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Black Dice, "Beaches and Canyons"
DFA
As the art punk progression tends more and more towards electronic experimentation, Black Dice are ready to offer their interpretation of the movement, fusing their improvisational noise rock with an electronic sound which calls to mind Beaver and Krause, and a musique concrete similar to Xenakis. There are clicks, beeps, voice samples, chirps, echoes, robots, chimes, wails, mystic hums, crunches, and Oriental pentatonic scales. The group's previous releases for the Gravity and Troubleman Unlimited labels were unbalanced by their composition: many extremely short, kinetic songs combined with one or two longer songs. Here, the songs start off long and get increasingly longer. The band chooses to employ its heretofore unexplored potential energy in these songs, rather than just brashly offering their kinetic formulae. It's fascinating to hear this evolution, particularly because I used to think Black Dice were one-trick ponies. Live shows of the band were always intense and fun, but not always well-suited for translation onto record. With this record they have proved me wrong, and have developed into a forceful and imaginative experimental collective to listen to in my room. What will be interesting to see is whether their new sound is adaptable to their explosive live performances. 'Beaches and Canyons' starts out with the six-minute long "Seabird," an appropriately maritime number which unmistakably features some perturbed plover signaling the unjust encroachment on its nesting sand dune with constant squawks. The plover may or may not be robotic, and may or may not actually be a tern. By the end of the song, the intruder has clearly left, but bird is still squawking, albeit a little less virulently. "The Dream is Going Down" takes us to a canyon where robot voices bounce of the eroding limestone walls, while during the last six minutes of "Endless Happiness," waves and tidal sounds wash over us as the supposedly interminable bliss eventually does fall off. By the time the seventeen minutes of "Big Drop," the last song, comes about, we have literally dropped from the canyons in an errant spelunking mission into a cave where sound bounces about violently and the vocals scream, recalling Black Dice's older output. Wherever we find ourselves by the end of the album, the echoes in the music remind us that we are still in Black Dice's canyons, while the crashing of waves reminds us that we still have one foot rooted on the shores of an undiscovered beach.
As the art punk progression tends more and more towards electronic experimentation, Black Dice are ready to offer their interpretation of the movement, fusing their improvisational noise rock with an electronic sound which calls to mind Beaver and Krause, and a musique concrete similar to Xenakis. There are clicks, beeps, voice samples, chirps, echoes, robots, chimes, wails, mystic hums, crunches, and Oriental pentatonic scales. The group's previous releases for the Gravity and Troubleman Unlimited labels were unbalanced by their composition: many extremely short, kinetic songs combined with one or two longer songs. Here, the songs start off long and get increasingly longer. The band chooses to employ its heretofore unexplored potential energy in these songs, rather than just brashly offering their kinetic formulae. It's fascinating to hear this evolution, particularly because I used to think Black Dice were one-trick ponies. Live shows of the band were always intense and fun, but not always well-suited for translation onto record. With this record they have proved me wrong, and have developed into a forceful and imaginative experimental collective to listen to in my room. What will be interesting to see is whether their new sound is adaptable to their explosive live performances. 'Beaches and Canyons' starts out with the six-minute long "Seabird," an appropriately maritime number which unmistakably features some perturbed plover signaling the unjust encroachment on its nesting sand dune with constant squawks. The plover may or may not be robotic, and may or may not actually be a tern. By the end of the song, the intruder has clearly left, but bird is still squawking, albeit a little less virulently. "The Dream is Going Down" takes us to a canyon where robot voices bounce of the eroding limestone walls, while during the last six minutes of "Endless Happiness," waves and tidal sounds wash over us as the supposedly interminable bliss eventually does fall off. By the time the seventeen minutes of "Big Drop," the last song, comes about, we have literally dropped from the canyons in an errant spelunking mission into a cave where sound bounces about violently and the vocals scream, recalling Black Dice's older output. Wherever we find ourselves by the end of the album, the echoes in the music remind us that we are still in Black Dice's canyons, while the crashing of waves reminds us that we still have one foot rooted on the shores of an undiscovered beach.
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