My introduction
to California Smile was ‘Secret Message From Your Teeth’, given to me by Victor
after meeting him for the first time at as220. “Postrock”! I thought. “You’re
wrong”, said Cameron. “Keep listening.” And so I have. Cameron was right.
“Listen to ‘Things
Not Worth Saying’.” All of a sudden my attention was diverted…
“Was that a leading tone? Some kind of dominant
relationship? This is awesome!”
California Smile is a highly complex musical entity from New
England. There appear to be many musicians associated with this group, chief
among whom are Victor Mansella, Michael Murphy, Jared LaFond, Jake LaFond, and
Cameron Brennan.
The fact that
there is some ‘traditional’ thinking involved in the creation of this music is
very fascinating. The linear motion (voice leading) and harmonic schemes have a
classical bias in certain respects, but the framework is definitely clothed ‘in
the now’. There are so many inferred influences, and there was one definite
time when I was reminded of an instrumental, off- Broadway version of Queen.
After this was
‘Roof Came Off House’. I had to reconsider my position yet again. This had a
metallic-synth edge to it, with the same harmonic sensibility. Listen to that
insane noise at the beginning of the first track and the way it dissolves into
the band. There is, for me at least, something almost Schubertesque about them
at times. Here, in ‘Sermons From Snakes’, the leisurely pace of the tempo and
the broad, expansive quality of the melody line reminds me of the slow movement
of the ‘Trout Quartet’ of Mr. Franz. This is to be taken in the most general
sense.
Concerning this
album, I thought it was their newest release, until I checked the dates on the
sleeves. ‘Things Not Worth Saying’ is later.
This group
excels at high musical drama, not in some ‘classical’ sense, but more in the
sense of knowing how to build and develop an idea as a complete unit, and
utilize emotional contrasts. In my opinion, this is due to their understanding of both
pacing and the specific relationship that melodic rhythm has to metrical flow,
to musical time in general. The end result has a very refined sense of
ensemble, where that ‘band as one giant instrument’ effect begins to make
itself felt. With the right sound engineer, this would be an awesome thing to
experience live.
On top of the
European influence in the department of harmony, there is also an ‘orchestral’
feel to the band. The compositions have the quality of being composed and then
arranged for the band. From talking to Victor, I was given that he did in fact
attend music school, but didn’t feel it benefited him that much on many levels.
Still, that kind of influence will have some sort of effect somewhere, even if
it is not consciously perceived.
After this, I was
forced to go back to ‘Secret Message From Your Teeth’. This time I didn’t hear
it being so post-rock; the nascent quality of the harmonic approach was more
readily felt.
This is a musical
being that doesn’t fear change. ‘Variation on a Theme’ could possibly stand in
as the group’s motto, if such things existed. ‘Constant Reinvention’ is
another. This group presents music that is accessible while still being a
positive challenge, music that is serious in its expressive intent while still
being ballsy.
In a recent
conversation I had with Cameron, he told me that the band is planning to play
sometime this month. Also, Victor told me that the band is currently at work on
material for a new album and plan on debuting some of it this fall.
Go check them out.
They are yet another example of the best parts of the scene, awesome music made
by people who love to play.
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