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MP3 the beige - 01

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Komplettes MP3 Album von the beige
Angegebene Spieldauer: 42:54
Veröffentlichungsdatum: 2006-08-31
Kurz-Beschreibung von CDbaby: an atmospheric pop quintet: understated, wry, jazzy with off-kilter pop leanings. "A record that fuses popular and experimental forms into a coherent whole is a rare thing, and this is a record of rare beauty." -- Americana UK

Käufer, die sich für (Wilco The Band Brian Eno) interessieren sollten sich dieses Album anhören.

Weitere Informationen vom Distributor:
the beige’s music is understated, atmospheric, wry and jazzy with off-kilter pop leanings, but sometimes not. some beige pieces have words, others don’t. the quintet’s live shows feature broad strokes of improvisation. the beige complement most interiors.

Recent praise for the debut cd "01": "The Beige is a new musical force in Vancouver" -- Marke Andrews, Vancouver Sun. "The result is a disc of literate roots-pop for urban dwellers, with a we-get-there-when-we-do attitude that coalesces into dusty, lovely ballads." -- Shawn Conner, Vancouver Courier. "Moody atmosphere in a tight ensemble sound" -- Tom Harrison, Vancouver Province. "A gorgeously spacious thing.... as melodic and lyrically striking as Wilco at its most incisive--and more overtly catchy." -- Ken Eisner, The Georgia Straight.

instead of trying to recreate a live performance for their debut cd, 01, the beige applied an improv approach to the recording/mixing process itself. they experimented with subtle loops and the odd field recording. it’s an understated production. while 01 captures the atmospheric quality of the beige, all in all it’s a quiet, layered album with few special effects. they did almost all their own stunts, but the beige’s 01 does feature guest appearances by some of vancouver’s finest musicians.

A recent article about the beige in The Georgia Straight:

Thursday, August 3

The Beige is anything but bland

By Ken Eisner

When the lights went down at the H.R. MacMillan Space Centre on July 22, listeners packed into the Star Theatre were treated to an intensely introspective set from the Beige. Their music might be called shoegazing, although the Vancouver bandâs sound is too rootsy for that label. Anyway, circumstances made listeners look up, not down.

âIt was almost pitch black,â recalled Beige guitarist Jon Wood the next afternoon, âbut that just made the audience stare at the ceiling more intently. We could barely see our instruments, but it was probably the best show weâve ever done.â

While fans were fixed on projections of Andromeda and the Crab Nebula, the five-piece outfit explored the celestial limits of its debut CD, called 01 despite a notably analogue sound. Further paradoxes appeared in the setting, principally because of offering a night of amateur astronomy to people following musicians who have no interest in being stars. Three of the five membersâincluding founder, guitarist, and lead singer-songwriter Rick Maddocksâare balding, bookish-looking fellows.

âWe donât even know how to get into the whole marketing thing,â Maddocks told the Georgia Straight a few days earlier, while sipping iced coffee outside a Fairview Slopes café. He was joined there by Wood, who mostly plays lap-steel and tenor guitars, and relative newcomer Mark Haney, whose acoustic double bass helps ground songs that could otherwise float heavenward.

Certainly, some of the spacier parts of the record, like long instrumental passages in the opening âSo Nearâ and closing âNobody Nowhereâ, can get quite ethereal. Bits of banjo, cello, and trumpet waft through the tunes, which also feature Geoff Gilliardâs restrained drumming and Andrew Aridaâs luxuriously retro-sounding keyboards. The self-produced session, mixed and mastered by Wood, is a gorgeously spacious thing.

Other numbers, like the anthemic âMirrorâ, folky âHammer in a Bellâ, and romantically swooning âOne for Meâ are as melodic and lyrically striking as Wilco at its most incisiveâand more overtly catchy.

The lyric part certainly connects with the Welsh-born Maddocksâs other artistic hat, as a published author. His novel, Sputnik Diner, was put out by Knopf Canada five years ago, to glowing reviews nationwide. The Globe and Mailâs comment that his writing carries âstrong echoes of dirty-realist American writers like Tobias Wolff and Frederick Barthelmeâ could be applied to the music as well. And youâd have to add Hank Williams, Tim Buckley, and Bruce Springsteen to that list of modern Americana.

âActually, it all started with ads in the back of the Georgia Straight,â Wood said after the show. âRick, Andrew, and I all met through classified ads and played together through the years. And we met Geoff pretty soon after.â

The band name, which supports the idea that these anti-poseurs would just as soon stay in the background, came fairly late in the game. According to the jeans-clad Wood, who is naturally inclined toward the dry put-on, the handle came about because everyone else was wearing Dockers at their first few rehearsals.

âIt started as a kind of joke,â Wood continued. âBut itâs taken on a life of its own. You say it often enough, and it starts sounding more, I donât know, colourful.â

âWell, it has that basic neutrality,â Maddocks said in his own interview, âbut it reflects the music, in a way. Itâs not a sound that knocks you over the head when you walk into the room. Itâs more like overhearing a quiet conversation; if you want to get sucked in, you can.â

The bandâs stargazing began with monthly gigs at the Montmartre Café on Main Street.

âItâs really been a long, slow process of developing this highly instrumental sound,â Wood explained. âAnd that began a while before Mark joined the band. At first, we werenât really concerned with what anybody thought of it. We thought âIf nobody listens, then whatever. This is interesting to us.â But people seemed to like it, so we were taken by surprise. They got less chatty as things went along.â

âWe all sit down, except for Mark, in a semicircle,â Maddocks explained. âAnd this has changed the writing process as well. We started out with fairly well structured songs. Now it tends to be more fragmentary, but thereâs just way more space to work with.â

And space, to paraphrase the late Sun Ra, seems to be the place where they live.


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