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Rebel Powers, "Not One Star Will Stand the Night"
Strange Attractors
In the office where I worked this summer, the main lobby featured anenormous piece by artist Frank Stella. The piece was large, probablytwenty feet tall, and consisted of a series of colored boxes, enclosedin a thick orange boarded and symmetrically mirrored on the oppositeside. These are the kind of works, abstract shapes and colors, thatmade Stella and his minimalist style known in the art world. Everymorning I would step off the elevators and be cast in the imaginaryshadow of this walled piece, unable to ignore it, and think to myself,"Is it me, or is this a total fraud?" I'm no art critic, but for me thepiece did nothing. It evoked no feelings and no deep thoughts, only theconfusion that a crayola palette and attention to straight lines couldto some extent, make one renowned. So excuse me for being somewhat warywhen Rebel Powers was described to me as minimalist. Rebel Powers is acollaboration between Acid Mothers Temple's Kawabata Makoto, CottonCasino, Koizumi Hajime and Telstar Ponies' David Keenan. Thesemusicians came together to perform two long instrumental tracks, withonly incidental overdubbing to create what they identify as minimalistexcursions. "We Are For the Dark" is the first volley, and quicklydispelled my initial fears. Guitars drone against each other as ghastlymoans supplied by a sarangi, a classical Indian bowed instrument.Percussion drips in and out of the shambling piece as it oozes forward.The darkness Rebel Powers aims to provide is very apparent, and "We AreFor the Dark" lays out in its patient tones a spooky, malevolentatmosphere that only builds in intensty and effectiveness as the trackcontinues. The instruments seem to grind against one another like therusty components of a machine lurching to life and slowly gaining backits momentum and force. Errant shards of noise shoot out into the stewbefore disappearing beneath it. In the tail end of its long duration,the improvisation reaches a more insistent peak before petering out ina collision of clangs and dwindling washes. The track is not spare orsparse, and never does it feel overly repetitive (though in essence ittreads the same core for twenty five minutes) or boring. It has a depthand body that draws you in and wraps you up in the imagery; it doesn'tleave you staring at it confounded. Unfortunately, the next track isnot nearly as successful. "Our God is A Mighty Fortress" mills aboutaimlessly over a repetitive pattern for far too long. While the firsttrack transported me to dark forests, rain soaked dirt roads andlurking unknowns in the brush just behind, the second track brings meright back to my office, staring up at the Stella and wondering tomyself what the big deal is. As the track progresses, it does improveslightly, with a more clean, more relaxed attitude than the first, butthe loss of energy and excitement that the first ten minutes or so is adevastating hit to the whole. Had the tracks been reversed in order, Imay have been more forgiving, but the ideas as presented took the windout of my enthusiasm. Such is the risk with improvised music. Sometimesideas don't pan out and paths taken more often lead to dead ends thanexplosions of brilliance, but when they do the trip is entirely worthit. As demonstrated by Rebel Powers, minimalism can mean more thaneconomy, and bleak can be busy, but that asceticism is a trap that isdifficult to escape.
In the office where I worked this summer, the main lobby featured anenormous piece by artist Frank Stella. The piece was large, probablytwenty feet tall, and consisted of a series of colored boxes, enclosedin a thick orange boarded and symmetrically mirrored on the oppositeside. These are the kind of works, abstract shapes and colors, thatmade Stella and his minimalist style known in the art world. Everymorning I would step off the elevators and be cast in the imaginaryshadow of this walled piece, unable to ignore it, and think to myself,"Is it me, or is this a total fraud?" I'm no art critic, but for me thepiece did nothing. It evoked no feelings and no deep thoughts, only theconfusion that a crayola palette and attention to straight lines couldto some extent, make one renowned. So excuse me for being somewhat warywhen Rebel Powers was described to me as minimalist. Rebel Powers is acollaboration between Acid Mothers Temple's Kawabata Makoto, CottonCasino, Koizumi Hajime and Telstar Ponies' David Keenan. Thesemusicians came together to perform two long instrumental tracks, withonly incidental overdubbing to create what they identify as minimalistexcursions. "We Are For the Dark" is the first volley, and quicklydispelled my initial fears. Guitars drone against each other as ghastlymoans supplied by a sarangi, a classical Indian bowed instrument.Percussion drips in and out of the shambling piece as it oozes forward.The darkness Rebel Powers aims to provide is very apparent, and "We AreFor the Dark" lays out in its patient tones a spooky, malevolentatmosphere that only builds in intensty and effectiveness as the trackcontinues. The instruments seem to grind against one another like therusty components of a machine lurching to life and slowly gaining backits momentum and force. Errant shards of noise shoot out into the stewbefore disappearing beneath it. In the tail end of its long duration,the improvisation reaches a more insistent peak before petering out ina collision of clangs and dwindling washes. The track is not spare orsparse, and never does it feel overly repetitive (though in essence ittreads the same core for twenty five minutes) or boring. It has a depthand body that draws you in and wraps you up in the imagery; it doesn'tleave you staring at it confounded. Unfortunately, the next track isnot nearly as successful. "Our God is A Mighty Fortress" mills aboutaimlessly over a repetitive pattern for far too long. While the firsttrack transported me to dark forests, rain soaked dirt roads andlurking unknowns in the brush just behind, the second track brings meright back to my office, staring up at the Stella and wondering tomyself what the big deal is. As the track progresses, it does improveslightly, with a more clean, more relaxed attitude than the first, butthe loss of energy and excitement that the first ten minutes or so is adevastating hit to the whole. Had the tracks been reversed in order, Imay have been more forgiving, but the ideas as presented took the windout of my enthusiasm. Such is the risk with improvised music. Sometimesideas don't pan out and paths taken more often lead to dead ends thanexplosions of brilliance, but when they do the trip is entirely worthit. As demonstrated by Rebel Powers, minimalism can mean more thaneconomy, and bleak can be busy, but that asceticism is a trap that isdifficult to escape.
