On Baghdad by the Bay, September 22nd: Interview with Tied to the Branches, Ventid and Angel Island

22 09 2011

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Tied to the Branches
Straight out of the dense fog of the Bay Area, Marc Manning, Brad DerManouelian and Justin Wasterlain are Tied to the Branches. Committed to stirring every speck of dust into their swirling caldron of sound, Tied to the Branches create fuzz, reverb, echo heavy, feedback laden, psych rock / shoe gaze anthems. Ghostly and hushed vocals blend in with howling feedback, ominous bass and chilly delay soaked electronic drums describing a world of spirits, monsters, and ghosts.

Ventid in no way endorses moving to San Francisco from 3 different corners of the U.S. (New England, Southeast, & SoCal) and forming a band via an anonymous Craigslist posting in 2009. Nor does Ventid condone the natural union of 4 music vets with past projects as divergent as math rock, film music, traditional Arabic music, indie folk, post rock, bluegrass, surf, classical, metal, punk, and R&B. Ventid cannot, with a clear conscience, recommend music alternating from intricate to sparse, melodic to raw, organic to experimental, with a penchant for finding the natural groove in a tune that switches between 7 & 8 each bar. Ventid does not support naming a band after an acronym for oxygen toxicity.

Angel Island
Piling lay­ers upon lay­ers of imagery, Justin Gold­man cre­ates a lyri­cal world not unlike a Dylan-esque acid trip (if Bobby wrote more songs about girls, anyway). Gold­man fronts the San Francisco-based band Angel Island, lay­ing bare his emo­tions with painfully auto­bi­o­graph­i­cal lyrics one moment before build­ing up walls of psy­che­delic metaphor to hide behind next. Joined by gui­tarist and multi-instrumentalist Pas­cal Gar­neau and Robert Jakubs on drums, Angel Island has a sound that echoes with 20th cen­tury rock and pop as if fil­tered through each decade, pick­ing up strange bed­fel­lows along the way. A 6/8 dance­hall bal­lad sud­denly shifts into nineties shoe-gazer ter­ri­tory and fin­ishes with a Moog syn­the­sizer solo that would make Linda McCart­ney blush—all in one song last­ing under three minutes.




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