The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
Depth & Current with Lizard Police and Paint Scratcher 9 p.m. Thursday Opolis 113 N. Crawford, Norman opolis.org 820-0951 $8 advance, $10 door
Recording music inside his home in the out-of-the-way Oklahoma town of Amber, Depth & Current singer/ guitarist Chris Harris often heard some bizarre sounds via CV radio that weren’t always necessarily his own.
“Living out in the country, I would hit these distortion pedals and hear these crazy preachers and alien conspiracy theorists and government conspiracy theorists,” he said. “It was pretty insane.”
It’s no surprise, then, that his band’s eponymous debut LP seems narrated by a relatively normal person stuck in a warped society headed for ruin. It’s a sonically sophisticated record — a heavy, noisy, post-rock work of Gothic texture, shoegazing moods and occasionally triumphant lyrics.
With years of experience as an indie record-label owner and engineer, Harris was able to generate the band’s desired sound by way of careful microphone placement, Scott Twitchell’s booming drums and Derek Lemke’s talents with whatever gadget was laying around the studio.
“Derek’s kind of a guitar wizard,” Twitchell said.
“I’m a noise wizard,” Lemke replied, prompting laughs from the others.
“Yeah, he can do that shit with any instrument,” Harris added.
The trio vowed to make a lot of literal noise at tomorrow night’s CD-release show at Opolis, despite lacking a live bassist.
“They’re the same songs ... but it’s a little more raw, I guess,” Twitchell said.
Added Harris, “We use sequencers for our live shows, so everything’s all timed to the music. We’re able to fly in bits and pieces of sounds from what you’ve heard on the album — or maybe even an alternate take of something — and re-create the same kind of soundscape ... but it’s more intense live.”
That’s thanks to the pure, huge volume at which they play, as well as their very psychedelic light show, which they alter as the situation demands, as with last spring’s Norman Music Festival set.
“We just threw up a couple flood lamps, punk-rocked our entire set and got off the stage, to get out of the way for the other bands,” Twitchell said. “If this is something we can really take our time and set up for, we’ll do it to the click and we’ll do it really trippy, and we’ll get the entire rig going.”
If the overall effect surpasses the seemingly damaged environs of Depth & Current’s disc, then a host of music fans may share post-show nightmares.
“Well,” said Harris, “that was kind of the point.”