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Paik, "Satin Black"
Strange Attractors
The destruction is set to maximum and the bullshit is set to minimum onPaik's latest full-length, a continuation of the dreamy soundscapesthey most recently displayed on a split with Kinski and Surface ofEceyon. Never have they sounded more pure and raw than this moment, atorrent of distortion and volume that seems at the same time to becoldly calculated and yet to have no plan at all. There is a peaceamong the ruins, where the band almost seems to accept a fate they havenever relished before, nor asked for. But there is ferocity yet, almostas though the fight is with themselves. Not that this ever adverselyaffects any song, or is explicitly stated, but Paik neverthelessdisplay a struggle that elevates them, gives them purpose, andultimately conquers all. Repitition sometimes wears, displaying astasis or lack of ideas that sidetracks but never derails thecompositions: it merely extends them perhaps a bit far past the pointof relevance. They eventually snap out of it and change course,dropping headlong into the maelstrom of their own creation. For a trioto make rock music that blisters and cracks like this is quite anachievement anyway, but Paik excel at it as a practice. The album'sopener, "Jayne Field," is a steady rocker, with almost pots-and-pansdrums and guitar noise that shimmers as much as it shreds. Just as itfades, an abrupt guitar riff buts in, and the playful noise thatemanates skips right along, like a soundtrack for that kid that neverhad it figured out but secretly plots the demise of those who underminehim. By the time the swirls and echoes expand the palette, the storyhas chaned, and the kid gets the girl and all he ever wanted. Here andthere Paik grate their collective teeth, muster the energy to go on,and make it seem like it will be painful for everyone involved. Itnever is, as the band continues to explore and expound, creating thebest music of their careers every time. -
The destruction is set to maximum and the bullshit is set to minimum onPaik's latest full-length, a continuation of the dreamy soundscapesthey most recently displayed on a split with Kinski and Surface ofEceyon. Never have they sounded more pure and raw than this moment, atorrent of distortion and volume that seems at the same time to becoldly calculated and yet to have no plan at all. There is a peaceamong the ruins, where the band almost seems to accept a fate they havenever relished before, nor asked for. But there is ferocity yet, almostas though the fight is with themselves. Not that this ever adverselyaffects any song, or is explicitly stated, but Paik neverthelessdisplay a struggle that elevates them, gives them purpose, andultimately conquers all. Repitition sometimes wears, displaying astasis or lack of ideas that sidetracks but never derails thecompositions: it merely extends them perhaps a bit far past the pointof relevance. They eventually snap out of it and change course,dropping headlong into the maelstrom of their own creation. For a trioto make rock music that blisters and cracks like this is quite anachievement anyway, but Paik excel at it as a practice. The album'sopener, "Jayne Field," is a steady rocker, with almost pots-and-pansdrums and guitar noise that shimmers as much as it shreds. Just as itfades, an abrupt guitar riff buts in, and the playful noise thatemanates skips right along, like a soundtrack for that kid that neverhad it figured out but secretly plots the demise of those who underminehim. By the time the swirls and echoes expand the palette, the storyhas chaned, and the kid gets the girl and all he ever wanted. Here andthere Paik grate their collective teeth, muster the energy to go on,and make it seem like it will be painful for everyone involved. Itnever is, as the band continues to explore and expound, creating thebest music of their careers every time. -
