With persuasive sonic assaults, ping-ponging stereo effects, and a web-like maze of improvisation, this trio tenders a modern psychedelic soundscape with avant-garde like tendencies. They shade the proceedings with a renegade New York City downtown aura, featuring phased-out guitar parts, booming bass ostinatos, pumping rhythms and dabs of chaos via the slow to medium-tempo grooves.
It's not a high-strung endeavor as the musicians concentrate more on ascension and riveting dynamics, largely executed by guitarist Dave Shuford's layered distortion techniques, also reflecting a classic psychedelic-era improv format. With coarse phrasings, electronics permutations and Jimy SeiTang's guerilla bass lines, they incorporate a homogenous breadth of activities.
"Teke'" is a piece highlighted by discordant notes and a stance that leaves all semblances of imagery open to interpretation. Implanted with drummer Spencer Herbst 's frothy rhythmic vibe, the band moves forward with the zeal of an unstoppable machine. However, a large chunk of the album is firmly rooted in expansive experimentalism. Therefore, subsequent spins divulge newly found vistas. These patterns continue on "Dale Odaliski," which offers a panorama substantiated on decay and deconstruction, abetted by multi-tiered sound processes and harrowing treatments. Yet, they inject a moveable melody into the more conventional rock piece "Shank Raids," where burgeoning lines and an assertive gait suggest an endpoint that resides somewhere in the vast expanse of the universe.
Rhyton is a band that helps represent the post-rock or nouveau rock that has veered away from convention, which is partly due to the abysmal state of populist radio. Ultimately, cross-genre fusion seeds a wider musical plane that often intimates a boundary-less framework, garnering the interest of rock, jazz and avant-gardists alike.