Post by Dick Suffers on Jul 16, 2003 14:35:06 GMT
I cut and pasted this review of Battles show in April. Here's a link to the full review, including all bands on the bill, and some photos toomuchrock.com/index.html?loadpage=http%3A//www.toomuchrock.com/shows/battles.html
Battles is alone in musical delineation. Describing the painfully modern compositions of this newly formed super group is a daunting task. Waves of warm analog synth cascading over effected guitar and rapid drumming create a soundtrack for a 1am subway ride. But here is where it gets weird. All the tools are pulled from a 1984 Atari game. Nothing new is introduced, but everything is recombined into compositions that are wholly organic and flowing while simultaneously being held rigid by repeating guitar or keyboard lines. Songs seem to stretch into improvisational meanderings, but the reality is they have been constructed and planned from the start. But how?
The biggest clue to understanding this puzzle comes from keyboardist, computer controller, and guitarist Ian Williams of math-rock kings Don Caballero. With Don Caballero, Williams introduced audiences to his winding guitar work, and the effects of his memory man pedals used to construct painfully tight and precise compositions of forced odd timings and quick-as-hell changes. The rigid confines of that effort are completely blown away by Battles. In Battles, anything is fair game, anything can happen, and, seemingly, everything does.
In Battles, Ian Williams has also taken his musical mastery and showmanship to another, here-to-fore unknown, level. It was impossible not to be floored when Williams would tap out complex "vocal" lines upon the fret board of his guitar with his left hand, while simultaneously playing the same line on his keyboard with his right hand. Sit back and think about that for a bit. Think about both the manual dexterity and the mental concentration required to play two disparate instruments simultaneously. Remember these aren't simple rhythms of held notes – these are a hodgepodge collection of quicker rests and quickest 32nd notes. I was more than impressed.
If Battles had been Ian Williams alone (much as Helms can be attributed to Sean McCarthy), it would be a great band. Incredulously, Williams is surrounded by musicians of similarly immense talent. The most noticeable of which is perennial solo artist Tyondai Braxton who carries the same keyboard and guitar duties as Williams. While his solo work often includes substantial vocal work (processed as to be entirely unrecognizable), with Battles, Braxton's vocalizations were limited to a few moments of amazing beat box. Braxton's guitar work contrasted Williams' robotic and mechanical certainty with a style much more soulful and organic. The distinction is subtler than it might seem, as both are speaking the same language and painting the same picture.
Battles' final guitar is provided by Dave Konopka (of Diamonds, and formerly Lynx). His guitar work is cleaner, with a more definite bite. It is, however, used sparingly. Because Battles' songs typically begin with a single guitar or keyboard line and then slowly grow denser, Konopka was usually the final piece added to songs. When waiting for his introduction, Konopka stood stiffly in attention. Dressed in a fitting uniform of black shoes, black pants, black shirt, and white belt, he appeared as a no-nonsense military man – a reputation repudiated when Konopka was later seen howling into his guitar pickups in a moment of constructed chaos.
Drummer John Stanier (of Helmet and Mike Patton's Tomahawk) completed the musical dream team. Unlike the frenetic drumming of Don Caballero's Damon Che, Stanier played a small kit with similar precision but lessoned visibility. A single cymbal was hoisted three feet above Stanier's head, creating a constant tension – when would he hit it, and how?
Although Battles played a long set, it just didn't seem long enough for a band presenting so much to be understood and analyzed. This was particularly troublesome because the band's music was actually contrary to that goal. Instead, it demanded to be simply experienced. To be taken in, not to be picked apart and cataloged. This is a band you're going to want to, and need to, immerse yourself in many times.
While Battles may not be exactly local to my new Boston home, they were ultimately the fantastic find that resulted from a hunt for such, and I'm going to hold on to them. Today you may have to dig deep for information about the band – they don't yet have an album, or even a website – but its easy to imagine a time when they are the darlings of indie press. It won't be long before my own obsequious words are joined by the throngs looking for the next new sound. Battles has it now, so come and get it while it's hot.
Battles is alone in musical delineation. Describing the painfully modern compositions of this newly formed super group is a daunting task. Waves of warm analog synth cascading over effected guitar and rapid drumming create a soundtrack for a 1am subway ride. But here is where it gets weird. All the tools are pulled from a 1984 Atari game. Nothing new is introduced, but everything is recombined into compositions that are wholly organic and flowing while simultaneously being held rigid by repeating guitar or keyboard lines. Songs seem to stretch into improvisational meanderings, but the reality is they have been constructed and planned from the start. But how?
The biggest clue to understanding this puzzle comes from keyboardist, computer controller, and guitarist Ian Williams of math-rock kings Don Caballero. With Don Caballero, Williams introduced audiences to his winding guitar work, and the effects of his memory man pedals used to construct painfully tight and precise compositions of forced odd timings and quick-as-hell changes. The rigid confines of that effort are completely blown away by Battles. In Battles, anything is fair game, anything can happen, and, seemingly, everything does.
In Battles, Ian Williams has also taken his musical mastery and showmanship to another, here-to-fore unknown, level. It was impossible not to be floored when Williams would tap out complex "vocal" lines upon the fret board of his guitar with his left hand, while simultaneously playing the same line on his keyboard with his right hand. Sit back and think about that for a bit. Think about both the manual dexterity and the mental concentration required to play two disparate instruments simultaneously. Remember these aren't simple rhythms of held notes – these are a hodgepodge collection of quicker rests and quickest 32nd notes. I was more than impressed.
If Battles had been Ian Williams alone (much as Helms can be attributed to Sean McCarthy), it would be a great band. Incredulously, Williams is surrounded by musicians of similarly immense talent. The most noticeable of which is perennial solo artist Tyondai Braxton who carries the same keyboard and guitar duties as Williams. While his solo work often includes substantial vocal work (processed as to be entirely unrecognizable), with Battles, Braxton's vocalizations were limited to a few moments of amazing beat box. Braxton's guitar work contrasted Williams' robotic and mechanical certainty with a style much more soulful and organic. The distinction is subtler than it might seem, as both are speaking the same language and painting the same picture.
Battles' final guitar is provided by Dave Konopka (of Diamonds, and formerly Lynx). His guitar work is cleaner, with a more definite bite. It is, however, used sparingly. Because Battles' songs typically begin with a single guitar or keyboard line and then slowly grow denser, Konopka was usually the final piece added to songs. When waiting for his introduction, Konopka stood stiffly in attention. Dressed in a fitting uniform of black shoes, black pants, black shirt, and white belt, he appeared as a no-nonsense military man – a reputation repudiated when Konopka was later seen howling into his guitar pickups in a moment of constructed chaos.
Drummer John Stanier (of Helmet and Mike Patton's Tomahawk) completed the musical dream team. Unlike the frenetic drumming of Don Caballero's Damon Che, Stanier played a small kit with similar precision but lessoned visibility. A single cymbal was hoisted three feet above Stanier's head, creating a constant tension – when would he hit it, and how?
Although Battles played a long set, it just didn't seem long enough for a band presenting so much to be understood and analyzed. This was particularly troublesome because the band's music was actually contrary to that goal. Instead, it demanded to be simply experienced. To be taken in, not to be picked apart and cataloged. This is a band you're going to want to, and need to, immerse yourself in many times.
While Battles may not be exactly local to my new Boston home, they were ultimately the fantastic find that resulted from a hunt for such, and I'm going to hold on to them. Today you may have to dig deep for information about the band – they don't yet have an album, or even a website – but its easy to imagine a time when they are the darlings of indie press. It won't be long before my own obsequious words are joined by the throngs looking for the next new sound. Battles has it now, so come and get it while it's hot.
