Old Time Relijun’s “daemon” meetings captured on video, singer/guitarist tours with Japanese underground artist hot on the heels of grueling Catharsis In Crisis national tour.
“Unless I read them wrong (and I may; the music itself is the opposite of describing it: it’s wet, and bloody, and it smells like fresh earth and red cinders, and it’s a good goddamn time, is what it is) Old Time Relijun’s theory is that ‘the underground’ (I know. I know. I know) isn’t an identity that reinvents itself once or twice per generation, but a permanent place within a culture – maybe within all cultures – where styles don’t go in and out of fashion but are always floating around in the air just above our heads.” — John Darnielle, Last Plane to Jakarta
“The music kicks ass: brutal, fluid, funky, spasmodic, violent, sexual…I wish there were more visionaries like Dionyso around.” — Everett True, Village Voice
Old Time Relijun has been caught on video in various stages of “daemon” meetings and other devious practices of catharsis tied to its most recent cross-country evangelical mission. This past Halloween, the Pacific Northwest’s esoteric uprooters of rock’s antecedents were nabbed by an amateur cameraperson in the throes of a particularly frenzied ritual in New York City.
Likewise, this meticulously animated “crayonimation” video by Chad Paulson captures the eerie essence of Old Time Relijun’s infectious “Daemon Meeting” track from its recently released Catharsis In Crisis on K Records.
The tireless troubadours recently completed a grueling comprehensive U.S. tour. However, singer/guitarist Arrington de Dionyso almost immediately launched a series of dates with Japanese underground musician Katsura Yamauchi in the Pacific Northwest. Katsura plays every member of the saxophone family, and he is renown for his intimate explorations of music in nature, having made recordings of his saxophone playing while almost completely submerged underwater.
Now, resting temporarily at home, Old Time Relijun is already scheming to take its haunting rituals overseas and throughout the U.S. yet again early in 2008.
Old Time Relijun’s latest K Records meisterwerk Catharsis In Crisis received an impressive outpouring of critical praise since its release in late October. Legendary music scribe Everett True — he who put Sub Pop and myriad others on the map with his writing in NME and Melody Maker, as well as current author and Plan B editor — rated Catharsis In Crisis #1 in his “Top 5 Antifolk Songs” column in the Village Voice. A couple of weeks later, True followed that article with a column raving yet again about Old Time Relijun.
Likewise, esteemed critic and musician John Darnielle (singer/songwriter of The Mountain Goats and Last Plane to Jakarta editor, et al.) writes one of the most eloquent and flowing prose pieces about the latest Old Time Relijun disc in his latest zine.
However, in addition to what the critics are saying, the band’s spokesmen, guitarist/vocalist Arrington de Dionyso and bassist Aaron Hartman have their own unique ideas to express regarding the concepts behind the album and its execution. So, the eminently quotable musical adventurers have made time available for interviews in order to share their vast ideas with members of the press (and blogs alike.)
Old Time Relijun continues to further shatter rock’s imperious formalism with its latest K Records release that landed in shops on October 9th, 2007. Song after song, the ferocity of vocalist/guitarist Arrington de Dionyso draws listeners deeper into a world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.
Catharsis In Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into OTR’s most fully realized album to date. OTR + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.
Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis In Crisis is the first album to reveal OTR’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.
Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis In Crisis is Yes Wave for the young millennium. “Daemon Meeting” blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on OTR’s album 2012.
Taken as a whole, the three discs of the Lost Light Trilogy (in reverse chronological order Catharsis In Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. “We wanted ‘The Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”
Catharsis In Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which OTR is known and loved, Catharsis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.
Catharsis In Crisis Tracklisting:
Stream The Album HERE
01. Indestructible Life! (MP3)
02. The Tightest Cage
03. Daemon Meeting (MP3)
04. Liberation (MP3)
05. Garden of Pomegranates
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New
Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. Arrington (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.
The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.
That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used Arrington’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.
Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.
In 1996, OTR recorded its first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.
In 1997, Calvin Johnson invited the band to record a song for the Selector Dub Narcotic compilation for his K Records label. At that point, a beautiful relationship was born.
After Bryce left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and OTR’s second of many lives began. Phil’s caveman beats and undeniable production savvy helped launch the first three Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of Genesis from the serpent’s point of view.
After a couple U.S. and European tours, Phil decided to focus his energy on his recording projects and his own band, the Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.
The group experienced a brief lull in activity as Arrington began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both Arrington and Hartman had time to reevaluate the direction their band would take.
During his travels, Arrington composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.