Rangda + Boys Of Summer | Live review

Whelans, Dublin
01/06/10

Boys of Summer are currently approaching near-ubiquity as a support band, which to me is not a bad thing, especially as the three-man, six-synth operation have really hit their stride of late. Their style is closest to mid-70s Tangerine Dream and Klaus Schulze.

Given the addictive analogue sounds they wrench out of their vintage modules, I’d be quite happy if they just turned knobs randomly all night. But this is not a mere exercise in nostalgia or electronic fetishism, as they display an intelligent approach to structure, and a keen sense of atmosphere. Tonight, a droney intro leads into an unexpectedly jaunty sequenced riff.

After a while things take a darker turn into a cavernous, broody section before the mood eventually lifts again. Often, each member seems intent on following their own tangent, while still somehow complementing the whole. The first half of this set seemed better to me than the latter half - at its best, powerfully psychedelic and transportive, but never less than enjoyable.

Rangda can justifiably be called a supergroup. Ben Chasny is well-known as a purveyor of psychedelia with Six Organs of Admittance and Comets on Fire. Sir Richard Bishop was a third of Sun City Girls (defunct since Charles Gocher’s death in 2007) and has recently concentrated on solo guitar work. Chris Corsano is the most regular visitor to these shores, having recently played here solo, and with his duo with Mick Flower.

Given the extensive, genre-straddling output of each member, it’s hard to anticipate exactly what they will produce together. All of them have common ground in the areas of avant-rock and improvisation, and luckily their chosen direction is well-defined and makes the most of their combined strengths.

The set up is very simple - Corsano uses a small kit, with Chasny on Telecaster, and Bishop on an Gibson archtop, both guitarists using small amps and only a couple of basic pedals each. The sound is dry, with just enough gain on the guitars to allow quick dynamic shifts between understated passages and full-on noise.

They open with a short blast of intense free playing. Though it sounds chaotic, the trio somehow stop in perfect unison, according to some inaudible and invisible cue. In contrast, the next piece is more delicate and melodic, and reminiscent of Loren Connors, featuring Bishop’s lyrical soloing over Chasny’s descending chords.

What the music recalls most is the more free-wheeling moments of 60s West Coast psychedelia, but informed by post-punk and no-wave austerity and the ecstatic racket of free jazz. The no-frills approach contrasts with the effects-heavy nature of most contemporary electric psychedelia, with no distractions or shortcuts from the physicality of the playing.

Even when Bishop picks up an E-bow towards the end of the set, it’s not long before he starts using it to pummel the strings. The pieces are loosely composed, with room for improvisation (the set includes every track from their debut, “False Flag”, along with a couple of others), but individually distinct. This definitely cannot be cursed with that most insipid of labels, “post rock” - it is unequivocally rock.

It’s apparent that this is a collaboration of equals. I’ve always valued Corsano’s ability to combine free playing techniques with straighter rock grooves. Anyone who has witnessed his playing will understand that the musicality, inventiveness and agility of his playing renders a bassist unnecessary in this context. He’s one of those drummers, rare in any genre, who can maintain interest as a solo performer, but it’s nice to see him matched in volume and intensity by his bandmates here.

If any one personality dominates, it’s Bishop, who comes across in this context as the experienced elder. Chasny is mostly cast as rhythm guitarist but gets to play quite loose, to the point of often essentially duetting with Bishop. When he does get a solo, he comes across as the wild and instinctive Downing to Bishop’s thoughtful, melodic Tipton. Given the semi-improvised nature of the music, the ensemble playing is tight and dynamic.

Bishop, Chasny and Corsano are worth catching in any context, but were particularly enjoyable together. Hopefully this tour and album aren’t one-offs.

- Paul Condon ::: 13/06/10