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Cave (5)

Члены группы Cave (5): Cooper Crain, Dan Browning, Jeremy Freeze, Rex McMurry, Rob Frye, Zach McLuckie
Группа в интернете: http://www.facebook.com/pages/CAVE/124975364223617, http://www.myspace.com/realreelpro

Дискография Cave (5):

# Название релиза Информация об aльбоме Купить альбом в iTunes Год издания Лейбл
1 Butthash 7 audio iTunes 2008-09-01
2 California Raisins / Cave 10 audio iTunes 2008
3 Hunt Like Devil/Jamz 18 audio iTunes 2007 Permanent Records (2)
4 Psychic Psummer 6 audio iTunes 2009 Important Records (2)
5 Made In Malaysia 2 audio iTunes 2009 Important Records (2)
6 Psychic Psummer 6 audio iTunes 2009 Important Records (2)
7 The Ride 2 audio iTunes 2008 Static Caravan
8 Pure Moods 12" EP 3 audio iTunes 2010-04-00 Drag City
9 Pure Moods 3 audio iTunes 2010-04-00 Drag City
10 Raw Vibes Vol 1 8 audio iTunes 2008 Not On Label (Cave (5) Self-released)
11 Psychic Psummer 6 audio iTunes 2009 Not On Label (Cave (5) Self-released)
12 Tripple Slurrrp 8 audio iTunes 2009 Not On Label (Cave (5) Self-released)
13 Psychic Psummer 6 audio iTunes 2009-10-28 Important Records (2)
14 Made In Malaysia 2 audio iTunes 2009 Important Records (2)
15 Psychic Psummer 6 audio iTunes 2009 Important Records (2)
16 Live 2009 7 audio iTunes 2009
17 Made In Malaysia 2 audio iTunes 2009 Important Records (2)
18 Neverendless 5 audio iTunes 2011-09-20 Drag City
19 The Patience Split 2 audio iTunes 2009
20 Summer Flexi Series 3 audio iTunes 2012-09-00 Rotted Tooth Recordings
21 Party Legs 2 audio iTunes 2012-09-19 Giradiscos
22 Threace 5 audio iTunes 2013-10-15 Drag City
23 Threace 5 audio iTunes 2013-10-15 Drag City
24 Hunt Like Devil 4 audio iTunes 2005
25 Neverendless 5 audio iTunes 2011-09-20 Drag City
26 Threace 5 audio iTunes 2013-10-15 Drag City
27 Threace 5 audio iTunes 2013 BYM Records

Warhammer 48K’s Chicago-based side-project Cave debuted with the heavily percussive space-rock of the instrumental EP Hunt Like Devil (Permanent Records, 2008). The ten-minute Hunt Like Devil weds a looped guitar riff inspired by the hard-rock jams of the 1970s, a motorik rhythm a` la Neu and a xylophone melody that could be from a Frank Zappa operetta. The repetition finally yields a ripping space guitar solo. The instrumental EP Jamz (2006) contains the distorted and percussive freak-out of Annihilated Sludge Flow, the shoegazing and ambient meditation of Seans Inner Ear, the trotting guitar workout of 4.24.06, with a sudden acceleration a` la Steppenwolf, and the Brazilian dance novelty Drum Like Devil. Cave’s Psychic Psummer (Important, 2009) offered vintage psychedelic rock for the digital age. The instrumentals are still largely based on hypnotic repetition. Gamm is a further improvement over their motorik-like progressions: a euphoric stream of martial beats and thunderous riffs. Requiem For John Sex is another variation on the same trance-inducing technique, for which all instruments provide the propulsive groove, except that the music suddenly picks up speed and volume and takes a detour into acid mayhem. The android jam of Encino Men juxtaposes videogame-like dissonances against a hard-rocking organ a` la Who. On one hand the band is still attracted by noise (as in the frenzied demented bacchanal Made In Malaysia), while on the other hand it shows it is capable of calmer and simpler forms (the melodic fantasia of High I Am, not too dissimilar from the disco novelties of the B52’s, and the anthemic closer Machines & Muscles, that sounds like a digital remix of some lost garage hit of the 1960s). Instrumental psychedelic music not only reached new heights in this album but also found a way to exist without simply repeating the past. The EP Pure Moods (Drag City, 2010) contains three of their best performances. Hot Bricks weds their robotic beat to minimalist keyboards and new-wave singing, like Neu covering Terry Riley and fronted by Devo’s singer. The seven-minute Teenager turns repetition into a postmodernist tool: the guitar hints at a wrenching boogie riff, the organ hints at a gritty soul rave-up, the vocals hint at a deranged garage anthem, but none of them delivers. They all exist as immanent archetypes of probable sounds. The 13-minute Brigitte’s Trip (subtitled White Light White Jazz, a tribute to the Velvet Underground) was in effect one of the most dynamic pieces of their career, with the smoky blues-rock theme derailing towards emotional highs and lows.


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