many of the tracks have been covered by artists ranging from rock to ska to punk to folk, and in each case, it seems to fit perfectly with the genre in question. Taking this all into account, there is no question that Camper Van Beethoven stand as one of the most distinctive bands in all of music history, and there are few records as uniquely timeless as their 1985 album, Telephone Free Landslide Victory.