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Atri De Novo
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Bio
Three long-time companions, musicians and artists joined to create a musical presence that only they could deliver. Your Electric Grand Mother is the culmination of their effort and dedication.
Your Electric Grand Mother is Jim Breau (vocals, percussion, keyboard, electronic programming), Colby Gile (bass, backing vocals) and Casey Hebberd (guitar). The band formed in late 2007, but its members have been writing, recording and playing together in some form since the late 90’s. The trio was raised and currently resides in the Kansas City area.
Drawing influence from artists such as Muse, The Mars Volta, Radiohead and Ben Folds, Your Electric Grand Mother crafts a gripping and climatic sound that could be best described as Progressive Electronic Rock. Audiences and listeners of the band will find Your Electric Grand Mother’s dynamic sound is composed of rich leads, hard riffs, melodic harmonies and programmed beats layered with aggressive percussion.
In December of 2008, Your Electric Grand Mother released their debut album Atri De Novo, which the band released independently. The six-song, forty-six minute EP gives us our first glimpse into the versatile and unique soundscape Your Electric Grand Mother has the ability to deliver.
From "Ink" issue 49 (3-4-09)
Local band "Your electric grand mother" - Your electric grand mother’s first album, Atri De Novo, collects six large-scale, soaring slabs of prog-rock, which continues its renaissance — this time in trappings a lot less silly than the theatrics of British prog-rock bands Genesis or Emerson, Lake & Palmer.
Today, the models are Coheed and Cambria, The Mars Volta and, unavoidably, Tool and A Perfect Circle. All these influences are apparent in your electric grand mother’s sound, well-captured by producers and engineers Paul Malinowski, Jeremy Wilson and Matt Russo. Atri De Novo sounds like an expensive record, though it suffers from the major-label affliction of overcompressed dynamics at times.
Opening track “Gestures†begins with a clicky electronic percussion line (very Radiohead) skittering under a bed of ringing piano and muted guitar echoes. A stark, harmonized vocal intones, “Empty gestures belong to them / We need time to focus in / If we don’t succeed, I’m afraid we’ll cease to be.†And so begin the themes of dread and impending loss that permeate the record — though it’s not an exercise in nihilism.
Then at the 2:15 mark, singer and multi-instrumentalist Jim Breau breaks into a melodic howl as the music explodes around him into a majestic swell of intricate guitar lines and classic hard-rock percussion. The mix is tight and tasteful, and the vocals nail the sweet spot (always an elusive target, even for pros).
Next up, Hindu chanting and reversed guitar lead into “The Litany,†the record’s longest and most satisfying track. An assertive, alarmlike guitar buzz alternately drives the momentum, then drops away suddenly before reappearing in new figures. It’s difficult to discuss Atri De Novo in terms of chorus and verse, as the structures defy tidy classification, but the song’s crescendo is unmistakable and surprising.
“Half Life†dabbles in a Pink Floydian lope, while the dreamy delivery and languid melodies of “Reach†could pass for late-period Tears for Fears. Guitar and bass thump alongside half-whispered vocals and propulsive percussion throughout the final track, “Tick Tock,†pulling the rubber band tight, then letting it drift off agreeably into space.
Breau’s chameleon voice recalls the matter-of-fact delivery of The Secret Machines’ Brandon Curtis at times — occasionally at odds with the grandiosity of the arrangements. But he’s also capable of a good scream along the lines of Maynard James Keenan of Tool and A Perfect Circle, which keeps up with Casey Hebberd’s agile guitar and Colby Gile’s steady basslines.
Your electric grand mother’s surefooted playing and meticulous attention to detail are essentials to the genre. Atri De Novo is an impressive and rewarding debut.
- Derek Donovan
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