Notes
Fecund, intense creativity in flux. The roar of majesty and power on one hand, a certain whispered exquisite subtlety on the other. That's an apt starting point to describe this unique band of ardent young musicologists, from Bushwhack's high concepts and flights o' fancy within the grooves, right through to the promising personal lives housed within the flesh and blood of the music's makers. Let's start with that. Bushwhack consists of four guys, all 18 or 19 years old. 'Outside of music,' lists keyboardist Frank Sacramone, 'currently, Jamie van Dyck is attending Yale and Brandon Green is attending Northeastern University. I will be attending Berklee College Of Music next year, and then Ben Shanbrom is going to be attending Wheaton College.' Not the sort of thing you often hear when interviewing bands, not to mention amusing historical points like, 'I met Jamie in first grade, and we started to develop a musical connection together,' Sacramone adding that, 'We took lessons, we would jam together, and at high school, Jamie became friends with our bass player, Brandon Green, and I became friends with Ben Shanbrom, our drummer. I gave Jamie a call one day and said, 'Hey, we need to start a new music project up here.' And we discussed members we might want to put into this project, and we came to this conclusion that Ben Shanbrom and Brandon Green would be great matches.' As it turns out, Bushwhack has been a thriving band for a good two and a half years, thriving in spite of - or because of? - the fact that they are an all-instrumental unit, the band are gaining a reputation for being able to sell tickets, win battle-of-the-bands and garner repeat call-backs to venues in quick succession. Indeed it is the intensity and overflowing maturity of their work that has made the quartet a live must-see, not to mention the guys' manic attack on-stage, this electric foursome building a reputation for shows that between band and fan create an energy more likely found at hardcore or extreme metal concerts - strange and truly delightful, given the band's thoughtful, erudite compositions of high-minded prog rock elegance. Offering insight into how Bushwhack have managed a near magical pastiche of modern musics, Sacramone says, 'We're not a band that is necessarily trying to conform to a genre. What we like to do is to take different ideas - it could be from any genre, from Latin to jazz to heavy metal - and construct pieces that reflect whatever our feelings are on that particular day. We're progressive, to put this into a genre, but if we feel something, we put it in.' The end result is a record that is atmospheric, sonically huge, provocative of thought despite no lyrics, and always refreshing. 'Mariachi Massacre' carries within it's neuron-fired architecture a sense of Dream Theater. 'Introspection' evokes thoughts of Tony Levin solo, upper echelon new age, strident, escapist neo-prog, and even the band's beloved Porcupine Tree. 'Our songwriting is really a combination of everyone,' muses Frank. 'Depending on the time or place, there are two different ways we write music. The first way is that someone comes up with an idea while we're jamming, and we find a cool melody or riff, and then we build off of it, together. The second thing we do sometimes, is one of our band members will write a song on a computer software program such as Reason, and he'll construct all the tracks, all the instruments, the whole layout of the song, and then we'll listen to it all together, and edit what parts we think we should change, or what we should add or subtract from individual tracks within the piece. But we all contribute something to it.' 'The most experimental track is probably 'Head Trauma,'' explains Frank, prompted to pick out a few highlights on this sprawling, versatile record of modern prog. 'It starts out in 11/8, and in total, it's a really weird song with some interesting harmonies; it's more complex and it's not as stable as the oth
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