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THE TRANSHUMANS - Into The Maelstrom (pfMentum 047;
USA) The Transhumans are a trio featuring Justin Cassidy & Patrick
Rodriguez on electronics and Bob Sterling on drums & electronics.
This disc was recorded live in the studio and consists of three main
parts. Part One is called "Adrift" and it is an apt title for
soft layers of drifting, queasy electronics. As the layers of electronics
become denser, Bob's powerful drums swirl at the center uplifting the
trio to new heights. Part Two is called "Descent" and Mr. Sterling's
strong tom-tom (samples) is again at the center of the emerging storm.
The electronics build and erupt together into an engaging mass of mesmerizing
sounds, deeper and darker as it evolves. Bob's drums often hold things
together or anchor the electronic soundscape as they slowly evolve. Part
Three is entitled "Drunken Boat", it is a slower, more spaciously
rocking piece. There is something quite hypnotic about this piece, I
especially dig the goofy alien, spoken word voice that narrates and tells
a rather twisted story - BLG [Bruce Lee Gallanter]
From: Downtown Music Gallery <dmg@downtownmusicgallery.com>
3rd St & Bowery, NYC
downtownmusicgallery.com/
DMG NEWSLETTER FOR MAY 25th, 2006 * * *
I have a personal, internal ‘language’ that
I mentally use to understand and categorize music. One of my ideas is
about the “dynamic” of
instruments– the thing that makes three bands playing guitar/bass/drums
into rock, country, and jazz outfits. I’ve long been interested
in groups that play with this dynamic is some new way, so I was pleased
to hear The Transhumans “Into the Maelstrom,” recently released
on the pfMentum label.
I’ll admit, there aren’t a lot of established dynamic structures
for trios consisting of electronics and drums, but there are still many
unexpected surprises. For me, the biggie was Bob Sterling’s drumming.
With synth/sampler players Justin Cassidy and Patrick Rodriguez presenting
a complex miasma of field recordings, liquid tones, and clatter; Sterling’s
drums are surely left with little to propel. To my ears, it sounds as
though Sterling rises above this, taking more of a leading role.
In lesser hands, this might be disasterous, but Sterling proves to be
a drummer worthy of his surname. There’s a lot of jazz influence
here, but it’s more of a jumping-off point, and certainly doesn’t
reduce this simply. But enough about the drumming; I need to tell you
about this disc.
It’s difficult to listen to, and I mean that in the most real way
possible.
“
Into the Maelstrom” does what very, very few albums manage to do,
and that’s truly affect the listener. Sure, there are a huge number
of releases that can make you dance or shed a couple tears– but
how many can you actually say really made you tense, exhausted, or relieved
to find pause? How many times have you ever realized you were holding
your breath while listening? This is what it’s like to go into
the maelstrom.
Either my basic humanity is very much suspect, or The Transhumans are
onto something phenomenal with this release. In my opinion, the only
thing working against it is the cover art, which completely fails to
convey any sense of the incredible music within.
JULY 27, 2007
http://startlingmoniker.wordpress.com/2007/07/ * * *
Excellent psyche
noise, experimental electronics, noise tempered with jazzy drums, creative
bass and guitar playing. A good chunk is indeed
layered noise but there are moments of avante jazz. Best however is an
entire section that comes across as the best psyche-noise you’ll
hear this side of KFJC or Aquarius. The cd has a live-improv feel to
it, being recorded in Three “parts”: part 1 (tracks 1-2)
is spooky, noisey; part 2 (tracks 3-6) get more intense; if you want
to go for the jugular go directly to part 3 (tracks 7-9) as they come
across more musical, psyche, cerebral, like a Do Make Say Think on extra
strength acid, an Acid Mothers Temple on thorazine.
1) spooky feel, with clanging sounds, subliminal/whispered voices
2) drums and guitar appear, drums kick into a near-jazz ride cymbal cruise
beat
3) begins very percussive, big hollow drum, evolves to more of a layered
noise feel, but the drum is always there, midway, into the second half
a more urgent, jam feel appears but doesn’t last
4) noisey electronics, upped a notch
5) starts off almost wind-like but quickly layers into a quite hypnotic
looping noise/drone, drums arise after 3 minutes into a moderate jazzy
gallop tone
6) continuation of previous, drums a bit more assertive, jazz, ends on
a droney note
7) a slow mindful jam begins, exploring the realms of reality and cool
noises, continues directly into next track
8) FCCs, continuation of previous, a treated pitched changed voice appears
rather buried, but its laced with potty mouth, definitely okay for safe
harbor and nearly okay elsewhere as long as you pot it down after it
goes a few minutes
9) killer psyche, continuation of previous, with scream-like tones
7/9/2007
ZOOKEEPER ONLINE
http://zookeeper.stanford.edu/index.php?action=viewRecentReview&tag=847357
* * *
I totally enjoyed the Transhumans CD. A unique lineup with powerful results.
It's really unlike anything else I've heard, so bravo for that.
MAY 26, 2007
Don Campau
No Pidgeonholes Radio
* * *
"
TheTranshumans, a three-piece aural assault committed to expanding the boundaries
of music and sound even further than their individual components have done alone.
Describing the band in conventional terms would be a futile activity. It’s
best to just experience them for yourself.." Ventura County Reporter "Pick
of the Week" (10-26-2006)
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