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Posts Tagged ‘Metal Blade’

The first time I saw GWAR I was 18 years old. It was the summer of 2005 and the band were slotted for an hour long, 5 o’clock spot at the Sounds of the Underground festival. I had no idea what I was in for. All I knew was the lore that surrounded their live show. It was supposed to be an event. It was. It was the dead center of the Bush years, a new pope who spent part of his childhood in the Hitler Youth was now sitting atop Christendom, and all that and more would serve as kindling for GWAR’s 60 minute performance piece.

For as much as I remember that show, it is not what happened on stage that resounds the loudest of my memories of GWAR on that July afternoon. An hour before their set, I got the chance to meet Dave Brockie. He was in his full Oderus Urungus regalia, four foot sculpted rubber phallus and all, standing in the back of a makeshift tow cart that was hitched to a boxy looking ATV. As he was being carted though the crowd in his makeshift Kawasaki chariot, for some reason or other it stopped for a few minutes, and as the driver was trying to coordinate his new plans via walkie-talkie, I nervously made my way to say hello. I can vividly remember his bare ass hanging out of the back end of his get up. It was a humorous bright spot in…

**  The Stream has reached its end, but the entire album can be ordered here.

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Trioscapes consists of Between the Buried and Me bassist Dan Briggs, as well as Walter Fancourt (tenor saxophone/flute) and Matt Lynch (drums). Initially, the band formed in order to create their own rendition of the Mahavishnu Orchestra classic ‘Celestial Terrestrial Commuters’. However, after a few rehearsals and a single live show, they decided the music was too demanding and fun to perform and that the project should continue. Eventually they had enough material for their first full-length album, Separate Realities, and so they entered the studio during the first week of October with Jamie King in Winston-Salem, NC. Trioscapes combines elements of 70s fusion with progressive rock, dark syncopated grooves, a flare for the psychedelic, and an unabashed love for both quirky Zappa-ish melodies and thunderous abrasive trade-off lines.

For the next two weeks, we have the distinct pleasure of streaming the eleven-minute title track from the album. It’s hard to describe what the band have managed to do with just bass, percussion and saxophone (along with a few random inclusions along the way), but it is definitely as catchy as it is technical. The press release mentions Zappa as an influence and I’m not familiar with most of his work, but I can say that the bass/drum/sax combination definitely reminds me of a few of the instrumental parts on the self-titled Mr. Bungle album (which also mention…

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