My senior
year in high school, I would wake up early on Sunday mornings just to tune into
the radio station at NC State University. I was obsessed with the weekly
program “World Café” that showcased music from around the globe. Back in the
dark ages of musical technology, I would record the show on my stereo’s
cassette recorder and created an arsenal of worldly tunes on 120 minutes of
tape. Among my favorite tunes were the ones rich in middle eastern/Indian
origin. Something about the sound tugged at my heart. It was love at first
listen.
There is so much diversity in the
sound of the music and instrumentation. It is filled with mystery, sex,
celebration, sorrow and spiritualism all combined into this beautiful noise.
Fairly simple percussion instruments create a complex underlay to intricate
strings and whimsical woodwinds. Something about the overall enigmatic end
product has always intrigued me.
As often happens in life, I found
myself distracted and pulled in different directions. As technology changed,
my vast catalog of recorded radio shows became obsolete as I transited to CD
then digital devices. And I simply stopped finding the music. It wasn’t until
a few years ago that I reconnected with my
instinctual love when I stumbled upon Beats Antique. From there,
I started to realize that there was a whole host of amazing bands that embraced
that sound I had adored but abandoned. Along the way, I discovered
the NYC based trio Consider the Source. The
attraction upon initial listen was instant.
This past Friday, I had the honor and
privilege to witness the magic that is a CTS show firsthand. As I walked
through the venue, I was surprised by
the number
of people that openly admitted to not only never having seen the band live, but
to having never even heard them at all. Blind faith was present
because the word of mouth on these boys is highly favorable. Because what
they
do is often unimaginable. Folks in the
know recognize that when given the opportunity to see Consider the Source, you
take it.
Now, I have to contain myself from a myriad of mindless
gushes in regards to the level of musicianship that I
witnessed. I was more than familiar with CTS on a musical
level. But until I witnessed it live, it just didn’t
connect. My brain wasn’t fully aware
of the slight of hand that is happening. It’s like watching three magicians perform the best
illusions in the world. Even when you’re watching it, you still can’t
quite believe you are hearing what you are seeing.
You think you hear horns,
but you don’t. What you hear is the magic of Gabriel’s guitar. I’ve never
seen anyone play guitar the way he does. And this isn’t just any guitar;
it’s a double nck guitar customized with MIDI pickups and a fretless neck.He also utilizes
various synthesized instruments on his guitar. To the outsider, this may
sound like cheating, but it’s anything but dishonest musicianship. We’re not
talking about the ill use of auto tune tools. It’s
technology used in a wholesome way. It’s used to enhance the music rather
than hide a lack of musicianship. And it’s done at a skill level that is more
than just noteworthy.
In attendance for
Friday’s shows was Aqueous guitarist and front man Mike Gantzer. As I walked by him, I stopped to pick his
brain. Sometimes as a non-musician, everything seems tricky and hard. “Am I right in my assumption that what he [Gabriel]
is doing right now is highly difficult?” Mike looked back at me with a huge
grin and simply replied, “Incredibly!”
When you add the jaw-dropping bass of
John, the face melting factor is increased two-fold. When I listen to music, I
always pay special attention to the bass. If the bass doesn’t grab me,
it’s hard for me to invest the time to become more familiar with the
music. But in the case of CTS, you don’t have to listen long to realize
that John’s skill on the bass is indescribable. Its slap and funk and
groove and magic. John’s impressive dexterity was showcased as he performed “Ol' Chomper”, a remarkable and complete song
performed only on bass. I had been warned that if we got this song at Friday
night’s show that I would instantly rewrite my list of favorite bassists.
That ended up an insightful and accurate caveat. In my dreams, I imagine a
“Devil went Down to Georgia” style bass off between John and Les Claypool. And
as much as I love Primus and Les, I think John would take it.
On drums, Jeff creates the perfect
backdrop for the complexity to which he is the backbone. His tala based
drumming style, which highlights traditional Indian rhythmic patterns, creates
the perfect ebb and flow to support the mystical sound enhanced by the Middle
Eastern influences in the music. “You Go Squish Now”, the band’s opening song
Friday night, is an instant reveal of exactly what Jeff does underneath the
trio’s sound. The first 30 seconds is just Jeff and it establishes the
balance and the journey of the music. What I love about Jeff’s style is
that it’s lulling. Even in the band’s hardest moments, which I will address
shortly, his drumming stays poetic. It’s safety even in a tempest of
sound.
The great thing about Consider the
Source is that the band’s sound isn’t just about showcasing traditional Middle
Eastern sounds. It’s also about influence. And what CTS does is
distinctively combine these traditional sounds with the best of metal and
rock. It’s an unexpected but beautiful marriage of sounds. It’s organic
and raw while being mystical and spiritual. I felt like a
school girl as the boys broke into a seductive Nine Inch Nails tease with a
mix of “Hurt” and “Closer”. I like that the music isn’t just about
showcasing a unique musical skill set, but also displays the positive influence
of an edgier sound.
What’s almost as noteworthy as the
music is the trio themselves. I had the pleasure of speaking with the
members of CTS after the show Friday night and there isn’t an ounce of conceit
in them. They seem eager to talk to their fans about their music. I
watched a cluster of excited fans line-up at the bands merch table to
snap photos, shake hands and meet the men behind the music. Jon even
obliged me in a shameful after-show selfie. And this
factor is important.
I recently talked
with someone about what I call “Creed” syndrome. As a radio girl of the 90’s I had “pleasure”
of working with the band Creed, whose popularity sprung up overnight. And unfortunately success went to their head
just as fast. I can only imagine that it’s
hard when your fans want a piece of you, and I acknowledge that it’s equally
important to set boundaries as you gain more success. However, it’s also
important to maintain a sense of gratitude and dignity especially towards your
fans. Once you begin to alienate your fan base, you can kiss your longevity in
the music business good bye. Without the fans there to buy your
music and your merch and attend your shows, you’re as good as in your parents basement
rehearsing.
CTS not only
graciously interacts with their fans, but they also educate. Through The Source Academy, the band provides
lessons and clinics on a variety of performance based categories. It’s a huge
sign to see a band willing to give back.
Granted, they aren’t doing it for free, but the commitment to educate
others is a huge sign of their heart and spirit. It’s easy to support a band when you feel emotionally
invested in their music. And when a band
makes themselves accessible, the investment the fans make is even greater.
Music is a lot like
beauty; what is showcased on the outside is a direct product of what’s on the
inside. CTS has no difficulty in staying
true to their musical passion. In the process,
they create an ear-splitting, face-melting, mind-blowing musical journey. And it’s one astonishing magical adventure. If
you haven’t experienced Consider the Source live, I highly recommend it. I have a long three month wait until I get to
see them again. Several of my friends going
to the Night Lights Fall Music Festival, where CTS is one of the weekend
headliners, haven’t even heard their music yet.
And that fact excites me. Because
I know what will happen. I can’t wait to
watch the expressions on their faces emerge as they experience the unique and eclectic
sound that is the magic of Consider the Source.
The Set List
Nietzsche’s
June 6, 2014
You Go
Squish Now
Closer To Home
Abdiel
I Will Fight For The Imp
Ninjanuity
Prophet For Profit
Tihai For The Straight Guy
Good Point Wandering Bear
Keep Your Pimp Hand Strong
Ol' Chomper
The Great Circuiting
Closer To Home
Abdiel
I Will Fight For The Imp
Ninjanuity
Prophet For Profit
Tihai For The Straight Guy
Good Point Wandering Bear
Keep Your Pimp Hand Strong
Ol' Chomper
The Great Circuiting
