Jezzebeam, Ether Island, Octant, R Lee Dockery

Ether Island

Remember when Björk was angry? Not loud, but angry… That's right, you can't. She's just a big faker, likely because the only thing to be angry about in Iceland is the Greenhouse Effect and that, despite the human population working to kill the ozone, it's still cold as fuck. Ether Island is that angry Björk, outraged that no one gave two shits about the awesome swan dress they wore (where's Björk's Oscar for actually being a swan princess!?). Season of Risk is vengeful but also the kind of mind-blaster needed to break from the funk. It's the primal screams after the unresolved hangs thick over the air. Whatever caused the demise of Mythical Beast is theirs to tell, but outcasts Corinne Sweeney and Jeremiah Cowlin have regrouped with kinetic fury. It's a kick to the teeth, a knee to the groin, and a crushing handshake. Yeah, we missed this. Music is all emotions and it's been lacking a shitty attitude reserved for aging rock stars and snotty pop idols off the stage. We want it on stage, in the music, and crammed down our throats. We've grown soft. Ether Island hasn't. They are pissed. They are vengeful. Rather than become Dexter Morgan, they've splayed open the victim in front of all of us. They warned you: this is the Season of Risk. Heed it.

The potential of melodic light to emerge from a cloudy tangle of artificial audio, the diamonds of harmony buried in the chaos of our shared sound unconscious, these flickers of order represent a horizon that the Octant strives to bring into focus. Multi-instrumentalist Matt Steinke (Mocket, Satisfact) builds semi-analog, semi-acoustic, semi-kinetic instruments to drive semi-randomized bionic orchestral-mechanical compositions comprised of corrupted pop algorithims. Best appreciated in visual performance, the songs erupt onstage in a perplexing array of sounds, lights, and flailing machinery.

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