A THOUSAND SHADES OF GREY
(split CD with ACID MOTHERS TEMPLE)
1. ESCAPADE – Because Because Because [
2.
3. ESCAPADE – Transformation 2 [
LABEL PRESS RELEASE
In today's
post-post-(etc.)–modern times, almost all people inhabiting this planet have
access to all kinds of music. (Anybody with a fast connection who ever 'buried'
him- or herself in the internet for a few days knows what I'm talking about).
More than ever, 'anything goes' is the credo of the present; it seems that
there is no kind of music which hasn't been there before. And yet, now and
again one chances upon music, which strikes one as completely 'new'. This CD is
such a discovery.
'Architecture is frozen music' is one of the
German philosopher Arthur Schopenhauer's best-known quotes. Maybe the members
of New York-based band Escapade knew this quote. For their two tracks on this
album sound very 'constructed'; everything seems to be based on what's been
played before. But surprise, surprise: All the band's music is completely
improvised and spontaneous! The first track opens with just a few notes on the
organ which after about three minutes is joined by guitar feedback. The latter
instrument then starts to produce rhythmic sounds and at the five-minute-mark,
a monotonous drumbeat introduces itself. Ten minutes after the beginning, the
guitar becomes somewhat offensive, but without aspiring to a soloistic heights.
(Later, one can actually discern something like a solo in the background, but
this is buried so deep in the mix that it cannot count for one). Then the whole
structure slowly gains momentum and peaks in a sound-orgy that is simply
mesmerising. And suddenly you find that the first 18 minutes of this CD are
over. You'll probably also find yourself groping for words. What was that? A
new kind of post-rock? Early Amon Düül jamming with Shellac? I can't tell you
either, but one thing I know: it's damn good music!
What follows is an absolute killer: 28 minutes of
Acid Mother’s
The second track by Escapade starts out as a
seemingly 'normal' rock-track with drums and bass. But after a few moments
these familiar forms vanish to be replaced by a spooky free-form guitar-improvisation,
which reminds one of the cacophony of Pink Floyd during their A Saucerful Of
Secrets-phase. Out of this, a thundering, archaic drum-pattern emerges, on top
of which guitar and tambura create atmospheric droning. Again, after some time
the track increases in intensity and rises to a rhythmic orgy. At the end,
there is a loud bang on a gong, and all that remains is the subtle droning of
the tambura. The fact that Escapade have just interpreted John Cage's 4'33''
for a compilation on the Emperor Jones-label bears further testimony that they
know what they're doing.
On this CD, two of the most incredible and far
out sound-sculpturers who venture off the beaten track of zeitgeisty
electro-acoustic music shake hands. Anybody who thinks he or she knows his
avantgarde should listen to this record. And be amazed.
SLIPPY TOWN
Excellent '03 split acid bath
from
BLOOM
(Translated from German by Gina
Zavota)
20, 50, 67, 89, 112, 151, 177,
188. This is not an abstruse
mathematical series, but rather the number of seconds that go by before the
first organ note of “Because, Because, Because” by Escapade is
gradually joined by others. Naturally,
the first interval created is a second, so that some psychedelic tension comes
about. Only after three and a half
minutes, when your average band is already taking its song down the home
stretch, can the first guitar note be heard, and only a further 90 seconds
later do the drums make their presence known.
And with that, welcome to the
border of the country of Post-Rock, that island in the ocean of
psychedelia, whose “Aloha” consists of powerful, repetitive chords and
structures, where the drums occasionally shift the stress and try to trip up
the bass-engine, regularly plucking away.
Over and over the guitar tries to break away, and distant vocals are
laid down in loops around the music, to keep it from completely falling apart –
something that nonetheless happens after a quarter of an hour, heralding the
last three minutes of the piece’s lifetime.
Escapade come from New York;
they’re represented on this CD by two titles – “Transformation 2” is a
trancey, slowly developing, improvised piece featuring all sorts of electronic
noises and distortions – and they must be incredible live. Their influences are clearly the Krautrockers
of the early ‘70’s, especially Can and
Amon Düül II, even though the Americans place somewhat less of an
emphasis on the rock aspect of the music, the beats.
The Japanese Acid Mothers
Temple and the Melting Paraiso UFO are, at the moment, the extremely hip
flagship of the new psychedelic-underground scene, and with good reason. However, the piece which appears here, “European
Sun,” clearly has more of an affinity with minimalists such as Philip
Glass, Terry Riley and Steve Reich than with German
improvisational Krautrockers of the early ’70’s. For 28 minutes, the melodic pattern in the
foreground develops extremely slowly, whereas the infernal background noises
remind one of the electrical storm of White Noise. AMT’s music is overall more synthesized than
that of Escapade; however, band leader Kawabata Makoto also plays
electric sitar and violin, and an Indian bamboo flute is added to the mix as
well.
To put it in terms of numbers
again: three pieces, one hour, and a trip that you don't want to end – that’s
what this CD offers. A fantastic
voyage. You can call it what you want, Krautrock,
Psychedelic Rock, Post-Rock; each is accurate at some points and
not quite right at others. Maybe, due to
the influence of minimal music, it should be baptized Minimal Rock!
-Dominik Engel
MOONHEAD
(Translated from German by Gina
Zavota)
The three pieces on this CD transcend most of
what you might know about modern popular music. Sure, some well-known
categories do fit -- if you’re comfortable in the world of Post-Rock, Art Rock,
Psychedelic Rock or trancelike-repetitive semi-electronics, you’ll quickly feel
at home here. However, you would be wise to clear your mind of these
fixed categories before listening to this CD. What you get here will then
be nothing less than an alternative musical plan, with respect to the time that
the musicians allow for the development of their pieces, and their thorough
investigation of sonic colorings, musical structures, and emotional tension.
The CD begins with the 18-minute “Because, Because, Because” from New York
City-based Escapade. An almost three minute long organ intro is broken by
guitar feedback, which then develops a rhythmic structure that’s taken up by
the drums. Gradually, a freely improvised jam builds up, involving all
the band members and climaxing in an unbelievable pre-finale – an orgy of
controlled guitar and electronic noise, supported by a straight and beat-driven
rhythm section – until the piece dissolves into disorganized noise and slowly
fades out. This is followed by the almost 30-minute “European Sun,” from
the Japanese Acid Mothers Temple, in which a structure is built up from
initially unstructured noise. The result is a chamber music rendition of
completely freaked-out space- and psychedelic music, which turns it into high
art: subtle, ambient, and an unexpected musical encounter, whether or not
you’re already familiar with the band. The CD closes with “Transformation
2” from Escapade, a piece whose intro, with bass and drums, begins almost in
the style of a trendy “The” band. However, this is only the prelude to a thorough
deconstruction of traditional musical structures, which are then gradually
reconstructed in altered form in the course of many processes of
transformation. This piece is also the result of free improvisation and
thus it doesn’t just make an impression on the intellectual level. The
emotional intensity of the piece leaves you completely exhausted, and it could
be a while before you know what’s hit you and before you can – or want to –
listen to other music.
Unlike many other split releases (often rather charmingly makeshift
productions, since in this way two releases can be produced for the price of
one), this one really makes good artistic sense. New York intellectuality
meets far Eastern hippie esoterica, and astonishingly the result is a unified
whole. The CD is a masterpiece, and perhaps the start of a new formal
language for music – one that derives its material in equal proportion from the
Fluxus concept (normally attributed to E-music) and the psychedelic music of
the 60’s. Nothing about it is “retro,” however. The length of the
tracks in particular serves a quite different purpose than simply stringing
together different “sections” or allowing for substantial soloing from various
instruments. Here it allows for a multifaceted exploration of structures,
for the tracing out of nuances, and for the development, discussion, and
illumination of new “blueprints” for tonal arrangement. It goes without
saying that this CD is recommended; for anyone who wants to peek into a
laboratory for research into musical foundations, it’s a must.. -Frank Gingeleit
PSYCHOTROPIC ZONE
Oh yeah, yet another AMT release, this time with
Escapade from the USA. There are three extremely long tracks of really
brain-frying improvisational psychedelia on this CD. New Yorkers Escapade start
the album with their peacefully evolving track "Because Because
Because". The drums join the organ drone after about five minutes, and the
track really gets going. The monotonic and hypnotic throbbing might get your head
really messed up, so be careful out there! Next AMT, Japan's gift for all the
freaks on the world, offer their contribution in for of an almost half an hour
long track "European Sun". The number begins with the familiar space
sounds, which are soon joined by violin, electric sitar and this and that other
nice instrument. There are no drums, guitar or bass on this one, so it differs
a bit from the "normal" AMT tracks. This track can do some serious
damage to your brain cells as well, since it's pretty warped and flaky stuff.
It cannot be recommended for those with weak mental health... This is a very
psychedelic and hypnotic journey into some really strange place, and it feels
like it has no ending. Time loses its meaning and the dimensions of space show themselves
in a totally new way. If you ever get back from this trip, there's still one
Escapade tracks left called "Transformation 2". This shortest number
on the album (13:30) begins in a very tranquil way, but at some point the drums
join in, creating primitive tribal moods, and during the last few minutes the
jam gets rather intense. This album is suitable for the more adventurous
listeners, who like to enjoy their post rock to the power of ten.
STRICKLE.COM
In the modern day and era, everything is possible.
Even more than in the 60’s have all boundaries been surpassed, the sky is the
utter limit. The vast expansion of the internet is cohesive to the expansion of
music styles, the 21st century is providing musical instruments men never
before had thought of, resulting in soundscapes unheard of. A.M.T. and Escapade
are two bands who share a common good, the inevitable. The clash of titan
sounds are immense on this split cd. Both bands dwell on electronics,
soundscapes and perfection of details. ATM features with one song on the cd and
Escapade with two. The music is spatial, apocalyptic, and hyper in a mellow
way. Long journeys through a mental trip are told, and one must take time to
appreciate the music. Shake society from your back and relax or end up fucked
up and irritated. The soundscape both bands present here are REALLY not for
everyone, to some it will be labeled as irritating noise, to others a beautiful
and most of all colorful trip. I agree on the latter.
-Sander
AURAL INNOVATIONS
This new split CD from
the German Fünfundvierzig label features three lengthy tracks: 18 & 13
minute excursions from American avant-space rockers Escapade and a 28 minute
voyage from Japan's masters of complete and total freakdom, Acid Mothers
Temple. From New York City, Escapade are a band that deserve far more attention
than they get in the space rock and improvisational music communities. They
have released 7 CD's since 1996 and contributed to several compilations, and
with the exception of a Pink Floyd cover on their last album all their music is
improvised. The band call themselves avant-space rock, which only touches the
surface of what Escapade are about, drawing on a variety of space rock,
krautrock, progressive and avant-garde influences to create music that is
intense, cosmic, exciting and uniquely their own.
"Because Because
Because" opens with a pulsating organ line that holds its notes long
enough to create genuine tension. After a few minutes some rumbling aggression
is introduced that begins to stir things up nicely. Then around the 5 minute
mark the band launch into a chest thudding groove with haunting space waves,
drifting moans and drones, and a rhythm section that propels it all at a steady
alien clip. And the rest is an intense blend of krautrock, heavy space rock and
soundscape textures that kept me riveted as the anguished guitar wrenching and
hypnotic but assertive groove tore along their cosmic path. Fans of Finnish
rockers Circle would love this, though having heard quite a bit of Escapades'
music I have to emphasize that despite the analogy they have a voice of their
own that has developed over many years. "Transformation 2" begins
with a cool combination of Can-like rhythms and drifting ambient waves. But the
ambience soon takes over and we float along in deepest space for a while until
the drums bring in the rhythmic pulse once again. There are multiple layers of
sound textures, all coming together to create a haunting, barren
bowels-of-the-spacecraft feel, the grinding space guitars adding a punkish
sense of sonic aggression, and the pounding drums keeping everything on a
determined and continually building path to its ultimate mercury bursting
conclusion. VERY intense and I was completely drained at the end.
Acid Mothers Temple's
"European Sun" opens with the trademark AMT freaked out alien
electronics, a wailing violin drone and slowly developing minimalist patterns
that are like a cross between chamber ensemble, Manuel Göttsching and Phillip
Glass, all conducted in deep deep space. But as the gradually evolving music
continues, Cotton Casino's space whispers add an extra tripped out element and
the UFO electronics buzz about with increasing mischievous frenzy. But AMT
resist the temptation to let the craziness dominate the mix, instead wisely allowing
the minimalist ambience to lead the way and let the electronics add color,
character and solid space fun. There are many sides to AMT and when I'm in the
mood they are second to none for the ultimate freakout experience. But in this
case it was nice to spend a half hour journey with the band as they paint a
more cerebral and less sonically shocking landscape. - Jerry Kranitz
REVIEWS
OF OTHER ESCAPADE RELEASES:
Searching For The
Elusive Rainbow
Inner Translucence
Obscured Dialogues
Citrus Cloud Cover
Due to a Faulty Premonition
Remembrance of Things
Unknown
Rule #3