We are a postpunk/new wave-influenced indie rock band formed in 2007 and based in the San Francisco Bay Area. Our debut EP, For The Birds, was released on April 30th, 2012.

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Listening to a record repeatedly, you’re hearing something that you know is identical every time you play it. It doesn’t change, so if something seems different, a change has clearly happened in you.

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kdo:

Brian Eno - King’s Lead Hat (1977)

“Before and After Science” Album Review

by David Ross Smith

Before and After Science is really a study of “studio composition” whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album’s pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach. When mixed with the music, these lyrics create a new sense or meaning, or the feeling of meaning, a concept inspired by abstract sound poet Kurt Schwitters (epitomized on the track “Kurt’s Rejoinder,” on which you actually hear samples from Schwitters’ “Ursonate”). Before and After Science opens with two bouncy, upbeat cuts: “No One Receiving,” featuring the offbeat rhythm machine of Percy Jones and Phil Collins (Eno regulars during this period), and “Backwater.” Jones’ analog delay bass dominates on the following “Kurt’s Rejoinder,” and he and Collins return on the mysterious instrumental “Energy Fools the Magician.” The last five tracks (the entire second side of the album format) display a serenity unlike anything in the pop music field. These compositions take on an occasional pastoral quality, pensive and atmospheric. Cluster joins Eno on the mood-evoking “By This River,” but the album’s apex is the final cut, “Spider and I.” With its misty emotional intensity, the song seems at once sad yet hopeful. The music on Before and After Science at times resembles Another Green World (“No One Receiving”) and Here Come the Warm Jets (“King’s Lead Hat”) and ranks alongside both as the most essential Eno material. - AllMusic.Com

Also, King’s Lead Hat is an anagram of Talking Heads.

opalinedeathray666:

In 1975 Brian Eno and Peter Schmidt produced a set of cards with simple instructions on them that were designed to break people out of unconscious patterns, the Oblique Strategies.  These cars consisted of simple statements to try to facilitate lateral thought.  Exercises in creativity often unknowingly fall victim to the trap of the scientific method, purely data-driven solutions at the expense of any ambiguity and flights of fancy.  To a creative person this is not rigor, this is death.
Discover the recipes you are using and abandon them
Allow an easement (an easement is the abandonment of a stricture)
Honor thy error as a hidden intention
Imagine the piece as a set of disconnected events
Not building a wall but making a brick
What wouldn’t you do?
When you bring Brian Eno into a musical project it is not because you want to be the best sounding “you” that you can be.  There are lots of producers who can do that.  You bring Eno in when you want to flip your script.  You bring Eno in when you’re good, and you know it, but you’re hitting the creative wall and badly need a radical overhaul because you know you are coasting.  He comes in and bands that ran well suddenly fly…

opalinedeathray666:

In 1975 Brian Eno and Peter Schmidt produced a set of cards with simple instructions on them that were designed to break people out of unconscious patterns, the Oblique Strategies.  These cars consisted of simple statements to try to facilitate lateral thought.  Exercises in creativity often unknowingly fall victim to the trap of the scientific method, purely data-driven solutions at the expense of any ambiguity and flights of fancy.  To a creative person this is not rigor, this is death.

Discover the recipes you are using and abandon them

Allow an easement (an easement is the abandonment of a stricture)

Honor thy error as a hidden intention

Imagine the piece as a set of disconnected events

Not building a wall but making a brick

What wouldn’t you do?

When you bring Brian Eno into a musical project it is not because you want to be the best sounding “you” that you can be.  There are lots of producers who can do that.  You bring Eno in when you want to flip your script.  You bring Eno in when you’re good, and you know it, but you’re hitting the creative wall and badly need a radical overhaul because you know you are coasting.  He comes in and bands that ran well suddenly fly…

I have always been ambivalent about lyrics. Because I think the one thing I dread more than anything else is that when somebody listens to a piece of music for the first time they’re reading. Rather than listening. I think one of the the things that’s very interesting about not knowing what the lyrics are is that it calls the creativity of the listener out.

Brian Eno, No Wave, 83 (via rustillin2it)

An interesting take on lyrics. In this band, we always write music before lyrics; we don’t plan it this way, but that is our creative process. So we can definitely identify with Brian Eno here. - GS