Twelve Foot Ninja
w/ Underside (Nepal), Empire (NZ)
San Fran, Wellington
Friday 20 April 2018
Underside
Twelve Foot Ninja
All photos by Joseph James
Articles featuring photography by Joseph James for Will Not Fade
Underside
Twelve Foot Ninja
All photos by Joseph James
Last year I spent two weeks on the road with Ranges, touring across America with them as they promoted their latest record, climaxing with the inaugural dunk!USA festival in Vermont. They teamed up with a few other acts along the way, playing multiple dates with: Tides of Man, Vexes, This Patch of Sky and Man Mountain.
I’ll forgive you if you weren’t familiar with Man Mountain before now. It is hard to maintain a presence with only four recorded songs out (The 2013 EP, To Call Each Thing By Its Right Name, and 2015 single “To Be Made As New’). I have a feeling that this début album, Infinity Mirror (Spartan Records) will change this, and earn Man Mountain deserved awareness within the scene.
As I mentioned, I’ve spent a bit of time with the band. Man Mountain shared a four dates with Ranges on tour, and we all hung out over dunk!festival weekend, so I came to befriend them all. I remember standing outside a venue one night after the show, and Bryan shared with me about how Lowercase Noises influenced him to start playing ambient guitar music, which led to him joining the band. It’s a big effort because he needs to travel a long way to attend band practice, but is totally worth it because his friends in the band are awesome. And he totally has a point – they’re all genuine, down-to-earth guys who all share a love for the film Face/Off. Plus Mike has one of the greatest beards I’ve ever laid eyes on – who wouldn’t want to be in a band with a man that facially talented?
And their music is great too. Their playing casts a hypnotic spell. There are certainly a few videos floating around of me dancing along to the music, caught up in the immense magnitude of it all. It’s a shame that Man Mountain didn’t actually play dunk!fest, but they are more deserving of a slot on that festival than many of the bands who did play.
I love the DIY ethos that many American bands work by, the way that they create things for themselves. When Man Mountain played they would use flood lamps with foot switches to give visual oomph to the climactic passages of their music. It’s such a simple idea, and about as budget as it comes when you think of dynamic lighting rigs, but it packed such a punch. I can’t listen to their music without visualising that searing yellow beam.
Something that stands out for me on this release is how well recorded it is. Mike Kalajian (Circa Survive, Prawn, Moving Mountains) mastered the album, and did an excellent job. By the sound of it, the recording process was somewhat experimental too, with the guys really taking their time to nail the sound. Things sound clear, crisp and articulate. I wish I had a copy of their vinyl record to hear the album in its full glory, but tell you what, it still sounds darn good just through middle-of-the-road headphones.
Jacob Goins just kills it on the drums. I already share a bond with him over our mutual love for Into It. Over It., but after hearing his playing on this record my opinion of him has skyrocketed. He showcases so much finesse and technical ability with taste. He’s not a hard-hitter, nor does he demand your attention, but he plays damn well, albeit subtly. The open/close hi-hat in lead single “Memory Trace” makes me think of Black Sabbath’s “War Pigs” – hard to pull off so precisely. And the excellent polyrhythmic intro of “Elysian” could just as easily lead into a Karnivool song.
Unlike your traditional model of lead guitar playing intricate melodies and rhythm guitar just filling in the rest with chord progressions, Mike and Bryan take turns playing dominantly. Like alternating sine waves, the two almost volley off each other. One will swell up as the other retreats, just for the opposite to happen soon after.
This music doesn’t attract many hyperboles. It’s middle of the spectrum – not especially fast, heavy, calm… But it is good. Nothing extreme – just done really well. Delicate and dynamic, with plenty to pay attention to.
Man Mountain’s music is reflective of the personalities within the band. At first unassuming and pleasant, and once you dig deeper you find quality gold inside. Understated, remarkable, and brilliantly crafted and recorded, Man Mountain’s début album Infinity Mirror is worth paying attention to. Listen with headphones on for the full immersive experience.
Infinity Mirror releases March 16th on Spartan Records. The 300 vinyl pressings have already sold out, but the record is still available on CD or digital download.
Man Mountain have also remastered their two previous releases, available for “Name Your Own Price” via Spartan Records or their Bandcamp page.
Man Mountain are
Mike Reaume – Guitar
Bryan Cowles – Guitar
David Reaume – Bass
Jacob Goins – Drums
Spartan Records pre-order: http://spartanrecords.limitedrun.com/products/609477-man-mountain-infinity-mirror
Bandcamp: https://manmountain.bandcamp.com/
Facebook: https://www.facebook.com/ManMountainMusic
Twitter: https:// twitter.com/ManMountainBand
Instagram: http://instagram.com/man_mountain
Soundcloud: http://soundcloud.com/manmountainband
Review by Joseph James.
Photos taken by Joseph in Ypsilanti and Columbus in September 2017
I must say, I’ve been looking forward to this show. I last saw Thundercat at San Fran in 2016, and it was a blast. One of the most proficient acts I can think of, and with a generous dash of humour.
I wasn’t sure what to expect from the venue. A quick search on the Googles told me that Odlins Plaza is on the Wellington waterfront, next to the stock exchange. I’ve been to events located there before (like Homegrown and Lux Festival), but I wasn’t aware of an actual venue. Was it in the whare? Or maybe a makeshift gazebo? And if so, how would thing affect acoustics? I made sure to pack my backup camera lens just to ensure that I was adequately prepared for any eventuality.
I arrived to find the snazziest darn temporary venue ever. I’m talking chandeliers and stained glass windows. It was octagonal shaped with a bar, outside eating/drinking areas, and terraced wooden flooring. Flaaaaaash!
God bless NZ Festival. Typically going out to see a show on a school night means getting home at some ungodly hour and feeling haggard and sleep deprived at work the following day. But these festival shows are well run. No opening act, and the Thundercat trio graced at stage at 8pm, as advertised.
I was disappointed to see that Thundercat (real name Stephen Bruner) wasn’t wearing his trademark Birkenstock sandals and socks, but rather red Chuck Taylors covered in comic book related patches and buttons. He also had Asian themed silk shorts and jacket adorned with embroidered dragons – giving off a Thai kickboxing x Chinese emperor vibe – and rounded off his look with a red LA Dodgers cap atop thin pink dreadlocks.
I think as a general rule, most guitarists own a pedal board the size of approximately three newborn babies, dotted with small boxes that boast dials and flashing lights that sometimes enhance their overall tone, but are more likely there for show. Bass players tend to cope with less – usually two fewer strings and smaller pedal boards – although they compensate by having heavier amps and speakers. Thundercat didn’t even have a pedal board. He just had two effects pedals and a setlist sat upon a music stand at waist height. That said, he managed to pull off some of the most unearthly tones you’ll ever hear come from a bass guitar – six string or otherwise.
Bruner was joined by Dennis Hamm on keys and Justin Brown on drums. And although Bruner is the star attraction – known as the mad bassist who has played a part with acts like Suicidal Tendencies, Kendrick Lamar, Flying Lotus, even our own Kimbra – his band members demonstrated a heroic effort by not only keeping up, but matching him.
Together the trio treated us to roughly an hour of fantastic music. It bordered on free jazz, but surely music this complex has to be rehearsed? Busy, cosmic tunes, almost like a continuous evolving solo with the barest of structure.
Bruner has such a great low-key vibe. He’s not one to take himself too seriously, and laughed a lot at his own expense. There were a few moments that he hinted at losing his cool over technical moments like an monitor mix and a cable crapping out, but they were few and fleeting. He laughed at how nerdy he was, trying to drum up conversation about comic books, video games and twitter.
There’s no denying that Thundercat has mad talent. He plays bass guitar like few I’ve ever seen. You wouldn’t even believe that it is a bass if you didn’t know. It certainly doesn’t sound like one. He sings his smooth falsetto verses into the mic before stepping back to launch into extended interludes, his fingers racing atop the fretboard like wired up arachnids.
The highlight for me was watching Justin Brown play. Earlier today I was thinking about great drummers I’ve seen play live. You have your solid rockers from bands like Foo Fighters, Chili Peppers, Shihad. There’s the prog/math guys and general prodigies from bands like Russian Circles, Karnivool, Biffy Clyro, Gary Clark Jr and Incubus. And then you have your freaks, the guys who play for genre-bending technical bands like Mars Volta and Tool. After consideration, I still think that Brown rates among the best I’ve seen. Better yet, I had the pleasure of crouching about a metre away from him to see his playing up close for an hour.
All up it was a great gig. How often do you get the chance to see such amazingly proficient musicians in such an intimate setting? I was impressed by the new venue and had a great time, still getting home for bed at a reasonable hour. What more could you want?
Thundercat is playing another sold out show at Odlins Plaza for NZ Festival on Friday 2nd March, before heading to Auckland for Auckland City Limits festival on Saturday 3rd.
Words and photos by Joseph James
Photos by Joseph James