Following Architectural Failures (2003), their first effort, Hi Red Center has lead us to the other side of the mirror. With Assemble, recently released on Joyful Noise, these four New York stooges propel the listener into a sumptuous and colorful wonderland where everything is falsely welcoming. Taking cues, perhaps, from the likes of Lewis Caroll and his foul-mouthed flowers, Hi Red Center conjures scenes of toothless imps and giants that aren't so giant at all. A play with off-kilter syncopation on the opening track sets the tone for what is to come: everything here may topple without warning. From song to song, logic is joyfully pushed and pulled, and common sense turned on its head; these boys cannot introduce a riff or catchy backbeat without exploding them like fireworks just a few seconds later.

Hi Red Center could not have found a better label in Joyful Noise. The group maintains a tricky equilibrium between bubblegum pop and experimental noise; they make music “for folks who like to sing, for people who like to dance," but, above all, “for everyone who likes their songs thoroughly mixed and mashed.” The sound that results is almost as puzzling and ironic as the Cheshire Cat himself. On keyboard, Russell Greenberg straddles hulking synth lines and light-footed vibraphone motifs. On guitar, Thomas Yee, a master of heavy distortion, alternates between primitive riffs and extended prog solos (“Trees in a Row,” “Los Olvidados”). On bass, Lawrence Mesich “unites the frenzy of post-punk with the dexterity of krautrock.” Finally, on drums, Mike McCurdy effortlessly navigates between Battles-style metronomic beats (“Littlest Giant”) and uncomfortable, floating rhythms (“Toothless Beau”).

The result? Songs that are fractured and unpredictable, guided by a fugue aesthetic that would please any pop baroque enthusiast: melody lines crisscross without much concern for harmonic coherence. Hi Red Center’s spastic spice comes from a commitment to musical contrariety, a pleasing do-si-do of technical opposites: fast and slow, high and low, tormented and carefully measured. The ethereal choruses that lacked accuracy and definition in Architectural Failures 

Depuis 2003 et Architectural Failures (2003), leur premier opus, Hi Red Center nous emmène de l'autre côté du miroir. Avec Assemble, tout juste sorti chez Joyful Noise, les quatre compères new-yorkais nous propulsent dans un monde brillant et coloré où tout n'est que faussement accueillant ; si chez Lewis Carroll les fleurs s'invectivent, chez Hi Red Center, les beaux gosses sont édentés (“Toothless Beau”), et les géants pas si grands que cela (“Littlest Giant”). Dès l'ouverture de l'album - un jeu de déphasage brinquebalant -, le ton est donné : tout peut basculer à tout instant. De chanson en chanson, la logique est joyeusement bousculée, le sens commun mis sens dessus dessous ; à peine un riff est-il esquissé, à peine un backbeat est-il installé, que les quatre garçons font tout exploser dans un joyeux feu d'artifice.

Lisez la suite dans Chronic'art.

Pour plus d'informations, voir :
- le site officiel de Hi Red Center
- la page Myspace du groupe




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