Friday 18 Apr
 
 

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
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Bear necessities


I Wrestled a Bear Once takes a kitchen-sink approach to its raging mix of alt-metal.

Chris Parker April 11th, 2012

I Wrestled a Bear Once with Molotov Solution, Glass Cloud and more
6 p.m. Monday
The Conservatory
8911 N. Western
conservatoryokc.com
607-4805
$12-$15

One would be hard pressed to succinctly describe the Louisiana metal band I Wrestled a Bear Once. Its songs incorporate a pantry of sounds. Racing metal guitars pushed against adult-contemporary pop; New Wave ’80s synths punctuated with samples of the General Lee’s car horn.

The alt-metal quintet formed in 2007 from the ashes of another act while on tour in New York City. There, guitarist Steven Bradley met vocalist Krysta Cameron — the band’s secret weapon, a banshee alternating between feral growl and angelic cry.

“She wanted to sound like a dude and have people not be able to tell she’s a chick once she started singing,” said Bradley. “Same as the music: She doesn’t want to be limited to one certain thing.”

Almost immediately, they penned an EP and hit the road. It’s been going strong ever since. In 2009, they released their debut, It’s All Happening, followed up by 2011’s Ruining It for Everybody, recorded in Bradley’s basement, “just for freedom to track guitars at 4 a.m. and not have anyone complain or bitch and say we’re doing things wrong,” he said. “It’s fun to go into million-dollar studios and feel good about yourself. But at the end of the day, it’s largely unnecessary.”

Ruining It finds the members honing their ADHD attack and tightening the seams on the mutating arrangements. The parts may seem somewhat random, but Wrestled tries to connect them; the music isn’t a Jackson Pollock painting.

“We come up with a million ideas, but they don’t always work and we won’t force them. We want it to make sense,” Bradley said. “None of us claim to know what we’re doing too well, but we always at least try to make sure things flow.”

The group already has begun work on its next album. Bradley insists you can always find the members in the van or bus, headphones plugged into laptops, fooling and tooling around to make music.

“That’s the beauty of the technology that’s simultaneously killed and made possible music,” he said. “You can work on music anywhere.”

 
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