Russ Hockenbury
08/03/06, 10:40 AM
Cale Parks – Illuminated Manuscript
Release Date: September 26, 2006
Label: Polyvinyl Records
I can already see the list of adjectives used to describe the first solo release from Aloha drummer, Cale Parks. Whimsical, enchanting, haunting. Those would all be apt if I were writing for some hipster indie trade magazine, or perhaps if I somehow morphed into the kid who runs that You Ain’t No Picasso blog. I’d bow down and kiss the ass of Parks for creating something so euphoric, so trippy. Up until now, I didn’t think I was that kind of a writer.
With his fondness for static and plethora of sound, Parks succeeds in creating nothing more than a symphony of background noise on Illuminated Manuscript…and that’s just fine. Credit Parks for not being as overwrought with ambition as a lot of those in the business of technology-savvy music. His album has more of a heart. Amongst others, the vibrating feedback and quirky percussion of “Galaxy 8180” gives the listener the feeling of actual space travel. Further, the urban jungle rhythm that is “Wet Paint” makes it a dangerously addictive head nodder.
Parks’ voice works as an afterthought on most of the album, not appearing at all on several tracks. His time behind the drum kit has given Parks an ear for sound and he uses that experience to the point of artistic license on Manuscript. His work here is more a conceptual art project of his life than anything else. Everything from the TV playing in the background to the hotel service bell, and even a meowing cat get in on Parks’ composition. At the risk of becoming one of “those” writers, Illuminated Manuscript is every bit whimsical, enchanting, and haunting. Damn, now I have to kick my own ass.
Noise-core: “Galaxy 8180”, “Wet Paint”, “Fearsome Opponent”
So Megan, I hear you like to experiment: The Method and the Result, Aloha, Multi-Panel
Release Date: September 26, 2006
Label: Polyvinyl Records
I can already see the list of adjectives used to describe the first solo release from Aloha drummer, Cale Parks. Whimsical, enchanting, haunting. Those would all be apt if I were writing for some hipster indie trade magazine, or perhaps if I somehow morphed into the kid who runs that You Ain’t No Picasso blog. I’d bow down and kiss the ass of Parks for creating something so euphoric, so trippy. Up until now, I didn’t think I was that kind of a writer.
With his fondness for static and plethora of sound, Parks succeeds in creating nothing more than a symphony of background noise on Illuminated Manuscript…and that’s just fine. Credit Parks for not being as overwrought with ambition as a lot of those in the business of technology-savvy music. His album has more of a heart. Amongst others, the vibrating feedback and quirky percussion of “Galaxy 8180” gives the listener the feeling of actual space travel. Further, the urban jungle rhythm that is “Wet Paint” makes it a dangerously addictive head nodder.
Parks’ voice works as an afterthought on most of the album, not appearing at all on several tracks. His time behind the drum kit has given Parks an ear for sound and he uses that experience to the point of artistic license on Manuscript. His work here is more a conceptual art project of his life than anything else. Everything from the TV playing in the background to the hotel service bell, and even a meowing cat get in on Parks’ composition. At the risk of becoming one of “those” writers, Illuminated Manuscript is every bit whimsical, enchanting, and haunting. Damn, now I have to kick my own ass.
Noise-core: “Galaxy 8180”, “Wet Paint”, “Fearsome Opponent”
So Megan, I hear you like to experiment: The Method and the Result, Aloha, Multi-Panel