Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.
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.
Dead Sea Choir with Brother Bear 9 p.m. Saturday Opolis 113 N. Crawford, Norman opolis.org 820-0951 $7
Costa Stasinopoulos, record
producer and leader of Tulsa alt-rockers Dead Sea Choir, has had a
pretty rough month. Someone broke into his car on Jan. 15, taking a
friend’s guitar and a pair of hard drives containing yet-to-be finished
records. And this came just as he was repairing his vehicle from another
break-in mere weeks before.
all that, he can see the light at the end of the tunnel, even if said
light currently is shrouded in a good deal of cynicism.
Sea Choir existed for around a decade before releasing its 2008 debut,
“Thin One the Red One,” an epic, 11-song swell of Radiohead-influenced
little kid, I just wanted to take over the world. The music kind of
reflected that in a way. It was ridiculously ambitious and over-the-top,”
Stasinopoulos said. “You know ‘Fight Club’? I wanted that epic,
Pixies-building-crumbling moment on every song.”
Stasinopoulos doesn’t look upon that record too fondly.
“It’s so indicative of
youth at its folly. Kids shouldn’t be allowed to release records,” he
said. “Poor kids. Poor me. It’s like looking in the mirror five years
ago: I hate that kid.”
years since have brought a great deal of change to Dead Sea Choir; a
full, stable lineup has replaced the hodgepodge ensemble. Original
members Philip Phillips and Geordan Taylor are now joined by Clay Welch,
Jeff Porter and Nathan Price. While Stasinopoulos probably is still the
GM, he has plenty of support.
“It wasn’t a proper band,” he said.
“Now, I feel like I get pushed around. It’s kind of nice.”
has been working on a sophomore effort for two years, and plans to
record the album in March with Chad Copelin of Norman’s Blackwatch
Studios. Early demos and studio cuts already have attracted attention
from record labels on a national level.
Stasinopoulos said its warmth is helping him keep his chin up.
“I’m just trying to be honest and have a voice, musically and otherwise,” he said. “There’s nothing to prove.”