MINSK
Embracing the Psychadelic Cosmic Fire
By: John Gnesin
From the preliminary notes of the opening track of The Ritual Fires Of Abandonment, listeners will find themselves fully
mesmerized by the texturally liberal musical vision of MINSK. On the group’s debut offering for Relapse Records, MINSK has reigned in the chaotic, subterranean sounds of its preceding effort, Out Of a Center Which Is Neither Dead or Alive, instead focusing on horizon-reaching, stream-of-consciousness sonic interludes, propelling the listener into extraterrestrial environment of metaphysically exploratory music. From one moment to the next, you’ll hear sweeping, sky-piercing harmonies, swelling, dissonant reverberations and harsh, abusive tones. Each of these aspects makes The Ritual Fires Of Abandonment an album that swings the doors of perception wide open – and in doing so, reveals an entirely new dimension of abstract sonority. Such a revelation is entirely successful in dialectically dividing the perception of the listener between thoughtful introspection and a life-changing awareness of the infinite possibilities the exterior world has to offer.
Sanford Parker is the man who is not only responsible for capturing the vast sound-scapes you’ll hear on The Ritual Fires Of Abandonment, but for participating in the entire event as the group’s bassist and vocalist as well. In describing the album’s introductory track, one that resembles the sounds that an individual might hear during the soundtrack of a Quentin Tarantino-directed journey through the cosmos, Parker says, “It sets the mood. The listener isn’t really sure where this album is going to go. Instead of hitting right out of the gate like on “Out of a Center…” we wanted it to build into the album like a journey into space.”
Parker and his band mates were certainly successful in their attempt, forging bold musical initiatives that connect with the listening subject in a manner having far-reaching emotional implications. Parker expressed his satisfaction with the creativity the band has managed to muster for The The Ritual Fires Of Abandonment, saying, “It’s pretty tough to describe; it’s just a matter of space, and our adding what can fit into that space. We really wanted to go nuts with counter rhythms and melody. It’s cool when it works, because the whole time it feels like it could all fall apart at any second, it’s like dancing on a fine line. A majority of the record was written in the studio, so it gave us a chance to experiment and try different things in the control of the studio environment.”
Being the producer of the record as well as a performer gives Parker a unique perspective on the entire affair. His contributions have taken heed to the mechanics of sound as well as artistic creativity. When asked if he believes that he has properly achieved the musical vision he had visualized for the project, the artist commented, “I think so. Basically, we set out to make the most progressive record we could. I will always think ‘Well, we should have done this or that, or if we just had more time I would have tried this’, but you’ll always say that. I think it’s a great representation of where the band is at this point in time. MINSK will always grow and push ourselves to the limits of our creativity with every record.”
If you ask the accomplished studio hand what he feels is the single-most important factor that a band could hope to bring to the table, he’ll say “An open mind! I wish bands would view themselves as two halves, the live half and the studio half and treat each differently. Just as every time you play live you think, ‘How can I do this better the next time?’ Recording should be the same way. Don’t be afraid to experiment. You shouldn’t have to sound exactly the same way live as you do on the album and vice versa. Listen to Jethro Tull and Uriah Heep albums and then listen to live recordings. The songs were drastically different and I think that’s killer.”
Such experimentation on the part of MINSK is evident throughout the entire course of The Ritual Fires Of Abandonment, as abstract musical perceptions collide head-on with deeply rooted engagements in musical theory. The result is no less than profound. As no one track on the new album zeroes in on any one certain emotion, Parker remains unsure as to exactly how this brilliantly creative music will affect fans. “I can’t say what other people will get out of it. Hopefully everyone will take a little something different away from the experience.”
Additionally, Parker is able to visualize MINSK as an ensemble of musicians that resides outside of stereotypical perceptions of what a modern band should be. He articulates, “I don’t view us as a guitar, bass, drums band; there’s so much more to it. I have these cool toys lying around, so why not use them? Bands in the ‘70s weren’t afraid to try crazy shit, so why should we be afraid to do something different with our music? I think it adds another dimension to the sound something you don’t always get in
a live situation.”
Taking on a certain admiration for other eclectic artists in today’s music scene, Parker finds camaraderie in the sounds of many artists that are considered as the most pioneering and progressive creative forces around. This acceptance of such a visionary outlook toward the music of today is at the core of the band’s distinctive sonic revelation. “Bands like MASTODON, MARS VOLTA and OPETH are really pushing the envelope these days.” Parker notes, “I see our peers as being artists such as BARONESS, TORCHE and RWAKE - it’s good to see these guys taken a more progressive outlook toward song writing. I think these will be the bands which will in fact influence the next wave of heavy music.”
More than anything, innovation remains Parker’s primary mission. With his mind dead set on creating sonic art that will not only be appreciated by fans old and new, the guitarist maintains, “We’re trying to create that new, ‘wacky’ sound. We aim for a new way of doing something with our music. We want to go places no one else has ever
gone before.”
When asked what might surprise listeners who enjoyed the group’s previous effort, the studio wizard remarked, “For one, it’s less abrasive than Out of a Center…. It’s still heavy – I think heavier – but less abrasive. There’s less noise and more music. Instead of reaching for a distorted sample, we used an organ or piano. Instead of screaming, we tried more soulful vocal melodies. I think it’s a natural growth for the band. Some people will be surprised, and some won’t.”
MINSK places a certain emphasis on creating a lush musical ambience on The Ritual Fires Of Abandonment. The record travels in a variety of separate musical directions, yet as individuals, MINSK manages to collectively hold things together in an astonishing fashion. “It’s like tripping on acid in the center of a volcano on the IO moon of Jupiter…in other words; it’s psychedelic, heavy and completely on fire.”
|
|
|