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Destruction Unit
Deep Trip Joe Kennedy , October 1st, 2013 06:26

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Starter for ten. Who was it who said "Natural law dictates that each of us be left the freedom to do as we will with our desire, our soul, and our body, as well as with that stuff known as 'drugs'"? While it sounds like an excerpt from one of Bill Hicks' routines about the arbitrariness of legislating the ways consciousness might be altered, the answer is actually French philosopher and literary critic Jacques Derrida, speaking in a 1989 interview about the semantic instability of the drugs debate.

It's Derrida's own rhetoric, though, which is perhaps most telling here, in as much as it makes explicit a conceptual link between drug use and something called 'freedom', a syllogism which has inhered in popular music since at least the 1950s. Rarely has this association been so prominent as in the rock which traces its origins to the psychedelic insurrection of the late 1960s, and the recent renaissance of space music affirms that it's a belief which still holds firm for many.

The opening track of prolific Arizonans Destruction Unit's gauchely-titled new album Deep Trip is called 'The World on Drugs', reasonable indication that they're one of those bands (Electric Wizard spring to mind here) who advocate some form of 'freedom' through narcotics. But the record as a whole gives us reason to ask questions about how 'free' this kind of music is, or has ever been. The assumption has typically been that drugs, or at least psychedelic drugs, bring about a liberation from the norms of cognition and perception that bears itself out in a tearing-up of the musical rulebook.

Isn't it the case, however, that much of what has been recorded as an answer to this removal of constraint has actually become a highly regulated idiom? As early as the mid-1980s, space rock had evolved its own subgenre of retro in artists like Spacemen 3 who, for all of their hazy appeal, essentially deferred on sonic (repetition, reverb, drone) and lyrical (hymns to mind expansion) terms to venerable precursors such as the Thirteenth Floor Elevators. Like surrealist painting, which swiftly lost its innervated edge and became mired in a sequence of generic visual tropes, psychedelic rock has all too often foundered on its own freedom and lapsed into cliché.

On Deep Trip, it's difficult to see how Destruction Unit have made any attempt to disentangle themselves from the past in order to truly embrace a liberation referred to specifically in their press, which speaks of a "spiritual odyssey of sadomasochistic self-loathing with songs about love and freedom". It sounds amazing in principle, of course, but it seems that all that's really offered is a thematics of unboundedness rather than a practical demonstration of it. The way of refuting allegations of unoriginality in this case will, I have no doubt, be someone pointing out that 'it rocks' or, indeed, that 'it fuckin' rocks' – stoner rock having generated its own unfreely free critical vocabulary – and I wouldn't contest this with much vigour. And yet it doesn't 'rock' as well as comparable contemporaries like, say, Moon Duo or Föllakzoid, both labelmates of DU on Sacred Bones.

For a start, the production is too forensic in its efforts to recreate the cannabinoid claustrophobia of an evening round the bong with strangers. Many bands have made a virtue of this effect, but here it feels almost kitschy, the stentorian, Morrison-cum-Astbury vocals emerging periodically from guitars which skitter between Zeke-esque hyperactivity and chugging dirge. There's a huge lack of definition, and even with the volume cranked high, the dynamic surge previous albums from the group have led us to expect is absent.

Another problem is that, while the riffs differ from song to song in the sense of the notes being played, they all share the same essential shape. Excuse my rudimentary mode of notation, but a guitar line that goes something like der-der-der-DER-der-der-der-DER-der appears in four or five songs, meaning that Deep Trip struggles to elevate itself above unusually aggressive background music. It's not rubbish at all – 'God Trip' sees DU coming within touching distance of producing the ecstatic, erotic, thanatotic experience they seem to think the album as a whole will deliver – but it does seem to have painted itself into a corner with its reliance on the conventional sounds and images of deathly, druggy rock. In other words, there's not a lot of freedom to be found here, just a rather abstract celebration of a chemical ideal that never really lives up to it, a 'Take Me to Your Dealer' t-shirt of a record. No doubt this is fantastic stuff live, mind.

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Oct 1, 2013 12:24pm

"As early as the mid-1980s, space rock had evolved its own subgenre of retro in artists like Spacemen 3 who..."
I feel obliged to point out that S3 were actually much, much more than a Velvet Underground(their most obvious influence), Stooges, 13th Floor Elevators or etc. worship unit. Attentive listening makes this fairly obvious. I have always thought that instead of trying to emulate the sound of their influences, S3 from very early on were doing something much more interesting. The sound of S3 can be seen as the actualization of something that was present in the music of VU (at least in the official releases) only in the form of a latent potentiality. What S3 did was to install themselves at the initial musical position of the Velvets and to take the music in a direction that was largely unknown - that of all-out psychedelia, but one that was much less organic than the San Francisco sound, and much more mechanized - like a genuine precursor to the krautrock of Neu!. The 17-minute live version of Rollercoaster (on Sound of confusion), and of course Dreamweapon are nothing else but the accelerations of the VU sound. It is interesting to note how S3 managed to stumble upon this monstrous sound on their own, as it appears unlikely that they had seen the VU's A Symphony of Sound video. I read the similarities between Dreamweapon and what VU do in the said video as a genuine proof that this sound that they produced has always been something quite objective, waiting out there for brave explorers to find it. Of course, these are not the likes of Destruction Unit or Electric wizard.

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Oct 1, 2013 2:46pm

The problem is the LABEL; Sacred Bones is garbage, straight up, straight down. Any genre you might have liked in the past, still dig in the present, the Sacred Bones iteration is third rate cornball crap...

To the S3 defender, you are absolutely correct!!! Only "Sound of Confusion" is even slightly retro and the double whammy of "Playing With Fire" and Sonic Boom's solo debut "Spectrum" are still unmatched, with "Perfect Prescription" their 'lyrical' masterpiece etc etc.

I dare ** anyone ** listen to a fucking Moon Duo and Spacemen 3 record back to back (even the lousy "Recurring") and say rock music-- or rock music labels-- has 'evolved.'

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The Catholic Church
Oct 1, 2013 2:52pm

I heard the opening to this article was being nominated for Pseud's Corner and ran here as fast as I could.

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aaron.
Oct 1, 2013 4:16pm

In reply to The Catholic Church:

Personally, I think the Derrida intro made all the différance.

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mckenzieg
Oct 1, 2013 6:20pm

In reply to :

f#ck you and your weary Spacemen 3 worship , they made some fantastic records ...a million yrs. ago,big deal. Gimme a new Moon Duo album or even the last one anytime these days , and Sonic Booms solo album is `still unmatched`?? by who? who would want to match it?
I listened to a stream of this last weekend and it never really did much for me either, p.s. Sacred Bones puts out some great records don`t listen to the Sonic Boom Fan Club up there ,

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S D
Oct 1, 2013 6:38pm

I don't know, I quite like this, but I took at as a psych-rock record with a punk rock rather than krautrock* engine, (and having listened to Follakzoid and Moon Duo, I'm not quite sure why the author thinks their any less conventional) rather than whatever dithering wank everyone else seems to be looking for once the word psych is mentioned.

*again, one of these old-fashioned things that some people still think is innovative because it has been declared as such

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Total Fucking Rawker
Oct 2, 2013 4:35am

Yes you do need to see it live. In that arena, it's more like DMBQ or something of that nature. MC5-derived. This music has nothing to do with the pedestrian "psych" of Moon Duo. Although the point about the riff-similarity isn't off the mark. They're headed to Europe for a month soon. Go see em.

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countryjoe
Oct 4, 2013 2:18am

Saying Destruction Unit don't "rock" like Moon Duo or Follakzoid is a joke. All three are good, but D.U. shreds them. Especially live (I've seen and enjoyed all three numerous times). I am thoroughly confused as to what any of you guys are listening to.

And save for the recording/production quality, which could be better for sure, Destruction Unit holds its own against Spacemen 3 (whom I've also seen live). Fuck, they hold their own against a lot of the greats I saw back in the day, and I dont think thats just my shitty old geezer memory.

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