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Gary War Gaz Forth
Feeding Tube Records 9 Feb., 2018

Gary War — Gaz Forth (9 Feb., 2018)

                      Gary War — Gaz Forth (9 Feb., 2018)Gary War — Gaz Forth (9 Feb., 2018)↓      Brooklynský Gary War dělá naléhavý elektro~rock inspirovaný Chrome, My Bloody Valentine a Sydem Barrettem. Gary War vydal své dlouho očekávané album Gaz Forth 9. února na labelu Feeding Tube, jeho první celovečerní prácička za více než pět let. Po svém působení u Ariel Pink, rozsáhlém turné, množství spolupráce a putování po Novém Zélandu, War je zpátky v Massachusetts, kde pracoval s nejlepšími a nejvíce eklekticky založenými hudebníky Bostonské scény. Postoj Gary Wara k albu Gaz Forth je záhadný a tajuplný, přesto zaměstnává nostalgii jako nástroj krásy a jako vstupní bod k meta groovům a hypercynickému okamžiku. Na tomto albu díky své kariéře vybudoval War pomocí psychedelie 60’s sonickou perspektivu, která je řezána velkoryse futuristickými prvky. Některé docela neočekávané pasáže jsou zastřeny fúzovanými mužskými i ženskými vokály. Zní to trochu jako cosi ze staré německé scény řady Hannoverské kapely Eloy Franka Bornemanna (19 alb), trochu jako vesmírná odyssea, která není příliš vzdálená od duální, politicky motivované romantické poezie autorů Keatse, Byrona a Shelleyho. Podobně, jako David Bowie rozšiřuje vztah k romantismu v popových záležitostech, romantizmus v moderní době stále žije jako emoční, reflexní a reaktivní kritika moderny. Hledání mnoha romantických prvků z původní umělecké motivace prostřednictvím kariéry Davida Bowieho (nejpřesněji v jeho berlínské trilogii), zde lze zdůraznit komplexní, dlouhotrvající umělecký postoj romantiků. Z jejich polozapomenuté pověsti jako idealistů v metru, z hlediska jejich politického významu představují výhled, který je endemicky lidský. Znova a znova narážíme na zjevné použití vesmírných zvuků a konceptuální hudební cesty, dechberoucí muzikálnost je zde až příliš průhledná, než aby si posluchač nepovšiml preferencí Davida Bowieho. Album Low vyvolává nespokojenost, s citem pro transcendentní aspirace, kterou Shelley vynalezl, zatímco vyčerpal autentické emoce. Ty se objevily v rané Bowieho kariéře, tenkrát působily jako trankvilizér. Album Gaz Forth zdůrazňuje umění a hudbu jako praxi nebo proces v meditaci mezi přechody, ať už jsou intergalaktické nebo ne. Gary War tichým způsobem rozbíjí romantický model, vyzdvihuje a využívá řadu uměleckých a hudebních prvků rockového pravěku k okamžitému získání zvukové psychedelie 60. a 70. let. Parodie? Těžko říct, ale War ještě více zesiluje přístup, který se objevil na jeho první nahrávce New Raytheononport, a jehož vydání z roku 08 se jevilo jako náčrt v notebooku. Ten se zde změnil na komplikovaně malované psychedelické panské sídlo. S tímto novým vydáním ještě lépe porozumíme sentimentu Johna Mause, který v roce 2011 napsal na Twitteru: GARY WAR JE BUDOUCNOST. The pop outsider Greg Dalton took a near five~year break from the moniker, and now he’s back in vibrant Technicolor.Fotka uživatele Ben Tais Amundssen.Location: Florence, MA (Massachusetts)
Genre: Electronic, Rock
Style: Psychedelic Rock, Synth~pop
Album release: February 9th, 2018
Record Label: Feeding Tube Records
Duration:     40:24
Tracks:
01. Windows and Walls     1:42
02. Every Third Thought     2:46
03. Inna Witness     3:58
04. Nsfl     3:43
05. Up the Wall     3:07
06. Home Address     3:51
07. Retrograde Reality     3:49
08. Alive On Earth     03:20
09. Ex Real     4:59
10. Just Has To     3:40
11. G.S.T.     5:29
℗ 2018 Feeding Tube Records
Notes
↓      Gaz Forth written, recorded, performed and produced by GARY WAR in Glouchester, MA and Tapu NZ, January 2016~June 2017.
↓      Mixed with Justin Pizzoferrato at Sonelab Studios.Fotka uživatele Ben Tais Amundssen.Description:
↓      “For the last while, Greg Dalton (aka Gary War) has been back in Massachusetts, after spending years working on his music down in twin Isles of Kiwi. Since returning he has popped up in the amazing psych duo, Dalthom (along with Sunburned’s Rob Thomas), and even played with the legendary Bobb Trimble on a live Burger cassette, but Gaz Forth is the first new Gary War LP in over five years. Recorded with long~time collaborator, Daniel Rineer, as well as Robert Cathart III (Pigeons), Jeremy Pisani (Red Favorite), Kris Thompson (Abunai, Trimble), Clementine Nixon (Purple Pilgrims) and John Moloney (Sunburned), Gaz Forth hearkens back to some of the left~field pop amalgamations Mr. War had a hand in when he worked with Ariel Pink back in the early Oughts. Synths ripple at the edge of everything like space pistols fired into the face of Giorgio Moroder, there’s the kind of mellotron/harmony~vocal blend one associates with Deram~era Moodies, the guitars blast out bubble~psych~readymades like runaway teenagers with scrips for Ketamine, and a bunch of the tunes remind me of what Golden Earring might sound like if heard from a great distance while riding one of those Whirling Teacup thingamabobs at full carny speed. There’s much less of a hypnagogic synth~pop approximation on Gaz than has been noted on earlier Gary War records, but the futurist space squeedle remains part of his bad~ass and trademarked sound. Certainly the presence of living (rather than robotic) drummers gives Gaz a very different pulse. As zoned as the music gets at times, there’s no mistaking its rockist base, so you start thinking of its brunt in terms of subliminal glam and spacer types rather than off~gas from sad Midwesterners. Gaz is far and away the finest slab yet released by Gary War. High bore post~garage freakery of the largest available gauge. Pick up your shotgun and walk.” — Byron Coley, 2017 ↓      Edition of 300.
Review
Colin Joyce
Dec 12 2017, 6:17pm
↓      In spite of the freneticism of the rotted~out psych~pop that Greg Dalton has made as Gary War, everyone needs a break sometimes. Since 2012, Dalton’s more or less kept the project on mothballs — occasionally surfacing for a split or a show, but mostly taking a well~deserved rest from the head~spinning music he made under that name. So he moved to Hong Kong and then to New Zealand, travelled around Asia. He zeroed in on live performance playing shows in countries he’d never had an occasion to visit before, using the opportunity to collect music and films from the region — a pleasant and necessary respite from the American pop underground.
↓      It’s not that he’s retreated entirely over that half decade either, he’s been working as the psych duo Dalthom in collaboration with Sunburned Hand of the Man’s Rob Thomas, and he says he’s been making music pretty much constantly. He just took a minute to get his head right.
↓      “I’ve been in a position free of any deadlines with the Gary thing,” Dalton says via email. “There’s never pressure to produce and I can take my time and either write and arrange songs when I feel like it and have something to say, or not. For me the passage of time is necessary to experience situations that inspire me to write songs.”
↓      And now, apparently, enough time has passed. Five years after his last solo full~length, Gary War is back with news of Gaz Forth the latest collection of freaked~out songs Dalton has made under the moniker (due February 9 on Feeding Tube). But things are a little different this time, rather than the insular unsettled recordings Dalton usually trades in, the music feels a little more accessible and introverted, which has at least a little to do with the circumstances of its recording. In addition to his longtime collaborator Daniel Rineer, he worked with a host of other guests from respected experimental music institutions, including members of Pigeons, Red Favorite, and Thomas’ Sunburned bandmate John Moloney. To pay tribute to those guys, and to do justice by the laser~focus of some of these new songs, Dalton decided he wanted to do this record a little more by~the~books.
↓      “I was interested in doing the final mixes in a top studio with a trusted engineer not only because I’d never made [Gary War] records that way before but also because of the many guest musicians on the album whose generosity warranted and deserved the best possible clarity to highlight their playing,” Dalton said.
↓      That resulted in songs like the prickly blast of pop~decomposition “Windows and Walls,” premiering here. Over the course of its minute~and~a~half runtime, Dalton’s eerie whisper cuts across a brisk acoustic guitar and drums that thwack like stacks of newspaper, like a Shoes record that’s been left in the summer’s humidity to mildew a bit. Noticeably though, this, and the records other great best moments wiped some of the scum from the recordings. That makes Dalton’s compositional contortions hit all the harder. When he inverts pop structures, you can hear it — which has always been part of growing up for these sorts of pop outsiders. In his mind, the extra time afforded him the ability to zero in on what makes his songs so singular.
↓      “I spent a lot more time refining and improving composition, lyrics and arrangements than in the past,” Dalton said. “Trying to deconstruct them, re~write any weak bits and experiment until I was completely satisfied. From the onset, I wanted to improve the overall fidelity and production quality […] mixing in the studio and taking a slightly more minimal approach overall may be why.”
↓      Still, there’s an inherent weirdness to the music that Dalton makes, something inextricable to his approach as a songwriter, a way that structures bleed and collapse into one another — that instruments are played and recorded idiosyncratically. It feels uncanny, like a version of radio rock beamed in from a different universe. I asked Dalton if he thinks that the record, and what he does in general is pop music, as strange as it can be. He responds plainly: “Of course.” ↓      https://noisey.vice.com/
Review
BY CHRIS HUGHES
↓      Gary War released his anticipated album Gaz Forth February 9th off Feeding Tube records, his first full length EP in over five years. After his time in Ariel Pink, extensive touring, a multeity of collaborations & a jaunt in New Zealand, War is back in Massachusetts working with the finest & most eclectic musicians in the Boston scene.
↓      Greg Dalton, operating under the stage name ‘Gary War’ opens in support of John Maus at the Sinclair February 12th. I find supplemental contradiction to the constructs of their music in 2018. The outlook of these musicians serves as a conduit to interpreting sound in numerous, complex ways as our cultural narrative becomes increasingly subjective. They are in this sense anti~theses to the other inherent in the method of their popular music parody. John Maus destroys music & the performance aspect to grant modern mortality a new secret handshake. Gary War’s stance on Gaz Forth is eerie & cryptic, yet he employs nostalgia as a tool of beauty & as an entry point to a meta~groovy & hyper cynical new point in time.
↓      In this album & through his career, War builds sonic rooms using the means of throwback 60’s psychedelia that is grandly cut with futurist elements. Stellar, unexpected movements are draped with fuzzed out vocals between male & female space travelers; this album moves as a space journey not too far off from the double edged, politically motivated Romantic poetry of the likes of Keats, Byron & Shelley. As Paul Rowe, expansively elaborates on David Bowie’s relationship to romanticism here in pop matters,  ‘Romanticism lives on in the modern era as an emotional, reflective, and reactive criticism of modernity.’ Finding many romantic elements & much artistic motivation through the career of David Bowie (most precisely in his Berlin Trilogy), Rowe highlights the complex, long lasting artistic stance of the Romantics. From their tarnished reputation as idealists in meter, to their political salience, they represent an outlook endemically human.
↓      I find in War’s overt use of space sounds & conceptual musical journey, a breathtaking musicality too precise to not be reminiscent of David Bowie. On the whole not particularly Romantic, yet as I mentioned before, nostalgic. And what draws this album to a surreally symmetrical closure is that the music just ends, as if to catapult you into the drabness of sentience with concepts of war & planetary death on the horizon. As with Romantic poetry or painting before, this album emboldens the questions of emotional awakenings at points of social and individual transition.
↓      Further, as Rowe points out, ‘Low … evoke[s] the discontent felt by … transcendent aspirations typified by Shelley while dredging up authentic emotion recollected in tranquility for the first time in Bowie’s career…’ Gaz Forth highlights art & music as a practice or process in meditation between transitions, be them intergalactic or not.
↓      Gary War tacitly breaks down the romantic model, picking up & utilizing numerous artistic and musical elements to, at once reclaim & parody a 60 & 70’s sounding psychedelia. War amplifies the approach found on his first recording, New Raytheononport, making his 08’ release seem like a notebook sketch turned into an elaborately painted psychedelic mansion here on Gaz Forth. With this release, we further and further understand the sentiment of John Maus posting on twitter back in 2011: ‘GARY WAR IS THE FUTURE’.   ↓      https://bostonhassle.com/
About Gary War
↓      As Gary War, Greg Dalton makes warped garage~synth~prog pop that owes as much to Chrome as it does to Syd Barrett, while conveying an urgency all his own. Gary War’s debut album, New Raytheonport, arrived in 2008 on SHDWPLY/Disaro in a limited edition of 500 copies, introducing listeners to the druggiest version of his music and including an Alan Parsons Project cover to boot. The following year was a prolific one for War, with four short~form releases for labels including Captured Tracks, Sacred Bones, and Hell Yes! Records, as well as his second full~length, the acclaimed Horribles Parade. The Police Water EP followed in 2010, after which War took some time to record his third album as well as his project Human Teenager with Taylor Richardson, who previously recorded with Oneohtrix Point Never’s Daniel Lopatin as Infinity Window. Human Teenager’s Animal Husbandry album arrived early in 2012 on Spectrum Spools, the imprint of Emeralds’ John Elliott. Spectrum Spools also released War’s third album, Jared’s Lot, issuing it in July 2012. Following the album’s release, Dalton spent some time in Asia and New Zealand. When he returned to the States, he played with Bobb Trimble and worked with Sunburned Hand of the Man’s Rob Thomas as the psych duo Dalthom. Dalton returned to Gary War in 2018 with the full~length Gaz Forth, a polished, full~sounding set that included contributions by members of Abunai!, Purple Pilgrims, and Pigeons. ~ Heather Phares
Bandcamp: https://garywar.bandcamp.com/album/gaz-forth
Website: http://www.garywar.com/
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Gary War Gaz Forth
Feeding Tube Records 9 Feb., 2018

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