ESP continues to surprise with their eclectic release series, and Barnacled is a rock oriented band that seems to be slipping under the radar. Which is sad, because it owes its existence to a better-known organization, Alec K. Redfearn and the Eyesores, with Redfearn himself well placed in the band, and most of the associates having been one-time Eyesore members. Past associates aside, with it's orchestration including accordion, bassoon, electronics and speak & spell, this record fits well in the post-RIO world of bands like Volapuk, Univers Zero/Present, Miriodor, &c, borrowing liberally from rock, improvised, and electronic elements as suits the music and musicians. Barnacled describe themselves as "a sound-collective born in Providence at the turn of the millenium, dealing in realms as at first seemingly disparate as interpretive composi-improvisation, neo-minimalist incidentalism, mindless repetition, and hot rockin'."
The album opens with "Title", a driving piece over a frenetic, almost militaristic beat, but with a melodicism and intricacy that fits the chamber rock/RIO mold to a "T". The playing is incredibly tight, and the quick changes and cohesiveness of the group provide a great introduction to the album. "Battles" follows, the perfect example of the Redfearn/Eyesore connection, a song that floats over an accordion riff but playing a mix of acoustic and electronics that makes a thick and compelling romp. The piece resolves to a dark campaign of tonal studies and drum attacks. "Losing Weight Through Prayer" shows the free jazz side to the band, making the ESP connection, its excellent head melody giving way to a strong alto sax solo from Jason McGill, played over a pulsing bass line and insistent drum and accordion jabs. A lá Eyesores the piece segues with an electronic maelstrom into "Jennifer Plastics", an electroacoustic work with Frank Difficult and Michael Jeffies at the helm.
"Language Barrier" uses feedback and a constrained dialog between the players, who seemingly fight their way into a ragged discourse that comes back to a roiling gambol with battering drums and a dogged melodic line. Starting with muttering voices and the sound of a switch, a creeping pulse then starts "Simulacrum" in an almost Henry Cow mood as the band slowly joins the cycling tones, eventually punctuated with off-kilter drums and subdued electronic sparks; the piece gathers intensity until it bursts into a slow-boiling cauldron of rhythmic iterations, leading to a punctuated and repeating figure that makes the band sound like they're recreating a CD caught in a scratch. The piece the returns to the melody with the tattoo of the drum still beating behind, making a complex and winding journey that presents the many facets of style and ability this remarkable band delivers.
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