Search - Stormdrain :: The Immovable Objection

Somewhere between climactic tension and self-perpetuating hopelessness, stalemates become unusually unnerving things. It is no surprise The Immovable Objection, the new CD from Stormdrain, stirs with unique, complex agitation. "It's the first half of a sequence," explains frontman Scott Reyns. "Picture a cell interrupted by foreign object(s) in mid-mitosis and the tension it gives off. Natural growth impaired and that condition giving off an unnatural energy, or one that at least feels so. The membrane's transparency is a kind of nakedness, vulnerability and invisibility? Feeling divided, interrupted, violated, overlooked or taken for granted are common things nowadays ? under a microscope, most are able to find the same shit on the outside that we can on the inside. I know I for one can? These were guiding energies over the past year or two." The release marks Stormdrain's first commercial release after a period of pensive reclusion. Perfectionism shows the CD's lead track, "Clever," a song manifested in multiple versions ranging from industrial metal writhes to lamenting theatric soundscapes. Stormdrain's hallmark propensity for black humor is instantly noticable in The Immovable Objection. Tracks like the boggy synth diatribe "Vomit" sport lyrics like "you can carve me up but you're the real pig here today." Others, with titles like "Clever (say never again)" and "meat (Clever)" by producers Justin Lassen and D@v-o respectively, make the wordsmith's play obvious. "That's part of the fun," Reyns smirks. "We got more straight-up with the funny this time. Count (producer/engineer) and everyone on the production team ?everybody was nicely chill, going in free-spirited and instinctive." Traits like openness and experimentalism are a signature of Stormdrain's music, with origins ranging from high to low tech, from new to old, from near to far, from unpolished to pristine. They gathered sounds using tape recorders brought on trips to Asia, Europe, and throughout North America. They swapped outtakes and disembodied noises, from answering machines to the sounds of nearby construction sites. They introduced instruments like Assyrian Saz and Aud on the thrashy "Voyeur (doubletake)," and "geekery what-ifs and deliberate misuses" via electronics and found objects on the abrasive dance assault "Slicer."