pinkish black continues to evolve. daron beck said that they've decided to call _all_ the new songs "everything went black," and indeed, there's clearly conceptual continuity afoot in the new music they've penned since tommy atkins' suicide. (his bass rig is now powering bottom-heavy keyboards and the presence of the third man onstage remains palpable.) the music rages and thunders the way yeti's terminal album volume, obliteration, transcendence (cut in the wake of doug ferguson's death) did. teague's now playing keys as well as drums, and daron's added some new pieces to his rig. the music's as forceful and emotive as we've come to expect from these cats, and i became aware listening to them how influenced (in an odd way) the noises i make with HIO are by teague's riddimic sense.
with an andre edmonson mix, magnus sounded a quantum leap better than they had through the self-service p.a. bar at caves lounge when the li'l stoogeband played with them last fall. their music remains complex, knotty, and heavy, powered by andrew tipps' aggressively busy, rifle-shot drums. you can tell that guitarist ben schultz has been working on his single string attack, playing only the good notes. surprisingly, considering that two of the bands used full stacks, i was able to hear pretty well this morning, although i did fall asleep repeatedly during a training class on argentina this afternoon (and dreamed of che guevara eating a milanesa with a glass of malbec on the pampas). worth it, though.