- 歌曲
- 时长
Disc1
Disc2
Disc3
Disc4
简介
With this collection, visual artist, filmmaker, and musician David Bernabo explores complicated and harmonically-rich pop music, collage, guitar duo/trios/sextets, and recomposed 17th-century sacred vocal pieces. Sound Scene Express writes: "Not unlike the Lips, Bernabo decided to travel a similar road and start by recording three hours of drum improvisation. Adding to the unorthodox genesis of The Inn is the organic songwriting that followed: “The songs were written and recorded to the drum tracks, generally in a three or four hour time period. I didn’t write down any of the music and most of the guitar tracks were done with alternate tunings,” he writes on his website (also curious is the bass being recorded on two fretless strings of a one-of-a-kind 16-string double neck guitar….how appropriate for Bernabo to use two of sixteen total strings on one instrument, talk about limitations…). So what we have is 33 minutes of improvised drums with odd guitar overdubs which can be assumed to be forgotten for they seem to be almost as improvised as the drums. For vocals, a bizarre chorus of Bernabos comes in and out of the stereo field, mixed with depth and layered to great effect. First standing out to me is the great “Care-Churning Stone.” Beginning with warm feedback and a plaintive electric melody, drums enter with a percussive groove complimented by that crazy fretless bass, giving it neo-soul vibes. Acoustic guitar ramblings transition to warped barbershop vocals singing: “Care-churning sleep, here we go in/Back to the river/Ham to hum crush.” The lyrics describe dreamlike vignettes complimented by amorphous instrumentation. Exotic shakers and twinkling acoustic guitars evoke early Animal Collective moments. The song drifts away before we’re severely jarred by the next track, “Table in the Circle,” a frenetic piece showcasing how the drums drive the rest of the instrumentation. Everything is locked into the linear performance that transcends any pop-music reference, more akin to some sort of free-jazz performed by Jim O’Rourke and Greg Saunier than any traditional measure of rock music. Close mics reveal minute details of sticks and brushes moving over the skins of the drums bringing you closer into the song and the inherent rush of improvisation."
