Heron Oblivion will release its self-titled debut March 4th through Sub Pop. The album, which includes the tracks “Oriar”, “Beneath Fields”, “Your Hollows”. and…Read More
On the West Coast side, Ethan Miller and Noel Von Harmonson were together in the mighty Comets on Fire, who spent a large chunk of the mid-2000s playing unbridled, blistering rock worldwide, fueled by a steady dietofamphetaminized Crazy Horse, High Rise, MC5, Chrome, and Fushitsusha. They were molten and melting down at all times—with twin-guitar blowtorch jams inflected with Noel’s careening electronic infusions, and songs and structures holding on to the wheel (barely) while destruction ensued. Noel did time afterwards with Sic Alps and Six Organs of Admittance, while Miller settled into a new level of interactions with Howlin’ Rain and Feral Ohms. Charlie Saufley resided at the psychedelic pop fringes with his band Assemble Head in Sunburst Sound (kindred spirits to Comets to be sure.) He was joined in California by Meg Baird of Philadelphia’s Espers. The East Coast connection, Baird was an already-established leading light in the modern psych-folk canon both in Espers and as a solo artist (most recently releasing the gorgeous Don’t Weigh Down the Light LP on Drag City,) as well as original drummer for Philly’s post-hardcore degenerates Watery Love.
Ethan and Noel were loosely jamming in an improvisational unit called Wicked Mace at this point. Via osmosis, Charlie and Meg came floating in for weekly hangs that still resided in a somewhat free zone. “We just did pure improv’ for a few months under no pressure to ‘be anything’ or ‘be a band'”, says Miller, “I think Noel and I sort of pushed for the idea of Meg on drums, me on bass, and Noel and Charles on guitars just to mix it up a bit, get outside our usual mold a little.” Though Noel and the newfound rhythm section took roles with instruments they were familiar with—but not particularly known for—ideas bubbled up quickly, and each member contributed to the songwriting process. “As expected, Charles and Noel had killer guitar chemistry, incredible fuzz sounds, symbiotic interplay,” Miller recounts. Though a multitude of other parallel musical projects kept the pace slow for the foursome, it moved steadily forward—and down paths much less trodden and familiar for the players involved. It was something new, unfamiliar, and invigorating to say the least.