The Theory of Abstract Light: The Theory of Abstract Light CD review (Orlando Weekly)

Ben Carr is the guitar half of 5ive, a duo known as purveyors of dense, atmospheric stoner rock. That duo has made somewhat of a name for itself with thick, dynamic instrumental music. So, it’s not too surprising that Carr’s side project, Theory of Abstract Light, is milling about in similar areas. Where 5ive goes for a more grindingly heavy effect in its work, these solo pieces by Carr are far more esoteric. Largely built upon Carr’s treated guitar work and decorated with thin layers of effects, these seven tracks are hypnotically sparse in their construction. Following no traditional structure, this music is resolutely minimal and sounds largely improvised. And though a track like “Self Loathing (Realizing)” is built upon a somewhat memorable drone, it’s something like the jarring spaciousness of “The Hemophiliac Dream (A Message Into)” or the dark echoes of “Is the Dream …” that truly define this EP.

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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Mellowdrone: A Demonstration of Intellectual Property CD review (Orlando Weekly)

After the influential “Loveless” album by My Bloody Valentine rewrote the rules of guitar rock (at least good guitar rock) for the ’90s, dozens of bedroom-bound axe-wielders saw fit to unleash their wobbly, feedback-drenched sound on the world. Problem was, most of those records sounded like they were recorded in a bedroom. By a guy who hadn’t heard many albums besides “Loveless.” Certainly, there were exceptions, but largely, the phenomenon passed unnoted, due mainly to the homogeneity of the artists involved. Jonathan Bates didn’t emerge from his bedroom long enough to notice any of that, and now he must wonder why no other record out there sounds like his Mellowdrone project. Bates/Mellowdrone has mustered up six songs on this EP that are fascinating if only for their sheer audacity. There just aren’t people making guitar rock this simultaneously aggressive and fragile in 2003. A track like “Fashionably Uninvited” may have some subliminal markers that whisper “Radiohead” to a casual listener, but the way that Bates merges his bombast and beauty surpasses even the pretense of those blokes.

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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Loose Fur: Loose Fur CD review (Orlando Weekly)

I’m still not sure what everyone heard on “Yankee Hotel Foxtrot” that made them collectively wet their pants, but I know it wasn’t this. The music on “Loose Fur” (performed by Wilco’s Glenn Kotche and Jeff Tweedy, along with “YHF” collaborator Jim O’Rourke) is relaxed, intuitive and often odd. Neglecting both Tweedy’s melodic leanings and the more abrasive experimentation of O’Rourke’s most confusing work, as a true collaboration “Loose Fur” ultimately splits the difference. The six songs on this 40-minute album are moody and quiet, equally dependent upon Tweedy’s meandering guitar work as they are on O’Rourke’s spacious accompaniment (Kotche brings up the rear with low-key percussion). It’s a jam session we’re dealing with here and perhaps that’s why “Loose Fur” is far more appealing than the dense, overwrought blandness of “YHF.” Most of the cuts nestle themselves in a noodly, John Fahey-type realm, full of open-ended guitar lines and abstract atmospherics. And the looseness of these six songs demonstrates the joy that occurs when immensely talented musicians are free to just play.

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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Yat-Kha: Yenisei-Punk CD review (Orlando Weekly)

Tuvan throat-singing occupies a special place in the hearts of folks who dig music from far-flung lands. Even though one’s collection might include instrumentation like sitar or oud or shakuhachi or a listener might be well into Indonesian puppet-theater music or the sounds of Arabic nomads, well-indoctrinated “world music” lovers are still stunned by the sheer uniqueness of the deep, guttural sounds of Tuvan throat singers. It’s a primal sound, as resonant as the voice of God and it strikes a special chord with its sheer simplicity. Yet, Tuva — a tiny area of deep Mongolian influence in isolated south Siberia — is a land that’s finding its cultural history evaporating as its residents move from farming villages to industrial cities. However Albert Kuvezin — an electric guitarist and throat singer from Tuva — is doing his part to keep kanzat (his particular brand of throat-singing) vibrant with Yat-Kha, perhaps the only extant Tuvan rock band. Though “Yenisei-Punk” is far from being a punk rock record in the Western sense, the melding of Tuvan instrumentation with electric guitars and a rock & roll attitude means that it’s a seriously forward-looking update on some very traditional music. Largely low-key and brooding, this album does little to reflect the live power of the band, but is certainly possessed of a power of its own. Originally released over eight years ago, “Yenisei-Punk” is still perhaps one of the most original-sounding albums ever released. Subjugated to minimal distribution in the States, Harmonia Mundi is finally giving this underground classic the attention it deserves via this reissue (which boasts both fresh remastering and two bonus tracks).

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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Grief: Turbulent Times CD review (Orlando Weekly)

Never has a band been more aptly named. In their 10 miserable years together as a band, Boston’s Grief continually delivered the most gut-wrenching, heavy slabs of sheer emotional destruction. Drug abuse, self-abuse, mental anguish, pity sex, anger, rage, hatred, hostility, seclusion … if it was agonizing, Grief was all about it. And, rather than taking some solipsistic route through emotional catharsis by strapping on an acoustic guitar and “sharing,” Grief ensured that their (small) audience would be one with their pain by putting forth barrages of sludgy, doom-metal that would cast a deathly pall over even the most glorious day. Finally imploding in early 2001 after a decade of non-success (wonder why?), the recent groundswell of interest in “stoner rock” has swept up the legend of Grief and made the band more popular now than they ever were while together. Of course, Grief was no Kyuss. There was never anything elegant or premeditated about a Grief song. They were just riff-heavy explorations of misery that wallowed in their own grinding anguish. This 11-track set compiles nonalbum material from Grief’s glory days. Though most of it comes from hard-to-find vinyl-only releases, the three unreleased tracks here — alternate versions of “Earthworm,” “Depression” (which clocks in at nearly 11 minutes) and “I Hate You” — are equally notable for their rarity.

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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Sainkho Namtchylak: Stepmother City CD review (Orlando Weekly)

Women who explore the outer ranges of vocalese typically do so with an utterly reckless abandon of form. Whether it’s Betty Carter, Yoko Ono, Diamanda Galas, Elizabeth Fraser or even Bjšrk, each conveys a tremendous sense of vocal freedom in their work. Tuvan singer Sainkho Namtchylak is no exception. Her exceptionally variable voice brings alive the musical history of her southern Siberia homeland, while alternately evoking ethereal pop and forceful jazz improvisations. Those familiar with Tuvan throat-singing may wonder how such an octaves-deep tradition would fare with a female singer, but Namtchylak is unconcerned with being a musical archivist. Her voice is utterly unshackled on this release, particularly on a track like “Ritual Virtuality,” during which Namtchylak’s vocal abandon ranges from big-throated freakout to glossolalia-drenched ethereality. Similarly, the music here ranges from beat-centric ambience and pulpy balladeering, to avant-garde raunch using instrumentation both modern and ancient. It’s a fascinating mix from a truly unique performer.

First appeared in the Jan. 23, 2003 issue of Orlando Weekly.

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