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Interview for SOUND MONITOR DYSRHYTHMIA
by Warren Wheeler Depending on your medical dictionary of choice the exact definition of ‘dysrhythmia’ will vary. Nevertheless, most agree that it is the abnormal beat patterns of the heart. Not necessarily without rhythm - which is arrhythmia. But rather a complex, defective rhythm. Such a definition is an apt one when placed upon Philedelphian three-piece of the same name, as beneath the mind-boggling time-signatures and discordant structures is a rhythm that, whilst nonsensical upon initial listens, becomes the compositions crux. Instrumental in nature, Dysrhythmia mesmerise on their latest opus Pretest with avant-jazz complexities with a prog-metal mindset and indie-rock production, provided by Steve Albini. In essence it’s like Godspeed You Black Emperor! covering Voivod and Fugazi in the one instance. Speaking to guitarist (aka liaison) Kevin Hufnagel I begin by querying him on the time spent in the studio with Albini. “Some people are turned off by his recording style but that's what we were going for. We didn't want the music to sound sterilised or super-compressed - it needed to breathe. Albini hardly used any compression or digital processing whatsoever on the recording, what you're hearing is the natural sound of our instruments and us playing live together.” As previously mentioned the album is quite rhythmic in nature despite the album’s intricacies. It’s one of those albums that makes sense only after repeated listens. Kevin agrees. “Even I have to listen to our songs a few times before I can tell what's going on. The initial response thus far has been mostly positive, some of the European metal press seems confused by it. A lot of people are surprised it's something that came out on Relapse. It's good to see a lot of people not expecting to like it actually listen to it and turn around and say they really enjoy it. I'm pleased with the record but I already feel we can do a lot more. The next record has to bury this one.” Coming at a time where both math-rock and post-rock are enjoying revivals of sorts, Pretest is fortunate enough to embody both styles appropriately without disappearing up it’s own proverbial. “I see that we've crossed over into many different scenes. It's like we have a ‘limited mass appeal’. If that makes any sense… [but] I don't think it's as cut-and-dry as complex = unemotional, simplistic = emotional, because emotions are complex themselves. Feelings of tension, confusion, anger, and frustration can be expressed very well with chaotic, complex music. It really depends on what emotion you're feeling. Besides our music isn't complex all the time. Some of it is very repetitious and slow-building.” And while post-rock revels in the instrumental, the math-rock arena usually only dabble with the idea. Yet for Kevin it was the only choice: “It was a decision I made right from the beginning. We never searched for a vocalist. It actually never even crossed my mind. Clayton did write words for a song on our first record 'Contradiction' and we tried doing it with him singing but we ended up taking a snippet of the lyrics for the song title and leaving it instrumental. It's not that we don't have anything to say. I think we are saying something, but you don't always need words to speak to people. Clayton sings and writes lyrics in his other band Readyset, so he is not devoid of lyrical talent at least.” Speaking of outside interests, Kevin has experimented with low-key, depressive folk much in the same way Stephen Brodsky (Cave In) has done. “In 1997 I recorded an instrumental, solo, [mostly] acoustic guitar EP. It's out of print now. Perhaps it might surface again somehow in the future. I demo-ed a bunch of stuff after that recording but never made it back into the studio. I would like to write and release more material like that in the future when the time, funds, and inspiration are there. It's a totally different side of playing for me than what I do in Dysrhythmia. They're two separate things.” Back to the album, and I decide to question Kevin on the tracklisting. For while it is common practice for bands to compose ‘Part I’s and Part II’s’ of their songs, it is unusual for Part II to precede Part I - which it does in Pretest’s case. ‘Annihilation II’ is made up of ambient harmonics descending into jazz-rock percussion, where as it’s number one counterpart speeds things up with dischords and typical 4/4 timing. “Originally 'Annihilation II' was in the middle of 'Annihilation I’ as one whole piece. Then we thought the slow part sounded better as a separate song. We wrote 'Annihilation II' to be included on the record second after part one, but the way we always played it live was II into I. We got used to the way that sounded and left it that way on record.” Finally, (and this is a question I’ve always wanted to ask an instrumental act), where do the song titles come from? “Usually they come from whatever
we feel like the music is making us think of or feel. Sometimes song titles
come from a phrase one of us will say and the other will be like "that's
a good title". That used to happen more often in the early days.”
Original interview with SOUND MONITOR 1. Firstly let me congratulate
you on the new album. It seems to be a KH: Thank you for the kind words. I understand what you mean about repeated listening. Even I have to listen to our songs a few times before I can tell what's going on. The initial response thus far has been mostly positive, some of the European metal press seem confused by it. A lot of people are surprised it's something that came out on Relapse. It's good to see a lot of people not expecting to like it actually listen to it and turn around and say they really enjoy it. I'm pleased with the record but I already feel we can do a lot more. The next record has to bury this one. 2. Working with Albini
seems to have been a perfect match for Dysrhythmia. KH: Exactly, I'm glad you hear it that way. Some people are turned off by his recording style but that's what we were going for. We didn't want the music to sound sterilized or super-compressed, it needed to breathe. Albini hardly used any compression or digital processing whatsoever on the recording, what you're hearing is the natural sound of our instruments and us playing live together. 3. While there is a rock
instrumental revival occurring globally since the KH: I don't think it's as cut-and-dry as complex = unemotional, simplistic = emotional, because emotions are complex themselves. Feelings of tension, confusion, anger, frustration can be expressed very well with chaotic, complex music. It really depends on what emotion you're feeling. Besides our music isn't complex all the time. Some of it is very repetitious and slow-building. 4. There's also a math-rock
revival in the shape of Cave In, Sparta and The KH: I see that we've crossed over into many different scenes. It's like we have a "limited mass appeal". If that makes any sense..haha! 5. The technicality of
the album brings to mind numerous prog-metal outfits KH: You bet. I was the one raised on a lot of demented metal bands like Voivod and Watchtower. Clayton is a huge Fugazi fan. We just love music, we don't care what genre it falls into. 6. What factors led you
to remain instrumental. Was it the plan from the KH: It was a decision I made right from the beginning. We never searched for a vocalist. It actually never even crossed my mind. Clayton did write words for a song on our first record 'Contradiction' and we tried doing it with him singing but we ended up taking a snippet of the lyrics for the song title and leaving it instrumental. It's not that we don't have anything to say. I think we are saying something, but you don't always need words to speak to people. Clayton sings and writes lyrics in his other band Readyset, so he is not devoid of lyrical talent at least. 7. I understand you're
a bit of Nick Drake fan. In fact I have read that KH: In 1997 I recorded an instrumental, solo, [mostly] acoustic guitar EP. It's out of print now. Perhaps it might surface again somehow in the future. I demoed a bunch of stuff after that recording but never made it back into the studio. I would like to write and release more material like that in the future when the time, funds, and inspiration are there. It's a totally different side of playing for me than what I do in Dysrhythmia. They're two separate things. 8. I understand your mother
was a big musical influence for you. What kind KH: My mother played guitar around the house when I was growing up. Folk songs and whatnot. I just became fascinated with the instrument and was also discovering heavy metal at the same time. Music played around the house? A lot of Michael Jackson! I don't think that had much influence on me in the long run though. 9. Can you explain why
'Annihilation II' is placed ahead of 'Annihilation KH: Originally 'Annihilation II' was in the middle of 'Annihilation I" as one whole piece. Then we thought the slow part sounded better as a separate song. We wrote 'Annihilation II' to be included on the record second after part one, but the way we always played it live was II into I. We got used to the way that sounded and left it that way on record. Sorry if this is all confusing you! 10. Where do the song titles evolve from? KH: Usually they come from whatever we feel like the music is making us think of or feel. Sometimes song titles come from a phrase one of us will say and the other will be like "that's a good title". That used to happen more often in the early days. Finally could you list your 5 fave discs at the moment. Thanks ever so much. KH: At the moment I'm listening
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