Not long ago, I read somewhere that the album is a dying format in music. Reasons given had mostly to due with the overwhelming popularity of streaming, as well as the availability of millions of songs on streaming services that allow people to make their own personal “mixtapes” of songs they like, without having to buy an entire album. Another reason offered was the decline of concept albums, or albums with an overall theme.
Well, I have to say that, based on the huge number of albums that continue to be produced, the album format is not only still alive, it’s thriving. A fine example of that is the brilliant debut album Perception by indie alt-rock band Redram. The Los Angeles, California-based duo have crafted an amazing collection of provocative and compelling songs addressing the deception foisted upon us by the media, and the acceptance of corruption in our society.
Redram is Chaz Gravez (Charles Graves) and Modiso Mike (Michael Coddington), both multi-instrumentalists who refer to their music as “shamanic trip-rock chillwave” – a pretty apt description. They employ unusual and complex melodies, a wide array of instruments and electronica, and lots of different vocal styles and sounds to express their deeply contemplative lyrics with powerful impact.
Regarding their name, in conversations via Twitter messaging, Chaz explained that Redram “is a combination of symbols in one title. First we used a software called Redrum for a lot of our drum parts. Also, we are both big fans of The Shining and the metaphysical meaning behind that film (redrum). And then also, I’m an Aries/fire sign and we love good ol’ satanic rock and roll imagery.”
Chaz also stated that the nine tracks on Perception are arranged to flow as one coherent piece of music, and he kindly explained the meaning behind each song. Beginning with “Electra,” a psychedelic trip of gnashing, distorted guitars, eerie synths and discordant tinkling piano keys, the overall theme is established for the album. The song’s about a young woman trying to define her identity and role in an increasingly technological world of changing archetypes and symbols – something we all must face to some degree or another if we’re going to survive in a tech-based society.
Next up is the mesmerizing “The Program,” with weird synths, acoustic guitars, and a mix of falsetto and echoed spacey vocals chanting “The Program, the program” and “Perception is all my love / What you see is what you believe.” Chaz explained that the musical concept of “The Program” is the use of Mantra, or repetition of theme, to describe the theory suggested by a scientific study conducted a few years ago that there is a 49% chance that this realty we live in is just a computer program.
The hard-hitting “Press” alternates between frenetic riffs of jangly guitars and a slow, hypnotic beat, filled with all kinds of synths and gritty guitars. The lyrics speak of a press that’s manipulative and owned, and we have the power to change it but we’re too divided and distracted to make it happen. “We’re walking around with dollar bill eyes. We can stop the press. We can stop the mess. We move to the sound that pays for our time. We can stop the press, but it’s a full court press.”
“Sheriff” is another Mantra with the repeated phrase “I want to make you sweat,” delivered by an odd, almost disturbing electronically-altered voice. It’s intended to represent a duality of the archetypal character of a ‘Sheriff’ who wants to make you sweat in more ways than one. Musically, like several of Redram’s songs, the track has a powerful hypnotic beat, with guitars and dark synths used to great effect to create a sense of tension. Despite the disturbing vocal sounds, some of the instrumentals are hauntingly beautiful.
One of my favorite tracks is “Chillmilton,” with a fantastic trip-hop beat, rapping and shamanic chant-like vocals. As Chaz explained, the song “is about a young guy at his first music festival (Coachella) trying to decide between positive and negative choices in the devil’s den.” They sing “One pill two pill three pill four. What you gonna do when you hit the floor? It’s not lyrical, we’re hysterical. What will you find on a stage of miracles? / Chill Milton, chill.”
“70 Versions” employs trippy synths and layers of reverb-heavy and mildly distorted guitars to create dissonance. The lyrics speak to religious dogma vs. spirituality: Is the true value of life material or spiritual? “Speak the truth. You’re personal truth. Your spiritual truth. A miracle. My god.” The title phrase “70 Versions” seems to be a double entendre, as it sounds like they’re singing “70 virgins.” Mysterious, spacey synths and otherworldly vocals lend a sci-fi vibe on “To Space,” a song about depression and disconnection from others.
More spacey synths, accompanied by a continuous mournful organ, deliver “Fake News,” a biting attack on media and politics. Chaz stated that, specifically, the song was inspired by the lies of the media with regard to the Syrian conflict. “Western media. That’s old news. That’s fake news. Which side are the real good guys on? Which lie is the moral lie?”
The powerful video features scenes of conflict in Syria and Iraq, as well as several U.S. Presidents, leaders of Middle Eastern countries, and other media figures.
Album closer “The Machines” is an homage to Pink Floyd’s “Welcome to the Machine.” (Chaz and Modiso are both big fans of Pink Floyd.) The song represents the complete evolution of a technological society, in which the people have been transformed into machines, with all of their behavior and responses pre-programmed. The track has some great bass and guitars, along with dark, eerie synths that perfectly convey the creepy situation.
Perception is a work of musical art, both conceptually and in its execution. The creativity and musicianship of the two men of Redram is impressive, as is their ability to transmit powerful messages into music that’s incredibly complex yet accessible, and an amazing listen to boot.