EYE, Second Sight: Into Beyond

Posted in Reviews on December 10th, 2013 by JJ Koczan

Birthed in a not-at-all cosmic reality known as Columbus, Ohio, the four-piece space rock outfit EYE nonetheless execute their sound with classical majesty on their sophomore full-length, Second Sight. Their first outing, 2011’s Center of the Sun (discussed here and here), was gorgeous enough to get the attention of Kemado Records, who issued it on vinyl in 2012, and the still-quick follow-up comes preceded by a 7″ single (discussed here) and a live tape (review here). Clearly, EYE — who also self-recorded the new long-player — aren’t ones for sitting still, and that sense of movement extends to the music on Second Sight as well, beginning in the gong hits and synth waves that patiently establish the psychedelic course of 21-minute opener “Lost are the Years.” Here EYE begin to unfold not just the first side, but the LP as a whole, and though it’s only been about a year and a half since Center of the Sun was released, the sense is that something ancient has awakened. There is a near-immediate sense of texture to “Lost are the Years,” also the longest track on the 45-minute outing (bonus points), and that comes in large part from the wash of Moog and analog synth effects created by Adam Smith. Guitarist/vocalist Matt Auxier has no shortage of effects on his guitar either, and even drummer Brandon Smith gets in on the ambience with chimes, congas, the aforementioned gong and other percussion in addition to regular old rock drums, so while bassist Matt Bailey would seem to be the one charged with holding the five tracks of Second Sight together, actually it works out more that the four-piece never really lose control. As spaced-out as they go — and they go plenty spaced out — the record keeps a mood that’s calm-ing if not calm-ed, and when they want to, EYE drift with futuristic efficiency into atmospherics that even the first record only seemed to hint at, a song like “Wooden Nickels” retaining some human element through harmonized vocals from Auxier and both Smiths.

Vocals are never really the complete focal point (Amy Michelle Hoffman and Anthony Jacobs contribute as well), but they’re gorgeous anyway and make the band that much richer and more lush-sounding. It is nearly five minutes of build-up before they arrive over bass and acoustic guitar on “Lost are the Years,” signaling the start of the song’s peaceful second movement. Tension is minimal, melody is rampant, and EYE are immediately the masters of the universe they’re exploring. Auxier takes a bluesy, echoing solo over acoustic strum and Bailey‘s bassline, and Adam keeps the texture varied while Brandon seems to rest until about the seven-minute mark a fill leads to the next progression, a more upbeat, distorted and somewhat foreboding swirl. The vocals are deeper in the mix, part of that swirl, not above it, and the swaying riff that backs the subsequent guitar solo calls to mind some of Hypnos 69‘s more recent progressive triumphs. The course of “Lost are the Years” is winding as the third movement builds to a crashing finish and the acoustic strum of the second movement returns, backed by subtle percussion and bathed in mellotron sunshine. It is even more graceful in its Floydian sprawl than when it first appeared, and it shifts fluidly into more exploratory acoustic guitars, a thunder sample signaling the change impending before a full stop brings back the heavier swirl, all channels full and vibrant as they transition into a shuffle led by Brandon‘s drums and soon joined by Adam‘s keys, rising, cresting and receding. They’ve departed the back and forth of one part to another that they’d previously established in favor of an extended jam, the guitars, bass, drums and keys all serving to further the atmosphere, layers of lead and rhythm guitars coming forward for a King Crimson-style push after 16 minutes in even as Auxier is in mid-rip on another solo. A series of hits ensues and backed by a jazzy snare roll, the guitars lead down a psych rock rabbit hole, ending up in a winding line that brings a return of vocals and precedes the key-driven push into the final payoff. It would need to be sizable to answer for all the twists and turns of “Lost are the Years” so far, and it is, but not necessarily any more grandiose than is warranted. Guitar is still are the fore, trading off lead lines and heavy riffing, and they cap with a return to the hits that led the way into the last movement, ending a song that, if you try to consciously keep pace with each of its changes, you’re going to wind up exhausted in the best way possible.

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audiObelisk: Stream Pharaoh Overlord’s “Suntio” from Split LP with Grails

Posted in audiObelisk on November 6th, 2012 by JJ Koczan

This Pharaoh Overlord stream is another one of those things that should’ve happened last Monday, but you know, blah blah blah, natural disaster, no power, refugee living, etc. I actually tried to make it happen toward the end of last week as well, but hotel wifi caps were too reminiscent of downloading music on dialup and I was starting to get short of breath each time it cut out uploading and I could feel my eyes rolling up into the back of my head, so yeah, here we are. Let’s frame it like this: the Grails and Pharaoh Overlord split came out one week ago on Kemado and we’re celebrating the anniversary with a track stream of “Suntio,” one of their two contributions to Palmu, their side of the full-length release.

Listeners familiar with the Finnish outfit will recognize their classic jam/improvisational style, but for anyone who might be unacquainted, Pharaoh Overlord began in 2000 as a spinoff from the band Circle. Their earlier releases were titled only by number — they went from 1 to 4 in that manner — and over time, they’ve developed a rich and evocative psychedelia fueled by the dynamic between players. Their latest and seventh LP is 2012’s Lunar Jetman and the tracks they contribute to this split with Portland, Oregon’s Grails — “Suntio” and “Palmu” — stand toe-to-toe atmospherically with their counterparts. Despite simpler arrangements, Pharaoh Overlord meet Grails head on — complementing, not competing — and while they’re by their very nature less lush sonically, the spirit remains emotionally resonant.

If that doesn’t make any sense, I’m fortunate enough to have Alex Hall and Emil Amos from Grails (the latter also plays in Om) on hand to provide insight and commentary on how the two acts came together for this release and why. You’ll find their words after the track, which is on the player below:

Here is the Music Player. You need to installl flash player to show this cool thing!

The Grails/Pharaoh Overlord, Black Tar Prophecies Vol. 5/Palmu split LP is available now on Kemado Records. Here’s what Hall and Amos of Grails had to say:

After hearing Pharaoh Overlord for the first time, a friend of ours drunkenly requested that P.O. be played every time he entered a room… vainly envisioning that he deserved the sort of fanfare a WWF wrestler might use to bask in illusions of superhuman power. Outside of the delusional inanity of his original proclamation, the man’s ultimate point still stands: that Pharaoh Overlord embody one of the more successful and tasteful feats of hybridization in underground music by fusing the exploratory and meditative aspects of motorik repetition with the dank sleaze and dread of early metal. There are at least two or three bands in the running for World’s Greatest Band at this moment… and P.O. have several advantages on them. If only they could backmask a message powerful enough that I might blow my head off and finally prove the true visceral nature of their aesthetic vision to the vermin-like web-crawling fleets of distracted critics. Without question, we are P.O.’s target audience. After pumping this courtesy track off the new Grails/P.O. split, treat yourself right to a viewing of “Dream Deceivers”!… http://www.youtube.com/watch?v=eDsv_oG3KWY

Pharaoh Overlord on Thee Facebooks

Grails’ website

Kemado Records

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Grails’ Black Tar Prophecies Vol. 5 to Arrive as Split LP with Pharaoh Overlord

Posted in Whathaveyou on September 17th, 2012 by JJ Koczan

Nifty news for anyone who’s followed the always-intriguing progression of Portland’s Grails, in that the fifth installment in their ongoing Black Tar Prophecies series of releases will come in the form of a split with Finnish outfit Pharaoh Overlord. The last album from Grails proper was 2011’s Deep Politics (review here), and this will be the first Black Tar Prophecies to be a split since the very first in 2006 came out as part of a release with Red Sparowes.

The band may be instrumental, but the PR wire speaks the following:

GRAILS split w/ Pharaoh Overlord

Kemado Records announces its October 30 release of Grails’ new offering, Black Tar Prophecies, Vol. 5, the latest in the band’s Black Tar Prophecies series.

From Portland, Oregon, Grails feature drummer Emil Amos, also of Om. Making music under the Grails name for a decade now, the instrumental band have released music on labels such as Temporary Residence, Neurot, and Robotic Empire. Pitchfork bestowed this review upon them: “From stoner sludge to swirling desert rock to meditative mood music, Grails run an impressively wide gamut… Grails’ constantly changing sound makes every moment arresting, not simply the big crescendos.”

Kemado will release Grails’ Black Tar Prophecies, Vol. 5 on October 30 as one side of a split LP, the other side belonging to Finland’s Pharaoh Overlord, featuring members of prolific Finnish band Circle.

BrooklynVegan is now streaming “Chariots”, the lead track off Grails’ side of the split.

Grails head to Australia in October:
Oct 13 – Melbourne, AU @ The Corner (w/ Tortoise)
Oct 14 – Perth, AU @ UWA (This Is Nowhere Festival w/ Tortoise)
Oct 17 – Brisbane, AU @ The Zoo
Oct 18 – Melbourne, AU @ Northcote Social Club
Oct 19 – Sydney, AU @ Oxford Art Factory

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