Meet Spastics Ink's good brother aka non-evil twin.
Light Bikes -- The album rips straight into nanigo/bembe 6:8 fusion that dances on the line between Irish and Latin inspirations of the same rhythym, described by precussive palm-muted math-pop picking that leans towards classical style guitar without ever quite reaching it. This track has the vibes of both Vital Tech Tones' sub-zero and Jazz for Kids' BYOB yet diverts into higher potentials of rythymic mastery and polyrythymic portal travel. With a synth that bends in a pop valid post rock mid tempo swagger, the song quickly and suddenly falls into anthemic power pumping punk beats and halftime before modulating out like water flowing on dry land -- branching out whereever possible as it expands its size. Those sonic ponds denigrate to silence but not before whipping out a few Steve Vai-isms.
Cryptic Creek Serving up desert-kraut asthethics with spagetti western exaggerations and Ebberhard Weber bendy fretless bass, Cryptic settles into an odd-meter hold time solidity then expands from many different points as it absorbs everything in its path until finally fuzzy Scott Henderson-meets-Yvette Young modern tone solos bleed towards lower rates back to the very creek from which the splashes of imaginative music dialogue came from.
The sonic scape narrows and widen, utilizing rate shifts until a more proggy math rock cyclic looping run gathers itself into centerfold position. In the liquid emulsion of granular irish math rock tonality and L.A. modern/ NYC fusion jazz, the track devolves into straight fusion jazz synopated hits and anthemic dotted odd meter drum phrases that are mind-bogglingly clean and therefore mind-bogglingly coherent and thus understood. Just as we start to get Japanese and Candy Rat-esque, the track fall backwards upon it's own fusion jazz instrinsic principalities.
Oceania opens with an almost Toe-meets-Tide/edit allure that quickly orbits around Victor Wooten harmony bass riffs and a Stu Hamm propensity to curl notes. Syncopations that are both pop-valid and yet challenging to the listener's perception of time, this track showcases why Andy Prado JR is the most in the know top drummer with Masson Guidry in second and Claus Hessler dictating it all. This song has a true breakdown which switches riffs so seamlessly it screams high level Brian Eno style productive instincts.
A slower and elongated suffix of the first verse lingers as the band gains strength and presence, moving towards the coming guitar solo. The guitar solo mixes Steve Vai-ism and pointed Frank Gamabale-type runs in a very cool, original way. It gets Henderson in fractions and flashes Blues daddy appeals but always from that post-rock math-pop heavily effected guitar tone. Again, very original and only seen previously when tried to be imitated in Nick Baglios' Trio and his song Alberta -- though Alberta exploits midwestern and leaves fusion be for the most part. Victor Wooten meets Eberhard Weber condeses itself until a spheric melodic harmonized cycle initiates forward motions which obviously queue a intensely Al Di Meola sounding solo which gives way to pure funky motown ryhthmic proposals with bass still at the forefront. Some naningo which fades into prog rock propelled gas-heavy stink riffs roll until an Andy Trash Can -syncopated dictation says OK.. enough of this one.
Carnival Minivan We enter the sonic space with violin-ish horny tones and layers of slow gear effects which accentuate the whole bowing odes to Jean Ponty late 70's jazz. Mysterious and cascading in a Tommy Emmanuel poised run, the next bar hits harder than any other on the record as hardcore math rock on top of fusion jazz educates us on how two songs can be played at once and somehow naturally leaves room for Andy to solo another motif ontop. This song really attaches itself to dynamically shifting models and texturally bombardments and shifting... well, everythings. Likely the peak of this record, one notices here that the bass is always the lead vocal until a guitar solo hits which is a extremely unique musical system of writing -- just beautiful.
The realization is met with reemerging violin-type slow gear reamerges making this a truly mystical experince. Moving and life-changing, the record proceeds in its glorious beauty in a way so perfected one not dare think or speak - just listen. It's suspense and great astonishment on the Terence Mckenna life level. And we're not even halfway yet. Andy reenters the room and balances the emotions of th elistener back towards motion from the standstill graviation of Coevalitys sensitivities.
90s' alt-rock suspensions and Broken Social Scene horns create a new cylindrical conclusion which travels and takes its whole house with it until a tornado of Scott Henderson-style hits a million punches, springs reverb then finds itself alone playing single chords. Starting as a two chord wonder it rearranges into more dischordant thoughts which attune and leave beauty untouched and stable. Some seven to the power of six drumming layers itself into a Tony Royster type of cheat code system which digs depths untold by any previous musicianwithout an iota of a doubt. Those sixes take over and lead the song towards its finalities. Fuzzed out synth guitar as cosmic as David Torn cry out "Hey, as Andy said. Enough."
MPD 08:03 This track is super Porcupine Tree and modern Gavin Harrison with Pineapple Thief on crack, meth, lsd 5-meo-amt and whatever else the crowd could throw at these demonic godly artisans of waves and forms. Lullabies contrast this with an even clearer impression of pastel blends of fluid rustle and quiet depatures; eberhards and an al di meola tango which teases the listener but delivers as chick corea and electric band idioms lay down latin songos which andy bembes over. Bozzio type orchestrally fills link many sections together utilizing breath space and the whispers logos of the meditiative moment. East indian elevates the webber tones towards something not unlike Zakir Hussain and John M meets Bozzio Levins Stevens "The Sunroad". Mathy geometries however make the later a shadow as the bembe vibes twists and turns as does the guitars tones. Now clearly in a unexpected guitar solo one rides the waves as though pop valid like chon and polyphia however years ahead interms of capabality and reach. reach torward the stars baby. Nah y'all are the stars. A stop start system ensues turning the music into a more glitched out Tortuganonima meets marlade butcher video game bitcrushed circuit bent event that yet again contrasts itself back towards beauty and bass as a langaguge in a way this fusion lover has never before seen. It makesone wish a song had vocals but this vocal bass lets loose and give an entire lecture on why aliens, time travel, and portal worship is a real thing.
Coin Incidents With more Bembe this time, in Casino meets irish musicsal landscapes and odd meter shift of group becomes the role model as the three musicians play into a organ like medsekimartin and wood whimsy that explodes into thoughtful guitar picking styles and more odd time group shifts and even add rate layers and phrasing from another dimension. Clearly they are playing from another time line and access it via the there in a one-layer eye effect. whatever you wanna call it. This is it in an pure focus state without break or worry of break -- sheer creative instincts and idle surrenders to what is greatest. Funky heavy bottoms add a new psychedlic layer for synths to sing bird noises and songs on as the mornings sextuplet motif returns. This song repeats themes a little more than others while layering the previous on the walls of the smooth musical blankets acting as further enchanments of this insane sensation driven adventure as this track starts to break through ones computer into attracting and therefore stimulating all senses: 6 7 8 9 and beyond.
Stone Among Pebbles Harmonics kinematically sway like underlining solidarties giving room for vocalized bass talking to solo, now a more evan marien type of pop valid (dana x evan marien vibe). The song starts to sound like evan's track finale from all members only to break into ichika nito personas that acrobat into silence. A math rock ground level animalistic almost concussed vibe shakes and weaves its distortion form until al di meola clear eyptian danze bembes employ a parting of ways towards anthemic fusion chon hyper pop that layers polyphia al di meola and chon into one thick bold stream of consciouness. For a second, you forget these are seperate people and not some moving ever morphing entitity thats informing you on how to better your life state and well being. It's psychedlic in animance and moving towards simplicity and a needed breath of fresh air. This gives a perfetc spot for a guitar solo and the chon vibes continues. the snares move and hit exactly as Brian would during newborn sun but this changes as spastic ink ron type guitar oddities inject themselves in between the chonism which create a perfect stepping stone for some metal and more heavy opaque themes. Take five meets japanese math rock creates a new aperture that of which is one of the best parts of this record not for musical virtuosity but pop meets cultural relevancy and really mixing everything this record has been up to then into something feasible to anyone no matter how seasoned yet extremely densified. The track returns back to its first premise until it finds a spot of shade and darkens into silence and the calmest of night air.
Wrap all my favorite musicians in a bouquet and gift them to me. Eternal life will be as is or was now and here or there but clearly never nowhere.
Coevality is , Jon Reicher - 7 string guitar, Fretless Guitar, Acoustic Guitar, Trumpet, Midi Programming
Derrick Elliott - 6 string Fretless Bass, 5 String Bass, Cello, Upright Bass, Chimes, Midi Programming
Andy Prado - Drums