Friday 25 Jul
 
 

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

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.
07/23/2014 | Comments 0

Broncho - "Class Historian"

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.
07/23/2014 | Comments 0

Manmade Objects - Monuments

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.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

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.

07/09/2014 | Comments 0
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The Octopus Project grabs Norman in its tentacles for a show


Danny Marroquin July 31st, 2008

At one point during Josh Lambert's studies at The University of Texas, he tested boundaries in a few music theory classes, but left them for the wide open spaces rock 'n' roll allows. "I got burnt ou...

At one point during Josh Lambert's studies at The University of Texas, he tested boundaries in a few music theory classes, but left them for the wide open spaces rock 'n' roll allows.

"I got burnt out on that quickly," Lambert said. "I felt like everyone in there was not really interested in music. They were interested in impressing people or whatever. We never talked about how music made you feel or why something was awesome. Just why this chord is augmented. It just didn't jibe with me at the moment."

Weaving fluid sonic landscapes, The Octopus Project's latest album, "Hello, Avalanche," contains elements of the formal in pretty piano lines and elements of the alien with a sci-fi theremin. The Austin, Texas-based band's mostly instrumental songs owe part of their pivoting energies to the minds that voraciously accumulate music.

Lambert listens to everything. In a five-minute span, he'll rotate German electro pioneers Kraftwerk and Texas heavy metal act The Sword. Considering he first heard The Velvet Underground and Nico's "All Tomorrow's Parties" when he was 14 years old while on a trip with his parents, one could expect his future band to search outside the verse/chorus/verse paradigm. But for Lambert " the Project's guitar player and keyboardist " even the house and van are potential instruments.

"We'll record anything around the house with a cool noise," he said. "That's kind of what we are about: figuring out new sounds from anywhere. We don't really have any boundaries or anything."

WARBLING ALIEN EFFECT
The theremin " a type of early synthesizer responsible for the warbling alien effect in many Fifties B movies " provides the closest thing to a signature element in "Hello, Avalanche." At the Norman Music Festival earlier this year, the doll-dressed and ultra-focused Yvonne Lambert compelled audiences as she waved an outstretched hand over the instrument's antenna like she was wielding a wand.

The Octopus Project's music projects a digital wash that differs from club electronica, thanks largely to scattershot guitar tones and oscillating drum tempos. Josh Lambert said the band works closely together when recording, pushing away any snippets the members don't all agree on.

"We tend to just start writing with kind of just exploring in mind," he said. "More like a sculpture or something, when you have a hunk of something and you are trying to figure out what it is. You are trying to whittle things down. The end result becomes something, but we never start off with that in mind." 

The result is an atmosphere that's ethereal by virtue of the instruments, but active and human by practice. The latest release gives the impression that Lambert hears music in his dreams " and he does.

"Ninety-nine percent of the time, it turns out to be the stupidest thing I've ever made up," he said. "I have dreams all the time where I'm like, 'Oh, my God, this is the most amazing song I've ever heard.' I'll wake up and grab a keyboard and it'll be so ridiculously stupid. It never works out." "Danny Marroquin

 
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