Part II of the US series.

The second dose of Tracking the Tends: US Instrumental Rock changes gears and focuses on a more agressive crowd. Highlighting the acts, Heston Rifle, Vidavox, We Followed Tigers..., Russian Circles, Hematovore, and Trephine, this article brings forth the rock aspect of "instrumental rock" with heavy influences in metal, math-rock, prog-rock, and even psych-rock. You wouldn't be hard-pressed to lump them with the likes of Don Caballero, Dysrhythmia, Pelican, or Oxes, but these lesser known acts tend to find themselves even more off the path than normal. Sit back and prepare for an intense journey--this edition even comes with a bonus 6th feature!


Heston Rifle
New York

Website:Heston Rifle
Music:Myspace


A strange thing happens on Heston Rifle’s 2005 album, What to do At Time of Accident. The first track carries on for about 7 minutes worth of repetitive, incessant droning, and an impatient listener would be quick to write them off as another nameless clone of Sunn O))). Yet, it would be a great travesty to do so, because what follows is nothing short of breathtaking. Free-jazz combines with a progressive math-rock front and moments of the metal world are thrown in for good measure (as in the aforementioned track). The second track, “Can You Guess How Much That Guy Weighs?” begins with a string lead and slowly progresses into a fury of skittering drums and buzzing guitars. When the intensity has reached a maximum, in good post-rockish fashion, Heston Rifle relapses into the string lead and the continues building towards the cataclysmic finale. This formula we’ve seen before, most notably in the work of Ohio’s Aether, and Heston Rifle is right on cue with the guitar driven hard rock with string support. The main difference in approach being that Aether favors more concise songs and focuses on strength of songwriting, whereas Heston Rifle grabs a hold of its free-jazz roots and sprints headfirst into the foray. “Samand” is decayed by its own exhaustive approach, but then stitches itself back together with a web of smooth drumming that washes everything in the warm, organic sonic glow which is again highlighted by the violin presence. Guitars attempt to unbalance the equilibrium through sheer force. This interaction between the violin and drums and the guitars sets the stage for much of Heston Rifle’s work, except in cases like “A String of Dead Words,” where all forces come together to create a beautiful scenic landscape that is only fully appreciated after witnessing the epic struggle to create it.

What to do At Time of Accident is head and shoulders above the band’s 2001 release, 20 Strings EP. Heston Rifle juxtaposes rhythmic passes with chaotic segues and turns the whole of its music upside-down time and again with a complete apathy towards the listener’s ability to follow along. This unorthadox approach had previously only been successfully completed by Ohio’s Silencio, but now Heston Rifle adds a little push to the movement, and maybe we can get some really exciting thing happening in the experimental world over here? So long as this band adopts a highly unorthodox methodology to its craft, I await everything it has to offer with open arms.


Vidavox
Flordia

Website:Vidavox
Music:Myspace


Florida’s Vidavox is some kind of perfectly coherent mixture of El Ten Eleven and Pelican. The band has the totally enchanting bass akin to El Ten Eleven—that fluttering, ambience presence that repeatedly lulls you into a tranquil state. But also, Vidavox progresses in a way similar to Pelican, navigating through quick-paced passages to approach the heavy breakdown at the end of the tunnel. The songs on much shorter on average, generally falling between the 4-6 minute mark, but that striking sound is undeniably present. This anomaly of sounds is a smart addition to the post rock world. It’s aggressive without being too heavy-handed, and artistic without being overly pretentious. By taking an intersection of two sounds that are already highly popular, maybe Vidavox can attract a cult following. The bass is the leading component of the band, with a strong drumming support that adds its own jazz flair to the mix, sometimes a strange addition to the sonic adventure. However, it is all pulled together almost effortlessly in “Lowtide,” which I’m tempted to dub one of the best instrumental songs in recent history. A simple bass line sets the foundation while guitar support flutters in the background to a wide open sonic landscape. The drums proceed cautiously, carefully not to disrupt the harmonious build-up taking place. During the first three minutes, it becomes evident that the band is aware of the genius they are creating, and the tease is so extreme that it cannot last for long, or else they run the risk of alienating the listener. Around the half way point the pace picks up and slowly begins to accelerate the rate at which the tension is heightened. Bass lines quickly let loose a deep yawn, firing off bright flares into the night to forewarn of the coming devastation. The scene has been perfectly set and at long last the guitars begin to strike with furious passion and intensity, recalling a devout epic composition known only to Caspian. However, as soon as the realization of the song’s own value is reached, it is gone—receding back into the landscape with a jazzy finale that caps off the performance with an enchanting exit. For a song that doesn’t even break the five minute mark, Vidavox sure packs quite a punch into “Lowtide.” It’s that’s good, just put it on repeat and enjoy.

The rest of the band’s self-titled debut album offers varying forms of songwriting and the feeling of the band does change quite a bit from track to track. Although several other are stellar, such as “The Threat of Comraderie,” “Kinematic,” and “Sumo,” none of them offer the dramatic feeling of “Lowtide.” However, Vidavox shows that it is able to convincingly pull off several different types of songwriting, write one amazing song, and somehow keep everything cohesive. With a little bit of growth, this band’s sophomore release is going to be monumental; it’s best to jump on the bandwagon now.


We Followed Tigers…
California

Website:We Followed Tigers
Music:Myspace


We Followed Tigers… is a mysterious force in the music world. The band has no webpage and only offers a Myspace and PureVolume page which are equally uninformative about the band. I have two pieces of music accredited to the band, an EP from 2004, …And Then We Were Killed, and one from 2005, So Much for Summer, but I can’t say for sure that either could be considered a “release” in the general meaning of the word—but honestly, what significance does “release” really have for an independent band? As much as I can remember, We Followed Tigers… is three college students residing somewhere in California who have a great passion (or not) for the music they create. What I can say for certain is that this bands makes some amazing music. The band mixes the unrelenting guitar-driven compositions of the hardcore genre with an array of pedal effects that layer pristinely over the grueling sonic environment. The band’s former release was more on the math-rock side, laying down some complex songs that are years ahead of the musician’s age. We’re talking material here that would be comparable to Dysrhythmia after avery bad day. We Followed Tigers… almost completely abandons any notion of linear time, instead desiring a sonic landscape which they can freely move through in any direction (and time signature). So Much for the Summer draws in the metal influences and gets even more spastic than its predecessor. Drums pound with brutal force and the guitar effects are the only haven from the overbearing guitar attack. On top of all of that, the band is not shy to let a primal scream or two piece the air, clearing the path for even more aggressive riffs.

I’d love to see a band like We Followed Tigers… playing the big circuits. There is a clear gap in the instrumental scene which this band fills so nicely and completely. The music is fast, cathartic, and most importantly—LOUD. Hailing from a part of the country that isn’t necessarily known for it’s hard instrumental rockers, We Followed Tigers… paves its own path and sets a precedence for its own excellent. If this band is serious about its music career (which I hope it is), my only reservation is that I can’t imagine it can continue assembling an archive of music all in this vein without exhausting its creative reserves. Then again, with a band as original as We Followed Tigers…, it may have a pool of untapped ideas unlike any we’ve seen thus far.


Russian Circles
Illinois

Website:Russian Circles
Music:Myspace


I’m not quite sure why Russian Circles opted for the name that it did, as Illinois does not really share all that much in common with the gargantuan country, but within minutes of exposure to the band’s music any curiosity about the nature of the band’s name is quickly extinguished. However, the music crafted by Russian Circles is quite Herculean, ranging from the epic “Carpe” to the more subdued and contemplative “You Already Did”.Russian Circles attacks with an approach heavy in metal influence. Jagged, metallic riffs accompany what can only be described as “insane drumming”—drumming which at times is so fast and furious the sonic landscape begins to tear at the seams from the sheer energy and forward momentum radiating from this trio. The most impressive track from the band’s debut self-titled EP is “Carpe,” an apocalyptic track that wraps the listener in a cocoon of chaos and mayhem. Russian Circles varies its approach widely throughout its four songs. Most metal-minded instrumental acts plug the doom influence and are content to stick with that, but not Russian Circles, who brings the whole genre’s history to the table. Moments of tech-metal clash with hardcore breakdowns and doom-like droning consistently deflates the uprising emotion created in the process. The band has complete control over every aspect of its music, playing with a godly precision that baffles even the most professional bands out there. A band as epic and aggressive as Russian Circles is not necessarily a rare thing in this day and age, but one who also brings an artistic flair and creative drive is not easy to find. Russian Circles delivers both and does with an authoritative force that indicates this band has big plans in store for the future.

Although the band was only formed in 2004, Russian Circles rose out of the ashes of the former instrumental band Dakota/Dakota, so it has more than enough history to add to its resume. The band’s 2004 self-titled extended play was merely a taste of things to come, and the band is currently eyeing May 2006 for the release of its debut album. As the band shares a practice space with Pelican, to whom 2005 was very kind to, many expect Russian Circles to explode onto the scene in a similar manner. It would be hard to imagine that at the end of the year a self-respecting indie-elitist wouldn’t know who this band is, but I suppose crazier things have happened…



Hematovore
Alabama

Website:Hematovore
Music:Myspace


You wouldn’t really expect an instrumental band to have any formal connection with Trust Compnay—you know that nu-metal band that had that addicting song, “Downfall.” Low and behold, James Fukai slings the axe in Hematovore, a band with more than a ten year history, and more importantly, three guitar players. Bands with three guitar players always get me excited, and Hematovore is no different. Amidst the cacophony of chugging guitars, symphony of guitar effects, and wandering leads, there is a drummer in there, beating away to his heart’s content. You can tell he’s playing loud, because when the guitars simultaneously decide to rest, he’s in the forefront ripping a few holes into his kit.Untitled lacks the emotional response present in much of the instrumentals finer acts, but instead functions on a robotic level—precision, metal, repetitious, unrelenting—all words that come to mind when describing Hematovore. The metallic undertones shine through the length of Untitled, and dissonant adventures pleasantly complement the flavor of the band. Compositionally, the band is very spacey and jam-oriented. Songs are not really directed in the sense of concept and vision, but rather they tend to unravel due to the band’s own energy and passion. I guess that tends to put a human component into the music itself, but after awhile it all becomes a blur around the deafening buzz of the triple guitar attack. That’s three times the amount of audible force needed to qualify for a rock band, and at least one more than is generally standard in the instrumental world. Three times the amount of sharp licks, thrashing chords, and jangling disjunctions. Ideas are rapidly brought up and shot down throughout the course of the album. Very few thoughts can mingle with the quickly revolving guitar attack, but in the end, all that truly matters is the warped state of the musical space.

Hematovore’s 2005 release comes courtesy of Acerbic Noise an upstart label that is showing a promising taste of things to come. Despite having a member in the band who’s fame precedes the band itself, Hematovore has yet to break out into the spotlight. It’s rare to see an instrumental band stride forward with such grandiose ideas, but Hematovore does so with little or no reservations. I suppose a decade of jamming will eliminate any and all fears that may face a band and allow it to just make music for the sake of the art.


Trephine
Maryland

Website:Trephine
Music:Myspace


Ben Rice served up a great review of this band a few months ago. As evident by the roaring conversation it started, I may have been the one of the only people to have knowledge of this band beforehand. In the vein of the Maryland instrumental scene around them, Trephine serves up a does of hard instrumental rock that rests heavy in the prog-rock but also samples math-rock, funk, and a touch of jazz. Some would call this “experimental,” but if you take into account that bands like Battles and Oxes rest nearby, it’s not too much of a surprise that a band like Trephine was able to pop up in the area. Still, lots of great moments appear throughout the course of the band’s self-titled debut effort. Always marching forward with a heavy mindset, the band displays some awe-inspiring guitar work, much of which is a recall of the “old” days of metal and not seen that much more in today’s more modern “metalcore” bands. Trephine is a highly skilled group of musicians with a large stomach, and even larger eyes. The album itself is well paced and the band doesn’t spend a lot of effort blowing through songs. Tracks like “Adrenochrome” and “Goes to Hell, Mr. Wiggles (Part Two)” show the full range of the band spread across its various forms of influence.

Trephine definitely caters to a much different crowd than the rest of the bunch. It’s a metal crowd that really doesn’t exist anymore—or one that is too old to really care about the band’s presence. Although Trephine does display a lot of great material in Trephine, it’s likely that they’ll lose the attention of listeners to more flashy, less skilled bands. Such is the magic of guitar effects, of which Trephines does not meet its quota for the year 2005. Still, those who have the requisite taste for Trephine fill find it quite the potent fruit.



~Jordan Volz