With the release of his 'Preparations' EP on Tri Angle in late 2013, Fis and his inimitable and wholly original sound was introduced to the wider world. Since he’d first emerged with a series of ultra rare 12” releases in 2012 on various drum and bass oriented labels the Wellington, New Zealand based producer had quietly been tipped on the underground as one to watch. The praise heaped upon 'Preparations' definitely seemed to justify the hype that had quietly been building behind the man otherwise known as Oliver Peryman. Pitchfork referred to Fis as an artist who "was in the process of uncovering an altogether new rhythmic grammar" and on 'Iterations', his latest EP on Tri Angle, he continues to do just that. It's still a pretty daunting task trying to explain exactly what Fis sounds like. He's been referred to as a drum and bass producer, but as XLR8R have rightly stated, "even in the context of the drum & bass resurgence there's little question that Fis is exploring some exciting, uncharted territory." The disorientating and confounding rhythms are still present, but in comparison to 'Preparations', 'Iterations' feels more expansive and oceanic, less claustrophobic and ever so slightly more approachable. What these 4 tracks confirm is that Fis is a producer who has something important and special to add to the electronic genre.
‘Preparations’ is the first record to be released on Tri Angle by Fis. Based in Wellington, New Zealand, Fis has steadily been building a name for himself on the underground as a producer to keep an eye on. Having already put out a number of very limited edition and very well received releases through a handful of drum and bass oriented labels, ‘Preparations’ finds Fis at a point in his music making career where he’s ready to be introduced to a wider audience and confirm why websites like Resident Advisor have had things like this to say about him in the past; ‘A producer that has suddenly appeared, rather fully-formed, doing something completely individual, sounding like absolutely no one else.’ It’s pretty difficult to explain exactly what Fis sounds like. Drawing upon a rich history of New Zealand customs and periods of heavy meditation for inspiration, Fis’s tracks have the ability to completely disorientate and absorb the listener, creating rhythms that constantly seem to be cannibalizing one another. ‘Preparations’ feels forward thinking in the extreme and yet entirely elemental and strangely ancient.
It's a question asked by anyone and everyone who pays attention to popular music; who is making music today that will be the classic rock of tomorrow. It's a tough question to answer when considering the bastion of classic rock; Rolling Stones, Eagles, Rod Stewart et al. But there is still something exciting to discover when you dig into the periphery of the standard canon. Consider the catalogs of bands that perpetually exist in that fringe. Bands like Foghat, Traffic and Free. Their discographies still contain gems to behold. Now consider Catfish Haven. They are a band that is hard to pigeonhole, regardless of all of our attempts. Catfish Haven is a band than been appropriately paired with future classic rock contenders like My Morning Jacket, Magnolia Electric Co., The Hold Steady, Lucero and Eli Reed & The True Loves. A testament to their unclassifiable, yet broad appeal, as evidenced by Devastator's in the pocket title track, organic glitterball jam "Set In Stone" and bittersweet barn burner "Full Speed"
In the spirit of Kiss' Destroyer, ZZ Top's Eliminator, and Lou Reed's Transformer, introducing Catfish Haven's Devastator.
Had Brian Wilson owned a computer in 1967, he might have been able to make Smile on his own, thereby avoiding all the nonsense he had to endure from the other Boys of the band that led to the thirty-seven year wait before its completion.
Dave Fischoff's The Crawl is the product of a single creative mind.Armed with a rather large arsenal of obscure samples culled from his life as well as the entire Chicago Public Library sound collection, Dave went to work. Alone in a near downtown basement apartment (sometimes in his bedroom closet), his mind took a very long trip, delving into the under-explored territory where electronic music, hip hop, and orchestral pop meet. Taking cues from The Beach Boys and Burt Bacharach to The Postal Service and Public Enemy, Dave Fischoff has conceived, collected, cut and pasted, orchestrated and created a piece of work that is large and complex yet utterly personal and easily accessible.
After releasing the critically acclaimed EP Please Come Back early in 2006, Catfish Haven return more focused and more determined than ever to win your heart. You see with Tell Me, their debut full length on Secretly Canadian, these three raw dogs named for singer George Hunter's childhood trailer park home have crafted one hell of a break-up record. Love is a confusing thing and it always leaves the mind with more questions than answers. Who is this woman that left Hunter so broken that he was inspired to pen ten soulful odes to this traumatizing break-up? Who dumped who? Will Hunter ever win her back? It's hard to tell as Tell Me captures the confusion, denial, sleepless nights, and the desperate pleas for love that can only be felt when the mind gives up control to the heart.
Like Otis sweating out "Pain In My Heart" or Marvin begging "Please Stay", Catfish Haven are amongst few bands that can command a stage; keep a crowd up with a high energy live performance and still deliver such heartache. With the addition of smooth horn arrangements and even smoother back up vocals, Tell Me, is the realization of what a heartbroken boy can do when given a little time and recording studio full of toys. Graeme Gibson was in charge of capturing all of this onto tape at Clava Studio in Chicago, Illinois, the city the band calls home.
Catfish Haven took its name from the rural trailer park nestled on the southern tip of Missouri where the trio’s singer andmain songwriter, George Hunter, spent his early childhood. His father is a welder and, as with many trades, you must gowhere the work is. So the family packed up and left Catfish Haven for a Chicago suburb. It was there as a teenager thatHunter met future bandmates Miguel Castillo and Ryan Farnham. Their friendship was born out of a mutual love of skateboardingand music.After a few months and a move into the city, the three-piece stormed Chicago with a self-financed CD, complete with handmadebeer box covers, to begin spreading the gospel of “The Haven”. Word travels fast in the Windy City’s music scene,and soon Catfish Haven had intrigued enough people to be invited to play alongside the likes of My Morning Jacket,Daniel Johnston, Kings of Leon and Zwan, flooring audiences with the raw intensity of their live set. Akin to guitarists/vocalists like Bruce Springsteen and John Fogerty, Hunter, a howling crooner with gravel in his honey-sweetened voice (a la Sam Cooke), is known to strike his acoustic while stomping through each number. Castillo’s pounding bass grooves are heightened when joined by Farnham’s forceful, yet tasteful, drumming. Consider this: howling + pounding= smooth. An improbable equation that Catfish Haven has managed to make work.So this is it. The guys in Catfish Haven are who they are; there’s no room for pretension here. They play their hearts outfor anyone who will listen ‘cause they’ve got a love for music that drives them. And every note they play is intended torecapture those magical moments back at Catfish Haven.
Catfish Haven is the trailer park in Missouri where singer/songwriter/guitarist, George Hunter, grew up.
Catfish Haven the band currently resides in Chicago, Illinois where they create soulful howling music over an acoustic guitar turned way up. Resurrecting the spirit of Otis Redding and tapping into the vein of Credence Clearwater Revival, Catfish Haven's music is imbued by hopeful yearning for better days echoed through amps and a drum kit.
Already being hailed in some circles as "the greatest instrumental metal band in America," Nightfist was born in Menlo Park, CA by five young men with mutual obsessions for triumphant melodies, complex rhythms and chugging dual guitar riffage hellbent on traveling at lightspeed back to a time when people lived and died by the sword. They are not ironic. They listen to copious amounts of Yes, Queen, Metallica and Dream Theater. Standing strong and hard against any and all bands they are influenced by, Nightfist have pushed the whole game back. Fuck this looking to the future shit. Tonight, we go back in time.
At first listen to his sophomore full-length THE OX AND THE RAINBOW, it may seem that Dave Fischoff has more in common with New Zealand's finest hard-to-peg songwriters such as the brothers Peter and Graeme Jefferies (and their This Kind Of Punishment and Cakekitchen projects), Alastair Galbraith and godfather of bruised soul Pip Proud, than any of his American brethren. Perhaps it's the insular loner vibe that radiates from the songs -- the overlapped vocals, the self-sequenced drum beats and background tape accompaniment. Or maybe it's just the way his voice hits the air like hot caramel in a vat of milk. Yes, his vocal delivery is quite kiwi. But on THE OX AND THE RAINBOW, the signature New Zealander tape hiss which was ever-present on Fischoff's debut WINSTON PARK is missing along with the Xpressway air of deep alienation. No, these eight new songs are sober realist portraits which rarely delve into the first person, but rather stake a significantly distant perspective from which Fischoff observes his subjects. The result is Kafka-esque in tone, but with a clinical dose of sentimentality. The songs on THE OX AND THE RAINBOW range from the spare and frail beauty of "We Break Up and Watch the Angels Swim", "The Doctor Yawns for Columbus Day" and the gorgeous atmospheric ballad "Geranium", songs which most closely resemble Fischoff's early material; to the pomp and circumstance of "Propaganda for a Comic Strip" which is an all-out Electric Company-styled Spector-sized pop tune; and the blind-siding "Blemish and a Bowl of Oranges" which perfectly subverts his Chan Marshall-like guitar playing under a bed of sequenced pulses and bells, making a claim for most outstanding song on the album. Indeed, for anyone who has witnessed one of Fischoff's arresting live performances, this record will stand as proof that it's on albums where musical artists are really given the space to open up and create lasting pieces of art. As with contemporary album-crafters such as Neutral Milk Hotel, Jeremy Enigk and East River Pipe, Fischoff relishes the opportunity, and with THE OX AND THE RAINBOW he has offered up a truly unique record that looms somewhere just south of Where The Fuck Did That Come From.
During recent years Dave Fischoff has explored various musical forms, retaining some and abandoning others. Besides the early bands he tried his hand at, the musical life of Mr. Fischoff has been in the solo realm. Coaxed on by friends and former bands mates Dave began to perform solo in the summer of 1994 in the Bloomington, Indiana area. Using only a guitar and Marshall stack Dave found himself jumping around basements and clubs. Feeling there was an integral element missing in his music, he began to employ pre-recorded sounds into his live show. With the new combination of tape letters, found sound, translucent electronics, guitar and voice, the music took on a new life. Dave used his lyrical imagery and story telling ability to enhance the deeply personal music. In November 1997 Dave recorded WINSTON PARK with friend and engineer Thom Hoff (American Analog Set). The album was recorded in Dave's living room over two weeks using a 1/4" Tascam 8-track and one Shure microphone.
Fisk is best known as a producer, a member of Pell Mell, pigeonhed, Duck Hunt and his work with the Halo Benders. This collection features solo work by Fisk between 1981 and 1987. Much of it was previously available only on cassette, some of this has never before been released. Tape loops, samples, noise and found material combined in fine Fisk fashion.