Tera Melos

Truly great art is that which can't be easily understood and dissected, but immediately resonates nonetheless. Tera Melos' new full length, X'ed Out is just that kind of adventure. The songs transcend in a way that makes you want to sit friends down to hear it, not only to share the experience, but perhaps in hopes that together you can create the world in which songs like this can be defined. It hits mental buttons and flicks internal switches that you never knew existed, while cleverly obscuring the technical precision for which the band has been known. It's remarkably multifaceted, incredibly catchy and perplexing to unravel exactly how it all works.
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"It's like visiting a friend who lives on the 14th floor of a building with no elevator, yet he has a grand piano in his apartment," explains bassist Nathan Latona. "How did he get it there? Was it carried up 14 flights of stairs, assembled on site or what? This record is the piano in the apartment with no elevator. We wanted to do all of the tricky stuff in a way that doesn't seem noticeable."
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X'ed Out is the culmination of an arc begun on Tera Melos' first proper full-length, Patagonian Rats (Sargent House, 2010) -- a supercollider of 60s pop hooks, Minutemen garage-prog, post-punk evisceration, wiry psychedelia and nearly everything else in-between. Here, the Sacramento based trio burns and simmers simultaneously while situated somewhere without benefit of location services. It's a nowhere land, X'ed Out of the grid, both inviting and daring. Join us.
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From the very first fluttering notes of album opener "Weird Circles" it's clear that we're encountering an entirely new Tera Melos. Guitarist/vocalist Nick Reinhart's steady, rhythmic palm-muted strumming and Latona's nimble counter-melody glide the song through the ether like Tangerine Dream with stringed instruments. Reinhart's soft falsetto vocals hover at the forefront until drummer John Clardy's propulsive beat kicks in short, sharp jolts with wailing noise leading up to a triumphant crescendo. Elsewhere, "Bite" soars with a chiming harmonized guitar drone smeared over repetitive, mechanical sounding rhythms. Haunting Beach Boys style "do do do" vocals lead in to the bubbly, rapid-fire notes of "Sunburn" before erupting into the unabashed pop hooks of the chorus. Mellower moments, like the swooning guitar drone and vocal harmonies of "No Phase" and threadbare-yet-bludgeoning "Melody Nine" show just how richly developed the band's musical palette has become. "Tropic Lame" sounds almost reminiscent of Goo-era Sonic Youth's maligned guitar melodies -- skronking, ringing, bending -- while the whole band lean into their instruments to create a massive haze of joyful noise.
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"I'd initially wanted to make a really simple and minimal record," Reinhart says. "But our minds wander way too much, so when the songs came to life, they raged a little more than expected. In the process, it became clear that to move forward we needed to think less." Clardy agrees, "we're not trying to bludgeon people over their heads with technicality. It's more deceptively simple."
X'ed Out will be available everywhere April 16, 2013 on LP, CD and download via Sargent House.

Infinity Shred

Sanctuary, the full-length debut by Manhattan’s Infinity Shred, finds a path that belongs to neither the past nor the
future, a swirling instrumental ether-region all its own. It’s been a long road to Infinity, and the trio’s first long-player
finds them on a quest to define a more mature form for the music that Damon Hardjowirogo and George Stroud
have been playing together since they were teenagers. They’ve come a long way since those early days of hacking
their own hardware.
Over seven rich tracks, Infinity Shred apply their increasingly complex palette towards expansive post-rock and
points beyond, exploring a vast array of synthesizers, huge textural guitars, the occasional home brewed circuitry,
and playful dialogues between live and programmed percussion. While the album represents the first full-length by
Infinity Shred, it is also an arrival in a six-year long creative arc.
Hardjowirogo and Stroud originally played together as Starscream while high school students in 2007, part of a new
generation of musicians channeling ecstatic dance-punk through celestial 8-bit explosions. With an onslaught of
self-released 7-inches, EPs, and CD-Rs, the duo made a name for their incredibly loud and visually arresting live
show, building a reputation on both sides of the underground/mainstream divide.
In 2011, while releasing a split 7-inch with Kickstarter upstarts Anamanaguchi, the band appeared on the series
finale of MTV's Skins, performing two original songs and backing cast members on another. That same year, the
band added Nathan Ritholz, who expanded the band’s range with his guitar, hip-hop production skills, and formal
music education. Delving into electronic synthesis and an intensely collaborative songwriting process, the band
soon changed names to match their new direction.
Weaned on At the Drive-In (a shared group favorite) and post-rock staples like Explosions in the Sky and Mogwai, it
was natural for Infinity Shred to look beyond the beautiful restrictions of their earliest music. "The more I had to deal
with the limitations of 8-bit hardware, the more I wanted more," Damon observes. “Recording the music at home
can be more of an emotional experience, but playing live, it becomes something that’s much more fun. I don't
imagine it getting put on at parties but it makes perfect sense when people party at the shows.”
With reference points including skateboarding, synth shredding, the brief blip of the early '80s Italo disco
movement, and Carl Sagan's PBS series Cosmos, the band's epic live performances integrate a dizzying melange
of fully-synced film footage. The destination is forever, eagerly awaiting the future.

$12 ADV / $14 DOS

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Tera Melos with TTNG (This Town Needs Guns), Infinity Shred

Thursday, May 2 · Doors 8:00 PM / Show 9:00 PM at Knitting Factory Brooklyn

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