Not To Reason Why
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Not To Reason Why

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"Not To Reason Why-Would You Hug Fire?"


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Score: 8/10


At TSB, we review a lot of demos, debuts, and self-released discs. Everybody gets a shot. Our reactions to smaller productions tend to fall into one of three categories: 1) It’s not very good, but thanks for sharing; 2) It’s okay, but a lot needs to change; or 3) Well done, we expect the next will be even better. Holly Emblem’s 2008 review of Not to Reason Why’s Who Wants Flowers When They're Dead? is an example of the latter. All too often, artists fail to live up to expectations. Not to Reason Why is the exception, the sort of act that makes fans puff with proprietary pride: “Yes, well I was listening to them last year.” But even more importantly, Not to Reason Why is a band to wonder at, to cheer for, and to congratulate, because Would You Hug Fire? turns out to be one of the year’s stronger post-rock releases.

In order to get to this point, the Cali foursome had to do a lot of work. First, of course, they had to practice their instruments – the playing here is tight and instinctive. Second, they had to hone their compositional skills – the EP was solid, but the album is deep. Third, they had to choose a signature sound – the math rock and ambient influences described by Holly now take a back seat to post-rock (and thank God, because the genre is in desperate need of revitalization). The band also secured additional instrumentation: a trumpet on one track, strings and double bass on others. As bonuses, they released the album on vinyl and included four double-sided glossy art cards (one side for each song) with each LP and CD release. Did they leave anything out? Not really. The album looks good, feels good, and sounds good. A scented version might have been too much to ask.

Would You Hug Fire? provides eight post-rock pleasures, whose rustling, cumulative effect is astonishing. The album is upbeat and uplifting, a collection of happy compositions with a desire to inspire: fortune cookies wrapped in guitars. Each piece has a defining moment: handclaps, military drums, a tempo shift, a two-note finale, the sound of conversation, an extended piano prelude, a slowly-emerging trumpet, a false ending, followed by choir-like vocals. “Zeitgeist” rolls with unexpected power, given that it is one of the stringless tracks. The twelve-minute closer, “Ancients,” makes full use of the orchestral enhancements and easily corners the attention at the punchbowl.

The band still has a few things to work on, none major. The transition between songs could be better. For example, the east edge of track one doesn’t mesh with the west edge of track two, and track four ends with alarming abruptness. The piano passages could be more complex. Ironically, the more interesting keyboard stanzas are buried in the mix, while the simpler successions are front and center. And the boundaries could use a bit more stretching. These are great melodies, but nothing one might refer to as experimental. Each of these modifications will surely come in time, as the band has doubled their appeal by releasing an album better than their EP. Suffice it to say that I’ll be buying everything they record until further notice. Last year, they were the band of the future. This year, they’ve arrived.

-Richard Allen
- The Silent Ballet


"I'd Hug That Fire, For Sure"

Not To Reason Why is melting the hearts (and faces) of audiences in Sonoma County, throwing new logs on the waning fire that is the North Bay music scene. Their latest release and first full-length offering, “Would You Hug Fire,” was officially put on the market on vinyl (its intended format) and compact disc Saturday night at the Guyaki mate bar in Sebastopol.

The vinyl pressings, limited to 300, arrived that morning to the band. It wasn’t an official release party, but nonetheless dollars were forked over for the much-anticipated album. Though Tonegazer was able to secure an advance digital copy, we held off on a review until it was available to the public.

Some may say because its lack of a voice leading each track that this album is “boring” or “repetitive.” But this is not the case. Each song evokes a different feeling. The most powerful for me personally is easily Zeitgeist, which in an instant makes me remember anyone I’ve ever lost, by death or otherwise, all at once. It’s moving to the point of paralyzation. Crushing delayed guitar, pounding, forceful drums, two separate piano chord progressions so beautiful they evoke tears and the ceaseless throbbing, pumping, chest-shaking bass work together like the world’s best repression-specialist psychologist.

The album title is fitting. “Would You Hug Fire” is not a provocative question until one hears the album in its entirety. It makes the listener actually question his sense of feeling, whether it’s physical or mental, making the thought of embracing a warm glow seem enticing. The intensity of the music dictates the glow and embrace be equally intense; maybe the album should have been titled “Would You Bear Hug Fire?”

It picks up where the band’s previous offering, “Who wants flowers when they’re dead?” left off. Epic songs were weakened only slightly by repetition and a sense of hesitancy. No songs longer than about six minutes and beautiful, but simple offerings. “Fire” features one song pushing 12 minutes, one with a horn section, three with a string quartet and really achieves the sense of fearlessness “Flowers” was seeking.

The vinyl version is by far a superior listening experience. Not necessarily because it’s a 180-gram thick pressing (an audiophile’s wet dream), but because the four sides give pause and allow each pair of songs to sink in. Like Romantic Era composer Gustav Mahler, whose second symphony has a programmed five-minute pause between the first and second movements, Not To Reason Why understands the power of silence. The songs are so monumental in their relatively short (4:49 to 11:48) time span, a little pause does the mind a favor. It’s in that silence the thoughtful craft of blending art and intensity can be truly appreciated.

This is what Not To Reason Why thrives on. Three of the four members graduated the same school with music degrees, and all are outstanding musicians in their own rites. Those three were also in advanced choral groups focusing on early music like Monteverdi and Josquin, so forming an instrumental post-rock group with an emphasis on minimalism sounds outlandish – at first.

But it only makes sense. A true craftsman (or craftswoman) is able to communicate the most emotion with the smallest effort. Like a perfect haiku, this music isn’t hard to duplicate, but each note bears significance.

The record(s) comes with eight framable prints (one for each song) by Sonoma County artists and even has a CD for listening in the ca.

I cannot recommend this album enough. Easily the best record to be released this year, even if its not officially out yet. The only downfall might be its status as a complete album. It might be tough to listen to one track on its own, and might be hard to pick a “single” off this album. So setting it on for a couple minutes while getting ready for work in the morning might be tough, but my ears would be hard pressed to find a better way to spend 56 minutes. - Tonegazer Blog


Discography

Who Wants Flowers When They're Dead?

Would You Hug Fire?

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Bio

Not to Reason Why is a Northern California band made up of four musicians: Ian Simpson, Paul Haile, Lauren Harkins and Navid Manoochehri. Simpson is the only member of the group not to receive a formal education in music, with the other three earning Bachelors degrees in music from Sonoma State University. Armed with this knowledge, it would seem no small irony that he carries a large part of the songwriting load for the band. The irony is lost on those who know Not to Reason Why, however, as it is a well known fact that their music comes from that most universal of human truths, emotion.

Drawing from influences as diverse as City of Caterpillars and Erik Satie, Not to Reason why unites instrumental music in a most imaginative way. Their music has been described as instrumental, progressive and as a part of that ever sticky genre of music post-rock. While their musical stylings do have elements of Mono, Explosions in the Sky, Godspeed you Black Emperor and Mogwai, Not to Reason Why really enjoys reveling in the rock genre rather than leaving it behind. Each show is a carefully constructed series of sonic nadirs and zeniths as the band lures its audience into a state of relative comfort and then jars them into full consciousness with explosive battlements of sound. Through it all the band strives to keep one foot solidly on the ground and their shows maintain a strong organic backbone through all the screaming riffs and splashy fills.

This commitment to creating melodic and digestible “post-rock” really sets the band apart as they keep even the most fickle audiences interested by steering clear of ten minute captured sound loops and extended experiments with ambient noise. The band’s piano laden melodies make for a new and fresh take in a well explored genre and a discerning listener will always find that irresistible element of freshness that artists are constantly seeking.

Further proving their value as multi-dimensional artists, Not to Reason Why has spent many an hour toiling in recording studios to make something that their fans can take away from their rambunctious live act and enjoy on their own turf. Showing tremendous growth from their solid debut effort Who Wants Flowers When they’re Dead?, the band is currently playing songs from their new release Would You Hug Fire?. This current record has been reviewed very favorably by instrumental music publication, The Silent Ballet and is a true showcase of not only the record-making chops of the band but also Paul Haile’s prowess as a recording engineer.

Even with the intense dedication to making an excellent record, the band has never wavered in their commitment to the live performance. Drawing on countless hours of live practice Not to Reason Why delivers tight performances that have room for exploration and participation. Ultimately, a Not to Reason Why show is a fun show, with the band members never getting so lost in their own music that they forget their ever-important live role as entertainers.