The Octopus Project
October 9th 2007
Part garage rock, part NES music protocol, and part taurine infused melodics, The Octopus Project’s Hello, Avalanche bravely transverses the boundary between electronica and post rock. The most apparent feature of this band is their overt interjection of digital melody and animated instrumentation into a genre that typically prizes subtly and droning repetition. A song will alternately run a sampled scale and a barrage of distorted noise, punctuating the electro-beats with organic instruments, disallowing the music to remain suspended in an epic or sprawling delay.
Hello, Avalanche was co-produced by Ryan Hadlock of Blonde Redhead, Eagle Seagull credit. The record again highlights Hadlock’s uncanny nose for talent. The hybridity created by The Octopus Project is extraordinarily pleasing to the pop senses. They allow for the striking textural juxtapositions of bands like Xiu Xiu, yet have kept the discordant ambiguities to a minimum. While the suppression of dissonance is in no way an inherent reason to praise, it is a nice contrast to music of equal scale but of jarring composition.
For those of you who are tired of bands that seek to reproduce the melodies of Tortoise, the sequence execution of The Album Leaf, or the gravity of Explosions in the Sky, know that Hello, Avalanche is a contribution to the modern music soundscape of unique and particular character. The Octopus Project allows the audience to dance as they marvel at a functioning collection of flesh and blood, rather simply to listen with a dissatisfied and disinterested ear. This is the balance they strike; they have a defined structure without sounding sterile or methodical. Who knew Austin…who knew?
Identification Parade- 2002
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