Year : 2013
Genre : Psychedelic Soft Rock
Label : Independent
Origin : United States
Official site : - here -
With its newest extended play to date, "Mariana Bridges", Austin, Texas based Scan Hopper offers fresh status reports from the same psychedelic fields the flamboyant group best enjoys hanging out at - OR, hanging down at, see cover art image for the ruthless justification of this even more terrible pun. These new status reports seem and sound to have a more strict polarity embedded into them in the sense that a song either is total relentless anti-brutal afterparty-chillout, - moments of infinity that openly enjoy how nothing is happening in them in a psychedelically nothing is happening, but nothing is happening psychedelically-way, counterpointed by a consequent track that exhibits as intense characteristics as you could anticipate amidst the tools the directional and stylistic principles do allow without breaking the rules of a rabid conceptual acid ride. Only - prepare for the kind of intensity on which even madness rents a place on. What other party is worth being at, correct? Read on to know more about the disc.
I have talked about madness a moment before, and I, for one surely would be curious what could lead a music critic to any such sentiments in the context of a review. Didn't you know journalism kills you, but keeps you alive while you are at it? As stated, this time, Scan Hopper not only portrays madness, but openly embraces the promise of it with such declarations as "On Nonesuch Road" - the musical lingo reeks the avant-garde favorite fascinations of early Steve Vai - "Flexible Leftovers"-era, see "Bledsoe Boulevard".
Artistic honesty is kept around with an inflatable pink iron fist, - which is the exact proper method to do this by in this music - once again expressed along psychedelic tonalities and volumetrics, and, a more pronounced reliance on vocal effects is observable. The usage of effects is a topic that always has been up for heated debate, and the new Scan Hopper EP could serve as a tasteful indicator on how NOT to overkill the vocal "adjustments" without uncompromisingly hinting at those effects, nevertheless.
The album, I feel, is more intense and crazier than the perennial moods of the previous efforts, as if a secretive fear would be contained in the music. "On Nonesuch Road" masquerades itself as a type of beautiful lullaby music, but it is Satan's Music!! I, for one, find nothing wrong with that. As if someone who had 101 superb acid trips, and now suddenly cultivates a feeling that a demon could be behind him, as a result. If this is the case with any one person reading this, then I'd like to offer a tip - don't take the demon or your false self (your EGO) too seriously - the demon is there the moment you start thinking about him, - you put him there,congratulations! - and will vanish as soon as you fail to give a damn with two lost holes in it whether he is there or not.
Certain song titles similarly suggest a lovecraftin lurking/cosmic fear of Mr. Indifferent Existence - "Making Love to the Universe". The music reeks a sense of overcompensation and restlessness to me. As if the expresser would seek to conceal the fear he is secretly riding on. It remains to be seen if this is pure tactic, or just a coincidence. The combination of the two would be the most ideal, but the meaning is unique each time the data is deciphered, and thank God & Co. for that! If you fear, then don't be (THAT) ridiculous - you can always face the fear, and it will leave you alone. Fear demands courage, but, ironically enough, courage does not demand anything else than your eternal right to be loved, which you possess 24/7.
An interesting effort, with a brave-, although more rascal/whimsical type of focus, which did not yet fully embrace the entertaining tints of madness, but it heavily is about to.
Check out the disk - > here.
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