Mr. Ebert, out of Atlanta, has revealed to me, somewhat unpleasantly, the limit of my magnanimousness towards music fusion.
See, I fancy myself, musically, as being pretty open-minded. I genuinely love Grindcore, black metal, doom, rock, pop, some country, some rap, and all jazz.
But Matt… Matt showed me I don’t really know from blending music.
Hard Work is wildly varied, musically speaking, and somehow reminds one of Melt-Banana (though without sounding like them) in that it is vaguely cartoonish, and very difficult to classify.
“Ted’s Rafting Adventures,” though instrumental, reminds me of Primus, “Building It,” comes off like George Clinton and P-funk (particularly “Erotic City,”), especially with what I think is a Hammond B-3 organ…? It then fades out something like Acid Mother’s Temple and/or Pink Floyd– if Ebert doesn’t smoke pot every second of every day, I’ve got a world-changing suggestion for him… this is perfect THC sound.
“Evil Ted,” (you had me at the Bill & Ted’s Bogus Journey reference), starts like something a metal band in the Jetsons’ universe might sound like, when a horn section (or at least a simulated one) enters, with Marvin the Martian playing kazoo (not Gazoo, as in, The Great) behind it… later we get an alto sax at around 4:00 for ambiance….
“The 9 Gates,” (another movie reference? To one of my favorite books and an underrated movie…?) opens with a Behemoth-esque sitar-y Middle-Eastern slurred lick, and at about 2 minutes sounds like something off Miles Davis’ On The Corner (complete with more alto). “Hard Work” sounds like a combo of Fishbone and Left Lane Cruiser.
Overall, if you’re open-minded, this is surprisingly diverse and well-executed music. Well done, ME.
Hard Work is quirk put to digital wax: it changes on a dime (though admirably always sounds like the same artist), and though some of the quirk seems like it’s done for its own sake, most of the time it completely works.
And this is me sober.
Posted on March 5, 2012 by hhbrady
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