THE FAMOUS DOOR AUGUST 26, 2011
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Musicians, like gods and sci-fi writers, play with time at the peril of their work. Because music falls on our ears in real time, and also because we have a cardio-vascular metronome set to 4/4, we are physiologically predisposed to music with a steady beat. We generally respond best to songs that, like us, have a pulse. When we are confronted with rhythms broken up in uneven parts, they tend to strike us as unnatural or jarringly cerebral—or both, if we’re anti-intellectually inclined to think of stimulus to the mind, rather than the body, as abnormal. I’m anything but anti-intellectual, even in my attitudes toward pop music. Still, I found myself struggling with this inborn resistance to erratic musical time as I listened to the first album by a new band out of Brooklyn called In One Wind. By the end of the second song on the group’s first album, a pretty little enigma aptly titled “What Seems to Be,” all my preconceptions about musical time-play had collapsed.
In One Wind is one of the most inventive and satisfying new bands to have a name that is weirdly awkward to pronounce. The configuration is guitar, three voices (two women, one man), stand-up bass, drums, and various reeds and woodwinds played by two of the members. Its orientation is arty in a way that will later date the group as a phenomenon of Brooklyn in the year 2011, but its music is something more than pretentious. It’s not just gimmicky IT-Dept. pop. The band’s debut album, How Bright a Shadow, just released last week, is exuberantly experimental, neatly dissonant, multi-textured, peppered with surprise, and almost radical not only for the angularity of its time, but also for its underlying warmth.
Like a great many bands today, most notably Animal Collective, In One Wind makes fragmentary music that grows from the experience of living in the ADD age. Its fragmentation is joyful, less a critique of atomization than a cheerful celebration of it. I wish this music had a bit more bite; what it has is a prankish grin, and it makes me smile back.
2 comments
This reminds me of Dirty Projectors or, a local favorite here in Denver, Paper Bird. The latter recently composed the music for a local avant garde ballet entitled Carry On that has a very similar sound, especially in terms of instrumentation. Maybe it's my age (26) or something, but I don't find this music particularly jarring. Although, perhaps it's jarring as far as pop music goes. When I think of jarring I think of early Dillinger Escape Plan or, even worse, The Locust. Both play around with time signature, but both also sound like they're just making noise, so it comes off as pure chaos. To me, that's a real acceptance of atomization, and it's pretty unbearable.
- denicolo
August 26, 2011 at 12:35am
Second the Dirty Projectors comparison, with some Fiery Furnaces thrown in, but ultimately it all traces back to Captain Beefheart in this listener's opinion.
- frb631
August 26, 2011 at 12:35pm