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Arklight – “Aphasia” ( Grimeology Records/GRM012)

One of Grimeology Records latest releases comes from Arklight, a four-piece noise rock group from Queens, NY.  The 50-minute album is named “Aphasia” a term referring to “the loss of the ability to produce and/or comprehend language”.

The album opens with a track called “Killing My Name, I Cannot Go Forth”, a noise-rock jam that is reminiscent of early Sonic Youth, back in their grittier No-Wave days.  The track takes a bit to hit its stride, meandering around some warm up riffs mingling with lo-fi tape hiss.  About two minutes in, the guitar and drums start to meld into a coherent, if monotonous, rhythm.   The track seems excessively long (a lack of editing is this album’s greatest downfall), though it has its moments.

The next track, “By Dint of the Sun’s Plastic Attack”, takes on a very different feel.  Opening with some heavy rhythmic drumming (almost black metal beats), the track takes on a sense of cohesion must faster than the opener, introducing a phased guitar and some noise textures early on.  Chanted vocals also make a presence, though they could have been a bit more prominent in the mix. Again, this track suffers from a lack of editing, sounding more like a practice session than a true composition.  It’s a shame too, because when this track hits its stride (namely the 7:00-8:00 section), it shows tremendous potential.

“Campbell’s Militia” follows, with grinding, crumbling drum beats and punkish guitar riffs opening the track. It’s a simple piece, but one of the most balanced on the album.  There is some really solid drumming on this track, but it is unfortunately downplayed by the lo-fi production, an aesthetic choice that unfortunately hurts “Aphasia” more than it helps it.   A slow-down transition around the four-minute mark takes on an almost Fugazi-esque feel, and the track closes with the first proper track ending on the album.

The fourth track, “Daguerrotype”, is by far the stand-out.  A nice blending of heavily reverbed industrial sounds, dark ambient guitar tones & heartbeat-like staccato drumming, “Daguerrotype” is the most restrained and masterful selection on “Aphasia”.  The higher production values on this track lend a greater degree of clarity, and could have been helpful if applied to the rest of the album.  The track shows a good sense of atmosphere, build-up & composition, and the whispered vocals add a primitive and haunting touch. Very reminiscent of early Einsturzende Neubauten & good enough that I can forgive the rushed ending.

“Daguerrotype” is followed up by the unfortunately named track “The Language Of War Is Victims”.   Sounding like a free-jazz band in a washing machine, the track takes on a narcotic dirge over ten minutes, ranging from moments of brilliance (the feedback squalls around 4:00 min; the loops at 9:00) to clichéd experiments that should have been edited out (the twangy guitar at the 6:30 mark).  Despite its flaws, it’s still a unique piece that shows a lot of potential.

The album ends strangely with “Luxuriating In a Bath of Adjacent Strings”, an extremely out-of-place harsh techno piece that sounds like an Acid Loops track outputted through a distortion pedal.  While the track takes on moments of PE brilliance (particularly towards the end), it suffers from generic techno beats and concepts, reaching its worst around the 6:30 mark, where it sounds like a cheesy homage to The Prodigy.  This said, the track has some great moments, but it sounds completely out of context with the rest of this album.

While uneven in its production and schizophrenic in style, Arklight’s “Aphasia” still shows moments of great potential.  Coming in at over 50 minutes, “Aphasia” could have been much more effective if it been substantially shorter (this could have been a really tight 20+ minute EP).  If the group is able to spend more time with editing on their next release, finding the diamonds and throwing out the dirt, they could have some really promising material.

Artklight’s “Aphasia” is available for purchase at www.grimeology.com/store

It was nearly 4 a.m. when the phone rang, and I feared the worst.  I was long past the phase in my life when drunken college buddies or ex-girlfriends called in the wee hours of the morning.  These days, if the phone rings after 10pm, it’s usually because someone is dead.  Or worse.

I fumbled to turn on the lamp, knocking over a glass of water and waking my wife.  ”What’s wrong?” she slurred, rubbing her eyes.  “I don’t know,” I responded, worried about whatever horrific news awaited me.  My voice warbled slightly as I gave a soft greeting of “hello”.  There was a long pause on the other end of the line

Finally a husky, heavily accented female voice (Russian? German?) responded back:  “Eez deez Jhay Blon-kard?” she hissed.

“Yes,” I responded, “yes this Jay Blanchard.  Who is this?”

“Deez eez Sahrin.  I handles all meedya affair for ze lee doo oh.  Meestah Lee Doo would likes to meet wif yoo for your eenterview immediately.  We will sendza cah.  Come ahlone.”

The phone clicked.  My hands still shaking, I hung up the receiver and stood up.  ”I….I have to go,” I whispered to my wife, and grabbed the pre-packed duffel bag that leaned against the doorframe to our bedroom.  She nodded, knowingly, as I rushed out the door.

Less than five minutes later, a black limousine pulled up to my house.  It was long enough to take up the entire driveway and then some, the back doors spilling out over the curb and into the street.  I entered through these doors, and realized that the driver and myself were the only inhabitants.

“Uh, hi, I’m going to see Mister L……..”

The driver rolled up the electric back window and I rode the 45 minutes to The Le Duo compound in silent, nervous anticipation.  It was only at this point that I realized all of the windows had been blacked out.

We arrived as we left—in total darkness.  Almost immediately as the car came to a stop, I was pulled out into a large, cold, dark room (I can only assume it was an underground bunker of some sort) and blindfolded by a large, shadowy figure.  I stumbled awkwardly, my arms held on either side by a bent bicep that was larger than my waistline. After my encounter with the driver, I assumed it would be better to just remain silent and listen.  I can remember the sounds of echoing footsteps, the hum of a large industrial elevator, and then the heavy moan of a large hardwood door being opened (I can’t be sure, but I remember it smelled of mahogany).

Once the door was opened, I felt a blast of warmer, drier air & the sounds of a baroque score mingling with the scent of musk and tropical fruits attacked my senses.  The blindfold was removed and I found that I had been left, alone, in a palatial room adorned with the finest Louis XVI furniture in deep tones of maroon and purple, the color of congealed blood.

Within seconds, a well-dressed female assistant entered the room with an ornate silver tray, piled high with Almas caviar and Knipschildt truffles.  Without a word, she waved her arm to motion toward the back of the room where a well-stocked bar resided.  On its mirrored surface laid three large mounds of white powder, a couple razor blades, and a large stack of handrolled cigarettes.  I poured myself a liberal glass of 30-year old Macallan, but decided to forgo the powders, which contained secret pleasures of which I can only imagine.  Had to keep a straight head—I’d never get an interview opportunity like this in my lifetime again, that much was for sure.  I sank down in a plush armchair and lit one of the Cuban Cohibas, large as a baby’s forearm, that sat in a box to my right.

About an hour later, the huge entranceway to the room opened, and my stomach dropped.  The artist himself had entered the room and immediately drew to himself all of its energies. Draped in a flowing silk kimono, he exuded an extreme presence, yet still appeared to float gracefully above the proceedings, like a sedated swan. I knew immediately I was in the presence of a great artist—but also a very powerful and dangerous man.

What follows is my interview. At least what I remember of it. I mysterious blacked out at one point and woke up in a dark limousine, my tape recordings erased.

———————————————————————————————————–

How did the idea for the le duo project come about?

-after my former band, nest material, broke up in 2006 i was looking for a musical outlet.  i envisioned a project that was completely free and that would allow me to play whatever i wanted- however loud or fast or rock&roll like or jazzy or whatever.

What are the greatest challenges and rewards in making improvisational music?

- well, the obvious answer is this:  the greatest challenge is getting everybody on the same page and creating something good.  the reward is that moment when everything comes together & everyone is cooking.  you kinda look around and think ‘yeah man, this is it’

It seems like the le duo is somewhat of a “supergroup” (incorporating top musicians from several bands) which in music history have been notorious failures.  What is different about the le duo that makes it work?

-well, i think lack of ego is a main difference.  everyone i play with is only in it to play, ya know?  its an opportunity for the musicians to get together with people they maybe havent played with before and have some fun.  you can basically bring whatever instruments or noise makers you want and just go.  its a great environment for creativity

Where do you feel the le duo fits in with the whole of the Burlington music scene?  What other acts, if any, are exploring the same type of sonic territory?

-i dont really know if this kind of music has a place here in burlington.  other than ensemble V (arthur brooks and michael chorneys free improv group) i cant think of any other groups doing this thing.  nest material used to bring a kinda free/experimental rock sound, and at the time there were a few like minded groups around, like aquadora & magic sparkle, but i’m not sure any more.

What were your influences for the le duo?  This can be musical or other sources.

- american and european free jazz from the 60’s and early 70’s are a big influence, especially later coltrane, don cherry, pharoah sanders, han bennink & peter brotzman & misha mengleberg, the black artists group etc etc.  also things like the dead and frank zappa and fusion miles, and CAN and on and on

If you could play with any musician, living or dead, who would it be and why?

- i would love to play drums with elvin jones.  he was powerful and subtle and dynamic and just a really beautiful player.

Do you consider the le duo to be a “jazz” project? Is jazz really “dead” in your opinion?

-  i would say no, we are not a jazz group.  i for one do not have the chops to be considered a jazz player and most of the rest of the musicians come from an experimental and drone place. wheter jazz is dead or not, i’m not sure.  seems like nothing really new has come around since the mid 70’s but maybe i’m biased

The musicians you work with come from many different musical backgrounds and genres, ranging from jazz to rock to harsh noise to drone.  How does this melding of musical ideas help or hinder the creative process in the le duo?

-  having people from different backgrounds is what the le duo is all about.  taking people away from what they are used to and throwing them into this messy musical stew is great- maybe you try something you’ve never thought of before, maybe it works, maybe it doesnt, but you tried it and thats awesome.

Where does the name of your EP come from?

-  i was reading alot of doestoevsky this past winter and i think its a quote from ‘notes from the underground’

Translating a live improve piece to a physical recording can be difficult.  What is your personal philosophy on recordings?  Is the goal to capture the live performance “as is” or create a sound of how you think it “should be”?

-  how it is IS how i think it should be.  the changes we made to the recordings werent made cause i wasnt happy about the uncut live show, they were made to just try different things out.  maybe my next ep i’ll just release as is, no editing.

What are your future goals for the le duo project?

-  i’d like to continue to play 3 or 4 gigs a year with as many different people as possible.  next time, tho, i dont think i’m gonna play the full drum set, maybe i’ll just throw my bag of small percussion instruments on the floor and just go to town