This album brings otherwise challenging jazz and metal together in a universally palatable way. This is the album I introduce my friends to when asked for a recommendation.
Favorite track: Arc9.
This level of compositional quality is what makes it worth spending hundreds of hours digging for music. You only bump into something like this once a year — if you’re lucky.
Favorite track: Catacaustic.
This is an incredible jazz fusion album. It pummels you right off the bat with a couple of really hard-hitting jazz metal songs, but that’s not really what the album is about. Blue Steel takes a more jazz/rock fusion approach, with cool syncopated sax/guitar lines. Arc9 is a potent mix of psych rock and doom jazz, with some really great, emotional sax playing in its second half.
One of the best albums of 2020 imho.
Favorite track: Arc9.
Art As Catharsis is proud to announce the release of Arcing Wires’ Prime – an enigmatic fusion of math rock, progressive metal and jazz.
Arcing Wires take due care in exploring a wide range of sounds on Prime. At times, the record echoes with post-rock’s atmospheric grandeur, math rock’s blistering time signatures and slicing riff work, coated with a healthy dose of tenor saxophone to round out the mix. Despite these elements typically coming in contradiction to one another, Arcing Wires’ real talent comes from striking down the barriers between genres with fluidity and grace.
Taking inspiration from the likes of Kneebody, Periphery, Avishai Cohen's Big Vicious, Donny McCaslin and many more, this is one of the most eclectic, ambitious and forward thinking records to come out of Australia’s jazz scene in years.
The upcoming single off Prime, Catacaustic, begins by balancing its elements crisply and concisely. Flighty jazz segments are underlined by hard, angular chugs and snappy drums – but as the track carves onwards, the jazz sinks into a stop-start bash of metallic chops. Catacaustic is the precipice between two wildly different music worlds – it’s a credit to Arcing Wires’ talents that the flow and fit of the two sit so well on the track.
“Catacaustic is a song that came about by the desire to really push the scope of what Arcing Wires can do live,” begins saxophonist Nish Manjunath. “We wanted to write a piece that had no improvisation (aside from a small, but incredibly shredding drum solo), so the song is just composed parts the whole way through. We play all of our songs without charts at gigs, and this song really was a test to memorize some difficult rhythm cycles, and an angular song structure.
“While this was the main inspiration, we quickly found that we had to balance all of that challenging stuff with catchy hooks, melodies, and try to find some compelling sonorities that would complement the song and give it emotional depth. I think we have done a reasonable job at marrying the complexity with simplicity. Special shoutout to Steph Russell - an absolute FREAK vocalist, who can sing anything. You'll hear her lay down the main theme of the piece, and then the back half off the tune takes that theme and evolves it with changing sonic landscapes.”
With performances at Sydney’s VIVID and Fringe Festivals, Arcing Wires are no strangers to success. 2019 took the band to Jazz festivals in Indonesia and Holland along with a successful 10 date tour across Australia – noted for their immersive live show adorned with lighting and projections.
The release of Prime’s first single, The Lizard, has already turned more than a few heads – and as Catacaustic and future singles prove themselves to be more ambitious and genre-bending than the last, the full release of Prime will undoubtedly leave its mark on the Australian music scene for years to come.
released November 6, 2020
Nick Henderson – Electric Bass, Synths, Piano, Principle Editor, Additional Tracking Engineer
Yutaro Okuda – Electric Guitars, Electric Baritone Guitar
Felix Lalanne – Electric Guitars, Acoustic Guitar
Alex Hirlian – Drums, SPDX
Nish Manjunath – Tenor Saxophone, Clarinet, FX, Synths, Piano
Steph Russell – Vocal (Track 2)
Matt Thomson – Keyboards, Synths (Track 8)
Tim Whitten – Recording Engineer, Mix Engineer (Golden Retriever Studios)
Craig Field – Mastering Engineer (Elk Studios)
Raphael Miguel Canillas – Principle Videography
Susan Papzian – Principle Photography
Thanks to our partners, parents, siblings, friends, colleagues, past mentors, and each other for supporting us during this endeavor. This album represents the end of the beginning of our story, and there is much, much more music to come. Thanks to you – for buying and enjoying the listen. Tell your friends about us, and we hope to see you at a gig in your city very soon!
Honestly, this one track is a more accurate representation of what it feels like to have anxiety, autism, and ADHD far better than anything I can really put into words. Also, it's just a really fucking good track. Dax Fugue
This has the same energy as the seminal 70s Miles Davis albums, mixed with some Herbie Hancock funkiness. It's a very restrained and controlled fire, though. Not nearly as primal, but much more refined, sifted through a couple generations of other influences battering away at the old genre.
A beautiful update to jazz in the modern era, and one of the most interesting albums I've heard in a while. Smekermann
Voici le genre d'album qu'il faut écouter lorsque le Vieux sur la montagne vous a désigné une cible, que vous allez ensuite exécuter pour gagner votre place au paradis. Mais attention, ça ne marche pas avec les cigarettes que l'on trouve dans le commerce ! Corrèze the deads
Middle eastern sounds and structure meet a modern, progressive style in this diverse album – a stunning musical journey exhibiting great warmth and character. Instrumental compositions featuring a whole world of influences. Michael Reilly