Tone Report Weekly 194 - Page 29

Audiovent: Dirty Sexy Knights in Paris unfairly compared to their more-successful siblings. Eschewing the experimental pop rock of Incubus, Audiovent was all about vintage sounds, going for old-school psychedelia with a modern rock sensibility. The band also had a more masculine edge, foregoing Incubus’s tender romantic side. Its major label debut, Dirty Sexy Knights in Paris, was a polished re-recording of its self-released Papa’s Dojo that started off strong but failed to gain traction, and the band would break up during their attempts to record a follow-up, saying even the most basic creative decisions were like “pulling teeth.” Still, the band’s sole album showed a production savvy that had a lot of promise— it’s a shame the band got swallowed by the industry and its own inability to compromise. Considering how many albums both have released and the different artists they’ve collaborated with, why did it take so long for Phish’s Trey Anastasio and Primus’s Les Claypool to play together? You throw Police drummer Stewart Copeland on top of it, you have a jam band dream team. The three of them complement each other perfectly, their unique deft play styles creating a sound that’s very loose and playful while still being exciting and epic. The pendulum swings constantly between Anastasio’s quirky surrealism (“Radon Balloon”) and Claypool’s sardonic humanism (“Shadow of a Man”) but there’s never a point where the band doesn’t sound united or cohesive. Sadly, the trio’s various commitments would relegate Oysterhead to simply a one-off (minus the odd jam session), but thankfully we were able to get three geniuses like this in the same room at all. STANDOUT TRACKS: “Little Faces”, “Mr. Oysterhead”, “The Army’s On Ecstacy” STANDOUT TRACKS: “The Energy”, “Gravity, Stalker” OYSTERHEAD The Grand Pecking Order (2001) Oysterhead: Grand Pecking Order 29