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intodown
Progressive / Psychedelic / Rock

		Vulgas vult decepi Void, Texas United States Profile Views: 14964 Last Login: 11/13/2009
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MySpace URL:

www.myspace.com/intodown

intodown: General Info

Member Since

10/12/2005

Band Members

Members of intodown:

Michael Clark: guitars, synths, programming

Drums: Martin McCall, Mike Gage, Ms. Morgan, Andy Tuttle

Bass: Ed Johnson, Steve Morgan, Andy Van Hausen, Lulio Guevara

Flurbatron: Smokin' Dave

Sax: Bill Eden, Fred Harvey

Trumpet: David Willingham

intodown Takes on a Brave New World

Obscure Sound Review

Posted on Monday 3 December 2007

Whether you are a musician or not, it is easy to understand how difficult it can be for up-and-coming artists to get the meager attention of a label. With our technological age providing ample opportunities for any willing individual to promote their music on their terms, there are so many different types of artists attempting to push their music to the top. Usually, to attain a fan base outside of their mothers, they have to decide which aspects of their music truly differentiates them from the hordes of fame-hungry individuals attempting similar methods of recognition. For the Texas-based collective intodown, such classifications are not that easy. If a record label executive were to ask them which “type” of music they play, I would not be surprised if the various members of intodown blurted out a variety of different coined genres. Stoner-rock! Surf-rock! Prog-rock! Psychedelica! As overwhelming as it may initially be, it is in this degree of stylistic indecisiveness that makes the music of intodown such an enjoyable listen. Their sprawling sound is undefinable and their influences, though obviously present, are largely untraceable. Dullness is never a word used to describe intodown; their diversity and high level of ambition makes their sound ceaselessly exciting.

I have found that, in much of contemporary music, there seems to be a sense of stylistic restraint among younger artists. There are too many artists looking to keep a song under 4 minutes to make it “radio-friendly” or “widely accessible”; it is a quality that sadly stops bands from ever reaching their full potential. The beauty of intodown is that they hold nothing back. With their aforementioned diversity coming into play on each and every song on their new album, Brave New World, the band shows no hesitation to keep a song at an average length of 10 minutes. The style alone carries each and every song, making the duration enjoyably unintentional. Intodown have made their stylistic classification somewhat simplistic in that regard with a statement on their web site: “We are simply a medium of exchange.” Whether you want to call them a jam band, post-rock experimentalists, or artsy prog-rockers is up to you. I have to agree with the band though in that their classification is irrelevant. It is a blend of learned experience from the veteran musicianship of founding frontman Michael Clark. As the lead songwriter and guitarist, Clark is a one-man wrecking crew with a boatload of influences at his side ranging anywhere from surf-rock to classical. He cites Jimi Hendrix and Miles Davis as individual influences, with Clark’s impressive guitar proficiencies demonstrating it well. On Brave New World, he is rounded out by three drummers, four bassists, and a trumpet player. So much for instrumental simplicity.

In terms of accessible bands, I admit that intodown is certainly not one of them. That does not stop them from being a very enjoyable listen though; it just takes a bit of time to grow accustomed to the songs in their catalog. Keeping in tact their post-rock mentality, intodown’s output is largely guitar-based and instrumental with occasional additions of vocals that are used to capitalize on the rhythm sections. Whereas vocals are conventionally added to expand upon or create a melody, intodown’s focus on rhythm is an innovative change of heart that often works for the better. In the explosive “Elevator”, leading man Michael Clark delivers a set of mumbling vocals that correspond to the gruesomely dark array of guitars nearly perfectly. The entire song is epic in an atmospherically dark sense, bringing together Clark’s impressive guitar skills with David Willingham’s excellently implemented trumpets as the song never once comes to a halt. It merely serves as an introduction though, as the instrumental force that the song conveys exposes a raw sense of power that many amateur post-rock bands have not even come close to competing with.

Appropriately enough, the name and subtly placed lyrics in “Elevator” derive from Clark’s fondness of the cult psychedelic-rock group, the 13th Floor Elevators. Willingham’s use of trumpets makes “Elevator” sound magnificently dark, as if this so-called elevator is traveling in a downward spiral to the depths of hell. As gruesome as that may sound, I find it to be extraordinary impressive. Usually, these days, bands that are classified as “dark” are “emo” or metal groups snarling and roaring, respectively, over the repetitive pattern of three chords. Instead, intodown follows the steps of post-punk greats like Joy Division and Echo & the Bunnymen in crafting a sound that is genuinely “dark” in a supremely talented form. Whether it be the large doses of reverb or the sheer guitar-based power that Clark delivers in seamless form, it is an ironic opener for an album whose title reaps from Aldous Huxley’s futuristic intentions, primarily because intodown is a fusion of Clark’s past influences. Keep in mind though, with songwriters like Clark continuing to embrace numerous musical decades in such widespread form, such influences will never be considered outdated.

Clark describes intodown’s band name as a “state of mind [and] a feeling”. With the band’s sound in mind, their name is entirely suitable. “”Down” is sort of that mind state that is below the radar,” he says, “Somewhere melancholy, pensive; it is where the mystery lives.” Intodown’s musical output is reflective of such atmospheric emotions, with tracks like “Revolution” and “Fire” living up to their volatile namesakes by presenting a fury of rampantly executed guitar solos aided by a fastidious rhythm section. This intensified form of chaos is perfectly executed, and it helps that A Brave New World constantly shifts in tone and emotional viscosity. The 12-minute “Nostradamous” is so fantastic in instrumental power and emotional delivery that we can fully forgive the misspelling of the prophesier’s name. While occasional moments on A Brave New World seem too forced in attempting to expose solely Clark’s guitar skills, the album is definitely recommended for fans of epically instrumental post-rock. My only wish for intodown is that they expand on additional instruments on their next release. The use of a trumpet in “Elevator” makes it the album’s best song for good reason. The majority of A Brave New World sounds neatly improvised and those who enjoy such alternatively placed post-rock methods should certainly give intodown’s latest a chance. While Clark’s use of guitar is skillful enough to nearly carry the album on its own, intodown’s potential allows for even more resounding atmospheric effects if they open up their instrumental horizons a bit. Either way, whether they capitalize on such opportunities or not, intodown are certainly an act to look out for.

Skope Magazine

Review

Posted 2007/11/7

Michael Clark leads the psychedelic decent into the rabbit hole with a variety of drummers, bass players and multi instrumentalists. Brave New World is a skillfully executed instrumental rock album that reverberates below the radar of mainstream pop with Clark making exquisite us of power chords, riffs, and improvisation.

Clark has studied the blueprints of early hillbilly rock, black blues, the late-'60's Clapton-Green-Page mob, and past and present garage bands. He relies exclusively on the use of a Gibson guitar and Hi-Watt amp, which provides sonic consistency as the band effortlessly, trips from an epic musical muse to an extended wild-ass jam.

The arrangements on the album range from 5 to 20 minutes in length, and although one is getting a great musical value, and one heck of a magical adventure, the songs may be too long for today's attention deficit disordered consumer.

As Clark and his band of subterranean lurkers speak in musical tongues about the past, art and existentialism they may very well be the future of rock'n'roll.

Review By: S.D. Peer

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About intodown

________________________________________________

Hello from intodown! Psychedelic rock. Progressive rock. Stoner rock. Experimental rock. Art rock. Improvisational rock. Instrumental rock. We're ok with any label because we don't use one. To us, it's just intodown.

The songs posted here are excerpts from the Brave New World CD. Not enough space to load the complete songs. There is way more music to each of the pieces. Check out the CD which is where it's happening. If you dig the music, let us know you stopped by!

TO BUY THE FULL LENGTH CD (not the abbreviated pomo cd) CLICK ON CD COVER .

Check out the website:

http://www.intodown.com

Be sure and check out The Living Eye section of the site. It's where all the new stuff is.

new music

downloads

photos

videos

news

mindless chaos

and the latest end of the world predictions

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"Michael Clark transcends all the usual musical definitions - his is a unique blend of blues, surf, '60s rock sensibilities and totally out-there psychedelia." Chuck Flores, Buddy Magazine

"Epic Instrumental Rock" numberonemusic.com

"intodown is a band that takes the listener on a psychedelic trip without freaking them out! The bands ability to jell with each other is excellent and the sounds are effortless. Michael Clark's guitar playing is a true testament to the psychedelic guitar rock genre. I highly recommend...I said "highly"...intodown if you are ready to peak." Les Lewellyn (Preying Lizard Music and Dixie Lizard)

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Review of Brave New World CD

Michael Clark leads the psychedelic decent into the rabbit hole with a variety of drummers, bass players and multi instrumentalists. Brave New World is a skillfully executed instrumental rock album that reverberates below the radar of mainstream pop with Clark making exquisite us of power chords, riffs, and improvisation.

Clark has studied the blueprints of early hillbilly rock, black blues, the late-'60's Clapton-Green-Page mob, and past and present garage bands. He relies exclusively on the use of a Gibson guitar and Hi-Watt amp, which provides sonic consistency as the band effortlessly, trips from an epic musical muse to an extended wild-ass jam.

The arrangements on the album range from 5 to 20 minutes in length, and although one is getting a great musical value, and one heck of a magical adventure, the songs may be too long for today's attention deficit disordered consumer.

As Clark and his band of subterranean lurkers speak in musical tongues about the past, art and existentialism they may very well be the future of rock'n'roll.

Review By: S.D. Peer

www.skopemagazine.com

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Interview with Michael Clark by Andrew Logan, freelance journalist, 12-6-05

Andrew: I saw your show last night and I thought the jam pieces were incredible. So, I guess a good place to start is to tell me a bit about your musical influences.

Michael: Well, I'm glad you came out to see what we're up to! In terms of musical influences, I'd have to say that Peter Green, Eric Clapton of the Mayall and Cream era, and Jimi Hendrix are influences. But, so are many of the blues guys like Otis Rush, T- Bone, PeeWee Crayton, Gatemouth Brown, B.B. King, Magic Sam, Hound Dog Taylor and many other great players. Dick Dale is an influence. So is David Gilmour of Pink Floyd. And, Hollywood Fats for sure.

Andrew: So you blend these styles into your playing?

Michael: I don't really know. It all goes into the psyche somehow and comes out the way it does. I don't consciously try to do anything but play what seems to be emotionally wanting to be heard.

Andrew: So your sort of a conduit?

Michael: Exactly. My goal is to get out of the way. Let the guitar become transparent. Just be an expression of what seems to want to be heard at that moment. That's my goal, anyway.

Andrew: But many players I have spoken with seem to really admire your library of guitar licks.

Michael: Ha! I appreciate that, but I don't think I have any licks per se. I mean, I guess I do within a certain context. But, I don't think of guitar playing in terms of licks.

Andrew: How do you look at it?

Michael: In terms of phrasing. In terms of pure expression. Telling a story. A story that's not so much my story. It's the story that's being given to me at that moment.

Andrew: By whom?

Michael: I don't know. The spirit guides I guess.

Andrew: Does this relate to your interest in psychedelic music?

Michael: Psychedelic music plays a role. Maybe an important role. At least if we look at some forms of psychedelic music as having the goal of expanding the mind musically. Sort of putting Huxley or Leary or certain philosophical constructs to music.

Andrew: So psychedelic music is a big influence.

Michael: Well, not all of it. Not very much of it, actually. I would say mainly the 13th Floor Elevators. They changed the way I looked at music probably as much as Hendrix did.

Andrew: How?

Michael: When I saw them for the first time, I was in a band that played Beatles, Stones, Animals stuff. We opened for the Elevators. We were all dressed alike in our Beatle boots, matching jeans, silk shirts. We did our set and then the Elevators played. I was transported into another place. I knew I could never go back to how I was maybe an hour before. So, I joined the psychedelic music scene. I got into "The Psychedelic Sounds Of" very deeply. I'm still there.

Andrew: And you bring that into your playing today?

Michael: I attempt to. It's my interpretation, of course. But, it's in my blood. Maybe I should say it's in my mind! Or in my cells! Ha!

Andrew: Do you like any of the current guitar players?

Michael: Sure. Jim Thomas of the Mermen is fantastic. The fellow who plays with Radiohead is cool. I like some of the Nine Inch Nails stuff in terms of what they do with the guitar. The guy who played with Portisehead was very tasteful.

Andrew: Are there guitar players you don't find very interesting?

Michael: Well, yes. I think we are in a very low point in music. I'm not fond of guitar players who think the instrument is about how fast they can play scales. What's that about? It's dull and boring. It's like they don't know how to express feeling and emotion, so they just play scales fast. Like little sterile, plastic computers spitting out 0's and 1's.

Andrew: What is intodown all about? What does it mean?

Michael: It is a state of mind, a feeling, a place of origination. "Down" is sort of that mind state that is below the radar. Somewhere melancholy. Pensive. It is where the mystery lives. It is that in-between place of here and there. The rabbit hole. I invite people to join me there. intodown.

Andrew: So it's a state of being?

Michael: Perhaps a state of non-being. It's a trance state of sorts where you step outside yourself into another world or dimension. I give control over to something else. I get out of the way. I release my grip on things. It's like jumping into river with a slow - well sometimes slow - moving current. Just go with it. No questions. No answers. No right or wrong. It's go with it and try to stay in it without trying too hard. Trying too hard will take you out of it.

Andrew: So that's where some of the great guitar playing comes from?

Michael: Yes. But, please know that I don't take ownership of it. It's being given to me. It's up to me to be a good translator. To be able to play on the guitar what is coming through me. My job is to build sufficient facility on the guitar to perform an adequate translation. My task is facility. The more facility, the more I am given to express or translate.

Andrew: So what's next for you?

Michael: Well, I'm completing a new CD project that is very important to me. It's mostly improvisational, psychedelic rock and roll. High energy, edgy stuff. I'm very excited about it. Basically bass, drums and me on guitar.

Andrew: Well, I really look forward to hearing the CD! And thank you for your time!

Michael: Thank you for your interest! I've enjoyed speaking with you.

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wise criticians have called the music of intodown:

"sex music, stoner, xtreme, experimental, adrenalined, aggressive, hostile, psychedelic, progressive, hypnotic, trippy, jam music, theme music, music for film" - better to let them have their way.

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the posted songs are pieces we play in our live show. it's how we sound live - just louder.

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