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intodown Takes On A Brave New World
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Whether you are a musician or not, it is easy to understand how difficult it can be for up-and-comin...Whether you are a musician or not, it is easy to understand how difficult it can be for up-and-coming artists to get the meager attention of a label. With our technological age providing ample opportunities for any willing individual to promote their music on their terms, there are so many different types of artists attempting to push their music to the top. Usually, to attain a fan base outside of their mothers, they have to decide which aspects of their music truly differentiates them from the hordes of fame-hungry individuals attempting similar methods of recognition.
For the Texas-based collective intodown, such classifications are not that easy. If a record label executive were to ask them which “type” of music they play, I would not be surprised if the various members of intodown blurted out a variety of different coined genres. Stoner-rock! Surf-rock! Prog-rock! Psychedelica! As overwhelming as it may initially be, it is in this degree of stylistic indecisiveness that makes the music of intodown such an enjoyable listen.
Their sprawling sound is undefinable and their influences, though obviously present, are largely untraceable. Dullness is never a word used to describe intodown; their diversity and high level of ambition makes their sound ceaselessly exciting.
I have found that, in much of contemporary music, there seems to be a sense of stylistic restraint among younger artists. There are too many artists looking to keep a song under 4 minutes to make it “radio-friendly” or “widely accessible”; it is a quality that sadly stops bands from ever reaching their full potential. The beauty of intodown is that they hold nothing back. With their aforementioned diversity coming into play on each and every song on their new album, Brave New World, the band shows no hesitation to keep a song at an average length of 10 minutes. The style alone carries each and every song, making the duration enjoyably unintentional.
intodown have made their stylistic classification somewhat simplistic in that regard with a statement on their web site: “We are simply a medium of exchange.” Whether you want to call them a jam band, post-rock experimentalists, or artsy prog-rockers is up to you. I have to agree with the band though in that their classification is irrelevant.
It is a blend of learned experience from the veteran musicianship of founding frontman Michael Clark. As the lead songwriter and guitarist, Clark is a one-man wrecking crew with a boatload of influences at his side ranging anywhere from surf-rock to classical. He cites Jimi Hendrix and Miles Davis as individual influences, with Clark’s impressive guitar proficiencies demonstrating it well. On Brave New World, he is rounded out by three drummers, four bassists, and a trumpet player. So much for instrumental simplicity.
In terms of accessible bands, I admit that intodown is certainly not one of them. That does not stop them from being a very enjoyable listen though; it just takes a bit of time to grow accustomed to the songs in their catalog. Keeping in tact their post-rock mentality, intodown’s output is largely guitar-based and instrumental with occasional additions of vocals that are used to capitalize on the rhythm sections. Whereas vocals are conventionally added to expand upon or create a melody, intodown’s focus on rhythm is an innovative change of heart that often works for the better. In the explosive “Elevator”, leading man Michael Clark delivers a set of mumbling vocals that correspond to the gruesomely dark array of guitars nearly perfectly. The entire song is epic in an atmospherically dark sense, bringing together Clark’s impressive guitar skills with David Willingham’s excellently implemented trumpets as the song never once comes to a halt. It merely serves as an introduction though, as the instrumental force that the song conveys exposes a raw sense of power that many amateur post-rock bands have not even come close to competing with.
Appropriately enough, the name and subtly placed lyrics in “Elevator” derive from Clark’s fondness of the cult psychedelic-rock group, the 13th Floor Elevators. Willingham’s use of trumpets makes “Elevator” sound magnificently dark, as if this so-called elevator is traveling in a downward spiral to the depths of hell. As gruesome as that may sound, I find it to be extraordinary impressive. Usually, these days, bands that are classified as “dark” are “emo” or metal groups snarling and roaring, respectively, over the repetitive pattern of three chords. Instead, intodown follows the steps of post-punk greats like Joy Division and Echo & the Bunnymen in crafting a sound that is genuinely “dark” in a supremely talented form. Whether it be the large doses of reverb or the sheer guitar-based power that Clark delivers in seamless form, it is an ironic opener for an album whose title reaps from Aldous Huxley’s futuristic intentions, primarily because intodown is a fusion of Clark’s past influences. Keep in mind though, with songwriters like Clark continuing to embrace numerous musical decades in such widespread form, such influences will never be considered outdated.
Clark describes intodown’s band name as a “state of mind [and] a feeling”. With the band’s sound in mind, their name is entirely suitable. “”Down” is sort of that mind state that is below the radar,” he says, “Somewhere melancholy, pensive; it is where the mystery lives.” Intodown’s musical output is reflective of such atmospheric emotions, with tracks like “Revolution” and “Fire” living up to their volatile namesakes by presenting a fury of rampantly executed guitar solos aided by a fastidious rhythm section. This intensified form of chaos is perfectly executed, and it helps that A Brave New World constantly shifts in tone and emotional viscosity. The 12-minute “Nostradamous” is so fantastic in instrumental power and emotional delivery that we can fully forgive the misspelling of the prophesier’s name. While occasional moments on A Brave New World seem too forced in attempting to expose solely Clark’s guitar skills, the album is definitely recommended for fans of epically instrumental post-rock. My only wish for intodown is that they expand on additional instruments on their next release. The use of a trumpet in “Elevator” makes it the album’s best song for good reason. The majority of A Brave New World sounds neatly improvised and those who enjoy such alternatively placed post-rock methods should certainly give intodown’s latest a chance. While Clark’s use of guitar is skillful enough to nearly carry the album on its own, intodown’s potential allows for even more resounding atmospheric effects if they open up their instrumental horizons a bit. Either way, whether they capitalize on such opportunities or not, intodown are certainly an act to look out for.
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Music Review: intodown - Brave New World
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In a world increasingly grown malnourished on less meaningful words, a break from the earnest medioc...In a world increasingly grown malnourished on less meaningful words, a break from the earnest mediocrity is welcome. So, we have intodown's Brave New World, almost exclusively an instrumentalist playground for sky-bound wonder, with a modern, self-disciplined kick.
Fundamentally Brave New World comes across as a solo performance, but a roving, revolving band of players back up guitarist Michael Clark. Clark has played professionally since the late 1960s and hitches himself to the psychedelic rock wagon as his preferred oeuvre, though the genre label seems welcomingly meaningless today.
This World spins in its own gravity and creates new mental life.
A persona and a CD cover show an individual who's a cross between Live and Let Die's Baron Samedi voodoo man and The Invisible Man. Whatever face Clark wants to present, his guitar seems far more sincere in its relationship with others. His play is a gift.
There'll be no spark-flying wankarrific air guitar accompanying a down and still-digging earth-riven axeslinger. There is no axe, there is no slinger. Instead, this journey winds through a cloudy world where sound reverberates close against black, towering cliff faces. The nearby trickle of water is not enough to make a regular sound, only occasionally does it rise into the waking consciousness.
And throughout, as a fog, travelers breathe in extended note-laden air.
A smattering ... Gary Moore ... of the history of ... Jeff Healey ... white-boy blues guitar ... acoustic Neil Young ... seems to ... Queensryche ... unfold ... Mark Knopfler ... throughout the course of the album. The lift of "Elevator" - with a beginning riff that could provide the undercurrent to the slow bridge of any nu metal pounding - is the first step. Mike Gage and especially David Willingham's trumpet slip into gear and engage here like nowhere else on this album.
Brave New World brings everything but depression into its orbit. This is not a Blues planet. The first hint of what this 53-minute collection is trying to evoke comes in the middle of the third song, "Fire," in the form of a quiet, almost mumbled reading of Robert Frost's "Fire and Ice":
Some say the world will end in fire,
Some say in ice.
From what I've tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
That is to say, though the album might have a tour de force where revolution (1 & 2), passion and fire heat a molten core, we listeners are a part of a quiet revolution.
intodown seems to pull us through the urban part of of this new world, but ends on a shortened jingly twang as if opening us onto the wheat or ice plains of middle America or Siberia. "Fire," "V," and "Revolution" are all stages where none seek to answer questions, only question more.
Through these ears of mine, from "Message Understood" through "The Mission," and "Revolution 2" are difficult times of action bringing us to a slowed journey that, if not ended, at least stops for a while with solutions to juggle.
"Voice of the Past," "Nostradamus," and "The Return" create the period for reflection of what has just passed, what has been accomplished, and what still lies ahead to be done.
The tunes are overall longer on the average. They require a deeper commitment, more than a blinded glance into the shadows. Brave New World, far from the sardonic twist attached to the concept these days, successfully welcomes the listener to trust that they will be on firm ground without disappointment ahead.
Let's just say, as Clark hopes we might, that this belongs in the small, "good shit" corner of the music store. Following the journey here, even if does not lead to your destination, might be enough to propel the thoughtful - or the mass opiate avoiding - listener to their own lunar satellite.
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intodown "Brave New World"
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I get blamed for being biased and hating certain genres. That's only partly true. Sure, I consistent...I get blamed for being biased and hating certain genres. That's only partly true. Sure, I consistently say that I hate emo, pretentious hipster music, and boring people with acoustic guitars. But in reality, I can like anything so long as it's either fun and enjoyable, well-constructed and intelligent, or unique and interesting. A combination of those characteristics is ideal and transcends bias.
intodown manage to hit all those pleasure centers and therefore avoid categorization as dull, self-indulgent indie rock. In fact, they are anything but. They're pure progressive with roots reaching down to the beginnings of progressive - you can say they're a prog rock version of Miles Davis.
But first let me mention that the band seems to be mostly one chap, Michael Clark, who wrote all the songs and plays guitar. You wouldn't realize it by listening to the album and appreciating the tight bass-drums-guitar interplay, but the other roles have rotating musicians.
The songwriting is solid. They have an improvisational live studio feel, but it all comes together so well, like, again, a good Miles Davis album (a couple of songs also includes great trumpet work, by the way). But also impressive is the guitarwork, which doesn't riff, but plays one long, mournful solo. It reminds me of the last two sides of Joe's Garage, particularly Warren Cucurullo's Watermelon in Eastern Hay. There are also touches of surf and spy-film in their music, lending more 60s tones to their sound.
This is an impressive instrumental album that fuses well the best elements of progressive jazz, Zappa-like guitar, and moody Pink Floyd-like stoner/prog rock.
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intodown - Brave New World Review
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Michael Clark leads the musical cast that also includes a rotation of several musicians playing bass...Michael Clark leads the musical cast that also includes a rotation of several musicians playing bass and drum parts found on Brave New World.
Clark wears many hats on this release that include, guitarist, composer, and producer.
As an old car ad use to say, 'This isn't your dad's Oldsmobile' intodown isn't your normal music. Clark's music is a built upon a base of progressive rock along with big heapings of psychedelic, stoner, 60's guitar rock, blues, and experimental mixed in to create a very unique sound.
They want their music to be more then a singular sound intodown wants to, 'create a world of sound, a musical journey'.
The music found on Brave New World has a dark almost industrial sound that always is there lurking in the background while Clark's guitar playing keeps you mesmerized. The music has the feeling of always being on the edge of total chaos but manages to never crossover the line into musical madness.
For the most part Brave New World is instrumental minus the occasional low-tone vocals or haunting background words.
This release lets you hear what music can sound like when not under the, keep it short for radio play rule. 7 and 8-minute songs are the norm with both the 12 minutes ( "Nostradamous") and 20 minutes medley ( "Fire", "V", "Revolution","Message Understood", "The Mission, "Revolution 2" "Voice of the Past")
If you're looking for epic music where the psychedelic past of the 60's meets up with a dark futuristic industrial sound, that is dripping with great guitar work, then you need to get intodown's Brave New World.
Brave New World isn't an easy listen but if you're willing to spend the time and take this musical thrill ride you will be justly rewarded.
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intodown - Brave New World
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From its smoky, hazy cover art and liner note tagline of “down is an altered state of being, a diffe...From its smoky, hazy cover art and liner note tagline of “down is an altered state of being, a different reality,” Dallas psychedelic rock act intodown makes no secret about its intentions to create a mind-bending experience cut from the same ‘60s cloth as Jimi Hendrix and 13th Floor Elevators.
But the band’s Brave New World album is no mere nostalgic (LSD) flashback or pastiche. Moody and atmospheric enough for the Tool/Pink Floyd freaks but with enough stoner-friendly, sprawling arrangements (“Nostradamus” clocks in at nearly a dozen minutes) for the Sleep crowd, Brave New World takes you down a very pleasant rabbit hole.
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A review of "Brave New World"
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intodown- 'Brave New World', available February 2008.
Listening to intodown's latest release 'Bra...intodown- 'Brave New World', available February 2008.
Listening to intodown's latest release 'Brave New World', I found myself feeling like somewhat of a time traveler. The music of intodown can best be described as 60's rock with definite futuristic elements. With songs that are fast paced rock such as 'Elevator', and even slower songs such as 'intodown', the cd really brings together a perfect blend of rock, blues and a 60's psychedelic flavor.
Amazing and distinct guitars played by Michael Clark, who is also the vocalist and in charge of the cd's sound design, bring to mind such great artists as B.B. King, Jimi Hendrix, and Pink Floyd. Featuring a variety of drummers, bassists, and trumpets, the Texas-based band brings together a collective sound mixing with many different genres and makes fans feel like they are on a great psychedelic listening experience. This music is haunting, at times chilling and I couldn't help but wonder what is going on in Michael Clark's head when he writes. I say that with nothing but respect, knowing that creativity is a very subjective and individual experience.
The best compliment I could pay to intodown for their work on 'Brave New World' would be to say that I could picture the members of Pink Floyd having it on their iPods, without a doubt. This cd is definitely worth a listen, or two, or three....
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intodown - Brave New World
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Somebody get me a cheeseburger! The last artist to record a significant album entitled Brave New Wor...Somebody get me a cheeseburger! The last artist to record a significant album entitled Brave New World was the Steve Miller Band back in 1969. It’s fitting that Intodown are the second, though we can’t quite figure out if they’re stuck in past or the pointing the way to the future. Perhaps it’s a bit of both on this loud and proud debut release.
Helmed by guitar whiz Michael Clark, Intodown’s World is steeped in psychedelic meets D.I.Y. garage ethos. The guitar motifs which run through the mostly instrumental tracks recall many of the greats: Bloomfield, Hendrix, Zappa, Santana, David Gilmour, and Syd Barrett. The Intodown sound is raw yet refined, and the jams percolate with poly-rhythmic abandon. Lulio Guevara’s upper register bass chords provide the perfect counterpoint to Clarks’ sheets of sonic overdrive in “Revolution 2.” “Elevator” evokes long, lost B-movie soundtracks by way of its chromatic chord progressions, blotto trumpet solos and multi-layered unintelligible vocals. Whether it’s yesterdays news or a forecast for tomorrow, Intodown’s Brave New World is not to be missed.
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The Brave New World Is Here
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Heaven’s Secretary: Hello, this is Heaven. How can I help you?
Me: Yes, this is Tim Wardyn an... Heaven’s Secretary: Hello, this is Heaven. How can I help you?
Me: Yes, this is Tim Wardyn and I write music reviews for Ink19.com. I have a couple of questions about an album that I am reviewing by a group called intodown. Their latest album Brave New World seems to channel several musical icons who now reside up there.
HS: Ahh, yes. I did hear about that. Yes, the place has been abuzz for that exact reason. Several of our most talented residents have given their blessings and talents to Mr. Michael Clark and his guitar.
Me: I wondered because his guitar solos are strikingly similar to Jimi Hendrix’s.
HS: Yes, Hendrix was actually the first to aid Mr. Clark.
Me: Clark’s blues riffs remind me of John Lee Hooker, and the whole psychedelic jam-band-esque overtone is just like the Grateful Dead when Jerry Garcia was around.
HS: Jerry thought it would be a good idea to reinstate the “peace, love, and understanding” movement.
Me: But Michael Clark and intodown hardly sing at all on this album. Why is that?
HS: Mr. Clark thought it best to let the guitar do the singing.
Me: So how was Clark able to meld psychedelic rock, surf rock, blues, and progressive rock all into one fluid album?
HS: That’s all Mr. Clark. He has a gift and he is using that, along with a little help to make something that everyone on Earth needs to hear.
Me: I guess that makes sense. I have one more question: Can Jimi, John, and Jerry lend me a little help?
HS: I’m sorry. They’re busy aiding Mr. Clark and intodown.
Me (inner monologue): Damn.
HS: I heard that.
Intodown: www.intodown.com
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intodown - Brave New World
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intodown hails from Texas and features guitarist Michael Clark. Clark and his rotating rhythm sectio...intodown hails from Texas and features guitarist Michael Clark. Clark and his rotating rhythm section have put together an album of trippy, classically inspired jams.
The album starts off meandering in jangly, psychedelic surf rock territory, reminiscent of bay area surfsters the Mermen. The Mermen employ more of a Sonic Youth type of instrumental abandon, whereas Intodown has more of a classic rock feel. A few songs feature what they call a “flurbatron,” which I am guessing is a mellotron organ patched through an Electro-Harmonix Holy Grail reverb pedal set to the “flurb” setting.
The first song, “Elevator,” is a nod to the 13th Floor Elevators. Aside from a few narrative passages, this is one of the few spots on the album that features any vocals. We also get a taste of the guitar histrionics that permeate throughout the album. The song climaxes with an acid tinged trumpet solo.
“Elevator” and the second tune, “intodown,” are both clever compositions, worthy of being used for a movie soundtrack, ala Neil Young’s soundtrack for the movie Dead Man. The third song, “Fire,” kicks off a visceral trip, which spans three tracks and lasts for about twenty minutes or so. I did some heady contemplating, lost track of time, and the next thing I knew I was already at track six.
“Message Understood” starts off as serious space rock. The flurbatron sounds like it is blindly following a distant echo inside an underground cavern. The guitar is twisting over and under, inside and out, wayside to the stringy barbs of the serpentine hydra.
On “Revolution 2” the musicians revisit the familiar raga of the “Fire” theme, but this time it’s a bit more feverish. “Voice of the Beast” and “Nostradamus” are both calm introspective pieces, conjuring a mood that could be described as a rising shimmering effect.
I thoroughly enjoyed listening to this album. The guitar playing on this disc is quite ingenious. I wonder how Clark stays in tune considering his masterful and liberal use of the twang bar. Also, he’s not very flashy - very minimalist and tasteful, except for when he really lets it rip!
URL: http://www.myspace.com/intodown
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intodown's Brave New World
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Ready to get transported back to 1968? Well, then you've come to the right place. Brave New World is...Ready to get transported back to 1968? Well, then you've come to the right place. Brave New World is the new release from Dallas, Texas act Intodown, the spawn of guitarist, composer, and producer Michael Clark.
One spin through through the 11 tracks here and you will instantly hear images of Syd Barrett era Pink Floyd, Miles Davis, Jimi Hendrix, The Jefferson Airplane, Sonic Youth, and Frank Zappa & the Mothers of Invention.
The sprawling opener sees Clark's jangly guitar riffs & leads doing battle with the scorching trumpet of David Willingham, while the lengthy guitar jams of "intodown" might pass as Neil Young after attending a seminar on how to effectively create some serious post-rock. The multi-part "Fire", all 21-minutes of it, allows Clark to really strut his stuff, as he wrenches all sorts of sounds and textures out of his guitar, working his whammy bar overtime while spitting out surf, psychedelic, blues, and hard rock lines. While things slow down to a bluesy crawl with an almost Trower-ish edge on "Nostradamous", the guitarist still gets to display his tasty chops amidst some darker atmosphere, and the closing "The Return" features a myriad of guitar effects that might remind of some of Robert Fripp's soundcape releases.
End result is that Brave New World is an enjoyable guitar oriented release that should spark some serious interest amongst axe-fans for this band.
supersonic
