{"id":39682,"date":"2006-03-17T00:00:00","date_gmt":"2006-03-17T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/ep2\/"},"modified":"2006-03-17T00:00:00","modified_gmt":"2006-03-17T00:00:00","slug":"ep2","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/ep2\/","title":{"rendered":"EP#2"},"content":{"rendered":"

<\/p>\n

“Art punk,” “experimental rock,” and “drum and bass”
\nare a few ways Proton Proton (PP) has been described. The music of
\nthis trio (Paul Fuster, Jarrod Ruby, and Aron Sanchez) made up of
\nbits and pieces of the best of different genres, has a sense of
\nquirky intelligence of the hip acts — Beck, The Postal Service,
\nThe White Stripes — of the current underground music scene.<\/p>\n

The genre-confusing music on EP#2<\/i> — as the
\nname suggests, is the band’s second EP (they have yet to release a
\nfull-length album) — is fundamental. PP’s armory is modest,
\nconsisting of no more than just three instruments, other than the
\nvocals, with minimal to none production effects. Still, the nature
\nof the instruments used, and the band’s gracious adoption of all
\nkinds of indie styles, make EP#2<\/i> musically ambiguous.<\/p>\n

With the exception of the drums, the other two
\ninstruments used by PP to make noise are unusual, seldom been used
\nby a rock band. In fact one of them has never ever been used — or
\neven created for that matter — before: the gass.<\/p>\n

The gass literally takes its name from the two
\ninstruments it integrates: the guitar and the bass. The designer
\nand player of the gass, Sanchez, makes this peculiar instrument
\nsound like Les Claypool playing the bass and Claypool’s
\npartner-in-crime Larry LaLonde playing the guitars. The gass
\ndoesn’t seem to have the total versatility of either the guitar or
\nthe bass, but this doesn’t show in PP’s music, which has strange
\ntwists and turns to keep it interesting and unique.<\/p>\n

Sanchez’s gass and Ruby’s drums provide the
\ndistortion and chaos to the songs, in which are nestled notes from
\nanother instrument — instrument number 3 in PP’s armory, and not
\nfrequently used in rock records – the toy piano, played by Fuster.
\nNo rock band’s ever been so kooky (or high) to give a half-grown
\nobject such as a toy piano the kind of importance given by the
\nfolks of PP. The toy piano has been extensively used and abused by
\nPP, and is the only source of harmony on this record. Ironically,
\nits infantile “pings” and “pongs” act as an anti-harmonizing
\nelement instead, which only makes the music more mischievous and
\ncanny.<\/p>\n

It is not all that wise to relate the word “punk” to
\nPP, but the word inevitably comes into the picture because of
\nFuster’s vocals. His nasal voice and his insinuatingly passionate
\nsinging make room to draw obvious similarities between his singing
\nstyle and that of the British punk acts of the late 70s, especially
\nJohn Lydon (Johnny Rotten). Otherwise, although PP’s music is all
\nfor rebellious angst, it doesn’t justify being called “punk.”<\/p>\n

EP#2<\/i> is a fusion of new wave, punk, and
\npost-grunge indie, a mantra for music adopted by a lot of upcoming
\nunderground bands lately. However, this trio of eccentric New
\nYorkers, with their ingenious use of unwieldy instruments, has
\ninterpreted these genres in a way that has never been done before.
\nMoreover, even with the minimal use of instruments – not to mention
\ntheir awkwardness – this outfit has managed to create a sound that
\nhas all the punch and grace of traditional guitar-based music.<\/p>\n

Be it for its inventive use of bizarre instruments or
\nfor its versatility, PP is very original, not to mention talented.
\nWhether or not the gass makes it big as an instrument remains to be
\nseen, but PP surely is a band to look out for in the future.<\/p>\n

[For more information on Proton Proton, visit www.protonproton.com<\/a>]<\/i><\/p>\n

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