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Invisible

by Sleet

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1.
Going Around 09:18
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2.
In and Out 07:04
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3.
Photons in Your Body 13:14
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4.
Right Through 11:14
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Going Around (9:18)

Snappy and precise, Thom steps right on it, while the guitar plink plunks behind it all, and the guitar toots soft noodles of fuzz, the guitar ramps on up it, triplets slip out the bass, some insistence props up the beat, and that questing noodle eases back on up in it, and some underwater orchestra imprints a memory more vague and less precise as well. Dad turns on the ball game just before the 4m point, until a string chorus supplants it. Goddard bows to melodic convention before the Sleet correction, and off beat punctuation serving as a transition persists. Goddard grows melodic, while Thom serves him a beat, and Morris weaves his best. Synth depths well up like slime rising in a clear fountain in Rome. The bass goes koo-koo baloosas, a synth dream wells up in the background, and Thom beats silliness back with tactful slams. Goddard noodles out a slick end.

In and Out (7:05)

Washes in tight brigades follow the taps and backhand slaps as Morris jabs in with his crunchiest guitar sound. Goddard invents a theme to prop up the shimmering synth mode, and Thom sneaks in a nervous little off beat cymbal tap around the 2m point. More synth builds and washes out to a climax at 3m, then the guitar jabs at the beat like a stick poking a dying fire. 4m the bass resorts to an almost exasperated pattern, and soon enough wild guitar responses scratch across the old drums, as Thom turns it all around at 5m, and the my guitar gets a bit insistent. I quickly switch to bell toned synth, falling out like bells in the deepening haze.

Photons in Your Body (13:14)

Wobbly synths and bubbling bass warble with the long tones of a Thom Sleet horn. Someone is going frantic hard on all the available drums. The avante garde still lives and breathes as snatches duly pass. Synth arpeggios come and go, and the horn blows long and warbly slow, like the gravitation bend of a swerving proton mass or two. At 5m the swiftly plucked bass turns melodic again, supported by howling background guitar static and synth ambience. At 6.5m it changes again, hops up to a panicked velocity, and a voice says unintelligible things. By 8m, there’s a sun god ancient ritual being enacted by the martial drums, the indecipherable voice, and the soldier boy bass parts invented by Goddard.Around 10m in the bass finds a heavy metal motif to engage, and hops up to intense double steps, until brought back into the fold by the persistence of drums. By 11m Goddard gets a bit peeved and just plays whatever. The synth tries to ressurect sanity, but the tendency toward entropy prevails, as it always does.

Right Through (11:15)

Righteous drums bring it all up, then a synth follows it in turn, the bass rumbles, and synth and drums and bass try to start something special. Something cuts in at 2m and the synth makes a dramatic visual statement. Drums maintain blamelessness as the guitar swells up sour, the synth pulls back, and then a two note half step mode shows itself. Right before 5m it gets intensely layered, then clears up to the simple motif, while a guitar creates a crunchy counterpoint. Before 6m it clearly establishes a half-step pattern, then a synth plinks into it right quick, while this insistent guitar interjection crescendoes, allowing for further explorations of the simple, classical schema of the piece. At 8m the motif simplifies and pulls back to bass and guitar. After 10m of everywhere, Sleet supplies a sprietly upbeat pimp walk up high street until a pat, righteous end.

credits

released April 12, 2015

Thomas Sleet - drums, horn
John Goddard - bass
William Morris - treated guitar
Tony Patti - synth and guitar

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Sleet Missouri

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