Recorded live at Valentine's in Albany, NY. June 28, 2011. Tape Drift Records TD50.
BUY DISCHARGE RECORDS.
Label description:
CENTURY PLANTS - s/t (Tape Drift, 2012)
Century Plants deliver the goods here with a one-sided live LP (limited to 100 copies) that is a tribute/homage to British hardcore legends Discharge. A heartfelt and very sincere love letter to the punk spirit of 1982 if you will. It’s a fitting concept, given that Century Plants member Ray Hare was part of that original era, as the lead singer for Washington DC’s Deadline. In fact, Hare’s deep roots in the punk scene (he appears on the seminal “Flex Your Head” LP) make his vocal homage to Discharge even more appropriate. Musically, Century Plants have updated the sound of 81/82, with a fully improvised approach, fuzz-drenched feedback, and lyrics that draw on several different Discharge songs. Most importantly, the spirit of blistering political dissent and anti-authoritarianism shines through, with Hare snatching Discharge concepts and phrases at will. It all captures the energy and sonic assault of punk, yet filtered through modern-day noise, drone, and DIY strategies as well. A unique item in their catalog, this is the second vinyl appearance for Albany, NY’s Century Plants, following a split LP with Locrian. Usually a duo (Eric Hardiman and Ray Hare), Century Plants are joined for this record by drummer Phil Donnelly. The three also play together as part of the singularly sprawling improv psych rock unit Burnt Hills. Rather than continuing the ominous dronescapes of the split with Locrian, in this live recording Century Plants offer an intensely rockist track, melding several of their core influences (psych rock, punk, noise, and even dub) into one seething, energetic track. Upstate Violence/Upstate Control? PLAY LOUD!
Mohammad disliked stringed instruments, preferring the 'purer' sounds of flute and drum. He didn't explain, but a possible reason is that strings are richer in harmonics and can be used to create chords or partial chords. These create beats and resonances from which melodies can be picked out, giving the illusion of a phantom musician creating independently of the human operator. VCO exploit this property of polyphony, giving the phantom centre stage and a job playing saxophone. martin corey
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