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Reach The Explosion - Allwater - Songs That Don't go Antwhere - Live
Reach The Explosion!
Copper Press Magazine
Alternative Press Magazine
Rocket Fuel magazine and webzine
I think of 2 bands when I hear this record, Polvo and The Dismemberment Plan. Both of those bands brought a very unique brand of indie rock to the table that many considered to be slightly goofy. True, their sounds were (and are) not ordinary rock like you might expect. Jangly guitars are commonplace (and not just for musical accentuation), no distortion, super upbeat drumming, etc. etc. Treiops Treyfid takes this, and moves it all up to a different level.
See, it's got a definite indie rock sound, which is more than fine by me. It's constantly moving and all over you from the start, and a whole myriad of musical instruments and different musicians pop up here and there and everywhere in between. Everything I listed above in describing the "goofy" sound applies to Treiops. I think that while you can no doubt tell that he loves his music, and he's being incredibly artful with his songs (much in the same respect that a jazz composer would), it's not totally serious. You can sense the fun in it all, and that's why I love it. It's arty and textured and there's something new each and every time you listen to it, but at the same time, it's damn fun to listen to.
For the most part, many of the song melodies provide the basic drive that defines the fun nature of this record. Some tracks don't hold to this, and get a bit dark, melodically, but it also helps to even it all out. I've never heard a perfect pop record, but I bet it's not all the same thing from one end to the other. There's nothing better than bopping yer head all giddy like one track, the sorta feeling dreamy in another.
While Polvo and The Dismemberment Plan are who I think about the most as I listen to this record, I still totally see where this could be heading. There's an obvious force of energy surrounding these songs that needs no explaining, all it needs is a steady listen. I think this is a fucking killer and stunning album, I just wish I was more schooled to say bigger and better things about it.
This solo effort from former Pitchblende-er Treyfid is a healthy, challenging slice of latter-era alt-prog-rock --eccentric rhythms, dissociative melodies and strained vocals combining in a profoundly entertaining fashion. You're either the sort of person who likes this sort of thing, or you're not; if you like your songs to meander predictably for three or four minutes and then make a graceful exit, Reach the Explosion is probably going to give you hives. Personally, I dug it -- the only thing that bugged me were the occasional moments when I though I was listening to Rush, but those passed before I went into a coma or anything. -- gz
"If Treiops Treyfid were any better, he'd have to die now, so in 30 years a generation of kids can discover his ouevre on an import reissue label and then go on pilgrimages to his grave site, start their own bands and drop his name in every 'zine in the free world. Four stars.
Cupid Kidnap Review web zine
How he does it is beyond me. An indie rock cornucopia of helpful indie rockers help out TT on this first full length by the ex-Pitchblende member. Saxophone, cello, odd voices, synths plus other very weird instruments are played on this.
At first listen, you may want to throw this against the wall and say "I could do that!" But that's definitely not the case in actuality. Seemingly oddly tuned guitars, vocals that sound like TT just was doing hallucinogenics, mathematical, light drumming and altogether meandering structures cascade this record into dimension X.
The guitars aren't played normally either. Weird tunings can sometimes bring people to play hard stuff easier or may just give them different sounds. It sounds like the guitars were tuned in a weird fashion and the chords just the same. That double dose will give you feeling of "thank god I'm not listening to this on any weird drugs."
As I said before, this stuff sounds easy to play on the record at first. But if you sit down with a guitar and synths and the like, I'm sure it'd be pretty hard to make music like this. TT's effrontery could be compared probably to the styles of Brainiac, but it's a different kind of whackiness.
This is something to sink your teeth into. The more you listen to it, the more you discover in the music. The lyrics are obviously as weird as the song titles. A bold take that I hope works out for Treiops Treyfid. It's definitely an effort that needs to be heard by everyone to hear something to totally different from what they've ever heard in the past. Reviewed by Sebastian Stirling
Green Mountain Music Review
An interesting mix of glam rock and new wave; there are moments that I feel the ghost of the "Groover" himself (Marc Bolan of T Rex) on both these songs. "Water Is The Body" shifts tempo half way thru with a surprisingly catchy chorus backed by a clangy guitar-synth rhythm. The flipsides "Waves I'm Watching" is structured more in the rock vein and boogies along in a hook and riffless way. On blue vinyl.
Held Like Sound Magazine
Songs That Don't Go Anywhere
Washington City Paper
As a guitarist for D.C.'s own Pitchblende, Treiops Treyfid helped shape early-'90s math rock, a genre inspired (like most) by Sonic Youth's indie perfection but tweaked to emphasize a scientific precision in instrumentation. The quartet's techie bent added an element of controlled skill to its fresh, flowing sound. Pitchblende released only three albums, and hung up the protractors and pocket calculators after 1996's beautifully icy GYGAX! on Headhunter/Cargo.
A graphic designer by day and an indie rocker by night, Treyfid recently released his solo "All Water" 7-inch record on the Coolidge label. The project reunited former members of Pitchblende, along with ex-Air Miami and Vineland members. "Water Is The Body" and "Waves I'm Watching" rework Pitchblende's trademark jittery guitar playing and angular drumming. Treyfid downloads his artsy punk and sharp humor into the Velvet Lounge for this gig, along with God's Honest and the Still.
Eric Bensel, Sidewalk Contributor