Ambient jam rockers Terrestrial Animal come from Wilmington, North Carolina and have just released their new album titled Constant State of Decay. During the turmoil of Covid, founding guitarist Ryan Kennedy stepped away but the band soldiered on featuring Jason Ward (guitar), Sid Neel (bass), Tiff Ellis (keyboards) and AJ Moore (drums).
Constant State of Decay is a concept album based on “rebirth, on finding yourself after becoming so disillusioned and lost on the journey known as life.” The concept came about when bassist Sid Neel, bored at work, became fascinated with Buddhist themes and ideas on the internet. A rough outline was created with which to craft the music, along with extraneous sounds and song titles. The band describes their music as venturing from “ambient soundscapes with driving bass grooves to walls of fuzz dripping with luscious reverb.” As I discovered from their release Laniakea, the band’s creative method involves extensive jamming, then refining those results into actual songs. Musical influences include Pink Floyd, The Ocean, Russian Circles, The Deftones, Isis, Mogwai, Explosions In The Sky, Mastodon, Black Sabbath, Def Leppard and Tool. Recording took place in the band’s personal studio and practice space. All songs were recorded, mixed and mastered by bassist Sid Neel using Studio One 5 along with Izotope plugins. “Duhkha” literally opens the door on the album, beginning as it does with bird sounds and approaching footsteps atop a bed of drone-like synths and Buddhist chants. “Duhka” literally means “unease” or “suffering” and is an important concept in Buddhism. After several insistent knocks, the Seeker is allowed inside by way of a heavily creaking door. The footsteps echo down a hallway as a heartbeat fades in and the chants intensify. As far as “unease” the track pretty much lives up to its title. The opening, echo’d keyboards of “Law of Impermanence” rise up as “Duhka” recedes. The track is built on a fairly simple four-chord structure but of course the band uses these bare bones to explore the theme’s melodic possibilities over eight minutes. The guitar starts with a lot of sustained notes but then moves into a more Tex-Mex sound. It’s a thrilling moment when all the players lock in for a laid-back rock groove, and I can certainly hear the Pink Floyd connection. Temple bells and more OM-like chanting herald the start of “Revivication” which has the effect of rooting this undeniably spacey music to Earth. The electric guitar picks descending chord patterns over tiny bits of electronic tics and pops, soon joined by bass, keys and drums. The pace and tonality does suggest meditation or hypnosis. Much like the previous track, the band kicks into rock mode about halfway through and clearly channels their built-up energy toward the extended, all-out climax. After a short rain interlude (I love water sounds!) we glide into “Atman Within Us.” Atman can refer both to the spiritual life principle of the universe, or the soul itself. You’d expect another dreamlike track, and it is, but the riffs themselves seem almost intelligent and witty (or maybe I’m getting “Contact Nirvana”). At heart this is really a jam band. “Gateway Terra” begins very much like the opening track, with footsteps, chanting and drones. For the music, the band says it was “based on a random bass riff that was a first take. We then refined and re-recorded for the album.” The bass is definitely prominent and this track reminds me of the bass-based jam track I reviewed titled “Amorphous Sum.” The group takes us on a slightly twangy, echo-sweetened journey over open plains and dry riverbeds (there’s that “Contact Nirvana” again!). I know that Terra means “land” so maybe I’m not far off. “Doctrine of Anatman” starts with a very cool guitar or bass effect, like a phase-shifted frog overlord. It’s a nasal, retro-sounding effect that frames the song. “Anatman” literally means “non-self,” and though I’d like to explain it to you, I still don’t understand what it is! However the general concept fits the band as the individual players often coalesce into a complete entity separate from themselves (and usually toward the end of a song!). “Samsara” has an interesting meaning: “cyclic change” or “running around in circles.” Given that title I’d expect cyclical melodies (check) and gradual change (not there yet). The razor-sharp tonality of the bass and drums is especially evident here, and the keys sound extra ghosty and cloudy. Unsurprisingly the very loud addition of electric guitar turns this into a rock song (or maybe mellow prog!). This track actually takes on a slightly different arrangement toward the end, though it’s basically just louder, harder and simpler. “Sukha” (a settlement in Estonia) is exactly the ending I would have expected: actual Buddhist prayers or invocations, clear and beautiful, against a violin-sounding keyboard patch and the occasional slammed door. Jam bands are not to everyone’s taste, but if you enjoy kicking back and letting a band discover and explore musical possibilities right before your ears, check out this excellent group!
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