MONDAY JUN 05, 2017
Fuiste
Out of Atlanta comes the relatively new formed math-rock band, Fuiste. The group has been around since the end of 2014, but it wasn’t until recently that they took their music journey head-on. The group consists of Jonny Bakos on bass, Sam Wilson on guitar, and Skylar Brilliante on drums. All three went to the same high school, and Sam and Skylar attended the same Spanish class. This is where the name “fuiste” – a Spanish word which, depending on context, means ‘you went’ or ‘you were’ — originated. Their teacher used the term one day, and it stuck from that point forward.
The trio recently released their debut EP, the three-song Slow Burner. It’s a schizophrenic affair, full of complex rhythm changes and wiry guitar riffs that fly out of your speakers like so many strands from a spider web. There are traces of jazz, hardcore, and psych rock, all connected and then torn asunder by noisy interludes that seem to appear out of nowhere. What little vocals there are appear almost inconsequentially without much melody to steer them. It’s a relentlessly restless record and yet, despite its messiness, it all comes together in a manner that is exciting and constantly surprising.
Slow Burner is available for streaming or as a name your price download via Bandcamp.
- Bryce Center / Immersive Atlanta
Out of Atlanta comes the relatively new formed math-rock band, Fuiste. The group has been around since the end of 2014, but it wasn’t until recently that they took their music journey head-on. The group consists of Jonny Bakos on bass, Sam Wilson on guitar, and Skylar Brilliante on drums. All three went to the same high school, and Sam and Skylar attended the same Spanish class. This is where the name “fuiste” – a Spanish word which, depending on context, means ‘you went’ or ‘you were’ — originated. Their teacher used the term one day, and it stuck from that point forward.
The trio recently released their debut EP, the three-song Slow Burner. It’s a schizophrenic affair, full of complex rhythm changes and wiry guitar riffs that fly out of your speakers like so many strands from a spider web. There are traces of jazz, hardcore, and psych rock, all connected and then torn asunder by noisy interludes that seem to appear out of nowhere. What little vocals there are appear almost inconsequentially without much melody to steer them. It’s a relentlessly restless record and yet, despite its messiness, it all comes together in a manner that is exciting and constantly surprising.
Slow Burner is available for streaming or as a name your price download via Bandcamp.
- Bryce Center / Immersive Atlanta
Media Jeweler
"As proven with "Autopilot"—a lively, playful cut from Media Jeweler's forthcoming debut $99 R/T Hawaii—the Santa Ana, Calif. quartet subscribe to instrumental rock’s "felicity is bliss" school of thought. Fleet, nagging guitars and regal horn charts form a sonic pulse that’s urged along by a limber rhythm section; the song doesn’t so much pound as it slips, skids, and surges, accruing a kinetic static electricity. A true fiesta for the ears, "Autopilot" quotes the jammy expansiveness of late Baltimore outfit Ponytaileven as it makes space for swift digressions into funk, acid jazz, bossa nova, and math rock. In just three and a half minutes, Media Jeweler seem to circle and crisscross the known universe multiple times, delivering a wordless reverie as all-out ecstatic as a GIF of Snoopy’s happy dance." -Pitchfork
"As proven with "Autopilot"—a lively, playful cut from Media Jeweler's forthcoming debut $99 R/T Hawaii—the Santa Ana, Calif. quartet subscribe to instrumental rock’s "felicity is bliss" school of thought. Fleet, nagging guitars and regal horn charts form a sonic pulse that’s urged along by a limber rhythm section; the song doesn’t so much pound as it slips, skids, and surges, accruing a kinetic static electricity. A true fiesta for the ears, "Autopilot" quotes the jammy expansiveness of late Baltimore outfit Ponytaileven as it makes space for swift digressions into funk, acid jazz, bossa nova, and math rock. In just three and a half minutes, Media Jeweler seem to circle and crisscross the known universe multiple times, delivering a wordless reverie as all-out ecstatic as a GIF of Snoopy’s happy dance." -Pitchfork
Blessed
Blessed's sophomore release, “Circuitous”, cements and expands on their status as a band’s band: a patient, eclectic career outfit guided by the intense pursuit of an internally-dictated creative agenda. The group has sharpened their strengths, bringing an ever-growing depth of songwriting and artistic evolution to their craft.
Composed from hours of jam material and hundreds of demos, “Circuitous” comprises eight tracks that sprawl and thrash and burst and fall. The record finds the band digging deeper into their vast collective catalog of influences, taking notes from groups as diverse as Mount Kimbie, Shabazz Palaces, Liquid Liquid, and Unwound. The result is a sweeping, hyperreal, industrial art-rock tragedy, rendered in walls of noise, controlled drums, meandering ambience, and staccato syncopation, while touching on topics like agoraphobia, isolation, grief, the hyper-control of capital and the numbness it breeds. Circuitous was mixed by John Congleton (Swans, St. Vincent, Wye Oak) and mastered by Greg Obis (Alabaster Deplume, Cloud Nothings, Stuck).
Blessed's sophomore release, “Circuitous”, cements and expands on their status as a band’s band: a patient, eclectic career outfit guided by the intense pursuit of an internally-dictated creative agenda. The group has sharpened their strengths, bringing an ever-growing depth of songwriting and artistic evolution to their craft.
Composed from hours of jam material and hundreds of demos, “Circuitous” comprises eight tracks that sprawl and thrash and burst and fall. The record finds the band digging deeper into their vast collective catalog of influences, taking notes from groups as diverse as Mount Kimbie, Shabazz Palaces, Liquid Liquid, and Unwound. The result is a sweeping, hyperreal, industrial art-rock tragedy, rendered in walls of noise, controlled drums, meandering ambience, and staccato syncopation, while touching on topics like agoraphobia, isolation, grief, the hyper-control of capital and the numbness it breeds. Circuitous was mixed by John Congleton (Swans, St. Vincent, Wye Oak) and mastered by Greg Obis (Alabaster Deplume, Cloud Nothings, Stuck).