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Big Enough to Know

by Sleet

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1.
Cannot Destroy 15:14
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2.
Melt Em All Down 10:55
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3.
750 Pound Ingot 19:48
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1. Cannot Destroy

The army marched at dawn, sun scrabbling crab-like up the lightening sky. Long lean notes float, while off-beat stutters propel the beat. After 2m, the mood goes nightclub, not a neighborhood dive, but somewhere exotic and anteoriental. Scrapes flake metal paint spread by leaping guitar streaks on higher than high, I take a leap into the unknown at the 4m mark, climbing higher and higher out of all known range. 5m a new section picks up and establishes a detective story atmosphere of sex and crime and regret, Bill noodling into infinity, while Goddard and I swing into a thing. 7m the funk chord peeks out, a diminished crescendo follows, whipping up a bit of a frenzy, spunking out spastic like a true pathetic punk, Bill rescues the groove from irrelevance as it all gels into diminished patterns, and a mean pop beat ramps up out of all that, taken apart in a series of thoughtful drumrolls while still maintaining the riddim. At 11m everything clears out for some long bass notes. Sleet snaps it into a strict beat, we all follow diligently enough, with plenty of insane noodling away, and I thrown in a few simple rock beats, going prog as possible, and by 14m well-established. Lots of heavier metal garnished with Morris skills. Then an embarrassed halt.

2. Melt Em All Down

Guitars start with minor key laments. A bit of a national anthem-style picks up at first, with minor Morris flutters sent drifting down our way. I try to start several dumb beats, while Thom plays rings around rings and things, and around the 3m mark Goddard decides to let it all slide, baby, slide. A strange jungle beat is constructed, a jumpy kind of off-count sequence, and the guitars and slide bass wrap around it all. A TV drama from the early seventies comes and goes, while I whip out the diminished intervals yet again. By 6m the guitar gets involved in picking out chords. By 7m a jerky little pattern comes out, set to chiming chords and robotic drums weaving in and out of complexity. I start playing “I’m So Insane” and everything just fits. At 9m I’m still playing around with it, but very far from where it was before, and Sleet patiently takes apart the beat for us all. A series of drum rolls are answered by a few slide bass goodbyes.

3. 750 Pound Ingot

A pretty synth shimmer starts the piece, supported by the lack of pattern known only to Sleet, and at 1m in a wagging, insistent pattern comes out across the face of every drum, and psychedelic cloth floats in the stiff breezes, far up into the sky. Right before 3m a new tough hombre comes riding into town, followed by what you could call law and order, if you was somewhat flexible about certain things, like the whipsawing synth fragments whipping over the wall. By 4.5m I gives you the first taste of a repeated treble bass pattern, a simple descending phrase, delicate chords chime over the bass pattern. Another guitar hits all the metal notes possible under it all, while the bass races the sticks over the drums. Something specific comes out of the bass, insisting until Thom slaps back to the two-step after the 8m point, and then soon swims upstream into rivulets of strums and scraped thumbs. By 10m it’s back to the simple descent. It goes all coastal at 12m in, simmering down to a drumbeat of many colors, suddenly pierced by a guitar, impudently inserted, and then out busts the pattern again. Things get rhapsodic, then stretch out in length, and collapse back into the ingot pattern. 15m in a bopping bass beat pops out, goes low, is waved by psychedelia, breaks down, goes classical, shadowed by shimmers full frontal glittering, with Sleet chiming that cymbal, and I put a guitar variation in somewhere around 17m or so. It goes out Sleet style, with endless variations adorned by beauty and destruction.

credits

released July 10, 2016

Thomas Sleet - drums
William Morris - synth guitar
John Goddard - bass
Tony Patti - guitar

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Sleet Missouri

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