So Many Dynamos
WhiteSilence
be water
So Many Dynamos
Indie Rock / Math Rock / Electronic / Indie / Dance-punk from USA
So Many Dynamos - группа из Иллиноиса, США. Образована в 2002 году в Сант-Луисе бас гитаристом и вокалистом Ароном Стоволом и гитаристом Раяном Бэлли из Children's Audio совместно с гитаристом Раяном Уасоба и ударником Клейтоном Канстолом из Saving Boy Wonder. Последняя распалась в августе 2002, после чего Уасоба присоединился к Children's Audio , которая распалась в сентябре того же года. После чего музыкантами было принято решение о создании новой группы. Название было взято от известного англоязычного палиндрома (фразы, одинаково читающейся в любом направлении (аля "на в лоб, болван") :stupid: ) Изначально группа начинала играть с Кори Смэйлом на ударных, однако после нескольких репетиций он был заменен Клейтоном Канстолом. Изначально игравший на бас гитаре Стовол сменил её на бас-синтезатор (хз как оно правильно называется), сама же гитара присутствовала только в трех песнях. Премьера группы состоялась в Сэйнт Петерсе, Миссури, 2 января 2003.
Первая пятипесенная EP была выпущена в 2003 году на ныне не существующем St. Louis label Ambivalent Records, и носила название Are We Not Drawn Onward to New Era?, которое тоже являлось палиндромом. После записи EP, в июне 2003 So Many Dynamos купили Chevy G-Van 20 и отправились в импровизированное турне по западном побережью Штатов. В ходе тура, в Сиэтле, они познакомились с Робби Скроки, владельцем Skrocki Records, где позже был записан первый альбом группы. В июле того же года был организован ещё один недельный мини-тур совместно с The Texas Chainsaw Mass Choir из Колумбии. В это время Стовол начал использовать вторую клавиатуру, чтобы играть мелодии в дополнение к бас-синтезатору (bassline) (как оно правильно по нашему называется?).
Первый альбом, When I Explode, был записан на Semaphore Studios в Чикаго в феврале 2004 и выпущен на Skrocki Records в июне 2004. После выхода альбома группа совершила шестинедельную поездку по США совместно с Bring Back the Guns. В августе, перед совместным туром с HORSE the Band, группу покидает гитарист Раян Бэлли, место которого занимает работающий с группой с 2003 мерчендайзер Гриффин Кей. Летом 2004, Канстел, Кей и Бэлли создали свой звукозаписывающий лейбл - Aim and Fire Records, на котором издавались Target Market, The Happening and Dancing Feet March to War, etc. В то же время Канстел и Уасоба создали инструментальный дуэт Chunnel. Во время тура с HORSE, Кей повредил колено так, что это развилось в инфекцию стафилококка, из-за чего Нейтан Бернэйкс из Target Market заменял его на нескольких концертах. В февраля 2005 группа записала сплит с Bring Back the Guns; запись планировалось издать на Aim and Fire Records, однако выпуск был отложен из-за нехватки бабла. Большую часть 2005 года группа провела в туре, задачей которого было охватить 48 штатов, выступить же удалось только в 35. В октябре того же года был тур с Emperor X (Chad Matheny), с чьей помощью и был выпущен сплит с Bring Back the Guns
В марте 2006 группа приступила к записи второго альбома, Flashlights, на Radio Penny. По сравнению с When I Explode, на запись было потрачено гораздо больше времени, что и отразилось на музыке - появилось врем я для експериментов с инструментами, в звучании присутствуют духовые и хор, thumb piano (о5 же хз как перевести) игрушечные аккордеоны. Это привело к более запутанному и живому звуку, основанному на собственном звучании группы и влиянии таких исполнителей, как Broken Social Scene, Steve Reich, Talking Heads.
Альбом Flashligths был издан на CD в июне 2006 на Skrocki Records, на виниле в 2007 на Hello Sir Records, и в Австралии и Новой Зеландии лейблом Architecture в 2007.
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About So Many Dynamos:
As the old adage goes, not many people heard the Velvet Underground in their prime—but every one who did started a band. For those of us growing up amidst the modest-but-thriving indie rock scene of the late ‘90s, the experience was not all that different; for years, my likeminded friends and I left innumerable shows muttering to ourselves “some day I want to be in a band like that.” Bound as we were by the noise constraints of apartment life, we could only imagine following through on this wish, but we could also imagine that there were kids somewhere else in America, blessed with the unfathomable luxuries of garages and drumsets, leaving those same shows, thinking those same thoughts and becoming one of the awesomest bands we would ever see. Turns out that band is from St. Louis, Missouri, and they are called So Many Dynamos.
So Many Dynamos have released two solid albums (The Loud Wars is their third, and their first for Vagrant) and toured relentlessly for years, slowly but surely picking up fervent devotees without succumbing to the bitterness of a band that sees themselves as “paying their dues.” Somehow, they have retained urgency of four friends playing in their basement for the first time, while developing the confidence of a band with hundreds upon hundreds of shows under their belt. And finally, they have made a record that does them justice.
If you have any doubts, wait until the first chorus of “Artifacts of Sound” kicks in. It’s the triumph of the improbable chord change; the moment when the frenetic interplay of the song’s opening verse coalesces into a single walloping gesture. These are songs born of hypnotic repetition and herky-jerk structural discontinuity, unstoppable momentum and haunted ambiance. Produced with detail and nuance by Chris Walla (Death Cab for Cutie) and mixed with force and consideration by Alex Newport (The Mars Volta), The Loud Wars captures both the band’s energy and their intricacy.
Lyrically, The Loud Wars obsesses over the physics and the metaphysics of sound. Musically, it follows suit—every piece of sonic ear candy has its function towards making the album more coherent and purposeful. The game over-screen introduction to “The Novelty of Haunting” is a clever and apt introduction to a song about being dead, but also the perfect setup for an indelible and melodically sly verse. Epic album closer “The Formula” really has no business staying interesting for over six minutes, but there are enough ebbs and flows— subtle sonic maneuvers that make way for substantial textural and structural changes—that it never loses its hold. Guitar and keyboard lines from past songs resurrected, played backwards, and seamlessly recontextualized, exemplifying an approach that is both playful and considered. The details are always engrossing, the big picture always compelling.
By the time I first encountered So Many Dynamos late last year, I had all but forgotten what it feels like to be totally floored by a previously unheard band’s live show. But there they were, four guys joyfully cranking out music that is spastic but considered, proficient but spontaneous, unabashedly fun and very, very smart. So Many Dynamos could easily get by on musicianship alone, but they seem intent on pushing themselves, finding that perfect balance between dance party communalism and mad scientist experimentation. For all the aesthetic gimmickry and cynical fad-chasing going on these days, it’s bands like this that remind you why you care in the first place. So Many Dynamos are not a breath of fresh air – they’re a fucking blast.
(Bio Written by Matt Lemay)
As the old adage goes, not many people heard the Velvet Underground in their prime—but every one who did started a band. For those of us growing up amidst the modest-but-thriving indie rock scene of the late ‘90s, the experience was not all that different; for years, my likeminded friends and I left innumerable shows muttering to ourselves “some day I want to be in a band like that.” Bound as we were by the noise constraints of apartment life, we could only imagine following through on this wish, but we could also imagine that there were kids somewhere else in America, blessed with the unfathomable luxuries of garages and drumsets, leaving those same shows, thinking those same thoughts and becoming one of the awesomest bands we would ever see. Turns out that band is from St. Louis, Missouri, and they are called So Many Dynamos.
So Many Dynamos have released two solid albums (The Loud Wars is their third, and their first for Vagrant) and toured relentlessly for years, slowly but surely picking up fervent devotees without succumbing to the bitterness of a band that sees themselves as “paying their dues.” Somehow, they have retained urgency of four friends playing in their basement for the first time, while developing the confidence of a band with hundreds upon hundreds of shows under their belt. And finally, they have made a record that does them justice.
If you have any doubts, wait until the first chorus of “Artifacts of Sound” kicks in. It’s the triumph of the improbable chord change; the moment when the frenetic interplay of the song’s opening verse coalesces into a single walloping gesture. These are songs born of hypnotic repetition and herky-jerk structural discontinuity, unstoppable momentum and haunted ambiance. Produced with detail and nuance by Chris Walla (Death Cab for Cutie) and mixed with force and consideration by Alex Newport (The Mars Volta), The Loud Wars captures both the band’s energy and their intricacy.
Lyrically, The Loud Wars obsesses over the physics and the metaphysics of sound. Musically, it follows suit—every piece of sonic ear candy has its function towards making the album more coherent and purposeful. The game over-screen introduction to “The Novelty of Haunting” is a clever and apt introduction to a song about being dead, but also the perfect setup for an indelible and melodically sly verse. Epic album closer “The Formula” really has no business staying interesting for over six minutes, but there are enough ebbs and flows— subtle sonic maneuvers that make way for substantial textural and structural changes—that it never loses its hold. Guitar and keyboard lines from past songs resurrected, played backwards, and seamlessly recontextualized, exemplifying an approach that is both playful and considered. The details are always engrossing, the big picture always compelling.
By the time I first encountered So Many Dynamos late last year, I had all but forgotten what it feels like to be totally floored by a previously unheard band’s live show. But there they were, four guys joyfully cranking out music that is spastic but considered, proficient but spontaneous, unabashedly fun and very, very smart. So Many Dynamos could easily get by on musicianship alone, but they seem intent on pushing themselves, finding that perfect balance between dance party communalism and mad scientist experimentation. For all the aesthetic gimmickry and cynical fad-chasing going on these days, it’s bands like this that remind you why you care in the first place. So Many Dynamos are not a breath of fresh air – they’re a fucking blast.
(Bio Written by Matt Lemay)
[2005] When I Explode
192 kbps, 40.81 Mb
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[2006] Flashligths
320 kbps, 87.85 Mb
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[2009] The Loud Wars
VBR, 60.9 Mb Mb
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Похожи на киевский Riot On The Radio. Но ближе к року всё же.
- Description
- Indie Rock / Math Rock / Electronic / Indie / Dance-punk from USA
- Country
- usa
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