I want to take this moment to tip my hat to Brooklyn. Within 12 months, Brooklyn-based duos released two of the most refreshing albums I’ve come across as of late. First was the male/female Brooklyn duo Sleigh Bells and their Reign of Terror, a hot mess of tight electronics, sharp metal-influenced strings, pounding percussion, and a smoldering fury all cut by muted vocals of a female lead. The second is male/female Brooklyn duo Buke and Gase and their General Dome, a grungy arrangement of custom-made instruments, highlighted by electric strings, math-rock rhythms, and a strong female vocal lead. Either I’ve found a formula to ensure I’ll love an album (possibly Brooklyn + male/female duo + grit = greatness) or these artists are really bringing something fresh to the scene.
I, of course, would like to believe the latter.
Admittedly, much of what draws me to the group is the strings. The buzzy and base-heavy strings instill a nostalgia that brings me back to the grunge and punk-rock which ushered me into audiophilia. However, there’s something else striking about these strings. In fact, it’s not likely you’ve heard them before. Why, you ask? Because the artists made them. The sharp lead melodies are a product of a baritone ukulele (aka, the “Buke”) while the powerful rhythm comes from the guitar-bass hybrid (aka, the “Gase”).
Arone Dyer and Aron Sanchez compose the buke and gase wielding duo, relying on their homemade instruments, modest filters and instrument effects, Dyer’s vocals, and a plentiful supply of creativity. General Dome‘s intro track “Houdini Crush” was carefully chosen as a brilliant introduction to the duo, showcasing their non-linear flow, abrupt transitions, Dyer’s vocal range, and the fact that the custom instruments are no gimmick; they can and do play the hell out of them. The heavily syncopated “General Dome” shares the album’s title and is the foremost example of the frantic undercurrent of the album. It’s a paranoid, borderline psychotic track that keeps it together just until the cathartic bridge before collapsing in an eerie rattle which closes the track. And if the track alone doesn’t gnaw at your sanity, the video surely will. A shout out to Wonder Woman’s weapon of choice, “Twisting the Lasso of Truth” is an uneasy call to arms, with Dyer pleading with frustration “Fight / godammit stand up and fight”. If “Twisting the Lasso of Truth” expresses vulnerability and desperation, “Split Like a Lip, No Blood on the Beard” is the individualistic and self-reliant response. The latter is a coherent and confident track, directly opposed to the messy and disheveled former.
In spite of my praises, I do have one major issue with the album; it’s exhausting. General Dome is undoubtedly stimulating, but it’s simply not an easy listen. Only rarely does the grinding cease. While I am smitten with the raw sound and gritty strings, extended sessions will wear the listener down.
That being said, while Buke and Gase may not have the same appeal to those who prefer less confrontational music, General Dome‘s raw, biting sound startles the audience to attention, forcing them into fresh and unfamiliar territory in a way that few albums can.
General Dome