Vibracathedral Orchestra - Double LP
(self-released)
It is some measure of the confidence that Vibracathedral Orchestra (VCO) has gained in their abilities that they have chosen to release a double LP the way some artists would release CDRs of works in progress. The dazzlingly eclectic range of techniques and styles captures a band engaged in a vigorous creative period. This is possibly the album's strength and makes it of great interest to fans but newcomers may be put off by a recording that can seem more like a "state of the band" release than a cohesive album.
Sonically, this release continues the visceral experimentation of Dabbling with Gravity and Queen of Guess but the analog medium gives even tracks like "Thrift" (the harshly overdriven Tony Conrad-esque lead track) a flattering depth and warmth. Most of the album is presented as a series of sonic sketches; beads stitched together on a drone string. The song titles themselves are often only a single word as if the working title snuck its way into the final master. Occasionally an idea is begun only to dissipate or cut abruptly into another fragment. Those used to VCO's editing methods will be familiar with these transitions by now. "Gist"->"Glitz"->"Flotz" is one of the most inspired of these continuums.
On the couple of occasions when the tunes are given room to develop, they mature beautifully. "Ripe" is an aptly named ode to fecund flesh. From a headlong charge it crests into a gentle organ swell then gradually picks up steam as it rolls and sways into a loose-limbed, organic groove. Later on side four, "Minkey" reverses this drift as it descends in a swirl into a gentle hover for a while then spurs itself into gear before spending itself into "Thirty Three Windows Shining," a soothing coda for the LP.
Other highlights include "Gist" which continues VCO's recent flirtation with hippie flotation. "Flotz" bounces along on a primitive Kraftwerk-esque synth line before being joined by ethereal flute and hand drums. "Me Me" wobbles along like a gelatinous sea creature absorbing the bells from nearby buoys as it covers the ocean surface in an orgy of consumption. The rest of the tracks demonstrate a similar stylistic playfulness.
If there is a knock on this release it is that the packaging is relatively sedate. Except for a lovely silkscreened insert featuring what is hopefully the new VCO logo (it's pretty groovy, kids!), the album itself is contained in a plain white cardboard jacket with a pasted on sheet containing the song titles. The "test pressing" aesthetic may well be a part of the work in progress motif, but one wishes that a little more work had gone into the packaging; what remains ends up seeming a bit stingy.
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