BLY DE BLYANT-HINDSIGHT BIAS.

dereksmusicblog ♦ February 12, 2014 ♦ Leave a comment

BLY DE BLYANT-HINDSIGHT BIAS.

Bly De Blyant are the equivalent of international musical superheroes. They dare to create innovative, groundbreaking and genre-melting music. To do this, they combine musical genres and influences. This includes everything from classic rock, jazz, Krautrock and math rock. It’s an inventive and innovative combination. No wonder. This is what we’d expect from true musical mavericks like Bly De Blyant. 

Since they were formed by Norwegian drummer Øyvind Skarbø, Bly De Blyant have been creating music that pushes musical boundaries to their limits and beyond. That was the case on Bly De Blyant’sdebut album ABC. It was released in February 2013, on Hubro Music. ABC was released to critical acclaim. Now people were taking notice of Bly De Blyant. Suddenly, their music was finding the wider audience it deserved. Word was out. Bly De Blyant were a band to watch. Many people in Bergen, who’d heard Bly De Blyant live knew this. 

The release of ABC only reinforced this.  It was obvious that Bly De Blyant had a big future ahead of them. However, many bands had been in the same situation, but struggled what’s often the most difficult album of a band’s career, their sophomore album. Will that be the case with Bly De Blyant whose sophomore album, Hindsight Bias, will be released on Hubro Music on 3rd March 2014? That’s what I’ll tell you. Before that, I’ll tell you about Bly De Blyant.

It was drummer Øyvind Skarbø, whose from Bergen, Norway, that founded Bly De Blyant. Previously, Øyvind has been a member of 1982, BMX and Stian Around A Hill. He’s also worked with Norwegian jazz saxophonist Håkon Kornstad. An experienced and talented musicians, the time was right for Øyvind to form his own band. So he started looking for like-minded musicians. 

Luckily, Øyvind had worked with Brooklyn-based multi-instrumentalist Shahzad Ismaily and Icelandic guitarist Hilmar Jensson. Øyvinhad before. However, the three musicians hadn’t ever played together. This would be a first for Øyvind, Shahzad and Himar.

Shahzad was also an experienced musician. He’d released two albums with Carla Kihlstedt and worked with a wide range of artists. Among them were John Zorn, Will Oldham and Marc Ribot. The final member of  Bly De Blyant was Hilmar Jensson.

Since the mid-nineties, Hilmar had enjoyed a successful solo career. He released his debut album Dofinn in 1995. After that, he released  Kerfill in 1999, Tyft in 2002 and Ditty Blei. Then there were collaborations with Skúli Sverrisson and Outhouse. Hilmar also worked with Tyft, Jim Black, Trevor Dunn. It seemed that  Øyvind Skarbø had found the final member of his new group, Bly De Blyant.

Soon, Bly De Blyant established a reputation as a inspirational, innovative and imaginative band. They had firm ideas about how to make music. They improvised. It seemed Can, with their spontaneous improvisation, had inspired Bly De Blyant. Along with Krautrock, classic rock, jazz and math rock would go on to inspire Bly De Blyant. Having found their sound, they began honing it. 

Once Bly De Blyant  began playing live, they were gaining a reputation as one of the hottest new groups. With their unique, genre-melting style, Bly De Blyant were winning friends and influencing people. Word was spreading about this innovative band of international musicians. Before long, Bly De Blyant decided the time was right to record their debut album, ABC.

ABC was recorded at Grieghallen Studio, in Skarbø’s home city of Bergen. They were helped by technician Davide Bertolini. Inspired by the old-fashioned method of recording music, Bly De Blyant were all in the same room. They’d didn’t even use headphones. No. Instead, they played as if they were playing live. It’s risky though. Sometimes, instruments “bleed” into other microphones, which makes overdubbing difficult. So, only technically proficient groups record like this. Bly De Blyant were capable of recording takes like this. They could record takes that were keepers. 

These recording sessions saw Bly De Blyant use vintage equipment. The studio was full of newly restored vintage equipment. Skarbø’s drums had calfskin heads. Engineer Davide Bertolini miked the drums the old school way. He only used two microphones. Shahzad played a newly restored Hammond organ, an ancient Moog synth, and a Fender Precision bass from the early seventies that he’d borrowed from Davide. Hilmar had an innovative rig. His guitar was controlled by an array of pedals. For a group like Bly De Blyant, this vintage equipment was sure to encourage and inspire them. It did.

ABC was released in February 2013. Critically acclaimed,  people were taking notice of Bly De Blyant. Suddenly, their music was finding the wider audience it deserved. Word was out. Bly De Blyant were a band to watch. So when they embarked on a tours of Europe, Canada and USA later in 2013, the word was spreading about this band of innovative, international musicians…Bly De Blyan. On their return from their tour of Canada and USA in September 2013, work began on their sophomore album Hindsight Bias.

Often, sophomore albums are described as the most difficult of a band’s career. They’re caught between two stools. If they record an album similar to their debut album, the band’s criticised as having released a derivative album. However, if they change direction musically, they risk alienating their fan-base. So, it’s about striking a balance between moving forward musically and not alienating old fans. Will Bly De Blyant be able to do this on Hindsight Bias?

When it came to recording Hindsight Bias, the three members of Bly De Blyant  had written eight new tracks. So, they returned to Grieghallen Studio, in Bergen. Again, they were helped by technician Davide Bertolini. Just like ABC, they were inspired by the old-fashioned method of recording music. The three members of Bly De Blyant were all in the same room when recording began. They’d didn’t even use headphones. Øyvind Skarbø played drums and percussion. Shahzad Ismaily plays bass, banjo, Moog, organ and drum machine. Hilmar Jensson played guitar, bass and piano. The three members of Bly De Blyant added vocals. Joining them on Bunker Hill was tenor saxophonist Kjetil Moster. Producing Hindsight Bias, which I’ll tell you about, was founder Øyvind Skarbø.

Jiddu opens Hindsight Bias, and is described as Bly De Blyant “attempt to create a tune from what could’ve been an outtake from Joni Mitchell’s Hjeira.” Here, guitarist Hilmar Jensson to take centre-stage. His shimmering, glistening guitar solo is at the heart of the arrangement. Everything else plays a secondary part to his melodic opus. The rhythm section provide the heartbeat, as the arrangement variously glides and meanders along. This is possible because of the layers of music that unfold. As the arrangement reaches a crescendo, it becomes melodic, dramatic and urgent, making this the perfect start to  Hindsight Bias.

Westkreuz which is a district of Berlin, sounds as if Jimi Hendrix has been reincarnated and made a fleeting visit to Grieghallen Studio, in Bergen. As Hilmar wields his guitar, washes of Hammond organ accompany the rhythm section. Together they create a classic rock influenced song. Later, a dramatic burst of vocal interjects before the tension grows. The track takes on a  cinematic sound thanks to Hilmar’s guitar playing. Later, the track changes and becomes an adaption of Tjukkesokka. This works really well and is in keeping with the classic rock vibe. Add to that Krautrock and it’s a captivating combination.

When Laura recorded, it was onto cassette. Then it was recorded twice on Pro Tools to give the track an authentic cassette sound. It was well worth the effort and innovation. Especially, with Bly De Blyant changing tack and geting funky. They combine a funky, buzzing bass, hypnotic drums and chiming guitar. To that they add a banjo.This is a masterstroke. After all,  when did a banjo last feature on a funk track? It works though. So do the gliding, glacial keyboards as Bly De Blyant lock into a mesmeric groove. 

As Hindsight Bias begins hesitantly, a harmonium plays in the distance. Gradually, this moody, eerie and cinematic track shares its secrets. Scratchy strings, sound effects, drums and later, crystalline guitars flit in and out. Then it’s time. Hindsight Bias shares its secrets. They gradually reveal their subtleties and nuances. Tender, wistful and melancholy describes the track. So does, ethereal, mysterious and cinematic on this glorious and innovative track.

Michael Jackson Pollock is a homage that showcases Bly De Blyant’s ability to innovative. When they laid down the melody, Bly De Blyant didn’t check the time signature. Next they added a hip hop beat. This was new. The combination of blistering guitars and driving rhythm section proves a potent partnership. Crystalline, chiming guitars, broody bass and dramatic drums kick loose. They pay a fitting and inventive homage to two innovators, Michael Jackson and Jackson Pollock. Bly De Blyant give thanks to the abstract genius that was Jackson Pollock and the melodic, dance-floor friendly music of Michael Jackson. 

DEFGHIJKL sees Bly De Blyant. The backdrop to the arrangement comes courtesy of a vintage drum machine. It provides a Krautrock beat. Atop it, Bly De Blyant kick loose. It’s truly innovative piece. Sometimes, it’s like standing in a station as life passes you by. Bly De Blyant are like trains bursting into life. They combine avant-garde, electronica, experimental, free jazz and prog rock. What follows is a groundbreaking musical journey, where Bly De Blyant push musical boundaries to their breaking points.

Bunker Hill sees five drums tracks combined before a buzzy bass and washes of bubbling synths combine. Then tenor saxophonist Kjetil Moster unleashes a punchy, rasping and then blistering saxophonist. This is the perfect foil as the  drums gallop and gamble along. Together with the rest of Bly De Blyant a glorious, groundbreaking and genre-melting track unfolds. Futuristic and experimental, this is the future of music, where musical norms are challenged.

The Eighteen Irascibles, which closes Hindsight Bias, is another improvised track. It’s what Bly De Blyant are striving to create. There’s a noticeable country influence. That comes courtesy of Ry Cooder influenced guitars  and a banjo. They’re joined by pensive, probing drums and later, sci-fi synths. Then after the track almost grinds to a halt, an evocative, atmospheric banjo solo helps the arrangement rebuild. You’re captivated given the track’s subtlety and ethereal beauty. Having said that, there’s an element of drama and danger present. Keyboards see to this and play their part in the track’s improvised sound. Right up to the closing notes, Bly De Blyant are determined to create pioneering music. This they do, ensuring Hindsight Bias is the perfect followup to ABC.

For some bands, their second album is the most difficult of their career. They’re caught between two stools. If they record an album similar to their debut album, the band’s criticised as having released a derivative album. However, if they change direction musically, they risk alienating their fan-base. So, it’s about striking a balance between moving forward musically and not alienating old fans. Bly De Blyant managed that with ease on Hindsight Bias. 

From the opening bars of Jiddu, right though to the closing notes of The Eighteen Irascibles, Bly De Blyant never miss a beat on Hindsight Bias. They’re at their innovative and creative best. Just like on their debut album ABC, Bly De Blyant continue to push musical boundaries to their limit and beyond. However, neither do  Bly De Blyant alienate their fans who loved their debut album ABC. After all, Hindsight Bias, just like ABC is an old school album. 

Using vintage equipment, including a Hammond organ, Moog synth, and Fender Precision bass Bly De Blyant recorded eight tracks. During these eight tracks, Bly De Blyant fuse musical genres. Everything from ambient, avant-garde, blues, classic rock, electronica, experimental, free jazz, funk, jazz, Kratrock and math rock has been combined. This pot pourri of musical genres and influences became Hindsight Bias, a captivating and innovative followup to ABC.

Hindsight Bias, which will be released on 3rd March 2014, on Hubro Music, sees Bly De Blyant reinforce their reputation as an inspirational, innovative and imaginative band. Bly De Blyant are the keeper of the flame for music that’s bold, challenging, innovative, inventive and influential. It’s a case of expect the unexpected on Hindsight Bias, which is a truly genre-melting album. Bly De Blyant after all, are no ordinary band. No way. Their music is exciting, innovative and progressive, where a fusion of musical influences and genres became one. That’s the perfect description of Bly De Blyant’s sophomore album Hindsight Bias. Standout Tracks: Jiddu, Westkreuz, Laura and DEFGHIJKL.

BLY DE BLYANT-HINDSIGHT BIAS.