Native Perth progressive rockers Karnivool have always based their work on a foundation of necessary efficiency.
It’s a disciplined approach required by the tightness of their dynamic, heavy sound, the scheduling bravado required to negotiate numerous side projects, and the somewhat episodic nature of their album releases (one every four years, it would seem).
So it’s perhaps ironic, then, that the band’s latest effort, Asymmetry, is a highly organic, natural, raw-sounding piece of aggressive introspection.
“We wanted to get away from the polished sound for this record,” reflects the ever-laid-back bassist Jon Stockman from Perth, where the boys are lapping up hometown solace before a brief Australian tour.
“I think there’s a tendency at the moment to really push knife-edge production precision on everything, and we wanted a rougher approach to it, so it has more of a characteristic sound as to what we are as musicians.”
The album’s first single “We Are”, a creeping and chaotic number punctuated by heavy bass and closed by vocalist Ian Kenny’s fading lulls, is certainly a departure from their last single, the punchy and energetic “Set Fire To The Hive” from 2009’s Sound Awake.
The contrast typifies the evolution of Karnivool’s stylistic trajectory, one that is ultimately conducive to the longevity of the band.
Stockman notes that despite the lengthy intervals in production and the scattered interests of respective band members (such as Kenny’s ‘other’ band, Birds Of Tokyo, and Stockman’s own side project, Floating Me), the absences and time constraints are actually beneficial to the band’s productivity.
“In the past, when we’ve had all the time in the world, we’ve not been as effective with our time. But [now] you have to make sure it’s significant progress when everyone’s actually there … If anything – we’re using it to our advantage,” he insightfully remarks.
“I think there’s a tendency at the moment to really push knife-edge production precision on everything, and we wanted a rougher approach to it, so it has more of a characteristic sound as to what we are as musicians.”In the quest to penetrate and capture an elusive ‘au naturel’ soundscape, the band’s ingrained efficiency manifests itself in cognisant, precise decisions.
Written and recorded at Studios 301 in Byron Bay and helmed by well-respected producer Nick DiDia, the idyllic setting was purely an incidental bonus for the West coast rockers.
“We chose that particular studio because it has quite the reputation for the drum sounds that you can get. We went for a more natural sound, and a lot of that was coming from the drums themselves. The drums set the tone for the album. As a result you have a lot more energy,” Stockman explains.
While he is eager to introduce and perform fresh material for the “long-standing and loyal” Australian fan-base, Stockman holds some vague, festering anxieties about the duration of the upcoming domestic tour.
“It’s a short blast through the capital cities – it’s going to be a pretty intense time of playing. We have to make sure it’s going to be as effective as we want it to be, for an album tour – it has to support the record,” he tentatively notes.
Lamenting that they probably won’t be performed this time round, Stockman identifies the calming, seven-minute “Sky Machine” and brooding, animated “Nachash” as new tracks that he is keenly anticipating playing live.
“We’ve got certain other songs we want to play first, but I’m looking forward to the time that we play them. “Nachash” is something that’s going to be good to play live, because it’s something we actually started on Sound Awake and didn’t see it to fruition – so it’s been a long time coming.”
Stockman sheepishly discloses some songs were partly inspired by discussions he and guitarist Drew Goddard had concerning “the harmony of the universe”.
“[It’s about] creation, the beginning, when everything is aligning – that’s what the first track “Aum” is kind of hinting at”, he reveals.
When it’s remarked that Asymmetry’s delicate, other-worldly opener is highly evocative of the ethereal Icelandic post-rockers Sigur Rós, Stockman quickly concurs.
““[It’s about] creation, the beginning, when everything is aligning – that’s what the first track “Aum” is kind of hinting at”,”“I know what you mean, because now I’ve actually heard and seen Sigur Rós and that was one of the highlights of the European tour actually. Gorgeous music – it’s just so good, they were the last band I saw at the Hurricane festival [Germany] – and it’s so comforting and beautiful,” he softly says.
While Karnivool’s lyrical content is “generally” a collaborative affair, Stockman points out that the final verdict always lies with Ian Kenny. The deferral exemplifies yet another core tenet in the band’s creative process. “We’ve always given Kenny the final say, because ultimately he has to sing it, and believe in what he’s singing.”
After the Australian tour, the metal chameleons are touring internationally to appease an increasing appetite for their brand of crackling, anthemic tunes. The lads should quickly acclimatise to the “short blast” default setting for touring – in just one week in November they will play shows in Germany, Norway, Sweden, Finland and Denmark.
Stockman reflects upon the band’s recent slate of European gigs in June, where they played summer festivals including Download, Sonisphere and Hurricane alongside international titans like Korn, Iron Maiden and Slipknot.
“It was amazing. We got to see so many bands and different countries,” he recalls. “We got to see Hungary and the Czech Republic this time, which was amazing. It’s different because we’re developing that territory … so it’s a newer audience,”
It shouldn’t be difficult to increase the band’s already impressive European fanbase especially considering the November tour sees them carrying some of their most potent ammunition to date – Asymmetry’s heavy, atmospheric and naked exploration of virgin musical terrain.
Asymmetry is out now through Cymatic/Density Records and is Tone Deaf’s album of the week. Read our review here.
Karnivool National Tour 2013
With special guests NORTHLANE
All shows over 18s only except Luna Park & Thebarton Theatre (All Ages/Lic)
Tickets for all shows on sale Thursday 20 June, 9am (AEST) from www.karnivool.com
Tuesday 30 July 2013 – THEBARTON THEATRE Adelaide, SA (All Ages/Lic)
Tickets from www.venuetix.com.au
Thursday 1 August 2013 – MELBOURNE TOWN HALL, VIC (GA Floor/GA seated balcony)
Tickets from www.oztix.com.au
Friday 2 August 2013 – MELBOURNE TOWN HALL, VIC (GA Floor/GA seated balcony) – SOLD OUT
Tickets from www.oztix.com.au
Sunday 4 August 2013 – THE BIG TOP, LUNA PARK Sydney, NSW (All Ages/Lic)
Tickets from www.oztix.com.au and www.bigtopsydney.com
Wednesday 7 August – EATONS HILL HOTEL, Brisbane, QLD
Tickets from www.oztix.com.au
Sunday 11 August, METRO CITY, Perth, WA
Tickets from www.oztix.com.au
