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MERCURY TREE

Spidermilk

16,99 € * inkl. MwSt. zzgl. Versandkosten
  • 27698
  • MERCURY TREE
  • CD
  • PROGRESSIVE
  • 03.05.2019
Spidermilk ist das mittlerweile 6. Studioalbum (hoffentlich richtig gezählt) der Band aus... mehr

Spidermilk ist das mittlerweile 6. Studioalbum (hoffentlich richtig gezählt) der Band aus Portland/Orgon. Personell verstärkt und musikalisch sehr ambitioniert (mikrotonale Stimmung mit 17 Noten pro Oktave) präsentiert die Band ihren New Artrock / ProgMetal für ein anspruchvolles Publikum.




A mammoth project of over two years, this is The Mercury Tree‘s first full-length album composed entirely in microtonal tuning using 17 notes per octave. Previously a trio, the band is now a four-piece with the addition of microtonal guitarist and theorist Igliashon Jones (Cryptic Ruse, City of the Asleep.) Using an assortment of custom-built instruments and synthetic sounds, and our newly expanded lineup, we‘ve tried to craft something that‘s beautiful yet completely unfamiliar. We hope these novel pitches, typically rarely heard by the average music listener, will introduce you to an alien and fascinating world, yet one that‘s still rich with humanity and emotion.


Tracklist:

1. I Am A Husk

2. Arc of an Ilk

3. Vestments

4. I‘ll Pay

5. Interglacial

6. Superposition of Silhouettes

7. Kept Man

8. Disremembered

9. Brake for Genius

10. Tides of the Spine


Line-up:

Ben Spees - voice, guitar, keyboards

Connor Reilly - drums

Oliver Campbell - bass

Igliashon Jones - guitar




I really don't know what to say, how to try to convey the idea that The Mercury Tree are among the best groups in circulation today. Do you want originality, do you want a sound that is not derivative, do you want experimentation that still remains appealing to your ears without going beyond the "end in itself" threshold?


Well, The Mercury Tree has all this, not from now, but always. Spidermilk is just another step towards the unknown that continues in the footsteps of the previous EP Cryptic Tree and is a new exploration of the possibilities of microtonal music composed entirely with this modality. The experiment must have particularly satisfied The Mercury Tree to the point of having received in its line-up as the fourth effective element the guitarist Igliashon Jones, who had collaborated in the realization of the aforementioned EP.  The effect created by the microtonal music is similar to a displacement, to a loss of balance of one's auricular center of gravity and consequently to a sensory vertigo of perception and there is no better way to introduce us to this contrast than the arpeggios of I Am a Husk . The boundary between melody and disharmony is so subtle even in the next, vaguely Crimsonian, Vestmens that makes one think of a forgotten guitar, because its discrepancy is so well calibrated that it leads us back to an appearance of euphony, but in practice the effect obtained does not other than depriving us of our certainties. I can only imagine the amount of work that the group had to undergo in creating not only the music, but also the personalized instruments themselves. It is perhaps here that the real challenge of Spidermilk lies : to involve a whole group, including guitars, synthesizers, even daring vocal polyphonies, in complex interlocking architectures such as Arc of an Ilk , Tides of the Spine and I'll Pay.  Since the microtonal approach will inevitably be dissonant to an unaccustomed ear, the stated challenge of The Mercury Tree is to try to make a repelling composition methodology accessible and succeed very well in the cantabili Brake for Genius and Superposition of Silhouettes . It is not always said that artists who make use of microtonal tuning address exclusively avant-garde, but there are those who exploit it to play the very successful pop rock (like ILEVENS ) and in any case managing not to make the difference much felt with equal temperament. The Mercury Tree stand in a middle way, showing the possibilities provided by the dissonance in relation to a return to consonance. In this way Spidermilk keeps intact the peculiar avant-garde prog identity of the band so as to seem a natural continuation of the previous masterpieces Countenance (2014) and Permutations (2016).  The Mercury Tree offers us all the tools to approach microtonality with the lowest risk of possible trauma, but they do not give up their idiosyncratic style which consequently influences sonically more esoteric episodes such as Kept Man , (Throw Up My) Hands and Disremembered . Do not think therefore that Spidermilk is only an ingenious idea to raise itself with arrogance towards other exponents of the prog. Contextualized in the discography of The Mercury Tree, it is precisely a logical evolution of their uniqueness, given that the Portland group has already largely proved to be one of the most original contemporary progressive rock authors.     

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