Κυριακή, 13 Ιουλίου 2008

heavy winged


πέρσι τέτοια εποχή είχα πάθει εμμονή με τους religious knives. κράτησε ολόκληρο το καλοκαίρι κι ακόμα με ενθουσιάζουν [το it's after dark είναι το δεύτερο πολύ καλό άλμπουμ τους που κυκλοφορεί το 2008 μετά το resin και το in brooklyn after dark εξακολουθεί να είναι από τις κορυφαίες στιγμές τους]. φέτος το κόλλημα λέγεται heavy winged, κι αυτοί απ' το μπρούκλιν, παρόμοιος ήχος, λίγο πιο σκληρός, ίδια πάντως ομοταξία.
στο
impose magazine υπάρχει αυτό εδώ το review για κάποιο live τους στη νέα υόρκη που περιγράφει με τον καλύτερο τρόπο και τον ήχο του γκρουπ και την τον τρόπο που παίζουν [και οι photos δικές τους]: '' Heavy Winged shows are like fantastic, confusing dreams. When you wake up at the end of the set (from reverie, in this case; sleep would be very difficult), the whole of it is still clearly illuminated, but the details rapidly fade into lingering, disjointed impressions of a roar of guitar swimming up from EBowed bass shriek and drums tumbling through a yawning void suddenly vacated by the other instruments. The improvisational three-piece (formerly Brooklyn-based, now maintaining momentum despite a bicoastal member diaspora) takes the most traditional set-up in rock music — guitar, bass, drums — and makes it enormous and unfamiliar.
Playing each set as a single, unbroken stream-of-consciousness isn’t too unusual alone, but it’s the process that matters here. Guitarist Ryan Hebert seems to be the rock spine of the group, holding whatever else is happening together with driving, bass-heavy guitar that often seems to be equal parts grunge and metal (at least when not just setting up massive, distorted sound fields). Bassist Brady Sansone, with his instrument’s traditional bedrock role already being competently handled, instead often opts for the domain of treble, spinning out shimmering atmospherics and distortion skronk. Something of a sound-scientist, the seated Sansone often lays his bass flat across his knees to better dissect and manipulate, naturally with the help of an extensive pedal array (Hebert, fittingly, stands). Drummer Jed Bindeman handles the difficult task of vaulting through the cages of broken rhythm set up by the other two with an effortless ease. Falling into a relentless lock-step grove one moment only to break into frenzied cacophony the next, and often finding a tricky, acrobatic middle ground between the two".
gruesome pillow talk