The first time that I heard this record, I had NO idea how they were making those sounds. The guitars have tons of pitch-bend going on, which they use along with really freaky rhythms and non-repetitive song structures to create seemingly never-ending compositions of controlled noise.
The whole album is like this, each song is clearly different from the others, yet they stand together in this style which is so unique. It basically comes down to someone standing up for themselves and saying FUCK IT, LET’S TRY MAKING MUSIC IN THIS NEW WAY INSTEAD. At first it probably sounded awful.
I mean, most people would still think it sounds awful. That’s the point, kind of.
Sometimes I get a sense that everything’s been done. With only so many notes, after a while all of the indie rock stuff seems to converge towards the singularity, but then something like this reminds me that there’s still whole worlds of music left unexplored.
(thanks to The Math Rock News on facebook for introducing me to this band)
Heuvelmans imagined that there were three living archaic whales: Super-Otters in the Arctic, Many-Humped* in temperate waters, and Many-Finned in the tropics. The Many-Humped was portrayed as a close relative of Basilosaurus but equipped with hydrostatic humps and osteoderms. Most of these could be creatively interpreted standing waves or groups of animals; the Princess is really the odd man out and could be a flat-headed tooth whale such as a Rough-Toothed Dolphin or mesoplodont. Heuvelmans rejected the Basking Shark explanation for the Hilary sighting based on a more detailed description.
* Bestowed the name Plurigibbosus novae-angliae… which should be ’novaeangliae’.
Heuvelmans, B. (1968) In the Wake of the Sea-Serpents.