High Watt Electrocutions’ Excursion into the Textural Desert
Since High Watt Electrocutions main man Ryan Settee prescribed a headphone listen in the liner notes, I broke out my dusty old pair and went for it as directed. Yes, I do everything liner notes tell me. It?s not a bad way to go through life. Beats religion, anyhow.
Sure enough, as Settee promised, a listen to Desert Opuses (Introspection Records) — the second release from the Winnipeg songwriter/multi-instrumentalist/producer under the High Watt Electrocutions moniker following 2007?s Night Songs — through even the dingiest of headphones proved that the tonal richness and layered density is best experienced at close range and ridiculous volume. The ringing guitars of ?Slow March? that follow the distinctly Middle Eastern tones of ?Ode to Snakecharming? feel like they could eat your head whole and launch you on some psychedelic journey into the rainbow colored belly of a giant lizard. Like a scene out of some acid cartoon. Like Queens of the Stone Age gone spiritual.
Desert Opuses delivers what the title offers, which might be its greatest accomplishment. Not being familiar with the landscape in Winnipeg, I?m assuming it?s not the same as Death Valley, but Settee (with a host of guests) harnesses a dune-climbing aesthetic that knows it?s best to travel by night. Layers of acoustic guitar, vocals, Moog and other noise shift in and out, producing a wash that is positively engulfing. Even on the instrumental ?Obliteration,? which is one of Desert Opuses? most down to earth moments, the vibe of moonlit psychedelia is palpable and one can dig a tunnel into the sound itself and come out somewhere different each time.
Of course, ?Headphone Opus? is an appropriately rich listening experience that lends credibility to Settee?s liner notes suggestion and the feeling of just how well planned Desert Opuses was to begin with. A highlight of side B, Settee brings the bass up front and lets it ride shotgun for a big sky trip down the empty road ahead. Piano, keys, moaning vocals and more make it so that there?s so much life in the recording it?s hard to think of it as an homage to a place so desolate, but the affected musical ecosystem is nonetheless impeccably pulled off. The minor chords throughout keep a consistent exoticism and Middle Eastern spice in the sound, and even as ?Tut Will Have His Revenge? launches into its noisy and chaotic finish, the overwhelming calmness is left unbothered. Settee fades into the riff-then-organ excursion ?Evilution? and closes with three minutes of Moog and harmonica interplay on ?Stripped Ruins.?
His pairing of elements gives Desert Opuses a fresh sound in an otherwise well-established genre, and while the album is mostly unconcerned with the traditional songwriting tactics to which much of desert rock strictly adheres, an engaging balance between high artistry and worldly tact is struck that remains unblemished no matter how far out Settee goes sonically. And to be fair, he goes pretty far out. Desert Opuses will have a sound too complex for some, but plenty of heads will find their minds willing to be expanded by its journeying tones and unfolding grandeur. Here?s to it.
High Watt Electrocutions on MySpace
I just listened to this record and was really taken aback. Impressive. Even more impressive is thefact that Desert Opuses is the result of one man’s work. One thing you didn’t pick up on was the strong Velvet Underground influence. Regardless, great piece on a very nice piece of recording history.