CAVE have been honing their form of guitar driven, rhythmic, hypnotic psych/krautrock since 2006, and with each release they have pushed their sound into pastures new. On their new album Threace  (Drag City, 14 Oct) the guitars remain heavy and thick to provide the sturdy backbone which is still the driving force of their refined sound, only there are kaleidoscopic smatterings of saxophone and flute also, fleeting blasts of soul-jazz sensation over a new and exciting, rolling funk minimalism.
For Threace, CAVE spent a long time tinkering and tampering in the lab of analogue dissection. The album was half planned and half jammed, using different mic placements, building up from a basic set up of as few mics as possible and utilising a 1″ 8-track Scully machine, to cut tape (and realities) together into a metro-musical albumen.

CAVE’s undeniable technical ability is matched by the brand new music video directed by Nick Ciontea (edited by Kent Lambert), using a retro style known as ‘Analog Vector Processing’. Nick explains the process as follows…

This music video came as an extension of what we had already established as CAVE’s live show over the course of 2013. The style known as “vector rescanning” or “raster manipulation” originated with the Rutt-Etra scan processor in 1972. But, with the technology rarely remembered and devices next to impossible to find, we used LZX Industries and Brownshoesonly video synthesizers to “program” these signals and send them out to a vector monitor where it was then “re-scanned” or filmed off the monitor screen.”

As a piece of footage it is utterly mesmerising, which also compliments CAVE’s music perfectly.
1. Sweaty Fingers
2. Silver Headband
3. Arrow’s Myth
4. Shikaakwa
5. Slow Bern

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